Milan Kozánek

Milan Kozánek (1970, Bratislava) studied modern dance pedagogy at the Faculty of Music and Dance of The Academy of Performing Arts in Bratislava. Having acquired extensive experience in Slovak modern dance companies, he collaborated with choreographers abroad, such as Robert Galvan (Argentina, Switzerland), Willi Dorner (Austria), with the groups Denise Lampart, Molteni of Philipp Egli and with the Zurich State Opera. He participated in a number of projects by the choreographer Zuzana Hájková.

Since 1993 Mr Kozánek focuses on his own choreographic work. In 1995 he received an award at the Choreography Competition 95. As visiting choreographer, he collaborated with the Theatre Dance Studio in Banská Bystrica, The Andrej Bagar Theatre in Nitra, the Salzburg Experimental Academy of Dance (SEAD) and the Faculty of Art of the University in Calgary.

In 1996, in collaboration with Zuna Vesan Kozánková, founded the dance company Artyci, where they focused on choreographic work and teaching. They presented their joint work in Slovakia and internationally (inter alia in Germany, Austria, Poland, Czech Republic, Hungary, Canada, Thailand, China).

After over twenty years of research and teaching at such institutions as the SEAD (2005 – 2006 assistant to the director Susan Quinn, staff dance tutor and choreographer; since 2007 also special adviser), Tanzquartier Wien, Konservatorium Wien University, Northern School of Contemporary Dance (Leeds), TIP – School for Dance, Improvisation and Performance (Freiburg) or the University of Calgary, Mr Kozánek developed his own teaching approach and system.

In addition to firmly choreographically anchored works, as a choreographer, he also engaged in projects exclusively based on structured improvisation (Tvrdé pristátie, Nový Rituál, From 2008 to 2016 he presented an improvised “dance – talk show” Couch Corner. The project became the platform for experienced dance performers to meet on stage as in an improvised living room. The themes of individual performative sessions are either philosophical or altogether prosaic. They were often connected to dance, the performers themselves and the city where the show took place.

Since 2010, Mr Kozánek has been engaging in close collaboration with artists and stage performers who seek a link between physical theatre, movement, text, voice and singing. he has been part of a number of research stage projects on which he collaborated with theatre-makers from such groups as Studio Matejka (Poland), Teatr Pieśń Kozła (Poland), Rēs Ratio Network (Greece), Med a prach (Slovakia). In team with Andrej Kalinka, the leader of the Med a prach, he participated on such titles as Kráľ (2017), eu.genus (2018) and the project Nezaujímavý krik (2019).

Throughout his hitherto artistic career he has been engaged in teaching people who have no prior movement experience. Man has always been the leitmotif and fascination in both artistic and teaching practice. He links his knowledge in anatomy with that of Eastern philosophies and Taoism. His creative attitude to the Eastern philosophies finds impulses in the study of Japanese and Chinese calligraphy, in the practice of intuitive archery, and in I Liq Chuan, the system of martial arts of the master Sam F.S. Chin. Theoretically and practically he has been working with one of the oldest books. I-Ching (The Book of Transformations).