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+ is encountering other people's work as executed within ttt in the practise sharing process/15min classes the main interest for you to participate in ttt or is it rather the exchange with fellow practicioners?

Encountering the work and teaching processes of others is always interesting to me, and the opportunity for exchange and extended discussions with colleagues in the open setting of ttt is rich and rare. This is principally what attracted me. In addition there was space for developing projects, within group conversation, and with smaller groups of colleagues, based on individual questions surrounding learning. One of the practices I was able to hone during the 2nd year of ttt was the workshop Touch, Move, Talk Write, subsequently putting into practice in my teaching all over the place.

+ The "ghost architecture" of ttt - do you consider this loose but open working method beneficial for the setting at ImPulsTanz (7-8 days, many other workshops, many other artists)?

YES. An open structure demands openess, which is exactly the attitude I aim for in my teaching, my artistic practice, and in life. The access to the studio, the classes and workshops, the performances, and the huge body of diverse students is unquestionably an terrific resource. Being able to have the distance from teaching for a week yet remaining present  at the Arsenal, as a teacher in a workshop, makes for a situation in which feedback and experimentation can move fast. It's possible to try things out and get things done in very little time. Seeing performances equally puts the system of teaching artistic practice into immediate perspective. As a concerned group of artist practitioners and teachers we have the chance to discuss specific works through the lens of education or NOT. A group of teachers getting together to discuss artworks, not bad. It is absolutely crucial that someone engaged in education in the contemporary realm of performing arts be informed and fluent with works during their currency. At stake is criticality which when lost gives way to mediocrity and complacency, and this is the biggest enemy of art, and ours is especially prey to it!

...or would you rather suggest to work/talk/experiment around a more defined subject with more restrictions but also definitions (still given the same setting at impulstanz)?

ABSOLUTELY NOT. BUT... as the week goes by fast and there is potentially a lot of time spent on deciding how we will proceed, how can there be developed a system through which scheduling and personal/group dynamics does not become the most important part of our conversations? Having participated for two years in a row, I found it great to have some return participants mixed with new ones. It gave a sense that the sessions were not simply reiterations of the previous experience but possibly a whole new experience, due to the presence of "uninitiated" participants. In turn with the experience of returnees, there is the possibility to quickly setup a context for working together, open conversations, self-organizing, framed discussions via proposal by a specific individual, etc. As well, there's a chance to follow through or check in on the previous years ideas and conversations. What did they lead to? Where have they landed? How did they persevere or not.... But, as the negotiation of time and prioritizing activities seems indeed to be a major component of the dance pedagogue's experience, it's also excellent to have an open field without much previous structure in which to discover and hone these strategies through practice, ie practicing how to work together.

+ "teaching" or "inspiring the learning of"? or fuck semiotics to start with?

We get together. We practice some things. We ask questions. We talk. We practice some more. We learn things. We get new questions.

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