266
The Art Lab followed a more experience and practice driven approach, where the
artists defined themselves as ambassadors for their own discipline and cultural practice and also being a guest and learner in the other project disciplines and cultural
practices. Artists made use of individual artistic tools for an intercultural and interdisciplinary dialogue. At the same time, they had to perform in an artistic work
setting in a non-familiar cultural context, which was seen as a major inspiration and
challenge. The performative and scientific approach from the German artist side
included artistic methods like interdisciplinary and transdisciplinary improvisationtechniques and choreographic methods (a more detailed presentation of the artistic
approaches and methods would lead too far at this point). An adapted and bothdirectional use of “bi-musicality” (Hood 1960) was used as an intercultural communication tool. Further methods and tools were the “Tuning in” and “Drift ‘n’
Dialogue,” as described in Chap. 7.
The artists defined their learning objectives as follows:
1. Incorporation of new impulses and influences to the own artistic practice while
referring to own traditions;
2. Looking for new intercultural artistic and social practices and forms of nonverbal
artistic communication;
3. Developing new methodological approaches, concepts, and perspectives in the
light of the individual (academic) background and vita;
4. Learning to change roles from being guest in Morocco and being facilitator in
Germany (and vice versa);
5. Incorporating non-artistic approaches from the scientific part to the own artistic
practice.
Implementation of the Open Science and Art Labs
The project was launched in April 2016 with a kick-off event in Agdz where the
university partners, together with involved stakeholders, jointly discussed the activities and expected outcomes. In each of the three project years, two main events
took place, one in Morocco and one in Germany, each consisting of an Art Lab and
an Open Science Lab. The main events lasted 8–10 days, which made them very
intense, since the artistic and scientific laboratories were not only individually
planned and carried out, but also space was planned for interactions between them.
In the Art Lab, the main events in Morocco were carried out in the Kasbah Caid Ali
in Agdz, where Moroccan Ahwash practitioners and German dancers and musicians
worked up to an open and transdisciplinary “one group” setting. A key group of
Ahwash performers was invited to three workshops in Germany, where they got
insights into forms of contemporary dance and music, worked together with the
German and international artists and students on a common choreography,
made studio recordings, and practiced various forms and formats of artistic
communication.
U. Nehren et al.
The Art Lab followed a more experience and practice driven approach, where the
artists defined themselves as ambassadors for their own discipline and cultural practice and also being a guest and learner in the other project disciplines and cultural
practices. Artists made use of individual artistic tools for an intercultural and interdisciplinary dialogue. At the same time, they had to perform in an artistic work
setting in a non-familiar cultural context, which was seen as a major inspiration and
challenge. The performative and scientific approach from the German artist side
included artistic methods like interdisciplinary and transdisciplinary improvisationtechniques and choreographic methods (a more detailed presentation of the artistic
approaches and methods would lead too far at this point). An adapted and bothdirectional use of “bi-musicality” (Hood 1960) was used as an intercultural communication tool. Further methods and tools were the “Tuning in” and “Drift ‘n’
Dialogue,” as described in Chap. 7.
The artists defined their learning objectives as follows:
1. Incorporation of new impulses and influences to the own artistic practice while
referring to own traditions;
2. Looking for new intercultural artistic and social practices and forms of nonverbal
artistic communication;
3. Developing new methodological approaches, concepts, and perspectives in the
light of the individual (academic) background and vita;
4. Learning to change roles from being guest in Morocco and being facilitator in
Germany (and vice versa);
5. Incorporating non-artistic approaches from the scientific part to the own artistic
practice.
Implementation of the Open Science and Art Labs
The project was launched in April 2016 with a kick-off event in Agdz where the
university partners, together with involved stakeholders, jointly discussed the activities and expected outcomes. In each of the three project years, two main events
took place, one in Morocco and one in Germany, each consisting of an Art Lab and
an Open Science Lab. The main events lasted 8–10 days, which made them very
intense, since the artistic and scientific laboratories were not only individually
planned and carried out, but also space was planned for interactions between them.
In the Art Lab, the main events in Morocco were carried out in the Kasbah Caid Ali
in Agdz, where Moroccan Ahwash practitioners and German dancers and musicians
worked up to an open and transdisciplinary “one group” setting. A key group of
Ahwash performers was invited to three workshops in Germany, where they got
insights into forms of contemporary dance and music, worked together with the
German and international artists and students on a common choreography,
made studio recordings, and practiced various forms and formats of artistic
communication.
U. Nehren et al.