MA CoDE: Sum­mer se­mes­ter 22

Think Big! Fes­ti­val Mu­nich, July 11th - 15th

At the end of the se­mes­ter, MA CoDE ta­kes part in the Think Big! Fes­ti­val in Mu­nich. The fes­ti­val is in­ter­na­tio­nal­ly known for its me­dia­ti­on pro­jec­ts of dance and per­for­mance.

 

 

Ger­man Dance Con­gress 2022 Mainz Sharing Po­ten­ti­als, June 16th-19th

Stu­dents will con­duct a me­dia­ti­on pro­ject for young peop­le de­ve­lo­ped es­pe­ci­al­ly for the Dance Con­gress. The work­shops in:sight will take place in the the­ma­tic mo­du­le Co-crea­ting With Com­mu­nities. The Dance Con­gress is hosted by Staats­thea­ter Mainz, tog­e­ther with the Ger­man Fe­deral Cul­tu­ral Foun­da­ti­on and the City of Mainz un­der the di­rec­tion of Hon­ne Dohr­mann.

 

Dan­cers­con­nect, Fried­rich Pohl & Jo­na­than Brin­gert, June 1st

Kick-off on the to­pic of dance po­li­tics. The first guests are Fried­rich Pohl and Jo­na­than Brin­gert from Dan­cers­con­nect. They in­form about the plat­form and about working con­di­ti­ons in the field.

 

Re-vi­sio­ning Con­cepts, May 27th & 28th

Joint work­shop of MA CoDE + MA CuP stu­dents as part of the se­mi­nar se­ries "Re­vi­sio­ning Con­cepts" by Dr. Kat­ja Schnei­der.

Re-vi­sio­ning Con­cepts: Erik Kai­el (prac­ti­cal part), May 27th & 28th

Erik Kai­el (NYC/NL) has crea­ted and taught site-re­spon­si­ve path per­for­mance pro­jec­ts in be­nin, se­ne­gal, cai­ro, pitts­burgh, port­land, and throughout wes­tern eu­ro­pe. Pu­blic space is the can­vas, and the body dan­ces in dia­lo­gue with ar­chi­tec­tu­re, mu­sic, other dan­cers, and both de­li­be­ra­te and ac­ci­den­tal pu­blic. The work­shop will play­ful­ly ex­plo­re this me­tho­do­lo­gy of crea­ting/per­forming/im­pro­vi­sing.

 

Me­dia­ti­on, Dr.Chris­ti­na De­log­lu-Kah­lert, from May 17th

sup­por­ting, ac­com­pany­ing and pro­mo­ting in an appre­cia­ti­ve way

What makes me as a tea­cher?

How can I mo­ti­va­te lear­ners to learn - to ex­pe­ri­ment, to ques­ti­on, to be crea­ti­ve?

Not only the selec­tion of ma­te­ri­als and con­tent, but also the lear­ning at­mo­s­phe­re and the re­la­ti­ons­hip with the tea­chers are ele­men­ta­ry.

The se­mi­nar pro­vi­des in­sights into dif­fe­rent tea­ching and lear­ning theo­ries and con­cre­te di­dac­tic tools to show dif­fe­rent ways of sha­ping the lear­ning at­mo­s­phe­re, the re­la­ti­ons­hip le­vel and the lear­ning con­tent.

The­se ap­proa­ches can form a com­pen­di­um that helps

• to dis­co­ver one's own at­ti­tu­de,
• to pre­pa­re one's own tea­ching in a tar­get group-spe­ci­fic way,
• re­co­gni­ze in­di­vi­du­al lear­ning ty­pes in the tea­ching pro­cess and sup­port them in­di­vi­dual­ly or
• to fa­ci­li­ta­te lear­ning as a group pro­cess.

Tea­ching and lear­ning are un­ders­tood as a re­cipro­cal pro­cess at eye le­vel and in chan­ging ro­les. Tea­ching is a pro­cess of fa­ci­li­ta­ting in which con­tent is pre­pa­red, tested and cri­ti­cal­ly scru­ti­ni­zed. But con­tent is also crea­ted, fur­ther de­ve­lo­ped or re­view­ed in a joint pro­cess. In this way, know­ledge is con­stant­ly being con­struc­ted - re­con­struc­ted or de­con­struc­ted - tog­e­ther.

 

Con­tem­pora­ry Phy­si­cal Ex­plo­ra­ti­ons FB2, May 11th - June 15th

MA CoDE stu­dents teach L1 stu­dents and pro­vi­de hands-on in­sight into ar­tis­tic cho­reo­gra­phic working me­thods and con­tem­pora­ry mo­ve­ment ap­proa­ches in dance.

 

Bo­dies, Un-Pro­tec­ted, May 2nd - 7th

Con­ti­nua­ti­on, with the ex­cur­si­on to a work­shop week in Ber­lin at the HZT and the fi­nal event in July at the Künst­ler­haus Mou­son­turm in Frank­furt.

 

Mo­ve­ment Ana­ly­sis, April 26th - May 20th

Dance ex­pert Wib­ke Har­te­wig pro­vi­des an in­tro­duc­tion to tech­ni­ques for ob­ser­ving and ana­ly­zing mo­ve­ment and the prac­ti­cal ap­p­li­ca­ti­on of no­ta­ti­on sys­tems in the field.

 

Cul­tu­rel Edu­ca­ti­on, April 19th - June 7th

Cé­les­ti­ne Hen­ner­mann re­ports on her work for and with child­ren and her dance com­mit­ment to me­dia­ti­on to a youn­ger tar­get group. Af­ter 2015, 2022 Com­pa­gnie Hen­ner­manns Hor­de has been awar­ded the "Kar­fun­kel" of the City of Frank­furt for the se­cond time.

 

Scores and Found Mo­ve­ments: in the ar­chi­ves of Yvon­ne Rai­ner, Tri­sha Brown,  Lu­c­in­da Childs, and De­bo­rah Hey, Jú­lia Abs, 08. & 09. April

"My ap­proach to scores ap­p­lies an on­go­ing re­se­arch me­tho­do­lo­gy wi­t­hin the no­ti­on of the body-ar­chi­ve as the body of dance histo­ry - its re­la­ti­on to the tra­di­ti­on of dance ba­sed on ope­ra­ti­ons with the ap­pro­pria­ti­on of found mo­ve­ments (Rai­ner, 1966), one of the cen­tral con­cepts of the Ame­ri­can post­mo­dern dance mo­ve­ment (1960-70), ta­king my re-en­ac­t­ments of four mi­ni­ma­list cho­reo­gra­phies as found cho­reo­gra­phies: Trio A (Yvon­ne Rai­ner, 1966), Lo­cus (Tri­sha Brown, 1975), Ca­li­co Ming­ling (Lu­c­in­da Childs, 1973), and No Time to Fly (De­bo­rah Hey, 2010). To re-en­act tho­se cho­reo­gra­phies, I have been ap­p­ly­ing the post-an­no­ta­ti­on or vi­deo-an­no­ta­ti­on from Mo­ti­on Bank An­no­ta­ti­on Sys­tem. The late is the de­ve­lop­ment of the Mo­ti­on Bank for­mer pro­ject that has its roots in two Wil­liam For­sy­the’s pro­jec­ts: Syn­chro­nous Ob­ject for One Flat Thing, re­pro­du­ced (2000) and Im­pro­vi­sa­tio­nal Tech­no­lo­gies (2012), both working with the For­sy­the Com­pa­ny to trans­la­te through di­gi­tal data the cho­reo­gra­phic know­ledge, and re­pur­po­se this in­for­ma­ti­on vi­sual­ly and qua­li­ta­tively"

 

Rea­ding cour­se, star­ting April 5th

Dr. Kat­ja Schnei­der tea­ches on post­co­lo­ni­al theo­ries, fo­cu­sing on co­lo­ni­al, post­co­lo­ni­al, and de­co­lo­ni­zed per­spec­tives on race and gen­der in dance. The goal is also to dis­cuss is­su­es of in­clu­si­on and ex­clu­si­on of the di­sci­pli­ne.