Organized within the frame of one of the most important festivals of contemporary dance and performance in the world –ImpulsTanz Vienna- the Critical Endeavour Programme provided me as a dance critic with the possibility of  widening the perspectives of my critical system, of assimilating alternative structures of dance criticism.

As one of the main objectives of the “Critical Endeavour” programme is ” to enhance public discourse on dance and to promote exchange about best practices, ethics, and responsibilities in criticism within the respective countries and contexts”,  this kind of expertise is sure to improve the way of analyzing the art of dance and performance and it will help the participants transfer a good practice to  cultural contexts that they belong to.

During more than two weeks, I attended the workshop that had one important characteristic that increased the diversity of the programme:  the fact that the young writers attending the programme could work with various experts from different fields proved a good choice, as the possibilities to regard performances and to deepen the critical views increased.

Pieter T’Jonck, Claudia La Rocco, Boyan Manchev, Angela Vadori or Marlon Barrios Solano proposed alternative ways of writing about dance and performance, through their specific field of knowledge.

The collaboration and communication between the journalists was one of the strongest aspects of the Critical Endeavour Programme 2012. The feedback they provided each other with, stimulated by the experts, was a method in itself and it was meant to increase the objectivity and the accuracy of their way of writing.

The performances seen during the festival were very instructive, as they covered a wide range of diversity, therefore the participants had the possibility to write about different choreographic styles and visions. Taking into account the fact that the Critical Endeavour programme took place within the frame of ImpulsTanz Vienna, it was the best context to attend the most important creations in contemporary dance and performance and to discover new trends and styles.

Though they attended sometimes different performances, according to their initial selection, the experience could be shared with the others and it became visible through the materials published on the blog especially designed for the attended programme and hosted by the site of Jardin d’Europe Programme.

I would personally recommend more alternative events, more talks with the artists more interactive events meant to strengthen the bridge between performers and critics and I also recommend the production of more written material as a result of the workshop.

The infrastructure of the festival was good, as we were at the heart of events at Museums Quartier.

The main gain of the programme consists in the opportunity of meeting young writers from all over the world, to discover the methods of the experts and to get in contact with the best part of the contemporary dance and performance.


Gina Serbanescu

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