Émile Jaques-Dalcroze 150 – Bonne anniversaire!

Émile Jaques-Dalcroze 150 – Bonne anniversaire!

Internationales Rhythmikfestival

17. – 21. März 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 um-

fangreichen Workshop- und Vortragspro-

gramm mit internationalen Gästen ein.

Unterschiedlichste Veranstaltungsformate

werden der Bandbreite der Rhythmik ge-

recht: die Schwerpunkte Dalcroze-Methode,

Rhythmik mit einem speziellen Profil und

Rhythmik interdisziplinär ermöglichen den

Festivalbesuchern eine umfassende Einsicht

in das Fach, seine Methoden und Per-

spektiven.

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-off-

Lektionen runden das Programm ab, das aus

verschiedenen Blickwinkeln die künstle-

risch-ästhetische Beziehung von Musik und

Bewegung thematisiert: Bewegung als

Schlüssel zur Musik und Musik als Trieb-

feder für Bewegung.

International Eurhythmics Festival

17 – 21 March 2015

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.

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, impro-

visational jam sessions and kick-off lessons

complete the programme, showing different

viewpoints on the artistic-aesthetic relation-

ship between music and movement: move-

ment as a key to music and music as an

incentive for movement.

1

Tuesday, 17th

March 2015

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

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

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

2 Link back to page 1

Wednesday, 18th

March 2015

09:15 – 10:45

Eurhythmics with a special profile, A

(Repetition on Thursday, 14:30)

body – rhythm – sound

Anita Gritsch, Wien

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

(Repetition on Thursday, 16:30)

dance/music


The Humour of Voice and the Sound of

Movement

Hilde Kappes, Berlin

Use of props in the choreography of music

Barbara Dutkiewicz, Katowice

Rhythmik - ein gestalterisches Verfahren

in Pädagogik und Heilpädagogik

Edith Stocker, Zürich

South African Gumboot Dancing

Eva Wedin, Stockholm

14:30 – 16:00

150 Years - Émile Jacques-Dalcroze

(in the main hall)

Karin Greenhead, London

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

A mazurka for a ball – Plastique animée

Michèle de Bouyalsky, Brüssel

Plastique animée


20:15

The Humour of Voice…

Solo Performance, Hilde Kappes, Berlin

„Music and Movement in Artistic

Productions“ (The 1st

panel of experts)

(in English / in englischer Sprache)



Kurt Dreyer, Luzern

Henrietta Horn, Essen

Angie Hiesl, Köln

Moderation: Elisabeth Gutjahr, Trossingen

Followed by a Jam-Session


Thursday, 19th

March 2015

09:15 – 12:15

Interdisciplinary Eurhythmics

(Except for Zaiser/Pfeffel the workshops will be repeated

on Friday at 9:15)

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

Eurhythmics with a special profile, A

(Repetition of Wednesday, 9:15)

body – rhythm – sound

Anita Gritsch, Wien

Demaskiert – ein Plädoyer für das bewegte

Gesicht

Kurt Dreyer, Luzern

Der spektrale Körper


Eurhythmics and Artistic Projects

Elena Romanowa, Moskau

Listening and Interplay

Martina Jordan, Stockholm

16:30 – 18:00

Eurhythmics with a special profile, B

(Repetition of Wednesday, 11:00)

dance/music



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

Competition Finals

Children and Young Adults Category

Public discussion by the jury of the competition

criteria

Jury:

Irmgard Bankl, Wien

Stephanie Riemenschneider, Düsseldorf


Thomas Rascher, Essen

Andrea Kumpe, Luzern

Head Juror:


Awards Ceremony

Jury Award & Audience Award


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

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

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)


Verena Zeiner, Wien

Andrea Kumpe, Luzern


Moderation:


Followed by a Jam-Session

Samstag, 21. März 2015

09:30 – 11:00

Open Space:

Eurhythmics – keep on moving!

11:30 – 12:15

Closing Session: Presentation of videofilms

taken during the festival

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.



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.



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.



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.


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.

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).

[email protected]

www.anitagritsch.weebly.com



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 two-

voice 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.


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.



Hilde Kappes


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, breathing-

space and energy and the interactive play of

grounding and discharging allow a new access

to the voice to develop..

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?


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)

[email protected]

[email protected]

www.dalcroze.it

www.ilfunambolo.ch

mailto:[email protected]

http://www.dalcroze.it/



Tamara McCall

Dörte Steinsdorff-

Schulte

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.

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. Multi-

layered 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.

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.

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.



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.


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



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:

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?

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 part-

time 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..



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.



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.

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.

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.


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 Rhythmik-

Performance, 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 Ku nste Karlsruhe under Prof. Silvia

Bächli/ 2011–2012 Guest studies for sculpture and

new media at the Staatliche Akademie der Bildenden

Kunste Stuttgart under Prof. Christian Jankowski/

Continued education in sculpture and new media at

the Staatliche Akademie der Bildenden Ku nste

Karlsruhe under Prof. John Bock/ Main organizer of

the UND7 Karlsruhe/ 2013–2014 Continued

education at the Staatliche Akademie der Bildenden

Kunste Karlsruhe under Prof. Leni Hoffmann.



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

Experts in the Jury and Hearings


Further Experts in the Jury and Hearings

Irmgard Bankl

Irmgard Bankl, Master eurhythmist, movement

and dance teacher.

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).

Elisabeth Gutjahr

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.

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

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.

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.

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

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)

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.

Thomas Rascher

Thomas Rascher, Mime, Actor, Dipl. Movement

Teacher, Mask Maker.

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.

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

[email protected]

Barbara Schultze

[email protected]

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

1st

Chairperson

Prof. Dorothea Weise

Universität der Künste Berlin

[email protected]

2nd

Chairperson

Grazyna Przybylska-Angermann

http://www.musikbewegung.dedas/

http://www.akademieremscheid.de/

http://www.akademieremscheid.de/



Herbert Fiedler

Pianist and lecturer for music and music

education, head of the music department at the

Academy Remscheid

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

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.

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.

Dorothea Weise

Eurhythmic Studies at the College of Music,

Cologne. Lecturer for many years in movement-

education 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

Flyer-Design: Ulrich Baer, © Akademie Remscheid, 2014.

The information in the overall agenda is subject to change.

17.01.2015.

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Émile Jaques-Dalcroze 150 – Bonne anniversaire!

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