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We went from reading “I am a strange loop” by Hofstädter in a small reader circle, to surveys in dance classes, to a semiotic discussion of symbols in dance class rhetorics, to re-teaching try-outs, to self-practise techniques; next to taking classes in the Impuls workshop schedule, meandering from witnessing to learning to teaching to reviewing and reflecting. And it is this meandering experience that grounds me well for example in my University courses at the Department of Theater Studies, where together with my students I invent formats of performative discourse, led by the mission that one can learn and exercise to be sensing and anaytical at the same time. These courses work out to be productive because they allow growth of insight and skill to enter from all ends instead of a one-way movement from teacher to student. The lively memory of ttt 2009 and 2010 act as strong seeds in this concept.

Reading the new book of philosopher Robert Pfaller (who is based in Vienna and was asked to be part of ttt 2010 but couldn’t make it due to other obligations) I get another aspect of how strong the impact of art and teaching at art school could be on science and society if situations like the ttt would be implimented more regularely in the schedules of institutions. The initiative to use the festival situation for the teachers themselves, to give the teachers a chance to officially use each others expertise, is one of those striking ideas you can’t believe it took a quarter of a century of ImpulsTanz before Jennifer Lacey’s idea was put into practise.

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