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What did you think of the workshop itself and what did you learn for your own practice as a critic?

The “Critical Endeavour” workshop was a fruitful and quite intensive experience. It provided the unique opportunity for the participants to to get acquainted with exceptional professionals and personalities in the person of the tutors and among the group, with their ideas and ways of work. It created a working situation, in which each of us had the rare chance to receive a thorough feedback on her/his own work by colleagues coming from different backgrounds and fields of practicing dance criticism and, on the other hand, to develop arguments and judgments on the writing of others, thus raising further the awareness of the strategies, styles and criteria that can be applied. Being an international group, each of us could measure her/his notions in a broader context. I would wish that there were more in-depth outputs in the form of talks on specific theoretical/practical/political issues in the contemporary dance and discussions on each performance that we saw.

What I learnt for my practice as a critic:

I gained information about different writing methodologies that I can use in my practice or can recognize and evaluate in the practice of others;

I became more aware of strong and weak points of my writing.

I broadened my perspectives on contemporary dance and my experience in watching, thinking and discussing it.

 

And what about the logistics (VTi, Beursschouwburg, lodging, food, transport … ) and the following up by Ultima Vez, Eline and myself?
For me everything was perfect and I especially appreciate the constant personal attention and care that the hosting organization showed towards the participants and the whole working process. 

What about the tool online for publishing your texts / audio?
It makes sense a broader audience to have an online access to the texts and to parts of the working sessions. Thus the workshop has the potential to develop a public reflexive dimension of the festival that reflects also on its own means and strategies.  

What about Working Title as the frame of the workshop?
It is very fruitful for the workshop to take place in the frame of an international festival. The Working Title Festival with its profile focused on the work of autonomous artists, be it finished or in progress, was interesting and challenging. It gave a nourishing ground and enough material and impulses for the workshop.  

 What would you additionally recommend for the next edition in 2010?                                      
Since the working process was very intensive, to be more bearable for the participants it would be good the daily program to include diverse activities – not only discussions within the group and writing, but also:                                                                                                                                                 

-  More interaction between the workshop participants and artists whose performances they are watching
- More in-depth discussions on the festival in the frame of which the workshop takes place and on the performances being watched
- Discussion with the jury of the Jardin d’Europe Prix and the organizer of the festival

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