Arena Review: YOUR GEOPOLITICS MY BIOPOLITICS Andra Golc Dance is, similarly to music, by its tradition some sort

t of pure art. Pure, becaus e it realizes the aesthetical effect more directly and primarily than the langua ge does. In other words: dance is attractive because it is mute. A body, being t he main organ of dance articulation, is mute. Furthermore, when talking about co ntemporary dance, which has given the body additional theatre expressive devices , we can talk about aesthetics all of which are, again, in connection with the w ay the choreographer wants a body to be handled with, ie with his attitude towar ds the body. Jrme Bel, for example, brings to his memory bodies in dialogue with m ass culture discourse, while, on the other side, while watching bodies closed in precise organic-mimetic minimalism, we think about Xavier Le Roy. Saa Asenti puts in front of us comment dance. In his case, the body speaks and whi le speaking, it talks about itself. Instead of a body in front of discourse (pre sence in front of a language), he offers us a body in discourse. We could say th at it is all about performance-lecture, but this statement would not be precise enough. The essence is in dance, the one that is present in its absence, with As entis witty remarks. The question that arises is: what kind of show an East-European artist (dancer) should make to draw attention? It goes without saying that being noticed means t he same as staying alive. It represents a source of income and a chance to organ ize on other locations already active shows, as well as a chance to create new o nes. In other words: to be noticed, you do not have to be an artist. This truth mostly bothers an artist, on the field of his creativity freedom. The problem th at occurs in Asentis correspondence reading, quoting, and representation of materi als for his projects is present to the same degree as in subordinated-stereotypi cal perspective of West and East which is being kept alive by coordination of an international net of critics and theoreticians about art historization and cont emporary aesthetic trends, and also like in inertion of Eastern (in Asentis contex t Balkanian) scene that came to his dream like an elephant trained to respond to it by rhetoric, while the elephant itself moves with great difficulties. He ask s himself, with ironic sharpness, whether the destiny of dance in Eastern Europe is to continually sink into oblivion, on one hand doomed to its local context a nd exoticity, and, on the other hand, to refusal of Western aesthetics. In conclusion, Asenti offers us dance that consists of caricatured choreographies of well-known names of modern dance (among them important places are taken by t he above mentioned Jrme Bel and Xavier Leroy) and a video clip (made from the grou nd floor) without a comment that in the end he satisfies Western aesthetic stand ards to apply for a festival, which opens him the door to the world. The joke is delicately brutal and the message brings us directly down to earth: freedom in art is relative and territorially conditioned. Geopolitically colored dance valuation forces dancers to develop a strategy of aesthetic manipulation with their own bodies, which is, at the same time, their surviving strategy thei r own biopolitics.