I am referring to Pirkkos statement about how she learned to write: by writing. And how she learned to think critically: by following and rethinking other people's thoughts. In Classical and Modern Dance this is how people are taught to dance, by dancing and by dancing other people's repertoire. In contemporary dance on the other hand it seems to be a taboo to think of this method as valuable.
In Dresden there is a school for writers, they only accept students who are willing to read and reflect. Those who only want to write are encouraged to write, but not in the context of a school.
Schools are not for all upcoming artists, but exactly who benefits from a school and what form of schooling?
Also to look at the two decades of "de-training" which was a big deal for some of the younger generations of dancers and choreographers and to think about the consequences of these experiences for the next generations.
Of course my concern is also: how to raise a child without closing creative potential along the way / how to get access to the pre-school (before any compulsary education) conditions when becoming an artist is an issue.
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Tue, 2005-03-08 17:11
How do we define REPETITION. How many stimuli have to be different to not talk about a repetition, but about something new. The problem with the repetition is, that it is not interesting as soon we don´t find the change, the development, the learning, the moment of something new to experience in it. It is the mental approach to a repetition that makes it new every time.
This raises an other question: When does/did learning happen?
When the student notices it? When the teacher notices it? How big needs the learning to be, in order to be aware of it? Do we need to be aware of learning?
I allways appriciate the moments when I was working on something, leaving it for a while, doing something completly different, and then coming back, noticing a deeper level of knowing in body, mind and/or emotions.
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Thu, 2005-03-10 00:27
I would start simply and say: Repetition is everything you do more than once.
It would be great to put your questions and maybe my little answer into the glossary
http://mode05.org/cgi-bin/trac.cgi/wiki/Glossary.
I will open a page called "Repetition" there to be filled.
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Tue, 2005-03-08 11:36
Learning seems quite paradoxical: On one hand, we have to repeat certain experiences, thus making them routines, in order to get practice. On the other, there are moments of hightened learning that are totally independant of anything or anyone. Both aspects need each other.
In the past decades it has been general opinion that repetition (as parcticed in any kind of technique and repertory class) is not emancipatory, meaning that repetition will be in the way of developing artists.
I agree with you that this is to be questioned. In my "artistic upbringing" I was happy when I got to do highly repetitive practices such as ballet, Rosas repertory or the reconstruction of Hoyer's "Affectos Humanos".
But I could only be happy with it, because I could totally follow my own timing in doing them. For other students, other aspects might be important in balancing the relation between emancipation and discipline.
The problem and point of interest is maybe how the two aspects can enhance each other rather than be treated as exclusive points of teaching/learning.
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