International Conference - Next Move - into the future of Dance and Music Education

INTERNATIONAL CONFERENCE

into the future of Dance and Music Education 25 – 26 May 2018 Arnhem, The Netherlands

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TABLE OF CONTENT Opening: a circular process of growth

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Teaching as a performing art

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What do we need to understand from

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each other?

Creating universal stories

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Alter your thoughts to eliminate hierarchy

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From valuing sameness to

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valuing difference Colofon

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“WE’RE HERE TO GET INSPIRED. WE’RE CURIOUS ABOUT THE OUTCOMES OF THE STUDIES, AND IT’S INTERESTING TO GET A PEEK BEHIND-THESCENES OF OTHER COUNTRIES’ ACADEMIES.” Final Conference 5

A conversation with

Jocelyn Bergland “My prime directive as a talent scout is to to open the Ba Dance in Education program ps. grou et targ inclusion and diversity of all t I am very interested in how the project Nex Move has illustrated and integrated these ideas.�

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A conversation with

Linde Ammerlaan & Cecile van den Berk “We’re very curious about the outcomes of the studies of the past three years. Society is changing, and therefore we need to teach our students skills that meet the needs of that society. As a Bachelor program you need to relate to what the world needs in order to connect the professional practice to your education.”

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A conversation with

Netty van den Bosch “I’m incredibly grateful and proud. Proud of the knowledge we’re sharing today and the way we developed the content of the conference altogether. That is also part of the outcome of our three-year project. We managed to make our participants join the Next Move community from the very beginning. The opening was built for ever yone to join. Colleagues from all over the world, including students and staff, came together .

We have people from at least 9 countries besides the Netherlands. That truly is the dissemination of ideas! It’s amazing to see that we started this project with three countries and today all these countries are represen ted here in Arnhem. I’m very happy everyone managed to explain and present so well what we’ve been working on within the project Next Move. We’ve been working very hard, and everything comes together now.”

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E A LOOK V A H O T G IN ST “IT’S INTERE S IN OTHER E N E C S E H T BEHIND H ACADEMY C A E E C IN S , COUNTRIES .”

IS DIFFERENT

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“WE EXPLORED AND DEVELOPED NEW PERSPECTIVES AND METHODS FOR TEACHING ART IN ORDER TO MEET THE CHALLENGES AND NEEDS IN OUR CONTEMPORARY SOCIETY.” Final Conference 11

A conversation with

Gaby Allard

“It’s nice to see and important that while we are thinking about our field of activity, we immediately put it into practice. Sharing this and actually acting on it happens today as well, with a group which is even larger than the people who participated in the research.

And what I really admire is the students’ strength. The way in which they were positioned as future makers. Dance is about acting together and sharing in different places, placing dance in the community.”

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OPENING

A CIRCULAR PROCESS OF GROWTH This project is a circular process of growth.

It started back in 2012 at a conference in Stockholm where people started meeting and sharing ideas. Next Move made us realize how important inclusion is, and how much more we can do in co-creation than in hierarchy. We want to explore and develop new perspectives and methods for teaching art, in order to meet the challenges and needs in our contemporary society.

Our international project is all about creating sustainable partnerships and to come up with some concrete products and intellectual outputs. The first is our Joint Module, in which we will meet, learn and work together, in order to increase knowledge on how dance and music didactics can be made relevant for this contemporary society. To pinpoint norms in dance and music we will challenge what we already know. The second one is the Manual of Methods. An online platform on which we gather and share all the products and materials we’ve created over the past three years. This is also a place where students can upload their work from the Joint Module. The last one is the Student Portfolio. This is a learning tool to learn how to learn and work with inner motivation, to make students reflect and document their reflections. Students can choose their own platform and create a space where they can choose what to share with the world.

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The most important question of today is: what can dance and music do? And to get answers to that, our students lead the way and the teachers accompany them on their journey.

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A conversation with

Jan van Bilsen “Our institutions work differently, and I think it’s important to know that from each other. I think ArtEZ tends to have its two feet on the ground a bit more than we do, and it’s good to be open to that.”

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A conversation with

Laura Feline Prip Ebbsen “It was a great opening. Very nice to see how they interacted with the audience and to hear the summary of what this is all about and to get to know the people behind it. I came here by myself, and the opening really gave me a feeling of being part of a community. I feel very welcome. I wanted to visit this conferen ce to talk to people in the field and network, and also because I work with a lot of the them es that are discussed here. I’m very interest ed in what the researchers found out. I especiall y like the focus on structures. I’d like to see the artistic field in a more structured way , so we, as the artistic field, are able to connect more and better with the outside world. It’s nice to see people that feel the same need for methods in the artistic field. Also, because I feel that lots of people look at art like it is something coming out of someone’s head . But it can also be something happening in a more structured way.”

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“IT’S A CIRCULAR PROCESS OF GROWTH. IT MADE ME REALIZE HOW IMPORTANT INCLUSION IS. WE CAN DO A LOT MORE IN COCREATION THAN IN LAYERS AND HIERARCHY.” 18 ArtEZ Arnhem

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N DIJK

MARTINE VA

really like I’m curious. I se u a c e b re e and “I’m h put together, is e c n re fe n o t it’s the way the c just said - tha y b a G t a h w d I also like always ent-driven. I’m d u st d n a d le studentys busy e future, alwa th t u o b a s u o curi king for new nd always loo a n o si lu c in h in this wit hts, especially g si in d n a ts n developme field.”

JONAS FREY

“I’M HERE TO GET INSPIRED. TO GET A VISION ON THINGS I USUALLY DON’T THINK ABOUT AND CONNECT THIS TO WHAT I DO.”

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JONNE CO

VERS

“I EXPECT TO BE SU RPRISED FIND DEP AND TH. I’M VE R Y CURIOU ABOUT TH S E WORKS H O P CREATIVE NORM PERSPECT IVE. IT’S A VERY SU BJECTIVE THING AND CAN MEAN SO METHING DIFFEREN T TO EVER YONE.”

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“LOTS OF THINGS ARE CHANGING. SOCIETY CHANGES AND YOU HAVE TO RELATE TO THAT.”

“WE CONSIDE R THE ACCESS TO ART AS A DEM OCRATIC RIGH T.”

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JESSICA NICOLL

TEACHING AS A PERFORMING ART “Teaching to reflect in practice is hard. We feel it’s an attitude of curiosity, of being present.

Especially as a teacher you’re constantly on to the next thing, not giving yourself as much time to reflect as you’d like. For us, reflection is very much part of the artistic process, it’s a dialogue with yourself and others and it’s an atmosphere we create to be in contact with ourselves. That’s a continuous cycle.”

‘In our study we came up with three dimensions of reflection, the three P’s.

The first one is Personal: how to develop presence and self-awareness. The second one is Perceptual: learn to see, listen and describe. The third one is Pedagogical: learn to structure, facilitate questions, plan and adapt. Reflection is all about looking differently at what we see.

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JESSICA N

ICOLL

“REFLECTI ON IS ABOUT LO OKING DIFFERENT LY AT WHAT WE SEE.”

“IF WE MAKE ENOUGH SPACE FOR THE IMAGINATION OF OUR PARTNER, THERE’S ANOTHER LAYER THAT WE GET TO HEAR.” Final Conference 25

“REFLECTION IS THE HEART OF LEARNING AND WHAT IT MEANS TO BE HUMAN.” 26 ArtEZ Arnhem

“YOU CANNOT CR EATE THE CONDITIONS WHICH ENABLE OTHERS TO CHAN GE UNLESS THOSE CONDITIONS EXIS T FOR YOU.”

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WHAT DO WE NEED TO ER? UNDERSTAND EACH OTH y we, teachers and “I investigated the wa te in dance class. I students, communica are sign makers. Our found out that people ays multimodal - we communication is alw d her, make gestures an speak, look at each ot ” . lar cu cir me time - and intonate all at the sa ly, at they learn different “All students adapt wh we arch I found out that and through my rese for e ac uld offer more sp as dance teachers co e students to handle students. Allowing th ly.” instructions different

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“WE ARE BORN IN THIS WORLD AS CREATURES OF THE FLESH, AND IT IS THROUGH OUR BODILY PERCEPTIONS, MOVEMENTS, EMOTIONS AND FEELINGS THAT MEANING BECOMES POSSIBLE AND TAKES THE FORM IT DOES.” Final Conference 31

WORKSHOP

CREATING UNIVERSAL STORIES Hello Earth is about connecting. Experiencing someone else’s life while living your own.

It shows how universal a lot of feelings and movements are, and how we can talk without speaking. The people listening to the stories of the people from the village, where the show was made, do what the person on the radio tells them to do, and that’s how their experiences come to life in a whole different world than where they initially came from.

Hello Earth is making connections in a deeper and more creative way than we’re used to.

Vera Maeder, one of the makers of Radio Dans Din Nab, about the show: “We developed Hello Earth in three months.

We lived in a village and really emerged there. We worked with embodied memory to create stories with the people in workshops.

Hello Earth gives other people the chance to meet the people from the village through their stories and audio instructions. The main question was: can we empathize with people in the present, who are not really here? And how can we involve the body in that? I have a background in dance and movement, so it was my specific goal to make the experience physical as well..”

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BEATA

ALVIN G “This c onfere nce is for peo a mee ple wh ting pl o are i educa ace nteres tion, e t e s d p i e n Music cially i educa n Danc art tion. F partici e and or the pants, audien for us and to ce/ to mee disc t new respon uss our role p eopl , our d sibilitie idactic e s. It’s a short p s and good m eriod o ashup f time. kinds o i We na f confe rences hope that th about e a se this su bject w nd get toget in orde h i e l l r c s ontinu r to sti e to gr mulate around ow the dis our wo course nderfu l profe ssion.”

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A conversation with

Caurena Bernabela “We teach our students to create dance for all and everyone who likes to dance. My research as a part of Next Move was to look more specific at how we teach our students in the program versus how our students translate what they’ve learned while wor king with amateurs. The result is a very handson toolbox for amateur dance schools. The research for me was really about inclusion .

To include everyone in dance and make connections. So, as a part of that idea of inclusion, I like the fact that this conferen ce takes place at different locations, and that every workshop or keynote focusses on interacting with each other. I really feel like the focus should be on this in dance educatio n.”

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“CHANGE IS THE KEYWORD. LET’S CREATE SOME MUSIC MOVEMENTS!” Final Conference 37

“I REALLY ENJOYED ALL THE INTERACTION TODAY. I HOPED THAT WOULD HAPPEN, AND ALL THE SESSIONS WERE VERY INTERACTIVE, WITH A LOT OF PARTICIPANTS CONTRIBUTING. PEOPLE REALLY GOT ENGAGED, WHICH LED TO VERY INTERESTING CORE DISCUSSIONS.” 38 ArtEZ Arnhem

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G A LOT “WE ARE JUDGIN E OUR AND WE CREAT OWN NORM.”

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WORKSHOP

ALTER YOUR THOUGHTS TO ELIMINATE HIERARCHY Interview with My Gren (student at DOCH), Beata Alving (Head of Dance Pedagogy at DOCH) and Sara-Maria Pirhonen (student at DOCH) about their workshop: “Norm Creative Perspective is a follow up on Norm Critical Perspective. That last one has been used for a long time to pinpoint normative behaviour: how we live together and how we interact. It’s a way to analyse norms, and see when they become obstacles in peoples’ lives.

For example: how people are treated differently based on their skin colour, or that women are paid less than men.

In recent years, we’ve been looking more into the ideas around Norm Creative Perspective.

It’s a way of altering your thoughts. Striving to eliminate hierarchy in certain situations and including everyone. Norms are everywhere and in everything, and it’s a very helpful way to understand ourselves, each other and the world around us, but sometimes those norms are harmful to a certain group of people. That’s where Norm Creative Perspective comes in, it focusses on doing something about that status quo.

Norm Creative Perspective is a very new thing.

We are inspired to use it to change, to reach things we haven’t yet and change the role of the art pedagogue for the better in the future.”

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l essentia is n io t uca f all “Art Ed eople o p ll a f o ves in the li .” nations

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“IT’S NICE TO THINK ABOUT WHAT IT COULD BE, INSTEAD OF FOCUSING ON WHAT I THINK IT IS.” Final Conference 43

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“COMMUNICATIO N IS CIRCULAR. I SEND , AND YOU ANSWER THE WAY YOU WANT TO.”

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“It’s b een r eally a wee grea k alre ady to t. I’ve been feels h prepa like m re, so ere for ore p to see e i t o s p what i we’ve le joined u mply three s years b t e o en day . Disc provi ussin working on des n g ew in for that p sights with new eople peop , and le I want to kno ’m very ha Norm ppy w mo Creat re ab ive Pe out rspec tive.”

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DANCE / DIFFERENCE / DIFFRACTIONS

FROM VALUING SAMENESS TO VALUING DIFFERENCE Presentation by Elen Øyen, dancer in the Dance Laboratory & Tone Pernille Østern, researcher, she started the Dance Laboratory as a part of her doctoral thesis.

Tone: “The Dance Laboratory was a doctoral project. I was interested in dancing with different bodies and backgrounds, and to study that I set up a group of dancers with and without disabilities. I studied the meaning of the group for the participants, why they took part in it and what process they went through.”

Elen: “Our group is improvisation and experimentation based. In the Dance Laboratory everybody is equal, all ideas are equally good and important, no one choreographs anyone, we don’t lead each other, and everyone has influence. And right now, me and Tone are working together on this research project about how to include differences in dance.”

Tone: “The main point of our research is how to understand difference as a creative and generative force, as an artistic and pedagogical value which changes, challenges and contributes to dance, dancing and dancers. We see difference as a value.”

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“But how to work equally while having to do with differences? Inclusive dance pedagogy is looking beyond. Beyond what we think what dance is. Beyond who can have power, who can be a choreographer, a performer. It’s about worldmaking, creating a new world for dance.”

“That’s what the word ‘diffraction’ is doing in the title of this keynote. It’s a philosophical concept that comes from the optical sciences, meaning that when light waves encounter an object, for example a small opening, they will go through it and spread out at the end.”

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JASMIJN WOLFERS research, and e outcomes of the th t ou ab us rio cu “I’m sion based on future of our profes how we look at the part of nce studio was also da y M ≠. e≠ om tc those ou e filmed or udents of mine wer st e m so e ov M t Nex ve a dance intern. Because I ha an as it of rt pa e er w connection ly interested in the studio, I’m especial ademy.” practice and the ac al on si es of pr e th between

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TONE P

ERNILLE

ØSTERN

“WE DO N’T HAV E BODIE ARE BO S DIES. A ND IT B , WE UNIMPO ECAME RTANT ABILITI TO US W ES EVER HAT Y ONE O F US HA S.”

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“A WHEELCHAIR IS A VERY NEGATIVE THING IN SOCIETY, BUT FOR ME IT’S A VERY POSITIVE THING. IT GIVES ME POSSIBILITIES I OTHERWISE WOULD NEVER HAVE HAD.” Final Conference 53

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“IN ADVANCE, I THOUGHT THIS CONFERENCE WOULD BE TOO SPECIFIC FOR ME BECAUSE I’M NOT A DANCER. MY RELATIONSHIP WITH DANCE IS THROUGH MUSIC. BUT IT WAS ACTUALLY VERY INTERESTING FOR ME. ESPECIALLY THE KEYNOTE ABOUT DIFFRACTION.” Final Conference 55

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“IT’S A VERY INTERESTING CONFERENCE. I STUDY MUSIC THERAPY, AND I THINK THE THOUGHT OF INCLUSION IS VERY RELEVANT FOR THAT FIELD AS WELL. WE NEED TO MAKE SURE EVERYONE CAN PARTICIPATE.” Final Conference 57

COLOPHON Next Move is an Erasmus+ Strategic Partnership between BADD, ArtEZ Bachelor Dance in Education, Arnhem, The Netherlands DOCH, Stockholm University of the Arts, Sweden RAMA, The Royal Academy of Music, Aalborg/Aarhus, Denmark The Next Move Final Conference has been organized by: Research & Content Team Next Move students: Amanda Brouwer, Danique Jongbloed, Nigel Koevoet, Paula Pröbrock (ArtEZ) Naja Johanne Brandt, Justo Gambula Larsen, Antonia Mrsic (RAMA) My Gren, Cornelia Grönlund, Jemine Lipponen, Sara-Maria Pirhonen (DOCH) Research & Content Team Next Move Teachers: Mariët Andringa, Caurena Bernabela, Ingeborg Bos, Margreet Luitwieler (ArtEZ) Torben Jensen, Lena Gregersen (RAMA) Katarina Lundmark, Annika Notér Hooshidar, Elisabet Sjöstedt Edelholm (DOCH) Next Move Final Conference was organized under the auspices of: Netty van den Bosch – Head of Bachelor Dance in Education, ArtEZ, The Netherlands Beata Alving – Head of Dance Pedagogy Department, DOCH, Stockholm, Sweden Torben Jensen, Lena Gregersen – Associates Professors in SDP, RAMA, Aalborg/ Aarhus, Denmark Project Management Next Move Conference: Marit Veeneman – Production & Project leader Lotte Rensen – Communication Clinck / Michelle van Moerkerk - website Rob van Erp - Financial administration With special thanks to the ArtEZ support team Coordinators Next Move: Anja Krans (ArtEZ) Christofer Fredriksson (DOCH) Keld Hosbond (RAMA) With special thanks to our work field partners: Angela Verdurmen (Cultuurmij Oost), Julie de La Fuente (Muzehof Centrum voor de Kunsten Zutphen), Anne Bos (VONKC, Curriculum.nu), Rozemarijn Schouwenaar (LKCA), Indira Willems (ID DANCE), Berry Doddema (Modern Dance Center Dortmund), Adriaan Luteijn (Introdans Interactie), Wilja van Os (Dansbelang), Peter van der Hoop (STIP producties).

The Next Move Final Conference is powered by: Erasmus+, ArtEZ University of the Arts, Introdans, Rozet, Theater aan de Rijn, Huize Kohlmann, De Kempenaer advocaten.

This magazine is made by Visuele Notulen.

With special thanks to Dana Dijkgraaf Design.

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Next Move is a strategic partnership between:

This project is funded by: the Erasmus+ Programm of the European Union