2

Imprint
Le Rythme is edited by FIER
(Fedération Internationale des Enseignantes de Rythmique)
Residence: 44, Rue de la Terrassière, CH-1207 Genève
www.fier.com
The views expressed in Le Rythme do not necessarily represent those of FIER.
Copyright remains the property of the individual author.
ISSN 2664-018X
Members of the FIER committee
Fabian Bautz, president
Dorothea Weise, vice-president
Hélène Nicolet, treasurer
Laetitia Disseix-Berger, secretary
Pablo Cernik
Mary Brice
Eiko Ishizuka
Cover picture: Anna Petzer, Berlin
Layout: Claudia Schacher, Vienna

3PrefaceThis year’s edition of Le Rythme discusses the artistic identity of eurhythmics, a questionthat naturally arises during the course of our studies and professional activities. With thetwo basic components of music and dance movement, eurhythmics already has inherent
artistic and aesthetic potential. But how does it unfold in the encounter between the two
media of expression? Do Eurhythmics Practitioners see themselves as artistic educators?
What artistic products does eurhythmics generate? Does the history of eurhythmics give us
any answers?
14 authors from Mexico, Great Britain, Poland, Austria, Germany and Switzerland
address these and other relevant questions. Their work is based on many years of personal
experience as a teacher, as a performer, and as a creator of stage plays. They include
other art forms and digital media in their considerations and enter the field of arts-based
research. The result is a multifaceted and exciting response to the topic, corresponding
to the diversity in which eurhythmics is practised and taught. The first chapter describes
the interplay of eurhythmics and its protagonists with the stage arts. The following two
chapters deal with eurhythmics as performing art and eurhythmics as an artistic pedagogy.
The diversity within the subject of eurhythmics is also evident in the short presentationsof artistic productions submitted by eurhythmics students, graduates, and colleagues
involved in eurhythmics training at universities. We are pleased to be able to present a very
wide range of artistic works: Plastique Animée, dance theatre, collaboration with artists
from other fields, video work, interactive concert with children, performance with people
with physical limitations, staged music, group and solo choreographies with and without
live music––the formats of artistic expression are not only different, they are also in tune
with the times. What they all have in common is the musical and kinesthetic processing andtransformation of time-based works into their very own forms of artistic expression.
The richness of knowledge and experience of the authors shared in these articles offers
unlimited possibilities to engage in reflection that catalyses inspiration for one´s own
practice. We hope readers will experience stimulation, confirmation, encouragement, andask themselves never before contemplated questions. As always, highlighting the profoundprocess that eurythmics offers both teacher and students, is part of FIER´s aim in producing
Le Rythme.
As in the last edition, all articles are in English. In addition, the abstracts are translated
into French. Photos, links or QR codes that lead to videos and photo series are attached tothe brief descriptions of the artistic productions.
We wish you inspiring reading!
Lucerne, Geneva, Berlin, July 2021
Fabian Bautz
Mary Brice
Dorothea Weise4

PréfaceL’édition du journal Le Rythme de cette année traite de l’identité artistique de la Rythmique,une question qui se pose naturellement au cours de nos études et de nos activités
professionnelles. Avec les deux composantes de base que sont la musique et le mouvement
de la danse, la Rythmique possède déjà un potentiel artistique et esthétique inhérent.
Mais comment se déploie-t-il dans la rencontre entre ces deux moyens d’expression ? Les
praticiens de la Rythmique se considèrent-ils comme des éducateurs artistiques ? Quels
produits artistiques la Rythmique génère-t-elle ? L›histoire de la Rythmique nous apportet-elle des réponses ?
Quatorze auteurs originaires du Mexique, de Grande-Bretagne, de Pologne, d’Autriche,d’Allemagne et de Suisse répondent à ces questions et à d’autres questions pertinentes. Leur
travail se fonde sur de nombreuses années d’expérience personnelle en tant qu’enseignant,interprète et créateur de compositions en mouvement. Dans leurs réflexions, ils intègrent
d’autres formes d’art et des médias numériques, et s’associent au domaine de la recherche basée
sur les arts. Il en résulte une réponse multiforme et passionnante à ce sujet, correspondant àla diversité dans laquelle la Rythmique est pratiquée et enseignée. Le premier chapitre décrit
l’interaction de la Rythmique et de ses protagonistes avec les arts de la scène. Les deux chapitres
suivants traitent de la Rythmique en tant qu’art de la scène et en tant que pédagogie artistique.
La diversité est également évidente dans les courtes productions artistiques soumises pardes étudiants, des diplômés et des collègues impliqués dans la formation professionnelle en
Rythmique. Nous sommes heureux de pouvoir présenter, au public international de la FIER,
un large éventail de travaux artistiques: Plastique Animée, danse-théâtre, collaboration
avec des artistes d’autres domaines, travail vidéo, concert interactif avec des enfants,
performance avec des personnes ayant des limitations physiques, mise en scène musicale,chorégraphies de groupe et de solo avec et sans musique en live - les formats d’expression
artistique ne sont pas seulement différents, ils sont aussi en phase avec notre époque.
Leur point commun est le traitement musical et kinesthésique, ainsi que la transformationd’œuvres temporelles en formes d’expression artistique propres.
La richesse des connaissances et des expériences des auteurs partagées dans ces articles
offre des possibilités illimitées pour engager une réflexion qui inspire pour sa propre
pratique. Nous espérons que les lecteurs seront stimulés, confirmés, encouragés et qu’ils
se poseront de nouvelles questions encore jamais envisagées auparavant. Comme toujours,
mettre en lumière le processus profond que la Rythmique offre tant au professeur qu’àl’élève fait partie des objectifs de la FIER en publiant le journal Le Rythme.
Comme dans l’édition précédente, tous les articles sont en anglais. Cependant, lesrésumés sont traduits en français. Des photos, des liens ou des QR codes menant à desvidéos et à des collections de photos sont joints aux brèves descriptions des productions
artistiques.
Nous vous souhaitons une lecture stimulante !
Lucerne, Genève, Berlin en Juillet 2021
Fabian Bautz
Mary Brice
Dorothea WeiseEurhythmics on Stage – Influences and Impacts
Andrew Davidson
Identifying Eurhythmics in Actor Training
The viewpoints of time & space

11

Dierk Zaiser
Artistic Collaborations in Staging of Eurhythmics
Current questions, approaches and perspectives from a historic andsocial cultural point of view

19

Eurhythmics as Performing Art
Anetta Pasternak
Plastique Animée in the Works of the Theatre of
Rhythm Katalog

31

Hanne Pilgrim, Adrián Artacho
Reframing Space in Networked Practice –a Chat from the Sewing Box

41

Vasiliki Psyrra
Pnoe, the Performing Body in a Synthesisof Music and Movement

49

Zita Bucher, Barbara Dutkiewicz, Martina Jordan,
Alexander Riedmüller, Verena Zeiner
There will Never be Just One Answer
On diversity of artistry in eurhythmics

57

Dorothea Weise
Rhythm and Artistic Production67

Eurhythmics as Artistic Pedagogy
C. Fabian Bautz
In Eurythmics, Art and Pedagogy Merge

77

Carola Dünßer
Presence, Creativity, Self-Efficacy – Eurhythmics as Artistic Process

85

Alexander Riedmüller
Be Open and Improvise!
Drawing parallels between qualitative research methodologies
and practice as a rhythmician

92

Elda Nelly Treviño Flores
Artistry, the Cornerstone of Dalcroze Eurhythmics

101

Artistic Production
Olga Daroch“Stage-fright”

113

Marion Olfing, Nils Fischer
Lucerne University of Applied Sciences and Arts
“Bei Müllers”
Graduation Project – Bachelor of Arts in Music and Movement 2020

116

Barbara Dutkiewicz
The Karol Szymanowski Academy of Music in Katowice
Tales of Mother Goose
Performance of musical fairy tales for children based on themusic by Maurice Ravel

118

Choreographies of Music for Selected Children’s Songsby Chick Corea

120“Knife Apple Sheer Brush”
A eurhythmics video-project

122

Magdalena Eidenhammer
Gem-Einsam-h/k-eit
Connected Solitude124

Anna Petzer
the foreign.body

128

Topographies of Falling

130

Headgames

131

Dorothea Weise
University of the Arts Berlin
Moving Messiaen
Lecture Performance132

Rational Melodies
Performance Project134

Julia Schulenburg
GebärdenMusik
An artistic way to perform music for the hard of hearing and deaf people

135

Merle Thordis, Tim PohrLa Lune – Le Soleil
An audiovisual experience

137

Sophia Waldvogel
Jederzeitlos
A kaleidoscopic research on time at the intersection ofmusic, movement and language

139

Ensemble Yria
Flytande form
In Fluid Form

142

Dierk ZaiserState University of Trossingen/Germany
Hommage à R. Sch.

145

The Soldier´s Tale - Strawinsky Goes Rap

147

Eurhythmics on Stage– Influences andImpacts

11

Identifying Eurhythmics inActor Training
The viewpoints of time & space© Chrispian Chan

Andrew Davidson

Andrew Davidson is an Australian theatre practitioner andmusician based in London, UK. He is a full-time Teaching
Fellow in Acting & Musical Theatre at Guildford School ofActing (GSA), University of Surrey. Andrew is a graduate ofAustralia’s National Institute of Dramatic Art (NIDA), and is
the former Head of Dramatic Arts at the Australian Instituteof Music (AIM). Andrew has directed drama, opera, andphysical theatre, and has written music for plays, musicaltheatre, and dance. He studied composition with Peter
Sculthorpe, and holds the Dalcroze Certificate (Dalcroze
Australia) and Licence (Longy School of Music, USA).
He also holds the Certificate in Kodály Music Education(British Kodály Academy). Andrew is a candidate for the
Diplôme Supérieur Méthode Jaques-Dalcroze (Institute
Jaques-Dalcroze, Switzerland). As a researcher andeducator, Andrew has presented at conferences andworkshops internationally. As a freelance musician he plays
piano for ballet classes at The Place, London.

12

The influence of eurhythmics on Actor Training can be viewed as an elaborate and variegatedfamily tree. In this article, I focus on a single branch of that tree. I identify and describe theartistic and pedagogical DNA of eurhythmics within Viewpoints: an approach to Actor Training
developed by Anne Bogart in the USA over the past four decades. I begin with a brief outline of
the historical and philosophical contexts for eurhythmics and Viewpoints. I illustrate the parallels
and intersections between eurhythmics and Viewpoints as I have experienced them as an acting
teacher at university and conservatory drama schools. I describe the Viewpoints of Time and Spacein practice, and provide examples of complements to be found in eurhythmics. The article offers
insight into my perception of a Dalcroze identity within Viewpoints Training that is transferable
to eurhythmics teachers engaged in continuing professional development.
L’influence de la Rythmique sur la formation des acteurs peut être considérée comme unarbre généalogique élaboré et varié. Dans cet article, je me concentre sur une seule branchede cet arbre. J’identifie et je décris l’ADN artistique et pédagogique de la Rythmique dans
« Viewpoints » : une approche de la formation d’acteur développée par Anne Bogart (USA) au
cours des quatre dernières décennies. Je commence par un bref aperçu des contextes historiqueset philosophiques de la Rythmique et de « Viewpoints ». J’illustre les parallèles et les intersections
entre Rythmique et « Viewpoints », tels que je les ai vécus en tant que professeur de théâtre
dans les écoles d’art dramatique des universités et des conservatoires. Je décris les principes
utilisés avec « Viewpoints » pour les notions de Temps et d’Espace, et je donne des exemples decompléments que l’on trouve en Rythmique. L’article offre un aperçu de ma perception d’une
identité dalcrozienne dans « Viewpoints » qui est transposable aux professeurs de Rythmiqueengagés dans le développement professionnel.

Eurhythmics: A Modern Philosophy of Rhythm
Emile Jaques-Dalcroze declared that “rhythm” is primary and “sound” is secondary (JaquesDalcroze 1921, p. 44). This key philosophical point explains why artists outside the fieldof music have applied eurhythmics to their own art forms. All the arts have a common
ancestor: rhythm. ‘Rhythm’ in Ancient Greek (rhythmós) describes a river in flow. JaquesDalcroze’s definition goes further:
Rhythm is a force analogous to electricity and the great chemical and physical elements –an energy, an agent – radio-active, radio-creative – conducing to self-knowledge and to a
consciousness not only of our powers but of those of others, of humanity itself. It directs us
to the unplumbed depths of our being. It reveals to us secrets of the eternal mystery that has
ruled the lives of men throughout the ages; it imprints on our minds a primitive religious
character that elevates them, and brings before us past, present, and future. (Jaques-Dalcroze
1921, pp. 63-64)

He compares rhythm with attributes of Ancient Greek drama: seeking “self-knowledge”,
exploring “our being”, and uncovering the “eternal mystery”. These theatrical goals locate
eurhythmics in a theatre space or ‘looking place’ (teatron) in which action is observed andempathy is evoked.

Viewpoints: A Postmodern Actor Training
Viewpoints1 emerged in the USA from the postmodern avant-garde art movements of the 1970s.
It was established by theatre director Anne Bogart who co-founded the Saratoga International
Theatre Institute (SITI) in New York in 1992. Bogart co-authored The Viewpoints Book (2005),
now a standard text in drama schools internationally.
1

Note that the word “Viewpoints” is used both as a collective noun (“it is”) to refer to the field of study, and as a plural noun (“they are”)
to refer to the different Viewpoints within the field of study.

13

The historical lineage of Viewpoints can be traced back to eurhythmics through Bogart’s
collaborations with choreographer Mary Overlie. Overlie studied with Martha Graham, whoin turn learned eurhythmics from Elsa Findlay, a graduate of Jaques-Dalcroze’s Hellerau
institute. Viewpoints has distinct parallels with eurhythmics in its use of rhythmic movement,
whole-body listening, and improvisation.
Viewpoints deconstructs and examines each building block of performance before
reassembling them in a devised or scripted theatre work. Each building block is a ‘Viewpoint’.
Bogart and Landau identify four Viewpoints of Time and five Viewpoints of Space. This is intune with Jaques-Dalcroze’s assertion that “the two fundamental elements of rhythm, space
and time, are inseparable” (Jaques-Dalcroze 1921, p. 183):
Viewpoints of Time

Viewpoints of Space

Tempo

Shape

Duration

GestureKinesthetic Response

Spatial Relationship

Repetition

Topography
Architecture

The Viewpoints, Bogart & Landau, 2005

Each Viewpoint is introduced in isolation and “dealt with on its own terms”, which obligates
the actor “to maintain conscious focus” and “produces greater range and finesse later on”(Bogart & Landau 2005, p. 35). This mirrors Jaques-Dalcroze’s proposal that “every limb
– first separately, then simultaneously, finally the whole body – should be set in rhythmic
motion” (Jaques-Dalcroze 1921, p. 44). Bogart and Landau declare that Viewpoints:
are timeless and belong to the natural principles of movement, time and space. [W]e have
simply articulated a set of names for things that already exist, things that [people] do naturally
and have always done, with greater or lesser degrees of consciousness and emphasis. (Bogart& Landau 2005, p. 7)

Viewpoints is “a clear-cut procedure and attitude that is non-hierarchical, practicaland collaborative in nature” (Bogart & Landau 2005, p. 15). It allows “actors and theircollaborators to practice creating fiction together on a daily basis using the tools of timeand space” (Bogart & Landau 2005, p. 17). Below, I describe the nine Viewpoints. I provide
a sample exercise to illustrate each, followed by a complement to be found in eurhythmics.

Tempo
Tempo is the fundamental Viewpoint of Time: everything, everyone, has a Tempo. The studyof Tempo examines the spectrum of speeds that are possible for any action. For example,
in an acting class, participants stand in their own work area and I ask them2 to choose abrief physical action with a clear beginning and end. The action is repeated and imprinted
in muscular memory. I ask the actors to pause and recall their internal tempo, then to
resume the action ‘twice as fast’. They seek precision at this faster tempo and economic useof energy. We pause to consider how this contraction of time affects “the meaning and / oremotional association” of the action (Morris 2017, p. 129). I then ask them to resume theaction ‘twice as slowly’. They develop control at this slower tempo and broaden their use ofenergy. Later, we explore gradations of tempo, etc.

2

Throughout this paper, the gender-neutral pronouns “they”, “them”, and “their” are used in the singular form as recognisedby The Chicago Manual of Style, 17th edition, Chicago: University of Chicago Press, 2017.

14

There is a direct parallel here with the Dalcroze approach to relative tempo. In aeurhythmics class, a tempo is set by the teacher’s piano improvisation and the student’s
physical relationship to that tempo changes at the teacher’s cues of two, three, and fourtimes as fast or slow. Relative tempo may lead to the study of subdivision, augmentationand diminution, or nuance of tempo (such as accelerando or ritardando). I invite the actor
to adopt traditional musical vocabulary to describe their acting choices. When a musicalprinciple can be understood through movement, the physical sensation becomes themeaning of the abstract word.

Duration
The Viewpoint of Duration examines the length of time we perform a particular action.
For example, a group of actors is given five possible positions: stand, lean, sit, kneel, orlay. Initially, they spend similar amounts of time in each. They then begin to work against“a comfortable, average, seemingly coherent amount of time” (Bogart & Landau 2005, p.
41). The study of Duration allows for discomfort and surprise. Dividing time in unexpected
ways allows us to consider unpredictable patterns: sustained sitting interrupted by shortepisodes of kneeling; or short moments of standing or leaning, followed by a long durationof lying down.
This connects with the Dalcroze approach to note durations. Locomotor movement
may be vocalised with words (such as ‘walk’, ‘jogging’, or ‘slow’) associating physicalsensation with verbal sound. In Viewpoints sessions, I guide the actors to experimentwith combinations of ‘long’ and ‘short’; through movement, spoken syllables, and musicalmotifs; with or without piano accompaniment. We then explore durations of rest, such as
those that appear in the plays of British dramatist Harold Pinter (Henning 1965): the dash,
the ellipsis, ‘pause’, and ‘silence’. But, how long is a silence? The Viewpoint of Duration“increases the performer’s ability to sense how long is long enough to make something
happen onstage and, conversely, how long is too long so that something starts to die”
(Bogart & Landau 2005, p. 40).

Kinesthetic Response
Kinesthetic Response trains the instinct to react spontaneously to a stimulus that is not within
the actor’s control. It shifts focus from conscious invention to impulsive doing. It requires “softfocus” on the whole ensemble rather than on individuals. The routine 12 / 6 / 4 begins witha circle of actors running fast in a clockwise direction. They must discover how to change
direction simultaneously. While running, one actor initiates a jump: the group jumps too.
They land at the same instant, crouching. They find mutual consent to run in the opposite
direction. Whilst running, one actor initiates a sudden stop: the group stops too. From
stillness, they resume running in the same direction. They complete 12 changes of direction,
six jumps, and four stops, not in a pre-arranged order (Bogart & Landau 2005, pp. 27-28).
Cormier writes:
Viewpoints work enhances your listening, with all your senses and perceptions. Bogart
describes this trait as ‘listening with the whole body’. The actor brings attention to the world
around them and the growing dynamic connection to others in the room, and out of thatheightened presence, things happen. (Cormier 2005, p. 297)

Kinesthetic Response is in parallel with Dalcrozian quick reactions. In a eurhythmics class,
the teacher provides vocal and musical cues and the student responds in movement. For
example, the teacher calls a cue on one beat and the student executes a new action on the
next. With actors, I also work without music to prioritise their ability to send and receive
cues between one another. Their response may be physical or vocal, mobile or stable; it may

15

trigger text or gesture, or a shift in intention. Both quick reaction and Kinesthetic Response
train the neuromuscular system to respond with immediate precision, balancing fluency
and accuracy.

Repetition
Repetition has two sources: internal and external. An internal pattern might be a ‘ruleof three’ or a loop, ad infinitum. An external source might be another actor’s tempo or
duration. For example, a standing circle of actors improvise physically with Repetition.
They play with motif, phrase, and form. As physical material appears in different tempos,
the group builds a theme and variations. An improvised cueing system triggers a canon, andthe return to unison establishes an A-section for a rondo. Morris writes:
Intentionally drawing on each other’s material can also add a stronger sense of composition to
the group’s work, encouraging performers to pay more attention to the ensemble and draw onwhat has already taken place. (Morris 2017, p. 133)

The exploration of Repetition creates an ensemble connection in parallel with JaquesDalcroze’s assertion that “the characteristics of rhythm are continuity and repetition”(Jaques-Dalcroze 1921, p. 182). He made use of Repetition in his chorus work at Hellerau,
and in the popular spectacles he staged in Geneva with large groups of adults and children:
The collective gesture of action may consist simply of repetition by each member of the chorusof an individual movement prepared in advance, or even in the merging of a number ofindividual gestures independent of each other. (Jaques-Dalcroze 1921, p. 127)

Jaques-Dalcroze himself displayed flair as an impressionist with “an extraordinary giftof mimicry and the actor’s power of expressive gesture” (de Zoete in Lee 2003, p. 100).
Repetition of the imitative kind engages observation skills and invites transformation into
something or someone else. Having outlined the Viewpoints of Time, I turn now to theViewpoints of Space.

Shape
Shape is the fundamental Viewpoint of Space: everything, everybody, has a Shape. The
study of Shape builds awareness of sculptural qualities. For example, I make verbal offers
for partnered creations: a knife and fork; a rose in a vase; a stamp on a letter. This ‘snapshot’
exercise draws attention to two-dimensional outlines of the body in space, in relation toothers, and in relation to the workspace. (Bogart and Landau 2005, p. 9). Next, we breathe
three-dimensional life into the shapes of people, places, and things. For example, I suggest
a room from a period in history, such as a boudoir in the palace of Louis XVI. One actor ata time enters to become a specific object: a bed, a wardrobe, a mirror. A final actor entersand makes use of each object in the manner intended, for example, as Marie Antoinette. A
candle chuckles as it is lit; a hairbrush snarls as it glides through hair; and a pillow sighs as
it holds a sleeping head.
Jaques-Dalcroze criticised attempts by modern dancers who took “inspiration fromGreek frescoes, statues, and paintings, ignoring the fact that these works [ ] convey theillusion of movement by synthetic means”. Performances assembled from “fixed corporal
attitudes” were “against truth and nature” (Jaques-Dalcroze 1921, pp. 155-156). Similarly,
Bogart calls for “fluidity and spontaneity [ ] so the process is of one shape evolving intoanother” (Bogart & Landau 2005, p. 48).

16

GestureGesture “is Shape with a beginning, middle and end” (Bogart & Landau 2005, p. 9). Gesture
can be both Expressive and Behavioural. Expressive gesture is the outer manifestation of
inner thought, emotion, and desire: symbolic representation rather than literal simulation.
For example, a group of actors creates a whole-body gesture for ‘joy’ and another for ‘grief’.
We discuss different qualities in these extremes: expanding and reaching; closing andcontracting. We pause mid-gesture to consider what behaviour might be taking place: ahuman action which relates to the everyday world. Such gestures offer information about
who, what, where, when, and how things are happening. For example, the actors explore
how ‘joy’ becomes ‘washing the car’, or ‘grief’ becomes ‘weeding the garden’.
When Jaques-Dalcroze studied acting in 1880s Paris, the established method was thatof François Delsarte (see Delaumosne 1893). Delsarte made extensive observation of
behaviour and mapped out connections between “different zones of the body and emotional
intensity, intellectual honesty and moral intention” (Taylor 1999, p. 75). Jaques-Dalcroze
encountered this approach through his acting teacher Talbot, a former leading player of
the Comédie-Française (Odom 2005, pp. 139-140). Delsarte’s work was the antecedent forstage movement vocabularies that emerged in later decades, including the ‘twenty gestures’devised by Jaques-Dalcroze:[T]he alphabet of this consists of twenty gestures with the arms, which can be done in manyvarious combinations and in various positions, and by means of these any kind of emotion canbe expressed. (Ingham in Jaques-Dalcroze 1915, p. 50)

Spatial Relationship
Spatial Relationship sharpens awareness of the proximity between people and things.
Bogart and Landau seek “the full range of possible distances” and “the kinds of groupings[that] allow us to see a stage picture more clearly” (Bogart & Landau 2005, p. 11). As awarm-up, I call a series of relationships for the group of actors to form: a standing circle,
a seated ‘X’, a reclining letter ‘S’. For sharing space, the actors travel continuously in theroom, moving into open spaces and making eye contact as they pass. Each actor chooses
someone to pursue in a covert way. A kind of gravitational force exerts itself on the room
(Bogart & Landau 2005, p. 67). Next, they choose someone to avoid, again covertly. The
space seems magnetised as gaps and clusters appear. We pause to comment on the spatial
dynamics. For unison movement, the actors arrange themselves as a standing ‘cube’, four
people wide and four people deep. Tightly packed, they turn on their axis to orientate
themselves to walls and corners. Next, they move through the room as a unit, improvising
their journey and maintaining their ‘cube’.
At his first eurhythmics institute in Germany, Jaques-Dalcroze drew on the ancientconnection between movement and meaning in the “aesthetic education of a chorus”(Jaques-Dalcroze 1921, p. 124). Sadler writes:
At Hellerau two things make an ineffaceable impression upon the mind – the exquisite beautyof movement, of gesture and of grouping seen in the exercises; and the nearness of a great
force, fundamental to the arts and expressing itself in the rhythm to which they attain. (Sadler
in Jaques-Dalcroze 1915, p. 11)

Topography
Topography focuses on pathways, landscapes, maps, and floor patterns. Each area of theperformance space can be endowed with specific qualities (Bogart & Landau 2005, pp. 11-12). I17

prepare this with words and imagery that invite contrast: curves, arcs, spirals; zigzags, angles,
diagonals. Discussion includes: straight lines as ‘intentional’, ‘confident’; curved pathways as‘searching’, ‘wandering’. Topography engages spatial memory. For example, working in pairs,
Actor A has 60 seconds to take a journey through the room, carving a pathway and returning
home. Actor B must immediately retrace their steps. Topography can also define performance
space. For example, ‘lane work’ involves the actors lining up along one side of the room todefine the floor in front of them as a long, linear work space (Bogart & Landau 2005, pp.
68-70). In ‘grid work’, the actors imagine perpendicular lines, like intersecting city streets, on
which improvised encounters may occur (Bogart & Landau 2005, pp. 45-47).
In a eurhythmics class, topography may include mapping of the body itself, as technicaland expressive movement promotes inner awareness of embodiment. In traditional
eurhythmics exercises for children, Ethel Driver refers to this as the “orchestration” of the
body (Driver 1951, pp. 21-29). More recently, eurhythmics teachers in conservatory settings
have incorporated somatic practices such as Feldenkrais and Alexander Technique. In thiscontext, the actor’s body itself may be conceived of as a topographic landscape.

Architecture
The Viewpoint of Architecture expands the actor’s sensory awareness of the built or naturalenvironment in which their work takes place. This includes the mass of objects; the texture ofmaterials (such as timber, concrete, glass, or steel); the illumination and shadow produced bynatural or artificial light; the colour of objects and how they advance, recede, blend, or fade;and the sound of the room, from the hum of an air conditioner to the creak of a floorboard.
In working on Architecture as a Viewpoint, we learn to dance with the space, to be in dialogue
with a room, to let movement (especially Shape and Gesture) evolve out of our surroundings.
(Bogart & Landau 2005, p. 10)

Jaques-Dalcroze was thrust to the forefront of modern theatre when his colleague Adolphe
Appia’s theories on the actor, space, and light identified eurhythmics as “an independent
creation, born out of elements of music, dance, and drama” (Beacham 1985a, p. 160). In
the vast, luminous, streamlined auditorium of the Festspielhaus Hellerau, Appia realised
the architectural potential of rhythm. He banished the proscenium arch and the false
perspective of painted scenery. The actor became a three-dimensional, rhythmic being in athree-dimensional, rhythmic space (see Beacham 1985b and Abdel-Latif 1988).

The Dalcroze Identity & Actor Training
The Dalcroze Identity (IJD 2019) offers a contemporary definition of the philosophy andprinciples of eurhythmics. I conclude by responding to three statements in it with quotes
from the literature on Actor Training.
In eurhythmics, “the body is the locus of experience and expression, personal and artistic”(IJD 2019, p. 8). Similarly, the actor’s body is trained “to receive and respond to messages
from others” (Moseley 2012, p. 11). The actor’s body communicates and connects with a wide
range of focuses in theatrical space: the gods (above), the royal box (aside), the audience(below), the other actor (nearby), and even “nothingness” (Bogart & Landau 2005, p. 93).
Each actor’s personality and sense of self will influence their “experience and expression”.
Viewpoints elicits “a stronger awareness of creative choices” and empowers “creative decisions
as a member of an ensemble” (Morris 2017, pp. 122, 124). Such decisions are sensitively
made from a range of (kin)aesthetic possibilities. “Once you are aware of a full spectrum [ ]you are no longer bound by unconsciousness” (Bogart & Landau 2005, p. 19).
In eurhythmics, “the development of the human person depends on the ability to put
physical and sensory experience at the service of thought and feeling” (IJD 2019, p. 8). In Actor

18

Training, bodily awareness of participation is a “feedback loop” (IJD 2019, p. 11) that helps
make sense of experience. Viewpoints focuses and energises this awareness, “freeing the bodyfrom the limitations of habit, preconception and external authorship” (Morris 2017, p. 134):
The gift of Viewpoints is that it leads you to, not away from, emotion. [T]he goal is to be aliveand engaged onstage. [N]ot by forcing it out of ourselves, but by receiving it from others andourselves. (Bogart & Landau 2005, p. 80)

Allowing for emotion, rather than manufacturing it, is a key component of believable acting.
Emotion is a bi-product of action; a gift to be received.
In eurhythmics, “the human being is social, always in relation to others” (IJD 2019, p.
9). Viewpoints cultivates “ensemble openness” (Morris 2017, p. 122) through a “sustained
process of collaboration between a core team of performers” (Morris 2017, p. 124). In
this way, “the concept of ensemble becomes as much a political viewpoint as an aesthetic
choice” (Morris 2017, p. 124).

References
Abdel-Latif, M. (1988). “Rhythmic Space and Rhythmic Movement: the Adolphe Appia /Jaques-Dalcroze Collaboration”. Unpublished PhD dissertation, Ohio State University.
Beacham, R. C. (1985a). Appia, Jaques-Dalcroze, and Hellerau, Part One: ‘Music Made
Visible’, New Theatre Quarterly: Volume 1, Part 2, 154-164.
________________. (1985b). Appia, Jaques-Dalcroze, and Hellerau, Part One: ‘Poetry in
Motion’, New Theatre Quarterly: Volume 1, Part 3, 245-261.
Bogart, A. & Landau, T. (2005). The Viewpoints Book: A Practical Guide to Viewpoints andComposition. New York: Theatre Communications Group.
Cormier, J.B. (2005). “Learning to Listen: The Collaboration and Art of the SITI Company”.
Unpublished PhD dissertation, Ohio State University.
Delaumosne, A. (1893). Delsarte System of Oratory, 4th edition. Translated by Abby L. Alger. New York: Werner.
Driver, E. (1951). A Pathway to Dalcroze Eurhythmics. London: Thomas Nelson & Sons.
IJD (Institute Jaques-Dalcroze). (2019). The Dalcroze Identity: Professional Training in Dalcroze Eurhythmics, Theory & Practice. Geneva: Collège of IJD.
Jaques-Dalcroze, E. (1915). The Eurhythmics of Jaques-Dalcroze. Boston: Small Maynard.
__________. (1921; reprint, 1967). Rhythm, Music and Education. Translated by Harold F.
Rubenstein. London: Dalcroze Society.
Henning, W. (1965). “The Significance to the Oral Interpreter of the Pause in the PublishedStage Plays of Harold Pinter”. Unpublished MA thesis, University of Arizona.
Lee, J. W. (2003). “Dalcroze by any Other Name: Eurhythmics in Early Modern Theatre andDance.” Unpublished PhD dissertation, Texas Tech University.
Morris, E. (2017). Rhythm in Acting and Performance: Embodied Approaches and Understandings. London: Bloomsbury.
Moseley, N. (2012). Meisner in Practice. London: Nick Hern Books.
Odom, S. (2005). Delsartean Traces in Dalcroze Eurhythmics. Mime Journal, Vol. 23, Article
9: 137-151. [DOI: 10.5642/ mimejournal.20052301.09]
Rogers, C. (1966). “The Influence of Dalcroze Eurhythmics in the Contemporary Theatre.”
Unpublished PhD dissertation, Louisiana State University.
Taylor, G. (1999). François Delsarte: A Codification of Nineteenth-Century Acting. Theatre
Research International, Vol. 24, No. 1 (1999): 71-81.
Thomas, N. (1995). “Dalcroze Eurhythmics and Rhythm Training for Actors in American Universities.” Unpublished PhD dissertation, Michigan State University.

19

Artistic Collaborations in
Staging of Eurhythmics
Current questions, approaches andperspectives from a historic andsocial cultural point of view

© Hannah E. Tilt

Dierk Zaiser

Dierk Zaiser, Prof. Dr. Pedagogy, is Director of the Institutefor Music and Movement / Eurhythmics at the State
University of Music Trossingen in Germany. His teachingspecialities are: artistic master eurhythmics-performance;
scenic design; music and movement; didactics for
adults; theoretical and practical fields of inclusion; andin cooperative artistic / scientific projects. His teachingactivities also include staging, performing, and consulting
in Germany, Belgium, Austria, Switzerland, France,
Poland, Finland, Shanghai, and Quebec. He has received
awards for his work, participated in third party projects,
and has been recognised in international publications.

20

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
T.S. Elliott (1943)

Dalcroze, Appia, Tessenow and von Salzmann - the Hellerau connection, were head of artistic
eurhythmics and part of reformation movements in performing arts at the beginning of the20th century. They overlapped and penetrated music, movement, architecture, light, stage,
and costume design. Inter- and transdiscipline determine eurhythmics since the beginning,
also its integrative resonance with the public and the social relevance of the arts. Concluding
questions should be: Where could we find nowadays these specific potentials in our fields and in
related performing art formats? How could we profile them in our work? Do we have anything
special in eurhythmics which can´t be easily done better by other collaborating artists - likechoreographers, stage directors, actors, dancers, musicians? The following content shoulddeliver points of view for some answers, perspectives – and further questions.
Dalcroze, Appia, Tessenow et von Salzmann - la communauté d’Hellerau était à la tête de la
rythmique artistique et faisait partie des mouvements de réforme des arts de la scène au débutdu 20e siècle. Ils englobaient et faisaient se chevaucher musique, mouvement, architecture,éclairages, scène et conception de costumes. L’inter- et la transdisciplinarité incarnent la
Rythmique depuis ses débuts, ainsi que la résonance intégrative avec le public et la pertinencesociale des arts. Les interrogations finales qui se posent sont : Où pourrions-nous trouver
aujourd’hui ces potentiels spécifiques dans nos domaines et dans les formats associés aux
arts de la scène ? Comment pourrions-nous les présenter dans notre travail ? Avons-nous
quelque chose de spécifique en Rythmique qui ne peut pas être mieux fait par d’autres artistes
collaborateurs – tels que les chorégraphes, les metteurs en scène, les acteurs, les danseurs, lesmusiciens ? Le contenu de cet article devrait fournir des points de vue pour certaines réponses,
perspectives - et d’autres questions.

Interactions – from Eurhythmics to the Bauhaus
At the beginning of the 20th century, Alexander Scrijabin developed with the color pianoin the symphony ”Promethée” (1909/10), Arnold Schönberg with the opera ”The HappyHand” (1914) and Kandinsky in ”The Yellow Sound” (1912) and in other color operas, firstaudiovisual stage compositions, influenced by the theory of colors by Goethe and Rudolf
Steiner (Eberlein, 1985, p. 342). Kandinsky was a synaesthetist and dealt artistically andtheoretically with synaesthesia (Eller-Rüter, 2004). Ultimately, it was synaesthetic perceptions
that prompted him to study painting in 1896 at the age of thirty. Like Kandinsky, Paul Klee
later taught at the Bauhaus1, but their ideas of a cross-border, dehierarchised connection of
the arts were already formative before. Both were also musicians, initially a musical career
as a violinist was planned for Klee. In his artistic work he made strong reference to Bach’s
baroque composition techniques, while Kandinsky exchanged letters and personal encounterswith his contemporary Arnold Schönberg about parallels between atonality and abstraction.2
Visualisations of music through movement in structures, abstractions or narratives - theinterpretation of music in movement is considered the central starting idea of eurhythmics.
In the historical context of life reform, body philosophy and expressive dance, Emile Jaques1
2

In the so-called Meisterhaus-Siedlung they lived together with their families in a semi-detached house https://www.bauhausentdecke.de/de/persoenitäten/alle (last accessed on 30.12.20)
Pierre Boulez recognised in the works of Paul Klee and in his writings on the theory of form and design important foundations
for his own compositional and music-theoretical work, less in an analogue or transformational than in a production-aesthetic
relationship (Zenck, 2017, p. 620), which is based on intermediality in the theatricality as well as in abstract artistic andmusical thinking (ibid.: 633). Boulez writes his own treatise about it, the title „Le pays fertile - Das Fruchtland“ based on a
picture by Paul Klee

21

Dalcroze developed his concept for the penetration of music and movement - based onmusic. With his productions in the Festspielhaus Hellerau near Dresden, founded in 1911, heattracted a lot of attention from the European art avant-garde. From an artistic point of view,
he worked closely with the theatre reformer and set designer Adolphe Appia, the lighting
designer Alexander von Salzmann and the architect of the Festspielhaus Heinrich Tessenow.
Such interdisciplinary collaborations, including transdisciplinarities, can later be found in
the Bauhaus.3 What both institutions have in common is the perception and penetration ofrhythm, time and space, energy and form through movement (Kuschnig, 2017, p. 131).
In the first Bauhaus manifesto from 1919, the director Walter Gropius called for “thereunification of all artistic disciplines - sculpture, painting, applied arts and handicrafts - tocreate a new type of architecture... The students are trained both in terms of craftsmanship(1) as well as drawing-painting (2) and scientific-theoretical (3)” (Gropius, 1919, p. 2).
In “Das Totaltheater” (1926/27), Gropius and the theatre revolutionary Erwin Piscator
formulate architectural, technical and interactive approaches, overcoming the spatial andcontent-related separation of stage and auditorium, of the world of appearance and reality,and enabling different venues with the help of lighting, projection, and various stage
technologies, the use of all means to reach, activate and integrate the audience physicallyand emotionally (Sciri, 2015, pp. 11, pp. 26). Although the plans were never realised, there
was nevertheless a Bauhaus stage where productions by Kandinsky, Schlemmer, Schreyer,
Palucca and others were shown.
Some aspects of the total theatre by Gropius and Piscator had been formulated fifteen years
earlier and realised in the Hellerau Festspielhaus. There was no classical orchestra pit there
and the lighting technology followed a completely new concept. “Instead of an illuminatedroom, we have a light-generating room” (Salzmann in Beacham, 2006, p. 138), the room
itself became an atmospherically charged means of expression. The separation between stage
and audience was eliminated by the specially developed lighting technology by including
the audience area. “Until now, the audience has only been asked to be quiet and careful. In
order to bring about this posture, you offer him a comfortable chair and immerse him in asemi-darkness, which is conducive to the state of complete passivity...This passive postureis broken up by the rhythmic discipline...The lighting...will spread out into the room in ashaping way…and being able to create a moving, constantly changing atmosphere” (Appia in
Beacham, 2006, p. 137), the audience was spatially integrated into the action. Beyond social,symbolic and aesthetic aspects, the rhythmic light in the differentiation of colors, brightness
and darkness, shadows and silhouettes should “express the emotional nuances of the musicwith the utmost delicacy and variety...emphasise the lively expression of the human body inrhythmic movements in space” (Beacham, 2006, pp. 138).
Movement choirs appeared in Hellerau for the first time at artistic performances
not in traditional dance or theatre costumes, but in body-hugging, simple, short-legged
and sleeveless jerseys. The focus was on the musically moved person in an undisguised
physicality, which “is understood as an extension of life - not as a show - and in which theaudience should participate in mind” (ibid.: 143).
Dalcroze, Appia and Salzmann, in a radical departure from naturalism, banned allprospectus painting from the stage, as an abstract staging of space and representationcomparable to the theatre models by Edward Gordon Craig that were being created aroundthe same time (Vinzenz, 2018, pp. 56). Instead of a rigid depiction, they created an imageof movement in time that creates atmospheres as Gernot Böhme (2011) describes them:“Moods that are in the air for the emotional tone of a room. One can...divide atmospheres intomoods, synesthesia, suggestion of movement, into communicative and socially conventional
atmospheres. What matters is that when we talk about atmospheres, we designate theircharacter...Atmospheres are poured over everything...The light and sound spaces are no3

Thaler (2011) is chronologically wrong when she ascribes an “influence on the development of eurhythmics gymnastics” tothe Bauhaus (ibid.: 7)

22

longer something that one only perceives from a distance, but something in which one is”(pp. 109). Appia called for a reduction “to forms, to light and colors...to the human body”(Appia in Beacham, 2006, p. 166) and designed the stage with flexible platforms and stairelements4 as an abstract three-dimensional movement architecture. Clear lines in the stage
design and the architecture of the Festspielhaus ensured a rhythmisation of the room, justas the rhythm was defined as the determining force for all (Sunday, 2017, p. 124).
The visualisation of music in Hellerau took place on five different levels - movement,architecture, stage design, costume and lighting.5 The audience is thrown back morestrongly on itself in the perception and discussion with abstract means, independence andsubjectivity are given greater weight, require imagination power for their own performancein an internal and external (re)presentation.

Eurhythmics – A Total Work of Art!?
The interactive and the connecting elements of the rhythm are reflected in the overall
concept of the garden city of Hellerau. The artistic and economic founders and directorsof the first German garden city agreed in their efforts to combine work, living, education,
art and nature. A life and social reform approach that seeks to understand music and art
as a catalyst for social change. The concept of Wagner’s Gesamtkunstwerk stands godfather
for this.6 Richard Wagner pursued in his writings on the one hand the dehierarchisationof the arts with an emphasis on rhythm as a connecting element and on the other hand“a political vision for the creation of a new society” (Vinzenz, 2018, p. 34). Similar to
Craig, Appia and the Hellerau Connection later, he advocated the presentation of musicaldramas through lively people, costumes, movements and stage sets in a “sensual mediationof central statements” (p. 38) and for a democratisation of the architectural theater space.
The architecture of the Festspielhaus in Bayreuth then dissolved tiers and boxes in favorof an amphitheater-like arrangement with better visibility and acoustics, but the distance
between audience and stage remained and the productions on the Green Hill also fulfilled
Wagner’s ideas of a seeing listening with the “eye of hearing” (Wagner in Primavesi, 2017,p. 41) only partially (Vinzenz, 2018, p. 47), even less the social and artistic ideas ofAppia. The elitist demeanor on the Green Hill is far removed from the social claim of theGesamtkunstwerk to this day.
Hellerau came much closer to the “idea of `communism of art´ and a festival for the
performers and their kind” (Primavesi, 2017, p. 43), Nina Sonntag (2017) speaks of “a uniqueamalgamation of social, architectural, theatre-aesthetic and music-pedagogical reforms“ (p.
121). Artists from all over Europe flocked to Hellerau.7 The focus of the performances was
Christoph Willibald Gluck’s “Orpheus and Eurydice” from 1762. Gluck called his work Azione
Teatrale per Musica and, with his librettist Raniero de Calzabigi, advocated opera reforms thatcombine song, dance, action and stage design in interdisciplinary ways. In their contextualreferences to antiquity, they were close to Dalcroze and Appia, who dealt intensively withancient performance practices, set their own concepts apart from conventional bourgeois
theatre and arranged in Hellerau rather a “festival...for the conquest of living art...anexpression and symbol of the assembled people“ (Appia in Sarfert, 1992, p. 30).
45
6
7In “Kreatur”, a production from 2017, Sasha Waltz uses a simple, mobile staircase as a symbolic stage element
Paul Claudel wrote about his impressions to Darius Milhaud: “The Hellerau performance is incomparable. I neverexperienced such a unity of music, bodies and light” (Schneider, 1994, p. 1).
Joseph Beuys, Jonathan Meese and Christoph Schlingensief also deal with Wagner’s theories on the Gesamtkunstwerk(Vinzenz, 2018, pp. 338)
The writers G.B. Shaw, Stefan Zweig, Rainer Maria Rilke, Lou Andreas-Salomé, Paul Claudel, Else Laske-Schüler, Gerhart
Hauptmann, Christian Morgenstern, Frank Wedekind, Franz Kafka, Franz Werfel, Hugo von Hofmannsthal, Hans
Brandenburg, Martin Buber; the visual artists Oskar Kokoschka, Emil Nolde; the later Dadaists Kurt Schwitters, Hugo
Ball, Emily Hennings, Raoul Hausmann; the dancers Vaclav Nijinsky, Albert Burger und Rudolf von Laban as well as
Isadora Duncan and Anna Pavlova; the composers Sergej Rachmaninow, Igor Strawinsky, Ferruccio Busoni; the the theater
professionals Max Reinhardt, Konstantin Stanislawski and Granville Barker; the impresario of the Ballets Russes Serge
Diaghilev (Sarfert, 1992, pp. 101; Guth et al. 2002, p. 16; Beacham 2006, p. 151)

23

The Ancient Theatre
Not only a look at ancient Greece points to the origin of the theatre in cultic-religious rituals
and a unity of the arts, such connections have been handed down from China much earlier.
In the Xia dynasty approx. 2100 - 1600 BC, in the so-called Yuewu, music was closely linked
to language and dance in religious and secular themes (Zheng, 2020, p. 5). Art played an
important role in Chinese social life. It is even more astonishing that there was already an
educational system for teaching artistic skills in music, dance, poetry and painting, whichwere taught together with political and military fields of education in the sense of therespective system of rule (p. 5).
In ancient Greece, the Agon was a competition in a wide variety of artistic and sporting
disciplines, held as the Panhellenic Games at several places of worship, including as themost important the Olympic Games in Olympia. Musicians´ and poets´ contests of modern
times have an origin here – be it the poetry slam or the rap battle from the subcultural or
the Eurovision song contest from the pop-cultural spectrum or the medieval singers’ war on
the Wartburg, in which a contest between celebrities with such poetic names like Wolfram
von Eschenbach and Walther von der Vogelweide, with other fictional or real poets andwith Klingsor, a magician from the verse novel “Parzival” is invented.
The various artistic forms of expression singing, dance, facial expressions, gestures,words and images were perceived as a musical and scenic unit in antiquity. The architectureof the open-air theatre in Epidaurus from approx. 340 BC (Sciri, 2015, pp. 30) offered an
excellent connection between seeing and hearing from all places.8 The theatre space is alsoarchitecturally expanded in the connection of interior and exterior, creating a connection
between architecture and nature, between stage and visitors, between theatre and cosmos,
including the Greek gods. The community consciousness inside and outside the Greek theatre
is based on a “unity between spirit, faith and political will” (Prangen, 2017, p. 56), whichin theatre manifests and expresses a social claim. The circular Orchestra directly in front of
the stage offers the audience space for choral performances, but also to express themselves
positively or negatively about the artistic performances (ibid.: 57). In his comprehensive
history of European theatre “The World as a Stage”, Manfred Brauneck (1993) delicately
describes the range and musical qualities of the artistic forms of expression of ancientperformances: “...the chants of the choirs with the accompaniment of the aulos music, thearias of the actors, accompanied by flute and kithara, dialog passages spoken in exalted
rhythm, screams, shouts, mechanical noise, the stamping of the dancers on the clay floor of
the Orchestra. The alternation of choral and solo music performance was used as an effective
dramatic contrast, reinforced in the instrumental accompaniment of the chants. Music...wasthe unity of Melos, Logos and Morphe, of melody and harmony, of word and dance movement.
Music was representation (Mimesis), while the word was considered a carrier of meaning,
the harmony laws arranged the tone sequence, the rhythm structured time” (Brauneck, 1993,
p. 51). As in the Asian cultural area, it was initially a matter of cultic-religious rituals withdance, chants, choirs and masquerading. From large festive events in honor of Dionysus,
the god of ecstasy, intoxication and metamorphosis, more solid forms of drama developed tragedy, comedy and satyr play.9

Sociocultural Dimensions I
Crossing Cultural and Media Boundaries in Grotowski and Barba
Jerzy Grotowski has been intensively involved with the culture of Central Asia and China;
since the 1950s they travelled to several countries, and studied and taught in the context of
8
9For this boasts with the Hamburger Elbphilharmonie also a cultural site of the modern age
cf. formal-historical reference in Richard Wagner - he followed the tragedy “Tannhäuser” on the same topic of an artist‘scompetition more than twenty years later as “The Mastersingers of Nuremberg” as a satyr play24

cultural exchange programs on site.10 Likewise, Eugenio Barba has toured over sixty countries
in Europe, Asia and America with the Odin Theatre since the sixties. With their theatre
work, both transcended country and branch boundaries - theatre, dance, improvisation,
clowning, artistry, Commedia Dell Arte. Music was mostly staged as a theatrical action,and musical instruments were integrated into the figure and plots (Barba, 1985: pp. 79).
In an anthropological dimensioning of theatre, Barba was interested in cultural and social
relationships with the local people, in an exchange of songs, dances, actions, rituals, paradeson streets and squares, in everyday and special places. The Odin Theatre bartered with native,
local, indigenous cultures away from the metropolises, a barter with cultural goods instead of
consumer goods. He also related the social dimension of theatre to internal social processes.
“Theatre is a waste, but it is also a socially recognised activity. It is obviously unproductive,
but it justifies group work...It is a means of escaping the judgment of the ´tamers´, to breakthe cycle of loneliness” (p. 236).

Sociocultural Dimensions II
The Human Being at the Center of Musical Production and
Performance PracticeDieter Schnebel’s “visible music 1-3” dates from 1960-62 and, like other compositions
and performance concepts from this phase, can be assigned to a “certain Neo-Dadaism”(Schnebel in Nauck, 2001: p. 92), also as a reaction to increasing perfection and technisationin recording and performance practice. People should be regarded as creative interpreters,
tantamount with music in process compositions. In social, anti-authoritarian and anti-elitist
processes, relationships and power relationships are questioned, language, gestures andactions are integrated into an overall musical and scenic concept, musically emancipated.
In Maulwerken, Handwerken-Blaswerken and Körper-Sprache, Schnebel treats anatomical,
organic, body-immanent parameters of movement and sound production as compositional
material, with different weightings in terms of sound and appearance, with scenic, electronic,
cinematic and multimedia components (Nauck, 2001, pp. 218). Comparable to the use of
the term performativity in the context of speech acts, i.e. acts accompanying the speech act,
instrumental or vocal acts can become performative musical acts, accompany the musicalact, and distinguish themselves from theatricality as a self-referential generation of reality(Fischer-Lichte, 2012, p. 29).
In his compositions, Helmut Lachenmann assumes tactile-haptic, sensorimotor activities
in sound generation, describes them with an “action notation” (Schroedter, 2017, p. 228)and challenges both interpreters and the audience to a new way of hearing, a listening
to the unheard. The choreographer Xavier Le Roy has developed two different programswith Lachenmann compositions and plays in “experimental test arrangements” (Schroedter,
2017, p. 231) between listening and looking with different reference models that expose
and reshape the familiar correspondences of sound generation and sound developmentin the instrumental gesture,11 combining everyday and artistic actions with one another,12and irritating the audience in its perception and interpretation between a “kinaesthetic
hearing...and seeing” (ibid.) and, in an often surprising humorous way, motivating theirown artistic questions and ideas (Siegmund, 2012).

10
11

12

Grotowski himself speaks of the fact that he “studied” in China (Grotowski 1999, p. 24), information about his stays:
https://culture.pl/en/artist/jerzy-grotowski und auf https://camlab.fas.harvard.edu/Issue-1
Examples: Four guitarists play the guitar duo “Salut for Caudwell”, two guitarists without an instrument, two invisible
guitarists with an instrument behind a partition. The choreographed play movements also detach themselves from themimetic execution (Siegmund, 2012, pp. 254). A string quartet plays without instruments, dressed in black, faces andforearms free (Schroedter, 2017, pp. 233)
“The Mouvements für Lachenmann began with a black clad gentleman (one suspects a stage worker) entering the stage andhammering a nail into the ground - which prominently set the first acoustic signal of the concert evening” (Schroedter, 2017,p. 232)

25

The CD “visible music” from the “Experimentelles Musiktheater” series integrates otherprotagonists in addition to Schnebel and Kagel, who, with their compositions in the spiritof John Cage, expand the sound material of music to include the equally visible, gestural,moving, linguistic, loud and noisy, and thus dissolving the “traditional conception of form”(Brüstle, 2013, p. 33) and giving more space to artistic individuality in the production,
presentation and ultimately also in the reception process (Vinzenz, 2018, p. 253). Theinterpreter gains musical autonomy and individuality through freer notation indications, thelistener creates the actual music from listening and viewing in a creative and dehierarchised
act of communication, listening inwardly (Köhler, 2004, pp. 6).

Sociocultural Dimensions III
Enactement, Embodiment
Christa Brüstle (2013) refers to extra-musical factors and socio-cultural framing of
performance and concert situations, both for the audience and the musicians, regarding
the composition, production and reception of music (Brüstle, 2013, pp. 10). This is about
contemporary classical music, so about serious music, that is played on a cultural occasion
in a social context. In conventional concerts, the audience is not intended as a musical coplayer, but is missed when it is not present - as in the current virus crisis. The auditorium isempty, the acoustics are changing, there is a lack of atmosphere and resonance. The bodyis “an object that is sensitive to all other objects, which gives all tones their resonance,
resonates with all colours and gives all words their original meaning through the way inwhich it absorbs them” (Merleau-Ponty, 1974, p. 276).
Sara Hubrich (2017) criticises the disembodiment in traditional forms of music practiceand performance and pleads a creative embodiment as an expanded interpretation of music,
which is expressed in the integration of scenic and gestural design elements, for which
various prerequisites in perception and reflection of one’s own bodily feelings and potential
as well as the compositional and situational context must be created (ibid .: pp. 249). Suchan intensification of perception requires a high level of presence from the performers, whichturns in the performance as an “autopoietic feedback loop” (Fischer-Lichte, 2012, p. 55) withthe audience in a “physical co-presence” (ibid.: 54) into a jointly constructed and constitutive
experience and knowledge reality, the enactement (Hubrich, 2017, p. 250). Staging is assigned
to the theatricality of a performance in anticipation of its perception by the audience, whereas
the performance itself is assigned to a completed interactive performativity (Fischer-Lichte,
2012, p. 56). The audience becomes a confidante, an accomplice, who is jointly responsible
for what is happening, can support it in secret without being held liable - the responsibility
ultimately rests with the directing and performing artists.

Sociocultural Dimensions IV
Hypernaturalism and Multimedia in Artistic Concepts
If the connection to nature was portrayed as a given in Greek open-air arenas and as aquest on the Swiss Monte Verità, as in other places of artistic life reform movements, thecontemporary art and theatre scene shows a hypernaturalistic reaction to the constantly
increasing threat to nature. Alexander Giesche invents with the visual poem a new genericterm, his production of Max Frisch’s “Der Mensch erscheint im Holozän” was invited to theBerliner Theatertreffen 2020, received the 3Sat audience award and further the Nestroy
theatre award for the best production in the German-speaking region 2020. Giesche lets it
rain in streams and twine on the stage for a long time, he places the real next to the digitaland stages sound, music and holographic 3D image projections as well as the light less as an
atmospheric background for a scene but as its essential, sometimes exclusive medium. The
choreographer Damien Jalet attaches similar importance to hypernaturalistic elements, an26

ascetic stage design, light, projections and music in his staging of the dance piece “Vessel”,
water on the stage also plays a key role here. Jalet and Giesche take their time in theirtension curves, a lot of time with less simultaneity, a lot of time for sensual perception
processes. In this way they modulate the stage into works of art that are reminiscent of theinstallations by Olafur Eilasson, who was exhibiting at the same time as Giesche diagonallyacross from the Schauspielhaus in the Kunsthaus in Zurich. The museum website says: “Hisspatial works invite us to reflect on ourselves, our perception and important issues of ourtime. The focus of the new works...is the question of the coexistence between humans,
animals, plants and other living beings on this earth.”With their sensually focused excerpts of elementary natural and life processes, the artists
mentioned create a contemplative attitude that gives a recipient space for questions of time,
not through an exhibition of political and social issues but through an internal view, triggeredby the aesthetic contexts which in the staging of Giesche are particularly complex and leavepeople and the world out in the rain. “The rain falls, splashes, drums, it pours, it pours...inthe flickering of the stroboscopes. Adding pounding rhythms, a thunderstorm turns into a
multimedia event” writes the theatre critic in the Züricher Tagblatt. Giesche’s theatrical rain is
not an illusion but a concentrated extract of reality, which becomes a work of art through its
location on the theater stage, develops a suggestive power visually and aurally and thus creates
space for questions—political, social, artistic, anthropological, and ontological questions; but
also questions about the necessity of exposing the audience to a staged natural event that
could have been conveyed by nature itself. Apart from the content-related dimension in Max
Frisch’s story, everyday poetry is unfolded here, something to which man in the age of the
Anthropocene hardly knew how to joyfully indulge himself in, with all his senses, let alone
has to expose himself to it. In real life, however, the rain cannot be controlled; rather, throughclimate-damaging behaviour, it escalates uncontrollably into a catastrophe.

Artistic-Collaborative Eurhythmics
An artistic eurhythmics is never limited to mimetic attempts to depict music, rather it works
on conceptually based forms of commonalities and delimitations of the arts (Thaler, 2011).13
In polyphonic overlays of music, dance, language and image, the audience is challenged todirect their senses (Roesner, 2003, p. 282), to combine hearing and seeing in autonomous
acts of self-efficacy between cognition and intuition. The sustained consideration of suchself-efficacy as a recipient as well as a producer leads to an overlap with life, not in an
everyday aesthetic that tries to cancel out the difference, but as a unity in the difference,
which manifests in the transfer of artistically elaborate forms of perception and experiences
to fundamental, real-life design-, value- and communication processes - the performancephilosopher Bazon Brock calls this “socio-design” (Vinzenz, 2018, p. 264). Sometimes being
overwhelmed by the complexity of inter-, multi- and transmedia art leads to borderline
experiences and motivates at best to continue to question the content. A certain lack ofpresuppositions in access and reception should nevertheless be present as a socioculturalparadigm. The creation of spaces for individual expression and collective decision-making
in the artistic work processes of eurhythmics requires from those involved, in addition toempathy, an extraordinary willingness to communicate and interact, to be able to challenge,
and to compromise.
The need for developments on an artistic and social level, an opening up to the public, ininteraction and discussion with experts and dilettantes in the sense of Goethe, the collective
working methods derived from this, the desire for a “social impact”, a political claim in one’s
own artistic activity - such drive situations are formulated in a current study of the free13

The bachelor’s degree courses in Music and Movement Classical Music or Jazz / Pop with the Podium profile and the Master’s
Eurhythmics-Performance at the State University for Music in Trossingen focus on eurhythmics as art

27

European music theatre scene (Rebstock, 2020) and would be perfectly compatible withhistorical as well as current and future-oriented forms of an artistically shaped eurhythmics.

References
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Betrachtung didaktischer und methodischer Konzepte. Unpublished master’s thesis. Staatliche Hochschule für Musik Trossingen.

Eurhythmics as
Performing Art

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Plastique Animée in theWorks of the Theatre of
Rhythm Katalog© Nikola Szymańska

Anetta Pasternak

Anetta Pasternak (Ph.D.) works as an Associate Professor
at the Department of Composition, Conducting, Theory,and Music Education at the Karol Szymanowski Academyof Music, Katowice, Poland. Her assignments involve
teaching at Eurhythmics Specialty, Dance Theatre Actor
Specialty, Postgraduate Music Therapy and Art Therapy
courses. As its artistic director, she promotes the Theatreof Rhythm Katalog. She specialises in 20th and 21st century
music (plastique animée) and is particularly interested in
the therapeutic aspects of eurhythmics.

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The article shows plastique animée from the author’s experiences while leading the Theatre of
Rhythm Katalog. The group consists of students and graduates of the Eurhythmics Specialty at
the Karol Szymanowski Academy of Music, Katowice, Poland. The Theatre integrates individuals
who feel the need to pursue additional creative and experimental activities beyond traditional
Dalcroze eurhythmics. Still, the unity of music and movement, which constitutes the basis forcreative interpretations of music and performance, invariably remains an originative theatre
source. Performances stemming from Dalcroze’s plastique animée utilise means of expression
relevant to the theatre. Working on theatre productions of music interpretation involves an indepth analysis of nuanced musical expression and special training for using thespian means ofexpression. An extramusical meaning, which is the message of those productions, constitutes
an additional layer forming the sense of movement used during stage action. Thanks to that,gestures create a fundamental part of interpretation while becoming a vehicle for meaning. A
metaphoric message constitutes the essence of those interpretations.
L’article traite de la plastique animée issue des expériences de l’auteur pendant sa direction duThéâtre du Rhythm Katalog. Le groupe est composé d’étudiants et de diplômés spécialisés en
Rythmique à l’Académie de musique Karol Szymanowski, Katowice, Pologne. Le théâtre intègredes personnes qui ressentent le besoin de poursuivre des activités créatives et expérimentales
supplémentaires au-delà de la Rythmique traditionnelle de Dalcroze. Pourtant, l’unité de lamusique et du mouvement, qui constitue la base des interprétations créatives de la musiqueet de la performance, reste invariablement une source théâtrale originale. Les performances
issues de la plastique animée de Dalcroze utilisent des moyens d’expression en rapport avec lethéâtre. Travailler sur des productions théâtrales d’interprétation musicale implique une analyse
approfondie de l’expression musicale nuancée et une formation spéciale à l’utilisation des moyens
d’expression du comédien et/ou de la commédienne. Une signification extramusicale, qui est lemessage de ces productions, constitue une couche supplémentaire formant le sens du mouvement
utilisé pendant l’action scénique. Grâce à cela, les gestes créent une partie fondamentale del’interprétation tout en devenant un vecteur de sens. Un message métaphorique qui constitue
l’essence de ces interprétations.

Genesis of the Theatre GroupThe Theatre of Rhythm Katalog’s idea emerged at the beginning of my pedagogicaland artistic career when I noticed the need for extracurricular development of artistic
and research potential shown by exceptionally talented students and graduates of theeurhythmics specialty. Sadly, the study programme does not allow for exploring many
interesting arts and research threads, a result of time limitations and the necessity to focus
work on pedagogics, which constitute the foundation for this education. Graduates of thisspecialty usually work in schools, and thus, their artistic career as performers or creatorsof plastique animée ends with graduation. I wanted to change that and provide suchindividuals who have time for creative activities despite their professional workload with apossibility to continue their artistic development.
Artistic and research work excludes rush and requires time, because it is connected
to undertaking long hours of artistic explorations and developing necessary skills if theartistic result is to be presented on stage. The recipients of plastique animée usually include
professionally educated musicians who focus on musical qualities of the movement andwho do not pay attention to potential shortcomings in execution techniques. It might
be said that they are a perfect audience thanks to their conscious reception of musicalpieces. The situation is different when the audience includes non-musicians who do not
analyse the relationship between music and movement knowledgeably and evaluate such
performances in terms of dance or theatre. Such an audience operates with other criteriathat cannot be easily satisfied. To communicate better with the audience, I decided to attach

33

more importance to the presented repertoire’s performance quality, thanks to systematic
technical work. The Theatre of Rhythm Katalog became a group through which I wanted topromote Dalcroze’s idea among a wider audience.
The group involves students and graduates of the eurhythmics specialty at the Karol
Szymanowski Academy of Music, Katowice, Poland, who have been working under myartistic direction since 1997. The theatre integrates individuals who feel the need to pursue
additional creative and experimental activities beyond traditional Dalcroze’s eurhythmics.
The foundation for the Theatre of Rhythm Katalog’s artistic activities rests on the eurhythmics
student research circle. In this peculiar laboratory, research projects associated with artistic
aspects of Emile Jaques-Dalcroze’s method are run. The theme of works includes:– Movement interpretation of a musical piece (plastique animée) concerning the theatre.
– The role of improvisation in a creative process.
– Ways of enhancing movement training for theatre productions’ needs.
Joining research with artistic work offers students a chance for multidimensional andinterdisciplinary development in many art areas. What is more, it improves their skills inutilising acquired knowledge in artistic activities. During twenty-four years of the theatre’s
artistic activities, about sixty individuals representing mainly the community associatedwith the Academy of Music in Katowice have participated in performances and musicalinterpretations. After just one year, in 1998, Katalog won the First Prize and the AudienceAward for the interpretation of Henryk Mikołaj Górecki’s Quasi Una Fantasia, String Quartet
No. 2, Op. 64 during the Second European Eurhythmics Competition in Trossingen, Germany.

The Idea of Dalcroze´s Plastique Animée and its Educational Potential
According to Dalcroze’s concept, plastique animée is an artistic way of embodying music
expressed in movement. This materialization of music occurs in movement interpretation
based on performers’ unique technique in which movement stems from their personal
experiences, knowledge of music and artistic sensitivity (Frego, 2009). The idea ofDalcroze’s plastique animée allows for achieving a synthesis of music and movement increative activities that develop musical sensitivity, imagination, and music and movement
expression (Skazińska, 1989). Plastique animée is carried out within the education processby improvisation, which is a way of getting to know and understanding music, its form
reflected in spatial drawings, and expression shown in movement execution. In that process,musical analysis is creatively translated into interpretation, as Stevenson says: “Plastique
Animée is a process through which one applies the Jaques-Dalcroze principles – the solfège
subjects, the eurhythmics studies, and the improvisation skills – to the analytical study ofmusic literature. The student becomes performer, and the analysis becomes interpretation”.
(Stevenson, 2009, p. 22). The main issue of Dalcroze’s plastique animée is the evocativenessof expressing musical emotions in movement. According to Ostrowska, interpretation ofmusic in Dalcroze’s method should be based on “mirroring the content of a musical piecein movement through a composition of gestures resulting from emotional experiences andaiming at exteriorizing those experiences” (2002, pp. 19-20). Musical emotions expressedin the movement are confronted with one’s own emotions, which makes them conscious.
Dalcroze describes this process in the following way: “In endeavouring to express withthe body the emotion evoked by music, we feel this emotion penetrate our organism, andbecome more personal and vital as it sets in vibration the deepest fibres of our being”(2000, pp. 165-166). Consequently, music and movement-image of work is created basedon a thorough analysis of the musical piece and shows emotions included in it while taking
an artistic and creative shape expressed in an original interpretation (Stevenson, 2009).
In Dalcroze’s plastique animée, the creativity level of the formation process is extremely
important and not the final form of a work presented on stage. As the final artistic product is a

34

result of undertaken creative activities, it is closely associated with the process of educating
performers. In contrast, the value of the process depends on the artistic imagination of
the teacher. In these activities, a music interpreter’s role is essential as the entire process
is subject to inspiration evoked by his creative vision. Based on the plastique animée,
performers’ creative potential and their education’s value might be evaluated. Thus, in
Dalcroze’s method, creating a movement interpretation of music is a special training ofcreativity, thanks to which skills are improved and performers develop personally. This is
the core of his pedagogics.
Artistic activities that I undertake at the eurhythmics specialty focus on students’development, and their main aim is not performing on stage. During my classes, theprogram includes various forms and musical styles, which is connected to the curriculum.
While working, I attempt to follow the key rule of Dalcroze’s pedagogics, i.e. the integrity ofeducation; hence, interpretations that I create are not formed separately from eurhythmics
or solfège, but they are a result of actions that I undertake within those subjects.

Ways of Using Plastique Animée in the Theatre
A characteristic feature of the Theatre of Rhythm Katalog is performing movement
interpretations of music, which originate in Dalcroze’s plastique animée, but use expression
relevant to the theatre. In these specific interpretations, content and symbols of a workof music (if a work contains those) are transferred, or meanings based on emotions
and associations evoked under the influence of music are created. In the latter type ofinterpretation, the symbolic layer is created based on aesthetic experience and may beunderstood as an intensifying interpretation. However, it does not mean that movement
does not express elements of a musical piece or that the musical expression is changed
in such a relation. Work on plastique animée has some limits of creative freedom as
indicated by Jaques-Dalcroze: “this corporal interpretation does not profess to render thecomplete thought of the master and to substitute an arbitrary mode of interpretation forthe means of expression selected by him” (2000, p. 166). In a theatre interpretation ofmusic, the extramusical meaning is somewhat an additional layer that shapes the meaningof the movement used in stage action. Thanks to that, the meaning of gesture becomes afundamental part of interpretation – a vehicle for meaning.
Finding an original way of reading music is not easy because the creator, who moves in
the labyrinth of interpretative possibilities, must find his or her way. In creating plastiqueanimée, an analysis of a musical piece is necessary, and that is why it needs to be seen fromseveral perspectives. Tomaszewski (2000), an author of the integral analysis, draws attention
to the fact that in some analytical methods, the “medium” (score, musical and audio text),
as well as its formal and textural features, become important. In contrast, in others, it isa program or symbolism built over the meaning what provides an opportunity to reachdeeper layers of music within the context of theatre interpretation. According to this author,a musical piece is a vehicle for information that contains the composer’s message directed
towards the recipient. An integral analysis allows for complementing a formal and technicalinterpretation of musical poetics, recognising the work in its ontological fullness and relevant
context, and a value area. Music is a form of communication that needs to be read bothcompetently and creatively while taking cognizance of what the composer included between
the sounds. Reading this symbolic code of music requires knowledge of symbolic speech(Polony, 2003). A musical message should be decoded and interpreted, and then during theprocess of creating plastique animée the piece’s meaning should be translated into anothermaterial, i.e. movement, by using knowledge of gesture symbolism (Pasternak, 2018).
Work on directing theatre interpretations of music includes an in-depth analysis of
nuances related to musical expression. A special training involving means of thespian
expression allows for exteriorising internal experiences in movement and gestures. It is35worth emphasising that the plastique animée achieved in class might appear sufficient fordeveloping students’ sensitivity and creativity; however, it might seem incomprehensible forthe spectator on stage. Conveying musical expression requires rich imagination and greatskills in transposing musical expression into movement expression, so using suggestive
thespian means is necessary. Such competencies are not trained within the eurhythmics
curriculum because they require specialised training. Indetermination of contemporary
music, which does not express emotions explicitly, is an additional challenge in this work:
The music of 20th and 21st century abandons formal patterns and focuses on unconventional
means of expression; it does not provide the performer with unambiguous tips regarding waysof showing emotional content of the work. Openness stemming from the structure of theseworks does not create space dynamics and movement organization according to traditional
order that was present in music based on major-minor system, either. Here, the musicalstructure is not built according to specific functional consequences, and thus, it does not allow
for anticipating the musical passage, as well as it excludes receiving stereotypes. (Pasternak,
2018, p. 81).

Hence, interpreting contemporary music is apparently very attractive, but it requires a
lot of experience. It is easier to concentrate the audience’s attention on rich spatial andmovement forms than to search the depth of statements resulting from symbolic reading of
the musical piece.
During the 24 years of the theatre’s activity, I interpreted a several pieces from the20th and 21st centuries. Our program included pieces of Charles Ives, John Cage, Aulis
Sallinen, György Ligeti, Arvo Pärt, Uri Cane, Max Richter, or Lera Auerbach; as well as
Polish composers: Eugeniusz Knapik, Henryk Mikołaj Górecki and Paweł Mykietyn. Having
the freedom to decide on the group’s program, I choose pieces that, in my opinion, allow for
conveying deeper content and touching upon universal themes, and then metaphoricallypresent them.

Selected Performances of the Theatre of Rhythm Katalog
The most suggestive way of explaining theatre interpretations of music is by providing adescription of particular performances. For this article, I chose two examples of plastiqueanimée and a performance in which music plays the main role.

© Pasternak - property Robert Rogucki - consent to use

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György Ligeti’s String Quartet No. 1, titled Métamorphoses nocturnes, is an especiallyinteresting movement interpretation in my creative work. The piece was composed in 1954,
right before the Hungarian Uprising of 1956, which was brutally suppressed by the Soviet
Army. It was a tragic moment in the nation’s history.
String Quartet No. 1 is a collection of characteristic variations without a specified theme,
which is subject to various changes, and hence, the name “metamorphoses”. The rule of contrasts
is the basic factor shaping forms. A movement performance of the quartet presents considerable
technical and expressive challenges. This early Ligeti piece is incredibly beautiful thanks to thedepth of expressed emotions because his artistic vision was affected by strong feelings. Their wide
scope is not easy to express in movement. Numerous twists in musical actions require advanced
control of energy and great body awareness and acting skills. Rich techniques used by thecomposer to produce sounds (e.g., pizzicato, glissando, harmonics) make this piece extremelyinteresting regarding its colouring. The performance of passages based on the chromatic scale,ubiquitous in this piece, and numerous glissandi made me use a specially constructed ramp
in my interpretation. The stage design inspired the ways of forming movements. My mental
images involved climbing, sliding down, and making one’s way arduously; they stemmed fromthe fact that the musical material suggested a vertical movement. Climbing, the leitmotif of thisperformance, suggested a symbolic reading of the piece.
The music’s scope of emotions is incredibly rich because it is stretched over a wide scaleof contrasting feelings. We can hear parodies of dances in the music – melancholic twists
are mixed with brisk folk dances, chimeric waltz or energetic march. The music consists ofsudden mood changes, and while breaking the logic of a formal passage, it creates a specifickingdom of the absurd, which in my opinion perfectly reflects the absurdity of the time andplace where the composer lived. Ligeti was averse to openly program and illustrative music;
however, he did not oppose music-provoking associations. Although Ligeti’s Quartet No. 1
is not a program piece, it is extremely theatrical. The abundance of content provided by thispiece, together with the context of when it was created, forces the recipient – interpreter toinclude these in their own artistic communication. In my interpretation, the piece expresseda psychological study of human nature in the face of a fight for freedom. A fierce dialogue
between four performers on the ramp gave meaning to movements, which depicted various
situations – a gritty struggle for liberation, and desperate resignation. A significant role inthis kind of reading music was played by various means of expression inspired by the themeand stage design that allowed for metaphorical presentation of the stage action.

© Pasternak - property David Tucker - consent to use

37© Pasternak - property Robert Rogucki - consent to use

Another example of theatre plastique animée is an interpretation of Arvo Pärt’s piece titled
Fratres. This piece can be interpreted as a composition with a theme and seven variations.
Arvo Pärt created a unique compositional style by using his own invention - the tintinnabuli
technique, which he used in this piece. This style is based on absolute simplicity: triads
and diatonic sequences. The tonality in his composition is stripped of its traditional
meanings and functions in the major-minor system. Fratres composed for a string quartet
is characterised by the statics of the melodic passage. It is a special composition thatcombines inner tension with the calm, expressed in musical meditation. The piece’s slow
pace and little diversified rhythm make the musical time flow here more slowly than realtime. The contemplative nature of the music gives the impression that the flow of time isslowing down. The title, whose meaning is brotherhood, was a key creative inspiration.
In my interpretation, it was a special study of gesture and its symbolism. Spare and rich
expression gestures between two performers were based on symbolic meanings and deep
emotional message. A characteristic feature of this quartet is the ever-increasing expressionthat returns to the starting point through the energy course’s gradual fading. Thus, in every
subsequent variation, the relation between the performers is transformed. As a creator andperformer of plastique animée, I experienced an extraordinary state of immersion in thishypnotic music.

38© Pasternak - took by Robert Rogucki - permission to use

Apart from theatre interpretation of contemporary music, the Katalog Theatre’s creative
activities also include original performances, in which music plays the leading role. Those
works are created as a result of improvisation, which is the foundation for the performances.
Emil’s Lab was the last performance of our theatre, and it was presented during the FourthInternational Conference of Dalcroze Studies at the Academy of Music in Katowice, Poland,in 2019. The performance which I directed and for which I wrote a script, was inspiredby Emile Jaques-Dalcroze’s philosophy on music and education. It was an attempt to lookat Dalcroze practice at his institute in Hellerau from 1911 to 1914. This place became akind of “Laboratory of the New Life,” where his method’s pedagogical and artistic ideas
crystallised and in which relations with outstanding artists of that time played a significant
role. In our performance, we looked at this special time with a longing for those ideals andsense of humour resulting from a century’s distance.
Working on the performance, in which an Italian pianist – Adalberto Maria Riva – played
Monsieur Jaques’ role, was an incredibly creative artistic adventure for all of us. Thanks to
his participation, we could listen to numerous piano pieces of Jaques-Dalcroze; however,
our performance also included pieces by other composers. When creating a performanceabout Dalcroze’s activity in Hellerau I could not omit an important thread of Orfeo ed
Euridice’s reformative performance, an opera composed by Christoph Willibald Gluck.
Plastique animée to famous The Dance of the Furies was a key scene in our performance.
Of course, we know how that scene looked in Dalcroze’s performance only from his
students’ descriptions; I did not aim at recreating that idea. Appia’s stairs were presented as
multimedia, whereas real stage design was their continuation.
Emile’s Lab could never be realised so fully, i.e., with Dalcroze’s music played live, quotes
from his books, and even fragments of his manuals, without consent for use. We owe such ashape of the performance to the kindness of his granddaughter – Martine Jaques-Dalcroze– who gave her consent to perform the pieces and provided many interesting photographsfrom a private archive. Having access to such wonderful material, I decided to collaborate
with pedagogues and students of Video Games and Virtual Space Design Specialty at the
University of Silesia, Poland. They creatively used Paul Thévenaz’s drawings from original
Dalcroze’s manuals and brought characters to life thanks to animations. I believe thatmultimedia creatively enriched the visual layer of our performance.

39© Pasternak - took by Robert Rogucki - permission to use

Conclusion
When I started my education in Dalcroze eurhythmics, I was taught that plastique animée
should not include extramusical contents, although I have felt the need for such expression.
Moreover, Dalcroze’s works contradict this theory. Many short spatial and movement forms
directed and composed by him also had program titles: Narcissus and Echo, In My Garden,
Two Forces: Evil and Good, and The Singing Flowers (Mieczyńska, 1963), which indicates theneed for using extramusical meaning. We learn from his students that in order to enrich
movement expression he introduced exercises related to acting techniques (Paszkowska,
1965). Ewa Lebecka, who studied in Hellerau, claims that Dalcroze used a different typeof movement improvisations within the scope of plasticity of movement: “Those were
pantomimic etudes whose aim was to present various feelings and emotions, e.g., fear,strength, going towards the light, etc.” (Lebecka, 1989, p. 71). Such exercises resemble
acting etudes to music, whose main aim is not a performance of musical nuances. The
specificity of Dalcroze’s creative activities indicated that he was an active theatre creator – a
director, a stage arranger, a music composer, and even an author of texts for performances;
therefore, the totality of such experiences surely affected his pedagogical work. Undoubtedly,
his contacts with theatre reform representatives, Adolphe Appia or Konstantin Stanislavski,
were an inspiration for his stage performances. Dalcroze met the Russian director while
showing his work in Hellerau in 1911. The following year he went to Russia, where heperformed in Stanislavski’s Moscow Art Theatre; Dalcroze also presented his achievements
in Mikhailovsky Theatre, where he probably met Vsevolod Meyerhold. As a consequence ofthat journey, both Stanislavski and Meyerhold started to use eurhythmics in their training
programs. Obviously, Dalcroze searched for new means of expression in theatre and reliedon subordinating all theatrical work to music, and he consequently realised that idea.
Achievements in eurhythmics affected his performances by making actors more musicaland theatrical space more plastic; together with light, they were meant to highlight thenatural expressivity of body movements. In his music interpretations, he used thespianmeans of expression, stage design, stage light, and extramusical content, which resulted
from the titles he gave to music.
Although performances of the Theatre of Rhythm Katalog are given according toassumptions of Dalcroze’s plastique animée, it should be admitted that appealing to our original

40

associations, which are created based on musical emotions, exceeds Dalcroze’s concept.
Tomaszewski (2000) would classify such realisations as intensifying interpretations, whosefeatures go beyond the composer’s intentions. Here, music is a script around which a keynoteof stage activities is built. The essence of those interpretations is more than visualisation ofmusic resulting from an analysis of a musical piece; the message is the essence. Being an
author of those performances, I do not use my own title for my interpretations, but thanks tothat, I leave room for the audience to have their own mental images.
Currently, different trends in interpreting Dalcroze’s plastique animée are visible.
Howeve, I consider abandoning the unity of music and movement dangerous. I believethat the lack of this feature might cause a negative assessment of creative activities, andconsequently, classify them as poor dancing and send them into musical banishment.
Dalcroze’s idea of music and movement unity, which we have been cultivating for 24
years, is the creative source of the Theatre of Rhythm Katalog. The best way to evaluate thequality of our program is to become acquainted with films showing the theatrical inspiration
for music described in this article. We kindly encourage all those interested in our activities
to visit our website: www.teatrkatalog.pl

References
Frego, D. (2009). Plastique Animée: A Dance Genre and a Means to Artistry. Le Rythme,
87-89.
Jaques-Dalcroze, E. (2000). Eurhythmics and moving plastic. In: Emile Jaques-Dalcroze,
Rhythm, Music and Education, 5th ed. Translated by H. F. Rubenstien. (pp. 147–168).
London: The Dalcroze Society, Inc.,
Lebecka, E. (1989). Znaczenie twórczej ekspresji w historii rozwoju wychowania muzyczno-ruchowego, In „Zeszyt Naukowy” no. 18, Łódź: Akademia Muzyczna im. G. i K.
Bacewicz, 65-78.
Ostrowska, B. (2002). Interpretacja ruchowa dzieła muzycznego w metodzie Emila Jaques-Dalcroze’a. In B. Ostrowska (ed.), Materiały z V i VI Ogólnopolskiej Sesji Naukowej
Rytmika w kształceniu muzyków, aktorów, tancerzy i w rehabilitacji. (pp. 18-22), Łódź:Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów w Łodzi.
Pasternak, A. (2018). W labiryncie interpretacji – plastique animée w kontekście dzieła
otwartego. In Ewa Kumik (ed.), Konteksty kształcenia muzycznego, (pp. 75-84), tom 5
nr 1.
Paszkowska, A. (1965). Hellerau 1911-1914. In Materiały Informacyjno-Dyskusyjne COPSA,
cz. II, zeszyt 12, Warszawa, 14-36.
Polony, L. (2003). Pojęcie znaku i symbolu w muzyce w myśli klasyków hermeneutyki muzycznej Kretzschmara i Scheringa. In K. Guczalski (ed.), Filozofia muzyki – Studia.
Kraków: Musica Iagellonica, 172-180.
Skazińska, M. (1989). Znaczenie interpretacji ruchowej utworów muzycznych w kształceniu
nauczycieli rytmiki. In B. Ostrowska (ed.), Zeszyt Naukowy XVIII, Łódź: Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów w Łodzi, 211–223.
Stevenson, J. R. (2009). An essay based on „La Technique de la Plastique Vivante” by Emile
Jaques-Dalcroze. American Dalcroze Journal, vol. 35 No 2, 18–22.
Tomaszewski, M. (2000). Interpretacja integralna dzieła muzycznego. Rekonesans. Kraków: Akademia Muzyczna w Krakowie.

41

Reframing Space in
Networked Practice –a Chat from the Sewing Box

Hanne Pilgrim is a eurhythmics practitioner,
pianist and performer currently based in Vienna,leading as a university professor the department ofMusic and Movement Education/ Rhythmics at the
University of Music and Performing Arts Vienna.
After her studies of eurhythmics and piano at the
University of the Arts Berlin and several further
educations in contemporary dance and bodywork, Hanne Pilgrim worked in different artistic
fields. As a pianist she focuses on chamber music,
theatre music and experimental band projects; as aperformer she celebrates the possibilities of instantcomposing, music related choreographies andexperimental music theatre.

© Maria Jarzyna© Hanne Pilgrim

Hanne Pilgrim, Adrián Artacho

Adrián Artacho is currently a PhD
candidate at the University of Music andPerforming Arts Vienna, researching theuse of technology to enhance performer
capabilities. He is an active performer oflive electronics, either solo or in different
configurations, including visuals and a selfconstructed musical instruments. Besides his
purely artistic work, Artacho has developed
several science communication projects onbehalf of the University of Vienna, including
the “Sounds of Matter” international
composition competition. Additionally,
he is artistic director of the arts collective“Neues Atelier” and founder of the dancecompanies “Tanz.Labor.Labyrinth” and“SyncLab Tanzkollektiv”.

42

Since the beginning of the global pandemic, higher education institutions and artists all over
the world have embraced distance learning and virtual meetings as more or less provisional
solutions. In the case of eurhythmics education, everyday practice had to be adapted overnight– quite a challenge for a discipline based on body work, live music making and social
collaboration. Almost one year into this situation, it is time for us to evaluate our experiencesin networked eurhythmics practice, not as a lesser alternative to traditional (co-located) one,but as a highly expressive medium in its own right. In particular, we explore different ways
to articulate the shared virtual space and reframe its limitations as available affordances forartistic expression. This article presents the preliminary results of the ongoing artistic research
project “Social d[ist]ancing” at the University of Music and Performing Arts Vienna.
Depuis le début de la pandémie mondiale, les universités ainsi que les artistes du monde entier
ont adopté l’enseignement à distance et les réunions virtuelles comme des solutions plus ou
moins provisoires. Dans le cas de l’enseignement de la Rythmique, la pratique quotidienne adû être adaptée du jour au lendemain - tout un défi pour une discipline basée sur le travail
corporel, la création musicale collective et la collaboration sociale. Près d’un an après le débutde cette situation, il est temps d’évaluer nos expériences dans la pratique online, pas comme une
moindre alternative à la pratique traditionnelle (colocalisée), mais comme un médium d’une
haute expressivité lui-même. En particulier, nous explorons diverses méthodes pour articulerl’espace virtuel partagé et de repenser ses limites comme des nouvelles possibilités d’expression
artistique. Cet article présente des résultats préliminaires du projet de recherche artistique«Social d[ist]ancing» à l’Université de Musique et des Arts du Spectacle Vienne.

Out of Necessity: Networked Collaboration
In the early 2020, the global COVID-19 pandemic caught the world by surprise. In theperforming arts, the social distancing measures adopted by most governments led to the massive
cancellation of events, festivals and projects in the foreseeable future. Some higher education
institutions reacted quickly and managed to transition into virtual classrooms in record time,
while others came up with all sorts of social distanced formats to keep their students engaged.
In the particular case of eurhythmics education, everyday practice also had to be adapted almost
overnight–quite a challenge for a discipline based on body work, live music making and social
collaboration. Paradoxically, out of the struggle that results from the restrictions in movement
and social contact, a particular kind of collaborative artistic practice is flourishing; one that
relies on webcams as windows into a shared virtual collaborative space.

From left to right: dancers of the Dutch National Ballet, the National Dance Company of Wales performing 2067:
Time and Time and Time, and Prof. Hanne Pilgrim’s students creating together a piece inspired by Anton Webern’s
Six Bagatelles for String Quartet, Op. 9

Networked Eurhythmics Practice: Videoconference as Medium
One year into the pandemic, the collection of software applications and online toolsthat have been re-purposed by performers, dancers and musicians is rather large anddiverse. Some seek to simulate the conditions of traditional (co-located) rehearsal while43

others enable quick and productive collaboration via internet. These tools (including
some developed ad hoc over the last months) come with their own set of strengths andlimitations, but geographical location is not one of them. As an illustrative example of thistrend, the National Dance Company of Wales (Myhill, 2020) recently used the currently
popular Zoom videoconferencing application to reconnect its performers “across time andspace”, while ”re-imagining mid scale dance work for small spaces” (ibid.). During thefirst lockdown, teachers of the department of Music & Movement/Rhythmics (MMR) at
the University of Music and Performing Arts Vienna navigated the problem of music-related
dance practice with their students from an initial asynchronous approach–with individual
video assignments– towards a more interactive networked practice using videoconference
tools. Together with their students, they created a body of music related choreographic workthat delves into the idiosyncrasy of the webcam language (Pilgrim, 2020). Not only does
this approach explore the aesthetics of this singular medium (Christian, 2011), but it is alsoa transformative process that encourages the participants to re-examine the fundamental
conditions for group creativity and artistic collaboration.

D[ist]ancing Together
With the aim of developing effective strategies for videoconference-based eurhythmics
practice, Adrián Artacho and Hanne Pilgrim decided to put forth a transdisciplinary research
effort on the topic of networked co-creation. The resulting artistic research project “Sociald[ist]ancing: the development of a networked artistic practice out of confinement” started
in September 2020 with six graduate eurhythmics students as participants, dance scholar
Mariama Diagne, and the support of the Artistic Research Center (ARC) at the Universityof Music and Performing Arts Vienna. Structured around six case studies –each featuring
a different mode of intermedial transformation– and making only use of freely available
software as a principle, the project has so far yielded useful insights on the limitations of themedium, while at the same time raising questions about networked artistic practice: Does
the concept of ”reconnecting performers across time and space” keep its promise? In whichways (if any) are these virtual rehearsals equivalent to co-located ones? What is unique about
them instead? In which ways does this circumstance determine the artistic output? And most
crucially, how can these limitations be reframed to add value to eurhythmics practice?

Reframing the Shortcomings of Videoconference
The mediation of videoconferencing software has a distorting effect (Al-Samarraie, 2019) inthe perceptions of time, space, effort and shape-parameters we routinely use to conceptualise
action in eurhythmics practice. The perception of one’s bodily effort, for example, becomes
distorted by the combination of the webcam perspective, orientation and, a subtle yet
noticeable, visual delay. This pervasive latency of the system (latency in bodily/corporeal
interaction, latency in acoustic feedback and verbal communication) distorts also timeperception, which itself affects performer interaction abilities in different ways. Performers
can no longer rely on kinesthetic responses from their collaborators; instead, they need to
draw a shared sense of time from the perceived movement on the screen (acceleration,
slowing down and freeze have the effect of compressing, expanding or stopping the flow oftime respectively) as well as symbolic representations of time such as clocks and countdowns(Ghafurian, 2020). The perceived flow of social interaction is also heavily influenced bycontingencies such as extended waiting times (often attributed to technical mishaps suchas unstable network connections, unreliable audio or participants disappearing from theconference) or fixated attention on the computer screen (which itself limits the available
bodily positions). The aggregate effect of these factors tends to hinder the flow of interaction,

44

causing frustration and the perception of a slacking workflow. It is also the case, however, thatthese limitations can be reframed as a means to articulate the shared virtual space differently.

Articulating the Virtual Space
The constraint most noticeable in a videoconference-centered setup is, perhaps, the spatial
one. In our networked eurhythmics practice we first broke down the constraint into relevant
components, and then put them side by side with the novel affordances each of them creates.
A networked rehearsal situation can therefore be thought of, not as a lesser rehearsal instance,but one of a different kind altogether. The newly afforded possibilities determine the qualitiesof the artistic output in a classic case of how the medium determines the message (McLuhan,1964). What follows are some examples of how we used these new affordances to articulate
the shared virtual space–the videoconference in this case–beyond its intrinsic limitations.
When participating in a videoconference, interaction with other performers is strictly
restricted to the computer screen, which consumes all the performer’s attention (Ghazal,2015). The physical space around the participant is represented in the screen, yet detachedfrom the shared virtual space of the videoconference application. This duplicity between theperformed action and its representation (as captured by the webcam) is perceived by theperformer as a strange form of visual counterpoint, modulating her subjective experience.
This subtle distortion in self-awareness becomes a hugely influential factor, drasticallyshaping the artistic output. Moreover, the performer is afforded a new virtual space tointeract with: the composite image of all video participants in the gallery view. Considering
the inescapable tiled structure of this newly acquired gallery space, a permanent shape withno depth of focal point, performers operate in three distinct spaces which they can accessplayfully in a polyphonic manner: the gallery (interaction) space, the physical space aroundthem and their individual webcam space.

Figure 1

Figure 2

45

Figure 3

Figure 4, Screenshots by Adrian Artacho/ Hanne Pilgrim

Example 1. The performers are moving
their faces towards the webcam in order todevise a collective ‘eyebrow-phrase’ in the
tiled structure of the gallery. This gesturepresupposes a movement of the whole body
approaching the camera. The actions in the
non-virtual space embedding the performers(beyond the partial area captured on camera)can be perceived as a contrapuntal third
voice; in a given moment, the performers
join the video conference with an additional
second device (a smartphone), hence
rendering their entire body movement as thethird voice visible. (see also https://socialdist-ancing.blogspot.com/p/pilot.html)

In the context of a videoconference-centered performance, the mosaic-like structure of
the gallery becomes the only available interface with the audience. As a consequence,the physical space surrounding the performers (beyond what is actually captured by thecameras) loses all relevance. This circumstance requires the performers to actively ignore
their environment, which contributes to the feeling of strangeness and disconnection. The
own image, permanently mirrored on the screen, dominates the subjective experience,drawing nearly all attention to itself. As the performers engage in interaction, a general
feeling of vague irritation ensues: they now need to actively ignore their surroundings andtheir own image on the screen, too. Notwithstanding, this heightened awareness of theown image can also be used to our own advantage: where ample movement is limited, finemicro-gesture control makes a different –closer– mode of interaction available.

Figure 5, Screenshot A. Artacho/ H. Pilgrim
Example 2. In this example from our first Case Study (Perilous Hands), performers used micro-gestures as building
blocks for a collective movement score. Repetition in the gallery space provided a certain visual rhythm, which
encouraged to explore a relatively small set of gestures in detail. (See also website at the end of the article)

46

As the visuo-motor self-control gets heightened by the visual feedback coming from theown webcam, the perception of ‘closeness’ to any given participant gets proportionallydiminished. Interpersonal distance is replaced by the two-dimensional relationships of thevideo participants in the application screen. Geographical distance becomes an abstraction,
merely a grid line on the edges of our video image. This design convention of mostvideoconferencing software can nonetheless be used to articulate interaction as well, as in
the example below.

Figure 6, Screenshot A. Artacho/ H. Pilgrim
Example 3. Performers in the Case Study explore the illusion of closeness by engaging in one-to-one interaction
across neighbouring video images. Awareness of one’s own position in the grid is, as a matter of fact, abstract andnot self-evident. With some practice, though, the results can be quite stimulating and fun. The position of a given
performer in the grid, the contact edge with neighbouring participants, the use of the two-dimensional metaphorof the screen (participants looking in a particular direction, suggesting something is there about to happen, forexample), etc. are all examples of affordances granted by the videoconferencing tool. (See also website at the end of
the article)

In contrast to physical space, webcam space is bounded (its boundary being the contact
edge with neighbouring participants in the videoconference), reduced (only a fraction of
the actual space is shown) and –to the performer at least– feels rather unreal. Despite thelatency-induced strangeness and the disconnect with the surrounding physical environment,
the camera provides interesting new affordances which would be unavailable in co-locatedeurhythmics practice; visual aspects of any individual performance can be controlled
independently from one another, for example. From the perspective of the camera to thelight quality; from the choice of a specific background to the use of any number of elements(real or otherwise) as props, the visual language of the webcam provides vast expressive
possibilities, particularly when combined with the other webcams as in videoconferencecentered eurhythmics practice.

47

Figure 7

Figure 8, Screenshots by A. Artacho/ H. Pilgrim

Example 4. In these excerpts from a networked eurhythmics session, participants explore the video affordances of
the webcam. Specifically, they attempt to control the visual flow of the piece by forcing the viewer’s attention towardspecific tiles at a time. By manually obscuring the view (blocking the camera with the hand), performers drive
attention to the active (not blocked) tiles, in that way steering the viewer’s gaze and its rhythm (how long the gazeis allowed to dwell in a given area of the screen before tiles disappear and another one pops up in a different place).
(See also website at the end).

Conclusion: Shaping the Future WorkAt this point in our research, we are excited about the expressive possibilities of networked
practice waiting to be unearthed, and are already working on the design of new technicalapplications that address some issues that arose during our working sessions. It is to be
expected that more specific applications –together with finer strategies– may help mitigate
the frustration over the shortcomings of videoconference as a tool, and eventually enable
better remote collaboration. The examples presented in this article are in no way meant
to be exhaustive, but to spark a stimulating discussion in the eurhythmics community as
to how to move our practice forward beyond the horizon of the COVID-19 crisis. We areconvinced that there is value to be found in networked artistic practice –not just as a lesser
alternative to traditional eurhythmics practice– and will continue to explore the affordancesof videoconference and similar media as means toward artistic expression.
Supplementary video material is available on the
project’s website:
https://sociald-ist-ancing.blogspot.com/p/fier.html

References
Al-Samarraie, H. (2019). A scoping review of videoconferencing systems in higher education: Learning paradigms, opportunities, and challenges. International Review of
Research in Open and Distributed Learning, 20(3).
Christian, A. J. (2011). Joe Swanberg, intimacy, and the digital aesthetic. Cinema Journal,
50(4), 117-135.
Ghafurian, M., Reitter, D., & Ritter, F. E. (2020). Countdown timer speed: a trade-off between delay duration perception and recall. ACM Transactions on Computer-Human
Interaction (TOCHI), 27(2), 1-25.
Ghazal, S., Samsudin, Z., & Aldowah, H. (2015). Students’ perception of synchronouscourses using skype-based video conferencing. Indian Journal of Science and Technology, 8(30).

48Groz, M., Lachersdorfer, M., Lirsch, E., Kindermann, S., Pilgrim, H. (2020). Rhythmics
Practice in times of Covid-19. Retrieved January 30, 2021, from https://padlet.com/
mdw_institut13_rhythmik/846rbomtylltp67n4
McLuhan, M. (1964). Understanding Media: The Extensions of Man.
Myhill, E./ National Dance Company of Wales (n.d.). Clapping’. Retrieved January 30,
2021, from https://www.youtube.com/watch?v=tYcu1ZgkMaU
Vera List Center for Art and Politics (n.d.). COVID-19 Resource Toolkit for Artists and ourExtended Communities. Retrieved December 17, 2020, from https://veralistcenter.
org/announcement/covid-19-resource-toolkit/
Sirkin, D., Venolia, G., Tang, J., Robertson, G., Kim, T., Inkpen, K., ... & Sinclair, M. (2011).
Motion and attention in a kinetic videoconferencing proxy. In IFIP Conference on Human-Computer Interaction (pp. 162-180).
Steffen-Wittek, M., Weise, D., Zaiser, D. (Eds.) (2019): Rhythmik - Musik und Bewegung.
Transdisziplinäre Perspektiven. Bielefeld: transcript.
Weise, D. (2009) Etwas anderes machen – Der Kontrapunkt in der Rhythmik. In: Kongressband
bewegte Zeiten, Europäischer Rhythmikkongress Wien (pp. 36-48)

49

Pnoe, the Performing Body ina Synthesis of Musicand Movement© Pavlos Iliopoulos

Vasiliki Psyrra

Vasiliki Psyrra is an accordionist, music teacher andperformer. She studied accordion with Prof. Konstantinos
Raptis at the University of Macedonia Thessaloniki. In
2015 she completed successfully her Master of Music
Elementare Musikpädagogik/Rhythmik with Prof. Marianne
Steffen-Wittek at the University of Music Franz Liszt
Weimar. Immediately thereafter she has been teaching
performance, eurhythmics and elementary music
pedagogy at the same university and since 2019 sheteaches also music and movement at the University of
Erfurt. She collaborates with educational institutes inGermany and Greece for various seminars and programs
and she has presented performances and lectures in many
European countries.

50

In performance art the body is used as a multifaceted medium; it interacts with the audience,
it reflects social, cultural and political realities, it emits meanings and takes on different
interpretations, it explores individual identities and traces back roots. This article explores thedifferent aspects of the body in performance art and connect them with the body in eurhythmics.
The article is based on a performance called Pnoe. The performance focuses on the body as theprimary medium of the interaction between music and movement and presents the creation
process inside a synthesis of music and movement.
Dans l’art de la performance, le corps est utilisé comme un médium aux facettes multiples ;il interagit avec le public, il reflète les réalités sociales, culturelles et politiques, transmet dessignifications et prend différentes interprétations, explore les identités individuelles et en retrace
les racines. Cet article explore les différents aspects du corps dans l’art de la performance et les relie
au corps en Rythmique. L’article est basé sur une performance appelée Pnoe. Cette performance seconcentre sur le corps en tant que moyen principal d’interaction entre la musique et le mouvement,
et présente son processus de création dans une synthèse de musique et de mouvement.

© Pavlos Iliopoulos

The purpose of the performance “Pnoe” was to embark on a search for the fundamentals
of eurhythmics; a journey or a return back to the primary ingredients of the connection
between music and movement. Hidden somewhere deeper there was also the desire to findthose ingredients in contemporary times and also approach it from different principles.
Development of this work took the form of a research performance, which involved somatic
practices and physical action aiming to enrich the long tradition of music and movementwith today’s perception of the body in performance art. The performance “Pnoe” raises anumber of questions on the issue of body as performance medium in eurhythmics or inGreenhead’s terms (2009), in the realisation of a musical composition in movement (p. 37).
For an art historian it is especially challenging to provide a meaningful definition of
performance art and its boundaries and perhaps even more difficult to attempt a retrospectiveof this artistic form. Indeed, performance does not offer itself to easy classifications, as its

51

nature does not allow for clear distinctions. An interesting attempt to define the term canbe found in the Magazine of the Irish Museum of Modern Art (2015), whose definition
includes the most important lasting aspects of performance:
Performance art is a form of arts practice that involves a person or persons undertaking anaction or actions within a particular timeframe in a particular space or location for an audience.
Central to the process and execution of Performance Art is the live presence of the artist andthe real actions of his/her body, to create and present an ephemeral art experience to an
audience. A defining characteristic of Performance Art is the body, considered the primary
medium and conceptual material on which Performance Art is based. Other key components
are time, space and the relationship between performer and audience. (p. 4)

To supplement this interpretation, one should also consider the aspect of Performative Art
as a social and aesthetic manifestation founded on everyday practices. As an art form may
be coexistent with the human species (Schechner, 2003, p. 295), which designates, in its
own artistic form, a scenic narrative by mixing together the perception of reality, events,
and the artist’s own self-representation (Klein & Sting, 2005, p. 13). Through this scenic,
performative praxis, a conversational exchange is staged between ‘Mode’ and ‘Form’ (Klein& Sting, 2005, p. 10). The ‘Mode’ is characterised by polysemy; it obtains through ‘Form’a clear and meaningful definition. An exciting adjective used to describe performance
art is anarchic (Goldberg, 2011, p. 9). Every artist can formulate their own aesthetics,
has the privilege to redefine their art, to use every possible medium or material and,moreover, to choose freely the space, time and way of action. RoseLee Goldberg (2011)
writes that “performance has been considered as a way of bringing to life the many formal
and conceptual ideas on which the making of art is based” (p. 7). But it’s not only theartist who defines the anarchic character of performance, but performance itself as an art
expression. According to Nathaniel Stern (n.d.) “since the inception of Performance Studies,
performance has been labelled processual, transportative, transformative, and an activating
force or energy” (p. 1). In particular, performance has no concrete genre. By genre we classify
the different art forms: music, dance, theatre, literature, poetry, painting, architecture or
media; performance can be any of them or a combination of them all. Also pertaining toperformance is the fact that, the moment we try to provide a more concrete definition ofthis form of artistic expression, a performance work will appear that nullifies or alters thisvery definition. From Futurism, Dada and Bauhaus to Happening and Fluxus, from Modern
Dance to Dance Theatre, from stages and museums to the internet, performance was andstill is a fluid, live organism that refuses to, or just cannot stay the same.
Since the body has been identified as the point of contact of the different artistic
performances, let’s observe how bodily functions define the canvas of a performance. Ever
since the times of ancient Greek theatre, the artist’s body does not convey exclusively thephysiology of its existence (torso, head, hands, feet, face etc.), but also all the possible
differentiations in its appearance (forms, grimaces, mimic, articulation etc.), its shaping
and transformation abilities (muscle contractions, direction of movement, kinesiologicaldeformations, voice alterations, etc.), and the exploration of its limits. At the same time,it serves as a communication and perception medium through its sensory functions. Rudi
Laermans und Carine Meulders (2009) characterise those abilities along with its inabilities as
the Potentials of the human body (p. 282). Through performance, the body is able to “identify[...] themes central to the production, reception and interpretation of art, as well as the wider
cultural, political and philosophical phenomena that inform it.” (Sally, 2009, p. 7). Thoseboundless perspectives of the body may appear at first to present the body as a prime material
for art; in reality they manifest body as a generator of art (Learmans & Meulders, 2009, p.
284). Even though this description from Learmans and Meulders is posed as a question, it
represents the truth insofar as the body gives birth to sounds, images and movements.
Bearing this in mind - the image of giving birth - one refers inevitably to the duality of thebody’s existence which has concerned artists in both an aesthetical and philosophical level:

52“Humans have bodies and are bodies” (Schuhmacher-Chilla, 2013, p. 1). There exists a physicaland biological body, which enables humans to feel and touch the world but there’s also a mental
body which aggregates empirical knowledge and, with its kinetic and sentimental function,
forms humans’ perception of the world. This duality in observing the human body has been theobject of interpretation not only by varying philosophical schools or systems, in their effort tounderstand the mystery of human existence, but also by various artistic ways and methods, inorder to help the artist to find their artistic identity. Among those numerous interpretations, one
should mention the body-schema of Maurice Merleau-Ponty, the internal and external body in
Konstantin Stanislavsky’s psychotechnique, the Explicit Body in performance of Rebecca Schneider
or the Implicit body as performance of Nathaniel Stern. Thus the whole purpose of the pursuitof “corporeality” in (or as) performance as well as the exploration of the physical and mental
functions of a performer’s body consist in seeing, reading, listening, feeling the body as anothernarrative, as the code to identify and express existence.
The performance “Pnoe”, however, does not focus only on the body as a medium of
expression and narration, but also as the primary factor in the exchange between music sound - and movement - kinesis. For Jennifer Parker-Starbuck and Roberta Mock (2011) theterm ‘the body’is itself problematically generic and its use varies across disciplines and practices; moreover,boundaries are often porous when researching bodies and performance. We consider certain
researchers to be ‘body-centered’ because their enquiries - whether from a performance making, spectatorial or historical perspective – are provoked by and increase understandingof particular bodies (p. 211).

So, for this research performance, the main approach is not to explore what the body isin a eurhythmics performance or how the body moves but rather to question who is the
body. Émile Jaques-Dalcroze based his method on observing the body and its tendency toreact to music through movement; this is the medium of expression and representation ineurhythmics. Within this innovative framework that redefined the relationship between music
and movement, the human body stands as the original instrument that can move and makemusic. Dorothea Weise (2019) notes that hearing and moving as a kinaesthetic experienceor as something akin to a plastique melody1 should combine the identification of the musicalrhythms with the feeling of the arranged passage of time (p. 115). A sound, a rhythm, a
melody can drive psychological and physical agitation and it can become a perception (Weise,
2019, p. 76). This idea soon developed into an understanding of the intrinsic connections
between movement and music and the origins of music in the body itself. In this case, thebody in eurhythmics operates as an ontological factor that transforms music and translates
sound into movement (and vice versa), thus taming the parameters of space and time.

1

Jaques-Dalcroze 1907, quoted in Zwiener 2008, p. 237, in: Steffen-Wittek, Weise & Zaiser, 2019, p. 115

53© Pavlos Iliopoulos

As a point of departure for this research performance - posing the questions on ‘who’ isthe body in a music and movement composition – an exploration was started around thephysical and the psychological existence of the performer in such composition. An importantsource of inspiration for the performance “Pnoe” was the dance theatre piece “Primal Matter”(2012) by Dimitris Papaioannou. Papaioannou has been described as a visual artist, dancer,
performer, choreographer and director. The body in Papaioannou’s works is subject matter
and, in his own words, “I conceive of the human body as a battlefield: I am trying to shatterand then reassemble it”.2 For his work “Primal Matter”, Dimitris Papaioannou embarks on
his own creation process without backdrops, without special lighting, without music, taking
along only the absolutely necessary materials. The work “Primal Matter’’ is an optical illusionof two isolated bodies on stage, which initiate a journey of exploration that aims to reconcile
physical existence (body) with second nature (soul). Papaioannou reminds the audience “thatthe human body, operating under a certain spectating condition can and will suffice—to say
the least—as primary material (or primal matter) to perform a single, “naked” idea as the
structural element of a performing art event” (Delikonstantinidou, 2014, p. 227).
The idea of two bodies on stage, the creator and the creature, the duality of physicalexistence (in the form for the body of the performer and that of their musical instrument)
and second nature (soul, sound and kinesis) is also the theme of the performance “Pnoe”: A
creation process for music and movement; two bodies - the performer and the accordion, twobodies that breathe together as one; music and sound that you hear through the movement
and movement that you see through the music. To answer the Who-question, consider the
body in performance “Pnoe” as a present corpus within a creation process. The body refers
to the holistic wholeness of performer and musical instrument as one body, which affects
and leads the sound and the kinesis of the performance.

2qtd. in Guatterini 2015. In: Delikonstantinidou, 2014, p. 227

54© Pavlos Iliopoulos

Having answered the who-question in a theoretical context, there is now an open space
to explore the possibilities of that idea within an empirical estimation. Through somatic
practices, the performer can perceive and discover their new body. Starting from abalanced state, they are encouraged to pay attention to body sensations emerging fromwithin and to move slowly and gently to gain a deeper awareness of “the self that moves”.3
Beaudoin (1999) identifies six elements of somatic learning: doing movement, modifying
posture, coming back to sensation (i.e. away from cognitive reflection), being attentive, letting(themselves) go, developing a quality of presence.4 The next step is to formulate a performing
narrative. At this point, it is fascinating how the methods of Émile Jaques-Dalcroze andKonstantin Stanislavsky connect. Both have created systems of analysis and instructionin physical performance which develop voice and movement patterns that stimulateemotional memory and internal reactions. The elements from Stanislavsky’s ‘System’ could
assist the eurhythmics performer in order to create a unique inner Experiencing (including
truth, action, imagination) and outer Embodiment (including tone of voice, tempo-rhythm,
physical movement (Whitehead, 2019, p. 17).
The outer element that connects the two bodies and represents the link factor in thismusic and movement synthesis is pnoe - the breathing. The accordion is a musical instrumentthat moves, breathes and sounds. The performer identifies him/herself with the accordion,
which reciprocally also assumes the role of creator. This relationship is constantly reversing,and both bodies become ultimately the same person. This image is represented by music andmovement not through imitation, but through production and reproduction of the humanand instrumental kinesis and sound. The performer and the musical instrument can breathe
in and out because they are one within their bodies. The movement or the sounds of theaccordion are adopted by the performer and vice versa. Breathing appears again and again
as the leitmotif during the performance. No single body can exist without breathing - in thiscase this is true also for the body of the accordion. Improvisational elements are distributed
throughout the performance: Inhalation and exhalation, wind, breath and whisper noises,
whistles and vocal sounds. Voice improvisation gives a spontaneous emotional character55

to the movement and the instrumental playing in order to create the freedom of expression(Ring & Steinmann, 1997, p. 124) for this performing body.

© Pavlos Iliopoulos

All these diverse theoretical and practical approaches to the concept of body in performance
art have contributed to an extraordinary, transformative experience of music and movement.
This experience reveals how to step outside of one’s self and hear, feel, see, move, connect
to, and express, the performing body and subsequently, to let oneself be enchanted by thisprimary creator of music and movement.
The performance begins and the performer first prepares space and time.
See outside
Person – Body
How – Where – When – What – WHO
See inside
Sound – Kinesis – Spirit
Feel
Hear
See
Move
Say
Connect
Birth
Me + Accordion
Create a narration / Follow the narration / Create a new one
The body moves frontally or diagonally to the audience and gets its new shape
expand – close
spread out – turnclose – sinkspread out – crawl
close – rise
spread out – fallclose – old up
The sound and movement of the accordion follows the same pattern
pull up – pull downpull up – chain together

56pull up – storm
pull up – holdpull up – climb
open – be silent
close – fold
Follow the breath
Be the breath
BreathThe creation and the exposure of the performing body in a synthesis of music and movement.

References
Delikonstantinidou, K. (2014). Non-Still Life: A Mosaic Portrait of Dimitris Papaioannou.
In Gramma: Journal of Theory and Criticism: The Geographies of Contemporary Greek
Theatre: About Utopias, Dystopias and Heterotopias, 22 (2), (pp. 217-230).
Greenhead, K (2009). Plastique Animée: yesterday, today and tomorrow...?. Le Rythme 19092009, (pp. 37-40).
Greenhead, K. & Habron, J. (2015). The touch of sound: Dalcroze eurhythmics as a somatic
practice. Journal of Dance & Somatic Practices, 7 (1), (pp. 93-112).
Irish Museum of Modern Art Magazine (2015). Retrieved January 29, 2021 from https://imma.ie/wp-content/uploads/2018/10whatisperformanceart.pdf.
Klein, G. & Sting, W. (2005). Performance als soziale und ästhetische Praxis. Zur Einführung. In Klein, G. & Sting, W. (Eds.) Performance. Positionen zur zeitgenössischen szenischen Kunst. (pp. 7-23). Bielefeld: transcript.
Laermans, R. & Meulders, C. (2009). The Body as the Re/De-presentation or, what makes
dance contemporary? In Gareis, S. & Kruschkova, K. (Eds.), Uncalled. Dance and Performance of the future (pp. 282-288). Berlin: Theater der Zeit.
Ring, R. & Steinmann, B. (1997). Lexikon der Rhythmik. Kassel: Gustav Bosse.
O‘Reilly, S. (2009). The Body in contemporary art. London: Thames & Hudson worldart. Retrieved January 29, 2021 from https://www.reserachgate.net/publications/283660838_Researching_the_body_inas_performance.
Schuhmacher-Chilla, D. (2013-2012). Retrieved January 29, 2021 from Kulturelle Bildung
online, https://www.kubi-online.de/artikel/koerper-leiblichkeit.
Schechner, R. (2003). Performance Theory. New York: Routledge.
Stern, N. (n. d.). The Implicit Body as Performance. Retrieved January 29, 2021 from https://nathanielstern.com/blog/implicit-art.pdf.
Weise, D. (2019). Transdisziplinäre und internationale Ausdehnungen. In Steffen-Wittek, M.,
Weise, D. & Zaiser, D. (Eds.). Rhythmik – Musik und Bewegung. Transdisziplinäre Perspektiven (pp. 73-82). Bielefeld: transcript.
Weise, D. (2019). Rhythmus und Gestaltung. In Steffen-Wittek, M., Weise, D. & Zaiser, D.
(Eds.). Rhythmik – Musik und Bewegung. Transdisziplinäre Perspektiven (pp. 113-124).
Bielefeld: transcript.
Whitehead, C. (2019). Creating Musical ‘Truth’: An interdisciplinary application of selected elements from Konstantin Stanislavski’s acting ‘system’ to the classical pianist’s selection, preparation and performance of music for solo recital. Retrieved January 29, 2021
from https://ttu-ir.tdl.org/bitstream/handle/2346/84980/WHITEHEAD-DISSERTATION-2019.pdf.

57

There will Never be
Just One Answer

On diversity of artistry in eurhythmics

Zita Bucher is a eurhythmics practitioner, musician
and performer. She has a degree of Master of Artsin Music Pedagogy – Eurhythmics and Performing
Arts from the Bern University of the Arts. She
teaches eurhythmics at the University of Applied
Sciences and Art Northwestern Switzerland –School of Education, is the managing editor of
the Fachzeitschrift Rhythmik Schweiz and works
in music education and outreach programs. Her
artistic projects are in the fields of improvisation,
music and movement, and music theatre. www.
zitabimmelt.ch© Marlena Faerber© Barbara Keller

Zita Bucher, Barbara Dutkiewicz, Martina Jordan,
Alexander Riedmüller, Verena Zeiner

Barbara Dutkiewicz (PhD hab.) graduatedfrom The Karol Szymanowski Academyof Music in Katowice (Master of Arts inEurhythmics – distinguished diploma).
She also studied new dance, mime andlearned court dance. She wrote her PhD
thesis about the improvisation process
and her postdoctoral study on the subjectof polystylistics choreography of music in
the light of postmodernism. She works as
an Associate Professor in Katowice where
she teaches eurythmics, plastique animée,teaching methodology, piano improvisation.
She conducts artistic, pedagogical andscientific activities. She was awarded
the first prize at the Second European
Eurhythmics Competition in Trossingen(1994) www.barbaradutkiewicz.pl© Annina Lingens

Martina Jordan has a degree of Master of Educationin Eurhythmics from the Royal College of Music in
Stockholm and an Artistic Degree in Dance from theStockholm University of the Arts. As a freelancer,
Martina develops artistic projects and works oncommission from various institutions of music andteacher education. Her main focus is the improvisedinteraction of movement and music and the musicof movement itself. With that as a starting point,
she teaches and performs regularly at international
festivals and conferences of body music, andeurhythmics.

Alexander Riedmüller holds a master’s degree in
Cultural Diversity from the Argentinian UNTREF
in Buenos Aires and a bachelor’s degree in Musicand Movement Education / Eurhythmics from the
MDW in Vienna, Austria. He is especially interested
in the connection of music, movement and scene
in performance as well as in the development ofstructures for improvisational settings in thesefields. Over the last years he was a member ofseveral groups dedicated to improvisation in bodymusic, voice and movement improvisation as
well as in improv theatre in Vienna, Buenos Aires
and Berlin, where he is currently based. www.
rhythmiker.de© Ina Aydogan© privat

58

Verena Zeiner is a pianist, composer,
improviser and pedagogue, based in
Vienna. Her studies in Music and Movement
Education / Eurhythmics, Jazz-Piano andReal Time Composition brought her toVienna, Brussels, New York and Tel Aviv.
She leads her own bands and composes forthem, performs in various ensembles, works
with dancers, is founder of “Fraufeld”,
a platform dedicated to increasing thevisibility of female musicians. She teaches
improvisation at the University of Musicand Performing Arts Vienna and leads
workshops on improvisation and diversemusic and movement related topics. www.
verenazeiner.at

59

In May 2018, eurhythmics practitioners from five European countries, who are working
artistically in this and related fields, gathered for a few days to explore the following questions:
How does eurhythmics influence our artistic work? What is its zeitgeist? What paths are weon? This article will give an insight into the individual approaches to our artistic work andfurther reflect on how eurhythmics is interweaving with it. Participants of the 2018 encounter
were Zita Bucher (CH), Barbara Dutkiewicz (PL), Emilie Groz (A), Martina Jordan (SE),Alexander Riedmüller (D), Linda Schewe (D), Barbara Schultze (D), Verena Zeiner (A).
En mai 2018, des praticiens de Rythmique de cinq pays européens, qui travaillent artistiquement
dans ce domaine et dans des domaines associés, se sont réunis pendant quelques jours pour
explorer les questions suivantes : Comment la Rythmique influence-t-elle notre travail artistique? Quel est l’esprit de son temps « zeitgeist » ? Dans quelles directions allons-nous ? Cet article
dresse un aperçu des approches individuelles de notre travail artistique et réfléchit davantage
à la façon dont la Rythmique s’y imbrique. Les participants de cette rencontre de 2018 sontZita Bucher (Suisse), Barbara Dutkiewicz (Pologne), Emilie Groz (Autriche), Martina Jordan(Suède), Alexander Riedmüller (Allemagne), Linda Schewe (Allemagne), Barbara Schultze(Allemagne), Verena Zeiner (Autriche).

©M. R. Rezzani©M. R. Rezzani

Our gathering at Akademie der Kulturellen Bildung Remscheid1 happened in a gap between
international conferences. The starting point was our need to exchange our experience andthoughts about the artistic side of eurhythmics. Unlike the big gatherings with richly filled
schedules and planned activities, this was an occasion for improvised excursions into theartistic universe of each participant.
We came to Remscheid Academy with neither prepared workshops/performances
nor a final product in sight. In fact, our encounter could be regarded as an improvised
performance in itself: put together eight eurhythmics practitioners, give them five days
and see what happens. We started out giving each other a comprehensive insight into ourartistic practice, through listening, questioning and through practical experience on the
spot. Apart from our presence, this was the capital we had at our disposal – an open amountof time and space.

60

One of us could say “I’m fascinated by slow motion” and that made us go for a really slow
walk through the village. Or rather, to be precise, the 150 metres we accomplished before
the lunch bell rung. The walk then continued another day, as we went to the centre of
Remscheid, where our slow walk cut right through the hectic activities of the Main Square’s
Saturday Market.  
Although we recognised commonality in our approaches to create, we also saw the diversity
in our respective artistry and artistic expression. The following texts offer insight into the artistic
projects and topics that each of us have, and in some cases, are still working on.

Cowbells

Zita Bucher, Switzerland
The sound of the cowbells has kept me busy in my latest artistic projects. That sound reminds
me of my childhood – lying on the ground and smelling the fresh cut grass, closing my eyes
and listening to my surroundings. I experienced a really deep sense of tranquillity and thesound of nature with all the insects, and especially, the cows eating grass accompanied by
the sound of cowbells.
Even today, I am moved when attending the traditional “Alpaufzug”, a procession, where
farmers bring their cattle to higher alpine elevations for the summer. It is customary thatthe cows are crowned with flowers and hung with huge clanging bells for the procession.
During the Alpaufzug you can listen to various cowbells and therefore different keynotes
and overtones. Furthermore, the different walking speeds of the animals and various sizesof the cowbells create a polyrhythm. After a while all the bells begin to melt into one big
sound bubble. To me it sounds like an archaic sound or an archaic harmony.
A few years ago, I was asked to realise a long-term performance in the public sphere atthe performance festival “Orte als Thema” (Places as Themes) in Lucerne (CH). I decided tocontribute a collaborative piece of work with the collective “Instrumots” with whom I wasworking a lot back then. All members of the collective describe themselves as musicians andimprovisers. However, I see myself as a eurhythmics practitioner who is expressing herself
through different artistic channels: my instrument, my body, my voice, and most importantly
through the connection between those channels and always through the interaction withother collaborators and through the immediate vicinity.
The area in which our long-term performance took place is very touristic: hundredsof tourists per day are rushing to the lion monument – enjoying a very short moment of
admiring the procession before they head back to their buses to continue their trip. The
path of the procession is a circle leading around a small block of houses. While observing
the tourists walking, they appear to be a part of an unintended procession which neverseems to stop: round and round and round it goes… People appear and disappear. Due tothe continued stepping in and out of the procession, the sightseers cannot be distinguished
nor be recognised as individuals.
Because of the “never ending stream” of tourists, I decided, that the Alpaufzug had tobe a part of my performance, including the cows. The cows were prepared with beautiful
flower bouquets around their bellies and of course wearing the big bells around their necks.
Together with the farmer’s family we joined the “Touristic procession” for thirty minutes,
just walking in circles as the tourists did, interrupting them in a very gentle way. It wasastonishing how our walk slowed down the tourists. At times it even led the crowds tofocus on a totally different perspective. The (archaic, polyrhythm) sound of the cowbells,
strengthened by its echo from the buildings, even got close to the described sound bubble.
All different concepts we created and performed that day were an attempt to intervenein the never-ending stream of human beings - sometimes in a very gentle and subtle way,sometimes more intensely where the passing crowd was not able to overlook or avoid us.
The concepts we performed depended a lot on everyone’s ability to improvise, to connect and61

to interact within and through the environment, including the architectonical surroundings
and especially the people who unintentionally participated. It is a privilege for me and evenmore essential for my self-perception as an artist, to be part of such interdisciplinary art
projects. It enables me to develop my skills but also to contribute to the projects with myabilities as a eurhythmics practitioner.

Tracking the Differences – Variants of Working on Plastique Animée
Barbara Dutkiewicz, Poland

Not often have I the opportunity to work with music without rush and overloaded withactivities of everyday life. This is what happened here, in the well-designed and equippedlarge studio, where you can see the vastness of greenery and mountains through a glass wall.
Here was a special kind of contemplating of music through the movement of yourbody in complete peace of mind and emotions, undisturbed positive energy, silence, andinfiniteness of time and space – wherein participants freely shared their thoughts and so
inspired the course of the joint experience. The mutual exchange was all the more interesting
as it took place among people who work with the same method, with common roots butwith different ways of working developed by generations of educators working in different
countries, and with different personal experiences in practicing this method.
In this extraordinary atmosphere, I focused on one chosen range… I think as eurhythmics
practitioners we notice obvious differences between plastique animée works made in Poland
and those made in other European countries. I have always wanted to understand wherethese differences come from. (I know where they come from in the personal style or historicalsense, but I wonder about a practical level – e.g., in the way of conducting a creative process).
So, together we experienced working on plastique animée as a process, in the formof a workshop, begun in a very traditional way by improvising to an exemplary piece ofmusic by B. Britten – Variations on a Theme of Frank Bridge for String Orchestra op. 10. All
participants entered into the movement improvisation with readiness and great openness,moving very musically to the music. As we listened to music with simultaneous movement
improvisation – the so-called active listening combined with the analysis of a piece of music– I had the impression that such activities are everyday life for the participants.
During the exchange of comments, it turned out that, de facto, all participants worked
in the same way during their studies. But when I wanted to repeat the improvisation manytimes, focusing the physical activity each time on different musical levels and elements ofthe musical work – it turned out that they usually do not look with such detail every time
while working on a piece of music.
A first question can be asked: what do the students of eurhythmics (in different
countries) do on the next stage of work with the piece? Do they work with sensing space,body and music during movement improvisation to music? Additional questions regard
how they improvise in the plastique animée process. Is it improvisation to music throughthe perception of music? Do they always start from their personal interior? Is it always as
inner dialogue with music? Or maybe it is improvisation through delving into the music –forgetting about yourself – following only the elements of a musical work? By catching theshape of music and just music, without thinking about yourself? Or is it improvisation witha simultaneous perception through a body which senses space? Or an improvisation while
imagining an image in your head and designing it during the process of that improvisation?
Why do some choreographies of music relate closely to their music, but sometimes lack an
original idea for individual interpretation, while others are very interesting and creative,
but often do not show a relation to music?
These questions relate indirectly to various techniques of working with the body andspace as well as to the ways of improvisation (like Body-Mind Centering or ways of working
derived from Actors Studio etc.) – practiced in contemporary dance or theatre. As it is,62

we can be inspired by them (and many more ways of improvisation) while creating acontemporary performance. But what is precious in plastique animée is the relationshipbetween the individual (his/her body, space, feelings, imagination) and the music. And
also, whether it’s you as an individual expressing something through the music and if
so, by what means? All these questions above are just a starting point for further workon understanding the role and place of plastique animée in the contemporary world andcontemporary art.

What does the space hold?
Martina Jordan, Sweden

The soft and ergonomic, yet energetic playing of the body
The music, the voice and the movement coming together as a whole
The huge amount of space and time
The power of repetition
The possibility of meditation in motion(notes from my first meeting with the Usul)

The body music festival was vibrating of fast, dense rhythms and advanced movement
vocabulary; but what left an indelible impression was my meeting with the Usul.2 Therewas something about these slow, yet complex rhythmic patterns, so sparse that they mainly
consist of space. I was immediately captured.
I returned home where my walks turned into Usul. I stopped at spring streams to record
the movements of the water with the ones of Usul, reading the rhythms aloud. I performed
the Usul when muffled by wool gloves and snow. I repeated it for hours on the bridge by theriver, as a meditation in motion. Eventually, I took on the experiment of adding an equally
old Swedish choral to the Usul of 60 that was occupying me, seeking an interaction where
the two voices might enrich each other and create a whole, bigger than its parts.
The basic Usul is a cycle measuring from 2 up to 128, of something similar to time
signature. To this rhythmic skeleton, musicians add rhythmic and melodic layers, filling
the pauses up.3 When using my body, the sounds of the basic rhythm are taken care of by alimited movement vocabulary and then there is – space.
Dealing with space
I experience something like time slowing down
or enlarging
into a state where I am given a possibility to master every moment
A strong feeling of presence
An in between space and state where I am connected to myself andothers at the same time(notes from the Usul work process)Since the in between space doesn’t contain that much movements or sounds in the ordinary
sense, little or nothing happens, but to say there is no action would be wrong. Performing
the Usul in movement gives a physical way of connecting the sounding beats with eachother, as if the body literally carries or holds the music through the silence of each space.
This way, embodied and set in motion, the space in between beats produce moving or still
images of time passing. So, what does the space hold?
2
3

Usuls are the rhythmic patterns Turkish music is built on, performed by bass and treble drum and with roots far back in the
Ottoman Empire. I met it at the international Body Rhythm Festival in Hamburg, Germany, 2016. The workshop was given
by Gokce Gurcay, Turkey.
It must be said that this is my limited understanding of the Usul and of Turkish music, as I have not had the opportunity to
study them in Turkey.

63

I believe it holds an act of listening. A listening extended to the whole body, perceiving
not only sounding music but the room, other bodies and voices in the room and the shifting
space between them. For me, this in-depth ability to listen lies at the heart of eurhythmics.
It follows me whether I perform or teach, improvise or compose, no matter what disciplineor context I find myself in. The act of listening is what activates my body and my mind,
and what creates a state of full presence, where I not only can perform something, but also
convey it to an audience.
On a metaphorical level, the space in Usul resonates with the space where I, as aeurhythmics practitioner, have developed my artistic practice – ie. the space between
music and movement, whose multifaceted interactions I constantly explore. This work
develops skills to connect different artistic expressions and disciplines, as well as a diversityof pedagogical tasks, up to the point where the very body and mind of a eurhythmics
practitioner can be considered a space for diversity to flourish.
On a practical level, my work process with the Usul so far includes movement visualisingmusic and time, as well as movement in silence and the music of movement itself. Whensinging was brought to the process, I regarded music and movement as two independent
voices interacting. Voices that, whether they move together or apart, stay connected throughan act of listening.
For me, every action has its base in listening. In the end, it is the listening that carries themusic through the silence and stillness of the Usul.
– In this space, what is there to do but to listen –Words Have Power

Alexander Riedmüller, Germany
In the following paragraphs, I will describe the course of a guided and prepared improvisation
for six performers that lasted approximately one hour. The woven-in statements in thefollowing text are an attempt to capture the atmosphere of the moments described. Somewere collected on a flipchart by the performers right after the improvisation.4 Others were
rescued from notes which were taken during a feedback session with all performers after
the event. I reconstructed the first scene from the notes, the second one was recorded as avideo.
…

The improvisation takes place in a big octagonal room, which is completely covered with awooden sprung floor and has large window fronts on three of its sides with views into thehilly landscape. At one spot in the room there is a TV with moving images of a long camera
ride through a mountain landscape that goes on and on.
I didn’t use the TV.

Next to it there is a sofa and a side desk, generating sort of a living room atmosphere as if
on a stage.
Freedom, don’t follow instructions.

There is also Coptic liturgic singing coming out of the loudspeakers in the room, turned on
at a moderate volume.
I’ve never heard something in English sung like an Imam sings.
4

Notes written in English have been left as they were. The ones in German were translated by the author.

64

On one side of the room with its tall ceiling there is a big curtain that acts as an entrance tothe performing space. Behind the curtain there is a door that leads into the hallway.
The horizon was very small.

On the opposite side of the curtain with the door behind it, just in front of the large windows,
there is a grand piano.
Freedom thoughts: 1. Get undressed, 2. Take my time, 3. Lie down on the street embrace the floor.

We start the improvisation, getting to know the space and its sound environment, activating
the muscles in our bodies, making physical, visual, and other connections based on otherperceptions of the others in the room.
I can give you orders because you all agreed to me giving you orders.

After that, the improvisation enfolds and takes different directions.
…

Scene 1
While everyone is in movement, the performers are encouraged to say out loud theirprejudices about eurhythmics teachers. Some of them display several stereotypicalmovements, known from older movies or photographs.
It was fun when we started to make fun of ourselves as eurhythmics teachers.

One person starts to hum a vocalising exercise.
Name prejudices against women!

Then other target groups of prejudices are named, and the group is asked to respond tothem.
Do I want to create negative spaces or atmospheres?

Women, foreigners, homosexuals, Muslims.
Lazy. – Sick. – Weak. – Dumb.

The movement of the group gets faster, some people seem to try to escape by running incircles through the room.
I played to make the words stop.

One performer takes a seat on the piano and starts to improvise a pop song-like tune.
Having the piano made it a stereotype song.

In parallel some others start to improvise vocally.
I am afraid to speak out loud those stereotypes before myself. Me too!

As others keep on shouting out words of prejudice, some start to clap their hands loudly
trying to drown them.
Clapping hands is normally for something you like.

65

The improvisation goes on.
…

Scene 2
Two people are lying on the floor close to a wall.
I felt sick.

On the wall on the right above them, there is a clock.
Black words are everywhere.

Between them there is another person standing with her arms up high, letting them sinkvery slowly to the sides.
Words did something to me.

Two others improvise movements at the centre of the room, holding their arms in a circle
and hooking them in like the links of a chain.
Words have power.

They are spinning slowly around themselves.
Be careful with words.

When a person kneels on the floor close to them, they split the chain.
What happened?

One of them leaves the centre slowly, while the other one starts to move her arms like thesecond hand of a clock.
The atmosphere in the room was very unique.

Everything is quiet.
Be extremely inside or extremely outside.

One performer walks straight towards the door and out of the room.
Can you please repeat?

Another one moves the sofa, so it is facing the TV. She sits down staring into the TV withher back turned to the rest of the group.
…

Over the last years I have grown more and more curious to discover which ways of doing
research are possible by linking movement, music, speech, and scenic performance.
Creating a laboratory space with other artists, all trained in eurhythmics, that allowed anexperiment like the one described here, was one personal goal for me during the encounter
in Remscheid. How would they react to my proposals? How could a theme like stereotypes/
prejudices be introduced in an environment like this? Of what use would this research beafterwards? How to capture it to be able to get back to it?
This work was only possible because of mutual trust in the group, because of the opennessof the performers and their will to share first their bodies and professional experience as66

eurhythmics practitioners, but also because of their will to share their feelings and ideas
afterwards with the whole group. Spoken for myself, this experiment was the starting point
for a more profound and longer lasting exploration of the grey areas that lay between thepoles of art and research.

Interconnecting

Verena Zeiner, Austria
I am a pianist, composer and pedagogue.
Stylistically I am strongly influenced by Jazz and the approach to music which this diverse
field implies. Improvisation or, more precisely, real-time-composition plays a main role in mymusic and in my teachings. As content as well as in my way to creating and teaching music.
When performing I either play totally improvised concerts or have a composed framethat I complete in real time, on the spot – connected to the moment, the setting, my fellow
performers, the audience.
When teaching I pass on the skills and knowledge someone needs to be able to improvise.
My lessons and workshops are either totally improvised or have a prepared frame that I
complete in real time, on the spot – connected to the moment, the setting, the requirements,
the participants and their needs.
Maybe that is how someone would describe the appearance of the things I do. So far sogood. But there is more.
My background in eurhythmics makes me an expert on interconnection. Interconnecting
starts within myself: knowing my anatomy, physiology, neurology and how my physical,
mental and emotional abilities are related. Bodywork and movement as essential parts of
my daily practice, enable me to quickly grasp the condition and requirements of a here andnow, to see how layers are related and make their connections visible, to create and shapespontaneously – in real time, on the spot, connected to the moment, the space, the setting.
All of these are skills that I have been training for a long time, as consistently as I train
my skills as a pianist.
I use the principles of eurhythmics as an approach to my artistic work. It is atransdisciplinary approach. The transdisciplinary dialogue starts within myself. It is how I
compose music, how I play piano, how I work with fellow artists.
After years of practicing, I experience my multidimensional approach to making musicas highly valuable and influential. It shaped my music strongly. Noticing how critics review
my music, being contacted by fellow pianists who search my advice on creating their own
music as well as receiving awards for my artistic work, all lead me to believe that this is not
only a subjective perspective.
I don’t think that there is a typical look that identifies a piece of art created by eurhythmics
practitioners. Neither do I think that this is the important question. What I consider moreinteresting is how a piece was created. My experience as an artist and as a recipient of art isthat works born out of a transdisciplinary process can rely on an integrated substance that
results in a strong external impact. Usually, it means that the artists were involved in thecreative process with their whole personality, having and using skills on a motoric, sensory,
affective, social and cognitive level. This makes a difference, for the performing artists andsubsequently for the listening spectators.
I strongly advocate diversity and variety in the appearance of works created byeurhythmics practitioners, although I’m aware that it makes things more complex from amarketing standpoint where there’s a strong desire for formatted and categorisable content
in order to attract an audience.
Let’s serenely embrace complexity and diversity in artistry and rather create accessible
interconnections within multi-layered systems than to simplify those systems.

67

Rhythm and Artistic
Production© privat

Dorothea Weise

Dorothea Weise is eurhythmics practitioner and since2009 based in Berlin, where she works as professor at
the department Music and Movement / Eurhythmics at
the University of the Arts Berlin. She holds workshops,
training activities, masterclasses and lectures in Germany
and abroad. She has authored numerous specialist
articles in fields related to the interplay between music
and movement, sensing and acting, improvisation andcomposition. In 2019 she was co-publisher of the book
Rhythmik – Musik und Bewegung. Transdisziplinäre
Perspektiven. Since 2008 she is board member of theGerman association Music and Movement / Eurhythmics
at Universities and since 2016 member of the board of
FIER, thereat vice-president since 2019. www.udk-berlin.
de/rhythmik

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The transmission of musical processes via corresponding movement sequences can be seenas the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its
inherent interplay of tension and relaxation in space and time is significant for the embodied
visualisation of music. For creating wider aesthetic experiences and confrontation withthe rhythmical structures of music and other artistic expressions—such as visual arts andliterature—it can be helpful to take a look at other concepts of rhythm. Recent theories about
rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as thephilosophical thoughts about speech from Ludwig Wittgenstein, described as « Saying andShowing », open up additional structures that may enrich the process of artistic creation andperformance in eurhythmics.
La transmission de processus musicaux via des séquences de mouvement correspondantes peutêtre considérée comme le fondement de la Rythmique Jaques-Dalcroze. En conséquence, lasensibilité au rythme et son interaction inhérente de tension et de relaxation dans l’espaceet dans le temps sont significatives pour la visualisation incarnée de la musique. Pour créer
des expériences esthétiques plus larges et une confrontation avec les structures rythmiquesde la musique et d’autres expressions artistiques - telles que les arts visuels et la littérature-, il peut être utile de se pencher sur d’autres concepts de rythme. Les théories récentes sur lerythme par les théoriciens de la musique Steffen A. Schmidt et Christopher Hasty, ainsi que
les réflexions philosophiques sur le discours de Ludwig Wittgenstein, décrites comme «Dire etmontrer», ouvrent des structures supplémentaires qui peuvent enrichir le processus de création
et de performance artistiques dans la Rythmique.
A piece of film tape coils down from a spool on a parapet and forms shiny loops on the
ground. Its gyrating motion corresponds with the opening bars of the orchestral piece ‘Stilleund Umkehr’ from 1970, one of the last compositions of Bernd Alois Zimmermann who
died the same year. A young woman enters the stage from the right. Her steps will createa spacious spiral to the centre of the room and back, following the continuously sounding
central note ‘d’. Using a backward step pattern, she marks the also constantly occurringsounds of what Zimmermann called a blues-rhythm drum ostinato. Her arms carry out avarying and at times expressively increasing series of gestures, corresponding with soloistic
interjections and ornaments of different instrument groups. Despite isolating her limbs
whilst fashioning her movement through the room, all the while corresponding to thethree layers of the musical work, her body moves fluidly through the almost ten minutes
performance. The interaction and synergy of different rhythms, tempi and soundscapes
stretches the present in a peculiar way and makes the ‘presence of time’ (as Zimmermannhimself said to another piece from himself) tangible. The choreography follows theperpetuating sound structure strictly. It connects listening and seeing through sparingly
used gestures into an oscillating experience in which the complex structure of the musicalwork seems to becomes simple and clear. The protagonist on stage is a eurhythmics student
and presents her solo movement performance as part of her final examination.
The relationship between music and movement is at the core of artistic eurhythmic
compositions1 The phenomenon rhythm is explored in different categories and becomes
effective in preliminary studies and during the performance. If, like in the performance
I just outlined, an already existing piece of music is the starting point for a movement
composition, there are different levels of congruence to differentiate with respect to themusical parameters and the message, the context and the intended mood of the piece:
synchronous, contrapuntal and even aleatoric connections can be created. Consequently, acomposition can be made rhythmic on different levels and different layers.

69

Flowing and Cutting
Translating musical voices into corresponding spatiotemporal body movements can becalled the essence of what Émile Jaques-Dalcroze developed as eurhythmics at the beginningof the 20th century. Over decades, he refined exercises from music education in order to“perfect the strength and the suppleness of muscles in proportion to time and space […]”
as described in the exercise book “Rhythmic Gymnastics” in 1906 (Jaques-Dalcroze 1906,
p. 8). To Jaques-Dalcroze, training the sentience for musical rhythm meant putting the
body at the service of the music. Specific exercises for the movement of arms and legs, thebreathing, listening and reacting were carried out isolated from one another at first andlater connected to a more complex, often spontaneously changing coordination sequence
accompanied or initiated by piano playing (Gobbert, 1998, pp. 71). In his brilliant years
in Hellerau from 1911 to 1914, Jaques-Dalcroze used this method to develop the Plastique
Animée as a means for artistic expression, which is today known as eurhythmics (Zwiener,2008). He arranged large-scale choral movement compositions to music from the common
practice period (Baroque, Classical and Romantic), which were performed during school
festivals. Adolphe Appia designed the stage. He created so called rhythmic spaces, whichenabled the three-dimensional arrangement of the group choreographies.
What Jaques-Dalcroze criticised about classical ballet was the artificial manner in which
the dancer moved from pose to pose, whereby emphasising the static elements rather than
the flow of the music. Contrary to this, he wanted to break up the flow of movement onlywith a holding posture in which either the preceding move is still noticeable or the following
move is prepared. Listening and moving as a kinaesthetic experience or “as something
like a three-dimensional melody” (Jaques-Dalcroze, 1907 in Zwiener, 2008, p. 237) weremeant to unite the musical rhythms with the sensation of the passage of time. Thereby apause is “nothing more but a mere interruption of the tonal life or to put it differently, atransmission of feelings from the outer to the inner ear.” (ibid., 241)
The synchronicity of flowing as a variable stream of musical events within different
intensities of suspense and marking of rhythmic shapes or elements is like looking at
something from two different perspectives at the same time. Musicologist Steffen A.
Schmidt differentiates between vertical and horizontal cuts in rhythm composition. Verticalcuts are usually connected with the metre of the pace-setting structure. They can often
be identified by the bar line. Schmidt calls them “vertical-metric cuts” (Schmidt, 1999, p.
70). The emphasis is usually easily detected in metric music but in odd metres of higher
orders, after a change of metre or in metric-free music determining the vertical cuts
becomes a challenge. Horizontal cuts result from the tonal, dynamic or rhythmic phrasing
which does not necessarily match the metric emphasis structure. In polyphonic music one
has to consider that the different parts can swap, overlay or shift their identities, thus
creating an interaction between different time structures. This concept, which Schmidt
calls “approaches to an integral functional theory of musical rhythm” (ibid.), comes close
to Jaques-Dalcroze’ understanding of rhythm: “Continuity and temporal nuancing are two
key elements of rhythm […]. Their measured forms develop a sense for metrics; theiraccents, ”crescendi” and ”diminuendi” train the feeling for ”dynamics”“ (Jaques-Dalcroze
in: Gobbert, 1998, p. 45). These words highlight the interplay between dividing (cutting)elements and those that horizontally shape the passage of time (flowing).
In processes of creating a choreography, often improvisational approaches that can be
described as kinaesthetic listening, are the beginning of an intense examination of a pieceof music. Categories like flowing and cutting can steer the perceptual process into different
directions, reveal individual listening habits and differentiate them.

70“Saying and Showing”
If you consider an artistic creation the result of individual realities and fantasy, questions
arise considering the choice of means and their arrangement, as well as the transmissionof the product through execution and interpretation. In the case of the performance I
mentioned at the beginning, the decision to have a high degree of congruence between themusic and the movement was made early in the process. I perceived the student as being
almost apologetic about using such a as she put it “traditional approach”.
An obvious interpretation of this would be to say that her form of transmission is moreof a technical work rather than an individual artistic piece. Whether this is true or not,eurhythmic students often discuss the significance of a choreography along this separation:
the display of technical skill (such as in a réalisation) on one hand and the originality ofan artistic statement on the other. As if a decision between the two had to be made. In
fact, both aspects should be seen as poles of a tension structure that diversifies through a“sensibility for surprises and new discoveries, resistance and confrontation” (Schroedter,
2012, p. 48) and thus broadens the “horizon of expectations and aesthetics” (ibid.).
Embodying a piece of music always includes the process of transforming it into anothermedium of expression where space, energy and form have different effects. Inevitable thismeans making decisions about the style of movement, the arrangement of musical phrases
within the space, whether to embody characters or work abstract, to have a plot or use aconceptual form play. Most of these choices occur intuitively during a phase of improvisation
at the beginning of rehearsals and have to be critically re-evaluated as the performance
matures. In eurhythmics, working in groups is very common and every group member’s
individual listening habit and movement repertoire together with their associations and waysof contextualising brings many intuitions productively together. The most elaborate ideas tocreate the choreography have to be filtered out from this diverse pool of thought. Since thestudents work independently and democratically and all of them have different aesthetic
ideas, this usually takes some time. Once a start has been made, the process becomes smoother.
Questions arise about the need to differentiate certain movements related to the flow of themusic and the intended message either from group members or from rehearsal supervisors.
Depending on whether the music was chosen first, picked to match a given subject or added
later to fit an already existing part of the choreography, the level of creative scope varies
between music, message and movement. Overstating the case and without neglecting the
manifold nuances of the creative leeway, the discussion boils down to the question if the
movement should be conductive to the message or to the music.
Based loosely on Ludwig Wittgenstein thoughts, those two aspects can be described as“saying and showing” (Sagen und Zeigen). In simplified terms, showing is understood toexpress something that is identical in enunciation and structure to what is being shown, tomake what is shown visible or audible. Saying is understood to signify an assumption about
or an interpretation of something. Translated to embodying music, it can mean the changeof the music structure through the already mentioned means of composition of movement.
If showing is the main objective, movement compositions have a high degree ofsynchronicity with the music. If saying has priority, manifold variations in the relationshipbetween the music and the body develop and new interpretive approaches bring about newimages and narratives. Staying with Wittgenstein, saying and showing are the two elementsof every meaningful sentence: “…no saying can replace the showing” (Kienzler, 2015). But
in the case of the interplay between music, body and message, the emphasis and the degreeof reciprocity between those elements can vary greatly.
“Choreographies that primarily try to visualise or illustrate musical structures differ fundamentallyfrom those that attempt to venture into the inner, hidden kinetics of the music and engage in a
dialogue with it (albeit using visual ideas as an aid)” (Schroedter, 2012, p. 95).

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Showing as a “direct correspondence” (ibid., p. 84) between movement and music can havevery different results especially with regards to the kinaesthetic penetration of the soundcharacteristics and the structural elements of the piece of music. The level of differentiationof the showing has a direct effect on how these physical energies are transformed, how theyinteract with the music and how they can be physically and emotionally experienced by theviewer and listener. This can also be conceived as a form of saying from an outsider’s perspective.
Saying can also be given priority but it always needs showing as its counterpart. One
eurhythmics student’s solo movement composition staged for an interim examination had
the Latin-looking filler text “Lorem ipsum” as its subject. This dummy text has no meaning
and is widely used to layout texts. The music for the choreography was self-composed andconsisted of a collage of overlaying electronic sounds and repetitive language sequences.
The stage was designed to look like an austere writing room with a chaise longue, a mirror
and a wooden desk occupying the centre front. In it, a determined writer, condemned by his
own dourness, was trying to write but couldn’t produce anything but empty phrases. Rollingover the desk, repeating meaningless dance moves, swaying his pigtail from left to rightover the writing surface which culminated in wild swings with his upper body held upside
down, he showed his stoicism and despair in both a painful and funny way. Occasionally,
the performance would correspond with the rhythm or the meaning of the scraps of words,
oscillating between the physical delight of the energy of the pointless movements, theexhaustion and the will to pull oneself up again. The structured changes from one elementof the composition to the next, carefully balancing predictable and surprising articulations
and phrasings, can be labelled as meaningful saying.

Excursion
A complete decoupling of music and movement is almost unthinkable and could at mostbe done as an experiment to prove the opposite. Merce Cunningham and John Cage’s
collaborations dealing with the autonomy of dance and music is an example of the least
possible congruence. The coexistence of both means of expression was held together
only through minimal scheduling of isolated encounters of rhythmic events. In their joint
productions from the 1940s to the 1960s, Cage and Cunningham often only determined theoverall length and division of time within a work.2 Since the music and the movement did
not coincide anymore, they took away the possibility for the viewers to orientate themselves
and thereby gave priority to the “coexistence of difference” (Naumann, 2005, p. 137).
“Staging a subjective penetration of the artistic material is not the main focus but letting go
the subject-oriented art of dance and music that understood itself as a representation andinterpretation of displayed subjectivity” (ibid., p. 131). Could pointing out the independenceof music-time and dance-time in their brief encounters of endings and beginnings be adouble showing? Naumann seems to agree and disagree at the same time.
“If this dance form develops an evident rhythmic reference pattern and this reference patternreveals itself to the viewer, wonderfully revealing itself, as I’m inclined to saying, it is becauseof the dynamic potential of the body that expresses itself in these figures” (ibid., p. 130).

Whatever attributions are given or seem meaningful, creating or referring back to alreadyexisting categories of thought helps to analyse compositions and to reflect during theirprocess of formation. One might ask why go through the trouble of applying a philosophicalconcept to the idea of rhythmic structure? With regards to the theory of mutually dependent
polarities, saying and showing can be applied as poles in this concept of rhythmisation.
2

Merce Cunningham describes their method like this: “What was involved was a macro-microcosmic rhythmic structure inwhich the large parts were related to the small parts in divisions of time. [...] This use of a time structure allowed us towork separately, Cage not having to be with the dance except at structural points, and I was free to make the phrases andmovements within the phrases vary their speeds and accents without reference to a musical beat, [...]” (Gena, P., Brent, J.
(1982). A John Cage Reader, p. 107)

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Gestalt and Creation
American music theorist and composer Christopher Hasty describes rhythm “…as a formof constant attention…” in his thought collection Rhythm Experiments “in which holding
on and moving come together – holding on of present and happening events and the
movement between them” (Hasty in Grüny/Nanni, 2014, p. 155). Hasty understands
rhythm as a continuous form of attentiveness, as a, like he calls it, sensed act of feelingchange. For Hasty, sensing is not passive. Rhythm is considered “a continuous creation of
newly sensed events” (ibid., p. 158). These experience-events, one could also call themexperience-Gestalten, occur through repetition and comparison.
An example: Whilst seeing a dance composition and listening to the accompanying music,
a certain movement motif becomes distinct and connected with the corresponding gesturein the music. Next time the musical gesture occurs, one expects the same movement motif
but it is conducted by another body part, thus only fulfilling the expectation partly. Seeing
the movement might trigger an association that leads the thoughts away from the current
happenings. The awareness reconnects at a later point with the original performance,
maybe with a changed perception due to the mental wandering in between.
These shifts in the focus of the attention are all part of the rhythmic process. Hasty
considers the constant creation of references on different levels as a characteristic of continuity
in making connections between multiple experiences. Hence, articulation and flow are notopposites but reinforce each other to create a complex and subtle mix of different qualities
of connectedness. In Hasty’s opinion “complex experiences have to have a mix of being
connected and being unconnected and this mix is fluid, especially in those experiences wecall “rhythmic”“ (ibid., p. 167).
In eurhythmics, getting physically and sensually connected with materials andmovements, whether they are one’s own or another’s, as well as with works of music,
fine art and literature, are key components to developing aesthetic experiences. Actively
examining and reflecting these connections leads to a “search motion” (Rittelmeyer, 2014,
p. 160) in the interplay of receptivity, spontaneity and cognitive understanding. Cultivating
the perceptivity as a matter of coming into connection and into exchange with the materialsof perception needs sensitivity and openness. Furthermore, developing movement
compositions requires giving form to the various experiences made.
How these choreographies are perceived when performed in a public setting does not
solely depend on the openness of the viewer. A eurhythmic movement composition can
invite responses in various ways:– by visualising music precisely, the audience can be let into a spontaneous process of
empathy originally intended by Jaques-Dalcroze in which one can “enjoy the musicand enjoy oneself in the music” (Zwiener, 2008, p. 244);– as a structured event that presents itself as multi-layered in its articulation andphrasing as well as in its differentiation between cutting and flowing;– by bringing out the rich variety of meaning through saying and showing, which in turnopens up imaginative spaces, the perception of the viewer can oscillate between what
is happening on stage and the creation of individual experiences.
All these reflections refer to the ‘classic’ realm of eurhythmics - music and movement. Whentaking into account digital media, new fields of temporal and rhythmic composition open
up that enable multiple variations of interactions. The fleetingness of movement and musicis translated through auditory and visual traces, fragmented and spatiotemporally shifted.
Rhythms of perception of memorising, erasing, forgetting and anticipating interlock throughall senses. Developing new hybrid performative forms and formats based on the mentioned
rhythmic constellations needs to be a part of contemporary eurhythmics artwork.
Translation: Josefine Bingemer

73

From: Weise, D. (2019): Rhythmus und Gestaltung. In: Steffen-Wittek, Weise, Zaiser (Eds.):
Musik und Bewegung. Transdisziplinäre Perspektiven. Bielefeld: transcript, 113-124.

References
Gobbert, J. (1998): Zur Methode Jaques-Dalcroze. Frankfurt: Peter Lang GmbH
Jaques-Dalcroze, É. (1906): Methode Jaques Dalcroze. Rhythmische Gymnastik. Neuchatel:
Sandoz, Jobin & Cie.
Hasty, C. (2014): Rhythmusexperimente – Halt und Bewegung. In: C. Grüny, M. Nanni,(Eds.): Rhythmus – Balance – Metrum. Formen raumzeitlicher Organisation in den Künsten. Bielefeld: Transcript.
Kienzler, W. (2015): Wittgenstein über Sätze und Bilder: Sagen und Zeigen. In: Vereinigung
der Schweizerischen Hochschuldozierenden (Ed.): Bilder in der Wissenschaft. Bulletin
41, Jahrgang, Nr. 3.
Schmidt, St. (1999): Schnitt und Strom. Ansätze zu einer integralen Funktionstheorie desmusikalischen Rhythmus In: Musik & Ästhetik. Stuttgart: Klett Cotta.
Naumann, B. (2005): Kopflastige Rhythmen. Tanz ums Subjekt bei Schelling und Cunningham. In: Naumann, B. (Ed.): Rhythmus. Spuren eines Wechselspiels in Künsten und
Wissenschaften. Würzburg: Königshausen & Neumann, 123-139.
Rittelmeyer, C. (2014): Aisthesis. Zur Bedeutung von Körper-Resonanzen für die ästhetische
Bildung. München: kopaed.
Schroedter, St. (2012): Neues Hören für ein neues Sehen von Bewegungen: Von der Geburt
eines zeitgenössischen Balletts aus dem Körper der Musik – Annäherungen an Martin
Schläpfers musikchoreographische Arbeit. In Schroedter, St. (Ed.): Bewegungen zwischen Hören und Sehen. Würzburg: Verlag Königshausen & Neumann, 43-110.
Zimmermann, B.A. (1974): Intervall und Zeit. Mainz: Schott.
Zwiener, Daniel (2008): Als Bewegung sichtbare Musik. Essen: Die blaue Eule.

Eurhythmics as
Artistic Pedagogy

77

In Eurythmics, Art andPedagogy Merge© C. C. Elian

C. Fabian Bautz

Fabian Bautz holds Diplomas in eurythmics and musicaleducation from the Conservatory in Munich, and one in
TaKeTiNa Rhythm pedagogy. Since 1989, he is a guest
teacher and lecturer at various Universities, congresses,
and institutions in Europe and the United States, including
the International Workshop Festival in London, and theOrchestra Academy of the Bavarian Philharmonic. - Basedin Switzerland, until 2019 Fabian taught graduate level
eurhythmics at the Lucerne University of Music, mentored
teachers in eurythmics for the Zurich Conservatory ofMusic, as well as teaching eurhythmics for young children.
Currently he is a lecturer for eurythmics in various
continuing education courses at the University of Lucerne.
- Since 2007, Fabian is a member of the board of FIER, theInternational Federation of Eurhythmics Teachers, and its
current president since 2019.

78

This article describes how the pedagogical practice of eurythmics merges with the aesthetic
attributes of the arts. Given that the teaching of eurythmics is based on many elements of visual
arts, participants in these classes will find themselves exposed to art´s same processes frommany different perspectives. Whether undertaken by children, students or adults, the objectives
and demands of eurhythmics’ tasks are to listen carefully, to look closely, to sense, to feel, andthus to be involved with the whole body as an alert instrument. These forms of engagement are
essential conditions for immersing ourselves in a creative process with other people in which
originality and artistic form are central to our goal, as these eventually come to fruition as if
by themselves. When this state of full immersion occurs, we hear ‘unheard things’, we glimpse
new aspects, we discover new potential, new proficiencies in our movement, in our reactions, inour contacts with others, and also with ourselves.
Cet article décrit comment la pratique pédagogique de la Rythmique se fusionne avec leséléments esthétiques des arts. Étant donné que l’enseignement de la Rythmique se fait selon denombreux éléments des arts visuels, les participants à ces cours se trouveront en face du mêmeprocédé que celui de l’art, mais sous des angles différents. Qu’il s’agisse d’enfants, d’étudiants, ou
d’adultes, les objectifs et les exigences des tâches de la Rythmique sont d’écouter consciemment,de regarder attentivement, de sentir, de ressentir, et donc d’être impliqué avec la totalité ducorps comme instrument en alerte. Ces formes d’engagement sont des conditions essentielles
pour s’immerger dans un processus créatif avec d’autres personnes, dans lequel l’originalité
et la forme artistique sont au centre de notre objectif, ces derniers finissant par se manifester
comme par eux-mêmes. Lorsque cet état d’immersion se produit, nous entendons des «choses
inédites», nous entrevoyons de nouveaux aspects, nous découvrons de nouveaux potentiels, denouvelles compétences dans notre mouvement, dans nos réactions, dans nos contacts avec lesautres, mais aussi avec nous-mêmes.
In this article I especially wish to address artistic aspects in the teaching of eurhythmics, andhow the teachers´ own creative processes merge with those of the students. Eurhythmic
performances, Plastique Animée, and diploma graduation projects are overt reflections
and products of this fusion; they can already be described as kinds of performance, or
movement art forms. In writing this essay I hope that my remarks will provide food forthought on the subject, and stimulate questioning one’s own identity in the professional
field of eurhythmics.

Pedagogy or Art?
When studies have been completed at a music conservatory, a student´s identification withthe ‘fine arts’ becomes obvious. Whereas the nature of eurhythmics and its goal of a creative
musical education, one that includes the whole being, still receives too little recognition at
many universities as also an art form. Instead, a hierarchical self-image within the exclusive
temple of the arts prevails, and eurhythmics’ artistic claim is not really understood, or
else is met with skepticism because it does not resemble traditional forms of performing
art. In parallel, those who have completed a master’s degree in pedagogy may have an
incomplete understanding of a discipline that uses terms such as improvisation, movement
accompaniment, choreography, playful use of objects, coordination, solfege, etc., to refer
to an artistic-pedagogical approach that views music and movement in an intertwined way,develops them both as a central theme, and uses them as sources of learning.
The dilemma in both cases often appears as follows: Virtuoso musicians andinstrumentalists who later decided to specialise in eurhythmics, often are less experienced
in the pedagogical-psychological education needed to deal with challenging groupdynamics in a school system. This unfamiliarity is layered over the inherent processesof eurhythmics with their complex and, in so many ways, challenging tasks. Conversely,

79

pedagogically highly motivated empathetic personalities who have studied eurhythmics /music-and-movement at a teacher training university and are therefore, able to cope with arange of teaching situations, no matter how difficult, often did not sufficiently benefit fromscholastic exposure to exclusively musical and creative studies.
As a consequence, the developmental process towards a personal and professional
identity as eurhythmics teachers happens within an ongoing and unavoidable Spannungsfeld(field of tension) between pedagogical and artistic proficiencies, each of which is given its
different weight by the curricula of the respective institutions where students have trained.
In addition, the teaching content and its implementation repeatedly force a reflection andcontextualisation of the references either to the arts or to pedagogy.
When I first heard about Émile Jaques-Dalcroze in 1977, at the very beginning of mystudies in eurhythmics, the practice of teaching eurhythmics was framed in the following
terms whose origins are attributed to him: Educators for eurhythmics must be pedagogues,
physiologists, psychologists, and creative artists all at the same time. Although initially far
from understanding what the complex meaning of this could be, I soon recognised what
my teachers already understood: namely, that in its educational use of music, rhythm andmovement, eurythmics is fundamentally a human-shaping process and if it is to develop
the full potential of the student, it needs to be both a profession and a dynamically creative
activity requiring a variety of professional skills.

Creativity and its Inspiration
Art as a Process in the Teaching of Eurhythmics
The blank page awaiting the first thought, the first written word or sentence; the melody inmind, the first note, chord or motif; the not yet touched unhewn stone, the piece of wood
as object of contemplation and inspiration before it `speaks to you´ in lines and forms, thelump of clay before the first shaping, and so on… These examples of something `not yet´
begun and in the making, compare well with the empty teaching space in eurhythmics.
This emptiness will inevitably fill up, and as teachers we are responsible for shaping
entry into this moment, even though we ourselves may be confronted with uncertainty
before the beginning of this process. While we may come with a plan, a composition, a song,
specifically chosen material, previous experience with this group, didactic considerations,
our inner attunement, and more, nonetheless, I consider it essential to be willing to get
involved with this emptiness of `not yet´. It is crucial for our openness to inspiration andcreation in the moment.
Regardless of how the participants find themselves in the room, of how the atmospherepresents itself, whether tense, expectant, joyful, restless, unfocused, shy, reserved, dull, or
tired - the teacher must set a beginning that can only originate from this moment, and indoing so possibly overturn all previously made plans. One can already see the artistic aspectof eurhythmics in this permanent readiness to improvise, to adapt while guiding, and toenter the creative process. Following, are the competences that I am convinced enable thisart of teaching creatively.
A Process of Dialogue and Dialectic
By their nature, eurhythmics lessons are temporary collaborations between a teacher anda group. Together they undergo a process that uses the expressive forms of music andmovement to fill space in a catalytic way wherein improvised and shaped creations convert
into individual expression and interpretation of musical elements. The infinite possibilitiesof the participants to move in an original and self-determined way are the ‘raw material’with which the teachers work. The diversity of individual competences, not only musical80

ones, of the participants (children or adults,) their creative ideas, suggestions, decisions,and solutions for the tasks and exercises are an important part of the intended teaching
and learning process. These are the elements that make the teaching experience lively,
multi-faceted, varied, and one that always yields new surprises. At the same time, it
relieves teachers of the fixed idea that they are solely responsible for every learning stepand decision.
The process and design of teaching requires constant fine-tuning and dialogue withthe participants, checking and correcting conditions, as in the constant retuning of an
instrument. The basis for this dialectical principle in which inspiration reciprocally nourishes
and advances the activity, results from the interplay of direction and its resonance, of
impulse and reaction, of guidance and self-initiative, of form and freedom... One could
describe its sequence something like this:– Task setting, instructions, information, etc.;– Execution and observation of the above;– Inquiry - feedback (comments, assessments, suggestions, etc.);– Continuation of the exercise in variations and agreed upon differentiations;– Observation of their execution etc. in a continuously deepening process of condensationand differentiation with the goal of an outcome, in the sense of fulfillment (measured
by what was achievable applying high quality standards, in a given time, and undercertain circumstances together with the participants).
Inner Stance and Observation
A teaching process that wants to meet these demands requires from teachers a high degreeof presence, of readiness to react, and of flexibility. Only in this presence and simultaneousawareness for ‘emptiness’ beyond ‘wanting’ and ‘having to’, can they allow creative andplayful surprises in their own actions and decisions. Only in this way can they trust in
their intuitive, creative reactions, and also access spontaneous and fittingly imaginative
solutions (improvisations); only in this way can they continue to shape, guide, form, andmeaningfully continue the dialogical pedagogical process once it has begun.
The exercises must be offered in the context of music in such a way that their execution
is understandable, verifiable in its details, and in the best cases collectively repeatable.
This requires the permanent observation of all processes and movements in the classroom,
including perception of all individual and collective reactions:
What did the teacher see? How did the student do it? Which foot started? Where did he movehis arm? Where did she point? How far did the swing go? At what tempo? In what rhythm? In
what posture, with what expression? Etc.
In every detail of a personal movement-response, in every facial expression or gesture, flow of
movement or interruption, exuberance or uncertainty, confidence or shyness, a possible next
task or challenge for deepening the learning and creative process is inherent - and perhaps
even already visible. These perceptions are the source for the continuous development
and differentiation of the tasks, exercises, and experiments. They are the artistic creative
momentum for the deepening of experience.
Here, too, I take the liberty of using the term `artistic´ because we are dealing with
moments of great creative freedom while at the same time being bound to a multitude ofpreviously determined and agreed upon parameters, regulations, and conditions. These
form the framework within whose limits music encourages us to the greatest possible
freedom of expression and gestalt.

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Integrative Educational Aspects of Eurhythmics
Exercises in eurhythmics have the goal to encourage, challenge, and educate children,
adolescents, and adults as persons in their full complexity and originality. This is done byoffering an experiential learning process that addresses, encompasses, and mobilises all
movements: the physical, the intellectual, the emotional, and the spiritual, all at the sametime. In this holistic way, eurhythmics is a unique educational practice that offers a wide
range of possibilities for the simultaneous integration of musical and motor development,
creative and intellectual powers, improvisation skills, aesthetic perceptions, and social skills.
Discovering, grasping, and perceiving form as shaped space and movement as fulfilled
time—as well as encountering emerging relationships—can lead to question previously
adopted concepts of ‘the beautiful and the good’. It can also open up new perspectives and thus
set in motion the maturation of one’s readiness to realise what art can be all about. This also
includes the training of sensory perceptions and the development of attentiveness and respect
by means of appropriate tasks. In this way, self-awareness is differentiated and as a result, theconsciousness of one’s own potential for movement and action is strengthened. Autonomy andself-competence can thus develop within the context of interaction with a group.

Improvisation and Creativity
Self-development and evolution, which in the context of eurhythmics address body,mind, and emotion together, place high demands on all participants. These demands areconstantly changing and can only be mastered when there is a great willingness in one´steaching methods to improvise. The ongoing search for possible improvements, changes,
adaptations, etc., originates from the teacher´s exchange and dialogue with the participants,
and so the process can only be that of improvisation. It thus becomes the founding principleof our educational design and lays the ground for a collaborative act of creativity within ashared experience. Mutually undertaken and nurtured, these experiences can lead to a newunderstanding of pedagogical responsibility, thus allowing conditions and opportunities fora creative practice to emerge, again and again.
The question of how much freedom and self-organisation a teacher can allow withinsuch an educational process, or how much centering and structure one needs and demands
for the intended work, requires the continuous examination of one’s own state of being
and mood, the quality of the teaching and learning dynamics, and as a consequence, thepermanent adaptation of work structures, exercises, and instructions.

Creation in Time, Space, Energy, Form
The above parameters apply to all areas of music, as well as to those of human movement. Often
mentioned in our discipline and often described, together they form the flexible framework,
the possible configurations, and the variable structures for etudes, and for improvisations ineurhythmics / music-and-movement. In the sense of ‘multiple-perspectivity’, they offer an
infinite number of possibilities for networking, combining, playing, and for creation; they
are the basis for the artistic work (gestalten) that is repeatedly addressed here.
Within this context, the following questions can stimulate the creative process andmobilise decision-making and self-determination. They serve to specify the participants´
ideas about movement and help to expand their repertoire so that they may know it more
and more precisely. In this way, misconceptions between imagination and reality, between
the possible and the impossible, and between over-demanded and under-demanded arealso clarified.

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Time

When do you want? How long do you want? Shall I, or do you wantto?
Addressed are: being able to wait and knowing when it’s your turn, recognising
your cue; initiating movement in space or on the instrument, and doing sowith appropriate force and measure.

Space

Where...? How far...? Toward...? Where do you want to go?
Addressed are: orientation, decision, choice, path, goal, formation, andpositioning. Orient yourself and decide, choose and design your way, create aposition at your location.

EnergyHow strong, how firm...? How loud, how quiet do you want to act
or play?
Addressed are: measure, dexterity, execution, commitment, body tension andqualities of movement, playing, sound; as well as once again choosing anddeciding.

Form

How...? In what form...? With whom...? With what do you want
to...?
Addressed are: imagination, creativity, conception, choice, decision, position,
process, choreography (memorisation).

These questions target the curiosity, imagination, and interest of participants of all ages;
they address their desire for expression, improvement, refinement, and for some, theirambition.

Grace and Art - Individual and Collective Conditions
Adult participants have the chance in eurhythmics to rediscover their usually buried joy
in movement, in imagination, and in play. This is encouraged by the game-like aspect of
the activities and the liberating effect of the music as a stimulus for courage and joyfulinterplay: rhythmic elements, motifs, as well as all other parameters of music become
vehicles and tools to increase the delight and quality of movement, to form it, to work on
it, to elaborate it, and to improvise upon it until, at some point, it goes as if happening byitself and the movement starts to ring as one´s authentic way.
This personal expression appears and follows the music´s nuanced play. The `grace of
the instant´, when self-forgetfulness sets in and control mechanisms no longer stand in
the way, allows for moments of unforeseen coherence and, in this sense, for the beauty
conventionally associated with the fine arts to emerge. Perhaps it is just as appropriate in
our profession to speak of the `art of the instant´.
The prerequisites for the realisation and success of such moments are diverse andcomplex. In addition to individual competence in movement-technique and in music, thespectrum of body tensions and suppleness and the participants´ simultaneous willingness
and ability to react are of great importance.
Whether and how the interaction of a group succeeds, how the participants deal withthe alternation and polarities of `leading themselves´ and of `letting themselves be led´,
how willing and flexible they are to imitate or follow, to assert themselves or to adapt - allof this is jointly responsible for the success and the achievement of a lesson. Althoughinitially created solely for the moment, and for its own sake, the opus becomes the resultof a gestalt created in the dialogical process of cooperation. It is not predetermined and isrealised only through the commitment and individual freedom of all who participated in
the process of forming it.

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Pedagogical Practice and Movement AccompanimentOnce participants engage their creative potential and let it come into play, it is vital to
pay attention to accuracy in the execution and repetition of exercise sequences; to see
and recognise where, movement-wise, the greatest challenges are hidden in a song, acomposition or choreography, a body percussion or movement task. Because every sequenceof an exercise, every detail, holds the possibility for more thoroughness and correspondence
in its dialogue with the music—no matter if the execution takes place with or without anobject, with or without a partner, alone or in a group.
The more precisely the dynamic variations of an instrumental accompaniment are
played, the greater their correspondence can be expressed and translated into improvised
movement-forms and shapes. Improvements can be achieved by reducing the undertaking
to smaller learning units and learning steps (including from large to fine motor skills).
Through the specification of impulses, the slowing down of tempo, and the refinement of
sequences, movement units become the object of careful treatment. This condensation andcorresponding increase of demand and quality is the expression of a common search andcreation in the sense of artistic practice and `right or wrong´ must not become obstacles. In
this way, a movement motif can, through ever new variations, become a form that acquires
its significance from the moment. The characteristics of such moments can also be describedwith terms such as expressive power, tension, coherence, presence, authenticity, and others.
The ability to stop elements of movement in situ, or in space, following the music, atwill or upon a signal, to switch between two measures or the qualities of piano and forte,staccato and legato, crescendo and decrescendo, or to have two rhythms alternate between
steps and hand claps are, at first, perhaps only technical skills that are practiced and trainedin lessons. But as experienced in interaction with a partner, or with the whole group, andwith appropriate instrumental accompaniment, the door can open for the unexpected, whichgains expressiveness and takes form as a creative process. The tension necessary for this isnourished by the dialogical process of impression and expression, of action and reaction, ofsuggested movement and (again improvised) responses to it, all supported by the music.

Polarity and Creativity
An artistic pedagogical teaching that centers on music, improvisation, spontaneity,and imagination, as well as individual expression and collective creation, represents a`Spannungsfeld´ for all participants. It is formed between the polarities of fixed and free,of chance and acts of will, of instruction and autonomy, of improvisation and composition,and of leading and following. The search for spontaneous and creative solutions (inmovement), which moreover, are related to music, also induces emotional movement fromthe dilemma of the many possibilities for an action response. From this point of view,processes of rhythmic musical experience also take place within the larger field of tension
between social and personal levels.
The dynamics between You and Me, and between individual inner and outer conditions
and processes, arise from polarities and contrasting interests presented in the diagram
below. This productive Spannungsfeld arising from inner currents is activated by objectives
on the personal level. Opposing forces such as imagination, desire and reality, impulse andrestraint, fear and courage, joy and sadness, disappointment and optimism, all compete at
the social level within a field of interaction with the other participants.
Even in the dynamics between assertion and adaptation, between the impulse to wantto lead or to be led, between the perception of different possibilities that could culminate inaction and action itself, the participants have to repeatedly make new decisions. These often
must be executed faster than we are used to from a lesson that is structured and moved bymusical parameters. In the process, classic reaction exercises no longer only refer to ‘right

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or wrong’, to ‘too early or too late’, instead, they can lead us to unforeseen and unusual
movements and solutions: the devised figure, the sculpture in space, the temporary collective
gestalt, the artistic form.
Prof. Amélie Hoellering, founder of the Institute Rhythmikon in Munich in the 1960s,
often used the following diagram to show the polarities and transitions from the centreof which the exercises of eurhythmics are configured, and from where they call for acreative solution. Hoellering was a student of Elfriede Feudel, who herself studied with
Émile Jacques-Dalcroze, and all three strongly believed in eurhythmics’ inherent artistic
foundation. Though possibly familiar to some of you, it is relevant here to represent the
dynamics at play in an artistic process of teaching eurhythmics:

Conclusions
In the dialogical teaching process of eurhythmics, the participants almost always move
within a creative field of possibilities. They are challenged at every moment to find anauthentic response, an inventive solution within conditions created by melody and rhythm,
as well as the presence of others. If Émile Jaques- Dalcroze´s vision of rhythm as an
essential educational element of society in all its multidimensionality is to be fulfilled, then
today’s teaching of eurhythmics / music-and-movement cannot leave the dynamic aspectsof education and group processes unnoticed and unaddressed.
The challenge and opportunity in eurhythmics classes to move autonomously andconfidently between polarities and conflicting forces, to observe and perceive oneself (andthereby to constantly reorient one’s actions,) requires creativity, flexibility, original thinking,the ability to act, decision-making skills, self-determination, and self-responsibility, as well as
the courage to be unique. All of these elements promote a personal development, ultimately
a social one that is shaped by all artistic influences possible, foremostly the music; in the bestof cases, this development leads towards individual variations on the `art of living´.

85Presence, Creativity,
Self-Efficacy – Eurhythmics
as Artistic Process© Veronika Günther

Carola Dünßer

Carola Dünßer is head of content at the Institut
Rhythmikon in Munich and head of their training
course “Eurhythmics - Integrative Movement and Music
Education”. She works in various institutions, such as
kindergartens, nurseries and schools, mainly independent
schools and schools for children with cognitive and/or emotional impairments. She studied eurhythmics at
the Richard-Strauss-Conservatory and Rhythmikon in
Munich with Prof. Amélie Hoellering. After graduating she
had teaching positions for eurhythmics and movement
education for example at Diakonische Akademie in
Stuttgart, Kath. Stiftungshochschule in Munich or the
Hochschule für Kath. Kirchenmusik und Musikpädagogik(HfkM) in Regensburg.

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Eurhythmics as an artistic process achieves its purpose and expression when we are in a stateof presence. Clarity of perception, diversity of expression, attentiveness to the situation, tothe demands of the task, as well as creative design, are all connected in a unique form ofcoherence. Presence facilitates ever new complex combinations of individual elements thatderive their gestalt from creative expression in movement. They promote and enrich one’s own
abilities and personal growth. The foundation of the work consists of polar structures, which
are deliberately presented in the tasks. These then catalyze the relationship between reflection
versus action on the one hand, and assertion versus accommodation on the other. The creative,
process-oriented and dialogical way of working between eurhythmics teacher and group is ofcentral importance. In the article, this is made clear and explained in more detail using theexample of improvised movement accompaniment.
La Rythmique en tant que processus artistique trouve son but et son expression dans un état deprésence. La clareté de perception et la variété d’expression, l’attention portée à la situation, lesexigences de la tâche et la conception créative sont liées dans une forme particulière de cohérence.
La présence rend possible des connexions toujours nouvelles et complexes des éléments individuels
qui trouvent leur forme dans l’expression créative du mouvement. Ils favorisent et enrichissent à lafois les capacités et l’épanouissement personnel de chacun. Les polarités structurelles constituent
la base du travail. Elles sont consciemment thématisées dans les tâches et dynamisent la relation
entre la réflexion et l’action d’une part, entre l’affirmation et l’adaptation d’autre part. La
méthode de travail créative, axée sur le processus et le dialogue entre le professeur de rythmiqueet le groupe, est d’une importance capitale. Dans l´article, ceci est précisé et expliqué plus en détail
avec l’exemple de l’accompagnement de mouvements improvisés.
In the following, I will describe my artistic identity as a eurythmics teacher from theperspective of my professional practice: I work with children between the ages of 6 and 14
with cognitive &/or emotional impairments, with groups of children in a kindergarten andin an independent music school aged 2 to 14, and as an educator (together with a team ofcolleagues) in the training and further education of eurhythmic teachers at the Rhythmikon
in Munich. I experience eurhythmics as a way of ongoing personality development and see
my work as a continuous process of exercise, reflection and development. Therefore, I don’t
consider this article to be an academic treatise on the subject, but rather a personal text thatis meant to reflect what I have learned in my work so far.
Firstly, I would like to clarify some key concepts that are fundamental to me and mywork in practice, then I will try to show which conclusions can be drawn from this for myunderstanding of an artistic identity as a eurhythmics pedagog.

Key Concepts-Terms
Presence
For me, the purpose, content, and goal of eurhythmics has to do with “presence”, which
represents the perceiving and acting human being within a given situation. The guiding
principle is the self-determined creative person who finds him or herself mindfully perceptive
and within creative action: In presence I am creative, through creativity I am present.
By “presence” I initially understand it as a state of gathering in which all parts of a person’s
being are focused on one point that consists of a condensed form of mindfulness and attention
combined with a concentrated and creative dynamic of shaping. In this mindfulness, perceptive
awareness and action are consciously related to each other. It enables me to be aware of mywishes, needs, possibilities, and abilities in a given situation and, at the same time to express
them in a creative way.

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This awareness relates not only to one’s own person, the matter or task at hand, butalso to the environment, especially to people who are present, and also to the interaction.
This includes the conscious process of dealing with the here (presence in space) and the now(presence in time). In this sense, presence can also be understood as a state of connectedness,in which I am creatively in contact with myself, the task, the others, and the situation. The
eurhythmics lesson catalyses and enables this creative, productive process with its special
means and forms of movement and music. In addition to the basic intention to reach thestate of presence, the well-known model of polarities is essential to me. Therefore, I would
like to briefly summarize it here.

Polarities
Because in a polar relationship one does not exist without the other, two opposite poles
complement and condition one another, like day and night, north and south, or fast andslow. We consciously use such relationships of polarity in eurhythmics lessons in order todifferentiate and expand awareness, and to foster mindfulness. This starts a process ofprogressive development, clarification, and growth. Through our perception and shapingof polar relationships, dynamics and movement come to pass, and a vivid process develops
between the poles. In the process, no pole remains in its originally perceived state, itchanges, becomes more tangible, gets contours. It can be experienced as what it is andwhat it can be, because it is consciously related to its counterpart.
Two particular relationships form an essential basis for our teaching at Rhythmikon.
First, a polar relationship on the personal level, between BODY and MIND, between
physical expression and reflective thinking. Second, the relationship between ME andYOU/the group, namely, on the social level between adaptation and assertion. These twopolarities form the structural frame of orientation for the setting of tasks and the course ofa eurhythmics lesson.
Body-Mind, Thinking-Acting
The relationship on the personal level describes the polarity within the unity of physicality(bodily expression and movement) and cognitive processes, (such as anticipating, reflecting,imagining and developing ideas). This relational process always activates emotions, whichthen become part of the whole happening.
Me-You/GroupThe polar relationship on the social level seems to me immediately comprehensible: therelationship between ME and YOU, between asserting and adapting, between obstinacy
and cooperation is dynamised. I am aware of myself, I am aware of you, we create the task
together. In doing so, it is important to be conscious of oneself, to be aware of the other, andto try out the whole range of possible interactions. The basic concept of polarities not only
guides me in the setting the tasks for the group, but as a eurhythmics teacher I am always
part of this polar dynamic.

Movement
The tasks in eurhythmics emerge from the bonds of time to space, and vice-versa. Suchconnections find their expression in movement. Certain spatial elements (spatial directions,spatial structures, geometric shapes, etc.) are linked with certain temporal elements (meter,rhythm, phrasing, beat, etc.) and one’s own movement, one’s own use of dynamic connects

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space and time in a creative expression. If the movement is experienced as coherent, clear,and meaningful in time and space, this is also expressed in the outer/external form.

Power
The term “power” is meant to describe the totality of our physical and intellectual life
energies that enable us to be creatively active in our vitality of thinking, doing, and feeling.
It controls our mental, physical, and emotional processes, and allows us to experience ourindividual rhythm and our wholeness by practicing and creating movement:– On the mental level, power shows itself in our consciousness of the movement, as
well as in our imagination’s consideration and determination of the physical creation,
including willpower in our adaptation to, and assertion within a group.
– On the physical level, power describes the concrete impulse of movement, the nuancesof an expression, the precision in our use of force, the activity of the muscular system,
mobility and steadiness.
– On the level of emotions, force determines the dealing with feelings, with gestaltimpulses, including the force of letting in, letting go, and trusting.
A eurhythmics task always addresses all three levels, relates them to each other, andenables the experience of wholeness and presence through a deep engagement with what
is happening.

Creating
What is created is according to the situation. As a eurhythmics teacher, I instruct what is tobe created but never how it is to be executed; there is no predetermined solution, and eachtask is the impulse for individual processes. The starting point of a creative task is often amusical impulse. The participants hear (or feel) the impulse and deepen their awarenessof the phenomenon through their response to it. They create their own translation into
movement expression and, each in his/her own way, find their individual creative resolution.
In the inspiring group process, adaptations, additions, contrasts, repetitions, and copies aredeveloped in constantly changing ways. The artistic act consists of connecting the elements
and parameters as given by the task within a creative process, and eventually bringing theminto a creative flow. The coherence of this process can be observed by measuring their degreeof presence. If the aim is determined to be finding an individually coherent solution for a task
in a creative act of presence, can there be any “mistakes” in its realisation, can solutions be“right” or “wrong”? This brings me finally to the concept of “development” and eurhythmics
as an educational principle.

Development
As much as the individual development has value and dignity and should be given space andshape, I always give impulses for collective development. This requires coherent challenges
in the tasks, whose aim is not a certain product, but personal growth and the expansion ofindividual abilities and skills.
Presence may be described as an ideal state, but in the actual process it remains dynamic
and beyond reach; it can only be fostered and encouraged, it can be actualised or again
become ephemeral. In this sense, presence (depending on the state of one’s abilities andcompetencies) is always a subject of practice and reflection.
In my work I am guided by my understanding of the specific quality of an outcome.
A creative process can be more or less articulated, or can be experienced as well defined.

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The (pedagogically understood) measure of challenge is found in the individual processof development: too little challenge can lead to stagnation, too much to the reduction of
intrinsic motivation. However, the aim here is not to “teach” the participants something, but
to give them stimulating impulses for (individually developing) the creative activity throughthe specific design of the task. The more the individuals can get involved and at the same time
trust each other, the more this learning and developmental process is successful. The morethey can commit to themselves, to their path and to their creativity, the more they’ll want toexpress themselves and accept feedback within the group process, but also make use of it forthemselves. This resonance, the feedback (through one’s own body, partners, the group, or
through me as the eurhythmics teacher) may superficially be understood as “mistakes” butin fact, it is not about “wrong” or “right” but about finding a coherence: every differentiatedfeedback, which is usually found in a new task, opens a new approach, gives a motivating
impulse and stimulates the curiosity to try something out. It can lead to an exploration of
new possibilities, to refine one’s own perception, and to learn to deal more confidently withcreative tools. At best, the feedback (or modified task) expands the individual possibilities of
the creative process: elements are linked, connected, doubled, contrasted, varied, mirrored,
condensed, loosened, slowed down, expanded or concentrated, etc. in new ways. This is
more about the unfolding of new, in the optimal sense of “original” creative solutions rather
than about an already defined canon of specific variations.
My Understanding of an Artistic Identity as a Eurhythmics Teacher
I would now like to describe how the previous key concepts and orientations take shapewithin my artistic work as a eurhythmics teacher.
A eurhythmics lesson not only enables a creative process and an artistic “product,” it
is itself an expression of the artistic process of the eurhythmics practitioner, who createsa stimulating and supportive space for development. I do not see myself as an artist in
the sense that I shape something out of my imagination, according to my will; I do notdevelop a predefined “artistic” product with the group (by myself or through others), I do
not aim for a certain solution or follow a preordained “curriculum”. Rather, I am guided by
the fundamental objective of a person who discovers and develops her creative potential,
whose awareness and perception for herself and others is largely differentiated, and whose
repertoire of expression and possibilities (here especially in the field of movement andmusic) develops as far as possible. In this way, I think, is how a person can relate to theirenvironment in a self-effective and creative way, helping to shape and enrich it.
Therefore, I always have a main idea of how this process can be meaningfully encouraged
in a lesson with a particular group. This creative impulse guides my actions. The creative
development takes place in a constant dialogue between the group and myself, as a joint
process in the sense of a performance. In this process I myself am part of a comprehensive
creative happening. The actual course of a lesson and my planning of it (my idea, my concept,
my preliminary considerations) are therefore in a polar relationship, and mutually stimulate
each other. In this sense, every lesson of a eurhythmics class also follows the principle ofleading and following.
The basis for my work is openness to the moment and to what is actually happening. It istherefore important to always be aware of the new and the unexpected with appreciation,and to accept the specific dynamics of the situation, the group, and each individual. This isespecially relevant for children’s lessons, for example, when the impulse of a task inspires thechildren’s desire to explore and exceed their limits, to test their strength, to try themselves
out. Here I am a direct part of what is happening, I have to react spontaneously withcreative and situation-specific impulses in order to create the joint process in a dynamic
and flexible way.

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In a constant flow of dialogue between the group and myself, the basic direction ofdevelopment, a concrete, situation-specific changing task (improvisation), and theinteractive resonance, a unique, joint process emerges, a space for development of thecreative expression by all participants. That is why, for me, the artistic quality of my work
lies in the extent to which all participants (myself included) come into a state of presence,of “flow”. The aim is not the artistic product alone, but the creatively active human being.

A Practical Example: Movement Accompaniment
I would like to explain how this approach can find expression in concrete, practical work,
using the example of movement accompaniment.
Movement accompaniment is an artistic tool through which the polarity of the social
level (ME - YOU/group), the principle of leading and following can be experienced veryclearly in many different ways. The coherent contact of music and movement (sound isstep, step is sound) sums up one of the the basic eurhythmics principles particularly clearly.
The translation process of the heard into movement succeeds the more authentically,
the more object-related, and abstract the task is set, i.e. it is best without demonstrating
anything first. The example of improvised movement accompaniment shows very well thetension between ME and YOU/group in the relationship between the group leader andthe participants: in the polarity between the (musical) impulse and its implementation in
movement, a dynamic dialogue emerges, a uniquely unfolding form.
At the beginning of a lesson for children (about until the second grade) I often set thefollowing task: “You order the music! And I’ll play what I see!” In this dialogical process theimpulse, the leadership, comes from the child; we stimulate each other: even the simple
appearances in the form of walking or running demand a specific musical expression in
tempo, key, articulation and melodic line. Variations in the musical accompaniment inturn give impulses for a new playful transformation into movement. This process results
in a special, vivid form of communication for both the child and myself, out of which a
joint creation develops, in which we are aware of and inspire each other as equals. In thisway, awareness and possible expressions can be formed in the reflection of movement andmusic, unbiased and more or less consciously. Thereby it is an embodiment of my abilities(and artistic identity) to make the “coherence” between movement and music tangible, andto mediate it within the process.
In the individual accompaniment, the other children in the room follow this happening
with attention and tension. The moments of presence are intense for everybody, for theparticipants and the spectators alike. When the contact comes to fit, when the state ofpresence is reached, these are profound moments of self-awareness, self-efficacy, and selfconfidence. Children therefore love such “performances” very much.
Music acts as its own force, as a factual impulse, as a neutral medium. Small children
occasionally ask whether the music comes “from the ground”; children with autism spectrum
disorders also want to and can make contact specifically through music. This shows theunique significance and effectiveness of this central medium in eurhythmics.
Music stimulates movement. The various musical forms, their principles and possibilities
have an inviting effect, they encourage the children to engage in inventive movements, totest the limits or to fit in as a natural part of the process. For example, the final chord after
a cadence can be much more effective as an impulse than a verbal request to sit down in
one’s own seat.
In this stimulating and self-dynamic effect of music, another basic principle of my work
becomes manifest: it is the matter, the task, which drives the development from within
itself. The tasks in the eurhythmics lesson are: based on the objectives already described,
refer to a lesson topic (which is development-oriented), are adjusted to the situation, andfollow the children’s own dynamics.

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Requirements for my WorkHow can I work effectively in the described understanding of my “artistic identity” as aeurhythmics teacher? First of all, a deepened self-experience via eurhythmics and thispath of personal development seems to me to be of particular significance. My own pathof learning and experiencing as a participant in the most diverse groups and processes,with countless possibilities of connecting the various parameters in eurhythmics, with theexperience of challenging situations and my own limits, my creative power and, above
all, again and again the joyful experience of presence and “flow”: all these are essentialconditions for my professional path, which I have already described as a constant processof practice, reflection and development.
In the process, a repertoire of helpful tools has developed such as methods ofdifferentiated perception, a thematic collection of creative tasks and variations, basic
musical forms and structures, etc. In a sense, these become a craftsmanship that supports
me in the development of my ability to observe, to set the tasks and my work.
Perhaps something else is crucial for this approach to eurhythmics as an artistic process:wanting to confront the impressive complexity of the happening, its variability and range,
not only accepting disturbances and conflicts as necessarily given, but discovering them asa resource, as a creative space.
In this sense, it seems essential to me to constantly detach oneself from one’s own
preconceptions, to get involved with the new, to create situation-specific connections in theunlimited range of possibilities. This requires courage to face uncertainties and to accept
the unknown. It also requires the trust (of all participants) to be able to discover andgenerate new and unknown links of ideas.

Conclusion
In conclusion, I would like to add some thoughts and share with my readers why thisunderstanding is so important to me and why it gives meaning to my work. I am convincedthat eurhythmics can be a contributing factor in helping people to actively and creatively
shape and develop our world, to feel and understand themselves as part of a greater whole.
That eurhythmics can also contribute to the fact that people remain open to the new andthe constantly changing, that they can realise the potential for their personal growth andfind fulfilment in a creative activity, trusting themselves and acting courageously.
This is why I consider myself very fortunate to be able to work as a eurhythmics teacher.
For me, eurhythmics is a way to experience myself in connection with everything that isand to feel myself creatively active and “whole” with it. For me, in a sense, eurhythmics isa kind of spirituality in which an understanding of my life in all its aspects is revealed, andwhich fills me with great gratitude.

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Be Open and Improvise!

Drawing parallels between
qualitative research methodologies andpractice as a rhythmician© Annina Lingens

Alexander Riedmüller

Alexander Riedmüller holds a master’s degree in Cultural
Diversity from the Argentinian UNTREF in Buenos Airesand a bachelor’s degree in Music and Movement Education/ Eurhythmics from the MDW in Vienna, Austria. He
works at the Hamburg University for Music and Drama
in a training programme for migrant music teachers andas coordinator of the department of Early Childhood
Music Education at the Music School Leo Kestenberg in
Berlin. His PhD project is about the situation of migrated
music teachers in Germany, especially regarding issuesof diversity within the sector of music schools. Over thelast years he was a member of several groups dedicatedto improvisation in body music, voice and movement
improvisation as well as in improv theatre in Vienna,
Buenos Aires and Berlin, where he is currently based.
www.rhythmiker.de93This article examines possible connecting points between qualitative research and eurhythmics
seen as a pedagogical approach, as an art form and as a teaching philosophy. Therefore, it
includes the strategies of inquiry such as Ethnography, Grounded Theory Methodology, andPerformative Social Sciences. It is shown that the ethnographic research values techniques
like improvisation within the process of collecting and interpreting data. Both ethnography
and Reflexive Grounded Theory Methodology postulate the importance of a general openness
in the research process to be able to change its focus if the subject of your inquiry demands it.
Here, a reflexive approach is also suggested within the process of inquiry. In Performative Social
Science artistic methods are applied to create and interpret data, and to present the findingsof a research project.
Cet article examine les points de connexion possibles entre la recherche qualitative et la rythmiquevue comme une approche pédagogique, comme une forme d’art et comme une philosophie
d’enseignement. Par conséquent, il inclut les stratégies d’enquête telles que l’ethnographie, la« Grounded Theory-Methodology » et les « Performative Social Sciences ». Il est démontré quela recherche ethnographique valorise des techniques comme celle de l’improvisation dans leprocessus de collecte et d’interprétation des données. L’ethnographie et la « Grounded TheoryMethodology » font le postulat de l’importance d’une ouverture générale dans le processus derecherche pour pouvoir changer d’orientation si le sujet de l’enquête l’exige. Ici, une approche
réflexive est également suggérée dans le processus d’enquête. Dans les « Performative Social
Sciences », des méthodes artistiques sont appliquées pour créer et interpréter des données, etpour présenter les résultats d’un projet de recherche.
Holding a first degree in eurhythmics, until today, I always identified my professionalism
through being a rhythmician.1 This especially in an artistic way but also in education andin my philosophy of teaching, even partly in how I was seeing things in life. Now, as PhD
candidate in the field of music education, I cannot help it but to look for connections between
the discipline I know best and the new field I am seeking proficiency in. This journey was
inspired by Liora Bresler’s keynote at the International Conference for Dalcroze Studies (ICDS)
in summer 2019 at the Karol Szymanowski Akademy in Katowice, Poland. 2 During the lastpart of her presentation, which is typically reserved for questions of the audience, she said
addressing everyone in the Academy’s Concert Hall: “You already know so much.” And thesewords got stuck in my head since then. As I am convinced that well trained rhythmicians caneasily adapt not only to a wide range of professional fields but also feel familiar with several
art forms, I could easily relate to this aspect of the words’ meaning. But what is there in termsof research? Do rhythmicians here really ‘already know so much’? Intrigued by these questions
and encouraged by Bresler’s words, I started diving deeper into empirical qualitative researchmethodologies and was surprised of the many connections I could easily make with my own
professional field. I would like to share some of my findings in the following.

Eurhythmics
Considering my personal experience as rhythmician, this article relies mainly on thetheoretical framework of eurhythmics that can be found in the compilation of articles editedby Hauser-Dellefant and Witoszynskyj (2016), in which the team of fourteen eurhythmics
teachers at the University of Music and Performing Arts Vienna define the main aspects of
their work. As former student of this institution myself, I feel closest to their point of view
1

2

I choose this term to describe my profession over the widely used “practitioner of eurhythmics” in the English-speaking context
for two reasons: it is most similar to how I describe my profession in my first language German – “Rhythmiker” – and it reflects
my understanding of eurhythmics as a pedagogical approach, art form and teaching philosophy based on the phenomenon ofrhythm, which I will describe more profoundly below.
The keynote can be found online: https://www.youtube.com/watch?v=tzH03AS78x8 (accessed on 29/1/2021); for more
information about her approach to qualitative research see Bresler (2008).

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on our discipline. Nevertheless, I am also sure, that most of my conclusions will soundfamiliar to everyone with a profound training in eurhythmics and even to others working
in connected professional fields.
Keeping this in mind, I will define eurhythmics as the following:– As a pedagogical approach, historically linked to the teaching of Emile JaquesDalcroze, that uses the given interdependence of the phenomena music and movement
to accompany learning processes of an aesthetic, creative and / or social dimension.
These refine the sensory perception and giving improvisation and personal expressiona special importance in these processes. 3– As a transdisciplinary art form, connecting different artistic modalities, such as music,
dance, theatre, video, spoken word, drama, and fine arts.4– As a teaching philosophy based on the phenomenon of rhythm.5
The main question for me is, how could eurhythmics as an art form, as teaching philosophy
and pedagogical approach influence the rhythmician researcher, or in general, how could
eurhythmics be integrated into the field of qualitative research methodology. Reading about
different types of strategies of inquiry, I felt a close identification in the description of
Ethnographic Research as given by Breidenstein, Hirschauer, Kalthoff and Nieswand (2015),
as well as with the methodology of Reflexive Grounded Theory described by Breuer, Muckel
and Dieris (2019) and with the field of Performative Social Science as it can be found in Mey(2020) and Roberts (2008). Therefore, in the following I am going to discuss eurhythmics
linked with these three wider fields of qualitative social science research and I will draw
my conclusions at the end.

Ethnography
Breidenstein et al. (2015) state that exploration of phenomena through writing is the key toan ethnographic approach. This important branch of qualitative research aims to decodesocial practices and institutional procedures, putting its whole attention on the discoveries
in the field: its social systems, artefacts, myths, and other forms of believes (p. 7). Right in its
centre, there is the method of participatory observation. 6 Here, the rising tensions between
participation and taking a critical distance, between being present and re-presenting
play an important role (p.7). Thus, what is highly valued here is the lived experience inthe field, or with other words, the embodiment of an experience, the recognising andnaming of a special phenomenon. It is hard to see the similarity to practical eurhythmics,
in which, as a teacher, you seek to create an environment, where students can embody
musical phenomena and then are softly guided, step by step to understanding and naming
them. Kinsky (2016b) cites Mimi Scheiblauer, who established the three-step procedureof experiencing–recognising–naming7 of a phenomenon as the base of teaching througheurhythmics (p. 140). This three-step procedure is what in ethnography is described as amethod in field research.
Breidenstein and colleagues (2015) speak of empirical inquiry as a form of research basedon (social) experience and give special importance to the concept of openness during theprocess of inquiry. For them, it is the interaction of the researcher with the field that leads to
3
4
5
6

7

For a different classification of eurhythmics in the context of learning and teaching see Juntunen (2019), who points outthat eurhythmic can be understood as “meta-narrative […], philosophy or philosophic attitude […]; and/or a pedagogy oran approach.” (p. 56).
On how inter- and transdisciplinarity shape the practice of Dalcroze Eurhythmics, see Habron (2019).
For further reading see Neira Zugasti (2009).
Emerging in times with a strong colonial understanding of the world, former ethnographic research practices have been
criticised severely over the past years and ethical consideration of data collection as well as analysis have been discussed
profoundly under the aspects of racism, othering, and exoticization. For further readings on this topic, taking postcolonial
theory into account, see Montero (2012) or Elie (2006). For general ethical issues in ethnographic field work focussing
marginalized groups, see Li (2008) or Zavisca (2007).
In German: Erleben – Erkennen – Benennen.

95

dynamic experiences (p. 37). Especially an openness for surprises is required, being in thefield with the subject one is trying to understand (p. 39). The authors state that it is the subject
itself that might require a certain methodological procedure or even strictness in the way one
must proceed with his / her research (p. 38). In the context of eurhythmics, Falschlunger(2016) describes the concept of subject orientation. In his drafts of eurhythmics classes in
the context of inclusive teaching, he shows how the teacher must be prepared on the spot
to lower the requirements of an exercise for some participants or know how to make things
more demanding for others. For the teacher, this means a constant negotiation between theabilities and needs of the students with the aim to make everyone participate. The teachingmaterial that was chosen beforehand, as well as the initial aims of the classes must be taken in
constant consideration and are spontaneously adapted during the class. Kinsky (2016a) also
states the importance of thorough observation of the students in the class, for example, in theprocess of musical accompanying a group in movement. This is required to be able to catchthe students’ movements as exactly as possible and to support them in the best way throughthe music the teacher improvised on his / her instrument (pp. 115–116). Ethnography seems
to have a similar need of a thorough observation of a subject.
As a teacher for improvisation, Kinsky writes that she always tries to create a comfortable
atmosphere in her classes for her eurhythmics students. She concludes that only in thisway these can explore music and movement freely and without fear (p. 115). The fearof making mistakes often holds us back to learn new things, as Hauser-Dellefant (2016)
points out as well, but is essentially important for the learning process itself (pp. 37–38).
Even in qualitative research mistakes are given high value. Breidenstein et al. (2015) writethat you can even use mistakes in the approach to the field, for example, when facing theresistance of the informants or even in interpretation. The authors suggest seeing thoseas chances for a check of relevance: where something is being hidden, the field mightshow that there is something to see; where there was a misinterpretation, there might besomething interesting to understand; what seems to be a wrong approach in the beginning,might be yet the first data (p. 39).
While being at the same time and at the same place as the subject of interest is a very
important principle for ethnographic research (p. 40), coming home and taking a necessary
distance after the field work is as important (p. 42). Breidenstein et al. (2015) literally
speak of a rhythmic disruption8 of the presence in the field with phases in the academic
workspace. Like this, the individual moments of intensive data collection are interrupted
by processes of discussion with colleagues about the data, which allow to learn about the
impression the data has on unfamiliar eyes (p. 44). This oscillation between two poles
is one of the properties Neira Zugasti (2016) names as fundaments of her teaching as arhythmician (p. 190). Besides polarity, she claims seven other properties being conditions
for the appearance of rhythm within processes. The table provides an overlook of how thesecan be related ethnographic fieldwork.
Property of Rhythm(Neira Zugasti, 2016)

Relation to Ethnography(Breidenstein et al., 2015)

Polarity

Oscillation between fieldwork and coming home,individual work and work with colleagues.

Synchronization

Being in the field together with the subject.

Entirety

Capture everything around the studied
phenomenon in the field.

Continuity

Describes the course of a research project frombeginning to end.

96

Repetition

Repeat an observation in the same place for alonger period helping to become more familiar withthe field (prolonged engagement); ask different
people the same questions either to check thegained data or personal impressions or to get new
points of view (member checking).

Interdependence

The presence of the researcher in the field changes
it, for examples as the behaviour of subjects is not
the same with him / her around, but also gaining
knowledge of the field changes the researcher in an
academic or personal way.

Irreversibility

Once an inquiry took place, the changes mentioned
above cannot be taken back.

Structure

Describing the different stages of a research project
as following: coming up with first ideas, planningthe project, collecting the data, analysing them –maybe going back and forth between the latter two– and finally, publishing the findings.

Graphic: A. Riedmüller

Grounded Theory
Having described various points of connection between eurhythmics and ethnography practiced
as a common method in qualitative research, I would like to also consider a short comparisonof eurhythmics with Grounded Theory Methodology (GTM). This special methodology wasdeveloped in the 1960s by the two US sociologists Anselm Strauss and Barney Glaser for theirfield research about the organisational structure of hospitals. Nowadays well-established
GTM was meant to produce new theoretical ideas on a subject area, where it was not enoughto describe situations. It bases on a set of certain rules in the process of theory development.
All different kinds of data can be used, such as interviews, field notes, websites, transcripts ofmeetings. Also, personal notes the researcher writes during the whole research process – or‘memos’ as they are mostly called in GTM context – that could possibly contain emotional
resonances or thoughts to a specific piece of data, are used as data themselves in the processof inquiry. Usually, after a complex coding procedure of the data, categories are built outof them and emerging concepts are developed to theories (Breuer et al., 2019, pp. 7–8).
Over the decades, several specific forms of GTM have been established. One is the Reflexive
Grounded Theory Methodology (RGTM) by Franz Breuer. In his approach the concept ofextensive self- reflection, or rather the decentralisation of the person, social role/s, activities,
attitudes, points of views and the disclosure of all other kinds of the researcher’s personalbiases are given great significance in the creation of the theory (p. 10). It is easy to point out
here a proximity to eurhythmics, where the same kind of reflexivity is asked of eurhythmics
teachers, who must constantly reflect on their actions and reactions in class (Mayr, 2016).
Profound reflection takes place after the class and are about on what could be observed of
the students, on the structure of the class, of the goals that could or could not been achieved
with the group, on how the participants reacted on the music, if the different children could
be accompanied in their learning process and so on.
Other important principles of RGTM are also manifested in ethnography and can beconnected likewise to eurythmics, as it was already shown above: Breuer et al. (2019)
point out the great value the individual has in RGTM, which leads us back again to subject
orientation. Also, a general openness is asked of the RGTM researcher during the process ofinquiry. Furthermore, moments of comparison and contrast stand central in this methodology,

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where the smallest or biggest differences in cases are indicated. This relates to aspects ofpolarity, variation, and repetition (pp. 8–9).

Performative Social Science
After these two examples of a method and a methodology commonly used in the context
of qualitative research, one other field is to be discussed that appears to be utterly suitable
for linking it with eurhythmics as it gives the arts a special place: Performative Social
Science. There are many ways of research that take art/s into account, whether it is namely
artistic research, arts-based research, arts-informed research, practice-based research, or
performative research, just to name a few. Schreier (2017) states that in literature theseterms sometimes even overlap regarding how they are defined (para. 13). Yet the author
sees a clear distinction between three of them: arts-informed research, in which the artisticmeans are subordinated to the scientific purposes and therefore treated as tools or methods
within the research project (para. 25); arts-based research, which values especially theprocess of the creation of a work of art within the process of generating knowledge (para.
27); and in artistic research, which is mainly done by artists themselves to generate prereflexive, not conceptional knowledge while practising their art (para. 26). In 2008, theonline journal Forum Qualitative Social Research – FQS9 published an entire issue on the
topic of Performative Social Science (Jones et al., 2008) and was one of the first collections
especially dedicated to this area.10 According to Mey (2020, p. 202), it was Denzin (2001)
who first gave Performative Social Science its name, describing it within the canon of social
research methodologies. In his article he focusses on the performative in interviews:[Qualitative research today] is defined by a performative sensibility, by a willingness toexperiment with different ways of presenting an interview text. The performative sensibility
turns interviews into performance texts, into poetic monologues. It turns interviewees into
performers, into persons whose words and narratives are then performed by others. (p. 25)

Roberts (2008) makes a distinction between the terms performance and performative,
whereas he sees the former “as forms of art, ethnography and social science” and the latteras “processes and ‘tools’ from all of the arts and humanities and social science” (para. 3),
which include for the arts, for example, “music, dance, video, poetry, or drama”, and for thehumanities and social science “text based journal article[s] or overhead presentation[s]”(para. 3). For him, “Research can be a performance, by performance, of a performance, orin performance” (para. 9) and he suggests that researchers should be aware of “to what
extent and in what sense [he or she] is to be a dramatist, actor, director, poet, painter,or choreographer-dancer […]” (para. 9). Although he speaks of a “performative turn insocial science” (para. 124) that took place some years ago, Roberts is convinced that insocial science research there has always been a note of “its creative, innovative and ‘artistic’
aspects” (para. 11). He points out that initially Performative Social Science has been
“associated with ethnographic study, and qualitative methodology”11 (para. 18).

Connections to Eurhythmics
Keeping this last statement in mind and having already introduced the connections that canbe made between eurhythmics and ethnography as well as eurhythmics and R/GTM, it is
impossible not to link eurhythmics to Performative Social Science. The variety of different
910
11

www.qualitative-research.net (accessed on 29/1/21)
For another example of a peer reviewed online journal on qualitative research going a similar way, see issue 27 (7) of
Qualitative Inquiry (2017) that published a special edition based on “poetic and performative reactions” to the terrorist
attack in the LGBT community’s night club Pulse in Orlando, Florida in June 2016.
Roberts also mentions that there has been likewise an “ethnographic turn in art” in different art forms since the 1920s until
today. As the main concern of this article is in ‘the other direction’, there will not be further discussion here. For further
reading on the topic see Foster (1996).

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methods and methodologies that are used in this context is vast. Likewise, the designing of aqualitative research project and its execution can be of very creative nature. As methods there
are, for example, Saldañas’ approach of ethnodrama (2005), or later ethnotheatre (2016) asways of including actors and audience into the research process, the methodology of A/r/
tography, in which “the ‘a’, ‘r’ and ‘t’ stands for artist, researcher and teacher” showing thepractice-based nature of this “living inquiry” (Vist, 2015, p. 269), fiction-based research thatraises findings of inquiry to a fictional level and is presented, for examples, in novels or infilms (Mey, 2020, p. 206) or autoethnography as a form of autobiographic ethnographicalwriting (Schreier, 2017, paras. 5–12). All these methods and methodological approaches canby linked to eurhythmics, when the latter is understood as a transdisciplinary form of art.12
Applying different forms of art in the research process, the researcher should reflect on
their role within this process (Roberts, 2008, para. 113): Do I have the necessary artistic
capabilities required for my planned endeavour? Why and to what account can my projectmake use of the arts? This reflexive approach is like what was already described above as
the role of a eurhythmics teacher following Mayr (2016). The different roles a researchartist or artist-researcher must take due to Roberts, can be connected to Mayr, who describes
the role of a eurhythmics teacher as constantly shifting during a class: from being a leader,
to being a companion, an initiator, a playmate, a partner, an observer, a presenter or an
improviser, and back. (p. 133).
As one last point of connection between eurhythmics and Performative Social Science,
I would like to mention what Roberts (2008) describes as “coming back to our senses”(paras. 133–140). Besides a performative turn, he sees another turn in social sciences, thatstarted to take the concept of embodiment more and more into account. And that for both
the researcher him / herself in the process of analysing data and for the communicationof the inquiry’s findings to an audience. The concept of the body senses is here much
shorter than it is in eurhythmics, which would take all body senses into account (HauserDellefant, 2016). Although, the appeal to make qualitative research bodily experienceable
can definitely be seen as connecting point here.

Conclusion
The given examples make it obvious that there is a growing interest in the arts in generalthroughout the research disciplines, but especially in artistic methods and methodologies in
the field of qualitative research. I am convinced that eurhythmics with its transdisciplinary
artistic approach, could and should be a part of this canon. Furthermore, eurhythmics canbe related in many ways to qualitative research methods and methodologies. This has
been shown in this article linking it to three important fields of empirical inquiry. At thesame time, as Habron (2019) indicates, it appears that “other modes of enquiry, such as
action research, arts-based educational research (ABER) or practice-as-research, remain
untapped” in the field of Dalcroze Studies (pp. 98–99).13 Although they promise to be as
suitable as the ones mentioned before.
So, let me try to give an answer to my initial questions: I am not sure if we as rhythmicians‘already know so much’ in this area. But I am certain that there are a lot of connecting points
between qualitative research and our discipline, may it be as a pedagogical approach, ateaching philosophy or as an art form. More of them are yet to be discovered and tried out.
At the same time, I am sure that the same Roberts (2008, para. 113-114) pointed out for
the researcher-artist might be right for the rhythmician-researcher: either of them must
know the skills of the other field sufficiently enough to succeed with his / her endeavour.
Knowing of the various possibilities one has being a rhythmician, should make it worth a try
1213

One very good example for this is Daly’s (2019) artistic research project including Dalcroze Eurhythmics using an
autoethnographic approach to her work as performing artist and violinist.
See Beaulieu, Kang and Heino (2017) here as an exception.

99

for whoever wants to enter this broad field of qualitative inquiry, having his / her profession
in mind as a possible starting point.

Acknowledgements
Special thanks to Joy Meyer who commented on a draft of this paper, to Andrew Davidson
and Fiona Stevens for their advices and to Lisa Hofgräff for her corrections.

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com/home/qix

101Artistry, the Cornerstone of
Dalcroze Eurhythmics© privat

Elda Nelly Treviño Flores

Dr. Treviño is a pianist and Dalcroze Eurhythmics (DE)practitioner and researcher. She is a professor andcoordinator of Programas Dalcroze at the Universidad
Panamericana in México City. Alongside she is a professor
at the Facultad de Música of the Universidad Autónoma
de Nuevo León (UANL) in Monterrey, and director of her
independent studio “Música Viva”. As active promoterof DE throughout Latin America, Elda Nelly frequently
serves as guest lecturer, and clinician in DE and piano
pedagogy. Up to now she is a member of the publicationscommittee of the Dalcroze Society of America in the US,
and a representative of the FIER in México. In addition, sheis active as a collaborative pianist. Dr. Treviño holds a Ph.D.
in Psychology from the UANL, Bachelor and Master of Musicin Piano Pedagogy from the University of Texas at Austin,
Dalcroze Certificate and License from Carnegie Mellon
University.

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Jaques-Dalcroze described his pedagogy as a “preparation for art” and insisted on the ideathat practitioners should make his work their own as long as they respected his principles.
From its origins up to the present, the practice of the pedagogy Dalcroze Eurhythmics has
found multiple applications worldwide. Given the openness and richness inherent in Dalcroze
Eurhythmics practice, a diversity of interpretations among practitioners from contrastingbackgrounds has come to light. For this reason, the purpose of this article is to reflect on: thekey traits of Dalcroze Eurhythmics pedagogy as described by the “Dalcroze Identity” writtenby the Collège of the Institut Jaques-Dalcroze in Geneva; how those traits are embodied in thepraxis of a master teacher based on the Jaques-Dalcroze pedagogy; the attributes that Dalcroze
Eurhythmics sessions must have to “prepare the students for art”; and the challenges that
unknown cultural nuances constitute towards the preservation of the essence and principles ofthe practice.
Jaques-Dalcroze a décrit sa pédagogie comme étant une « préparation à l’art » et a insisté surl’idée que les praticiens devraient s’approprier son travail tant qu’ils respectent ses principes.
De ses origines à nos jours, la pratique de la pédagogie de la Rythmique Jaques-Dalcroze a
trouvé de multiples applications dans le monde. Compte tenu de l’ouverture et de la richesse
inhérentes à la pratique de la Rythmique Jaques-Dalcroze, une diversité d’interprétations
d’horizons contrastés est apparue parmi des praticiens. Pour cette raison, le but de cet article
est de: réfléchir sur les points clés de la pédagogie tels que décrits par le document « Identité
dalcrozienne » rédigé par le Collège de l’Institut Jaques-Dalcroze à Genève ; comment ceséléments s’incarnent dans la pratique d´un maître enseignant la Rythmique Jaques-Dalcroze ;quels sont les attributs que les sessions de Rythmique Jaques-Dalcroze doivent avoir pour «préparer les étudiants à l’art » ; et quels sont les défis que représentent des nuances culturelles
inconnues envers la préservation de l’essence et des principes de la pratique.
Artistry is the best word I find to describe everything that encompasses the practice ofDalcroze Eurhythmics. After several years of being active in various facets of the JaquesDalcroze pedagogy and through my careful observation of the way master teachers approach
their praxis, by tracing the evolution of the practice itself from its origins to the present,
and by being involved in academic research, I realized that the essence of the practice ofDalcroze Eurhythmics through time, and the cornerstone of its principles is artistry, whichis reflected in the key traits of Jaques-Dalcroze work, both practical and theoretical.
Artistry is the creative skill of an artist, writer, actor, or musician (Collins Dictionary,2021). While reflecting on this definition, I tried to express ideas related to Dalcroze
Eurhythmics as a music pedagogy focused on the development of artistry, particularlyin the way its practice fosters the development of artistry in both teacher and student,
and alongside, to raise questions associated with possible different types of relationships
between cultural issues and artistry within the practice of Dalcroze Eurhythmics.
The document entitled “The Dalcroze Identity. Theory and Practice of Dalcroze
Eurhythmics” written by the Collège of the Institut Jaques-Dalcroze (Le Collège de l´Institut
Jaques-Dalcroze, 2020) which is a group of master teachers on the Jaques-Dalcroze
pedagogy from different countries, together with the Conseil de Fondation and executives of
the Institut Jaques-Dalcroze in Geneva, Switzerland, trace the norms for its practice aroundthe world. The 2020 version of the Dalcroze Identity document is the most recent document
to the present date. This document articulates in detail the most important traits of thepractice of Dalcroze Eurhythmics and the professional training of Dalcroze practitioners.
Even though this document does not provide a thorough discussion of and/or reflection on
the underlying principles of the Dalcroze Eurhythmics practice, it outlines a few of its key
notions. Therefore, the aforementioned document “The Dalcroze Identity” will be the basis
for the discussion of the following ideas.

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Meaning of Artistry in Dalcroze Eurhythmics Pedagogy
Throughout this article, I will refer to Dalcroze Eurhythmics as a music pedagogy, in thesame sense as that mentioned by Marja-Leena Juntunen (Juntunen, 2019) which statesthat Dalcroze Eurhythmics promotes embodied musical learning through the use of body
movement; therefore, Dalcroze Eurhythmics could be referred as pedagogy.
It is commonly understood that the corpus of practical knowledge of Dalcroze
Eurhythmics has been passed on orally through time by a diversity of master teachersand practitioners worldwide; nevertheless, it is in recent years that an increasing body oftheoretical knowledge based on scientific findings and scholarly reflection has developed.
According to the “Dalcroze Identity” document, Jaques-Dalcroze himself described hispedagogy as a “preparation for art” and insisted on the idea that teachers should make hiswork their own while respecting his principles (Le Collège de l´Institut Jaques-Dalcroze,
2020, p.7). Appropriate to the definition above, artistry is a creative skill, inherent toany artistic expression. If Dalcroze Eurhythmics is considered as an artistic pedagogy,
then Dalcroze practitioners ought to become highly skillful and creative in their teaching
through Jaques-Dalcroze principles. Moreover, since the Dalcroze Eurhythmics corpus ofknowledge is transmitted orally through the practice of master teachers and practitioners
specifically trained for that purpose, master teachers and practitioners become models fortheir students.
In my point of view, artistry becomes manifest in the three main branches of Dalcroze
Eurhythmics practice and in every one of its key traits inherent to the expertise (Greenhead,2019) of Dalcroze master rhythmicians: (a) mastery in rhythmic body movement, (b)mastery in the imaginative capacities to adapt to all kinds of nuances, (c) finesse in bodymind connections.
In order for artistry to become manifest in the praxis of a master rhythmician andpedagogue, it is essential for that person to have a high level of (a) musical understanding,(b) finesse and richness of musicianship, (c) intuition and leadership.
Musical understanding
In contrast with the musical requirements of other music teaching practices, the essence ofDalcroze Eurhythmics demands a solid musical background and a high level of instrumental
skill or competence (preferably that of piano) from its practitioners. Since there are no“recipes” to follow in the practice of the Dalcroze Eurhythmics pedagogy, the practitioner
has agency in deciding what, when, and how to teach a specific concept; therefore, thepractitioner establishes the teaching priorities for each group and ideally, teaching-learning
contexts in general. The deeper the musical understanding of the practitioner, the more
freedom he/she will have to be creative. The creativity and thus, artistry of the practitioner,
are also patent in the improvisational style. (Sourisse, 2017).
Finesse and richness of musicianship
The type and quality of the musical background of Dalcroze Eurhythmics practitioners has
a direct influence on the aesthetic value of music making and thus on the artistic level ofsuch practice in every particular case. For instance, a Dalcroze Eurhythmics practitioner
who has been trained only in the area of so called “concert music” will have a more limited
range of musical choices for improvisation than that of a practitioner who has been formedin the area of “concert music”, jazz, and/or popular music in parallel. Furthermore, within
the same genre of music, the quality of musical samples may vary a great deal. For thesereasons, the degree of finesse the Dalcroze Eurhythmics practitioner possesses in generalmusicianship at the time of making choices of specific works to be used during any given

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session, and the variety of musical styles used while improvising, will have a direct influenceon the shaping of the musicianship, and thus, artistry, of the students.
Intuition and leadership
In this regard, the document “The Dalcroze Identity” refers to the Dalcroze pedagogue as
essentially multi-skilled person, meaning that such a person should be able to adapt to theneeds of the students; either to change amongst different teaching styles, to motivate thestudents to be creative, or to foster their independence (Le Collège de l´Institut JaquesDalcroze, 2020, p. 12). In that same sense the master DE pedagogue becomes a leader who
models the course of action within each session, and throughout the music curriculum.
Alongside, the master pedagogue is a person who has the capacity for higher levels of selfreflection upon the praxis of the Jaques-Dalcroze pedagogy, and someone who is able toguide students through their own self-reflective processes.
As mentioned before, the essence of Dalcroze Eurhythmics is its diversity and polyvalenceof practice (Le Collège de l´Institut Jaques-Dalcroze, 2020, p. 6). For this reason, if wethink of the development of artistry as the cornerstone of Dalcroze Eurhythmics pedagogy, it
becomes essential for the students to be exposed to different teaching styles from various
master teachers. Each person develops artistry individually in a unique way according topersonality and background. For this reason, the students will develop richer and morereflective musical experiences. Moreover, I will add the notion of the Dalcroze Eurhythmics
practitioner as someone who is perceptive to the different needs of the students as humanbeings, beyond the musical realm and someone who is sensitive to cultural differences andnuances depending on where and how the teaching context takes place (this idea will befurther discussed in the following section).
As follows, I will reflect upon a few pedagogical aspects which, in my opinion, area manifestation of artistry when they are approached by a master Dalcroze Eurhythmics
pedagogue or practitioner and become evident in the praxis of the Jaques-Dalcroze
pedagogy: (a) session design, (b) creativity in improvisational skills, (c) reflection andanalysis, (d) trust.

Dalcroze Eurhythmics as a Means to Develop Musical Artistryin Students
Artistry in the approach of the pedagogical aspects mentioned at the end of the previous
section by a master Dalcroze Eurhythmics pedagogue, is essential in order to develop musicalartistry in the students. As a guide for practitioners, the document The Dalcroze Identity
provides a brief description of the main ways of teaching and learning in the Dalcroze work
(Le Collège de l´Institut Jaques-Dalcroze, 2020, p. 10-11) which are deeply interconnected.
After reflecting on them, I realized that their very essence is aimed towards the developmentof artistry in the students, regardless of the context of the teaching-learning situation, andnot only in settings aimed at the education of future professional musicians.
Session design
A very important feature of any teaching-learning session is the appropriate sequence ofactivities the students are asked to perform; that duty, though, is the responsibility of theteacher. In the case of Dalcroze Eurhythmics sessions, the master pedagogue must show
versatility to adapt or change the course of the session according to the various needs ofthe students (Arús Leita, 2013) in a specific situation; nevertheless, such a change should
be unnoticed by the group, neither must the quality of the teaching and artistic level ofmusic-making be compromised.

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Creativity in improvisational skills
Improvisation is one of the three principal branches of the Jaques-Dalcroze pedagogy
and one of the distinctive traits of Dalcroze Eurhythmics practice (Le Collège de l´Institut
Jaques-Dalcroze, 2020, p. 21) which in turn, has its roots in inner hearing. The displayof artistic improvisation by a master pedagogue or practitioner during a given sessionis the result of a long and focused ear training process (Cernik, 2013). Furthermore, amaster teacher has internalized technical automatisms at the instrument which enable
to develop higher levels of concentration on the musical and pedagogical aspects of theperformance itself, and on the responses of the students to the music. The quality of musicalunderstanding of the practitioner has a direct positive effect on improvisational skills (body,
voice, and instrument), and as a consequence, richer, more joyful and meaningful musicalexperiences, for the students.
The creation of automatisms mentioned in the section related to ways of learningrefers to the development of a technique of bodily responses to music which “helps them(the students) to develop ease, adaptability, and fluency in all aspects of their study” (LeCollège de l´Institut Jaques-Dalcroze, 2020, p.10). By liberating the attention from body
movements themselves once the automatic responses have been assimilated, the students
are able to focus their attention on musical expression (Greenhead, Habron & Mathieu,
2016; Duke, Davies Cash & Allen, 2011) and therefore, able to create artistic responses
to music. In that spirit, each teaching-learning session becomes a laboratory of exercises
designed by the practitioner aiming for art.
Reflection and analysis
One of the main concerns nowadays among the Dalcroze Eurhythmics community is thepreservation of the practice in a changing world. As any human activity, the practice of the
Jaques-Dalcroze pedagogy has evolved through time and the only way of maintaining it aliveis through a deep reflection process done by experts in the field within a multidisciplinary
perspective. The evidences of that process which is already happening, will enlighten thepath to follow in the future aiming at the survival of the practice. For this reason, nowadays,
more than ever before, it is of crucial importance to build knowledge of different types whichhelps contemporary and future generations of musicians, music educators, researchers, andgeneral public to understand and respect the value of Dalcroze Eurhythmics theory andpractice; the first step towards that goal, though, is to foster reflection and analysis among
students in each teaching-learning session (Grandjean & Labbé, 2017).
Trust
The practice of the Jaques-Dalcroze pedagogy is student-centered, meaning personcentered or holistic (Le Collège de l´Institut Jaques-Dalcroze, 2020, p. 11), in all thehuman dimensions: physical, cognitive, affective, social, intellectual, spiritual (Elliot& Silverman, 2014; Juntunen & Westerlund, 2001). Therefore, Dalcroze Eurhythmics
practice aims towards the discovery of individuality through musical expression (JaquesDalcroze, 1921/1967) and thus, artistry. It is the responsibility of the Dalcroze Eurhythmics
practitioner to create an environment of trust, in the sense of freedom to take risks; anenvironment which nurtures, cultivates, and fosters students to develop both as individuals
and as members of a group. (Le Collège de l´Institut Jaques-Dalcroze, 2020, p. 11; Habron,
2014). If that is the case, then the students would be free to develop their artistic potential
to its maximum level after living a process of conscious self-discovery (Juntunen, 2016),
through meaningful musical experiences (Bauer, 2019).

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A very important aspect not to be forgotten is that an essential trait of the Jaques-Dalcroze
pedagogy is the myriad of possibilities of professional and personal growth it offers both topractitioners and students, and we never know the way a Dalcroze Eurhythmics experience
may positively or negatively influence the life of a person (Le Collège de l´Institut JaquesDalcroze, 2020, p. 7). The possibilities of personal growth are broadened even more if we
consider the enrichment of the theory and practice of the Jaques-Dalcroze pedagogy as it
unfolds in different cultures around the world.

Artistry and Culture in the Practice of Dalcroze Eurhythmics
As acknowledged before, the tradition of the Jaques-Dalcroze pedagogy practice has beentransmitted orally through time for more than one hundred years and therefore, it has
been transformed and enriched during this process. The fact that the practice of Dalcroze
Eurhythmics has its origins at the beginning of the twentieth century makes it impossible
to have primary audiovisual sources which demonstrate extensively the way the practice
was originally conducted by Jaques-Dalcroze himself and his immediate pupils. Primarysources, though, consist mainly of the original writings and music by Jaques-Dalcroze
and his contemporaries, interpretations of those writings done by feminine successors,
drawings, and photographs. Later on, thanks to the progress of technology, audiovisual
recordings and testimonies have become a valuable source of information regarding thecontinuity of the oral tradition of the pedagogy Jaques-Dalcroze.
One of the aspects clearly emphasized in the document “The Dalcroze Identity” is therichness of its practice which has allowed a diversity of applications and interpretations byDalcroze Eurhythmics practitioners around the world and through time. However, at thesame time, precisely due to the openness of the Jaques-Dalcroze pedagogy which has led tothe polyvalence of its practice, the document mentioned above expresses a genuine concern
related to the preservation of its essence.
As part the evolution of the Dalcroze Eurhythmics practice through time, it is important,
as stated in the document “The Dalcroze Identity”, to be aware of the fact that since theearly years of this music pedagogy´s creation, practitioners have been present in different
countries and, therefore, different cultures. As a result, the Dalcroze Eurhythmics practicein certain places is no longer recognizable as such (Le Collège de l´Institut Jaques-Dalcroze,2020 (p. 5-6). For the reasons aforementioned, in my point of view, one of the aims of the
document “The Dalcroze Identity” is to clarify the key traits of the practice of the JaquesDalcroze pedagogy by articulating them in a general way and by providing a specific listingof technical and musical aspects related to the professional training of Dalcroze Eurhythmics
practitioners. Furthermore, the referred document calls for a “regeneration of the work” (LeCollège de l´Institut Jaques-Dalcroze, 2020, p. 6).
Even though the document “The Dalcroze Identity” is clear about musical concepts, andgeneral pedagogical matters as referred to before, it does not discuss in depth, neither theunderlying philosophical foundation of the practice and principles of the Jaques-Dalcroze
pedagogy, nor the influence that cultural differences may have upon its application, and asa consequence, on the preservation of its essence. For this reason, I would like to reflect onsome ideas.
In my viewpoint, cultural variables, and their effect on the essence of the Dalcroze
Eurhythmics practice, mainly artistry, represent a very important aspect of the field of
Dalcroze studies which has not been sufficiently explored up to the present. There are
exceptions such as the study performed by Cheng Xie in China which offers thoughts on thenotion of culture-sensitivity applied to the Dalcroze Eurhythmics practice in this country(Xie, 2019). Among such variables are: (a) body concept, (b) social interaction, (d) musicaldeficiencies, (e) infrastructure.

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An in-depth discussion and research about the cultural variables mentioned above,
which within themselves contain several other factors to be studied from an interdisciplinary
perspective, is far beyond the scope of this article. For this reason, my intention now is todraw attention to the importance of such matters and to suggest possible questions for
future research projects.
Body concept
The primary instrument of the practice of the Jaques-Dalcroze pedagogy is the body; afundamental and distinctive trait of training in Dalcroze Eurhythmics practice is to refine
the body and its perceptions by means of music (Le Collège de l´Institut Jaques-Dalcroze,
2020, p. 12; Greenhead, 2015). However, the self-image a person has which is a result ofprevious life experiences started in early childhood, together with the concept of body andsexuality particular to a specific culture, may have positive or negative effects on the way
a person moves, and the freedom with which the experience of music is reflected in theway the body moves. Moreover, religious beliefs and cultural values directly influence a
person´s bodily perception.
Social interaction
This aspect is closely related to body concept, religion, and general cultural practices andvalues. Depending on the culture, there are certain social conventions that openly or tacitly
govern the social interaction between persons of opposite sexes, between different age
groups, between persons from different social status, among other situations; those factors
determine conscious and unconscious behaviors visible in Dalcroze Eurhythmics sessions.
Musical deficiencies
Besides specific cultural traits which may be very different from those in Switzerland,
the home of Dalcroze Eurhythmics, each country may have particular issues related to its
standard musical education such as lack of tradition for musical education, music not being
part of the general curriculum in the public (and sometimes private) educational system,
and a generalized deficiency in professional music training, among other issues, whichmake the practice of the Jaques-Dalcroze pedagogy more challenging.
Infrastructure
The ideal situation for an optimal Dalcroze Eurhythmics practice is to have large spaces
appropriate to the size of the groups (ideally not large), suitable construction materials forthe floor to facilitate movement without damaging the feet and spine, well-tuned acoustic
pianos, and practice rooms for students, among other facilities; however, this is rarely thecase in many teaching-learning situations.

Final remarks
As time passes, the work and applications of pedagogy Jaques-Dalcroze become morediverse. New findings from multi- and interdisciplinary research have made its theory andpractice even richer than it was in the past. In the present decade we are being challenged
by the most severe worldwide sanitary crisis in contemporary history which has led Dalcroze
Eurhythmics practitioners to find new ways to preserve the tradition and essence of thepedagogy Jaques-Dalcroze.

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It is undeniable that one of the key traits of Dalcroze Eurhythmics practice is the social
element which allows the person to grow individually and as member of a group throughdirect, joyful and enriching interaction with one another while making music artistically.
Nevertheless, given the present conditions of forced isolation, is it possible to preserve theessence of Dalcroze Eurhythmics pedagogy if the social interaction is missing?
After reflecting about the ideas introduced throughout this article, I ask myself and myreaders more questions which I think invite us to pursue scholarly research in an attempt
to find answers: Is it possible to have a successful Dalcroze Eurhythmics practice when
one or various of the issues mentioned above related to cultural practices are not handledproperly? Is it possible to have artistic results through the practice of Dalcroze Eurhythmics
when the ideal conditions are not met? To what extent do external variables beyond thecontrol of the practitioner compromise artistry in the practice? To what extent does theDalcroze Eurhythmics practitioner compensate for deficiencies of any sort in a given
teaching-learning environment in order to develop artistry in the students? Are meaningful
and enriching musical experiences related to or have an effect upon artistic results in
Dalcroze Eurhythmics practice, if so, how? What specific traits has the practice of JaquesDalcroze pedagogy developed in countries outside Switzerland which preserve or do notpreserve its essence and principles? How have Dalcroze Eurhythmics practitioners outside
Switzerland creatively assimilated their practice into the uniqueness of their culture? How
different is the practice of the Jaques-Dalcroze pedagogy in each country? Hopefully thesequestions will raise many others and invite readers to the search for answers…

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Bauer, R. W. (2019). Expanding our Bodies of Knowledge. Le Rythme, 80-89.
Cernik, P. (2013). Cinq Caracteristiques du Solfège Dalcrozien. Le Rythme, 9-12.
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Duke, R., Davies Cash, C., & Allen, S. E. (2011). Focus of Attention Affects Performanceof Motor Skills in Music. Journal of Research in Music Education, 20(10), 1-12.
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Grandjean, D., & Labbé, C. (2017). The impact of Dalcroze Eurhythmics on the development of self-representations and social competences. In del Bianco, S., Morgenegg, S.
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Greenhead, K., Habron, J., & Mathieu, L. (2016). Dalcroze Eurhythmics. Bridging the gap
between the academic and the practical through creative teaching and learning. In
Greenhead, K., Habron, J., Mathieu, L., Haddon, E. & Burnhard, P. (Edits.), Creative
Teaching for Creative Learning in Higher Music Education (pp. 223-231). London and
New York: Routledge.
Habron, J. (2014). Through music and into music, through music and into wellbeing. The
Journal of Transdisciplinary Research in South Africa. Special Edition, 10(2), 90-110.

109

Jaques-Dalcroze, E. (1921/1967). Rhythm, Music, and Education (2nd ed.). (Rubinstein,
H.F., Trad.) London, United Kingdom: The Dalcroze Society.
Juntunen, M.-L. (2016). The Dalcroze Approach. Experiencing and Knowing Music throughEmbodied Exploration. In Abril, C. & Gault, B. (Eds.), Approaches to Teaching General
Music: Methods, Issues, and Viewpoints (pp. 141-67). Oxford University Press.
Juntunen, M.-L. (2019). Dalcroze Eurhythmics – A Method, an Approach, a Pedagogy, or a
Philosophy? Le Rythme, 49-59.
Juntunen, M.-L., & Westerlund, H. (2001). Digging Dalcroze, or Dissolving the Cartesian
Dualism: Philosophical and practical remarks on the musical body in action. Music
Education Research, 3(2), 203-214.
Le Collège de l´Institut Jaques-Dalcroze. (2020). The Dalcroze Identity. Professional training
in Dalcroze Eurhythmics. Theory and Practice. Geneva, Switzerland. www.dalcroze.ch
Sourisse, L. (2017). L´improvisation instrumentale dans le filiere HEM „Musique et Mouvement Jaques-Dalcroze“. In del Bianco, S., Morgenegg, S. & Nicolet, H. (Eds.), Pèdagogie, art et science: l´apprentissage par et pour la musique selon la mèthode Jaques-Dalcroze (pp. 167-180). Genève: Haute Ecole de Musique.
Xie, C. (2019). Eurhythmics goes China. Thoughts on Culture-Sensitive Eurhythmics in
China. Le Rythme, 127-37.

Artistic Production

113“Stage-fright”© Karol Sokołowski

Olga Daroch

Olga Daroch graduated from Academy of Music in
Katowice (majored in Eurhythmics and Theory of Music
Subjects) and the Academy of Theatre Arts in Wroclaw(majored in Theatre Directing for Children and Youth).
She is a teacher of Dalcroze Eurhythmics in primary andsecondary music schools. Olga cooperates with SWPS
University and Suzuki Center Education, and leads
workshops and seminars about using eurhythmics andtheater activities in music education. Artistic educatorand coordinator at the National Forum of Music Center
Education in Wroclaw.

114“Stage-fright” is a short, theatrical movement interpretation of music. Only four minutes
long, the work was created between July and August 2020. It is based on original ideas
stemming from a fascination with the legendary Polish composer Penderecki’s “Serenade”(from the Divertimento for Cello Solo). Additional inspirations for this unique project weredrawn from many years of observing professional instrumental musicians.
“Stage fright” affects every performer to a greater or lesser extent. For some it ismotivating, for others paralysing. It also happens that seemingly absent nervousness makes
itself known in the least expected moments - thus in turn throwing out of balance even themost focused artist. Continuously trying sophisticated tricks, it constantly changes face.
Will the performer manage to fight the titled “Stage-fright”? Will it disappear from thestage, giving solace to a distressed artist?
The project was directed by a graduate of the Academy of Music in Katowice (Poland) who
also has a background in theatre direction, majoring at the Academy of Theatre Arts in
Wroclaw. Olga invited two further experts to participate: her husband, internationallyaward winner cellist, Tomasz Daroch, alongside Eurythmics and Dance Theatre specialist,
Blanka Moryc.
Produced by the Theater of Rhythm Katalog “Stage-fright” is a part of the artistic activityof the Eurhythmics Research Club of the Karol Szymanowski Academy of Music in Katowice,
Poland, founded and managed since 1997 by Professor Anetta Pasternak.

© Marius Lipiński

115© Marius Lipiński

Video: https://youtu.be/yVJE0v0CW7Y

116“Bei Müllers”

Graduation Project – Bachelor of Arts inMusic and Movement 2020

© Urban Mäder

Marion Bolfing, Nils Fischer
Lucerne University of Applied Sciences and Arts

«Müllers» are: Rosalin Birnstiel, Nils Fischer, RominaPeter, Nicole Zgraggen, Michèle Fella and Marion
Bolfing. «Bei Müllers» was their graduation project from
Bachelor of Arts in Music and Movement 2020 at Lucerne
University of Applied Sciences and Arts. The text was
written by Marion Bolfing and adapted by Nils Fischer.

117

The graduation from the three-year Bachelor’s program “Music and Movement” at theLucerne University School of Music includes a joint project that is developed within theclass and shown in public. In 2020, the Corona pandemic threw a spanner in the works andwe had to come up with a new “Corona-compliant” concept. At the beginning of April 2020,
we were faced with a lot of unanswered questions. Fortunately, we were able to meet online
during the lockdown, and exchange ideas. Pretty quickly we agreed: we want to design a
website. The result was an online, partly interactive apartment tour, where visitors wereguided through Müller’s imaginary flat. They had to overcome challenges and could apply
for the free room. Finally, we found a way, with a mixture of self-taught challenges andprofessional tips and tricks, to bring our videos to a nice level.
A few weeks before the publication of our Bachelor project, we were allowed to see eachother live again. We met up to seven days a week, filmed more scenes, recorded music andworked on our website until the release day on June 19th 2020.
Unfortunately, the free room is now taken and the website is no longer online. But avideo of the whole project can be accessed via the QR-Code below. Have fun in Müller’sshared flat!
Video: https://www.youtube.com/watch?v=8DrgxBzh-vM

118

Tales of Mother Goose

Performance of musical fairy tales forchildren based on the music by
Maurice Ravel

Barbara Dutkiewicz

The Karol Szymanoski Academy of Music of Kattowice
CV see p. 57

An original project carried out by the Barbara Dutkiewicz Performative Arts Studio,
commissioned by the Polish National Radio Symphony Orchestra, premiered on November
28th 2015 with this orchestra at Chamber Hall. Music, dance, fairy tale text and multimedia(slide projection) work together to complement each other in this performance of 43 min.
The basis of the performance is the musical suite ‘Ma Mère l’Oye’ by Maurice Ravelinspired by Charles Perrault’s fairy tales such as Sleeping Beauty, Little Tom Thumb, The
Green Serpent, Beauty and the Beast. Music is an excuse to tell a fairy tale by means of
movement theatre. In this choreography, eurhythmics was the principal means of revealing
the relationship between particular musical phrases and movement. However, elementsof pantomime, shadow theatre, and puppet theatre were used in order to transmit nonmusical content. For technique and aesthetics of movement, various dance techniques werealso used.
The individual parts of the suite are enriched by a narrative summarising the fairy tale plot
and introducing the action of individual movement scenes. The part of the announcer has been
replaced here by a fairy-tale narrative developed in the convention of a radio play - playedoff-screen, conducted by two actors’ voices: female and male (Natalia i Cezary Kruszyna). A
sound illustration with sonoristic effects has been added to the actor’s interpretation of thetext, mainly for a prepared piano and percussion instruments played live by a duo (Agnieszka
i Piotr Kopińscy), as well as a slide projection illustrating selected plot events. The idea,
direction, choreography, stage design, adaptation and soundtrack are all the work of Barbara
Dutkiewicz. Fairy-tale characters were Barbara Dutkiewicz and Janusz Pietrucha, as well as
Zuzanna Pałka, Agnieszka Podsiadło, Katarzyna Zegarek (students of eurhythmics at The
Karol Szymanowski at the Academy of Music in Katowice).

119© Beata Zawiślak

© Beata Zawiślak

Trailer: https://t1p.de/ms9m7

120

Choreographies of Music for
Selected Children’s Songsby Chick Corea
Barbara Dutkiewicz

The Karol Szymanoski Academy of Music of Kattowice

These choreographies were created as part of the curriculum for the subject of movement
composition (plastique animée). In my role as a teacher of this subject, usually I arrange withthe students a selected piece or two as an example, and then each student arranges his/herchoreography with a group of his classmates. I am very eager to implement this task in theform of a cycle. This time I chose Children’s Songs by Chick Corea. The students develop
their concepts and present them at the end of the semester as part of the exam. We realised
7 different songs in total. Three of them were presented at the theater hall of the Academyof Music in Katowice during the Polish-Taiwanese Seminar of E. Jaques-Dalcroze Method(1/02/2017).
In the choreographies, we decided to emphasise the differences of character that were
noticeable in the music.

Program
C. Corea, Children Song No 11. Choreography: Barbara Dutkiewicz, performed by Olga
Czech, Aneta Gałysa, Aleksandra Kulig, Monika Nowak - duration 0’39 ‘’. It was a very shortpiece, quick, laconic, with contemporary harmony, and contradictory, just like children’s
play.
C. Corea, Children Song No 6. Choreography: Barbara Dutkiewicz, performed by Karol
Skóra, Olga Czech, Aneta Gałysa, Aleksandra Kulig, Monika Nowak duration 2’44 ‘’. The
piece gave the impression of spectacular virtuoso improvised parts in the melodic layer(which in the movement layer was illustrated by solo parts of competing, showing off in
front of each other) with simple ostinato accompaniment and with contrasting parts.
C. Corea, Children Song No 10. Choreography - Olga Czech under supervision of B.
Dutkiewicz, performed by Aneta Gałysa, Aleksandra Kulig, Monika Nowak, duration 1’33 ‘’(the piece had a lyrical character and original colors of the sound).

121© Robert Rogucki© Robert Rogucki

122“Knife Apple Sheer Brush”
A eurhythmics video-project

Barbara Dutkiewicz

The Karol Szymanoski Academy of Music of Kattowice

The original artistic project carried out by the Barbara Dutkiewicz Performative Arts Studioto the solo flute work by Eve de Castro Robinson ’Knife Apple Sheer Brush’ for vocalisingflutist. The musical piece consists of three short movements to the text of Len Lye (Part I:
Knife Apple Sheer Brush, Part II: Sun tru clouds, Part III: A Red Moon). The choreography
in form of a video project was created at the request of flutist Adrianna Lis as part of theFirst Silesian Flute (on-line) Conference on the topic ’Between sound and expression’ at the
Karol Szymanowski Academy of Music in Katowice April 26, 2021.
The main artistic objective was to compose a visual layer according to the assumptions of
the Emile Jaques-Dalcroze eurhythmics method. In order to enrich the visual interpretationof the chosen music piece, an image using choreography (plastique animée) was expanded
through the use of means of artistic expression available for video art. The field for creative
exploration included activities at the junction of instrumental sound, words, singing andmovement, facial expressions as well as light, colour and shape in a video image.
The idea of ​​the whole project, choreography, cast of performers, costume concept, image
direction, camera recording and video editing, as well as preparation, production and artistic
management - Barbara Dutkiewicz. Design and execution of the wing by Anna Kandziora,
lighting: Sergiusz Brożek, second camera: Izabela Mikrut. Project performed by flautist
Adrianna Lis (flute and voice), and a eurhythmics mover/dancer Paulina Figaszewska student of The Karol Szymanowski Academy of Music in Katowice.
The film uses an audio recording from July 7, 2020. Sound director: Krzysztof Ścieżka. The
video was recorded at the KOREZ Theater in Katowice on April 15th 2021.

123© Izabela Mikrut© Barbara Dutkiewicz

Video: https://youtu.be/RifttV-rgcQ

124

Gem-Einsam-h/k-eit
Connected Solitude© Johannes Eidenhammer

Magdalena Eidenhammer

Magdalena Eidenhammer graduated at the leading music
universities of Austria: Mozarteum Salzburg and MDW– University of Music and Performing Arts Vienna with a
Bachelor of Arts Elemental Music and Dance Pedagogy and a
Master Music and Movement Education / Eurhythmics. She
stayed abroad at the UFRN in Natal, Brazil (department ofphysical theatre) in 2017 and takes part as a professional
dancer at numerous artistic productions by „DasCollectif“
under choreographer Irina Pauls. For two years she
worked as a voice instructor at the Tölzer Boys Choir in
Munich, Germany. Since then, she has focused on holistic
body work in classical singing and stage presence training.
Currently she is a PhD Student at the MDW investigating
the-smooth-space. www.the-smooth.space/project.html

125Rhiannon “the goddess of the other world” appears in a long-sleeved hyperdimensional
white dress. Distant voices in eleven different languages whisper “there was once upon atime a little girl whose father and mother were dead” as she remains drawing endless seeming
figures of eight with her sternum.
“And as she was thus forsaken by all the world, she went forth into the open country…”

For those who can read the pictural language of fairy tales, each encounter (poor man/three moaning children) gives Star Money the possibility to get rid of her limitations. Until
she has “not a single thing left”.
With the new discovered independency (loss of parents), the undressing in the woods(unconscious mind) “it is a dark night and no one sees thee, thou canst very well give thy little
shirt away” she leaves behind the past and enters the transformation: “suddenly some stars
from heaven fell down”.
The courage to meet her inner self makes her “rich all the days of her life”.
In this contemporary interpretation seven dancers show different qualities of the main
character Star Money. Transformed into CHIMERAS they have a fascinating one-dimensional
corporeality: white neural masks worn on the forehead and long dresses turned upside
down above their shoulders. Each encounter with another chimera in space seems likeinvading another world - the inner world. Sudden high energy movements alternate with
intimate moments and create new aesthetic room constellations.
With the final circle ritual (the clearing) the chimeras get back their human appearance.
Performance Location:
Duration:
Artistic concept:

MuTh – Vienna, June 2018
20 minutes
Read and reveal pictural language
Open room for interpretation through abstractions
Working method:
Character development with neutral masks throughimprovisation focusing on fluid floor work. Improvisation
with speech and movement about given text: The starmoney – (grimmstories.com)
Dancers involved:
Sophie Glaser, Vivian Tanzmeister, Tamara Nicole Ziegler,
Yijing Zhou, Sonja Käferböck, Maximilian Resch, Lucia
Dürrhammer
Concept, Composition, Choreography, Costumes: Magdalena Eidenhammer

126© Bankl© Heiler

127© Bankl

Video: https://t1p.de/qerr

128

the foreign.body© Peter Truschner

Anna Petzer

Anna Petzer moves between music, dance and media
art. She studied Eurhythmics and Art and Media at the
Berlin University of the Arts. On stage she performs her
own pieces, such as “fremd.körper”, dance pieces as wellas music theatre pieces by H. Wüthrich, D. Schnebel and
M. Hirsch. She staged her electroacoustic compositions
at ZKM Karlsruhe and ADK Berlin, f.i. “levitation – when
the body becomes a little lighter”. As Duo Act 101 shedeveloped further pieces such as “Pawn Structures” and“Head Games” with Walter Sallinen for various festivals in
Berlin and Finland. www.annapetzer.de129

Two forces collide. A metal cube becomes material. Material becomes form. Form becomes
space. Space becomes body. And I invite him. To dialogue. To make contact with me.

The foreign body - a metal cube - an object that is simultaneously space and form, becomesa dance partner in the course of time through the collision of two forces. The fascinationof the cube skeleton for me was its mobility. A cold framework becomes a body itself if you
define its construction not just as rigid form, but as a system of mechanisms and dynamics.
My approach to the body that is foreign to me happens through contact – first and foremost
physical – in order to create a real, concrete connection. By suspending it from the floor
like a marionette on ropes and connecting its joints to mine, I have not just contact andinfluence but control on the other. Moreover, since the geometry of the cube also represents
the space within its form, this space is also malleable guided by my movements.
The pleasure of empowerment, of complete mastery of the foreign alternates thepleasure of surrender, the curiosity about the impact on me. My movements change having
this 15 kilo mass bound to my body, my self-image shifts being enclosed in a volume of 8
cubic metres. So, starting with the technical learning of the new movement repertoire theartistic research brought me to a deeper exploration of the aesthetics and narratives of thisencounter.
Performance for dancer and metal cube, duration: 45min.
Link: https://vimeo.com/154150165

130

Topographies of Falling
Anna Petzer…falling becomes material, material becomes body, body becomes material, material becomes
falling....

The topographies of falling have already played in many formats and have accompanied me
in my artistic development since 2014. Originally conceived as a long duration performance,
my studies on the falling of the body into a marked-out square of flour passed throughvarious artistic transformation. In the context of the exhibition “Bangkok Struggle” withphotographs by Peter Truschner at the Museum of Modern Art Klagenfurt, I exhibited avideo installation that shows the scenery at a very slow pace. Truschner’s pictures focus theworking, and homeless, the socially lower classes in their everyday lives. Sleeping people
conform to the forms of their urban environment: hands, feet, faces leave traces, imprints,
topographies. People sink into the materials of their working space. The film techniquemade it possible for me to create a shift in perception, alienate the moment of impact on thefloor, the accompanying hardness in falling, and thus to intensify the physical ambiguity ofa fallen and a sleeping body. The contrast of gravity and weightlessness merges.

After the initial exhibition in 2015, I took up the original concept again in 2017 andshowed Topographies of Falling as a 40-minute performance in the disused hospitalof LHQ Berlin Buch. I took up the prologue again, which I had already developed in2014 in class with Marina Abramović student Nezaket Ekici: A woman comes onto
the stage carrying a large sack filled with flour. Carefully, she scoops the flour piece bypiece with a sieve and scatters an exact square on the floor with meticulous manoeuvre. When she has finished, she ties up the empty sack again and enters the square.

I am currently working on a translation of the concept into a sound composition. I equate
the white square deformed by the effect of the body movement (like a Pollock painting “drawn”
by physical action), with a sine wave that comes into interference with other frequencies
through additive synthesis and thus loses its pure form.
Performance, duration: 40 minutes
Video installation, duration: first version 300min / second version 26min.
Link: https://vimeo.com/233783561

131

Headgames
Anna Petzer

Phases: Preface (vision) Surface (television) Interface (telepresence) Deface (presence)

Anna Petzer and Walter Sallinen (Duo: Act 101) together with media artist Ville Niemi,
present a new play HEAD GAMES for two performers, involving gesture-controlled sensors
and real-time video processing. The piece was premiered 30.11.2018 in The Helsinki Music
Centre as part of the MuTeFest–festival.
We started with building an interactive system that can translate hand movements tolive generated video and audio output. Motion-sensing rings worn by the performers work
as wireless controllers that translate the different positions of the hand to preprogrammed
sounds and effects in order to create sonic equivalents to the movements seen on stage. The
MIDI signal is also shared to the video processing software. The performers are therefore
able to control sonic and also visual events on stage and interfere with the other and thedevelopment of the piece.
Using the technical system, we composed a game based on rules whose outcome isneither fixed nor completely open. The two players of the game are sitting at a table andfacing each other. The decision made by one defines the possibilities of the other. The piecedeals with how digital interfaces have started to dictate the ways we communicate andinteract with each other. The choreographed gestures work as an interface to the gameand its rules, but also to the digital soundscape and imagery of the performance. The
spectator can follow from the screen the dialogue between the two performers but also
how they eventually dive into a virtual space. Ultimately the scene of the performance
presents a paradox: by the aid of telepresence constituted by different interfaces, we are
simultaneously there and not there.
Performance with two players, Player 1: Anna Petzer // Player 2: Walter Sallinen
Video and visuals: Viiksimaisteri
Link: https://vimeo.com/306194135

132

Moving Messiaen
Lecture Performance

Dorothea Weise

University of the Arts Berlin
CV see p. 67

Rhythm, metrics, harmony, form, syntax, dynamics, energy, agogic - what actually moves
in music? How can it be made audible and visible in artistic processes of transformationand processing? Eurhythmics students at the Berlin University of the Arts asked themselves
this question using the example of Ile de feu, the first étude from Olivier Messiaen’s Quatre
Études de Rythme. Inspired by the musical material of the piece, music, body and movement
are connected to one another, translated into one another and juxtaposed. The students
let emerge various creative forms such as a fixed choreography, a re-composition andimprovisational approaches.
Concept and coordination: Hanne Pilgrim, Dorothea Weise
Presented as Lecture Performance during the conference: Sound - Traces - Moves at the Orffinstitute of the Universität Mozarteum Salzburg in 2016.

© Lisa Baeyens

133© Lisa Baeyens© Lisa Baeyens

Video: https://t1p.de/soe8

134

Rational Melodies
Performance Project

Dorothea Weise

University of the Arts Berlin

The instrumental cycle Rational Melodies by the North American composer Tom Johnson(*1939) consists of additive operations, combinations, permutations, substitutions,inversions and other logical processes. It formed the design basis and inspiration forrational as well as lyrical, playful, mysterious, dance-like and sonorous performative events.
Building blocks served as prop and stage set.
The project included the in-depth examination of the possibilities of realising andtransforming eleven pieces of this cycle in movement, dance and scene in order to developinteresting and compositionally coherent audio-visual correspondence. Eurhythmics
students from the Berlin University of the Arts developed the performance program together
with the Trio Omphalos (clarinet, piano, percussion) in 2018.
Concept and coordination: Olaf Pyras, Dorothea Weise
Trailer: https://t1p.de/ktel

www.udk-berlin.de/rhythmik, www.trio-omphalos.de

135

GebärdenMusik

An artistic way to perform music for the
hard of hearing and deaf people© privat

Julia Schulenburg

Julia Schulenburg studied German Sign Language andeurythmics/music and movement. She is specialised inconcerts and interactive projects for hearing impaired
and deaf children and adults. After several years ofself-employment and as a teacher for deaf and hearing
children in kindergartens and at school, she is now
the head of educational work at the orchestra Neue
Philharmonie Westfalen (“Musikvermittlung”). She also
gives workshops to train educators in different topics ofmusic and eurythmics with or without the specialisationof inclusion. She writes her doctoral thesis at the
University of Music Trossingen in the field of inclusion
and adult education.
www.schulenburg-gebaerdenmusik.

136

For most of the hearing people the enjoyment of music is linked to the acoustic experienceand seems to be strange for the hard of hearing and deaf people. Another association isconnected with music as a therapeutic medium. But the reality looks different: more andmore persons with hearing impairments get interested in music. They can feel the rhythm
and bass or – depending on the severity of the hearing loss – even melodic phrases. Theirfavourite way to experience the world is observation. So, the best way to enjoy music seems
to be a combination of watching, feeling (and listening if there are hearing residuals). That’s
why Julia Schulenburg invented GebärdenMusik. By connecting methods of eurythmics/
music and movement and German Sign Language, she found an artistic way to perform
classical music for the hearing impaired. The composition may even include words for a
vocalist or choir, GebärdenMusik is not only a translation from spoken to signed language,
it is an interpretation of the composition on which it is based. Its dynamics, phrasing or
emotions influence the signing and body movement of the performer. Of course it is also
working with instrumental music.
Together with a baritone and a pianist Julia Schulenburg founded the Ensemble
AugenLieder (EyeSongs), which realises concerts of art songs written by, for example
Brahms or Schubert. At the beginning in 2018 all three musicians stood apart from eachother with only a few interactions. Step by step the ensemble developed a dialogue of(body) communication. Because of the different audiences every concert is unique. You
never know their anticipations and their limits of listening, their opinion on enjoying musicor concerning topics of diversity. This also explains why the reactions to those concerts are
as diverse as the audience. Doing or visiting a concert of GebärdenMusik is not only an event
but getting (artistically) in touch with yourself.
Link: https://youtu.be/Lw_zZ6wSSKY

137

La Lune – Le Soleil
An audiovisual experience

Merle Thordis has studied B.A. Eurhythmics/
Music and Movement since 2017 at the Universityof the Arts Berlin. Since 1998 Merle has been
performing with dance, music and theatre projects
and has also participated in several video projects.
In collaboration with other artists, she regularly
develops creations in the trans-disciplinary field ofmusic/sound, speech, dance and video on cultural,sociological and political topics. www.merlethordis.com© Tim Pohr© Caroline Prange

Merle Thordis, Tim PohrTim Pohr is an interdisciplinary artist from
Hanover based in Berlin. He is studying
communication design in Potsdam and isinterested in transformation design. His
main fields are illustration, photography andmotion graphics. Most of his work is about
gender equality, lgbtqi+, empowerment,
climate and sustainability. www.
studioradikalweich.com

138This performance is an exploration of the world through sensual perception; the world
which surrounds and touches us; the world with which we make contact; the world towhich we relate; the world from which we distance ourselves, the world in which we try toorient ourselves.
Intimacy, inner reflection, honesty, longing, vulnerability, courage and will.
Produced by Tim Pohr and Merle Thordis.
Video: https://t1p.de/faw4y

139

Jederzeitlos

A kaleidoscopic research ontime at the intersection of music, movement and language© Helena Waldvogel

Sophia Waldvogel

Sophia Waldvogel studied Music Education in Social Workat Clara Hoffbauer University of Applied Sciences Potsdam,
completed a one-year dance training in Berlin and theMaster Music & Movement / Eurhythmics – Performanceat University of Music Trossingen. Since 2019 she has
been doing a PhD on improvisation and inclusion in adulteducation. She has been working for 10 years at theintersection of social work and eurhythmics, music andmovement education with children, people with disabilities,
international volunteer groups and suicidal adolescents.
With the project Jederzeitlos she won 2nd price at theuniversity competition in music education. Her own artistic
work moves between dance and flute improvisation as wellas multimedia performance.

140

It is the spring of 2017. The sound of water bottles is drowned out by laughter as one of thewomen spontaneously performs a little dance with her handbag. You hear rhythmic steps,
murmurs, the rustling of the curtain in the open door through which a gust of wind blows
into the dance studio. After our short break we spread out on the wooden floor. And withthe first piano note emanating from the speakers, you see 8 pencils beginning to run andbounce across papers. We listen to the ‘Dance of Pangea’, composed for the performers.
Based on their graphic notations, they develop movement sequences which we assemble
into a group choreography. We observe how we shape time through our movement.
On other days we approach the theme of time more intuitively, with poems, voice andmovement improvisations, colourful tape and sound collages (Claude Debussy, Adriana
Hölszky, Tom Zé). One year later the group Pangea shows the 70 minutes performance
Jederzeitlos (“everytimeless”) at fabrik Potsdam - International theatre for dance andmovement art. In improvised and choreographed scenes, all developed collectively, theeight performers allow themselves to be captured by the metre and then playfully breakthrough it.
They all have multiple sclerosis and founded the association Pangea in 2009 to financeweekly dance lessons. When I took over their classes in 2016, it was my wish to provide
them with new means of expression, also to meet their increasing physical limitations.
Eurhythmics served as the basis of my artistic approach. Although the women see
themselves as hobby dancers, I saw them as artists who can make a valuable contribution
to the performance scene. For them there was another reason to go on stage: “No matter
how MS hits you. Life goes on! And we are the best proof.”©Martin Oskar Kramer

141©Martin Oskar Kramer

Video: https://youtu.be/TSX0EZHHqOk

142

Flytande form
In Fluid Form

© Emil Westberg

Ensemble Yria

Ensemble Yria; Cecilia Eurenius, Britta Forslund, Sara
Ohlzon, Karin Westberg and Madeleine Wittmark,met during Dalcroze eurhythmics studies at the Royal
College of music, Stockholm. We work with artistic andeducational performances and have been touring Sweden
since 2008. We compose, produce and perform our music
for children 0-12 years old. Each year approximately 8000 children see our interactive shows and hundreds takepart in our eurhythmic courses. New music and teachingmaterials are frequently released (5 books, 7 music
albums, 9 shows). We all enjoy the hard work and thebeauty of musical meetings with a diverse audience. www.
ensembleyria.se. Ensemble Yria on YouTube “Yrias varld”.

143

Ensemble Yria´s interactive concert for children 9-12 years old. We wanted to combinescience, poetry, music and movement to give an artistic experience of water in its many
forms visually, audially and physically. The concert is a series of songs that illustrate thewater cycle, the Atlantis myth, water molecules, a Tsunami, rain, ice and a plea to protect
our precious water. Imaginative costumes, a simple but powerful scenography and the useof artistic lighting creates the everchanging setting. The movement on stage visualises both
lyrics and music, for example, dancers trying to outrun a Tsunami, caught up in the wave –dancing the groupings of the 5/8 beat.
We aimed for an inclusive, artistic and breathtaking whole: both dissonant and in
perfect harmony – the music, lyrics and movement engage with an educational depth. The
Dalcrozian line of thought is present throughout the performance emphasising the musicalelements and using movement to embody knowledge. Together with the audience, we fill
the space with the sound of rain, dance as molecules transforming from solid, to fluid, togas and invite everyone to join in and sing the chorus: “The same old water”.
The concert has toured for several years and is performed in concert halls, theatres andschools. In 2017, the album and book were released and today they are much appreciatedas teaching materials. In fluid form is performed by three musicians/dancers from Yria
(all members are involved). We are also fortunate enough to have the marvellous EmilWestberg (bass, guitar, vocals, percussion, movement) and Jacob Arvidsson (lighting andsound engineering) on board. During the creation of In fluid form we had the privilegeof having choreographer and professor in Dalcroze Eurhythmics, Susanne Jaresand as asupport and critic throughout the process.

Snow Shell © Christer Folkesson

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H2O © Malou SkoglundVideo: https://vimeo.com/252220700

The album Flytande Form on Spotify. Two tracks in English: Silent Snow and Dimma (Fog).

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Hommage à R. Sch.

Dierk ZaiserState University of Music Trossingen/Germany
CV see p. 19

In this trio composition for piano, viola and clarinet, György Kurtàg (1926) renders homage
to the work of Robert Schumann (1810-1856) in form and content. The trio configurationin music finds a simultaneous interpretation in movement, each instrument belonging to
one dancer. The acting trio plays the roles of Schuman´s alter egos Florestan, Eusebius
and Meister Raro which can be found in the set names too. The attitudes, movements andactions of the three actors reflect their characters and the musical parts. The dramaturgyof the musical and scenic piece leads to a confrontation, a mediation and an approach. But
what is behind and what remains after this very last sound and action?
Concept, staging, choreography: Prof. Dr. Dierk Zaiser
Support musicians: Prof. Àkos HernàdiLight: Doris Schopf
Camera: Vincent Egerter, Maelle Ludwig
Music
Piano: Harald Sinot
Viola: Pei-Rong Guo
Clarinet: Emerald Green Sun
Movement
Karola Sommer (piano)
Inga Christiansen (viola)
Julika Olshausen (clarinet)
ActingEusebius: Hannah Tilt
Florestan: Rosmarie Baur
Meister Rora. Keisuke Fujinami
Premiere at the performance evening by the Institute of Music and Movement / Eurhythmics
on 12.11.17 (second performance at the chamber music master examination of Harald
Sinot on 05.02.18)

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Concert Hall of the State University of Music Trossingen / Germany.
Full version: https://t1p.de/3z5i

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The Soldier´s Tale - Strawinsky Goes Rap
Dierk ZaiserState University of Music Trossingen/Germany

A freestyle rapper tells his own contemporary interpretation of the story to improvised
music. Eurhythmics students (youth class, bachelor, master) interpret the music of
Strawinsky’s suite and the content in choreographed movement. This encounter of suband high culture is a model project of cultural participation and audience development toreach a youth public with different social, cultural and educational background - in threesold out performances. The feedback was given directly in the performance and afterwards
by personal letters and drawings of pupils – they expressed appreciation of all staging andperforming levels, of the efforts and the emotional feelings, with a desire to come back.
The subjects of the story are affecting a diverse young audience, considering love andrelations to family, friends and homeland, material and immaterial values, the seduction of
consumption – and music, principally self played music with an own instrument, the violin.
The movement language style is individually, the musical improvisations include motives,
rhythms and characteristics of the classical original from Strawinsky.
Musical and scenic concept, staging, stage and costume design: Prof. Dr. Dierk Zaiser
Conductor: Prof. Sebastian Tewinkel
Freestyle Rap: Tobias Borke
Beatbox: Valentin Maier
Soldier: Emanuel Werres
Devil: Alma Giersch
Princess: Iwona
Seductresses: Ann Lino Rößle, Cecilia Rademacher, Mareika Urban, Pauline Kadelbach
Violin: Mizuho Arai
Clarinet: Jure Robek
Cornet: Pavel Janacek
Trombone: Kilian Konrad
Bassoon: Rie Koyama
Double bass: Soshi Nishimura
Percussion: Yu Fujiwara
Light: Ingo JoosSound: Wolfgang Mittermaier
Camera: Diet Rahlfs
Concert Hall of the State University of Music Trossingen / Germany, 2013.

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Full version (40 min): https://t1p.de/dqlk

Trailer: https://t1p.de/9y7s