Forums » Thinking Together » Brainstorming for IDOCDE Symposium 2017
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Started by Defne Erdur Eligible Teacher // Teacher
2016.10.27
last update: 2016.12.24
3 appreciations        20 comments

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Defne Erdur Eligible Teacher // Teacher
2016.10.27
Brainstorming for IDOCDE Symposium 2017

As many of you have followed, in pursuit of its foundation years and LEAP Project period, IDOCDE has launched a new project called Reflex EUROPE. Focusing on documentation as a means for reflection to improve the teaching and to increase the impact on the learners in contemporary dance, Reflex EUROPE is bringing many dance teachers and specialists in video and written documentation to develop the REFLEX Tool & Guide in a series of Research Modules throughout project duration. However the IDOCDE Symposium is still a very important place holder for sharing and exchanging ideas among the dance teaching community of IDOCDE.

As we are finalising the documentation of the 4th IDOCDE Symposium "The Importance of Being [Un]Necessary", IDOCDE Project Team and the Reflex Research Team are already moving forward towards the next symposium... As the IDOCDE community gets larger and larger every day and the collective knowing gets wiser and wiser, we wish for your input for themes, topics, focuses, questions, remarks that could be addressed during our next off-line meeting in Vienna! In previous years we have benefited tremendously from this collective brainstorming.

Therefore before we set out our new symposium theme and tittle and ask for proposals we would like to hear from ALL OF YOU:

What is your current research/interest/question/trigger/joy in your teaching at the moment? Being already inspired by last year's continuing collective brainstorming we would like to check in with you once again. What boils in you, around your teaching contemporary dance, around reflecting on your teaching? Let us know till 10th of November, 2016.

Please feel free to read last years brainstorming for details and add in here any idea, theme, issue you would like to adress and see being adressed in our next symposium in relation to our teaching.

Thank you for your support and collaboration...

With love, joy and curiosity,
Defne -- for the Project Team and Reflex Research Team


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Dieter Rehberg // Teacher
2016.11.09
I would like to have a focus on somatics / somatic movement. Maybe a collaboration with ISMETA.
I am willing to organise. I am based in vienna.
Dieter


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Ieva Ginkeviciute // Teacher
2016.11.09
Hello,

My interest at the moment is how to create self-organizing interactions with movement. When the space, links and people are developers themselves of happening. Change the focus of giver and receiver. Just be and see what we can do together.


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Deirdre Morris // Teacher
2016.11.09

I just returned from the Congress on Research in Dance Conference.
This years topic was 'Beyond Appropriation and Authenticity: Bodies, Authorship and Choreographies of Transmission'
There were many different kinds of ways of talking, demonstrating, sharing, communicating and performing dance, dance teaching, choreography with an emphasis in Infigenous dance culture.

It is an important and timely thematic in dance scholarship here in the US as institutions across the country are shifting the importance of somatic practices beyond conservatory dance as a medium of knowledge building and recording.

Perhaps the Symposium could have a place for talking about authorship and appropriation inside the context of somatic practices?
I am happy to write more just wanted to get these thoughts to you before you finished your time together.


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Deirdre Morris // Teacher
2016.11.09
I apologize for my spelling errors.


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Thomas Körtvélyessy // Teacher
2016.11.09
I like the interest in Somatic Practices and would add how they relate to various other existing kinds of dance.

In the context of intercultural processes (incl. appropriation) it would be interesting to access related (academic/scholarly) research.

Intercultural competence in the teaching situation would definitely be an interesting in-between, also for somatic practices, which to my finding, are equally far from "universal". (just like dance/movement in general, or music = they are all very specific ways of using the bodymind, and culturally variant)


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Defne Erdur Eligible Teacher // Teacher
2016.11.09
"perhaps .....

...modifying our fundamental representations

...finding new ways within a more and more conscious and peacefull letting go in our mind and body

..opening our perceptions to our internal elements and their relashionships inside our structure

....opening our heart volumes and our breathing structures"

Michèle Tarento


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Defne Erdur Eligible Teacher // Teacher
2016.11.10
"The benefits of creating phrases with Proprioceptive Neuromuscular Facilitation. How to allow these patterns to become a resource of expression, physical endurance and efficiency."
Elisa Osborne


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Defne Erdur Eligible Teacher // Teacher
2016.11.10
"teach what you want to be taught, teach what you want to learn"
zoi kollatou


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Defne Erdur Eligible Teacher // Teacher
2016.11.10
"my issues have turned around understanding, one-ness, interdisciplinary communication. Not to underline the differences, but use them to merge, and play with the place between where we can meet…"
Angela Stoecklin


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Defne Erdur Eligible Teacher // Teacher
2016.11.10
"I am also connecting to the topic of full self-expression - a need to share/express/be seen & recognised. What do we still hold back (for whatever reason) in our art? "
Susanne Bentley


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Rosana Horvat // Teacher
2016.11.10
I am researching and interested into how to apply and encourage boys to dance contemporary dance, still developing this idea. How to approach teenagers 11-15 years old (specially girls) not to close them self at the time but be able to stay open for dance research, improvisation and non verbal communication.


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Klara Łucznik // Teacher
2016.11.10
Shared aspect of dance - shared creation, cognition, awareness. Group structures, group creativity, group improvisation. How do we do this magic as a group, social being? How do we teach the human skills in dance? How we teach collaboration? How do we teach dancing as a group?

Social, interactive, collaborative aspect of dance practice, creation, improvisation.


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Dayana Hristova Eligible Teacher // Teacher
2016.11.10
How to use subjectively perceived difficulty as a fuel for dance?

Be it a personal emotional issue or a physical pain/ limitation, we all experience difficulties in our lives.
I would love to work with their potential for practicing dance as healing, as an adventure and as existential lesson.

In other words, dance improvisation as a survival tool.


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Tslila Gelander // Teacher
2016.11.10
I wasn't here in other symposiums and I don't really had the experiance on one of them. To answer that call to have an idea for the next, I will suggest the question; Do the univers dance and do the univers in good health and shape to keep dancing, for our children? It is not just an ecological question, it is also can treat the dance, the movement, how we connect to the nature and tu the movement of the univers. How we're influenced by his movement and his health and how we influence him. It can include the movement between poeple and other livings being on earth. As a improvisation dance teacher, shiatsu practicien and BFL teacher, I fell a strong conection between poeple and earth, I try to bring it to the dance. (sorry for my bad english) It is just a suggensting.

Have a great automne time

Tslila Gelander


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iu-Hui Chua // Teacher
2016.11.10
In the face of all of the struggles that so many people of the world today are facing, displacement, war, racism, misogyny, hatred, intolerance, invisibility, how do dance and movement promote resiliency to help us keep moving forward towards our goals and dreams, even when there are significant setbacks? How do we teach people, through somatic practices and dance, to stay open and strong, to keep the lines to collaboration connected, to not give up, give in, or give over in times of adversity?


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Claudia Kappenberg // Teacher
2016.11.10
Following on from the suggestion above of Appropriation, Authenticity, Choreographies of Transmission I share a sense of urgency for a political stance: Dance as a gift, in the sense of something that regulates social relations, and something that (positively) disrupts and provokes. There is a brilliant (if dense) essay Mark Franko entitled ‘Given Movement, Dance and the Event’ (in Of the Presence of the Body, 2004) in which Franko explores the relation between performance and event, and performance as response to an event. Writing post 9/11, Franko claimed that this was the kind of event which disables response, which cannot be reciprocated in the traditional way. Since then we have had more and more of such situations, events that appear ‘impossible’ or unthinkable but nevertheless come true. So what do we do? What does all this mean for our dance and dancing? In his essay Franko defends performative interventions for their quality of a gift, in the sense of dance as a force that does not differentiate between objects and things, that circulates beyond and across established norms, categories, institutions, hierarchies, codified knowledge regimes. And here lies the power of dance, dancing, transmitting dance: as Franko writes, choreographic giving allows for the transmission of experience between one person and another that reaches beyond received categories. By declaring performative acts as a gift, Franko speaks to the possibility of an engagement – or transmission – that can still make a difference.

So, in short my proposition would be: Transmission – Making a difference – Dance as a Gift

Claudia Kappenberg


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Gabriela Zuarez ( M.G.Coggiola) Eligible Teacher // Teacher
2016.11.10
CONTRIBUTIONS TO THE THINKING PROCESS OF IDOCDE 2017
by Gabriela Zuarez (NL/AR)

How can it be defined the actual frame of Contemporary dance as discipline considering the involvement of interdisciplinary, fusions and hybridizations in contemporary dance field as common object of influence coming from other movement disciplines or dance languages?
This motivation has have a long way in my teaching practice, as body worker and in my work as choreographer- dramaturge.
This motivation has been also an issue that I have previously posited in academy during my MA studies at Utrecht University.
In this inquiry, I am approaching dancers' body, so actually those ones who are working directly in dance field.

“The concept about dance training in contemporary dance performance has been changing so much in the last two decades that is difficult to set a stance whether dance training should be and if should be necessary or not for a dancer.
The idea of 'dance training' has been evolving parallel to the concepts of contemporary dance performance since the 60th, when post-modernism has started claiming new insights reverting the values of the Modernism, following A. Lepecki.
The term 'definition' in dance performance has started being the critical point in new generation dancers' agendas and interdisciplinary has started displaying a participatory role in the constellation of dance scene influencing dance discipline as such and inquiring the independence of traditional Modern dance training practices following Burt.
Post-modern era, in contemporary dance performance, claims the ownership of many other disciplines and fields as part of dance locality, when at the same time acknowledges experimentation as fundamental pillar.
The concepts of interdisciplinary predominate in most of the companies' and choreographers' names in Western dance companies.
The admission of amateur or non-professionally trained dancers into professional dance world also has brought into question the need of a new training, revising goals and qualities of it and requesting how far must a training be given to inexperience dancers.
For that reason, currently, the preparation for dance practice has been spread out in renewing trainings forms, tailored trainings and sites for special physical conditioning programs.
I have observed that there have been some adaptations in the dance discipline that tacitly and progressively has been creating openness, dissolutions and restrictions in the approach, assessment and provision of training in dance scholarship and professional centers in The Netherlands, where I live.
Many dancers and performers follow their own self routines for training, when not either they use the rehearsal as personal training or the dance lesson is used as 'training' for the performance, breaking off with the question if traditional dance training is actuality and essentially necessary. Specially when looking around at certain contemporary dance environments where technical dance definition in the traditional way, might be a negative indicator of evolution or a positive indicator of conservationism.
My question goes about the condition of dance training practice in professional dance education and training inside academies, training centers, and dance platforms, while regarding the involvement of interdisciplinary, fusions and hybridization in contemporary dance field as common object of influence nowadays."

Hope I made it clear.
Warm regards, Gabriela


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Laura Rios // Teacher
2016.11.14
Hello everybody. I never been in a symposium, but I´ve been nurtured by your posts. I live in Mexico. I´m a certified teacher of Topf Technique, that is part of the ISMETA. Nancy Topf offered me the possibility to dance and keep learning through my body, I could follow a path in counterbalance of traditional ways of learning and creating focus on technique. I´ve been teaching for 20 years. ´m interested in the creative process. Love, relaxation, silence are the motors. I´m interested in the creative process. In this times of despair, fear, solitude, virtual presences, when death is a market, when people and bodies are not important for political systems, in times -as in my country- of sexual slavery, exacerbated violence, when bodies are cutted in pieces, I have a lot of questions: can we empower ourselves and others through having a creative experience with the body as channel? where are our dreams? I´m interested in the ritual mind, I work with dreams, real dreams and desires and found a relation with corporal maps: the head rests on the first vertebrae, the ribs hangs and float from the spine, the pelvis finds balance embracing the sacrum. Our dreams can happen if we can find support in others or in nature, we can give to nature or receive from it. As in the body everything is related, something relax, because other part of the body is supporting. What do we need to realize our dance, our personal ritual? do we need to embrace? to fly? to hang? to ground? How to construct a map to construct our dance through the experience of the body that learns by touching, watching, dreaming? Do we need to alterate our daily state of consciousness to get in this idea? how? how to expand the body? I´m also interested in mixing different kind of people in the experience of learning, sharing and creating dance. Dance encounters, festivals, schools are so codified that there´s no space to meet different kind of people, different ages, different contexts, different stories, how can we cultivate free spaces where we can take advantage of different human experiences under a kind frame and even when we are so different, can we still dream together? Can we think in our dance as an offering? Does that changes something?



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Heidi Krause // Teacher
2016.11.14
Hello everyone,

Please forgive me for not knowing the correct forum to post my ideas (I sent a long private message in response to someone else's, regarding my vision for our teaching and art to be used in the development of empathetic reasoning and broadened perspectives).
My words to you blossomed out of the seeds of determination and mustered-courage against fear on the day our new president was elected. I can't tell you how inspiring and comforting the responses I received were to me in a time of bleakness and loss.

I hope that I will one day have the chance to express my gratitude, through greater contribution to this community, for the offerings of hope and encouragement you all gave me. It is my wish to do this on a more personal level, at the Symposium this year. I meant to make it to last year's but was needed in Israel for another dance project. Fingers crossed that there will be no conflicting projects this year!

I've been quite excited and eager to hear more on the topics all of you have suggested. Please feel free to reach out to me personally if you feel led to. If I am to come to Vienna this year, it is my intention to remain available to develop ideas which are sparked within the Symposium, and be available for collaborative creation if an appropriate setting is presented. I plan to stay in the area after the Symposium for some time, and see what happens :)

Thank you,
Heidi


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Defne Erdur Eligible Teacher // Teacher
2016.12.24
Dear contributers and followers of this brainstorming forum,

We would like to thank you all for your creative sparks here. As the symposium team, in close collaboration with the Reflex EUROPE Research Group we have studied your suggestions and ideas, weaved them in the previous and future IDOCDE Symposia and also worked hard to bring a connected proposition to our contemporary world today! The outcome as a "call for propositions" will be at your screens in a few days before the 2016 year ends. Till then we hope you enjoy the holiday; find rest and peace...

Keep being connected... The world needs us, us together!
With love and hope,
Defne


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