Émile Jaques-Dalcroze 150 – Bonne anniversaire!

Transcription

Émile Jaques-Dalcroze 150
– Bonne anniversaire!
Internationales Rhythmikfestival
International Eurhythmics Festival
17. – 21. März 2015
17 – 21 March 2015
Ein Geburtstagsfest der besonderen Art
richten die Veranstalter des Internationalen
Rhythmikfestivals zum 150. Geburtstag von
Émile Jaques-Dalcroze aus. Die Akademie
Remscheid und der Arbeitskreis Musik und
Bewegung / Rhythmik laden zu einem umfangreichen Workshop- und Vortragsprogramm mit internationalen Gästen ein.
Unterschiedlichste Veranstaltungsformate
werden der Bandbreite der Rhythmik gerecht: die Schwerpunkte Dalcroze-Methode,
Rhythmik mit einem speziellen Profil und
Rhythmik interdisziplinär ermöglichen den
Festivalbesuchern eine umfassende Einsicht
in das Fach, seine Methoden und Perspektiven.
A very special kind of birthday party will take
place at the International Eurythmics
Festival to celebrate the 150th birthday of
Émile Jaques-Dalcroze. The Academy
Remscheid and the German Association of
Music and Movement / Eurhythmics (AMBR)
invite you to take part in an extensive
workshop and conference program with
international guests. A wide variety of event
formats will present the broad spectrum of
eurhythmics: the main focus being on, the
Dalcroze method, eurhythmics with a
specific
profile
and
interdisciplinary
eurhythmics - and will give festival-goers a
comprehensive insight into the field of
eurhythmics,
its
methods
and
its
perspectives.
An zwei Abenden werden im Rahmen eines
Internationalen Festivalwettbewerbs zur
Prämierung ausgewählte Bühnenstücke in
Musik und Bewegung gezeigt und die
Gewinner bestimmt. Expertengespräche
und offene Diskussionsrunden zu aktuellen
Themen, Improvisations-Jams und Kick-offLektionen runden das Programm ab, das aus
verschiedenen Blickwinkeln die künstlerisch-ästhetische Beziehung von Musik und
Bewegung thematisiert: Bewegung als
Schlüssel zur Musik und Musik als Triebfeder für Bewegung.
On two evenings, performances of pieces
selected from the competition for music and
movement composition and choreography
will be presented and the winners will be
chosen. Interviews with experts and open
discussions on current topics, improvisational jam sessions and kick-off lessons
complete the programme, showing different
viewpoints on the artistic-aesthetic relationship between music and movement: movement as a key to music and music as an
incentive for movement.
Tuesday, 17th March 2015
15:00 – 17:00
Impressions of the Life and Work
of Émile Jaques-Dalcroze to celebrate
his 150th Birthday (1865 – 1950)
Karin Greenhead, London
Reinhard Ring, Hannover
Dorothea Weise, Berlin
17:30
Introduction of the Lecturers
Workshop Registration
Interactive Schedule:
If you position the cursor over any workshop
title the cursor turns into a hand and when you
click are linked to the description and the vita
of the lecturer.
The link back is at the foot of the page.
14:30
Opening of the
International Eurhythmics Festival
Welcome
Prof. Dr. Susanne Keuchel,
Direktorin der Akademie Remscheid
Eurhythmics in the Context of Arts and
Education – Background Information about
the International Eurhythmics Festival
Barbara Schultze, Remscheid
Herbert Fiedler, Remscheid
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20:15
Competition Finals
Adult Category
Public discussion by the jury of the competition
criteria
Jury:
Susanne Jåresand, Stockholm
Dierk Zaiser, Trossingen
Tamara McCall, Osnabrück
Angie Hiesl, Köln
Henrietta Horn, Essen
Head Juror:
Kurt Dreyer, Luzern
Awards Ceremony
Jury Award & Audience Award
Wednesday, 18th March 2015
09:15 – 10:45
14:30 – 16:00
Eurhythmics with a special profile, A
150 Years - Émile Jacques-Dalcroze
(Repetition on Thursday, 14:30)
(in the main hall)
body – rhythm – sound
Anita Gritsch, Wien
Karin Greenhead, London
Demaskiert – ein Plädoyer für das bewegte
Gesicht
Kurt Dreyer, Luzern
Der spektrale Körper
Agnieszka Kus, Köln
Eurhythmics and Artistic Projects
Elena Romanowa, Moskau
Listening and Interplay
Martina Jordan, Stockholm
11:00 – 12:30
Eurhythmics with a special profile, B
16:30 – 17:30
La Méthode Jaques-Dalcroze
(Repetition on Friday, 14:30)
Émile Jaques-Dalcroze as a composer and
artist during his time
Aleksandra Bilińska, Katowice
Solfège – ear training
Ava Loiacono, Locarno
Modern Music in Dalcroze`s Concept of
Plastique animée
Anetta Pasternak, Katowice
(Repetition on Thursday, 16:30)
A mazurka for a ball – Plastique animée
Michèle de Bouyalsky, Brüssel
dance/music
Plastique animée
Barbara Dutkiewicz, Katowice
The Humour of Voice and the Sound of
Movement
Hilde Kappes, Berlin
20:15
Use of props in the choreography of music
The Humour of Voice…
Solo Performance, Hilde Kappes, Berlin
Rhythmik - ein gestalterisches Verfahren
in Pädagogik und Heilpädagogik
Edith Stocker, Zürich
„Music and Movement in Artistic
Productions“ (The 1st panel of experts)
South African Gumboot Dancing
Eva Wedin, Stockholm
(in English / in englischer Sprache)
Kurt Dreyer, Luzern
Henrietta Horn, Essen
Angie Hiesl, Köln
Moderation: Elisabeth Gutjahr, Trossingen
Followed by a Jam-Session
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Thursday, 19th March 2015
09:15 – 12:15
16:30 – 18:00
Interdisciplinary Eurhythmics
Eurhythmics with a special profile, B
(Except for Zaiser/Pfeffel the workshops will be repeated
on Friday at 9:15)
(Repetition of Wednesday, 11:00)
Hellerau meets New Orleans
Marianne Steffen-Wittek, Weimar
& Fritz Wittek, Köln
Performance im öffentlichen Raum
& Simon Pfeffel, Karlsruhe
Deep Tone Diving
Verena Zeiner, Wien
& Elisabeth Orlowsky, Wien
Rhythmik und Konzertpädagogik
Stefanie Riemenschneider, Düsseldorf
& Ariane Stern, Düsseldorf
14:30 – 16:00
dance/music
The Humour of Voice and the Sound of
Movement
Use of props in the choreography of music
Rhythmik - ein gestalterisches Verfahren
in Pädagogik und Heilpädagogik
Edith Stocker, Zürich
South African Gumboot Dancing
Eva Wedin, Stockholm
20:15
(Repetition of Wednesday, 9:15)
Competition Finals
Children and Young Adults Category
body – rhythm – sound
Anita Gritsch, Wien
Public discussion by the jury of the competition
criteria
Demaskiert – ein Plädoyer für das bewegte
Gesicht
Kurt Dreyer, Luzern
Eurhythmics and Artistic Projects
Elena Romanowa, Moskau
Jury:
Irmgard Bankl, Wien
Stephanie Riemenschneider, Düsseldorf
Thomas Rascher, Essen
Andrea Kumpe, Luzern
Head Juror:
Listening and Interplay
Martina Jordan, Stockholm
Awards Ceremony
Jury Award & Audience Award
Eurhythmics with a special profile, A
Der spektrale Körper
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Friday, 20th March 2015
09:15 – 12:15
Interdisciplinary Eurhythmics
& Fritz Wittek, Köln
eigenart
Tamara McCall, Osnabrück
& Dörte Steindorff-Schulte, Osnabrück
(This workshop is not a repetition of Thursday!)
Deep Tone Diving
Verena Zeiner, Wien
& Elisabeth Orlowsky, Wien
Rhythmik und Konzertpädagogik
Stefanie Riemenschneider, Düsseldorf
& Ariane Stern, Düsseldorf
Modern Music in Dalcroze`s Concept of
Plastique animée
A mazurka for a ball - Plastique animée
Michèle de Bouyalsky, Brüssel
16:00 – 17:30
Lecture:
Ritmica Viena in Buenos Aires
Alexander Riedmüller, Buenos Aires
& Anita Gritsch, Wien
20:15
"Eurhythmics – Interdisciplinary Aesthetics
in Education" (The 2nd panel of experts)
(in German / in deutscher Sprache)
14:30 – 15:30
La Méthode Jaques-Dalcroze
(Repetition from Wednesday, 16:30)
artist during his time
Aleksandra Bilińska, Katowice
Solfège – ear training
Ava Loiacono, Locarno
Verena Zeiner, Wien
Andrea Kumpe, Luzern
Moderation:
Followed by a Jam-Session
Samstag, 21. März 2015
09:30 – 11:00
11:30 – 12:15
Open Space:
Eurhythmics – keep on moving!
Closing Session: Presentation of videofilms
taken during the festival
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Lecturers and their Workshops at the International Eurhythmics Festival
Aleksandra Bilińska
artist during his time*
For many years Dalcroze has been best known
as a teacher and creator of his fantastic
method of music education. Dalcroze however
is also very interesting as a composer and
theoretist. The focus of my research looks at
Dalcroze compositions with XIXth Century
tonality and harmony but with a very new
rhythmical structure and emotional influences
(between expression and impression). As for
music analysis he was focused on finding new
and different methods to help others
understand new music, the music of his time.
During my workshop and speech I would like to
show the connections between Dalcroze
compositions and those of other composers of
his time and a little bit later, also I would also
like to show how Dalcroze‘s method alongside
other methods are used in the analysis of
music created in his time and later.
* The workshop will take place in English.
Aleksandra Bilińska, Katowice, is composer,
lecturer, ethnomusicologist, improviser.
She graduated from the Department of
Composition, Conducting and Music Theory at
the Karol Szymanowski Academy of Music in
Katowice and the Institute of Musicology at the
University of Warsaw, specializing in
Ethnomusicology.
She has worked as a lecturer in the
Composition, Interpretation, Education and
Jazz Departments at the Karol Szymanowski
Academy of Music in Katowice and at the
Fryderyk Chopin University of Music in Warsaw.
She has taken part in many international and
national conferences as a theorist and held
many workshops in piano improvisation (ISME
Brasil; Emil Jaques-Dalcroze’s Institutes in:
Hellerau, Germany; Brussel, Belgium; Taipei,
Taiwan; Pedagogical University in Sumy,
Ukraine, and the Academies of Music in Poland)
Aleksandra Bilińska is also a composer. She has
created electronic music for many
choreographers and dance theatres in Poland.
Her compositions have been performed in
Poland, Ukraine, Puerto Rico, Germany, Czech
Republic, Taiwan.
The scope of her research involves the
composition techniques of 20th century music
and electro-acoustic music and first of all:
working artistically with choreographers.
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Michèle de Bouyalsky
A mazurka for a ball
- Plastique animée*
or how to transpose the various actions of a
ball into functional body movements and how
to make them aesthetic and expressive from a
musical conducting line.
Michèle de Bouyalsky, Brussels, studied ballet
at the Conservatoire de Danse de Bruxelles.
Then, she received training in dance (classical,
modern and character), scenography, music
theory, voice and rhythm (with Fernand
Schirren) at the Mudra Béjart’s school Brussels.
Knowledge of this discipline and exploration of
rhythm led her to the Institut Jaques-Dalcroze
de Bruxelles, where she learnt Eurhythmics
with Sergine Eckstein (Jaques-Dalcroze’s
student) and Monique Petit. There, she also
received training in Bodily Expression. In
addition, she improved her Functional
Movement skills with Rosalia Chladek.
Since 1980, she has been teaching Rhythmic
Choreography at the Institut Dalcroze de
Bruxelles to children (from 3 years old),
teenagers, adults and artists as well as future
teachers. In 1998, her students achieved First
Prize and Audience Award at the second
European Euthythmics Competition in
Trossingen. Since 2005, she is editor of Le
Rythme within the FIER Committee.
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Kurt Dreyer
Unmasked - a plea for the moving face
This talk is about the face as we show it to our
fellow human beings, should it be in various
social situations, in musical interpretation and
specifically in dance. In different cultures, in
many forms of theater and explicitly in some
forms of dance technique, certain facial
expressions are required which do not
necessarily coincide with the emotions of the
artist. Many contemporary dance pieces break
with the formalized vocabulary of movement a break with formalized facial expression is the
necessary amendment.
Kurt Dreyer, Lucerne, Training in classical and
contemporary dance techniques, T'ai Chi,
Alexander technique and choreography. Many
dance pieces, direction work and
performances, often in collaboration with
musicians and visual artists. Has worked as a
dance teacher since 1974 and worked at
various music colleges engaged in vocational
training: Training eurhythmics / music and
movement; Opera Studio / Stagelab;
Instrumental and vocal training at the
universities of Bern, Lucerne and Basel. Artistic
Dance at the University of Bern. The direction
of students performances of pieces for children
and the supervision of operas with children.
Guest courses and consultancies in Europe,
Hong Kong and Taiwan. Head of the music and
movement / eurhythmics department at Biel
Hochschule der Künste Bern (HKB) until 2012.
Teaching: Rhythmic body work, stage-oriented
movement for singers and musicians,
placement, dance and movement technique,
improvisation, dance composition, Scenic
advice.
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Barbara Dutkiewicz
Plastique animée*
The workshop includes exercises in the field of aesthetics
and movement techniques in correlation with the
expression of music in movement. This area defines the
issues that are specific to the forms of artistic expression
in eurhythmics.
Whereby the main focus is on the coherence of the
emotional and the formal content of musical expression
by shaping movement, spatial composition, conventions,
aesthetics and symbolic meanings. These elements
provide the basis for the artistic dimension of this
method.
The exercises we will do will better the perception of the
selected aspects of musical expression and modern
means of artistic expression. They require the active and
creative participation of the participants.
Use of props in the choreography of music*
By using props on stage you make them become a part of
artistic expression. The fact that they are seen on the
stage, means that they must become a part of the creative
process developing the work of art and as a result part of
the meanings associated with it. This dependence forces
us to take into account both the visual and aesthetic
values as well as the dramatic and symbolic values of the
props.
Therefore, during the workshop, the exercises we will do
will concern the use of a prop both: firstly in its visual
aspect (like set design, costume) supporting and
complementing the movement and the performance and
secondly with regard to its symbolic significance (in
association with the dynamics and more or less abstract
course of action on stage).
We will use exercises with props to heighten awareness of
compositional elements such as plot, the significance of
particular actions, the use of line, colour, rhythm and
focus on the functions for which the props can be used.
Because there can be difficulties working with a prop due
to its structure, quality or its physical characteristics,
some exercises will focus on how to adapt and change
the characteristics of props with the aim of developing
creative movement and to enrich the kinetic possibilities.
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Barbara Dutkiewicz (PhD DSC), Katowice,
graduated from the Karol Szymanowski
Academy of Music in Katowice (Master of Art in
Eurhythmics). She broadened her education by
writing PhD thesis: 'Improvisation as a creative
method at theater of second half of 20th
century'. In 2012 she published a book
entitled: 'Polystylistics or Discourse with the
Past - Choreography of Music in the Light of
Postmodernism on the Basis of Chosen Musical
Works'.
Her artistic activities include: choreography of
music, compositions of stage movement for
theater performances. There she uses plastique
animée, eurhythmics and improvisation, court
dance, mime, new dance, body work technique.
She was the scholarship holder of the Ministry
of Culture and Art, and she was awarded the
first prize at the First European Eurhythmics
Competition in Trossingen.
Karin Greenhead
150 Jahre - Émile Jacques-Dalcroze*
After graduating in piano, violin, harpsichord
and accompaniment from the Royal College of
Music, London Karin trained as a singer and
performed in recitals and on the opera stage.
She gained a Dalcroze Licence in London and is
a Diplômée of the Institut Jaques Dalcroze
Geneva. Her practice as a rhythmician is
informed by her experience as a performer in a
wide variety of rôles and by the many years she
has spent working with dancers (Royal Ballet
School, Central School of Ballet and English
National Ballet School and Northern Ballet
Theatre). In addition to her regular teaching at
the Royal Northern College of Music and
several other UK conservatoires, Karin is
responsible for the professional training and
examination of Dalcroze practitioners in the UK
and has developed special applications of the
Dalcroze work to the rehearsal and
performance of the concert repertoire (Dynamic
Rehearsal techniques) which she has
demonstrated in Australia, Canada, Germany,
Italy, South Korea, Switzerland and Taiwan and
the UK.
* The lecture will take place in English.
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Always having been a practitioner, Karin has
started to write about Dalcroze Eurhythmics
and has published and presented at a number
of conferences including ISME, (Malaysia,
Bologna and Thessaloniki) and the First
International Conference in Dalcroze Studies at
Coventry University, UK. She is currently
working towards a PhD, her thesis being a
phenomenological investigation into her own
practice. She is Director of Studies for the
Dalcroze Society UK; Joint Director of Studies
for the Dalcroze Eurhythmics International
Examination Board; a member of the Collège of
the Institut Jaques-Dalcroze, Geneva.
Anita Gritsch
body - rhythm - sound
Rhythm, made audible and visible through our
own bodies - that is body music.
In this workshop, we will explore this universe,
investigating how improvised rhythms may be
threaded around pulsation within a group, how
playing with the possibilities of sound
production may help develop listening skills in
spontaneous music making, and how we may
train independence, collaboration and
coordination in bound improvisation activities
that are based on a regular beat. Engaging with
direction and impulse, we will build a bridge
between musical and movement aspects,
connecting functional with expressive qualities.
Contents:




Exploring and enlarging the range of
sounds
Pulsation, reaction and independence
Active listening and improvisation
Connecting movement and body
percussion
Mag. Anita Gritsch: Artist and trainer in the
fields of music, movement, rhythm and
language. Studied Rhythmics/Music and
Movement Education in Vienna, as well as
English studies and Sociology. Numerous
trainings with international artists, principally
in the area of body music (e.g. Bobby McFerrin,
Fernando Barba, Keith Terry). Member of
RITMICA VIENA (Buenos Aires) and Musica &
Movimento (São Paulo); advisory member of the
ÖBR (Professional Association of Rhythmics
teachers in Austria).
Anita offers seminars and workshops for a
range of target groups: from teacher training
(e.g. Austrian Institute of Teacher Training),
courses for students (e.g. University of Music
and Performing Arts Vienna/AT, Federal
University of Natal/BR); projects in schools
involving Rhythmics and body percussion,
workshops at different institutions abroad
(Brazil, Argentina, Columbia, Uruguay).
Performance projects (z.Z. Müller & Schöller),
member of various ensembles in her home
country and abroad (u.a. Gumboot Dance
Brasil, Maracatu Minimal).
anita.gritsch@gmail.com
www.anitagritsch.weebly.com
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Susanne Jåresand
Dance/music*
Workshop/lab, based on listening that can be
described in three phases: to pay attention (at
risk), hearing (sound) and listening (physical,
with the whole organism).
We will translate the musical elements to dance
through various improvisational models. This
physical sensation of music transformed into
movement give a development to deepen and
complicate your musicality in dance/music.
We will also work with two-voice harmony;
music and movement; Not visualized, not in
opposition but assimilated, to get this twovoice harmony.
Through improvisational work we will make
exercises with listening as a key concept in
relation to the inner hearing, to the co dancers
and to the sounding music. To experience and
learn how listening consciously and
subconsciously balance between these poles.
Through these exercises we will build up
sensitivity to impulses to an embodied
musicality. The class has the corporeal music
as a frame.
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Susanne Jåresand, Stockholm:
University graduate 1982 Dalcroze –
Eurhythmics at the Royal College of Music in
Stockholm where she was working between
1996 – 2013.
Appointed professor in 2004.
Artistic Director of Gotland Dance Education in
2011.
Susanne started an artistic research with grants
from the Swedish Research Council in January
2014, that will continue to 2016; "Listen to
listening, Counterpoint in dance and in music
in a listening Attitude".
Jåresand is active as professor in movement
and eurhythmics, choreographer and musician.
At nearly fifty own choreographies, she has
also been involved in numerous productions at
the main scenes in Stockholm. Susanne was the
director and choreographer for the
divertissement at the Nobel dinner in 2000.
She has directed and choreographed ”Queen
Christina” (Swedish Television) premiered in
London.
Martina Jordan
Listening and Interplay*
Through our bodies, in movement and
improvisation, we will examine the listening
and interplay used in all music making.
We will work with the extended listening of the
whole body, perceiving not only played music,
but the room, the bodies in a room and the
shifting space between them. Bodies in
movement forming intervals, chords and parts
as of visualized music. Bodies that, whether
they follow each other or move apart, stay
connected by the single element of listening.
Martina Jordan, Stockholm, is a performer and
teacher of music and dance. She has a degree
of Master of Education in Eurhythmics at the
Royal College of Music in Stockholm and an
Artistic Degree in Dance at DOCH (the College
of Dance and Circus).
As a freelancer, she is developing her own
artistic projects as well as working on
commission by various colleges of music. In
both her artistic and pedagogic work, the main
focus is the interaction of movement and
music. The poetry of everyday life movement.
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Hilde Kappes
The Humour of Voice and the Sound of
Movement
Stimme und Bewegung / Improvisation
und A-Capella-Sport
The methodology of the eurhythmics / music
and movement education enables, by
integrating different resources, a natural and
very physical access to the voice. It gives the
learner the opportunity to use movement,
body, music, rhythm and play to develop the
voice, to discover it in unconventional ways or
get away from a too achievement-orientated or
self-critical standard. Artistic creativity and
forms arising out of improvisation and playful
experimentation serve as a means to take the
bite out of developing, serious personal issues.
“Der Humor der Stimme" translates as not only
“The Humour of the Voice" but also the "Whims
of the Voice”. Improvised choirs, polyphonic
turn-arounds or "wicked a capella Sport" boldly
allow the whole pallet of vocal expression
forms to be used out of which almost
bouffonesque melodies can arise.
The combination of voice and movement, of
flexibility in the spine and the voice, breathingspace and energy and the interactive play of
grounding and discharging allow a new access
to the voice to develop..
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Hilde Kappes, Berlin, is a singer and musician,
a graduate eurhythmics educator, and Somatic
Experiencing Practitioner, Peter Levine method,
teaches at the University of the Arts Berlin,
Department for Eurhythmics, Voice and
Movement, as well as in private practice the
ESSENTIAL VOCAL (and MUSIC-) EXPERIENCE:
individually, in small groups and choirs.
www.hildekappes.de
Agnieszka Kus
The spectral body:
diversity in unity, unity in diversity*
In the workshop-lecture "The spectral body" we
will explore the different aspects of the sound
spectrum in relation to body and movement.
We will focus on spectral music (music
technique of the 1970s based on the overtones
of sounds) in movement composition.
Mouvement research through the experiment
of translation of this technique: the interior of
the sound to the interior of the movement, the
"partials" of the movement.
What are the components of the movement or
of the movement composition in comparison to
the spectral sound which is made up of lots of
overtones and yet remains a single sound?
How to reach this profundity in motion without
a mere illustration of musical structure?
Is there a spectral movement?
Is there a spectral choreography?
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Agnieszka Kus, Cologne, is a lecturer for
Elementary Music Education at the Hochschule
für Musik und Tanz in Cologne. She studied
eurhythmics at the I.J. Paderewski Music
University in Poznan, Poland, and the Institute
Emil Jaques-Dalcroze in Geneva (post grade).
She has also completed training as a dance
teacher in Düsseldorf. As a dancer she has
performed the work INORI of Karlheinz
Stockhausen at several international festivals.
She is a freelance music and dance teacher in
Cologne and is particularly interested in new
music, dance and theater.
Ava Loiacono
SOLFÈGE – Ear Training*
One of the Dalcroze principles is to create a
link between rythmics, solfège and
improvisation, so that the three branches
would interact and nourish the musicality of
the student.
This workshop will explore and develop this
principle based on an “active” way of listening.
Participants will be involved in listening,
reacting, moving and singing according to the
material presented: intervals, scales, chords,
melodic and rhythmic patterns etc.
The workshop is open both to beginners and
experienced participants.
Vocal improvisation will also be a part of the
lesson.
Ava Loiacono is a musician and actress.
She trained at the Lecoq School in Paris in
movement and theater. Studied at the Dalcroze
Institute in Geneva and London where she
obtained the Licence and the Diplôme
Superieur. Taught at the Royal Ballet School in
London, in New York and Tokyo. She currently
teaches Dalcroze and theater at the SUPSI
(Swiss Italian Professional University) in
Locarno.
Ava is also working extensively in Italy, Spain,
England, South America, Japan training
students for the Dalcroze certificate program.
Cofounder of “The Funambolo” theater
company, she performs as musician, actress
and ventriloquist.
Ava is President of the Italian Dalcroze Society
(AIJD)
Has written “Sentire e Provare” EDUP ed. (2012)
drolezac@yahoo.com
ava@ilfunambolo.ch
www.dalcroze.it
www.ilfunambolo.ch
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Tamara McCall
Dörte SteinsdorffSchulte
eigenart
Dance theater improvisation for people with
and without special needs
This workshop is about the connection
between dance, theater and language. The
lecturers will present exercises with a variety of
themes which can be used to raise awareness
for and to link different forms of expresssion.
Tamara McCall, Dipl.-Eurhythmic Teacher,
Professor of Elementary Music Education at the
University of Osnabrück since 2007, has spent
almost 20 years of intensive artistic and
educational research into dance, eurhythmics
and music in an inclusive context.
Many people can be reached using the
fundamental link between the voice, speech
and movement and thereby helped to discover
and refine their personal expression. Multilayered forms of contact and expression make
it easier to work with an inclusive group. A
variety of settings for improvisation will give
the participants enough space to experiment
and time to watch and to reflect.
Dörte Steinsdorff-Schulte, Dipl. Actress and
speech therapist. Lecturer for Artistic Speaking
and Performing Arts at the University of
Osnabrück since 2009.
After her 15-year career as an actress her focal
point looks at breathing and the voice as a
natural form of human expression and as part
of the artistic context.
Tamara McCall and Dörte Steinsdorff-Schulte
jointly manage “eigenart” , the inclusive
dance theater at the University of
Osnabrück.
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Anetta Pasternak
Modern music in Dalcroze’s concept of
plastique animée
Reflections on the author’s own educational
and artistic experiences*
Émil Jaques-Dalcroze’s method is open for
further development due to the fact that it
changes with the evolution of modern music. A
correct music interpretation is possible only as
the result of an in-depth analysis of the
music’s structure and its expressive features,
which are then transposed into the expressive
movement of “plastique animée”.
The desire to use movement to adequately
express modern music requires deep body
awareness. This requires a physical training
which should be combined with a properly
developed technique of musical expression
with movement. An appropriate level of
physical control allows the performer to reach
a higher level unity between the music and the
movement, which in turn has a considerable
influence on the depth of the analysis and the
intensity of the experience.
The workshop leader aims to display the
special features of plastique animée based on
her own experience using contemporary music.
The workshop will reflect her work with
students of Eurhythmics at the university level
as well as the artistic activities in the students’
Rhythm Theatre – “Katalog”.
The creative process of music interpretation
will be shown in connection to different stages
of the work – eurhythmics, solfège physical
training and choreography.
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Anetta Pasternak, PhD hab, MA in Eurhythmics,
presently works as an assistant professor in the
special field of Eurhythmics, at the Academy of
Music in Katowice, and at the same time she is
professor for Dance at the University of
Humanities and Economics in Lodz. As its
artistic director she supports the Scientific
Circle of Eurhythmics with its artistic branch,
the Theatre of Rhythm "Katalog."
Anetta Pasternak was awarded the first prize at
the Second European Eurhythmics Competition
in Trossingen, Germany, and she won the first
prize at the XXVI Tychy Theatre Meetings. She
specializes in modern music interpretation. She
is the organizer of the annual Polish workshop
session called "Music and Movement in
Therapeutic Activities". She has given many
lectures and workshops Poland and other
countries including, Austria, Germany, Great
Britain, Japan, Sweden, Switzerland, Ukraine,
USA, Taiwan. She has also taken part in
numerous workshops and scientific
conferences in eurhythmics, dance and therapy
in Poland, Germany, Switzerland and Great
Britain.
Alexander Riedmüller
RITMICA VIENA in Buenos Aires
5 years of developing / building audiences
for Eurhythmics in South America
“Where to go next to develop and apply the
ample skills acquired during my education?” is
an essential question for many graduates of
Eurhythmics. The case of the initiative RITMICA
VIENA shows a successful example of the
possibility of building an international career
and expanding networks overseas.
This lecture gives an overview of the work of
this group which has been spreading the
method of Rhythmics / Music and Movement
Education from Buenos Aires. Today, the team
consists of a team of four Eurhythmics teachers
from Argentina, Germany, Columbia and
Austria who studied the method in
Vienna/Austria or Buenos Aires. Over the past
years, RITMICA VIENA has expanded and grown
into a sort of professional stronghold in the
southern hemisphere, offering weekly courses
for children and adults, continued education
programmes for teachers, seminars at various
institutions within universities and, since 2011,
an annual international Eurhythmics week - the
SIRBA - as well as working with performance
groups. The lecture offers an insight into
contents, strategies and challenges related to
these efforts.
Alexander Riedmüller was born in Tübingen,
Germany, and currently lives in Buenos Aires,
Argentina. After completing his degree in
Rhythmics / Music and Movement Education at
the University for Music and Performing Arts
Vienna, he decided to continue his career in
South America. Together with argentine
colleagues, he founded the initiative RITMICA
VIENA in 2009, organizing and offering
Rhythmics courses, seminars and workshops,
as well as holding an annual international
Rhythmics Week in Buenos Aires called SIRBA.
He is also director of the performance group
Laboratorio Rítmico Escéncio. Both with
RITMICA VIENA as well as with his other main
project, the improvisational theatre group artig
(from Vienna), he has travelled more than 20
countries as a teacher of Rhythmics, actor,
trainer and speaker.
He has presented his work at several
congresses in South America and Europe. To
find out more about it, please visit
www.ritmicaviena.com.ar
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Stephanie
Riemenschneider
Ariane Stern
Eurhythmics and concert pedagogy
The term concert pedagogy which
encompasses in its field of activity, music
education and dramaturgy, has been
established in the municipal orchestra scene
for several years now.
Now concert education has also arrived on the
independent scene. The concert educators
working in this broad field which has
programmes for all ages, includes not only
teachers but also the musicians themselves,
playwrights, conductors, etc.
The principles of eurhythmics as well as
eurhythmics methods have found (unnoticed?)
a fixed place in concert education.
The focus of this workshop is to plan and
implement music and concert education
projects for children visiting orchestras and
concert halls:



19
How do you create a program tailored to
a target group?
Which organizational procedures, which
dramaturgical motives influence the
structure of a children's concert?
Which methods should concert
pedagogy consider using and how
important is the involvement of music &
movement?
Link back to page 1
Stephanie Riemenschneider studied
eurhythmics at the colleges of music in Lübeck
and Cologne. After many years teaching in the
fields of eurhythmics, elementary music
education and drama education and with a
Degree in Music Education and Concert
Pedagogy from the college of music in Detmold
then worked as a dramaturge and concert
educationalist with the Niederrheinischen
Symphonikern. Since 2009 she has organized
the programmes for children and schools at
the Tonhalle Düsseldorf and works as a
freelance concert pedagogue throughout NRW.
Stephanie Riemenschneider has teaching
assignments for concert pedagogy at the
Robert Schumann College of Music and the
University of Cologne.
Ariane Stern studied musicology and dramatic
in Berlin, Paris and Cologne. She first worked
as a consultant for public relations and
dramaturgy at the Gürzenich Orchestra
Cologne, before becoming a concert
educationalist and moving to the Tonhalle
Dusseldorf in 2001 where she installed the
children`s concert formats and programmes
for school classes. After she completed a parttime study course in Music Education and
Concert Education at the Detmold College of
Music, she worked as a lecturer in this
department. There, as well as in Duisburg,
Dusseldorf and Kassel she has stood on stage
as a presenter of children's concerts.
Reinhard Ring
Émile Jaques-Dalcroze A Critical Acknowledgement A great personality has always to be
rediscovered and reevaluated by each new
generation. Some of the work can only be
understood in its time. Other aspects are
timelessly valid. Dalcroze was the first and
most important representative of an active
music education in the 20th century. He was
followed by other personalities and methods
between which we can establish a relationship.
Thus it is easier to understand what is special
about his personality, ideas and pedagogical
approach.
Reinhard Ring, University professor Hannover
University of Music, Drama and Media.
Permanent guest professor at the CCoM,
Beijing. President of the "Fédération
Internationale des Enseignants de Rythmique",
Geneva 1992‑2003.
Research areas: Music and movement of
different cultures, eurhythmics history and
theories.
Publications: Articles, leaflets for practical
application, educational compositions, 2
books..
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Lena Romanova
Eurhythmics and Artistic Projects*
I would like, with the participants to look at the
things which from my point of view, were most
important to deal with when I started the
project called “RHYTHM-THEATRE” in 2004.
Being on stage is a very valuable experience
especially for young students. The Dalcroze
method helps us to get inside the music, into
the “theatre” of sound.
It teaches us:





to feel its movement, to hear the silence
and to follow its development;
to train our communicative abilities: to
establish a sense of community and the
ability to interact with our partners
without words;
to express the music with the help of
simple movements and gestures;
to feel the balance between our emotion
and our intention, between our spirit
and body;
to deal with music of different types,
styles and epochs.
Lena Romanova has lived and worked in
Moscow all her life.
She began teaching music in the 1980s. In the
early 90's she heard about Dalcroze
eurhythmics for the first time. Since then she
has taken part in a great number of
International Eurhythmic events, such as
Congresses (Geneva, Vienna), Workshops
(Hellerau – Germany) and Summer Schools
(Italy, UK, USA).
Since 2003 she has worked at the Gnessin
College of Music where she started developing
the education projects “RHYTHM-THEATRE”
(2005) and “PLANET OF RHYTHM" (2010).
She believes strongly that there should be no
limits defined by the state, which regulate the
way people experience music and rhythm or
with regard to any “special forms” of artistic
development.
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Marianne
Steffen-Wittek
Fritz Wittek
At the time when Dalcroze was experimenting
with different forms of movement in Hellerau
in the search for a better understanding of
rhythm, drummers in New Orleans were
working on building a new instrument with
which they could better express themselves
rhythmically. While eurhythmics in Germany
has become a field dominated by women, the
drum set which is considered a typical
instrument in the male domain has virtually
played no role in the field of eurhythmics.
What can eurhythmics and drummers learn
from each other? What ideas for movement
improvisation can, for example, be inspired by
the Second Line Drumming and what has the
New Jack Swing to do with eurythmics? What
approaches can be used in eurythmics to get a
physical and sensory understanding of a
Secondary Rag figure or to stimulate the
rhythmic coordination of the four extremities
in experimental movement?
Marianne Steffen-Wittek and Fritz Wittek will
describe the major developments of the
various drum set styles from their beginnings
up until the present day and will which
establish the connections there are between
the past and present theory and practice of
eurhythmics.
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Marianne Steffen-Wittek
studied eurhythmics and percussion and
played drums in rock and jazz bands amongst
others, in the female group "F", with which she
won the Langener Jazz Prize.
She has played with various orchestras and
improvisation groups, run solo projects, taken
part in Jazz festivals at home and abroad and
recorded LPs and CDs. She was a lecturer at the
Cologne College of Music, was deputy director
of the Offenen Jazzhaus Schule and a
freelancer for the WDR. In addition to her
current work as a eurhythmics professor in
Weimar she has published children's songs and
has written for textbooks and magazines. In
2004, she was a winner at the first
international competition for music education.
She plays vibraphone and percussion in the
Trio Scordatura.
Fritz Wittek, self-taught, first band experiences
in beat bands in the late 1960s; Drummer with
Vollmond (1 LP), Wittek Kaiser Manderscheid (3
LPs), Jazzhaus- big band, TOME XX (several LPs
and CDs), Anne Hartkamp (CD), Helge
Schneider. Radio and television productions at
home and abroad; Tours on behalf of the
Goethe-Institut in Eastern Europe, Scandinavia,
Estonia, Central and South America, North
Africa, South and East Africa; Drum teacher at
the Carl Stamitz School Köln-Porz; Drummer in
the trio Scordatura.
Edith Pia Stocker
Eurhythmics - a creative process in
Education and Special Education
Teaching in the context of the "Arts" is
currently receiving increased attention in art
colleges. It is stimulating to ask the question
how knowledge is acquired through “artistic
processes” and added to this, what is the
nature of those findings. Also if one believes
that everyone is entitled to have access to
sensual and aesthetic experiences, the
challenge is to adapt creative methods in
accordance with the requirements of an
inclusive approach.
We will begin the workshop with exemplary
creative methods, furthermore theoretical
models on issues such as multi-perspective and
“logic of development” didactics, creative
processes and aesthetic education will be
presented.
Practice and theory are then the basis for a
mutual contemplation and discussion of the
importance of creative methods, as used in
Eurhythmics, for special education.
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Edith Pia Stocker, Zürich, Professor of the
Didactics of Music and Movement as well as
Director of Studies for BA Music and Movement
and MA Music Education / Music and
Movement / Eurhythmics at the Zurich
University of the Arts.
Training: Teaching qualifications Music
Education and Eurhythmics (NDS special
education), Licentiate in general and
developmental psychology, psychopathology in
adulthood and special education.
Eva Nivbrant Wedin
South African Gumboot Dancing*
Gumboot dancing, as a rhythmical dance, was
established in the South African mines more
than a century ago. The dance is performed in
a group, through rhythmical steps, claps and
slaps on the boots. During ’the struggle’ the
dance was used as a statement against the
apartheid regime, and after the democratic
revolution in 1994, it has become an integral
aspect of the culture. The dance can be seen at
schools, performed on the streets by buskers
and in professional shows. Gumboot dance is
now spreading across the world, both in
professional shows and as a dance form for
everyone to try and enjoy.
Gumboot dancing can be used as an effective
tool in music education, as rhythmic training
and coordination training, and as an inspiration
in other forms of body percussion. The dance
figures can also be used to show different
musical aspects.
In this workshop, the participants will learn a
few dance steps and view video footage from
South Africa. We will also consider examples of
how ‘gum boot dancing’ can be utilized when
teaching eurhythmics.
Why I teach gumboot? Since 20013 I teach
eurhythmics and music education one month a
year at South African Universities. During my
stays in South Africa I have learned gumboot
dancing and I use to practice with different
groups and gumboot masters.
24
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Eva Nivbrant Wedin graduated from Malmö
Academy of Music in 1979 and continued her
further studies at the Royal College of Music in
Stockholm. She also combined the music
studies with studies in Educational Sciences
and Psychology.
Eva has worked as Eurhythmic teacher in
various school forms and has been teaching at
all levels from young children to professional
musicians. Since 1996 she is a Senior Lecturer
at the Royal College of Music in Stockholm
(KMH).
She is involved in various forms of international
exchange and has been teaching at South
African universities on a regular basis since
2003. She has also initiated and supported
exchange programmes between
primary/secondary schools in South Africa and
Sweden.
Dierk Zaiser
Simon Pfeffel
Performance in public space –
Working methods and concepts in
eurhythmics and in fine arts
Essential parameters and intersections of
performances will be reflected, theorized and
discussed by means of a common live
performance of both artists and video
examples. Instructed exercises lead to a
practical absorption and to a personal
awareness. The participants realise their own
performance ideas in an artistic process of
creation.
Dierk Zaiser
Professorship in Music & Movement / Eurhythmics
at the Trossingen University of Music, Germany
since 2008 with the main subjects Master RhythmikPerformance, didactics for adults, inclusion, artistic
and pedagogic projects. Founder and director of
BEATSTOMPER – Rhythm- and performanceprojects
for young offenders and social disadvantaged youth
since 2006. Double Awardee at the European
Eurhythmic Contest 1995, Different national awards
for innovative music pedagogic concepts and
activities. Scientific and practice publications in
books, journals and internet. Dissertation in
pedagogics (special needs education), Dr. paed.
International teaching and lecturing.
Simon Pfeffel lives and works in Karlsruhe. 2005–
2011 Studies at the Staatliche Akademie der
Bildenden Künste Karlsruhe under Prof. Silvia
Bächli/ 2011–2012 Guest studies for sculpture and
new media at the Staatliche Akademie der Bildenden
Künste Stuttgart under Prof. Christian Jankowski/
Continued education in sculpture and new media at
the Staatliche Akademie der Bildenden Künste
Karlsruhe under Prof. John Bock/ Main organizer of
the UND7 Karlsruhe/ 2013–2014 Continued
education at the Staatliche Akademie der Bildenden
Künste Karlsruhe under Prof. Leni Hoffmann.
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Verena Zeiner
Elisabeth Orlowsky
Deep Tone Diving
The workshop is designed for rhythmists,
musicians and dancers interested in
networking their artistic abilities. Through the
medium of improvisation, it will explore
diverse tensile states in the body and in music,
focusing on a nuanced use of resources to
influence (muscle) tone. We will be diving deep
into details that have a rich, multifaceted effect
on the combination of movement and music,
with the goal of bridging possible
communication gaps between movement
artists and musicians.
Musicians are requested to bring their
instruments!
As pianist and composer Verena Zeiner (based in
Vienna) leads her own bands, performs nationally
and internationally with various artists, composes
and plays for dancers and creates music theater
plays for young audiences. Her musical homeland
is Jazz and the approach to music it implies.
Verena Zeiner is educator/eurhythmics teacher
and leads workshops on various music and
movement related topics. Releases: „Human
Circus“ (Freifeld Tonträger, 2014); „Prinzessin
Himbeere“ (CD/book, 2014); „Rhythmik und
Hören. Zur Entwicklung der auditiven
Wahrnehmungsfähigkeit in der Musik- und
Bewegungspädagogik“.
www.verenazeiner.at
Elisabeth Orlowsky is dancer, choreographer and
educater, based in Vienna. She is founder (1997)
and artistic director of „Compagnie Smafu“.
Collaborating with dancers, composers and
actors she created more than 20 pieces. Since
2001 Elisabeth Orlowsky is teaching at the
University for Music and Performing Arts Vienna
in the department for Music- and Movement
Education.
www.elisabethorlowsky.at
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Experts in the Jury and Hearings
Further Experts in the Jury and Hearings
Irmgard Bankl
Elisabeth Gutjahr
Irmgard Bankl, Master eurhythmist, movement
and dance teacher.
Prof. Elisabeth Gutjahr, studied eurhythmics
und music theory in Stuttgart and Cologne. In
1987 she was appointed Professor of
Eurhythmics at the College of Music in
Trossingen. The International Eurhythmics
Competition has taken place twice in
Trossingen. She has been rector of the college
since 2006. In this role, she was instrumental
in the conversion of the courses according to
the Bologna process.
From competitive sports (gymnastics) and
sports studies at the University of Vienna
(1980) via involvement with modern and
contemporary dance (workshops /
performances with independent dance groups)
onto a degree in eurhythmics in Vienna
(Diploma 1997).
Senior Lecturer at the University of Music and
Performing Arts Vienna and at the KUG Graz.
Lecturer at colleges of education, teaching in
projects such as " The Class in Movement ",
"Eurhythmics Class" and "Reaching out to
Music," as well as in-service teacher training.
Director of the International Eurhythmics Week
Vienna (www.rhythmik.at) and the dance
workshops in Traunstein / Waldviertel
www.tanzwerkstaette.at. Chairman of the
Austrian professional association for
Eurhythmics. (ÖBR).
Additional training as a teacher for spinal
training, teacher in movement analysis (© Rick)
and dance movement education (®Chladek).
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In the artistic field Elisabeth Gutjahr operates
mainly as a librettist. Numerous projects have
been performed in prestigious opera houses.
Over and above that she has worked with
artists such as Mary Bauermeister, Henry
Fourès and Franz Hummel. She places a special
focus on trans-disciplinary topics and the
conjunction of music, speech, movement and
space.
Angie Hiesl
Henrietta Horn
Foto: Bettina Stoess
Henrietta Horn, Choreographer - Dancer –
Teacher. From 1987 to 1992 she studied at the
German Sport University in Cologne, from 1992
to 1996 at the Folkwang College in Essen and
then began working as a freelance
choreographer and dancer.
Born and raised in Venezuela, Peru and
Germany, she has lived in Cologne since 1975.
Since the 1980s, she has been a director,
choreographer, performance and installation
artist. Since 1997, she has worked with Roland
Kaiser. In Germany she has been a pioneer for
site-specific dance and theater projects. Her
visual and performative interventions
transform urban locations not known for art
into temporary art spaces. Hiesl`s and Kaiser´s
original aesthetic forms of expression are
sensual provocations and an invitation to the
audience and passers-by to discover a new
perspective on something we normally take for
granted. The award-winning works have been
shown around the world.
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In 1999 she became artistic director of the
Folkwang Dance Studios together with Pina
Bausch. Here they jointly developed, with and
for the ensemble, choreographies that are
performed at home and abroad. In addition to
her work at the Folkwang Dance Studios, she
created her own solo pieces. She has given
workshops, amongst other countries, in
Indonesia, Cameroon, Japan and Syria where
she created compositions and choreographies
with the dancers. Henrietta Horn concluded her
work as artistic director of the Folkwang Dance
Studios in 2008 and has since worked
worldwide as a freelance choreographer,
dancer and teacher. In addition to her solo
choreographies, she gives workshops and
works as a guest choreographer - for the
Rambert Dance Company in London, the Dance
Theatre Bremen and the Dance Theater
Bielefeld amongst others. In 2013, she was put
in charge of the reconstruction of "Sacre du
Printemps" choreographed by Mary Wigman in
1957. In 2008, she received the Artists Award
2008 in the segment Choreography /
Contemporary Dance from the State of NRW.
Andrea Kumpe
Thomas Rascher
Dr. Andrea Kumpe, grew up in the Allgäu
(South Germany), studied elementary music
education and church music at the College of
Music in Augsburg. She graduated from the
master class for organ at the College of Music
in Freiburg and holds a PhD in Music Education
at the University of Music and Theatre in
Leipzig. At the Freiburg Academy for the Gifted
she assisted Professor Schmeding looking after
the class for young students. In the winter
semester of 2010/11 she became one of his
deputies as professor. In addition to giving
concerts and lecturing internationally she is a
lecturer for organ in the church-music
education department of the archdiocese of
Freiburg and teaches music and eurhythmics at
the Kolping Academy in Augsburg. In
November 2013, she began her work as the
coordinator for vocational training and as
research coordinator for the Institute of
Classical and Church Music at the University of
Lucerne. (www.andrea-kumpe.de)
Thomas Rascher, Mime, Actor, Dipl. Movement
Teacher, Mask Maker.
She is director of studies of the two training
courses: music, movement, dance and church
music and is vice-president of the Association
for the Advancement of musical Talent in the
canton of Lucerne (TMLU), Switzerland.
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Studies at the Folkwang University majoring in
pantomime. Graduating with a degree as
movement teacher for the Franklin Method.
Since 1989, guest engagements, creator of his
own productions, performer and co-author of
"Familie Flöz kommt Über Tage" and "Hotel
Paradiso". Professor of movement at the
Folkwang University since 2011.
Organisations and Festival-Team
The festival was organised by Barbara Schultze and Herbert Fiedler (Remscheid Academy) and by
Dorothea Weise (Conference for Music and Movement / Eurhythmics at Universities – AMBR).
The Remscheid Academy for Arts Education is
the central institution for cultural youth
education of the Federal Republic of Germany
and of the Land North Rhine Westfalia.
As a further education academy for
professionals in the fields of youth, social,
educational and cultural work it is a recognized
organization according to federal law (Children
and Youth Service Act).
The departments of the Remscheid Academy
offer courses, qualifications and projects in
music, eurhythmics, dance, drama, play,
literature, fine arts, media and social
psychology and coaching.
Graduates in Eurhythmics, who teach music
and movement or eurhythmics at universities
and particular at colleges of music are
members of the German Conference for Music
and Movement / Eurhythmics at Universities
(AMBR e.V.).
The purpose of the association is to strengthen
the discipline in vocational training in the arts,
education and therapy. Further the AMBR
supports networking amongst the teachers of
music and movement / eurhythmics.Also to
push forward research and to discuss and
support artistic practice in cultural education
and in social work.
www.musikbewegung.de
www.akademieremscheid.de
Akademie Remscheid
Küppelstein 34
D-42857 Remscheid
Tel.: ++49 (0) 2191 794-0
Head of the departments
music and eurhythmics:
Herbert Fiedler
fiedler@akademieremscheid.de
Barbara Schultze
schultze@akademieremscheid.de
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1st Chairperson
Prof. Dorothea Weise
Universität der Künste Berlin
weise@musikbewegung.de
2nd Chairperson
Grazyna Przybylska-Angermann
Herbert Fiedler
Guest teacher at home and abroad. Head of the
Department of Eurhythmics / Music and
Movement at the Academy Remscheid.
Conception and implementation of
qualifications in occupational training,
conception and development of
interdisciplinary approaches to cultural
education for children and young people.
Articles for textbooks and journals.
Pianist and lecturer for music and music
education, head of the music department at the
Academy Remscheid
Dorothea Weise
Herbert Fiedler studied music education for
piano, trumpet and general music education.
Through his teaching at a children´s day-care
centre, music school, school, community
college, university and college of music he
gained a wide experience in music education.
He planned and implemented educational and
artistic projects, including "Musik im
Kindergartenalltag" and " Ganzheitliche
Frühförderung kultureller Intelligenz". In 2007
his book "Ich höre was du nicht siehst" was
published by the Herder publishing company.
He has worked for radio and television as a
composer, arranger and producer of songs as
well as stories with music and radio plays.
Further he is active as a concert pianist.
Barbara Schultze
Eurhythmic Studies at the College of Music,
Cologne. Lecturer for many years in movementeducation at the Eurhythmics Department of
Trossingen College of Music. Workshops and
training activities at home and abroad.
At present professor for Eurhythmics at the
University of the Arts Berlin. President of the
German Conference for Music and Movement /
Eurhythmics since 2008.
Publications in books and journals about the
theory and practice of eurhythmics
Studies in Eurhythmics and flute at the
Academy of Music Detmold. Artistic focus "
Interpretive movement and contemporary
music". Lecturer at a College of Music, music
school, school and children´s day-care centre.
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Flyer-Design: Ulrich Baer, © Akademie Remscheid, 2014.
The information in the overall agenda is subject to change.
17.01.2015.

Émile Jaques-Dalcroze 150 – Bonne anniversaire!

Transcription

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ODC Contact flyer KEpifano Dec 2013

oi$nlry until tebruany 1 $4.99