Notes on Contributors

Chapters in this book

1. Frontmatter 1
2. Content 5
3. Preface 9
4. Introduction 15
5. Dance as Culture of Knowledge
6. Dance in a Knowledge Society 25
7. Dance as Culture of Knowledge 37
8. Trickstering, Hallucinating and Exhausting Production 49
9. What is an Artistic Laboratory? 59
10. Artistic Research
11. The Mode of Knowledge Production in Artistic Research 73
12. Artistic Research as an Expanded Kind of Choreography Using the Example of Emio Greco / PC 81
13. Talking about Scores: William Forsy the’s Vision for a New Form of »Dance Literature« 91
14. If you don’t know, why do you ask? 101
15. How Do You Want to Work Today? 111
16. Body Knowledge and Body Memory
17. Making Worlds Available 121
18. Flickering and Change 129
19. Expeditions to the Inner Teacher 137
20. Sharing with Others 147
21. About Risks and ›Side Effects‹ of Dancing 155
22. Dance History and Reconstruction
23. Capturing the Essence 165
24. Re- Constructions: Figures of Thought and Figures of Dance: Nijinsky’s FAUNE 173
25. What the Body Remembers 185
26. Reconstructing Dore Hoyer’s AFFECTOS HUMANOS 193
27. Digestion and Infusion 201
28. The Body as Archive 207
29. For a Participatory Theatre: Touching Instead of Fumbling 219
30. On the Threshold 227
31. The Politics of Collective Attention 235
32. Generating Space 243
33. Critique versus Critical Practice? 251
34. Professional Education and Retraining in Dance
35. Performing the School 259
36. Building a Common Language 267
37. On Considering a Comparative Approach 275
38. Break- Up: New Paths in Dance Education 283
39. Dance Careers in Transition 289
40. Dance Pedagogy and Cultural Work
41. Working on Experience 299
42. Learning Unconsciously 307
43. Art is not a Luxury 311
44. The Students Have to Come First 317
45. Notes on Contributors 325