During the two years of study, in addition to attending seminars, workshops, reading sessions, lectures, individual and group tutorials, choreographers are required to create choreographic work, to conceive and co-design branding packages and to engage in a number of written assignments, including a final thesis on their research question. Moreover, in the end of the first and of the second year of their study they need to present their research projects, the form of which they themselves design. These are the two moments in which each choreographer reflects on and shows how the program’s three educational strands intersect with his or her own practice.
In Compositional Models we prepare the choreographer to further understand, conceive, create, reflect upon and communicate a number of compositional and dramaturgical concepts, strategies and tactics in mixed-mode (theory and practice) registers, and situate these in relation to his/her own practice-led choreographic research. Choreographers further formulate, present and critically analyze/probe their initial research questions and methods. ‘Open-Form Composition‘, for example, as well as more methods and practices, are introduced and used as a means to think and engage with composition. Particularly with OFC, on the one hand one investigates how specifcally dance improvisation and composition have been understood and ‘produced’ historically and on the other hand, one asks what ‘open’ might mean in/for choreography today (and in one’s practice). Moreover, one draws insights from a number of sources contiguous with dance, including Process Philosophy, Critical Theory, Architecture, Music and Poetry.
Discursive Practices and Reading Sessions inform the choreographers’ practice of thinking and writing, which we consider crucial aspects for growing awareness of their context as well as for communicating and positioning their artistic research. They are invited to read academic and artistic texts in order to discuss and reflect on several issues, such as theory and practice, dramaturgy, practices of writing, choreography and movement. Particular focus is drawn upon critical theory and philosophy. Our aim is to offer them tools for further developing their own practice of writing during their research, both in academic and in experimental or performative contexts. Engaging with a range of writing modalities, including academic and its protocols, offers the possibility to choreographers to reflect on, communicate and argue about the relevance of their work in different contexts. Moreover, writing is very often an important dramaturgical and compositional aspect of choreography (performative, notation etc.), which we want to nourish.
Art Branding enables the choreographer to think and employ strategies and tactics that facilitate one to sustain long-term one’s research interests, appetite and outputs in an environment that is volatile, uncertain, complex and highly competitive. In Art Branding one learns to be critical about one’s work, its tangible and intangible forms and movements, and importantly, to become pro-active and empowered in how to communicate the work’s needs in a number of ways as for instance formulating clear and enticing vision and mission statements and conceiving and co-designing communication packages.
The program is partitioned in 4 semesters. Semesters 1 and 3 are primarily comprised of a taught program: 6 to 10 weeks (between September and November), 3 to 4 weeks (In January) and 1 to 2 weeks (March-April).
Choreographers are accepted into the program based on their qualifications and submitted research plans (questions, methods, and professional aims). Throughout the 2 years, each choreographer develops these further in dialogue with the head of program and mentor (s). Revised and updated research plans are submmitted and evaluated at the end of the 1st and in the beginning of the 3rd semester. Evaluations occur throughout the year. Assessments, however, usually occur in late January and mid-late June.
The program is fully taught in English.