Laboratory on Feedback in Artistic Processes 2

In its second edition the "Laboratory on Feedback in Artistic Processes" pays particular focus on “audiences” feedback within performing arts. Feedback is happening everywhere, and everything is feedbackable. But what is the value of public audience feedback? What kind of feedback is needed where? Why do we differentiate between specialist and general public audiences? How can we think beyond helping the artist and making an artwork better? How can it feed the bigger picture by enabling critical, rigorous feedback as a development for all citizens participating in a public event? Can public feedback then begin to shape communities and the wider public sphere? The second “Laboratory on Feedback in Artistic Processes” contained presentations and try-outs of different feedback methods and approaches. The format “Feedback Lab goes Public” in collaboration with Tanztage Berlin 2015 / Sophiensaele and mapping dance berlin /Tanzbüro Berlin offered the opportunity to test feedback methods directly with the artists and audiences of the festival. IMPRINT Text and Editing: Sheena McGrandles, Olive Schellander, Eva-Maria Hoerster Layout: David Eckelmann Editor: HZT Berlin, 2015

In its second edition the "Laboratory on Feedback in Artistic Processes" pays particular focus on “audiences” feedback within performing arts. Feedback is happening everywhere, and everything is feedbackable. But what is the value of public audience feedback? What kind of feedback is needed where? Why do we differentiate between specialist and general public audiences? How can we think beyond helping the artist and making an artwork better? How can it feed the bigger picture by enabling critical, rigorous feedback as a development for all citizens participating in a public event? Can public feedback then begin to shape communities and the wider public sphere?

The second “Laboratory on Feedback in Artistic Processes” contained presentations and try-outs of different feedback methods and approaches. The format “Feedback Lab goes Public” in collaboration with Tanztage Berlin 2015 / Sophiensaele and mapping dance berlin /Tanzbüro Berlin offered the opportunity to test feedback methods directly with the artists and audiences of the festival.

Text and Editing: Sheena McGrandles, Olive Schellander, Eva-Maria Hoerster
Layout: David Eckelmann
Editor: HZT Berlin, 2015


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<str<strong>on</strong>g>Laboratory</str<strong>on</strong>g> <strong>on</strong><br />

<strong>in</strong> <strong>Feedback</strong> <strong>Artistic</strong> <strong>Processes</strong> <strong>in</strong> 2<br />

<strong>Artistic</strong> <strong>Processes</strong> <str<strong>on</strong>g>Laboratory</str<strong>on</strong>g> <strong>on</strong> <strong>Feedback</strong><br />

Audiences<br />

Audiences<br />

16 -18th January, 2015<br />

16 Uferstudios, -18th January Berl<strong>in</strong> 2015<br />

Uferstudios Berl<strong>in</strong>

cover image: excerpt of the audience draw<strong>in</strong>gs <strong>in</strong> the<br />

frame of „Let´s talk about dance“, try-out „mapp<strong>in</strong>g“<br />

(see page 16)<br />

2<br />

Organised by Uferstudios GmbH and HZT as part of the project Life L<strong>on</strong>g Burn<strong>in</strong>g /<br />

module teachback with the support of the Culture Programme of the European Uni<strong>on</strong>

Table of c<strong>on</strong>tents<br />

Introducti<strong>on</strong><br />

C<strong>on</strong>tributi<strong>on</strong>s & Public Try-Outs<br />

“<strong>Feedback</strong> Lab goes Public” –<br />

a collaborati<strong>on</strong> with Tanztage Berl<strong>in</strong> / Sophiensaele<br />

and mapp<strong>in</strong>g dance berl<strong>in</strong> / Tanzbüro Berl<strong>in</strong><br />

Bush Hartshorn: Liz Lerman’s feedback method: Critical<br />

Resp<strong>on</strong>se Process (CRP)<br />

Jenny Beyer: Public Warm Up & Cool Down Sessi<strong>on</strong><br />

S<strong>on</strong>ja Augart & Inge Koks: “let’s talk about dance”<br />

Sheena McGrandles & Eva Meyer-Keller: feedback workshop with<br />

Festiwalla (political theatre with and for youth)<br />

Talks / lectures<br />

Ana Vujanović: <strong>Feedback</strong> Practices and the Public Sphere<br />

Sibylle Peters: The Art of Measur<strong>in</strong>g<br />

Eva Meyer-Keller: Past Works to Present<br />

Jenny Beyer: “Ich möchte dich zu mir <strong>in</strong>s Studio e<strong>in</strong>laden”<br />

Charlotte Vandevyver: Experience “work <strong>in</strong> progress” feedback &<br />

Group collecti<strong>on</strong> of feedback <strong>in</strong>itiatives<br />

Round Table Discussi<strong>on</strong>, Reflecti<strong>on</strong> <strong>on</strong> <strong>Feedback</strong> Lab goes Public,<br />

Observati<strong>on</strong>s<br />

Short Biographies<br />

Credits<br />

5<br />

8<br />

8<br />

9<br />

14<br />

16<br />

19<br />

22<br />

26<br />

29<br />

30<br />

32<br />

33<br />

35<br />

38<br />

47<br />



Introducti<strong>on</strong><br />

The “<str<strong>on</strong>g>Laboratory</str<strong>on</strong>g> <strong>on</strong> <strong>Feedback</strong> <strong>in</strong> <strong>Artistic</strong> <strong>Processes</strong>” dives<br />

<strong>in</strong>to the ever-grow<strong>in</strong>g c<strong>on</strong>temporary feedback culture. It<br />

addresses questi<strong>on</strong>s of value, potential, importance, and<br />

problems of feedback <strong>in</strong> the arts. Invited professi<strong>on</strong>als<br />

work<strong>in</strong>g with<strong>in</strong> the field of dance, come together to discuss,<br />

articulate and th<strong>in</strong>k about different approaches<br />

and aims of exist<strong>in</strong>g and possibly alternative methods<br />

and understand<strong>in</strong>gs of feedback. In its sec<strong>on</strong>d editi<strong>on</strong><br />

the laboratory pays particular focus <strong>on</strong> “audiences”<br />

feedback with<strong>in</strong> perform<strong>in</strong>g arts.<br />

5<br />

<strong>Feedback</strong> is happen<strong>in</strong>g everywhere, and everyth<strong>in</strong>g is<br />

feedbackable. But what is the value of public audience<br />

feedback? What k<strong>in</strong>d of feedback is needed where? Why<br />

do we differentiate between specialist and general public<br />

audiences? How can we th<strong>in</strong>k bey<strong>on</strong>d help<strong>in</strong>g the<br />

artist and mak<strong>in</strong>g an artwork better? How can it feed the<br />

bigger picture by enabl<strong>in</strong>g critical, rigorous feedback as<br />

a development for all citizens participat<strong>in</strong>g <strong>in</strong> a public<br />

event? Can public feedback then beg<strong>in</strong> to shape communities<br />

and the wider public sphere?<br />

In all its editi<strong>on</strong>s the laboratory puts forward an <strong>in</strong>terest<br />

<strong>in</strong> alternatives to (artistic) exchange based purely <strong>on</strong> explanati<strong>on</strong><br />

and justificati<strong>on</strong>, as is the case with the known<br />

format of the artist talk. While the first editi<strong>on</strong> specialised<br />

<strong>on</strong> practic<strong>in</strong>g established feedback methods and tools,<br />

the sec<strong>on</strong>d laboratory puts an emphasis <strong>on</strong> th<strong>in</strong>k<strong>in</strong>g<br />

about feedback as a form of reflecti<strong>on</strong> that can re-feed<br />

its audiences <strong>in</strong> a broader cultural process; rather or<br />

more than <strong>in</strong>to the artistic process, or the art work itself.

6<br />

The sec<strong>on</strong>d “<str<strong>on</strong>g>Laboratory</str<strong>on</strong>g> <strong>on</strong> <strong>Feedback</strong> <strong>in</strong> <strong>Artistic</strong><br />

<strong>Processes</strong>” c<strong>on</strong>ta<strong>in</strong>ed presentati<strong>on</strong>s and try-outs of<br />

different feedback methods and approaches. The<br />

format “<strong>Feedback</strong> Lab goes Public” <strong>in</strong> collaborati<strong>on</strong><br />

with Tanztage Berl<strong>in</strong> 2015 / Sophiensaele and mapp<strong>in</strong>g<br />

dance berl<strong>in</strong> /Tanzbüro Berl<strong>in</strong> offered the opportunity<br />

to test feedback methods directly with the artists and<br />

audiences of the festival. Lectures and presentati<strong>on</strong>s<br />

gave an <strong>in</strong>sight <strong>in</strong>to a range of experiences and aspects<br />

<strong>on</strong> the subject of feedback, from the perspective of<br />

theorists, curators, organisers, artists and teenagers.<br />

Furthermore already exist<strong>in</strong>g <strong>in</strong>itiatives and venues who<br />

actively work with and support feedback culture were<br />

collated. Throughout the lab three “observers” witnessed<br />

the weekend and shared their thoughts lead<strong>in</strong>g to a f<strong>in</strong>al<br />

round table discussi<strong>on</strong> shar<strong>in</strong>g <strong>in</strong>dividual reflecti<strong>on</strong>s<br />

and future perspectives.

7<br />

What is your op<strong>in</strong>i<strong>on</strong> about the ever-grow<strong>in</strong>g feedback<br />

culture? How would you like feedback culture<br />

to develop?<br />

“What I somehow try to tackle <strong>in</strong> my c<strong>on</strong>tributi<strong>on</strong> is<br />

that sometimes we speak about feedback sessi<strong>on</strong>s<br />

from the perspective of audience, sometimes from<br />

the perspective of the artists, but very rarely we<br />

speak about feedback sessi<strong>on</strong>s from the perspective<br />

of the publics <strong>in</strong> a wider sense or public sphere<br />

and then look<strong>in</strong>g through that lens I also came to the<br />

questi<strong>on</strong>: What do we actually react to or resp<strong>on</strong>d to<br />

when tak<strong>in</strong>g part <strong>in</strong> a feedback sessi<strong>on</strong>?”<br />

Ana Vujanović

8<br />

C<strong>on</strong>tributi<strong>on</strong>s & Public Try-Outs<br />

<strong>Feedback</strong> Lab goes Public<br />

The 2015 <strong>Feedback</strong> Lab <strong>in</strong>cluded the format of “<strong>Feedback</strong> Lab<br />

goes Public” <strong>in</strong> collaborati<strong>on</strong> with the festival Tanztage Berl<strong>in</strong><br />

2015 at Sophiensaele: A number of different feedback methods<br />

and formats have been tried out together with the audience<br />

<strong>on</strong> several performances from the festival. Some of these tryouts<br />

took place before the actual days of the lab lead by S<strong>on</strong>ja<br />

Augart and Inge Koks and were reported and reflected <strong>on</strong> with<strong>in</strong><br />

the lab, and some formats were c<strong>on</strong>ducted directly dur<strong>in</strong>g the<br />

lab with Bush Hartshorn and Jenny Beyer.

C<strong>on</strong>tributi<strong>on</strong><br />

Bush Hartshorn<br />

On Liz Lerman’s feedback method: Critical Resp<strong>on</strong>se Process (CRP)<br />

9<br />

On the first day Bush Hartshorn gave a short presentati<strong>on</strong><br />

of his versi<strong>on</strong> of the Liz Lerman feedback method “Critical<br />

Resp<strong>on</strong>se Process” (CRP). This method was applied<br />

to the work of Andriana Seeker and Axel “Mickey” Schiffler,<br />

“Meet me as a stranger”, at Tanztage Berl<strong>in</strong> which<br />

the group attended as part of the Lab. The feedback and<br />

method was then shared the follow<strong>in</strong>g day with the artists<br />

present.<br />

Bush Hartshorn began work<strong>in</strong>g with the Liz Lerman feedback<br />

method as an attempt to improve often rather depress<strong>in</strong>g<br />

audience talks. He starts by giv<strong>in</strong>g the group a<br />

short overview of his approach to the method, a “reduced<br />

versi<strong>on</strong>” as he puts it, po<strong>in</strong>t<strong>in</strong>g out the most important<br />

aspects he is practic<strong>in</strong>g. He refers to this method<br />

as <strong>on</strong>e that “allows you to enter somebody else’s work<br />

gracefully”. To note, as a mediator between those who<br />

receive feedback and those who give feedback the facilitator<br />

sits <strong>on</strong> the side of the artists dur<strong>in</strong>g the sessi<strong>on</strong>.<br />

Also the feedback happens <strong>in</strong> dialogue with <strong>on</strong>e pers<strong>on</strong><br />

at a time <strong>in</strong> the group.

The steps to<br />

the feedback<br />

method<br />

10<br />

The <strong>Feedback</strong> sessi<strong>on</strong> should be preferably not happen<br />

right after the performance but a day or so later.<br />

1. Introduce yourself to feedback receiver: establish a<br />

c<strong>on</strong>tact, “my name is … I am com<strong>in</strong>g from the c<strong>on</strong>text of<br />

…” for example.<br />

2. Start with someth<strong>in</strong>g positive, e.g. what did you f<strong>in</strong>d<br />

surpris<strong>in</strong>g or mov<strong>in</strong>g; affirmative feedback, e.g. what<br />

worked and why.<br />

3. <strong>Feedback</strong> receiver (artist) asks a questi<strong>on</strong>/a set of<br />

questi<strong>on</strong>s sett<strong>in</strong>g the agenda.<br />

4. You answer the questi<strong>on</strong>.<br />

5. Then you ask a prepared open questi<strong>on</strong>, mean<strong>in</strong>g you<br />

cannot answer with ‘yes’ or ‘no’. Also avoid ‘why’ questi<strong>on</strong>s<br />

because they easily require defensive answers.<br />

6. Let the artist answer.<br />

7. Opti<strong>on</strong> of op<strong>in</strong>i<strong>on</strong> <strong>in</strong> relati<strong>on</strong> to the artist’s questi<strong>on</strong>: important<br />

to ask for permissi<strong>on</strong>: “I have an op<strong>in</strong>i<strong>on</strong> about..,<br />

would you like to hear it” The artist can also say ‘no’.

Bush Hartshorn po<strong>in</strong>ts out that, based <strong>on</strong> his own experience with artists at Daghdha<br />

Dance Company Ireland, we can become unc<strong>on</strong>sciously competent with feedback<strong>in</strong>g<br />

when practic<strong>in</strong>g the method regularly over time; from unc<strong>on</strong>scious <strong>in</strong>competence<br />

becom<strong>in</strong>g c<strong>on</strong>sciously <strong>in</strong>competent, c<strong>on</strong>sciously competent, and lastly<br />

unc<strong>on</strong>sciously competent. He thus po<strong>in</strong>ts out the importance of regular practice of<br />

a feedback method <strong>in</strong> order to apply it successfully.<br />

This method highlights that the way we speak to and address <strong>on</strong>e another has an<br />

<strong>in</strong>fluence <strong>on</strong> how we are ready, and open to receive feedback. It emphasises the<br />

significance of when feedback is given (before/after show) and the role of listen<strong>in</strong>g<br />

for the feedback receiver. Bush further states it is important that the artist wants<br />

to receive feedback, and that where the pers<strong>on</strong> is speak<strong>in</strong>g from is clear through<br />

establish<strong>in</strong>g c<strong>on</strong>tact with the feedback giver. Furthermore ask<strong>in</strong>g if the artist wants<br />

to hear an op<strong>in</strong>i<strong>on</strong> and giv<strong>in</strong>g the artist the chance to say ‘no’ is an important<br />

guidel<strong>in</strong>e <strong>in</strong> this methodology.

12<br />

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s &<br />

reflecti<strong>on</strong>s<br />

• Andriana Seeker and Mickey Schiffler’s comment<br />

<strong>on</strong> the applied method: “Refresh<strong>in</strong>g that it is short<br />

and direct, makes the shift<strong>in</strong>g of feedback easier,<br />

<strong>in</strong>stead of be<strong>in</strong>g bombarded with c<strong>on</strong>fus<strong>in</strong>g statements<br />

or comments. And there is the feel<strong>in</strong>g of support<br />

when the facilitator sits next to you.”<br />

• It was <strong>in</strong>terest<strong>in</strong>g that people’s <strong>in</strong>stant feedback after<br />

the show was different to the sessi<strong>on</strong> <strong>on</strong> the day<br />

after - does your feedback change <strong>on</strong>ce you apply<br />

a methodology?<br />

• The challenge for the feedback giver is to make a<br />

po<strong>in</strong>t.<br />

• The feedback methodology seems to postp<strong>on</strong>e<br />

harsh criticism.<br />

• Formulat<strong>in</strong>g an op<strong>in</strong>i<strong>on</strong> can quickly transiti<strong>on</strong> <strong>in</strong>to<br />

suggesti<strong>on</strong>s based <strong>on</strong> what the feedback giver likes.<br />

• Requires both feedback givers and artists to listen<br />

and to avoid talk<strong>in</strong>g too much.<br />

References<br />

Liz Lerman <strong>Feedback</strong> Method “Critical Resp<strong>on</strong>se Process”:<br />

www.lizlerman.com<br />

Daghdha Dance Company: www.daghdha.org/archive/<br />

“Meet me as a stranger”: www.vimeo.com/111843138

Would you say there is a right moment <strong>in</strong> the artistic<br />

process to <strong>in</strong>volve the audience?<br />

13<br />

“I am quite critical to <strong>in</strong>volve the audience<br />

throughout the creati<strong>on</strong> process, but for<br />

me where I have seen that it has worked<br />

throughout a process, is if it really is about<br />

test<strong>in</strong>g someth<strong>in</strong>g very specific with the<br />

audience members, so where it really is an<br />

added value for the artists.”<br />

Charlotte Vandevyver<br />

“I th<strong>in</strong>k the right moment is always when<br />

somebody really wants to have feedback.”<br />

Jenny Beyer<br />

“I felt that the ma<strong>in</strong> feedback happens<br />

with<strong>in</strong> the performance. But what I liked<br />

very much is to share a research questi<strong>on</strong><br />

that was govern<strong>in</strong>g a piece or an artistic<br />

process with a group of people. …<br />

I address them as citizens, or as part of<br />

a public or as experts <strong>on</strong> someth<strong>in</strong>g and<br />

<strong>in</strong>volve them <strong>in</strong> the process of creat<strong>in</strong>g the<br />

piece or <strong>in</strong> other words <strong>in</strong>to the process of<br />

research, then produce the piece <strong>in</strong> a way<br />

as the outcome of the research.”<br />

Sibylle Peters

Jenny Beyer<br />

Public Warm Up & Cool Down Sessi<strong>on</strong><br />

14<br />

As part of “<strong>Feedback</strong> Lab goes Public” at Tanztage Berl<strong>in</strong><br />

Jenny Beyer led a physical feedback sessi<strong>on</strong> for the audience<br />

<strong>on</strong> the performance “Feel<strong>in</strong>g real” by Alexander<br />

Baczynski-Jenk<strong>in</strong>s. The sessi<strong>on</strong> c<strong>on</strong>sisted of a warm-up<br />

tak<strong>in</strong>g place before the show and a cool down after the<br />

show.<br />

The warm up started with guid<strong>in</strong>g the audience through<br />

a range of exercises: Firstly, simple walk<strong>in</strong>g through the<br />

space while sens<strong>in</strong>g your body, the room and the group.<br />

Then shift<strong>in</strong>g the attenti<strong>on</strong> toward the eyes and visi<strong>on</strong>.<br />

Work<strong>in</strong>g with eyes closed, and then imag<strong>in</strong>e the eyes<br />

functi<strong>on</strong><strong>in</strong>g like a camera; f<strong>in</strong>d<strong>in</strong>g a focus, zoom<strong>in</strong>g <strong>in</strong>,<br />

out and creat<strong>in</strong>g a frame. After that with listen<strong>in</strong>g, keep<strong>in</strong>g<br />

your ears firmly covered then lett<strong>in</strong>g go and open<strong>in</strong>g<br />

them with the attenti<strong>on</strong> towards sounds, and noises<br />

near and far. In end<strong>in</strong>g the sessi<strong>on</strong> a two m<strong>in</strong>ute automatic<br />

writ<strong>in</strong>g task was proposed based <strong>on</strong> imag<strong>in</strong><strong>in</strong>g<br />

what the upcom<strong>in</strong>g performance would be like: start<strong>in</strong>g<br />

with “I imag<strong>in</strong>e...” From this text everybody then chose<br />

two sentences to write <strong>on</strong> a postcard and to read it out<br />

aloud. These sentences were then collected and given to<br />

the artist.

15<br />

In the Cool Down sessi<strong>on</strong> the audience was <strong>in</strong>vited to<br />

enter the stage and walk around <strong>in</strong> the space that had<br />

just been <strong>in</strong>habited for more than an hour by the performers.<br />

As a task every<strong>on</strong>e is <strong>in</strong>vited while walk<strong>in</strong>g to<br />

remember moments and places of the performance and<br />

at the same time to let movement evolve from the memory<br />

of the performance. This might lead to try<strong>in</strong>g the<br />

movement <strong>on</strong>eself or to let it res<strong>on</strong>ate <strong>in</strong> the body. Once<br />

more the audience triggered their own feedback with<br />

a two m<strong>in</strong>utes automatic writ<strong>in</strong>g task, now based <strong>on</strong> “I<br />

remember...” The postcards with the selected sentences<br />

were collected <strong>in</strong> an envelope and given to the artists/<br />

choreographer to take with them.<br />

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s &<br />

reflecti<strong>on</strong>s<br />

• The exercises before watch<strong>in</strong>g the performance<br />

serve all as a way to awaken and stimulate <strong>on</strong>es<br />

own senses and awareness <strong>in</strong> preparati<strong>on</strong> for the<br />

performance.<br />

• The exercises after watch<strong>in</strong>g the performance support<br />

reflect<strong>in</strong>g <strong>on</strong> it us<strong>in</strong>g senses and memory, <strong>in</strong>clud<strong>in</strong>g<br />

bodily memory.

S<strong>on</strong>ja Augart & Inge Koks<br />

“let’s talk about dance”<br />

16<br />

Dur<strong>in</strong>g the week before the lab S<strong>on</strong>ja Augart and Inge<br />

Koks prepared and tested four different feedback methods<br />

with the audience at Tanztage Berl<strong>in</strong>, either before<br />

or after the shows, or sometimes even both. In the<br />

role of facilitators, they talked to the artists first and together<br />

they decided which method to use also just for a<br />

feedback sessi<strong>on</strong> <strong>in</strong> regard to the work the artists would<br />

present. The artists who were then present <strong>in</strong> the feedback<br />

sessi<strong>on</strong>s could always ask clarify<strong>in</strong>g questi<strong>on</strong>s towards<br />

the end, however they could also just experience<br />

and take with them a different perspective and form of<br />

feedback material (text, words, images, listen<strong>in</strong>g to c<strong>on</strong>versati<strong>on</strong><br />

as third pers<strong>on</strong> and so <strong>on</strong>) other than a direct<br />

questi<strong>on</strong> & answer situati<strong>on</strong>.<br />

A summary of the 4 approaches:<br />

1. Mapp<strong>in</strong>g: After watch<strong>in</strong>g the performance the audience<br />

is <strong>in</strong>vited to enter <strong>in</strong>to a silent draw<strong>in</strong>g practice<br />

<strong>in</strong> resp<strong>on</strong>se to the work they have seen. The draw<strong>in</strong>gs<br />

are then all displayed and then a tour of the arranged<br />

draw<strong>in</strong>gs is <strong>in</strong>itiated. The audience discusses what they<br />

see and simultaneously shares their <strong>in</strong>itial <strong>in</strong>tenti<strong>on</strong>s of<br />

the draw<strong>in</strong>g itself. In additi<strong>on</strong> the artists were present<br />

and had the possibility to ask the audience questi<strong>on</strong>s for<br />

further clarificati<strong>on</strong>s.<br />

2. Physical Introducti<strong>on</strong>: this is a warm up which takes<br />

place before the performance. The audience is taught<br />

some movements related to the work or some dance<br />

phrases from the work <strong>in</strong> order to warm up the senses<br />

and offer a physical/bodily awareness <strong>in</strong> relati<strong>on</strong> to the<br />

piece the spectators are about to watch.<br />

After the show a talk takes place with the artists and audience<br />

based <strong>on</strong> the Liz Lerman feedback method (see<br />

also the chapter Bush Hartshorn: On Liz Lerman’s feedback<br />

method). To note, the after talk did not strictly fol-

low the method but offered a variati<strong>on</strong>: <strong>in</strong>stead of artist<br />

and <strong>in</strong>terviewer talk<strong>in</strong>g about the work the audience was<br />

immediately and actively engaged <strong>in</strong> the talk. They kept<br />

the structure of the method: first ask<strong>in</strong>g the audience<br />

members “what did you see, what did you f<strong>in</strong>d surpris<strong>in</strong>g<br />

or mov<strong>in</strong>g?” Then the artist addressed <strong>on</strong>e questi<strong>on</strong><br />

to the audience, the audience addressed an open questi<strong>on</strong><br />

to the artist, followed by the form<strong>in</strong>g of an op<strong>in</strong>i<strong>on</strong><br />

and ask<strong>in</strong>g the artist if she/he wanted to hear it.<br />

17<br />

3. Cha<strong>in</strong> Reacti<strong>on</strong>: this is a collective feedback<strong>in</strong>g method,<br />

which <strong>in</strong>itiates play<strong>in</strong>g a game with the audience<br />

similar to Ch<strong>in</strong>ese whispers but without whisper<strong>in</strong>g. One<br />

pers<strong>on</strong> tells her/his op<strong>in</strong>i<strong>on</strong> or experience <strong>on</strong> what she/<br />

he saw. The next pers<strong>on</strong> uses <strong>on</strong>e part of what was said<br />

to formulate her or his op<strong>in</strong>i<strong>on</strong> or experience. The artists<br />

present get an overview of different ideas about the<br />

work, without them hav<strong>in</strong>g to defend or expla<strong>in</strong> the work.<br />

The artists can later ask the people who participated for<br />

clarificati<strong>on</strong> of certa<strong>in</strong> statements.<br />

4. Associati<strong>on</strong>s: The audience is <strong>in</strong>vited to write down 10<br />

(associative) words <strong>on</strong> the work they have seen. Each<br />

pers<strong>on</strong> then reads her/his associati<strong>on</strong>s out. Follow<strong>in</strong>g<br />

that, there is the opti<strong>on</strong> to ask some<strong>on</strong>e to expla<strong>in</strong> her/<br />

his choice of words. This method can be a good base for<br />

further discussi<strong>on</strong>s about the work, when more moderati<strong>on</strong><br />

is utilised. The artists are present and can ask clarify<strong>in</strong>g<br />

questi<strong>on</strong>s. S<strong>in</strong>ce all audience members participate<br />

with a fairly easy assignment, <strong>in</strong>volvement is not ‘scary’<br />

and artists are not put <strong>in</strong> a difficult positi<strong>on</strong> to answer all<br />

k<strong>in</strong>ds of questi<strong>on</strong>s.

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s &<br />

reflecti<strong>on</strong>s<br />

• Positive reacti<strong>on</strong> to the set up is that artists can say<br />

themselves what method would most suit them as a<br />

way of feedback.<br />

18<br />

• The Liz Lerman based after-talk creates an atmosphere<br />

<strong>in</strong> which people are engag<strong>in</strong>g <strong>in</strong> a more fluid<br />

exchange, rather than be<strong>in</strong>g busy with the expertise<br />

and professi<strong>on</strong>alism of both maker and <strong>in</strong>terviewer.<br />

• It is important to <strong>in</strong>troduce the feedback method as<br />

well as possible, so the audiences understand it and<br />

can easily participate. In all tested methodologies it<br />

turned out that <strong>on</strong>e needs at least 45 – 60 m<strong>in</strong>utes.<br />

• The applied methodologies resulted <strong>in</strong> different<br />

talks than the usual after talk. Still it would be <strong>in</strong>terest<strong>in</strong>g<br />

to try out different ways of moderati<strong>on</strong> to<br />

see if a more thorough discussi<strong>on</strong> about the work<br />

or thematics <strong>in</strong> the work could be developed <strong>in</strong> the<br />

group, <strong>on</strong> the basis of the <strong>in</strong>formati<strong>on</strong> gathered by<br />

the different methodologies.<br />

• After apply<strong>in</strong>g all the methodologies and overview<strong>in</strong>g<br />

the outcomes, the questi<strong>on</strong> of why audiences<br />

would want to participate <strong>in</strong> such formats came to<br />

the fore. It is another k<strong>in</strong>d of <strong>in</strong>formati<strong>on</strong> participants<br />

get out of it, but less def<strong>in</strong>ed and very much<br />

based <strong>on</strong> the pers<strong>on</strong>’s own <strong>in</strong>volvement. Therefore it<br />

would be good to c<strong>on</strong>sider what <strong>on</strong>e wants to achieve<br />

with these methods (<strong>in</strong>formati<strong>on</strong> <strong>on</strong> the piece, exchange,<br />

feedback, c<strong>on</strong>necti<strong>on</strong> with the work or with<br />

theater/festival a.o.) and how to realize this more<br />

transparently.<br />

References<br />

Let’s Talk About Dance. <strong>Feedback</strong> Lab goes Public.<br />

www.sophiensaele.com/produkti<strong>on</strong>en.<br />


Which feedback methods have worked well for you and why?<br />

19<br />

“What has worked for me <strong>in</strong> feedback situati<strong>on</strong>s is to switch<br />

roles. So, where it is really the artists questi<strong>on</strong><strong>in</strong>g the audience,<br />

not like where the artist is <strong>in</strong> fr<strong>on</strong>t, this genius figure who has to<br />

expla<strong>in</strong> or argue why they took this or that decisi<strong>on</strong>, but rather<br />

the artist questi<strong>on</strong><strong>in</strong>g the audience.”<br />

Charlotte Vandevyver

Sheena McGrandles & Eva Meyer-Keller<br />

<strong>Feedback</strong> workshop with Festiwalla (political theatre with and for youth)<br />

20<br />

As part of the lab Sheena McGrandles and Eva Meyer-<br />

Keller <strong>in</strong>itiated a feedback workshop with Festiwalla, a<br />

youth theatre company based <strong>in</strong> Berl<strong>in</strong>. The workshop<br />

facilitated a space to exchange and discuss methods<br />

that each participant had encountered and practiced,<br />

through their work as an artist or as part of the group<br />

Festiwalla. As basis for this exchange they started with a<br />

method from Susan Rethorst, adopted by Eva Meyer-Keller<br />

(see publicati<strong>on</strong> of 1st editi<strong>on</strong> of feedback lab, 2014).<br />

This particular method allowed each of the participants<br />

to adopt various roles of maker, feedback giver and feedback<br />

receiver. From the experience and reflecti<strong>on</strong> of this<br />

method, the group shared further approaches to feedback,<br />

which were actively practiced <strong>in</strong> the theatre work<br />

of Festiwalla, such as “titles to scenes”. This <strong>in</strong>volved<br />

identify<strong>in</strong>g scenes <strong>in</strong> the work and then apply<strong>in</strong>g titles<br />

to them.<br />

As a method Sheena McGrandles and Eva Meyer-Keller<br />

used creative visual feedback approaches with the Festiwalla<br />

group to trigger a feedback exchange. Based<br />

<strong>on</strong> the methods shared the workshop group developed<br />

a feedback method and gave feedback <strong>on</strong> Noha<br />

Ramadan’s performance by work<strong>in</strong>g with the follow<strong>in</strong>g<br />

format:<br />

1. Def<strong>in</strong>e scenes <strong>in</strong> the work and give them titles (i.e “Im<br />

pact”, “A shot for every death”)<br />

2. Share an exist<strong>in</strong>g image that relates to work<br />

3. Give descriptive feedback, “I saw…”<br />

4 . Questi<strong>on</strong>s from the artist to feedback givers

Two young artists from Festiwalla then jo<strong>in</strong>ed the laboratory<br />

to share their visi<strong>on</strong>s and work. As a ma<strong>in</strong> belief<br />

and c<strong>on</strong>cern <strong>in</strong> the youth producti<strong>on</strong>s of Festiwalla they<br />

specifically menti<strong>on</strong>ed the triangle of racism, sexism and<br />

capitalism: if you want to fight <strong>on</strong>e, you have to fight all<br />

three.<br />


Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• Do visual feedback approaches help enhance feedback<br />

exchange with teenagers and kids?<br />

22<br />

• Interest<strong>in</strong>g to <strong>in</strong>vent feedback methods from already<br />

exist<strong>in</strong>g <strong>on</strong>es, cut and copy approaches to suit the process<br />

and format.<br />

• For an artist it was <strong>in</strong>sightful to see a range of images<br />

that the work had c<strong>on</strong>jured <strong>in</strong> others, which also offered<br />

another field of references and associati<strong>on</strong>s that sat<br />

outside of language.<br />

References<br />

Festiwalla: www.grenzen-los.eu/festiwalla<br />

Susan Rethorst: www.vimeo.com/user3138418 and<br />

“A Choreographic M<strong>in</strong>d: Autobodygraphical Writ<strong>in</strong>gs“<br />

(2012)<br />

Noha Ramadan: www.noha.emerald-organ.net/<br />

How would you like feedback culture to develop?<br />

“I th<strong>in</strong>k the really important elements are to be very clear about<br />

what you are us<strong>in</strong>g this tool of audience feedback for. So is it<br />

to <strong>in</strong>crease the competence of your audience, is it to expand<br />

your audience, is it to br<strong>in</strong>g the artist <strong>in</strong>to account, to stand up<br />

and be accountable for what they have d<strong>on</strong>e, is that what we<br />

are try<strong>in</strong>g to do? Are you want<strong>in</strong>g to help the artist clarify their<br />

communicati<strong>on</strong>? Who is the feedback for? Is it for the artist or<br />

for the public?”<br />

Bush Hartshorn

Ana Vujanović<br />

Lecture: <strong>Feedback</strong> Practices and the Public Sphere<br />

In Ana Vujanović’s reflective theoretical c<strong>on</strong>tributi<strong>on</strong> she<br />

proposed to discuss the phenomen<strong>on</strong> of public feedback<br />

with the political agenda of democracy. Her presentati<strong>on</strong><br />

circled around the noti<strong>on</strong> of creat<strong>in</strong>g a public sphere, as<br />

an imag<strong>in</strong>ed aim, as well as a hypothetical premise of the<br />

“feedback culture”. The talk <strong>in</strong>troduced the historical beg<strong>in</strong>n<strong>in</strong>gs<br />

and phenomen<strong>on</strong> of public feedback culture <strong>in</strong><br />

the early bourgeois society <strong>in</strong> the middle of the 18th century,<br />

when freedom of op<strong>in</strong>i<strong>on</strong> and speech were <strong>in</strong>troduced<br />

<strong>in</strong>to society. Here Ana Vujanović gave the example of the<br />

coffee house culture <strong>in</strong> the 18th century and described its<br />

discussi<strong>on</strong>s as <strong>on</strong>es without knowledge or legal rights of<br />

the <strong>on</strong>es participat<strong>in</strong>g <strong>in</strong> them, and that the nature of these<br />

talks was often <strong>in</strong>sult<strong>in</strong>g. Art and the discussi<strong>on</strong>s about<br />

the artworks str<strong>on</strong>gly <strong>in</strong>fluenced the shap<strong>in</strong>g of the public<br />

sphere and the way early modern society developed. Nowadays,<br />

with its different groups of people (publics) and<br />

the democratizati<strong>on</strong> of society the public sphere is less<br />

homogeneous. Artists receiv<strong>in</strong>g feedback are somewhat<br />

<strong>in</strong> a vulnerable and fragile situati<strong>on</strong>. In this regard Ana<br />

Vujanović po<strong>in</strong>ted out an ethical problem of two different<br />

situati<strong>on</strong>s where feedback is applied: The field of educati<strong>on</strong><br />

where students or young artists are supported <strong>in</strong> their<br />

development, and the field of artists that already make public<br />

work and c<strong>on</strong>sciously put themselves out there.<br />

23<br />

Ana Vujanović menti<strong>on</strong>ed that artists are c<strong>on</strong>stantly exposed<br />

to many different op<strong>in</strong>i<strong>on</strong>s about what they should do<br />

<strong>in</strong> and with their work. In regards to feedback, what does<br />

the artist choose to take <strong>on</strong>-board and listen to? The audience,<br />

<strong>on</strong> the other hand, is try<strong>in</strong>g to understand what<br />

the artist wants to say. Instead of answer<strong>in</strong>g the questi<strong>on</strong><br />

of how and why to <strong>in</strong>volve audience <strong>in</strong> a feedback sessi<strong>on</strong>,<br />

Ana Vujanović asks: Do we need authors <strong>in</strong>volved? This comes<br />

from <strong>on</strong>e of her ma<strong>in</strong> questi<strong>on</strong>s: What do we resp<strong>on</strong>d<br />

to when giv<strong>in</strong>g feedback: to the artist or to the artwork?

24<br />

As an example for feedback discussi<strong>on</strong>s where the artist<br />

is not present, to tra<strong>in</strong> the artist and the audience<br />

as the public, Ana Vujanović menti<strong>on</strong>s the project of<br />

TkH (Walk<strong>in</strong>g Theory) collective called illegal_c<strong>in</strong>ema<br />

(Belgrade/Paris/Bilbao). In the Parisian editi<strong>on</strong>, the<br />

author was forbidden to be present at the discussi<strong>on</strong><br />

after her/his film screen<strong>in</strong>g, <strong>in</strong> order to avoid that<br />

she/he is c<strong>on</strong>sidered as the ma<strong>in</strong> or <strong>on</strong>ly source of<br />

knowledge <strong>in</strong> regards to the artwork. On the noti<strong>on</strong><br />

of op<strong>in</strong>i<strong>on</strong> and judgement she quoted from Criticism<br />

& Percepti<strong>on</strong> by John Dewey (2005): “Judgement is<br />

an act of <strong>in</strong>telligence performed <strong>on</strong> percepti<strong>on</strong> for<br />

the purpose of more adequate percepti<strong>on</strong>”. She also<br />

po<strong>in</strong>ted out that there is a difference <strong>in</strong> juridical judgement<br />

and a statement of resp<strong>on</strong>se (impressi<strong>on</strong>ist<br />

critic). From that Ana c<strong>on</strong>cludes that we can h<strong>on</strong>e<br />

impressi<strong>on</strong>s and develop critical th<strong>in</strong>k<strong>in</strong>g through<br />

discussi<strong>on</strong>, that <strong>in</strong> the l<strong>on</strong>g run artists should not be<br />

excluded from public feedback but be seen as equal<br />

citizens, and that she c<strong>on</strong>siders creat<strong>in</strong>g feedback<br />

encounters as cultural activism or theoretical activism,<br />

not as social work.

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• To re-th<strong>in</strong>k the social status of the artist <strong>in</strong> modern<br />

western society: the artist as a genius or pupil be<strong>in</strong>g<br />

<strong>in</strong> a weak/vulnerable situati<strong>on</strong> <strong>in</strong> fr<strong>on</strong>t of the audience,<br />

or the artist as the maker of the work, be<strong>in</strong>g<br />

seen as the ma<strong>in</strong> source of knowledge<br />

• By exclud<strong>in</strong>g the (role of) artist from the feedback<br />

talk, we can tra<strong>in</strong> the public and audience to be a<br />

public. Instead <strong>in</strong>clude the artist as an equal citizen<br />

who takes part <strong>in</strong> the public debate.<br />

25<br />

• How can we sharpen our impressi<strong>on</strong>s through discussi<strong>on</strong>s?<br />

• In the development of the public sphere it is important<br />

that citizens take part <strong>in</strong> a public discussi<strong>on</strong><br />

even if they “dislike” an art work.<br />

• An issue of free speech and social c<strong>on</strong>sciousness: If<br />

I want to criticize severely, does the artist as a pers<strong>on</strong><br />

get <strong>in</strong>sulted? So how can we achieve a situati<strong>on</strong><br />

where we freely discuss art works without <strong>in</strong>sult<strong>in</strong>g<br />

people around us?<br />

• It allows the feedback giver to affirm, deny but also<br />

to transform or specify previous statements made<br />

by others.<br />

References<br />

illegal_c<strong>in</strong>ema. Belgrade/Paris: www.leslaboratoires.<br />

org/en/article/illegalc<strong>in</strong>ema-story<br />

Walk<strong>in</strong>g Theory series of public critiques <strong>in</strong> Belgrade:<br />

www.tkh-generator.net<br />

John Dewey, “Criticism and Percepti<strong>on</strong>” <strong>in</strong> Art as Experience,<br />

Perigee Books: 2005

26<br />

“What I liked a lot about the Illegal C<strong>in</strong>ema is the attempt<br />

to <strong>in</strong>clude different, not so apparent ‘audiences’<br />

participat<strong>in</strong>g <strong>in</strong> the debates about the work. The c<strong>on</strong>structi<strong>on</strong><br />

of an accessible feedback/debat<strong>in</strong>g structure<br />

helps people to engage. It is for me another way of<br />

feedback<strong>in</strong>g, <strong>in</strong> which people express their experiences<br />

and appreciati<strong>on</strong> of the already exist<strong>in</strong>g art work,<br />

giv<strong>in</strong>g artists the possibility to understand how people<br />

perceive it and what people f<strong>in</strong>d important and actual<br />

<strong>in</strong> their lives. It could help them <strong>in</strong> the creati<strong>on</strong> of future<br />

works, their positi<strong>on</strong> as artists and the impact of<br />

art works.”<br />

Inge Koks

Sibylle Peters<br />

Lecture: The Art of Measur<strong>in</strong>g<br />

Sibylle Peters <strong>in</strong>troduced a research project completed<br />

by the Theatre of Research Hamburg and through this<br />

shared her ma<strong>in</strong> questi<strong>on</strong> of <strong>in</strong>terest: Can artistic processes<br />

be designed as feedback-loops for social systems?<br />

She listed examples of exist<strong>in</strong>g feedback systems such<br />

as the GNP (Gross Nati<strong>on</strong>al Product) governmental and<br />

political feedback systems (e.g. statistics) and po<strong>in</strong>ted<br />

out the f<strong>in</strong>ancial crisis as proof that those feedback systems<br />

do not really work as a means of measurement.<br />

The Art of Measur<strong>in</strong>g is based <strong>on</strong> measurement as feedback<br />

and measurement of well-be<strong>in</strong>g.<br />

27<br />

The project is based <strong>on</strong> an earlier piece about time measurement<br />

as a basic social feedback loop, that took<br />

place <strong>in</strong> schools, as our social practice with time is established<br />

throughout childhood and youth <strong>in</strong> the c<strong>on</strong>text<br />

of schools (e.g. you learn to do someth<strong>in</strong>g now, so you<br />

can do someth<strong>in</strong>g else later).<br />

In general children are measured a lot and learn to measure<br />

a lot. What they do not learn, and actually citizens<br />

<strong>in</strong> general d<strong>on</strong>’t, is how to <strong>in</strong>vent a new way or device<br />

of measur<strong>in</strong>g. At the same time the desire to <strong>in</strong>vent, <strong>on</strong><br />

the other hand, is someth<strong>in</strong>g that, Sibylle Peters stated,<br />

children, artists and scientists have <strong>in</strong> comm<strong>on</strong>. So, the<br />

Theatre of Research founded the Society for the Inventi<strong>on</strong><br />

of Measur<strong>in</strong>g Devices, a research group c<strong>on</strong>sist<strong>in</strong>g<br />

of children, artists and scientists who <strong>in</strong>vented ways to<br />

measure their well-be<strong>in</strong>g together. In measur<strong>in</strong>g wellbe<strong>in</strong>g<br />

the possibilities, opportunities and choices people<br />

have are as important as material standards. So, how to<br />

measure them?

28<br />

In additi<strong>on</strong> Sibylle Peters identified the “problem of evaluat<strong>in</strong>g<br />

art” as opposed to science and why this is important<br />

especially for those who make art and cultural work:<br />

all science is based <strong>on</strong> measurements, therefore we can<br />

calculate, analyse and accurately measure its value and<br />

thus feedback and report <strong>on</strong> it. In oppositi<strong>on</strong> to this, Sibylle<br />

Peters stated, we assume that there is someth<strong>in</strong>g<br />

“unmeasurable” about art, its quality – the very idea of<br />

measur<strong>in</strong>g the arts is abhorrent to many. This situati<strong>on</strong>,<br />

however, creates the problem that the def<strong>in</strong>iti<strong>on</strong> and value<br />

of art is placed below science, if it comes to evaluat<strong>in</strong>g<br />

an impact <strong>on</strong> society. As artists, she added, we need<br />

special skills for this as <strong>in</strong> reality we have to be able to<br />

evaluate our artistic work. For reas<strong>on</strong>s of writ<strong>in</strong>g reports,<br />

submitt<strong>in</strong>g applicati<strong>on</strong>s for fund<strong>in</strong>g and so <strong>on</strong>, and <strong>on</strong> a<br />

cultural level we need it to better understand the impact<br />

of art <strong>on</strong> c<strong>on</strong>temporary society.<br />

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• <strong>Artistic</strong> <strong>in</strong>terventi<strong>on</strong> (<strong>in</strong> schools) as feedback from<br />

children<br />

References<br />

Theatre of Research Hamburg/ K<strong>in</strong>derbank project:<br />

www.k<strong>in</strong>derbank-hamburg.de/K<strong>in</strong>derbank/Home.html<br />

Cybernetic <strong>Feedback</strong><strong>in</strong>g: https://en.wikipedia.org/wiki/<br />

Cybernetics<br />

PTB - The Nati<strong>on</strong>al Metrology Institute of Germany: www.<br />

ptb.de<br />

First daily german newspaper as example for feedback<strong>in</strong>g<br />

th<strong>in</strong>gs <strong>in</strong>to urban society:<br />


Eva Meyer-Keller<br />

Past Works to Present – a process of giv<strong>in</strong>g feedback to <strong>on</strong>eself<br />

Eva Meyer-Keller’s c<strong>on</strong>tributi<strong>on</strong> was based <strong>on</strong> a self-reflecti<strong>on</strong><br />

as an artist. Some time ago she started to go<br />

through her archive, clean up, digitalise files, “an attempt<br />

to get c<strong>on</strong>trol”. This made her look back <strong>on</strong> her<br />

own history, what she has been <strong>in</strong>terested <strong>in</strong>, identify<strong>in</strong>g<br />

topics, questi<strong>on</strong>s, ways of work<strong>in</strong>g, forms, formats and<br />

how they were/are c<strong>on</strong>nected or not.<br />

She <strong>in</strong>vited the group to look at her past, and artistic trajectory<br />

s<strong>in</strong>ce the beg<strong>in</strong>n<strong>in</strong>g of her performance work <strong>in</strong><br />

1995. Sitt<strong>in</strong>g at a desk <strong>in</strong> fr<strong>on</strong>t of an overhead projector,<br />

she started by stat<strong>in</strong>g that she is here pos<strong>in</strong>g questi<strong>on</strong>s<br />

without answers. Eva Meyer-Keller was curious if this experiment<br />

holds a valuable discovery from this past for<br />

her future. She added that for her there is always a possibility<br />

of embarrassment when shar<strong>in</strong>g the private self<br />

with the public and that this is also part of be<strong>in</strong>g c<strong>on</strong>fr<strong>on</strong>ted<br />

with public feedback.<br />

29<br />

On a big screen we saw various Polaroid® photographs<br />

from several of Eva Meyer-Keller’s works, self portraits<br />

and group c<strong>on</strong>stellati<strong>on</strong>s, private moments as well as<br />

questi<strong>on</strong>s and topics written <strong>on</strong> post-its. We hopped and<br />

scaned through the earlier body of her works, and thus it<br />

seems that this presentati<strong>on</strong> created a feedback image<br />

about Eva Meyer-Kellers work, with its own rhythm and<br />


Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• It is <strong>in</strong>terest<strong>in</strong>g to th<strong>in</strong>k how the pers<strong>on</strong>al archive<br />

can help <strong>on</strong>eself to create feedback <strong>on</strong> past works,<br />

serv<strong>in</strong>g to further th<strong>in</strong>k about the future.<br />

30<br />

• The way an archive ‘speaks’ to <strong>on</strong>eself and/or<br />

others is also dependent <strong>on</strong> the materials you can<br />

f<strong>in</strong>d <strong>in</strong> the archive. This touches <strong>on</strong> the issue how<br />

artistic processes are documented, for which purposes.<br />

How could you c<strong>on</strong>ceive and practice documentati<strong>on</strong><br />

as an <strong>on</strong>-go<strong>in</strong>g feedback tool as part of<br />

the artistic process?<br />

References<br />

www.evamk.de<br />

What is your experience <strong>in</strong> c<strong>on</strong>duct<strong>in</strong>g feedback formats<br />

for the public?<br />

“So we d<strong>on</strong>´t usually do after show talks but rather <strong>in</strong>troducti<strong>on</strong>s<br />

and we have <strong>in</strong>formal meet<strong>in</strong>gs at the bar after<br />

the performance. We want to br<strong>in</strong>g people <strong>in</strong>to dialogue<br />

with each other and with us, the Tanzscout team. We are<br />

also offer<strong>in</strong>g some <strong>in</strong>formati<strong>on</strong> <strong>on</strong> the work but very little<br />

so we d<strong>on</strong>´t give a lecture nor do we want to give a dist<strong>in</strong>ct<br />

image of the work. So we d<strong>on</strong>´t say, this is what you<br />

have to see, this is the <strong>in</strong>terpretati<strong>on</strong>.”<br />

Angela Mayer-Deutsch

Jenny Beyer<br />

“Ich möchte dich zu mir <strong>in</strong>s Studio e<strong>in</strong>laden”<br />

Jenny Beyer presented her current dance project “Liebe”<br />

and the <strong>in</strong>itiative “Ich möchte dich gerne zu mir <strong>in</strong>s<br />

Studio e<strong>in</strong>laden”. The new work deals with possibilities<br />

of proximity and touch between spectators and artists.<br />

With a series of OPEN STUDIOS she <strong>in</strong>vited the public<br />

(means also: potential audience members) to jo<strong>in</strong> the<br />

rehearsal process, witness her artistic practice and c<strong>on</strong>tribute<br />

to/affect the creati<strong>on</strong> process. The idea is that<br />

the work is made transparent and developed <strong>in</strong> collaborati<strong>on</strong><br />

with audience.<br />

31<br />

The <strong>in</strong>vitati<strong>on</strong> is usually pers<strong>on</strong>al – either Jenny Beyer<br />

sends a postcard “I would like to <strong>in</strong>vite you to my studio”<br />

or an email to some<strong>on</strong>e she wants to <strong>in</strong>vite. The studio rehearsals,<br />

which are open regularly, have been followed<br />

by a c<strong>on</strong>sistent group of people.

32<br />

This has created proximity, physically as well as <strong>in</strong> terms<br />

of gett<strong>in</strong>g to know people. Jenny Beyer gives an example<br />

from <strong>on</strong>e of the sessi<strong>on</strong>s: Chris Leuenberger, <strong>on</strong>e of the<br />

performers, is danc<strong>in</strong>g with his eyes closed. The visitors<br />

could decide how close they want to come to him, just<br />

watch him or even touch him. So, the usual performeraudience<br />

relati<strong>on</strong> is transformed, <strong>in</strong>stead of the performer<br />

com<strong>in</strong>g close to the audience the audience could<br />

come closer to the performer.<br />

The OPEN STUDIOS is part of the l<strong>on</strong>g term project<br />

ZOOM that Jenny Beyer develops dur<strong>in</strong>g her c<strong>on</strong>cepti<strong>on</strong><br />

fund<strong>in</strong>g from the Hamburg Department of Culture from<br />

2014/15 till seas<strong>on</strong> 2016/17 approach<strong>in</strong>g the topic of<br />

recepti<strong>on</strong> and sensual percepti<strong>on</strong> of dance.<br />

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• To what extent can the presence of spectators and<br />

the way they <strong>in</strong>form and affect the artistic process<br />

can be regarded as a feedback practice?<br />

• What k<strong>in</strong>d of relati<strong>on</strong> between artistic process and<br />

feedback is <strong>in</strong> place here?<br />

References<br />



Charlotte Vandevyver<br />

Experience “work <strong>in</strong> progress” feedback & Group collecti<strong>on</strong> of feedback<br />

<strong>in</strong>itiatives<br />

33<br />

In her c<strong>on</strong>tributi<strong>on</strong> Charlotte Vandevyver reflected <strong>on</strong><br />

her previous experiences with “work <strong>in</strong> progress” feedback<br />

at Workspace Brussels and <strong>in</strong>vites the lab participants<br />

to collect and map out exist<strong>in</strong>g <strong>in</strong>itiatives and<br />

places support<strong>in</strong>g feedback culture.<br />

Charlotte Vandevyver started with an associati<strong>on</strong> game,<br />

applied with test audiences at Workspace Brussels, for<br />

warm<strong>in</strong>g up the participants playfully: e.g. place an object<br />

<strong>in</strong> the middle of the circle (or imag<strong>in</strong>e the seen work<br />

as the object <strong>in</strong> the middle) and everybody throws <strong>in</strong> an<br />

associative word go<strong>in</strong>g round the circle several times.<br />

You could do the same game, every<strong>on</strong>e writ<strong>in</strong>g 3 associative<br />

words, and then organis<strong>in</strong>g them <strong>on</strong> a big board.<br />

It helps to break the ice first and start the c<strong>on</strong>versati<strong>on</strong>.<br />

The applied method at Workspace Brussels has been the<br />

DASarts method, and Charlotte Vandevyver po<strong>in</strong>ted out<br />

that it is important to know the method well <strong>in</strong> order to<br />

make use of it.<br />

As most feedback tools come from educati<strong>on</strong>al practices,<br />

she added that it might not be so easy to apply them to<br />

public c<strong>on</strong>texts. Charlotte Vandevyver suggested that<br />

we need to th<strong>in</strong>k more about dist<strong>in</strong>guish<strong>in</strong>g methods.<br />

How can we apply different approaches to feedback<br />

depend<strong>in</strong>g <strong>on</strong> the c<strong>on</strong>text, and whom it addresses, such<br />

as school/educati<strong>on</strong>, artistic creati<strong>on</strong> processes/work <strong>in</strong><br />

progress, f<strong>in</strong>ished works and so <strong>on</strong>.

Group collecti<strong>on</strong> of feedback <strong>in</strong>itiatives<br />

34<br />

• Compañeros (Buda Arts Center Kortryk): www.budakortrijk.<br />

be<br />

• Wisper: courses for amateurs 18+; collaborati<strong>on</strong> with Stuk<br />

Leuven: http://www.wisper.be<br />

• Nordpulse Hamburg (backstage experiences): www.hamburg-tourism.de/sehenswertes/kultur-<strong>in</strong>-hamburg/backstage/<br />

• Freie Volksbühne (Charlottenburg, Berl<strong>in</strong>): www.lustaufkultur.de/<br />

• Meet<strong>in</strong>g Choreographers / K3 Hamburg (course parallel to a<br />

piece): www.k3-hamburg.de<br />

• Mezze Talks/ Het Veem Theater: www.hetveemtheater.nl<br />

• X-factor Kampnagel (bl<strong>in</strong>d date): www.kampnagel.de/de/<br />

programm/xfaktor/<br />

• Frascati / 3h even<strong>in</strong>g programme (moderati<strong>on</strong>: estafette):<br />

www.frascatitheater.nl<br />

• C<strong>on</strong>versati<strong>on</strong> kitchen (Copenhagen): www.nikolajkunsthal.<br />

dk<br />

• De Zendel<strong>in</strong>gen (Antwerp): www.facebook.com/zendel<strong>in</strong>gen<br />

• Incubate: www.<strong>in</strong>cubate.org<br />

• The Fieldwork method: www.thefield.org<br />

• Kitchen Talk HZT ( 2 people from different fields com<strong>in</strong>g <strong>in</strong>):<br />

www.hzt-berl<strong>in</strong>.de<br />

• C<strong>on</strong>temporary Arts Alliance (Berl<strong>in</strong>) witness<strong>in</strong>g resp<strong>on</strong>se of<br />

artists: www.caa-berl<strong>in</strong>.org<br />

• Tanzscout: dialogue between company: www.tanzscoutberl<strong>in</strong>.de<br />

• Mobile Academy Model (<strong>on</strong>e table for each member of a<br />

group): www.mobileacademy-berl<strong>in</strong>.com<br />

• Blog Culture<br />

• <strong>Feedback</strong> of clapp<strong>in</strong>g (“cluckers“)<br />

• Le Patr<strong>on</strong> (try-out system: n<strong>on</strong> artist commissi<strong>on</strong> & work, com<strong>in</strong>g<br />

from communities)

Additi<strong>on</strong>al<br />

c<strong>on</strong>siderati<strong>on</strong>s and<br />

reflecti<strong>on</strong>s<br />

• It seems important to test different feedback<br />

methods for public c<strong>on</strong>texts over a l<strong>on</strong>ger<br />

period of time, as most of the established<br />

<strong>on</strong>es come from an educati<strong>on</strong>al practice.<br />

• Art <strong>in</strong>itiatives that br<strong>in</strong>g together and spread<br />

out to family, friends and neighbours, the<br />

sort of smaller community next to the established<br />

art audience and the wider public.<br />

35<br />

References<br />

Workspace Brussels: www.workspacebrussels.be<br />

DASArts feedback method: http://www.ahk.nl/en/<br />


Round Table Discussi<strong>on</strong>, Reflecti<strong>on</strong> <strong>on</strong> <strong>Feedback</strong> Lab goes Public,<br />

Observati<strong>on</strong>s<br />

36<br />

On the f<strong>in</strong>al day the three “observers” shared their<br />

thoughts as witnesses of the weekend, lead<strong>in</strong>g to a f<strong>in</strong>al<br />

round table discussi<strong>on</strong>, below are some questi<strong>on</strong>s and<br />

thoughts that emerged from the dialogues and observati<strong>on</strong>s.<br />

<strong>Feedback</strong> and Publics<br />

How can we further understand feedback procedures to<br />

offer the chance to generate public discourse, and shape<br />

the public sphere as part of democratic processes?<br />

As art is often funded through public m<strong>on</strong>ey, to what<br />

extent does or should the audience have the right to <strong>in</strong>tervene?<br />

And what resp<strong>on</strong>sibility should the artist carry?<br />

Why would the audience be motivated to participate <strong>in</strong><br />

a public feedback sessi<strong>on</strong>? Is there a value of be<strong>in</strong>g able<br />

to communicate critique without becom<strong>in</strong>g pers<strong>on</strong>al? As<br />

an audience member do we want to do this to help the<br />

artist? Or does the participati<strong>on</strong> <strong>in</strong> feedback sessi<strong>on</strong>s<br />

allow the audience to cultivate and articulate an own<br />

percepti<strong>on</strong> of the work?<br />

More than verbal feedback<br />

What other ways are there than verbal feedback? And<br />

how can they be useful? Could we experiment more with<br />

other forms of communicati<strong>on</strong>? What c<strong>on</strong>texts can we<br />

apply this to and how can we make n<strong>on</strong>-verbal feedback<br />

sharable? Can we actively practice methods of feedback<br />

<strong>on</strong> artistic processes through draw<strong>in</strong>g, images,<br />

us<strong>in</strong>g your body, games and so <strong>on</strong>?<br />

<strong>Feedback</strong> can cultivate percepti<strong>on</strong> and democratic processes<br />

but also the questi<strong>on</strong> comes up if there aren’t<br />

some artists who do not need or want feedback as they<br />

get feedback through what they do directly (e.g. Wiener<br />


F<strong>in</strong>al Remarks<br />

The term feedback is very broad and <strong>in</strong> general it seems<br />

to be desirable <strong>in</strong> terms of ‘best practice’ to achieve<br />

transparency, what seems to be important is to dist<strong>in</strong>guish:<br />

37<br />

• Who is the <strong>in</strong>itiator?<br />

• What is the agenda beh<strong>in</strong>d it?<br />

• What is the c<strong>on</strong>text (educati<strong>on</strong>, rehearsal process/<br />

studio, theatre programme/festival etc.).<br />

• How important is the practice of diverse feedback<br />

methods (to experience different roles, e.g everybody<br />

gives and receives feedback).<br />


38<br />

Short Biographies

S<strong>on</strong>ja Augart<br />

S<strong>on</strong>ja works as an <strong>in</strong>dependent artist, performer, dramaturge and curator.<br />

After f<strong>in</strong>ish<strong>in</strong>g her studies <strong>in</strong> the Netherlands she made different works, which c<strong>on</strong>ta<strong>in</strong>ed<br />

site-specific work, choreography for theatre and time-related performances.<br />

As a curator she worked for Theatre Frascati Amsterdam (Someth<strong>in</strong>g Raw Festival)<br />

and the Incubate Festival Tilburg. Beside her own work, S<strong>on</strong>ja Augart performed<br />

with Jerôme Bél, Forced Enterta<strong>in</strong>ment, Fréderic Flamand, Vivienne Newport and<br />

collaborated with Jasna L. V<strong>in</strong>ovrski (Public <strong>in</strong> Private). In 2003 she established<br />

FRAGMENTA, an associati<strong>on</strong> for the support/ producti<strong>on</strong> of dance related projects.<br />

At the moment she develops the radio program ‘Choreographic Radio’ and s<strong>in</strong>ce<br />

2015 she is vice chairman of the associati<strong>on</strong> ZTB Berl<strong>in</strong> (c<strong>on</strong>temporary dance berl<strong>in</strong><br />

associati<strong>on</strong>). www.fragmenta.nl<br />

.<br />

39<br />

Jenny Beyer<br />

Jenny studied at the Hamburg Ballet School and the Rotterdamse Dansacademie.<br />

In 2007 she was a resident choreographer at K3 – Centre for Choreography/<br />

Danceplan Hamburg. Her works tour <strong>in</strong>ternati<strong>on</strong>ally (Spr<strong>in</strong>g Dance Festival <strong>in</strong> Utrecht<br />

and at the ImPulsTanz Festival <strong>in</strong> Vienna, am<strong>on</strong>g others). She is the co-founder<br />

of the Sweet & Tender Collaborati<strong>on</strong>s artist <strong>in</strong>itiative. In the seas<strong>on</strong>s 2014/15-<br />

2016/17 she receives the c<strong>on</strong>cepti<strong>on</strong> fund<strong>in</strong>g of the Hamburg Department of<br />

Culture. The trilogy that she will produce at Kampnagel Hamburg <strong>in</strong> the c<strong>on</strong>text<br />

of this fund<strong>in</strong>g focus <strong>on</strong> different aspects of the relati<strong>on</strong> between audience and<br />

dance: LIEBE (2015) possibilities of proximity, GLAS (2016) recepti<strong>on</strong> and FLUSS<br />

(WT, 2017) participati<strong>on</strong>. Dur<strong>in</strong>g this l<strong>on</strong>g term project she <strong>in</strong>troduces a new form<br />

of public rehearsals: In a series of OPEN STUDIOS audience is <strong>in</strong>vited to witness<br />

and jo<strong>in</strong> rehearsal processes. The choreographies are developed <strong>in</strong> c<strong>on</strong>t<strong>in</strong>uous dialogue<br />

with potential audience members. www.jennybeyer.de

Joseph<strong>in</strong>e F<strong>in</strong>deisen<br />

40<br />

Born <strong>in</strong> 1990, Joseph<strong>in</strong>e studied at the Nati<strong>on</strong>al Circus School of Tunisia and ‘Interdiscipl<strong>in</strong>ary<br />

Arts’ at the Academy of F<strong>in</strong>e Arts and Design, Maastricht. Her artistic<br />

practice, <strong>in</strong>fluenced by visual and perform<strong>in</strong>g arts, <strong>in</strong>vestigates the bodies physicality<br />

and other materials. She does this <strong>in</strong> order to questi<strong>on</strong> the way memory, history<br />

and knowledge is c<strong>on</strong>structed and embodied/materialised <strong>in</strong> a society. S<strong>in</strong>ce<br />

2013 she studies ‘Dance, C<strong>on</strong>text, Choreography’ at Hochschulübergreifendes<br />

Zentrum Tanz Berl<strong>in</strong>.<br />

Nik Haffner<br />

As dancer and choreographer Nik Haffner is <strong>in</strong>volved <strong>in</strong> projects that he often develops<br />

together with collaborators, am<strong>on</strong>gst others with dance artists Christ<strong>in</strong>a Ciupke<br />

and Mart Kangro. This <strong>in</strong>terest has also led to collaborati<strong>on</strong>s and educati<strong>on</strong>al<br />

projects with artists from different discipl<strong>in</strong>es. S<strong>in</strong>ce 2008 he has been teach<strong>in</strong>g at<br />

HZT - Interuniversity Centre for Dance Berl<strong>in</strong>. In 2012 he has been appo<strong>in</strong>ted <strong>Artistic</strong><br />

Director of the HZT Berl<strong>in</strong>. 1994 until 2000 he was danc<strong>in</strong>g <strong>in</strong> William Forsythe<br />

company Ballet Frankfurt. Dur<strong>in</strong>g this time he co-developed the media-publicati<strong>on</strong><br />

„Improvisati<strong>on</strong> Technologies“ <strong>in</strong> cooperati<strong>on</strong> with ZKM, Centre for Art and Media<br />

Technology <strong>in</strong> Karlsruhe. In 2011-13 he worked together with the choreographers<br />

J<strong>on</strong>athan Burrows and Matteo Fargi<strong>on</strong> <strong>on</strong> their <strong>on</strong>l<strong>in</strong>e score „Seven Duets“ as part<br />

of the web-publicati<strong>on</strong> Moti<strong>on</strong>Bank.org.<br />

Bush Hartshorn<br />

Until January 2015 Bush was the <strong>Artistic</strong> Director of Dansehallerne <strong>in</strong> Copenhagen<br />

Denmark. Throughout the n<strong>in</strong>eties he was <strong>Artistic</strong> Director of the Green Room<br />

Manchester UK, <strong>on</strong>e of a few venues <strong>in</strong> the UK to support <strong>in</strong>novative performance<br />

work at that time. He then relocated to ma<strong>in</strong>land Europe to work as a festival<br />

Director and Dramaturge <strong>in</strong> Belgium and the Netherlands (De Beweeg<strong>in</strong>g and<br />

Rotterdam Festivals) return<strong>in</strong>g to the UK <strong>in</strong> the early twentieth century to direct <strong>on</strong>e<br />

of the Nati<strong>on</strong>al Dance Agencies, Yorkshire Dance. He led an annual mentor<strong>in</strong>g<br />

programme for Daghdha Dance <strong>in</strong> Ireland <strong>in</strong> additi<strong>on</strong> to mentor<strong>in</strong>g young artists<br />

<strong>in</strong> Germany, Sweden, Poland, Italy, UK and Denmark. Throughout the last thirty<br />

years he has formed and c<strong>on</strong>tributed to a number of <strong>in</strong>ternati<strong>on</strong>al networks and<br />

various artistic juries and councils.

Eva-Maria Hoerster<br />

Eva Maria is an organiser, dramaturge, curator, and teacher, currently <strong>in</strong> charge<br />

of project development and coord<strong>in</strong>ati<strong>on</strong> at Hochschulübergreifendes Zentrum<br />

Tanz Berl<strong>in</strong> (HZT). Before, from its formati<strong>on</strong> <strong>in</strong> 2006 until June 2013, she was the<br />

manag<strong>in</strong>g director of the HZT Berl<strong>in</strong>. In 2013 she curated the <strong>in</strong>ternati<strong>on</strong>al dance<br />

festival „passage-recherche“ at the Deutsches Nati<strong>on</strong>altheater Weimar. 2003-06<br />

she was the artistic director of Tanzfabrik Berl<strong>in</strong>, where she worked s<strong>in</strong>ce 1995 as<br />

a project manager and dramaturge; co-<strong>in</strong>itiator and co-curator of „Tanznacht Berl<strong>in</strong><br />

/ Tanz made <strong>in</strong> Berl<strong>in</strong>“ (2000-2004); dramaturge with Tanzcompagnie Rubato<br />

(1998-2000, 2015). Found<strong>in</strong>g member of Zeitgenössischer Tanz Berl<strong>in</strong> e.V. (ztb);<br />

co-<strong>in</strong>itiator of the network TanzRaumBerl<strong>in</strong>; s<strong>in</strong>ce 2014 member of the ‚Rat für die<br />

Künste’.<br />

41<br />

Inge Koks<br />

After her studies <strong>in</strong> cultural anthropology Inge ma<strong>in</strong>ly works as a freelance curator<br />

and producer. As a curator - with TANZTAGE BERLIN, Theater Frascati and<br />

Stadsschouwburg Amsterdam. She curated the 2012 editi<strong>on</strong> of TANZNACHT BER-<br />

LIN, <strong>in</strong> which Berl<strong>in</strong> dance was be<strong>in</strong>g mapped out by it’s <strong>in</strong>terrelated and urban<br />

dimensi<strong>on</strong>s. Now Inge is collaborat<strong>in</strong>g with theatre Podium Mozaïek <strong>in</strong> Amsterdam<br />

which aims to be a true <strong>in</strong>tercultural and <strong>in</strong>terdiscipl<strong>in</strong>ary platform for meet<strong>in</strong>g<br />

and exchange. The anthropological perspective rema<strong>in</strong>ed important <strong>in</strong> Inge’s work,<br />

<strong>in</strong>itiat<strong>in</strong>g or participat<strong>in</strong>g <strong>in</strong> projects which focus <strong>on</strong> community, solidarity, public<br />

space, diversity, and work<strong>in</strong>g with people of different ages, social status, educati<strong>on</strong><br />

and cultural background. She founded her own organisati<strong>on</strong> Sticht<strong>in</strong>g Publieke<br />

Werken. The first project 100% Amsterdam by Rim<strong>in</strong>i Protokoll took place <strong>in</strong><br />

December 2014.<br />

Angela Mayer-Deutsch<br />

Angela is a free lance dance scout <strong>in</strong> Berl<strong>in</strong>. She did a PhD <strong>in</strong> Art History at Humboldt<br />

University of Berl<strong>in</strong> and an M.A. <strong>in</strong> Psychology at University of Vienna. In<br />

2014, after years of art historian and <strong>in</strong>terdiscipl<strong>in</strong>ary research, of curat<strong>in</strong>g and<br />

organis<strong>in</strong>g exhibiti<strong>on</strong>s <strong>in</strong> Vienna, Budapest and Berl<strong>in</strong>, she decided to follow her<br />

<strong>on</strong>go<strong>in</strong>g passi<strong>on</strong> for the dancefield. Thus, she chose mediati<strong>on</strong> of c<strong>on</strong>temporary<br />

dance art as her new professi<strong>on</strong>al focus, and works for TanzScout Berl<strong>in</strong>, develop<strong>in</strong>g<br />

at present am<strong>on</strong>g other ideas the form TanzScout Senior.

Sheena McGrandles<br />

42<br />

from Northern Ireland, graduated with a BA <strong>in</strong> Dance Theatre from the Laban Centre,<br />

L<strong>on</strong>d<strong>on</strong> (2007). She completed her MA <strong>in</strong> Solo/Dance/Authorship at HZT Berl<strong>in</strong><br />

and from 2012-2013 she was a choreograpaher <strong>in</strong> residence at K3 Hamburg. Currently<br />

Sheena is artistic research associate <strong>on</strong> the BA “Dance, C<strong>on</strong>text, Choreography”<br />

at HZT. Her artistic practice, both performative and visual is c<strong>on</strong>cerned<br />

with queer<strong>in</strong>g the body <strong>in</strong> performance, drag and the representati<strong>on</strong> of women <strong>on</strong><br />

stage.<br />

Eva Meyer-Keller<br />

Eva works at the <strong>in</strong>terface of performance and visual art. Her work<strong>in</strong>g method is<br />

marked by a c<strong>on</strong>structive disregard for the impositi<strong>on</strong> of any boundary between<br />

visual and perform<strong>in</strong>g arts. She has presented her work <strong>in</strong>ternati<strong>on</strong>ally <strong>in</strong> a wide<br />

range of c<strong>on</strong>texts and sites. These <strong>in</strong>clude the performances DEATH IS CERTAIN<br />

(2002 performed <strong>in</strong> more than 200 venues around the world), PULLING STRINGS<br />

(KunstenFestivaldesArts, Brussels, 2013) and HANDMADE (NGBK Berl<strong>in</strong>, B<strong>on</strong>niers<br />

K<strong>on</strong>sthall Stockholm, Palais de Tokyo Paris). Eva develops projects al<strong>on</strong>e and <strong>in</strong><br />

collaborati<strong>on</strong> with other artists, such as Uta Eisenreich, Sybille Müller and Kate<br />

McIntosh. She has worked with Baktruppen, Jérôme Bel, Christ<strong>in</strong>e De Smedt/les<br />

Ballets C de la B (9x9), Juan Dom<strong>in</strong>guez and Agnes Meyer-Brandis..<br />

Sibylle Peters<br />

PD Dr., researcher, performance artist, studied literature, cultural studies and philosophy,<br />

and worked at the universities of Hamburg, Munich, Berl<strong>in</strong> (FU), Bale,<br />

Wales and Gießen. She is currently head of the PhD Program Perform<strong>in</strong>g Citizenship<br />

<strong>in</strong> Hamburg. As a freelanc<strong>in</strong>g performance artist she realized lecture performances<br />

and performance projects focuss<strong>in</strong>g <strong>on</strong> participati<strong>on</strong> and collective research<br />

(often <strong>in</strong> cooperati<strong>on</strong> with geheimagentur performance collective). Peters<br />

is founder and director of the Forschungstheater/Theatre of Research situated at<br />

the FUNDUS THEATER Hamburg, a theatre, where children, artists and scientists<br />

meet as researchers.

Olive Schellander<br />

Based <strong>in</strong> Vienna, Olive is <strong>in</strong>volved with various artists <strong>in</strong> the roles of a dancer-performer,<br />

collaborator and choreographer. She obta<strong>in</strong>ed a BA Dance Theatre (Laban,<br />

UK) followed by a MA Choreography at the Institute of Dance Arts (AT, 2011). Her<br />

first own works have been presented <strong>in</strong> England, Austria and Sweden. She received<br />

a Perform<strong>in</strong>g Arts Grant from the Austrian M<strong>in</strong>istry, a tra<strong>in</strong><strong>in</strong>g scholarship at Tanzquartier<br />

Wien, and has facilitated feedback sessi<strong>on</strong>s for artists that allow artistic<br />

shar<strong>in</strong>g of ideas and practices. In 2015 Olive was part of SuSy (LifeL<strong>on</strong>gBurn<strong>in</strong>g<br />

Programme) at Uferstudios Berl<strong>in</strong>..<br />

43<br />

Charlotte Vandevyver<br />

Born <strong>in</strong> 1982, Charlotte holds a master degree <strong>in</strong> Art History and Theatre Studies<br />

from the University of Ghent and is <strong>in</strong> charge of the dance program at STUK: House<br />

for Dance, Image & Sound. She was the artistic director of workspacebrussels<br />

(2010-2014) and president of the dance commissi<strong>on</strong> of the Flemish Government<br />

(2008-2015). Prior to that, she worked as editor, producer and assistant programmer<br />

for numerous organizati<strong>on</strong>s (BUDA, Vooruit, Troubleyn/Jan Fabre, Etcetera,<br />

Masterplan for Dance) and as coord<strong>in</strong>ator for Sarma and the Advanced Masters <strong>in</strong><br />

Theatre Studies at the University of Antwerp, lectur<strong>in</strong>g dance theory. She is regularly<br />

<strong>in</strong>volved <strong>in</strong> jury’s and expert panels for am<strong>on</strong>gst others P.A.R.T.S., SNDO, DasArts,<br />

Kunstenfestivaldesarts and Impulstanz.<br />

Ana Vujanović<br />

Ana Vujanović, Ph.D. is a freelance cultural worker <strong>in</strong> the fields of c<strong>on</strong>temporary<br />

perform<strong>in</strong>g arts and culture. She is a member of the editorial collective of TkH<br />

[Walk<strong>in</strong>g Theory], a Belgrade-based theoretical-artistic platform, and editor-<strong>in</strong>chief<br />

of the TkH Journal for Perform<strong>in</strong>g Arts Theory. A particular commitment of<br />

hers has been to empower <strong>in</strong>dependent scenes <strong>in</strong> Belgrade and former Yugoslavia.<br />

She has lectured and given workshops at various universities and <strong>in</strong>dependent<br />

educati<strong>on</strong>al programmes throughout Europe. She participates <strong>in</strong> art projects<br />

as a dramaturge, co-author and artistic collaborator. She has published a number<br />

of theoretical articles and authored four books, such as Public Sphere by Performance,<br />

co-authored with Bojana Cvejić (Berl<strong>in</strong>: b_books, 2012).

44<br />

The <str<strong>on</strong>g>Laboratory</str<strong>on</strong>g> <strong>on</strong> <strong>Feedback</strong> was <strong>in</strong>itiated by Uferstudios Berl<strong>in</strong><br />

and HZT Berl<strong>in</strong> (Inter University Centre for Dance), <strong>in</strong> the frame of<br />

‘Teachback’, <strong>on</strong>e of the modules of the project ‘Life L<strong>on</strong>g Burn<strong>in</strong>g‘<br />

(www.lifel<strong>on</strong>gburn<strong>in</strong>g.eu).<br />

This brochure <strong>in</strong>tends to serve as a documentati<strong>on</strong> and summary<br />

<strong>on</strong> the feedback laboratory for those who have participated <strong>in</strong><br />

the two feedback labs so far, and others who are <strong>in</strong>terested <strong>in</strong><br />

this topic. It c<strong>on</strong>ta<strong>in</strong>s brief descripti<strong>on</strong>s of the c<strong>on</strong>tributi<strong>on</strong>s and<br />

possible manuals for try-outs. It also <strong>in</strong>cludes <strong>in</strong>dividual <strong>in</strong>terview<br />

quotes from the participants, which took place dur<strong>in</strong>g the lab<br />

weekend. In additi<strong>on</strong> an audio record<strong>in</strong>g from each c<strong>on</strong>tributi<strong>on</strong><br />

is available <strong>on</strong> the HZT homepage.



Credits<br />

Participants<br />

S<strong>on</strong>ja Augart<br />

Jenny Beyer<br />

Joseph<strong>in</strong>e F<strong>in</strong>deisen<br />

Bush Hartshorn<br />

Eva-Maria Hoerster<br />

Angela Mayer-Deutsch<br />

Sibylle Peters<br />

Charlotte Vandevyver<br />

Ana Vujanović<br />

Observers<br />

Nik Haffner<br />

Inge Koks<br />

Olive Schellander<br />

Moderators<br />

Sheena McGrandles<br />

Eva Meyer-Keller<br />

Visual and Audio Documentati<strong>on</strong><br />

Julia Wallner<br />

Text and Edit<strong>in</strong>g<br />

Sheena McGrandles<br />

Olive Schellander<br />

Eva-Maria Hoerster<br />

Layout<br />

David Eckelmann<br />

Organisati<strong>on</strong><br />

Barbara Friedrich<br />

Uferstudios GmbH<br />

HZT Berl<strong>in</strong>

www.lifel<strong>on</strong>gburn<strong>in</strong>g.eu<br />

www.uferstudios.com/<br />

www.hzt-berl<strong>in</strong>.de/<br />

ISBN 978-3-00-050330-6

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