Enya Belak

[Matjaž Farič | Flota]



Choreography: Matjaž Farič
Co-creators of Movement and Dancers: Katja Legin, Barbara Kanc, Darren Anderson
Dancers in group: Enya Belak, Urša Rupnik, Kristina Rozman, Eva Posedel, Aleks Kodek, Daniel Petkovič
Dancer in video: Kaja Janjić
Narrator: Nada Vodušek
Lighting Design: Danilo Pečar
Costumography: Sanja Grcić
Costume Design Assistant: Barbara Drmota
Music: Donna Summer, Re-Flex, Henry Purcell, Carl Maria von Weber/ Hector Berlioz, Flota
Head of Production: Urška Pleše
Preoduced by: Flota, zavod, Murska Sobota
Co-produced by: Flota Ljubljana, Plesni Teater Ljubljana
The performance is supported by the Ministry of Culture of Slovenia and the Department of Culture of the Municipality of Ljubljana.
Year of production: 2013


  • Dance Week Festival, Zagreb, Croatia


How are dance and politics related? Dance is imperishable, it overcomes all rules, elites, their dictates and prohibitions. Sooner or later the entertainment of contemptible masses enters through the big door of saloons and balconies from where the chosen look down on the “rabble”.

The performance features moving sculptures which originate in both the utopian world of disco and in the waltz with which Central European elites glide on shimmering parquets for over two hundred years. Like disco dancing in the 1970s, the waltz used to be considered a dance of wild revelry and debauchery. The age of disco came to an end with a public blowing up of a pile of disco records at a baseball stadium in Chicago. The dance has survived, becoming part of the dominant media culture, while the waltz has long ago turned from an obscene dance of “German vulgarity” to a tool of cultural and political hegemony.