Laboratory on Feedback in Artistic Processes 2
In its second edition the "Laboratory on Feedback in Artistic Processes" pays particular focus on “audiences” feedback within performing arts. Feedback is happening everywhere, and everything is feedbackable. But what is the value of public audience feedback? What kind of feedback is needed where? Why do we differentiate between specialist and general public audiences? How can we think beyond helping the artist and making an artwork better? How can it feed the bigger picture by enabling critical, rigorous feedback as a development for all citizens participating in a public event? Can public feedback then begin to shape communities and the wider public sphere? The second “Laboratory on Feedback in Artistic Processes” contained presentations and try-outs of different feedback methods and approaches. The format “Feedback Lab goes Public” in collaboration with Tanztage Berlin 2015 / Sophiensaele and mapping dance berlin /Tanzbüro Berlin offered the opportunity to test feedback methods directly with the artists and audiences of the festival. IMPRINT Text and Editing: Sheena McGrandles, Olive Schellander, Eva-Maria Hoerster Layout: David Eckelmann Editor: HZT Berlin, 2015
In its second edition the "Laboratory on Feedback in Artistic Processes" pays particular focus on “audiences” feedback within performing arts. Feedback is happening everywhere, and everything is feedbackable. But what is the value of public audience feedback? What kind of feedback is needed where? Why do we differentiate between specialist and general public audiences? How can we think beyond helping the artist and making an artwork better? How can it feed the bigger picture by enabling critical, rigorous feedback as a development for all citizens participating in a public event? Can public feedback then begin to shape communities and the wider public sphere?
The second “Laboratory on Feedback in Artistic Processes” contained presentations and try-outs of different feedback methods and approaches. The format “Feedback Lab goes Public” in collaboration with Tanztage Berlin 2015 / Sophiensaele and mapping dance berlin /Tanzbüro Berlin offered the opportunity to test feedback methods directly with the artists and audiences of the festival.
IMPRINT
Text and Editing: Sheena McGrandles, Olive Schellander, Eva-Maria Hoerster
Layout: David Eckelmann
Editor: HZT Berlin, 2015
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S<strong>on</strong>ja Augart & Inge Koks<br />
“let’s talk about dance”<br />
16<br />
Dur<strong>in</strong>g the week before the lab S<strong>on</strong>ja Augart and Inge<br />
Koks prepared and tested four different feedback methods<br />
with the audience at Tanztage Berl<strong>in</strong>, either before<br />
or after the shows, or sometimes even both. In the<br />
role of facilitators, they talked to the artists first and together<br />
they decided which method to use also just for a<br />
feedback sessi<strong>on</strong> <strong>in</strong> regard to the work the artists would<br />
present. The artists who were then present <strong>in</strong> the feedback<br />
sessi<strong>on</strong>s could always ask clarify<strong>in</strong>g questi<strong>on</strong>s towards<br />
the end, however they could also just experience<br />
and take with them a different perspective and form of<br />
feedback material (text, words, images, listen<strong>in</strong>g to c<strong>on</strong>versati<strong>on</strong><br />
as third pers<strong>on</strong> and so <strong>on</strong>) other than a direct<br />
questi<strong>on</strong> & answer situati<strong>on</strong>.<br />
A summary of the 4 approaches:<br />
1. Mapp<strong>in</strong>g: After watch<strong>in</strong>g the performance the audience<br />
is <strong>in</strong>vited to enter <strong>in</strong>to a silent draw<strong>in</strong>g practice<br />
<strong>in</strong> resp<strong>on</strong>se to the work they have seen. The draw<strong>in</strong>gs<br />
are then all displayed and then a tour of the arranged<br />
draw<strong>in</strong>gs is <strong>in</strong>itiated. The audience discusses what they<br />
see and simultaneously shares their <strong>in</strong>itial <strong>in</strong>tenti<strong>on</strong>s of<br />
the draw<strong>in</strong>g itself. In additi<strong>on</strong> the artists were present<br />
and had the possibility to ask the audience questi<strong>on</strong>s for<br />
further clarificati<strong>on</strong>s.<br />
2. Physical Introducti<strong>on</strong>: this is a warm up which takes<br />
place before the performance. The audience is taught<br />
some movements related to the work or some dance<br />
phrases from the work <strong>in</strong> order to warm up the senses<br />
and offer a physical/bodily awareness <strong>in</strong> relati<strong>on</strong> to the<br />
piece the spectators are about to watch.<br />
After the show a talk takes place with the artists and audience<br />
based <strong>on</strong> the Liz Lerman feedback method (see<br />
also the chapter Bush Hartshorn: On Liz Lerman’s feedback<br />
method). To note, the after talk did not strictly fol-
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