Workshop-Histories-and-Practices - Revision history

Hd-onions at 17:55, 18 November 2022

2022-11-18T17:55:44Z

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	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.]]		[[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.]]</div>
	</div>

	What is important to Sibylle as well is this idea of the workshop as a space for [[#Open-source_Parenting\|equitable relationships]]. She takes seriously what the kids bring to the discussion. And it's always about rethinking and [[#Am_I_a_hacker_now?\|reshaping the adult-kid relationships]]. We will be working together again in September 2022 on the occasion of the opening of a new building for the Fundus Theater in Hamburg. For that event I am currently working on some research that looks at child activism in the sixties, especially the involvement of children in the American Civil Rights movement, and how that intersected with children's participation in experimental art projects at the time. How children were trained for their participation in protest or art with the help of workshops will be a major aspect of this research too.		What is important to Sibylle as well is this idea of the workshop as a space for [[#Open-source_Parenting\|equitable relationships]]. She takes seriously what the kids bring to the discussion. And it's always about rethinking and [[#Am_I_a_hacker_now?\|reshaping the adult-kid relationships]]. We will be working together again in September 2022 on the occasion of the opening of a new building for the Fundus Theater in Hamburg. For that event I am currently working on some research that looks at child activism in the sixties, especially the involvement of children in the American Civil Rights movement, and how that intersected with children's participation in experimental art projects at the time. How children were trained for their participation in protest or art with the help of workshops will be a major aspect of this research too.

Hd-onions at 13:53, 18 November 2022

2022-11-18T13:53:37Z

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	[[File:CivicYouth Strategy.jpg\|thumb\|Notes by Suzanne Lacy on the ongoing civic engagement in Oakland and the Oakland Youth Policy Initiative. Image courtesy of Suzanne Lacy.]]		[[File:CivicYouth Strategy.jpg\|thumb\|Notes by Suzanne Lacy on the ongoing civic engagement in Oakland and the Oakland Youth Policy Initiative. Image courtesy of Suzanne Lacy.]]

	[[File:RobertFilliou.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]		[[File:RobertFilliou.jpg\|thumb\|Page from "Teaching and Learning as Performings Arts" in 1979. Find a downloadable pdf of the publication on: https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]

			[[File:Pages from Robert_Filliou_Teaching_and_Learning_as_Performing_Arts-2.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]
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	[[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.]]		[[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.]]
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	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:ICI-Homepage.png\|thumb\|Announcement image to the conference “The Workshop: Investigations Into an Artistic-Political Format.”]]		[[File:ICI-Homepage.png\|thumb\|Announcement image to the conference “The Workshop: Investigations Into an Artistic-Political Format.” https://www.ici-berlin.org/events/the-workshop/]]
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	'''AG:''' There is the ''The Journal of Educational Sociology'' that was published in 1951 and refers to the first organized professional education activity under the name of a workshop. It took place at Ohio State University in 1936.<ref> The Journal of Educational Sociology, Vol. 24, No. 5 (Jan1951): 249-250, https://www.jstor.org/stable/2263638.</ref> I remember you were talking about the relation between the occurrence of workshops and the emergence of a certain resistance toward the steady structures of art schools in the fifties and sixties in the UK—a resistance to legitimized knowledge practices and skills. Art students wanted to rid themselves of a certain authority of disciplines or disciplined learning and instead wanted to take things into their own hands.		'''AG:''' There is the ''The Journal of Educational Sociology'' that was published in 1951 and refers to the first organized professional education activity under the name of a workshop. It took place at Ohio State University in 1936.<ref> The Journal of Educational Sociology, Vol. 24, No. 5 (Jan1951): 249-250, https://www.jstor.org/stable/2263638.</ref> I remember you were talking about the relation between the occurrence of workshops and the emergence of a certain resistance toward the steady structures of art schools in the fifties and sixties in the UK—a resistance to legitimized knowledge practices and skills. Art students wanted to rid themselves of a certain authority of disciplines or disciplined learning and instead wanted to take things into their own hands.

	~~<div class="visual-footnote img">~~
	~~[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]~~
	~~</div>~~

	'''HR:''' In the specific history I looked at, which is that of Cardiff College of Art, I found that there is a confluence between the workshop and two emancipatory movements. First was the move toward the workshop as a learning format through the impetus of the Bauhaus, which in the 1960s developed a huge impact on art schools across the UK. Traditionally people weren’t really talking about workshops as sites of making in the context of art schools; the workshop was the place of the plumber or the blacksmith, while artists worked in ateliers or studios. I think that the idea of the workshop as a place of making was introduced to the art school through the Bauhaus philosophy, which was a vehicle for the emancipation of art education. All of a sudden art was being approached in the same way as other practices of making were being approached. No longer did we have the sculpture atelier or the drawing room. Now there were ceramics workshops, metal workshops, printmaking workshops but also painting workshops and sculpture workshops (or ‘2D’ and ‘3D’ workshops as they were often called at the time). This move introduced a different kind of art making.		'''HR:''' In the specific history I looked at, which is that of Cardiff College of Art, I found that there is a confluence between the workshop and two emancipatory movements. First was the move toward the workshop as a learning format through the impetus of the Bauhaus, which in the 1960s developed a huge impact on art schools across the UK. Traditionally people weren’t really talking about workshops as sites of making in the context of art schools; the workshop was the place of the plumber or the blacksmith, while artists worked in ateliers or studios. I think that the idea of the workshop as a place of making was introduced to the art school through the Bauhaus philosophy, which was a vehicle for the emancipation of art education. All of a sudden art was being approached in the same way as other practices of making were being approached. No longer did we have the sculpture atelier or the drawing room. Now there were ceramics workshops, metal workshops, printmaking workshops but also painting workshops and sculpture workshops (or ‘2D’ and ‘3D’ workshops as they were often called at the time). This move introduced a different kind of art making.
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	The second shift is where performance comes in in the 1960s. Teachers and students saying: We don't want all of that material making in the workshop. We want to make something that's ephemeral and that's collective and that's participatory. We don't want to be hammering away all day in the workshop. Instead we do this other thing where we get together and we make something that’s not actually about producing any objects, and we'll call that a workshop as well. That's the event-based rather than space-based concept of the workshop.		The second shift is where performance comes in in the 1960s. Teachers and students saying: We don't want all of that material making in the workshop. We want to make something that's ephemeral and that's collective and that's participatory. We don't want to be hammering away all day in the workshop. Instead we do this other thing where we get together and we make something that’s not actually about producing any objects, and we'll call that a workshop as well. That's the event-based rather than space-based concept of the workshop.
	In dance, people were already talking about workshops as events in the fifties. I don't know when the shift occurred from the workshop as a site toward the more ephemeral understanding of the workshop as event, how that happened, but it's interesting because what motivated the artists in the sixties that I have been looking at—and they explicitly say so in their notes—was that this move toward the ephemeral was about searching for more equitable relationships that do away with the teacher-student division. That division had been further cemented by the remains of the Bauhaus philosophy and its celebration of mastery. I think that was one of the key shifts toward this more [[#Scripting_Workshops\|ephemeral meaning of the workshop]]. It was no longer about a master passing on knowledge to their students. It became about collective making. And everybody took collective charge and responsibility for that making. The educators on whom I've done research actually say that they wanted to get away from producing objects toward collective action. But, as you say, the workshop can very easily be co-opted like so much of the sixties was. Was that the last hurrah of collectivism? Or was it actually what lay the groundwork for the entry of neoliberalism into education as we now know it?		In dance, people were already talking about workshops as events in the fifties. I don't know when the shift occurred from the workshop as a site toward the more ephemeral understanding of the workshop as event, how that happened, but it's interesting because what motivated the artists in the sixties that I have been looking at—and they explicitly say so in their notes—was that this move toward the ephemeral was about searching for more equitable relationships that do away with the teacher-student division. That division had been further cemented by the remains of the Bauhaus philosophy and its celebration of mastery. I think that was one of the key shifts toward this more [[#Scripting_Workshops\|ephemeral meaning of the workshop]]. It was no longer about a master passing on knowledge to their students. It became about collective making. And everybody took collective charge and responsibility for that making. The educators on whom I've done research actually say that they wanted to get away from producing objects toward collective action. But, as you say, the workshop can very easily be co-opted like so much of the sixties was. Was that the last hurrah of collectivism? Or was it actually what lay the groundwork for the entry of neoliberalism into education as we now know it?

	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:FreeInternationalUniversity.jpeg\|thumb\|Announcement for the ''Free International University'']]		[[File:FreeInternationalUniversity.jpeg\|thumb\|Announcement for the ''Free International University'']]
	[[File:30593911032.jpeg\|thumb\|Announcement for the ''Antiuniversity of London'', 1978]]		[[File:30593911032.jpeg\|thumb\|Announcement for the ''Antiuniversity of London'', 1978]]
	</div>		</div>

	'''AG:''' I myself am wondering whether organizing workshops can generally be considered an emancipatory practice at all? Perhaps there cannot or should not be a general answer to this question. At the school where I work as an educator, some argue the educational system builds upon rather precarious labor conditions, where everyone works as a self-employed freelancer. Simultaneously, more and more workshops are being organized, which at times can clutter the education. Students are supposed to self-initiate and self-organize as well. They often resort to organizing workshops for each other. In my view, such conditions sometimes also show the limits of what can be accomplished with workshops. I think it's important to have more discussions about the workshop as a format and its implications for the learning economy. How to speak about and practice workshops in a way that still allows us to do the things we want to do, whilst also paying critical attention to the undesirable conditions it is intermingled with.		'''AG:''' I myself am wondering whether organizing workshops can generally be considered an emancipatory practice at all? Perhaps there cannot or should not be a general answer to this question. At the school where I work as an educator, some argue the educational system builds upon rather precarious labor conditions, where everyone works as a self-employed freelancer. Simultaneously, more and more workshops are being organized, which at times can clutter the education. Students are supposed to self-initiate and self-organize as well. They often resort to organizing workshops for each other. In my view, such conditions sometimes also show the limits of what can be accomplished with workshops. I think it's important to have more discussions about the workshop as a format and its implications for the learning economy. How to speak about and practice workshops in a way that still allows us to do the things we want to do, whilst also paying critical attention to the undesirable conditions it is intermingled with.
	How was it for you? Did the invitation to the conference lead you to take a deeper look at the phenomenon of the workshop? Or were you already busy with it?		How was it for you? Did the invitation to the conference lead you to take a deeper look at the phenomenon of the workshop? Or were you already busy with it?
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	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:RobertFilliou.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]		[[File:RobertFilliou.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page https://monoskop.org/images/9/93/Robert_Filliou_Teaching_and_Learning_as_Performing_Arts.pdf]]
	</div>		</div>

Hd-onions at 19:19, 17 November 2022

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	<div class="hide-from-book scriptothek">		<div class="hide-from-book scriptothek">

	[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]		[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261. https://wiki2print.hackersanddesigners.nl/wiki/mediawiki/images/7/74/2263639.pdf]]
	~~[[File~~:2263639.pdf~~\|thumb\|~~]]
	[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]		[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]

Hd-onions at 19:18, 17 November 2022

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	[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]		[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]
	[File:2263639.pdf\|thumb\|]]		[[File:2263639.pdf\|thumb\|]]
	[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]		[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]

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	[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]		[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]
			[File:2263639.pdf\|thumb\|]]
	[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]		[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]

Hd-onions at 19:14, 17 November 2022

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Show changes

Hd-onions at 19:04, 17 November 2022

2022-11-17T19:04:38Z

← Older revision		Revision as of 21:04, 17 November 2022
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	<span class="author">In conversation with Heike Roms</span>		<span class="author">In conversation with Heike Roms</span>
	'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me.		'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me.

			'''Heike Roms:''' I came to the topic of workshops because in my work I look at the emergence of performance art in the sixties and seventies. I became interested in particular in the emergence of performance art within art educational contexts, in a conceptualization of a pedagogy of performance. I've read your chapter on “Workshop Production,”<ref> Anja Groten, “Workshop Production,” Figuring Things Out Together. On the Relationship Between Design and Collective Practice (PhD Diss., Leiden University, 2022).</ref> which I really enjoyed. Some of the research you've done is helpful to me because I too have found that there's actually very little written about the workshop as a practice. That is, people have written about specific workshops so you can find material on workshops given by a particular artist. But there is little reflection on the workshop as a format, as a genre, as a site, as whatever we might call it. That surprised me, given that it's sort of ubiquitous in practice. There are books on performance laboratories, for example, and there is a connected history between the workshop and labs, the studio space, and rehearsals as a format. But there is very little on the workshop, certainly within performance studies or art history discourse, so I became intrigued by this ubiquitous form that remains largely unexamined. It's great that through the work of Kai van Eikels and the 2021 conference he co-organized there's a new kind of attention being paid to it, through your work as well. But there is not enough available about the history of the workshop to help us understand at what point this flip occurred from considering the workshop as an actual physical site to approaching the workshop as an event format. You write about this as well. The two meanings, of course, continued to exist in parallel, particularly in the context of art schools. But at what point did the workshop become an event, a time-based learning experience, as well as a site of making—a ''Werkstatt''? I don't know how and when that occurred. My suspicion is that it was sometime around the fifties and sixties.

	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:~~Anna~~-~~Halprin_Dance~~.~~jpeg~~\|thumb\|~~Image of the Anna Halprin’s Dance Deck, an architectonic arrangement, and workshop site that transformed dance practice, 1951-1954, with Lawrence Halprin. The~~ image ~~was shown by Kai Ekels in~~ the ~~introduction presentation of~~ “The Workshop: Investigations Into an Artistic-Political Format.”]]		[[File:ICI-Homepage.png\|thumb\|Announcement image to the conference “The Workshop: Investigations Into an Artistic-Political Format.”]]
	</div>		</div>

	'''Heike Roms:''' I came to the topic of workshops because in my work I look at the emergence of performance art in the sixties and seventies. I became interested in particular in the emergence of performance art within art educational contexts, in a conceptualization of a pedagogy of performance. I've read your chapter on “Workshop Production,”<ref> Anja Groten, “Workshop Production,” Figuring Things Out Together. On the Relationship Between Design and Collective Practice (PhD Diss., Leiden University, 2022).</ref> which I really enjoyed. Some of the research you've done is helpful to me because I too have found that there's actually very little written about the workshop as a practice. That is, people have written about specific workshops so you can find material on workshops given by a particular artist. But there is little reflection on the workshop as a format, as a genre, as a site, as whatever we might call it. That surprised me, given that it's sort of ubiquitous in practice. There are books on performance laboratories, for example, and there is a connected history between the workshop and labs, the studio space, and rehearsals as a format. But there is very little on the workshop, certainly within performance studies or art history discourse, so I became intrigued by this ubiquitous form that remains largely unexamined. It's great that through the work of Kai van Eikels and the 2021 conference he co-organized there's a new kind of attention being paid to it, through your work as well. But there is not enough available about the history of the workshop to help us understand at what point this flip occurred from considering the workshop as an actual physical site to approaching the workshop as an event format. You write about this as well. The two meanings, of course, continued to exist in parallel, particularly in the context of art schools. But at what point did the workshop become an event, a time-based learning experience, as well as a site of making—a ''Werkstatt''? I don't know how and when that occurred. My suspicion is that it was sometime around the fifties and sixties.

	<div class="visual-footnote img">		<div class="visual-footnote img">
	[[File:~~ICI~~-~~Homepage~~.~~png~~\|thumb\|~~Announcement~~ image to the ~~conference~~ “The Workshop: Investigations Into an Artistic-Political Format.”]]		[[File:Anna-Halprin_Dance.jpeg\|thumb\|Image of the Anna Halprin’s Dance Deck, an architectonic arrangement, and workshop site that transformed dance practice, 1951-1954, with Lawrence Halprin. The image was shown by Kai Ekels in the introduction presentation of “The Workshop: Investigations Into an Artistic-Political Format.”]]
	</div>		</div>

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	[[File:RobertFilliou.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]		[[File:RobertFilliou.jpg\|thumb\|Fluxus artist Robert Filliou published the book "Teaching and Learning as Performings Arts" in 1979. The book is designed in a workbook manner, leaving space for annotation in the middle of the page]]

			[[File:Pages-from-SYBILLE_TOOLKIT_WEB.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.]]

			[[File:Pages-from-SYBILLE_TOOLKIT_WEB-2.jpg\|thumb\|Page from: Sibylle Peters, performing research: How to conduct research projects with kids and adults using Live Art strategies, (London: Live Art Development Agency, 2017), https://www.thisisliveart.co.uk/wp-content/uploads/uploads/documents/SYBILLE_TOOLKIT_WEB.pdf.</ref>]]
	</div>		</div>


	=== Workshop Histories and Practices ===		=== Workshop Histories and Practices ===
	<span class="author">In conversation with Heike Roms</span>		<span class="author">In conversation with Heike Roms</span>

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 <div class="article Workshop-Histories-and-Practices layout-2" id="Workshop_Histories_and_Practices">
 === Workshop Histories and Practices ===
 <span class="author">In conversation with Heike Roms</span>

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	=== Workshop Histories and Practices ===		=== Workshop Histories and Practices ===

	<span class="author">In conversation with Heike Roms</span>		<span class="author">In conversation with Heike Roms</span>

	'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me.		'''Anja Groten:''' In May 2021 I participated in an online conference titled “The Workshop as Artistic-Political Format,” organized by Institute for Cultural Inquiry in Berlin.<ref> “The Workshop: Investigations Into an Artistic-Political Format,” ICI Berlin, March 26-28, 2021, https://www.ici-berlin.org/events/the-workshop/.</ref> The conference drew together practitioners from various fields of interests, including choreographers, dancers, theater makers, artists, scholars, musicians, and activists who reflected on “workshop” as a format, site, and phenomenon from their own perspectives. Heike, you gave the presentation "The Changing Fate of the Workshop and the Emergence of Live Art,” which particularly resonated with me.

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	[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]		[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]
	[File:2263639.pdf\|thumb\|]]		[[File:2263639.pdf\|thumb\|]]
	[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]		[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]

← Older revision		Revision as of 21:17, 17 November 2022
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	[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]		[[File:Journal-workshops.png\|thumb\|Walter A. Anderson, “What Makes a Good Workshop,” ''The Journal of Educational Sociology'' Vol. 24, No. 5 (January, 1951), pp. 251-261.]]
			[File:2263639.pdf\|thumb\|]]
	[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]		[[File:Studio-workshops.png\|thumb\|“Curriculum Plan,” Proposals for Art Education from a Year Long Study by Fluxus artist George Maciunas, 1968-1969. The image was shown in Heike Rom's presentation. http://georgemaciunas.com/exhibitions/george-maciunas-point-dappui/curriculum-plan/]]