Maja Delak is a choreographer and dancer. She studied contemporary dance at CNDC L’Esquisse in Angers, France, and at numerous dance seminars, lead by internationally renowned pedagogues. She was, from 1993 to 2002, a member of the international dance group En-Knap, and a programme leader of the realization of a high school programme for contemporary dance, provided for at the Pre-School Education and Grammar School Ljubljana. In her choreographic opus, Maja Delak has traversed numerous worlds, which – despite the different themes and approaches to work – whirl into an anchorage of the author’s dance and performative poetics, with which she is making a clearer and clearer definition of the methodologies of contemporary art and dance. In 2006, Maja Delak established institute EMANAT, with which she aims for the affirmation of contemporary dance – both with performance production as well as with a book programme (Transitions series) and education (variety of research and educational projects). In 2010 she won the Prešeren Fund Award, the highest recognition for achievements in the field of art in the Republic of Slovenia.
Rondinella is a lyrical and meditative performance inspired by Dario Marušić's poem of the same title, a reflection on longing for home, landscape and the people we continue to carry with us. Created by choreographers and performers Maja Delak and Mala Kline in collaboration with filmmaker Mauricio Ferlin, the work unfolds as a poetic exploration of memory, absence and belonging. Premiered in the Renaissance square of Svetvinčenat near Pula, Rondinella is both intimate and expansive, asking a simple question: What is nostalgia—a memory, an image, a yearning, or a form of love?
Combining dance, film and music, Rondinella creates a dreamlike landscape in which images, bodies and memories intertwine. Ferlin's evocative video work enters into dialogue with the performers, blurring the boundaries between physical and imagined worlds. Performed by an international cast of young dancers, the piece invites audiences into a space shaped by nostalgia—not as a simple recollection of the past, but as an ongoing relationship between memory, desire and place.