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Mădălina Dan

Mădălina Dan is a Romanian dancer, performer, choreographer and a dance teacher. She has a degree in Playwrighting at the National University of Drama and Film in Bucharest. Since 1998 Mădălina has been a dancer in the Oleg Danovsky Ballet Theater, Constanţa, Romania. Later she was also a dance teacher, a participant in dance workshops, once more a contemporary dance teacher, for non-professionals, a performer and an assistant choreographer collaborating with various artists. In 2010 she was one of the initiators of the educational programme in dance In2grad based on practical and theoretical ateliers and a co-initiator of a programme on art in education. Mădălina then took part in international dance exchanges in New York and Postdam. She was an invited artist at the Arizona State University. Her work was presented at Sprindance Festival Utrecht, Tanzquartier Wien, Balkan Dance Platform Novi Sad, eXplore Dance Festival Bucharest, Temps d’Images Cluj, SouthBank Center& Chisenhale Dance Space London, Fabrik Potsdam, DTW New York. In 2012 she initiated, together with Mihaela Dancs, Azuga Summer School, an annual arts education program for children.



Mădălina asks herself: “Who am I?” She sees herself as an artist, and this is getting more and more clear for her as her role in the society becomes blurred, marginal and vital in the same time. At least this what she feels from the Romanian perspective. When reading IDENTITY.MOVE!’s key questions from the application, the first thing that came into her mind, she says, was Dedublarea (Self division), an older work that she made as a response to the dance education system in Romania. The piece’s title means being split between personalities. In Dedublarea she was playing with this identity crisis that nowadays she find herself in once again but in different circumstances. With animal costumes, with irony, humor and detachment, she was working with poor examples of choreographic conventions and rules, placing them lucidly in the middle of quotation, clichés, references, and stereotypes. Avoiding, dissimulating and hiding the true identity was her way of questioning dance taught in an unhealthy educational environment. Questions she also had when she was literally carrying a huge question mark on an intervention on the streets of Bucharest and placing the object on crucial historical spots where the revolution of 1989 took place. By walking with it around the city on a caravan she was trying to question the urban space, how the history is being erased and replaced by expensive and monstrous monuments and an aggressive consumerist propaganda. 



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