Exchange the Triadic Ballet
Session
Fashion
Description
Exchange the Triadic Ballet is a ballet dance costume project, inspired by Triadic Ballet and 20th century Albanians tattoos. The costumes that were made by Oskar Schlemmer for Triadic Ballet performance reduced the anatomical structure of the human figure by giving priority to geometric, formalistic shapes. The Triadic Ballet realized a strange and humorous look through the interpretation of the performance of dancers and costumes. Costumes due to the weight of the materials from which they are made, their shapes and masks worn etc. details, limit the expression of the freedom of movement of the dancers performance, but this restriction was made for the purpose of figurative expression required by the concept of the artist. Remaining seals of Neolithic clays indicate that magical designs were also applied to the human body. In any case, the Thracians, Dacians, Agathyrs, Sarmatians, Illyrians and Celts of Illyria practiced the art of body tattooing. Tattooing was also common among Albanian Catholic and Muslim tribes. A world full of symbols ( emblem of beliefs and fears, emblem of desires and greetings ) is the tattoo world of the highlanders of the North. Our highlanders only recently learned the word tattoo. For them, the symbols they wore on their bodies were simply "flowers", that is, ornaments made of paint, which bring good luck and ward off evil spirits that surround every human being. In some cases, they have simply called the tattoo "flower of thron". Triadic Ballet based on Constructivism, portrays a strong stance inside the geometrical forms, it gives priority to rigid and supreme forms as an absolute, while Albanian tattoos display organic and spiritual world. Pivotal key of the work is bringing together different contexts as an example or experiment to countenance Suprematism.
Keywords:
Art, Suprematism, Consturctivism, Dance, Costume, History, Performance, Design
Session Chair
Aferdita Statovci
Session Co-Chair
Artrit Bytyçi
Proceedings Editor
Edmond Hajrizi
ISBN
978-9951-437-96-7
Location
Lipjan, Kosovo
Start Date
31-10-2020 10:45 AM
End Date
31-10-2020 12:15 PM
DOI
10.33107/ubt-ic.2020.159
Recommended Citation
Lika, Cennet, "Exchange the Triadic Ballet" (2020). UBT International Conference. 5.
https://knowledgecenter.ubt-uni.net/conference/2020/id/5
Exchange the Triadic Ballet
Lipjan, Kosovo
Exchange the Triadic Ballet is a ballet dance costume project, inspired by Triadic Ballet and 20th century Albanians tattoos. The costumes that were made by Oskar Schlemmer for Triadic Ballet performance reduced the anatomical structure of the human figure by giving priority to geometric, formalistic shapes. The Triadic Ballet realized a strange and humorous look through the interpretation of the performance of dancers and costumes. Costumes due to the weight of the materials from which they are made, their shapes and masks worn etc. details, limit the expression of the freedom of movement of the dancers performance, but this restriction was made for the purpose of figurative expression required by the concept of the artist. Remaining seals of Neolithic clays indicate that magical designs were also applied to the human body. In any case, the Thracians, Dacians, Agathyrs, Sarmatians, Illyrians and Celts of Illyria practiced the art of body tattooing. Tattooing was also common among Albanian Catholic and Muslim tribes. A world full of symbols ( emblem of beliefs and fears, emblem of desires and greetings ) is the tattoo world of the highlanders of the North. Our highlanders only recently learned the word tattoo. For them, the symbols they wore on their bodies were simply "flowers", that is, ornaments made of paint, which bring good luck and ward off evil spirits that surround every human being. In some cases, they have simply called the tattoo "flower of thron". Triadic Ballet based on Constructivism, portrays a strong stance inside the geometrical forms, it gives priority to rigid and supreme forms as an absolute, while Albanian tattoos display organic and spiritual world. Pivotal key of the work is bringing together different contexts as an example or experiment to countenance Suprematism.