Participating artists:
Valentina Desideri (IT)
DD Dorvillier (US)
Christine Gaigg (AT)
Karine LaBel (AT)
Jennifer Lacey (FR)
Sri Louise (US)
Malcom Manning (UK/FI)
Jennifer Monson (US)
Keith Hennessy (US)
Janet Panetta (US)

: For seven days, ttt people engaged in personalized research and additionally met from 2-4pm each day. The goal was to observe, analyse, and discuss some ideas, practices, and histories of teaching dancing (and of course of dancing teaching). ttt concluded with Open Something, a collaboratively-structured and facilitated four-hour class/event for approximately 30 participants on July 31. Several people developed a project or research practice, which focused their daily work. These projects included observing classes and collecting data on how teachers teach, especially through the use of metaphor and other rhetorics (Lacey, Dorvillier, Monson); interviewing teachers about their teachers (Panetta's Acknowledgement Project); collecting written descriptions of common practices (Desideri); focused study with one teacher for the entire week (Louise re: Faust); planning a class or research project for the following week (Dorvillier, Lacey); observing the festival itself, especially its performances, as a learning situation (Hennessy). The daily meetings included casual conversation, focused debate, shared physical practice, and reports by individuals on their various projects. Hot topics of discussion included:the master - in both traditional and Modern dance forms, comparing one Master teacher to a smorgasbord of short-term teachers and self-directed learning; the language of teaching - linguistic and semiotic analysis of what dance teachers say or do to direct students in learning; teaching versus learning, or is teaching bad?; transmission and evolution - How do we teach what we have been taught? How does ‘original material' transform or even dissolve with repeated generations of teachers; definitions and labels - How we describe our teaching. How words change or vary in meaning, creating confusions and clashes of expectation.

The concluding event was a class/event called Open Something. A series of approximately 30 minute exercises included warming up by trying out various scores from Desideri's collection; transmission and teaching, a little like the game Telephone, to see how an exercise or principle shifts with each evolution of teacher; walking exercises by Manning, into Forti's collective circle walk; Gaigg facilitated a group performance using Impulstanz promo texts as prompts; Hennessy facilitated a few ways to respond including a question circle; Dorvillier facilitated a duet session exploring the four modes: Touch Move Talk Write.

The main class was complimented by two auxiliary events at the margins of the dance floor. One was a fake therapy site set up by Desideri and Lacey where people could use a set of cards to design ‘fake' healing/therapy sessions for each other. Sample cards included: gather your partner's energy to the center, place your hands on your partner and listen. In the opposite diagonal corner there was a viewing/reading station for Panetta's Acknowledgement Project. People could read the printed transcript of the interviews or watch a short video with excerpts from each interview in which dancers talked about early influential teachers. Video and individual reports of participants available at www.jardindeurope.eu

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