FESTIVAL IZIS
PERFORMANCE

The World Tethers is a contemporary dance performance created by Anamaria Bagarić in collaboration with artists from various genres. Together with sound artist Ida Hiršenfelder, they have created a performance that embodies the oversaturation of information constantly seeping into the body. Through the prism of the body, this is expressed as an attempt at a physical representation of an inner monologue, while the music extracts its sounds from deep within, “from beneath the shoulder blades.”

Movement and thought follow the philosophy of butoh dance, highlighting the back as the primary signifier of the crossing between two worlds: the inner and the outer. Since the world moves at a pace the individual cannot follow, a counter-pole is needed, to align their environment, even briefly, with their own rhythm. The body becomes this counter-pole, searching within for authenticity and primality, which it cannot reach through thought alone. With every thought deconstructed to its foundations, the body grapples with where to store it, what to do with it, or even if it is its own to think, thus recounting a story of powerlessness.

CREDITS:
Choreography, dance: Anamaria Bagarić
Music: Ida Hiršenfelder – beepblip
Movement advisor: Tanja Zgonc
Directing advisor: Peter Frankl
Lighting design: Gregor Kuhar
Set design: Stela Primc
Original title: Eva Kokalj
Co-production: Zavod NEST, VITKAR
Partners: Zavod Delak, Nataraja
Financial support: Ministry of Culture Slovenia, the Municipality of Ljubljana

Anamaria Bagarić (1991) is an author, choreographer, and dancer. She presented her first solo work, Dark Matter(s) (2017), in Egypt and collaborated with the Cairo Opera House. In Slovenia, she regularly collaborates with the physical theatre collective Fourklor and participates in various contemporary dance and theatre projects. Her works include Prism (2019), Coffee, black (2022), Too Much of Me Hides in the World (2024), The World Tethers (2025) and tissue:human (2025).

beepblip (Ida Hiršenfelder) is a sound artist and archivist making immersive psychogeographical spatial compositions with electronics, code, analogue synthesizers, and field recordings. Her work primarily explores sound ecology and spatialisation, addressing themes such as the agency of non-organic others, non-human animal languages, and listening to the inaudible. She was a member of the Theremidi Orchestra (2011–2017) and is currently part of the Jata C group for bioacoustics and sound ecologies (2018–), the Clockwork Voltage community for modular synthesis (2022–), and the CENSE Central European Network for Sonic Ecologies (2022–). Her solo albums Noise for Strings, Vol. 1 (2019), Noise for Strings, Vol. 2 (2020), and the forthcoming Rhythmagogia (2025) were published by the Kamizdat label. She has exhibited sound installations at group shows in museums such as MG+MSUM (2013, 2023, 2025), MSU Zagreb (2019), ZKM Karlsruhe (2022), and Kunsthaus Graz (2025). Her compositions have been presented at various festivals, including Ars Electronica, Linz (2016), Device Art, Zagreb (2019), OTTOsonics, Ottensheim (2022), Wave Field Synthesis, The Hague (2022, 2023), Motions | An Experimental Sound Event, Zagreb (2023), Experimance, Saarbrücken (2024), TO)pot Festival of Radical Walking, Ljubljana (2024), and Lighting Guerrilla, Ljubljana (2025, announced). Hiršenfelder completed a Master of Sonology at the Royal Conservatoire in The Hague (2023). She frequently composes for contemporary dance, for which she received the Golden Lightning Award from Bunker Institute for soundscape in the 2023/24 season.