A COMMITMENT TO PARTICIPATION AT IMPULSTANZ

EXPERIENCES OF A TUTOR OF FELDENKRAIS METHOD

AN INTERVIEW WITH DD DORVILLIER

By Katrin Roschangar & the corpus gang

THE WAY OF ONE SITTING INTO THE UTOPIA OF THE BODY

By Norma Jean Sedlmayr

ON THE YOGA MAT WITH CHILDREN AND ELDERLY PEOPLE

By Eva Hager-Forstenlechner

DANCEABILITY: THE COMMITMENT TO MAKE DANCE ACCESSIBLE

By Alito Alessi and Sara Zolbrod

HOW TO TRAIN ONESELF TO CONNECT TO THE MOST BASIC UNIVERSAL PRINCIPLES

By Damien Jalet

EPISTEMOLOGY AND PEDAGOGY

By Sri Louise

An interview with Rio Rutzinger, artistic director of ImPulsTanz Workshops+Research, about programming the world’s largest format of its kind, about dancers’ passion and precariate, the importance of social exchange as social and political necessity, and the possibilities of theoretical work in dance pedagogics.

WHAT IS PART OF WORKING WITH WILLIAM FORSYTHE

By Elizabeth Corbett

SELF-INTERVIEW WITH "INTERNATIONAL FESTIVAL"

By Marten Spångberg

By Vlado G. Repnik

SINGING WITH ANGELIQUE WILLKIE

By Heidi Wilm

TERENCE LEWIS TEACHES A SENSUAL, EROTIC AND FEMALE STYLE

By Lieve De Pourcq

ACROBATICS AND CAPOEIRA FOR DANCERS WITH JULIANA NEVES AND BRUNO CAVERNA

By Agnieszka Ryszkiewicz

OR GLOBALIZE HIMBEEREIS

By Katherina Zakravsky

VISITING OLIVE BIERINGA'S CLASS "IMPROVISATIONAL COMPOSITION"

By Sabina Holzer

TRANSLATING IMAGE INTO MOVEMENTS: VISITING 1 1/2 DAYS OF A COACHING PROJECT BY HOOMAN SHARIFI

By Sabina Holzer

ONE SIDE HAS MANY SIDES – AN INTERVIEW WITH DAVID ZAMBRANO

By Helmut Ploebst

A TALK WITH NIELS "STORM" ROBITZKY

HipHop has now existed for around thirty years as an international movement between street and theatre, social project and art. Katrin Roschangar of corpus and the renowned Berlin HipHopper Niels "Storm" Robitzky who teaches at ImPulsTanz, talked about techniques and philosophy, competition and injuries, women and regionalisms in HipHop culture.

REMARKS ON A REPERTORY CLASS

By Katrin Roschangar

LEARNING BY FEELING WITH THIERRY BAË

By Heidi Wilm

IMPRESSIONS FROM THE 15th OF JULY 2008 IN THE ARSENAL WORKSHOP AREA

By Sabina Holzer

DD'S GRANDPARENTS SERVE THE PUBLIC

By Agnieszka Ryszkiewicz

SIXTY-SEVEN GRANDPARENTS

By Agnieszka Ryszkiewicz

mo·tion [ mṓsh'n ] Definition: 1. act of moving: the act or process of moving, or the way in which somebody or something moves mot·ley [ móttlee ] Definition: 1. made up of different types: consisting of people or things that are very different from one another and do not seem to belong together mo·tor [ mṓtər ] Definition: 1. machine that creates motion: a machine that converts energy into motion and can be used as a power source, e.g. to drive another machine or to move a vehicle. Let's go. (FINISHED YET)

By David Bergé & Jack Hauser 

LECTURES OF LEARNING FROM THE TRESTLES OF DANCING

By Luce Yfaire

ABOUT THE LOGICS OF A MARKET PLACE

By Peter Stamer

A FILM PRODUCTION AS CROSS-BORDER PAEDAGOGICAL PROJECT AND BRILLIANT WORK OF ART

By Helmut Ploebst

ON THE PITFALLS OF CREATIVITY WITH THEATER IM BAHNHOF AND PEEPING TOM

By Katherina Zakravsky

AFRO-HAITIAN DANCE WITH KARINE LABEL

By Sabina Holzer

HALLUCINATIONS ON THE "SHAMANISTIC IMPROVISED PRESENCE" BY KEITH HENNESSY

By Peter Stamer

DANCEWEB STUDENTS IN THEIR SALONS

By Agnieszka Ryszkiewicz

A DISCUSSION ABOUT TECHNIQUE, THE CONTEMPORARY, AND SPIRITUALITY WITH KOFFI KÔKÔ AND ISMAEL IVO. MODERATED

By Sabina Holzer

IT IS NOT A PRACTICE OF SEARCHING, IT IS A TECHNIQUE OF FINDING

By Martina Ruhsam

WATCHING MILTON MYERS' HORTON TECHNIQUE CLASS

By Lieve De Pourcq

A SHORT EXCURSION INTO THE SEMANTICS OF "CONTEMPORARY TECHNIQUE" (LISA RACE, PETER JASKO)

By Heidi Wilm

A DIALOGUE BETWEEN JONATHAN BURROWS AND MAMADOU M'BAYE, MODERATED

By Diane Shooman

On Thursday, 17 July 2008, Mamadou M'Baye and Jonathan Burrows met for the first time, and held a conversation about their respective teaching. corpus initiated the meeting because both performers appear to be working toward very different ends as artists and teachers. Yet, among many other things, complex, textured rhythm plays an important role their work. The course I observed of Mamadou's was entitled “African Children's Dance” and his clientele were 5 1/2 to 8-year olds. Jonathan's course was called “Creative Writing and Dance” and the clientele were experienced professionals. Mamadou was working on movement, story and song, and Jonathan had teamed up with Adrian Heathfield for this workshop on choreography “… to find what is possible and what is not possible when you choose to speak, and what is possible and what is not possible when you choose not to speak.” The following is an excerpted version of the dialogue between Mamadou M'Baye and Jonathan Burrows.

A DANCEY BEVERAGE SURVEY IN THE WORKSHOP CONTEXT

By Peter Stamer

TRISHA BROWN REPERTORY WITH SHELLEY SENTER AND "GLACIAL DECOY"

By Lieve De Pourcq

A REPORT FROM MATTHEW SMITH'S “APPLIED ANATOMY. FUNCTIONAL TRAINING FOR DANCERS”

By Andreas Dyrdal

A TALK WITH ZVI GOTHEINER AND SASCHA KRAUSNEKER

By Peter Stamer

MEETING A DANCEWEB STUDENT IN VIENNA

By Peter Stamer

HOW DAVIS FREEMAN TRIES TO CHALLENGE HIS STUDENTS IN A GENTLE WAY

By Sabina Holzer

A CONVERSATION ABOUT WAYS OF TEACHING AND LEARNING WITH LOUISE LECAVALIER

By Martina Ruhsam

ORI FLOMINS' HATHA VINYASA

By Martina Ruhsam

FREY FAUST: C-STAR, BEGINNERS. OBSERVED

By Lieve De Pourcq