Ono Što Se Pamti – Uvod

Indijski dnevnik 

 

decembar 2014 januar 2015.

Pariz , Rijad, Koći, Džeda, Pariz

 

Misao o barbarogeniju proganjala je avangardu, neobične ljude poput Micića i Anrija Mišoa.

U praskozorje 1931. Mišo rešava da ostavi iza sebe duh kolonizatora, odlazi u Indiju i piše tekst Varvarin u Aziji. Osetio se kao varvarin probuđen nadohvat jedne drevne civilizacije, kao što se možda osetio Antonen Arto nakon velike kolonijalne izložbe, u Parizu, početkom dvadesetog veka, koja mu je promenila shvatanja o životu i umetnosti.
Mišo: „Video sam čoveka na ulici. On me je ščepao, i nisam više nikoga primećivao osim njega. Vezao sam se za njega, sledio ga, ubeđen da na svetu postoji samo on; on i flautista; i čovek koji se bavi pozorištem; i akrobata na žici koji gestikulira; u trenutku sam ih sve snimio, sve shvatio.
Mišo će zatim reći da ni Indija ni njeno društvo i narodi ne treba nikada, baš nikada, da podlegnu uticaju Zapada, što je velikodušno osećanje jednog zapadnjaka koje ja, biće sa Balkana, nikada, baš nikada, nisam mogla da osetim.
Varvarka sam upravo ja, ili Titova rođaka, onog Tita koji je sa Nehruom i Naserom pravio ’treći’, to jest nesvrstani svet.

Na kraju svog putovanja Mišo će reći: „Posmatrao sam sebe na tom putovanju kao da posmatram nekog drugog, nekog ko gleda emotivno i seća se jedne imaginarne zemlje u kojoj ne živi. Ja nisam bio u njoj, ja nisam bio tu.”
Ja sam pak, za razliku od Mišoa, stalno živela varvarski, bila sam deo te zemlje, videla sam je, bila sam tu i kad sam obitavala drugde.

 

AERODROM

 

Ujutro, pre polaska na put, upalim televizor i šta vidim – strašne posledice cunamija na plažama Kerale koje su me opominjale da idem u neku posebnu ’zonu’, već viđenu okom Tarkovskog – bio je to neki njegov, sasvim poseban interplanetarni svet. Pitam se kako se život mogao nastaviti nakon cunamija, kako mu stanovništvo nije izbeglo, zašto se predalo, zašto su tu ostali svi oni koji su ostali i zašto nisu otišli u neki novi svet?

S pogledom izlomljenog ogledala, koji ne pada ni previše nisko niti se pak isuviše uzdiže ka nebu, prekrštenih nogu, hindusi meditiraju tela podeljenog u sedam čakri, u lotosu, pri nebu, u ranojutarnjim i večernjim molitvama boginji Kali, sa postojanošću i uživanjem, što na sanskritu znači bav. Usmereni na večnost, udubljeni u sebe, usporeni, samokontrolisani i dostojanstveni, hindusi se nikada ne žeste niti nerviraju, kaže Mišo, tako da onaj ko ima želju da zapeva, taj peva, onaj ko želi da se pomoli, on se moli. Najviše veruju životinjama poput krave, slona i majmuna, svetim životinjama koje su kao i oni, mirne i naizgled bezbrižne, u svakom slučaju ravnodušne prema spoljašnjem svetu, koji hindusi nazivaju iluzija ili maja. Krava se, na primer, najede trave, nikako deteline, da bi zatim varila po nekoliko sati ono što je progutala.

Pitam se da li ću ja, koja živim od iluzije (svakodnevnog teatra barbarogenija) i od žvakanja deteline, videti sve ono što je Mišo tamo video. Jer svako vidi ono što mu je dato da vidi, ono što već zna o nekom predmetu ili čoveku. I neće videti ništa što već nije čuo, video ili naslutio ranije.

Hindus, kaže Mišo, voli životinje koje nisu odveć zahvalne čoveku, znači ne voli naročito psa i mačku jer njih ne privlači odviše mudra meditacija, zbog prirode njihovog uznemirenog i dinamičnog bića. Hindus mora da promišlja, onakav kakvog ga vidimo u ranim indijskim filmovima, daleko pre Satjađit Raja, kada su i besni vojnici nekog radže najpre odlučivali (po nekoliko minuta u filmu) da li da se razbesne ili ne. I na kraju bi ih ipak razbesnela data situacija. A danas je Indija jedna od najvećih svetskih sila koja je izašla iz recesije i uspešno žvaće detelinu najsvežijeg neoliberalizma. 

Što se konja tiče, Mišo smatra da je u životu svih hindusa konj, onako lud i dinamičan, u daleko manjoj prednosti od kamile, jer kamila retko galopira i trči – ona stabilno i promišljeno stavlja jedno kopito pred drugo, zabavljena sopstvenom sporošću, koju mnogi nazivaju dromedarstvom. Hindus, dakle, poštuje sporost i stabilnost, što se ogleda u njegovom osećaju za jezik. Hindi, spor, grgurav jezik, sav je sastavljen od konsonanata koji se spopliću i teku, teški i hrskavi. Na tom jeziku su spevane – a i dalje se pevaju – najviše religiozne himne naspram kojih evropsko stvaralaštvo izgleda smešno i bahato. Indijska misao je magična – ona ima magijski karakter i bliska je svojoj orijentalnoj filozofiji, koja se uvek obraća Biću ili Brahmi. Mišo duhovito kaže da zapadnjački filozofi promišljajući svoju muku gube kosu, a da orijentalci muku skraćuju tako što puštaju da im kosa raste. Njihove misli upućene Brahmi donekle su različite od naših, uslovno rečeno evropskih, jer smo mi bića razdvojena od Apsoluta, što kažu Upanišade: „Oni koji odu sa ovoga sveta a nisu otkrili atman i spoznali njegovu suštinu neće dostići oslobođenje NI U JEDNOM SVETU”.

Da bi se približili toj suštini, hindusi recituju mantre i – dišu. Jedna od varijanti božanskog udisanja-izdisanja, takozvani udžaj, odvija se na sledeći način: četiri udisaja kroz levu nozdrvu, zadržiš dah, pa zatim šesnaest izdisaja kroz desnu nozdrvu. Njegova molitva boginji Udisanja–Izdisanja, stvaranja i razaranja, majci Kali, može da otpočne.

Hindusi više veruju majci, boginji materinstva, nego boginjama ženstvenosti Lakšmi, Radi i Sarasvati, koje su čulni avatari ili avatarke Šive, sveopšteg stvaraoca. Ako postoji pojam sveca kod hindusa, onda je to majka, kao simbol požrtvovanosti, žrtvovanja za druge, za generaciju koja dolazi, jer o prošlosti ne treba razmišljati, prošlost je akašik – traka koja teče i upravo se manifestuje u sadašnjem trenutku. Majka je Velika MA, i ona održava poredak svih stvari neophodnih za produžetak vrste i opstanak, a za hindusa je generacija koja dolazi, koja produžava porodicu i vrstu važnija od njega samog. Pojam žrtvovanja kao procesa izuzetno je važan ovom narodu koji se prvo žrtvuje za delove tradicije i prošlosti, zatim se skromnim bivstvovanjem žrtvuje u trenutku u kome živi, a docnije se žrtvuje za potomke. Sve pojave indijskog panteona su čulne jer slave život i Apsolut na najočigledniji način, ali u tolikoj meri da mi, zapadnjaci, naspram njih izgledamo kao puke posledice oplakivanja Hrista, žalosti za Bogom; u našim crkvama ili katedralama osećamo se tako mali i mizerni u susretu sa Apsolutom, koga se plašimo.

Veliki asketa Ramakrišna oblačio se – kako neki kažu – u ženu, jer je kao žena želeo da ga voli Bog koji je sišao sa panteona da bi živeo među ljudima. Hinduistički molitvenik je praktičan i sprema vernika da se izbori sa snagama zla u životu: Rigveda je puna konkretnih i praktičnih saveta. Mantre i ponude u obliku insensa, sveća i hrane pomažu verniku, na nadasve praktičan način, da se približi Apsolutu, a lepota dekora ili ponude tu i nije važna. Kao i u najmističnijem delu katoličanstva, hindus se idolatrijskom askezom približava Apsolutu i obožava u ekstazi.

On mu se klanja, prostire se ničice pred njim, mada neće nikada povikati kao naš hrišćanin: „Iz dubine vičem k tebi, Gospode!” (De profundis clamavi ad te, Domine.) Neće vikati na ovaj način jer se hindus oseća jakim pred svojim bogom, a ne kao crkveni miš, jadan i bespomoćan pred licem bede. On će prisiliti svog boga da mu pomogne, neće drhtati pred njim od straha ili od tuge pregoleme. Glasno i sa puno bava on će otpevati svoj AUM; postići će smirenje, dobiće snagu u molitvi, pljunuće na sve demone koji ga okružuju, neće im samo zapretiti da ustupe sa: „Natrag Sotono”, on će ih ispljuvati i izlupati, uništiti moralno i materijalno, i Sotona se (bar neko vreme, u njegovoj glavi) neće pojavljivati.

A sve ovo se odvija polako, u ubrzano–usporenom svetu Indije, veoma polako, jer hindus nikada ne žuri, ne trči. Molitve izgovara lančano, 38.000 stihova Ramajane, kao i 100.000 stihova Mahabharate, koji teku polako, bez ijedne vidljive (r)evolucije u epovima, koji ni sami nemaju neki određeni centar ili vrhunac radnje… Ovo nam sve kaže Mišo, kartezijanac, koga nije mrzelo, još onda, te daleke 1931, da prebrojava drevne stihove na sanskritu. 

Nina Živančević

Isečak iz knjige Ono što se pamti; Kornet 2017

Share

VIDEO Književno veče debata: Avangarda kao inspiracija

Kako povezati ideju o ideji avangarde?

reci kao sto su ‘istorijska avangarda, knjizevnost, srbija, novija knjizevnost, najnovija avangarda, Crnjanski’ ? U jednom jedinom letnjem popodnevu, u beogradskoj biblioteci? Pogledaj sledece video radove Mihaila Ristica:

Biblioteka grada Beograda Voždovac, jul 2016.

Govore Nina Živančević i Milan Orlić



 

Share

Short description of Cmok To You To , correspondence by Nina Živančević and Marc James Léger

YL_1

CMOK was defined by its publisher Punctum press as a representative of krush fiction, ociscular- kiss fiction etc but in my view, as a correspondence and not pure genre in fiction — i think that Cmok is a genre-bender . It is not even a full representative of classical or “neo classical”(email)correspondence.. In terms that it denies
the exclusive purpose of a so called “correspondence”; classical
correspondence is there to “inform and communicate the facts between 2 people” , be it private, professinal or legal, commercial etc– which our Cmok denies, sort of.
It was “purposeless” in the pretentious nuance of that term denoting a specific aim or purpose, as it never had a specific writing theme or and time-limitation of the theme often indicated by purpose. But it sort of examined important philosophical or theoretical points which we came across or were thrust upon us- voila!
The scope , so called contents of that book is specific – as it really rarely covered profane events- and if it did it did in poetry, poetic manner, in terms that it did  not want to examine things such as “what did u have for lunch- hmm, donut yesterday” or “what’s the weather like in Paris today?”
If you will, the continuum of the said correspondence is more intimate- wd never use the word ‘trivial’, but The fact is that I wdn’t like to see the continuum in print.. like musing over my listening of the New Order album ‘substance’ etc etc– not for print. Also .DN_1 The first “folio” had certain innocence and intact beauty- i think that’s why it was appreciated, liked by the first Readers of it- themselves experts in autobiographical, first person intimate fiction who read it with the approval and surprise–Chris Kraus ,  Bart Plantenga. Kraus and Acker though could be the real founders of the so called krush fiction and correspondence as they started it a while ago also with or without certain pretentions
But perhaps what makes Cmok so unique is that , unlike the work of Acker or Kraus- it borders on the realm of the virtual science fiction
– and again here- i should underline that it’s not a novel,real fiction,  like in Kraus ( i love Dick) but Correspondence (impure, mixed fiction genre). And unlike in Acker/Wark correspondence in Cmok 2 Writers had never met which gives also their work a philosophical dimension and avoids the quotidien banality of the description of otherwise banal situations.
And as devoid of this dwelling in the real, daily living situation it finds its references in the common , lived-out experience of the theory, aesthetics and the ethos of the political sociology, the points these 2 writers shared and had in common.

Share

Reading, promotion of the new book, Cmok to You To

Promtional reading from the book Cmok To You To, correspondence with Marc James Léger, to be published by Punctum Press, Brooklyn in summer 2016.

Festival IVY Writers Paris, Upstairs at Duroc and VERSAL / VERSO in Paris.

ivy

 

Venez feter la poésie et le début de l’éte avec nous! Lectures par VEGA (Vannina Maestri, Véronique Pittolo et Virgine Poitrasson), de Lily Hoang pour VERSAL Magazine (revue littéraire basée à Amsterdam), de Lily Robert-Foley et son receuil bilingue “M”, de Barbara Beck et de Jennifer K Dick pour une performance des textes extrait d’Upstairs at Duroc et de Versal Magazine (par les auteurs in absentia), de Nina Zivancevic et de Rufo Quintavalle pour leurs nouveaux publications, de David Barnes au nom de Spoken Word Paris, et bien d’autres!!!

This late Sunday afternoon event will include readings and performances in French and English.

29 mai 2016 à partir de 17h30

Mundolingua (musée de la langue à Paris), 10 rue Servandoni – 75006 Paris.

Entrée libre

Share

CMOK to You to, cover for the new book

Correspondence between Nina Živančević and Marc James Léger, to come out soon by Punctum Press, New York

CMOK cover

With this forthcoming title, punctum is pleased to announce a new genre of so-called “academic” writing: OSCULAR STUDIES (from the Lat. oscula = kiss):

CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivancevic and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, “The Idea of the Avant Garde – And What It Means Today.” Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – “Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ,” “The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology,” “The Secreted Correspondence of Mme Chatelet and Voltaire,” and “I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad” – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.

Share

Hommage to Nina’s work in French Institute in Belgrade – 17. december

Nina plakatThe French Institute and the Cultural center in Belgrade presents Nina Zivancevic’s entire missionary work in Serbia and abroad.

Nada Popovic-Perisic and Jelena Novakovic will talk about various aspects of her literary legacy as seen in literature, criticism, theory and in theatre.

French Institute in Belgrade

Thursday, December 17 at 18:30.

Guest speakers: Nada Popovic-Perisic, educator, theorist, literary critic, former ambassador to UNESCO

Jelena Novakovic, educator, former chairman of Roman studies

at the University of Belgrade, theorist and translator.

Share

London book launch event

Living on Air (26 May) - Nina Zivancevic
‘Poetry Alive’ will be a combined ‘Book Launch Party’ to celebrate the publication of ‘Living On Air’ by Nina Zivancevic and The Rain Stands Tall: Selected Poems (1959-2015)by Neil Oram.
This will be a rare opportunity to meet two great writers and poets; Serbian poet and academic Nina Zivancevic (also Allen Ginsberg’s personal assistant for many years) + Neil Oram, best known as the author of ‘The Warp‘ (an extraordinary 22 hour play celebrating ‘alternative living’ performed at the ICA, Roundhouse, Edinburgh Festival and other venues in the 1980’s, 90’s and early 2000’s).
Nina will be accompanied by composer and ‘multi photo 1(2)instrumentalist’ Zoran Petkovic on electric keyboard. There will also be a guest performance by American-exile poet Win Harms, author of ‘In Harms Way’. Her latest book of poems ‘Boys n Booze’ is currently ‘in production’.
The event will be hosted by poet and author Niall McDevitt.
 
Program:
7.00 – 7.10: Introduction by Niall McDevitt.
7.10 – 7:30: Nina Zivancevic (with Zoran Petkovic on key board).
7.35 – 8.00: Neil Oram.
8.00 – 8.30: Refreshments, book signing.
8.30 – 8.40: Introduction + Win Warms.
8.40 – 9.00: Nina Zivancevic.
9.05 – 9.30: Neil Oram.
9.30 – 10.30: Discussion about poetry, publishing etc + book signing.
photo 2(2)
Venue: 7-10.30 pm 20th Nov @ Poetry Café, The Poetry Society, 22 Betterton St, Covent Garden, London WC2H 9BX.
PS:  If you can please support the Refugee Community Kitchen project: https://crowdfunding.justgiving.com/stephanos-stavrinides
Nina with Penny Arcade
photo 5
Share

<< Sonnets en Avion>> poetry performance and book launch Paris, Centre Culturel de Serbie

amourNew poetry book in French, <<Sonets en Avion>> editions NON LIEU, illustrations by Nathalie Perrault

Translations by Ljiljana and Raymond Fuzellier

Reading in French by Nathalie Perrault

Reading in Serbian Nina Zivancevic

Critical interpretation by Giancarlo Pizzi, philosopher and Jean Pierre Faye

Introduction by Jérôme Carassou, editor

Music : Antoine Guillier, violon

Centre Culturel de Serbie – Paris, 25 April 2015 – photo

17111148800_204f66c10e_b

Share

Reading @ Writers Union, 24 Oct + Cultural Centre Belgrade, 29 Oct, Serbia.

Nina-Zivancevic

I will be giving two poetry readings in Belgrade following the publication of my Selected Poetry in Serbian by my Serbian publishers Povelja (editor Dejan Aleksic). The readings will be accompanied by my own musical performance (I will be bringing my violin). Repertoire: John Cage, David Tudor, Haendel, Glück.

October 24: The Writers’ Union, Francuska 7 in Belgrade at Noon. My work will be presented and discussed by a panel: Alexander Petrov, Jelena Novakovic, Aleksandar Jerkov, Vladimir Kopicl.

October 29:  The Cultural Center of Belgrade, Belgrade, 7pm.

Share