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Responses to Open Call #1

Through an open call we asked artists from the field, graduates or former teachers from either of the three programs, to respond to a prompt we gave: Let’s imagine you walk/move down a street. You turn your head and see a quick reflection of your practice or artistic work in a window you are passing by. How would you describe that fleeting reflection as a second of your practice or work? How does your current artistic work or artistic practice partake in world-making? 

Mammu Rankanen 
Dance Artist and Pedagogue, Doctoral Researcher 
Lecturer in Dance 2009-2020 
Student in TeaK Dance Programme 1988-1992

Many layers of time, spaces and people are reflecting to me. 70’s and little girl dancing with her imagination and colorful scarfs, 80’s and teenager making moves after teachers seriously and devoted; steps from Martha Graham, Mat Mattox, Luigi, Vaganova, Vivianne Budsko, Carolyn Carlson, Afro-American jazz teachers Ka-Ron Brown, Clayton Palmer. 90’s and young dancer with steps, tasks, dances and embodied images from Tommi Kitti, Kirsi Monni, Raisa Vennamo, Mirja Tukiainen, Brita Järvinen, Ervi Siren, Tarja Rinne, Liisa Pentti, Soile Lahdenperä, Kenneth Kvanström, Anzu Furukawa, Eiko and Koma, Maureen Fleming, Masaki Iwana, Kazuo and Yoshito Ohno, Sanna Kekäläinen, Alpo Aaltokoski, Ari Tenhula, Chinese masters, Deborah Hay, Daniel Lebkof, Tuomo Railo, Simo Heiskanen, Pattabhi Jois, 2000 and already as an artist and pedagogue, giving more steps, tasks and embodied images to others through the layers and lived linage; somatic movement, BMC, Feldenkrais, asahi, qigong, shiatsu, taoyoga, Zazen, Satu Palokangas, Timo Klemola, Jukka-Pekka Lilja. Still finding new embodied dimensions and connections in moving through inner and outer space, learning by practicing about and from the world; interconnectedness and beauty of dancing. Not forgetting the students and colleagues who I danced with through these times.

Maya Oliva

With each leap, I embrace my in-betweenness and existence through relentless morphing and motion. With each bounce, I stretch my body to its limits, claiming its immateriality to celebrate its abstractions. An action that is ongoing, unfolding without an end, claiming its space and place. This is a ritual for a nomadic being who has decided to jump until it pierces a hole into the ground and calls it home. While perpetually blooming with each grounding jump, it sings love songs to its mutations.

Raphaël Beau 

how to write the practice on paper when it’s a reflection on the window? 

can i trust that the way these words are written already tell the practice?

the practice. mine?

the quick reflection throughon the window shows a blend of in and out.

it shows a moving image of an “i” blended into the world, that is being passed through, affected, shaken, attempting to dialogue with an “I” asserting itself, sometimes with confidence, sometimes awkwardly.  

the practice works through the body i have been given. 

it invites me to find ways to relate to an ongoing flow of affects”.

World­mak­ing and Con­tem­po­rane­ity – 40 years of higher ed­u­ca­tion in Dance and Chore­og­ra­phy

This bilingual publication (Finnish/English) collects and extends traces of a seminar that took place October 23rd at the Theatre Academy (Teak) University of the Arts Helsinki. The seminar was held on the occasion of Teak´s 40th anniversary of higher art education in dance and choreography. Seminar focus was on worldmaking and contemporaneity in dance and choreography in higher art education.

The publication aims at opening the potential for dialogue and conversation about dance and choreography pedagogy in higher art education with a local and international body of readers. Hence the publication may be seen as an opportunity for conversation about dance and choreography training in higher art education beyond the day of the festivity of the 40th anniversary.

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