Collaboration & Feedback
Collaboration
Collaboration involves listening and responding;
Dialog leads to process and open questions whereas discussion from a fixed point of view tends to close down our ability to enter new territories.
Who we choose for collaboration is often an intuitive decision
Artists with whom we have or we currently collaborate include:
Gaby Agis ; Daniele Albanese ; Warren Burt ; Maya M. Carroll ; Chris Crickmay ; Marilia Destot ; Elena Demyanenko ; Claire Filmon ; Malcolm Goldstein ; Vanessa Grasse ; Gianna Grünig ; Sylvia Hallett ; Chris Heenan ; Susanna Hood; Mark Horrocks ; Richard Kerry ;
Ellen v.d. Kooij ; Lisa Kraus ; Roberta Legros Stepankova ; Annea Lockwood ; Michelle Mahrer ; Chris Mann ; Akemi Nagao ;
Parak.eets ; Peter Pleyer ; Adam Pultz Melby ; Dorothea Rust ; Ursula Sabatin ; Richard Scott ; Vicky Shick ; Shifts ; Stephanie Skura ;
Collaboration needs the skills of constructive feedback
“When defensiveness starts, learning stops.
The Critical Response Process emphasizes the benefits of getting artists to think about their work in a fresh way, as opposed to telling them how to improve their work or asking them to defend it.”
Liz Lerman's Critical Response Process by Liz Lerman & John Borstel
There are many ways of giving feedback
Feedback: Liz Lerman and John Borstel - ICE Conversation Series Episode 006
Contact Quarterly winter/spring 2008
Includes:
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Evaluating Choreography By Robert Ellis Dunn
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Liz Lerman's Critical Response Process by Liz Lerman & John Borstel
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Contemplative Feedback by Barbara Dilley
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Fieldwork, interview with Steve Gross and Diane Vivona by Pele Bauch
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IDEA: International Dance Exchange Alliance by Christina Svane
And of course, there's play and humor...
Many Independent Dance Artists are known to have an interest in developing their capacity to play, improvise, change direction find new perspectives… to deal with new challenges...
“We have nothing to lose in play, only to gain. For even if we literally lose—alas! we lose the game or our creative endeavors come to naught--we learn something in the process or have the possibility of doing so. Moreover if we are truly engaged in playing, whether with balls or ideas or melodies, we are rapt in the challenges of the moment, attentive to the immediate and to its possibilities.”
Movement as a Way of Knowing Maxine Sheets-Johnstone
As Independent Dance Artists
we embrace change and living with uncertainty;
we follow our artistic vision even when we don’t have recognition from the establishment;
we need to be pro-active and create solutions in order to be able to sustain our work;
we cultivate a curious and open attitude towards new perspectives in our own and other disciplines;
we take responsibility for the choices we make;
we live with fluctuating incomes;
in our work we are aware of social, environmental and political issues
“…the ‘material’ in my work is constituted by the ongoing relationship of consciousness, attention, the dynamic body, space and time. Perhaps one way of ‘understanding’ dance could be to consider it as the materialization of these interrelationships.”
On the intelligence of the material Mira Hirtz talks to Bettina Neuhaus as part of "#two – not the frames, but the things", August 2015