re-ordering arrows from the gathered cloud

A passage of writing extending from the workshop SNDO and HZT in Ponderosa
Litó Walkey with guest contributors
re-ordering arrows from
the gathered cloud
the as if it’s just about to happen series–book four of four

Intro duction
The as if it’s just about to happen book series invites
a reengagement with four workshops, facilitated within HZT
Berlin’s BA Dance, Context, Choreography programme between
2014–2016. Four of HZT’s teaching staff initiated a collaborative
writing project with colleagues, HZT students and alumni to
access what persists through the entanglement of their artistic
and pedagogic practices. They returned to the pedagogic events
with the question “What was and is it doing and what can we
create with it now?”
Initial experiences, notes and memories from the workshops
were approached with a strategy of interruption. A specific set of
para meters informed a structure of excerpts, footnotes, invitations
and responses that produced a new order of connections based
on selectivity, discontinuity and proliferation.
As a reader you are encouraged to be involved with the passages
of writings and drawings within these four books and online
at the HZT website — to follow, skip across, take apart, expand,
reassemble, rewrite and respond further. You are invited to
expe rience what is still creating itself, as if it’s just about to happen.
Writing
structure
a poem
of eight
excerpts
from the
workshop
experience
a footnote
of 100 words
elaborates every
six-word excerpt as
a mini-essay, index,
archive or script
an invitation
of maximum
50 words addresses
an inquiry about
every excerpt and
its footnote
a response
of 250 words or
a drawing follows
after every
excerpt, footnote
and invitation
Book four of four has one central author,
interwoven with guest contributions.

e-ordering Litó arrows Walkey from with the guest gathered contributors cloud
re-ordering arrows from
the gathered cloud
the as if it’s just about to happen series–book four of four

ook 4
Litó Walkey with guest contributors
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8

e-ordering Litó arrows Walkey from with the guest gathered contributors cloud
re-ordering arrows from
the gathered cloud
the as if it’s just about to happen series–book four of four

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Florian
Dear Florian,
I want to go on with this
connected
where one takes place next to another
Describe your sensation of choosing the object and words you give to a
person and an occasion.
How do you perceive distinction when one thing connects to another?
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
1 )
In the middle, situating closeness, we meet. Where one takes place next to the other,
connected, we meet.
On the back porch, while gardening, walking in the trails, sitting under a tree, in the kitchen,
in the studio, in the courtyard. We meet, and we find out how to say “I want to go on with this.”
Asking desire: What is urgent here? In study, in practice, in future and here. What am I doing?
Asking tendency and dynamic: What “just happens”? What do we choose?
Asking ourselves: What’s missing?
Asking each other: What continues and what will remain?

e-ordering arrows from the gathered cloud 2
3
1 pc. Kruegerrand and a bag of chocolate gold coins. Showering the gold
coins over a person.
The Kruegerrand is surreal. Exempt of its monetary value. Gold. Pure
gold. Like this situation. “You look like 1,000 Dollars. (in this suit)” And
I am selfish. The Kruegerrand changing hands is our secret. You accepted
the object. I passed on a burden. I can change now. Something can change
now. Watching you change. An object. Not a gift. Continuing a cycle of
happily accepting poisoned offers.
The exact words coming with it: “More than yesterday. Less than
tomorrow.”
Situation? After a fundamental fight. After some days filled with
insecurity and sadness.
Response
from Florian

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to students
Dear Students,
Think of your time in Ponderosa.
Remember the activities that engaged restricted and expanded senses.
From those memories, write two verb events, each of three words.
See with blind. See his saying.
Describe her seeing. Hear his before.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
2 )
We are bound to sense.
Attached to it and moving towards it.
Common practices in dance are applied to daily activities. Our field of play is centred around
designing restriction and expansion of the senses.
silence for 6 hours
eating blind in silence
2 people tied at the waist for a day
a pair — one blinded, one seeing — describing the garden at sunrise
running blind through the trails
all cooking together in silence through series of incomplete, non-committed gestures
blind, walking as a group to an open field
all jumping from the bridge into river while speaking continuously

e-ordering arrows from the gathered cloud 4
5
Puncture the blur. Walk in leftovers.
Together carefree music. Unleash fingertip intuition.
Response
from students
Remain in silence. Observe what’s on.
Blur the focus. See what’s implicit.
Hear with voice. Song hears voices.
Visit us dreaming. Find me hiding.
Offer her feelings. Pause the will.
Wash his foot. See her jump.
Fall tears up. Jump wor(l)ds down.
Torture this sadness. (Re)wind your eyelids.
Fetch the engines. Sing in water.
mike a diner. ajast to destrakshens.
(Make a dinner. Adjust to distractions.)
Follow with waiting. Taste his sounding.
Fall speech together. Entangle various silence.
See silent hearing. Hear slow winding.

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Tabea
Dear Tabea,
Draw
the uncomfortable squeeze
the welcome frame
the release of restriction
that comes with
choosing, deciding, inventing
an invitation
that organises an activity
that holds essentials of your sourced interests
while proposing movement before understanding
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
3 )
Before we understand the extent of why we have come together, what we may do and how we
may go about doing it, we source ourselves.
From past and present situations, we source a mode of working, an exercise, a practice or
an observation.
In turning this to a proposal, we define what it is, what it may have been, where it may go,
our relation to it. We decide who, how many, when and where. Before we know each other, we
stand and point our words to particular activities and their organisation.

6
7

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Katerina
When we cannot see ahead of time
overlay so that more things can go on at once
see from another place
so that it can continue
Dear Katerina,
What happened when “The Three Sisters” proposal enabled:
seeing ahead of time
more things at once
seeing from another place
continuing
?
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
4 )
A proposal structure is proposed and named “The Three Sisters”: Groups of three students
lead periods of three hours. The collective proposals are constructed as aggregates of
suggestions that are imbedded into the schedule of the day.
The focus is to draw attention to something that has taken place in Ponderosa. To recognise
interest in something that is possibly undefined, incomplete, unnoticed or inconvenient. And
to bring a particular aspect of this into the smaller group. The combination and organisation
of these contributions shape a proposal that is overlaid onto, into or under other ongoing
activities.

e-ordering arrows from the gathered cloud 8
9
diverging —
the Overflow of pre-existing ideas, practices, desires and attractions,
towards an Abundance of connections–moving towards thoughts, objects,
interrelations not fully visible yet; every moment, everyone, every thing
can have an impact. The “whatever” is embraced along the way, refined,
defined and situated.
Response
from
Katerina
hacking —
the prevailing social design, often that of an assumed “equality” that
disguises different-ness and is blind to the diverse hierarchies and roles
silently present in the group. Through the “Sisters” the togetherness of
the group can become such that it lets hierarchies and roles, in all their
dissonances, accessible to any one at any time.
shifting —
from a Community of Practice (choreography students gathering in the
idyllic German countryside, to professionally and casually exchange
knowledge, share skills and engage in discourse around current topics in
their field) towards a Community of Whatever (paraphrasing Agamben’s
Whatever Community).
A precarious community of those who might have nothing in common.
One that is constantly testing out its limits, propositions, ideologies,
bodies, worlds and therefore, is precarious.
Such a community, is unstable too. In order to survive its expected end,
a certain commitment and attention is needed that extends beyond the
common norms of behaviour. And in order that we cherish its whateverness,
we need lucidity and precision and the possibility to localize ourselves
and take responsibility in its formlessness.
I see these not as strategies for outcome and production rather they are
necessary and emergent qualities of our relationship to work.

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Florian
Dear Florian,
Define four parts (person, object, place, action, quality or idea).
Imagine an unlikely connection of these parts that integrates as a system
of structural, nutritional, protective and attractive support.
Describe how the parts exceed their isolated singularity and gain the
ability to cope with change.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
5 )
Known as “The Three Sisters” with the added bee plant as a fourth sister. This particular
connection creates sustainability through a resilience within the systems, bringing more food
and using less water and fertilisation. Permanent Culture is a system of agriculture and social
design principles centred around stimulating and using patterns and features observed in
natural eco systems.
Corn gives a vertical support structure for the beans to climb, beans fix the nitrogen used
by corn and squash, squash covers the ground and protects the soil from sun erosion. The bee
plant attracts beneficial insects for pollination.

e-ordering arrows from the gathered cloud 10 11
truncated
An action stopped halfway through and left, without being
disguised.
Response
from Florian
DISTRACTED
An alternation of two different truncated actions.*
a basil plant with a watering can next to it
a coat on a hanger
a person (A)
* The Modes.
Julian
Maynard
Smith,
Station
House
Opera
A is going to water the basil. Then thinks of something missing and
approaches the coat to put it on and leave the room. Having the hand put
on the coat A remembers watering the basil, leaves the coat and approaches
the plant, takes the watering can—then turns, looks at the coat, puts
down the watering can and sets out to put on the coat. When having
slipped on the right sleeve A’s eyes fall on the basil plant. A takes off the
coat, puts it on the hanger and walks over to the basil. …
Truncated, repetitive, slow, hysteric, happily, angry, thoughtful, surprised,
purposeless, purposeful, self forgotten, responsibly, careful, mad, brutal,
sad, agonising, scary, …
Beyond a critical point within a finite space, freedom diminishes as
numbers increase. This is as true of humans as it is of gas molecules in a
sealed flask. The human question is not how many can possibly survive
within the system, but what kind of existence is possible for those who so
survive.**
** Pardot
Kynes in
Appendix I:
The Ecology
of Dune,
Frank
Herbert,
Dune

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to 2014
Dear 2014,
Describe one instance of exaggeration: facing what we face.
a small collection of barely noticeable occurrences may be hidden by
personal projections of “too obvious”, “too familiar” or “not enough”.
RETURN closely to TURN them to invitations that suggest directions of
engagement.
A demonstration in maximum twenty words.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
6 )
Deliberately and accidentally. These many things, they gather, they impress, they take place in
our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move
to the side or they leave traces.
We are challenged to face the traces that have gathered. To face them is to listen and to think
them. Or to turn them to questions.
Then with care, we play these questions. We turn them to imperatives. Where noun may
become verb and the centre of subject shifts.
We see a new face in what we were facing.

e-ordering arrows from the gathered cloud 12 13
Come meet me in the early morning, to lick sparkling drops from her
hands, to wear that lady’s mantle, and drop off behind the house.
Response
from 2014
Invite one person to collect things that appeal to him / her from the
surroundings. Without looking at their collection, invite them to stand
next to you facing a wall in silence.
gime of unrooling orgenisd landskik, if u see a cap u mite sloly slid ur
hand acros the tibel antil the cap will fall. the humer acors wan the tabos
are softly revilld
(Game of unrolling organised landscape, if you see a cup you might
slowly slide your hand across the table until the cup will fall. The humour
occurs when the taboos are softly revealed.)

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to 2015
Dear 2015,
Describe one instance of exaggeration: facing what we face.
a small collection of barely noticeable occurrences may be hidden by
personal projections of “too obvious”, “too familiar” or “not enough”.
RETURN closely to TURN them to invitations that suggest directions of
engagement.
A demonstration in maximum twenty words.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
6 )
Deliberately and accidentally. These many things, they gather, they impress, they take place in
our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move
to the side or they leave traces.
We are challenged to face the traces that have gathered. To face them is to listen and to think
them. Or to turn them to questions.
Then with care, we play these questions. We turn them to imperatives. Where noun may
become verb and the centre of subject shifts.
We see a new face in what we were facing.

e-ordering arrows from the gathered cloud 14 15
Find a grid to note your dream on.
Then sit on her bed and record it.
Response
from 2015
a crack in the old wall inspires personal movement that connects and
activates an imagined collective history of the building and its people
long gone

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to 2016
Dear 2016,
Describe one instance of exaggeration: facing what we face.
a small collection of barely noticeable occurrences may be hidden by
personal projections of “too obvious”, “too familiar” or “not enough”.
RETURN closely to TURN them to invitations that suggest directions of
engagement.
A demonstration in maximum twenty words.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
6 )
Deliberately and accidentally. These many things, they gather, they impress, they take place in
our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move
to the side or they leave traces.
We are challenged to face the traces that have gathered. To face them is to listen and to think
them. Or to turn them to questions.
Then with care, we play these questions. We turn them to imperatives. Where noun may
become verb and the centre of subject shifts.
We see a new face in what we were facing.

e-ordering arrows from the gathered cloud 16 17
We leaped into each other, she preferred weaving through warm & cold.
Explored familiar stories, protected opinions while he went around with
his origami. The piano, the swing, the toilet paper, the horror, the eyes
and the empathy — ssssLuuUrP!
Response
from 2016
steal an hour around sunrise
find a space between waking and resting
listen to the insects
Observing the selfs observing of itself who wants to be the first and
thinks she knows what the other observes.
Let them see that their eyes turn your face red. To them you are like fish
in sunlight.
Conquering fear, conferencing on top of our ear,
Trying to be here!
yellow the ocean of unspoken homes. home what is the deepest night by
the postman’s door. bark at dogs fallen asleep.
One instance of exaggeration : not enough
Not enough to be spontaneous, not enough to work in a short time, not
enough to shift each time.
Return closely to turn to invitations that suggest direction of engagement.
If the research is to play to shift, to engage spontaneously and directly
what ever the time.
Prepare the unprepared, unprepared the prepare.
lie face-down in the dirt, undo movement echo
lay movement down in echoes, face dirt through undoing
Listen to which not equal.
Touch the disappearance of the result which suddenly stops making sense.
Sense the sense non. Touch it.

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Tabea
Dear Tabea,
A natural develops collectively —
Be all here. Plan with balance. Plan with wanting everyone. Understand
together doing.
Collective natural is difficult to tip —
Follow the agencies we follow. Allow purpose and accident. Together the
less and more fitting.
Draw an instance that embraces life-work integrity by welcoming an
unnatural jump.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
7 )
Some time late at night, a group shared laughter on the back porch. A character was created.
Her name was Fran and she’d been working in the American diner for years, making
breakfasts. The next morning Fran took over our kitchen. She made eggs and wouldn’t let
anyone help themselves. She was a little vicious. She was beautiful. She was old. We knew her
and this place, but things were different this morning. We rebelled. We went against her rules.
We made her angry. We stayed quiet and hungry. Something took over temporarily.
Unannounced and urgent. Tipping our collective natural.

e-ordering arrows from the gathered cloud 18 19

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to Anne
Dear Anne,
Return to one moment of transformation
develop, catch up, or even surpass it.
Focus on what you were constructing as opposed to what you were seeing.
Write it as a trace — a mark without origin — that leaves, names, carries,
brings, speaks.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
8 )
In the last hours of our time together, a recording station is set up in a small space. Each
student gives a three-minute testimony — a sound recordable trace that makes something of the
experience evident.
Some read, some sing, some speak. Each has its own kind of preparation and composition.
Each has two selected witnesses for the recording. Some decide to have more. Some have
everyone.
The flood of impressions is constructed as a single trace. A goodbye gesture. A recognition.
An indication.
To leave together. To name it. To carry it. To bring it. To speak it.

e-ordering arrows from the gathered cloud 20 21
All together we go for a walk. We are asked to pair up in groups of two
and continuously talk to each other while walking. Talking does not just
happen, I feel. You rather have to do the talking. How can you do your
doing? I start describing what I see and go from there, but can I also talk
to or with my partner? I try to listen and talk at the same time. Find time
slots to listen. How short or long can a pause last without stopping the
talking? Find words that give time for listening. Some phrases come easily,
so my attention can shift to what he is saying. Watch out for those phrases.
I formulate questions and comments in relation to his talking. I steal words
and go with them. It gives me the opportunity to turn and go into another
direction. Try to steal frequently. What if we base communication on
stealing?
Response
from Anne
I focus on how he phrases his talking. I notice how he moves from the
corner of my eye. Find more ways of listening. Can we make use of the
rising sound of people around us talking to each other?

ook 4
Litó Walkey with guest contributors
book 4
Litó Walkey with guest contributors
Invitation
to William
Dear William,
Return to one moment of transformation
develop, catch up, or even surpass it.
Focus on what you were constructing as opposed to what you were seeing.
Write it as a trace — a mark without origin — that leaves, names, carries,
brings, speaks.
a poem
time opens out for our meeting
unhinging surfaces of our daily senses
introduce proposal instead of self description
connecting matter makes more than parts
corn, beans, squash and bee plant
re-ordering arrows from the gathered cloud
now we’re friends, now we’re working
goodbye testimony of this now time
( 1
( 2
( 3
( 4
( 5
( 6
( 7
( 8
8 )
In the last hours of our time together, a recording station is set up in a small space. Each
student gives a three minute testimony — a sound recordable trace that makes something of
the experience evident.
Some read, some sing, some speak. Each has its own kind of preparation and composition.
Each has two selected witnesses for the recording. Some decide to have more. Some have
everyone.
The flood of impressions is constructed as a single trace. A goodbye gesture. A recognition.
An indication.
To leave together. To name it. To carry it. To bring it. To speak it.

e-ordering arrows from the gathered cloud 22 23
evaporating, condensing, in gardens of difference*
Dear,
Write an image that made you get up off of your laurels. Write the
movement you enacted in doing so. Write the image your movement
ended in, if it ended. Write these things through the medium within
which you moved, rather than through the images.
Response
from
William
* We asked people who were learning with us to spread pictures throughout the space and
to move as they try to talk to the images’ in-betweens with grace, humour and spontaneity.
We were making parts of crystalline structures glow. We were exciting particles in curved
lines that remained as clues to the presence of a movement that shaped a series of preexisting
images into a path rather than a history. We had to let one image lead to another; we had
to radically and wholly differentiate the images from one another; we had to withdraw from
analysis; we had to engage in analysing to find a place to put nutrients. Including the images
of who, where and how we are (together, moving through recorded voices every morning).
I made a slide from an image of Jasmine Richards, Black Lives Matter Pasadena activist,
wearing a shirt that reads “this is a movement, not a moment.” We constructed time to listen
to recordings and non-recordings in the morning. Into that space entered an unexpected (white)
image saying “This is their moment.” I formed a thought of Jasmine, and some of my, some
of your moments condensed and evaporated into movements. I ingested, made the movements
last until it emerged in a bit of sweat (it wasn’t mine to mine) — many moons later. It’s still
there. We jumped up from our writing spots and positioned and followed these paths,
absorbed, still glowing.

ook 4
Litó Walkey with guest contributors
Sources
Giorgio Agamben, The Coming Community, 1993
Rosemonde Gérard, L’éternelle chanson, 1890
Julian Maynard Smith / Station House Opera, The Modes, 1980
Frank Herbert, Dune, Pardot Kynes in Appendix I: The Ecology of Dune, 1965
Workshop
description
SNDO-HZT in Ponderosa
In May 2014, 2015, and 2016 a ten-day residency at Ponderosa in
Stolzenhagen was the initial and most extensive point of exchange in
a series of encounters organised between students of the School for New
Dance Development (SNDO) Amsterdam and BA HZT Berlin up until their
graduation. Each year Katerina Bakatsaki and Litó Walkey facilitated
modes of time organisation, writing, documenting and reporting, and
taught physical, compositional and devising practices. Activities included
student teaching, collective formulation of working proposals, sharing
existing performances, discussions, feedbacks, one-on-one meetings,
cooking and gardening. The immersive experience brought perspective
to the entanglement of work and life, to the character of each study
course, to students’ individual study trajectory and to the potential
reality of a creative community.

ook 4
Litó Walkey with guest contributors
Sources
Giorgio Agamben, The Coming Community, 1993
Rosemonde Gérard, L’éternelle chanson, 1890
Julian Maynard Smith / Station House Opera, The Modes, 1980
Frank Herbert, Dune, Pardot Kynes in Appendix I: The Ecology of Dune, 1965
Workshop
description
SNDO-HZT in Ponderosa
In May 2014, 2015, and 2016 a ten-day residency at Ponderosa in
Stolzenhagen was the initial and most extensive point of exchange in
a series of encounters organised between students of the School for New
Dance Development (SNDO) Amsterdam and BA HZT Berlin up until their
graduation. Each year Katerina Bakatsaki and Litó Walkey facilitated
modes of time organisation, writing, documenting and reporting, and
taught physical, compositional and devising practices. Activities included
student teaching, collective formulation of working proposals, sharing
existing performances, discussions, feedbacks, one-on-one meetings,
cooking and gardening. The immersive experience brought perspective
to the entanglement of work and life, to the character of each study
course, to students’ individual study trajectory and to the potential
reality of a creative community.

HZT teaching staff Josephine Findeisen 1
–
Judith Förster
Florian Feigl 1 Juan Felipe Amaya Gonzalez
Sheena McGrandles Renen Itzhaki 1
Litó Walkey 1
Camille Jemelen
Britta Wirthmüller Suvi Kemppainen
Julek Kreutzer
HZT student & alumni Katrine Staub Larsen
guest writers
Anna Lena Lehr 1
–
Myriam Lucas
Johanna Ackva 1
Liina Mariudottir
Asaf Aharonson 1 Magdalena Meindl 1
Cécile Bally 1
Johanne Merke
Sandhya Daemgen 1 Josefine Mühle
Katerina Delakoura Lyllie Rouvière 1
Xenia Taniko Dwertmann 1 Zhenya Salinschi
Ewa Dziarnowska 1 Sunayana Shetty 1
Rosemarie Eberl
Grėtė Šmitaitė 1
Ivan Ekemark 1 Julia Keren Turbahn
Forough Fami 1 Aabshaar Wakhloo
Alistair Watts 1
Simone Gisela Weber
guest writers
–
Katerina Bakatsaki 1
Derrais (d.a.) Carter
Jeanine Durning
Arnold Dreyblatt
Essi Kausalainen
Johannes Lothar Schröder
Joy Mariama Smith
Rhys Martin
Helen Mirra
Anne Schuh 1
William Wheeler 1
all drawings
–
Tabea Xenia Magyar
Authors
1
book
four
project editor : Litó Walkey copy editor : Karen Christopher publisher :
HZT, UdK Berlin graphic design : Milchhof Atelier: Andreas Töpfer, Carsten
Stabenow printing : Steinmeier, Deiningen
Imprint
Special thanks to Tabea Xenia Magyar and all guest writers for their contributions
to this publication. Thanks to Chrysa Parkinson and DOCH for inspiration
from the format of The Dancer as Agent Collection publication. Thanks
to Matthew Goulish and Lin Hixson for inspiration from their assignment for
reading essays, recounted in the introduction by Jane Blocker for Matthew
Goulish’s publication The Brightest Thing in the World.
HZT — Inter-University Centre for Dance Berlin is the joint responsibility of
the Berlin University of the Arts (UdK) and the Hochschule für Schauspielkunst
“Ernst Busch” (HfS) in cooperation with TanzRaumBerlin, a network for the
professional dance scene. Weblink : www.hzt-berlin.de ISBN : 978-3-00-055501-5