There is a multitude of activities that I consider as my interests; however, upon closer examination, it appears that they can ultimately be categorized into three primary branches.
Education
Built upon over four decades of teaching dance, my education program embraces a holistic approach that encompasses various facets. These components can be effectively categorized into three main pillars.
- Craft
- Creation
- Cooperation
Craft
The mastery of a craft is nurtured through a diligent work ethic rooted in practical experience. By engaging in rhythmic repetition of movements, known as rudiments, we delve into the realm of technique and cultivate a mental state conducive to experiencing a state of „Flow.“ Achieving a level of automaticity in executing these movements allows us to focus on finer details. Acquiring proficiency in a particular skill greatly contributes to our ability to assess and evaluate the quality of our own, but also other peoples work.
Creation
Creativity can be classified into two distinct categories: everyday creativity and constructed creativity, each taking a unique approach. Everyday creativity primarily involves improvisation, where spontaneous ideas are generated in the moment, necessitating the ability to effectively manage the consequences of these impromptu choices. To maintain clarity of mind and prevent overwhelming stress during improvisation, I instill and foster what I refer to as the three principles of crisis management in improvisation: „Slow-down, Stop, Repeat.“ These principles serve as guiding principles to navigate challenges and maintain composure throughout the improvisational process.
When we structure creativity we must foster lateral thinking. By breaking free from traditional linear thinking patterns, lateral thinking enables innovative and imaginative problem-solving strategies. It is a problem-solving approach that involves thinking creatively and outside the box to find unconventional solutions. The pursuit of a solution often serves as the catalyst for most creative endeavors. In light of this, I have devised a methodology rooted in the notion of repair. This method is subdivided into three distinct components known as „Restoration, Remediation, and Reconfiguration,“ each bearing unique areas of responsibility.
Cooperation
Trust stands as the utmost foundation for successful cooperation. To establish a secure and enriching work environment, I incorporate playful methods that encourage openness and experimentation. Through collective play, we learn to navigate rules, devise strategies for mutual benefit, and address any breaches that threaten the integrity of the game. In fact, our entire cultures are built upon the principles of play. Drawing from my background in Urban dance culture, I embrace various interactive performance formats such as „Call and Response,“ the dialogical „Cypher,“ and the competitive „Battle.“ Additionally, I uphold valuable learning philosophies like „Each one teach one“ and employ tools such as „Follow the leader.“ These formats have demonstrated profound social implications within the dance culture and have proven to be equally essential within my education program and our wider society. Furthermore, cooperation remains a vital component of craftwork.