As my main concerns and worries lie outside the realm of our fascinating project now (How can I go on writing about dance as much as possible after this intense experience and still make a living?) I first only wanted to describe the positive side and the inspiring energy within our group.

Nevertheless I think that for the future of the workshop I should also come up with some points that could need improvement. 

Practical: copy machine for the texts brought by our “teachers” and a small library for their recommended books, videos and DVDs;

Physical: some regeneration at least once a week, maybe even a yoga or Feldenkrais class in between the thinking and writing and watching performances - we only made one Feldenkrais exercise with Gerard Mayen and felt immediately better.

Guests and Group Dynamics: I learned how to and when not to trust my judgements and was forced to argue both ways; as a shy person I am not very keen on speaking in front of a group but as soon as Gerard Mayen took over the group even I felt totally safe. On the other hand it was a great advantage that our “teachers” were so different and able to share their varied work-experience and personalities with us. 

The question of time: I know that the time span was a little bit short and in order to fulfil all our tasks we did not have too much time to talk about our individual texts with every teacher. Of course two days with most of them is too short but also ways better than nothing. Oh, how I now wish that my art history seminars at university - which took up whole semesters – were as interesting as one day of our workshop!      

The main thing I learned is that we as dance critics were and are on a serious mission and that its outcome is neither defined nor definite. The process of the jury work and decision-making was a challenging one, mainly because of our different “artistic backgrounds”, because in one way or the other we all are artists in our strong wish to write. But moreover the establishing of criteria and the possibility to dig deeply into the contemporary dance creations was mind opening. Also the quantity (and quality) of the pieces we saw each day had a very strong influence on my view and viewing of contemporary dance.

I now realise that I cannot remember the things that annoyed me in one moment or the other because the overall impression was so strongly positive for me. Of course it would be interesting if and how our Standard-contributions were perceived outside the dance-community.  

Thanks to the Impulstanz-Team, especially Kordula Fritze and Christa Spatt, and to our mentor Franz Anton Cramer who did a wonderful job in guiding and protecting us!


August 2008            

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