Per.Art is an independent organization active in the field of contemporary performing arts in Serbia. 

Since 1999, the 'Art and Inclusion' program of Per.Art organization gathers people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students.

The main aims of the 'Art and Inclusion' program are the production of artistic projects in which people with learning disabilities have active role as authors, co-authors and performers, and the promotion of their work on an equal basis within the local and international contemporary performing arts and visual arts scene.

Our projects were presented in theatres and museums across Serbia and abroad in Berlin, Hamburg and Bon (Germany), Geneva and Basel (Switzerland), Ljubljana (Slovenia), Skopje (Macedonia), Rimini (Italy) and Kotor (Montenegro).

In 2005, we founded the Network of cultural institutions for promotion of inclusion in Novi Sad, with the aim to ensure the equality of people with learning disabilities in social and cultural sphere, and their frequent presence in the public sphere.

Our main partners are The Serbian National Theatre, The Gallery of Matica srpska, ŠOSO "Milan Petrović" and Erste bank.

  • Photograph: Anja Beutler


  • Photograph: Anja Beutler


  • Photograph: Anja Beutler


  • Photograph: Aleksandar Ramadanovic. Image © Per.Art

    Little Party of Missed Dance

  • Photograph: Aleksandar Ramadanovic

    Little Party of Missed Dance

  • Photograph: Aleksandar Ramadanovic

    Little Party of Missed Dance

  • Photo by Aleksandar Ramadanovic

    Sun upon Train Carriage

Contact details

Bulevar cara Lazara 83
21000 Novi Sad

Artistic Director(s)

Saša Asentić





Duration: 90 minutes
Number of people on road: 11

Freight details:


In the performance Dis_Sylphide we focused on the history of German dance scene and works created in Germany in the 20th century that have had a significant effect on the world of dance. We considered choreographies that have changed the understanding of the dance itself, of the choreography and the body: Hexentanz by Mary Wigman from 1926, Kontakthof by Pina Bausch from 1978, and SelfUnfinished by Xavier Le Roy from 1998. They have digressed from the dance norms of their times in a revolutionary way. In this work we were most interested in considering the process of normativization in dance, as well as in the society we live in. What we saw as great potential for reexamining the position of people with disabilities in dance is the way all three choreographies deal with the question of Other and foreign, the relationship of the individual and society, and the question of identity. As a group of artists with and without disabilities, we wanted to reactualize these questions and thus intervene in contemporary dance scene today, offering a possibility to artists with disabilities to appear as subjects and actors of contemporary dance.

Concept and artistic direction: Saša Asentić

Choreography and artistic collaboration: Natalija Vladisavljević, Alexandre Achour and Olivera Kovačević Crnjanski

Performers: Natalija Vladisavljević, Jelena Stefanovska, Snežana Bulatović, Dalibor Šandor, Marko Bašica, Frosina Dimovska, Dunja Crnjanski, Alexandre Achour, Olivera Kovačević Crnjanski and Saša Asentić

Poems: Natalija Vladisavljević

Dramaturgy consultant: Marcel Bugiel

Artistic assistant: Frosina Dimovska

Advice on costume design: Marina Sremac

Executive producer in Novi Sad: Nataša Murge Savić

Coproduction: Kampnagel (Hamburg), Künstlerhaus Mousonturm (Frankfurt), MIKUB e.V. (Berlin) and Per.Art (Novi Sad)

Support: Aktion Mensch and NPN Coproduction - Fund for Dance

Little Party of Missed Dance

Duration: 110 minutes
Number of people on road: 24

Freight details:


We invite you to our party.

Dress up to the nines. 

Come with a smile and a style that promises a good time.

Make sure that your favorite lipstick or aftershave, dress or shirt, shoes and hairdo will help you shine on the dance floor.

You never know whose eye you might catch.

This is an opportunity…

We are waiting for you.


Little Party of Missed Dance is a public event between a theater play, a dance performance, a happening and an underground party. Both disabled and non-disabled audience and performers are on the same ‘dance floor’, in the same ‘basement’, on the same ‘stage’. For the first time we all are where we have never been together; where private and public melt into another state that offers a new collective experience, in which not only will we not miss out on chances to dance, but we won't miss out on any other chances in life either, the ones that make us social beings and that awaken in us - to quote Natalija Vladisavljević - “the beautiful feeling of being what we are”. 

Concept and artistic direction: Saša Asentić

Text: Natalija Vladisavljević, Snežana Bulatović, Bojana Stojanović, and Saša Asentić

Artistic collaboration: Olivera Kovačević Crnjanski and Frosina Dimovska

Performed by: Natalija Vladisavljević, Snežana Bulatović, Bojana Stojanović, Marina Sremački, Marko Bašica, Dalibor Šandor, Vuk Vuković, Mihailo Petrović, Beata Perge, Dejan Šuljan, Goran Gostojić, Marijana Šugić, Olivera Kovačević Crnjanski, Frosina Dimovska, Dunja Crnjanski, Nataša Murge Savić, Ljiljana Berković and Saša Asentić

Sound: Predrag Petruševski

Light: Tihomir Boroja

Organisation: Nataša Murge Savić

Production: Per.Art – Art and Inclusion program

Supported by: Erste Bank and Serbian National Theatre

Sun upon Train Carriage – a book by Natalija Vladisavljević, author with learning disabilities

Number of people on road: 3-4

Freight details:


Public reading and book promotion by Natalija Vladisavljić, Saša Asentić, and Milena Bogavac

Excerpt from the review by Milena Bogavac: 

"Natalija Vladisavljević is an author who writes for the theater, without being educated in the field in the traditional sense. Her writing discourse has never met the imperative of the linear narrative, the Aristotelian principles of possible and probable, nor the Archerian economy of discovering the truth. Following her intuition and listening to her heart, she jumped over the staircase of Freytag's pyramid and avoided all the known tricks of the art of storytelling,  perfected for centuries. In one step she arrived where many writers with education and years of training arrive only then when they find a way to shake off these theories and ask themselves the question (of all questions): who needs the strong frame of realistic fiction in a reality that looks less and less like realism? On a planet where two of the most distant points can come together in one click, where the greatest wisdom doesn't mean anything if it can't fit into 140 characters or one tweet, a basic unit of contemporary communication; in a world of touch screens and social networks, representation, links, fragmentation and de-fragmentation, where simultaneous and multi-perspective perception replaced the linear, succesive and explanatory one, what is it worth to write respecting the grammar, chronological and language rules?...

I don't know if Natalija, as an author who writes by hand, ever thought of finding answers to those questions, but the first thing that comes across in her texts for the theater is a post-post modern form: free, wandering, fragmentary and open, perfectly corresponding with the time in which it is created and with the theater of this time."

Extra information

Book distribution: postal order

Wrap-around work

Aside from performances and exhibitions we reach out to audiences with learning disabilities, non-disabled, cultural professionals and students with the following programmes:

  • Dance and theatre workshops
  • Visual arts workshops
  • Book by author with learning disabilities
  • Discussion


  • Post-performance discussions
  • Seminars for culture professionals, disabled and non-disabled artists