# data[].attributes.headline
Scottland: Curious Seed with Christine Devaney and Hendrik Lebon 

# data[].attributes.subject
Scottland: Curious Seed with Christine Devaney and Hendrik Lebon 

# data[].attributes.body
www.curious-seed.com

# data[].attributes.headline
France: Les Schinis with Mélodie Cecchini, Gaëtan Boschini & Patricia Canhoto

# data[].attributes.subject
France: Les Schinis with Mélodie Cecchini, Gaëtan Boschini & Patricia Canhoto

# data[].attributes.body
www.lesschinis.com

# data[].attributes.headline
Germany: Fokus Tanz with Domenica Ewald, Barbara Galli & Ellen Steinmüller

# data[].attributes.subject
Germany: Fokus Tanz with Domenica Ewald, Barbara Galli & Ellen Steinmüller

# data[].attributes.body
www.fokustanz.de

# data[].attributes.headline
Hungary: Appart/Artman with Bernadett Jobbágy, Andrea Mészöly & Gábor Csaba Márton (online)

# data[].attributes.subject
Hungary: Appart/Artman with Bernadett Jobbágy, Andrea Mészöly & Gábor Csaba Márton (online)

# data[].attributes.body
www.artman.hu
www.mas-zinhaz.hu

# data[].attributes.headline
Germany: Impuls Presentation with Susanne Schneider

# data[].attributes.subject
Germany: Impuls Presentation with Susanne Schneider

# data[].attributes.headline
Germany/Netherlands: Contweedancecollective/De Dansers with Johanna Knefelkamp-Storach, Laura Saumweber & Sanne Wichman

# data[].attributes.subject
Germany/Netherlands: Contweedancecollective/De Dansers with Johanna Knefelkamp-Storach, Laura Saumweber & Sanne Wichman

# data[].attributes.body
www.contweedancecollective.com
www.dedansers.com

# data[].attributes.headline
Germany: Practical Exploration and theoretical reflection of mediation processes in Contemporary Dance Education with Gitta Barthel 

# data[].attributes.subject
Germany: Practical Exploration and theoretical reflection of mediation processes in Contemporary Dance Education with Gitta Barthel 

# data[].attributes.body
www.gittabarthel.de

# data[].attributes.body
1: Improvisation exercise with Pillow playing music from teenage years
- what can you do with the material?
- what does it invoke in you?
- what memories from your teenage years do you associate with the pillow?
2: Writing exercise together with the same music
- train-of-thought writing whatever comes to mind
- sharing what one is willing to open up about from one’s past

# data[].attributes.body
- Working with an object (pillow) helps to remember past experiences
- Music a vital component to influence the creative process
- Spontaneity instead of calculation
- Moving & writing practice is a form of connecting imagery with movement

# data[].attributes.body
Creating a safe environment, collecting individual ideas, allowing conversation, transparency and human interaction on a physical and emotional level, regardless of culture or age.

Christine: “It’s not about how beautiful you dance, but about what moves you.”

# data[].attributes.body
1: Floor contact exercise through feet
- connect the movements to the music
- initiate contact with the movers around
- confine and restrict the space
- slow motion
2: Forming a circle
- move from your spot to the opposite
- cross as close together as possible without passing over the centre
- change the tempo from fast to slow
3: Visualization exercise
- imagine a space (bathroom) and listen to the music („I wanna dance with somebody“ by Whitney Housten)
- begin by simply moving your hands to the music and work your way up to your whole body
4: Partner exercise
- first partner’s facial expressions is directed by the hand gestures of second partner, to the music („My Heart will go on“ by Celine Dion)
5: Lipsync game for the camera
- one partner gives an emotion for the second partner to interpret a song

# data[].attributes.body
- Being playful and feeling free to open up and let go
- Connecting to music with spaces that are familiar and relatable
- Building a safe space and creating emotional awareness

# data[].attributes.body
Take time to create a safe and comfortable space; seeing and understanding the different forms of emotions that manifest through different age groups; working and improving the energy and being creative with it.

Gaëtan: “Be too much and feel free to do more!”

# data[].attributes.body
1: Warming the body up
- tapping, hitting, massaging, brushing and shaking the body to become aware
2: Exercise with string
- walking and finding a space to work with the string
- form an attachment; using it as a tool also to share the space
3: Exercise with gravity
- imagine the ceiling has fallen down
- move across the floor changing the levels gradually to demonstrate the ceiling being lifted
+ variation: in pairs; one partner mirrors the  movements of the second partner
4: Exercise with paper
- draw lines with a pencil thinking about space
- swap with a partner and carry on colouring the spaces in
- transform the drawing into movement with a partner

# data[].attributes.body
- Working with an object (string) opens up movement possibilities and creative ways to incorporate unusual elements
- Visualization of confined space (fallen ceiling) helps to move on different levels and leave one’s comfort zone

# data[].attributes.body
Establishing a safe space and consciousness of one’s own body; creating a friendly and open atmosphere of collaboration between school children and refugees (who tend to be more motivated and energetic than the school children).

Ellen: “It’s a constant exchange between the children and us, they create through our assistance and impulses.”

# data[].attributes.body
1: Checking in on the body in a group circle
- how do I feel right now?
- always changing, one person starts a sound or a movement that the rest of the group reciprocates
2: Exercise in pairs
- the first partner mimics their body what the second partner is doing with their hand (puppeteer)
- reflect and remember a unique moment during this process
- how does the dynamic work between the ‘puppet’ and the ‘puppeteer’?
3: Exercise in groups of three
- first person is the mover (improvise, based on the previous experience of being directed by a hand), second person describes what it sees the first person doing (audiodescription) while the third person with closed eyes mirrors what is being described by the second person

# data[].attributes.body
- A group effort of connecting and helping
- Creating and exchanging stories
- Crossing boundaries and comfort zones in a positive way
- Language barriers are broken but also helped

# data[].attributes.body
Using art and theatre to connect people with different abilities through group projects; reflecting and exchanging the experiences and memories that may be invoked, releasing boundaries and opening up possibilities.

Bernadett: “I would find a way to move and dance in my small room to release and relieve myself of burdens.”

# data[].attributes.body
1: Ear exercise without moving
- pressing and massaging the ears, becoming aware of the temperature increase
- folding the ears like origami, caressing also with fingertips
- move the fingers away and creating sound (auditive feeling) with closed eyes
2: Ear exercise with moving
- using the ears to steer the body to move on different levels while listening to the acoustics in the studio
3: Partner exercise
- the first partner has their eyes closed while the second partner leads and guides them by making sounds
4: Listening movement exercise
- moving in the space, listening and being aware of the sounds created by the body, with and without music
5: Two groups exercise
- the first group sits and listens to the sounds of the second group, who move and follow each other reciprocating the noises without purposely creating sound (e.g. tapping fingers on the floor)

# data[].attributes.body
- Kinesthetic empathy: the body perceives and processes information with the senses
- Focusing purely on the sounds created by oneself and the dancers in the space has an intense impact on the creation of movement
- Relying on a partner to guide is a question of trust and willingness to let go of timidity and connect on a physical level

# data[].attributes.body
Becoming aware of the body and the surroundings through sensorial information, whether alone or in pairs or as a group creates a conscious effort for suitable movements; allowing oneself to be guided by musical/unmusical sounds or even silence broken, by one’s own movements and connecting.

# data[].attributes.body
1: Warm-up exercise in a circle
- bouncing and grounding the body while pushing the air and releasing and receiving energy
- relax and quiet standing while gently shifting the weight and testing one’s balance
- rubbing hands together all over the body, creating a “third skin” around oneself
2: Memory exercise
- remembering all the surfaces/things and people one touched in the morning
- remembering a person you know, the last time you saw them and how they made you feel
- thinking of a place were you were happy: what shapes and movements would you translate this to using your body?
3: Guessing game
- each person demonstrates through movements their favourite place on earth while the rest guess

# data[].attributes.body
- An activating and fun warm-up helps the body to wake up and become more open to receive the energy of the space and people filling it
- Thinking of personal experiences and using these memories to create movements has a therapeutic effect
- Awareness about the things that matter most to one, what moves one on an emotional and physical level

# data[].attributes.body
Using personal and authentic methods to develop and enhance creativity through memory instead of abstract concepts;  inspiring movements with musical preferences that are individual to the dancer; processing difficult and happy situations and experiences and expressing these through the body.

# data[].attributes.body
1: Hands exercise
- massaging the hands, switching to not touching but keeping the movement going: how does the feeling change with space in between?
2: Walking exercise
- walk around the room like a camel: how does your body feel? Which parts are relaxed; which parts are tense?
3: Emoji exercise
- still walking around the room but stop every bow and then to demonstrate an emoji and turn it into an actual movement
4: Combination in groups of three
- one person is the camel, another person demonstrates an emoji while the third is neither
- without verbal communication always switching which of the three forms to take on
5: Paper exercise on formulation
- acquiring different formulation modes: exploratory, inviting, asking, reflexive, directive, metaphorically and optional
- discussing in pairs how to use these modes and experiment with movements

# data[].attributes.body
- Ascertaining the different formulation modes of how to exercise a movement and how this influences the development and creation of movement
- Observing the precise details and dynamics of the body in the process
- Overlapping of the formulation modes through exploration and democratic discussions

# data[].attributes.body
Communication and experimentation by sharing ideas in democratic and fun ways (e.g. emoji exercise); picking up ideas by valuing participants and bringing them together through absolute equality.

Gitta: “It’s more important how we do than what we do.”

# data[].attributes.headline
work and meet, come together office Fokus Tanz, Kaiserstr./Munich

# data[].attributes.subject
work and meet, come together office Fokus Tanz, Kaiserstr./Munich

# data[].attributes.body
fotos by Detti

# data[].attributes.body
With Andrea (ArtMan), we used the "pushing excercise" by Laura in our inclusive group, and it was working very well. Also we used a light version of LesSchini's hand gestures directed faces (partner work). In a mixed abled group it had another layer: some abilities make facial expression very difficult, and this game was very useful for this reason too. Also the participants really like it.

# data[].attributes.headline
Application in teacher's group and in the University

# data[].attributes.subject
Application in teacher's group and in the University

# data[].attributes.body
The "clicking" exercise by Felix I applied in 2 different groups. In one group (teacher's training) the participants get it quite soon, and the "wow" effect of the togetherness in rhythm arrived. They noticed it and they expressed that this is something.
In the other group, with painter fine art students in the university, where half of the group was super shy, it was more difficult... some of them couldn't make the clicking sound with the fingers, so we had to invite other sound options.

# data[].attributes.body
Trailer about the Meeting in Munich 2021

# data[].attributes.attachment_link.readable_text
Privacy Preference Center

When you visit any website, it may store or retrieve information on your browser, mostly in the form of cookies. This information might be about you, your preferences or your device and is mostly used to make the site work as you expect it to. The information does not usually directly identify you, but it can give you a more personalized web experience. Because we respect your right to privacy, you can choose not to allow some types of cookies. Click on the different category headings to find out more and change our default settings. However, blocking some types of cookies may impact your experience of the site and the services we are able to offer.
More information

Manage Consent Preferences

Strictly Necessary Cookies

Always Active

These cookies are necessary for the website to function and cannot be disabled. You may be able to configure your Internet browser to block strictly necessary cookies. However, if you block cookies in this category, which do not collect or store any personal information, this could affect some parts of the website and cause it to function incorrectly.

Performance Cookies

Always Active

These cookies allow us to count visits, identify traffic sources and understand how our services are used to measure and improve performance. If you do not allow these cookies, we will not know when you visited our site and we will not be able to monitor its performance.

Functional Cookies

Always Active

These cookies improve functionality and personalization. They may be set by us or by other third-party providers whose services we add to our pages. If you do not allow these cookies, some or all of these additional functions may not work properly.

Targeting Cookies

Always Active

Our advertising partners may set these cookies on our site. They can be used to show you our ads on third-party sites, measure the effectiveness of those ads, or prevent ads from being shown to you. They do not store personal information directly, but rather uniquely identify your browser and device. If you do not allow these cookies, you will not receive targeted advertising.