Ilmoittautuminen kesäkuun kursseille weboodissa: 27.2.-21.5.2012 / alkaen 27.2. klo 8.00 

Luovan kirjoittamisen kurssi 2 op

Concepts of Documentation 2 cr.

Sculptural Opera 2 cr.

Dynamics of Dialogue - Daily practice workshop 4 cr.

Sävellystyöpaja II, 3 op

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LUOVAN KIRJOITTAMISEN KURSSI 2 op

Aika: ma-pe 4.-8.6. ja ti-ke 12.-13.6.2012, päivittäin klo 13-17.45
Opettaja: kirjailija Ranya Paasonen

Kurssilla tutustutaan luovan kirjoittamisen perusteisiin intensiivisesti puolentoista viikon ajan. Opiskelu koostuu luennoista, harjoitustehtävistä ja henkilökohtaisesta palautteesta. Luennoilla tarkastellaan keskeisiä kaunokirjalliseen kirjoittamiseen liittyviä kysymyksiä, ja niihin perustuvin harjoituksin pyritään kehittämään kirjoittajien käytännön taitoja. Tavoitteena on, että osallistujat tutustuvat itseensä paremmin kirjoittajina ja saavat työvälineitä, joilla he voivat kehittää itseään jatkossa. Parhaiten kurssi sopii jo jonkin verran luovaa kirjoittamista kokeilleille, mutta vasta-alkajatkin ovat tervetulleita!

Kurssiohjelma

Maanantai 4.6. Johdanto
1. Esittäytyminen. Kurssitehtävän esittely
2. Oman kirjoittamisen lähtokohtia. Harjoitus
3. Ennakkotehtävän käsittely

Tiistai 5.6. Kertoja 
1. Luento: Minäkertoja ja ulkopuolinen kertoja
2. Harjoituksia
3. Tekstipaja

Keskiviikko 6.6. Miljöö, henkilökuvaus, havainto
1. Luento: Mitä fiktiivinen henkilö havaitsee
2. Harjoituksia
3. Tekstipaja

Torstai 7.6. Puhe 
1. Luento: Puheen esittäminen
2. Harjoituksia
3. Tekstipaja

Perjantai 8.6. Proosa ja tyyli
1. Luento: Proosan koossapysyminen
2. Harjoituksia
3. Tekstipaja

Lauantai  9.6. - maanantai 11.6. Tauko, jonka aikana on tarkoitus työstää kurssitehtävää

Tiistai 12.6. HUOM: KURSSITEHTÄVÄN PALAUTUS
1. Luento: Vapaa proosa
2. Harjoituksia
3. Tekstipaja

Keskiviikko 13.6.
Yksityisvastaanottoja (20 min./opiskelija): käydään läpi kurssitehtävä

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CONCEPTS OF DOCUMENTATION 2 cr.
with Christopher Hewitt

Time: Mon-Fri 11th-15^th June, 2012 daily 10-13 & 14-17
Participants: 6 students from TeaK /6 students from KuvA (Academy of Fine Arts)

This workshop explores the issues surrounding the use of documentation as a creative and integral part of the artistic process. As well as looking at innovative approaches to the traditional media of documentation - video, audio, and photographic - the workshop will also look at less obvious forms, such as text, mapping, mythology and the documentary role of the audience. A key question will be how an ephemeral artistic practice can be approached through documentation and, most importantly, how documentation can become an intrinsic part of the creative process in its own right.

The workshop consists of a series of lectures presenting examples of contemporary artists working with forms of documentation and practical tasks in which students will be asked to explore different approaches to documentation. There will be an emphasis on a conceptual ways of exploring and experimenting.

Overall the workshop will aim to address the question of how the act of documentation can relate to:  Process – documentation as the artistic process; Theoretical – critical – cultural  context; Structural Frameworks; Authenticity; Research; Analysis; The relationship between process and product; Market value of temporal art forms.

The workshop is suitable for anyone interested in contemporary and experimental artistic practice. It is probably of most suitable to artists who have an interest in performance art, live art, media art or conceptual art. However, if any background in performance, visual arts or theory and you will be suitable for the workshop as long as you are prepare to explore experiment and engage in discussions and practical tasks. No special skills or experience are required for the workshop.

Day by Day Contents (subject to change)

Each day consists of a morning lecture followed by a related task which will be carried out during an afternoon period of studio time. The results of the tasks will be briefly presented and discussed in a group feedback session at the end of the afternoon. There will also be video screenings and group discussions throughout the programme.

Day 1

Section 1: Introduction to forms of documentation
Section 2: Mechanical recording and manipulation
Video, Photography, Audio
Section 3: Performance recreation task

Day 2

Section 4: Mapping, Statistical & Diagrammatic
Drawing, Painting, archiving, display
Section 5: Site specific practical task

Day 3

Section 6: Narrative
Subjective, Objective, Fictional, Mythical
Section 7: Practical task - documenting narrative

Day 4

Section 8: Documentation as Performance
Section 9: Performative tasks

Day 5

Section 10: Group discussion of workshop themes
Section 11: Re-Recording – final practical documentation task & final feedback session

Christopher Hewitt – Background Information
Over the past 20 years I have been professionally involved with live art and contemporary performance practice. I originally studied Fine Art at the University of Wales Institute Cardiff where I specialised in the ‘Time Based’ department where I developed an interdisciplinary practice and an interest in live art.

After nearly 10 years of being based in London, where I worked for several live art organisations, including working as the Director of Live Art at the Institute of Contemporary Arts, I went on to set up the ‘Crossing Borders’ performance art BA degree programme at the Turku Academy of Art in Finland which ran for four years until 2003. Since then I have also taught as a visiting teacher for three years running at the Transart Institute MFA programme based in Linz, Austria and have also been a regular guest teacher on the Live Art and Performance Studies MA programme at the Helsinki Theatre Academy.

Since 2003, I have been based in Berlin. For the past four years I have published the liveartwork DVD series (see www.liveartwork.com/dvd) an independent publication featuring video documentation of contemporary performance and live art. The intention behind the series is to provide a unique resource for the international live art community. I closely involved with the international performance art scene and am increasingly involved in the documentation and archiving of performance art work.

Further information available at www.liveartwork.com

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SCULPTURAL OPERA 2 cr.
with Mimosa Pale and Margita Zalite

Time: Mon-Fri 4^th-8^th June, 2012 daily 10-13 & 14-17
Participants: 6 students from KuvA (Academy of Fine Arts) / 6 students from TeaK

Our bodies are possibly the only instruments we can play constantly. The sounding vacuums fill the space and achieve bothsided innovation. Visual thinking. Tonal grasping. Intensive making.

Students create a public performance during the workshop. These five intensive days include sculpting, physical challenges and experimental vocal exercises.

Margita Zalite (Berlin/Riga) is a young director, who has concentrated the last years on new music theater and site specific performances. Her works stretches from performance lectures to classical operas. Margita regularly takes her inspiration from the field of anthropology and urban mythology.

Mimosa Pale's artwork is a synthesis of sculpture and performance art.
 In her often interactive work humour, lust and celebration lead to carnivalesque staging. She likes to switch contexts being it museum, theatre, street or church. She acts in cabaret shows with her singing saw, 
creates haute-couture for everybody and makes fashion-shows in her Berlin studio. Mimosa Pale has visited various international 
performance art festivals and runs HIMO, a shop for head sculptures in Berlin.

www.mimosapale.com

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DYNAMICS OF DIALOGUE - daily practice workshop, 4 cr.

Teacher: Jurij Konjar
Time: Mon 4^th – Fri 8^th June and Mon 11^st – Fri 15^th June 2012
Teaching Schedule: daily 10am–1pm and 2am– 4.15pm 

Being more similar then different, we-the-people share a playground; dealing with issues such as space, memory, music, need, ability, panic, reading of our senses, reading our partners etc. Though much indicates our differences in how we perceive and describe such phenomena, we fill in for the lack of certainty with assumption in movement, through touch and in conversation; and keep adapting as we go. I suggest developing this communication platform further. Phenomena needs to be experienced, observed and named the only way they can be – individually;  to enable dialogue.

In this process I'd like to challenge you to a dialogue with an old friend - your bodily movement, from a fresh perspective. Let's assume the natural, given state of a body is movement. I can direct, transform, guide, even deny it; what I can't do is avoid it. From this perspective, movement is not something I need to strive for, but rather observe (and guide?) that which is already happening. I suggest a step backwards; to observe the various processes we call "dancing" before they result in shape.

We'll work simultaneously on three levels: dealing with bodily sensation, mind information and the ethics of dialogue.

The workshop is appropriate for all who perceive the world through change; and who aspire to being beginners again.

Jurij Konjar - Backgroun information

After  a training in Judo and choir singing, Jurij Konjar began dancing with competitions in Ballroom, then continued with education in Horton technique before training at the school PARTS in Brussels.

He worked with choreographers Sidi Larbi Cherkaoui and company Les Ballets C de la B, Roberto Olivan, Maja Delak and En Knap, Janez Janša, Boris Charmatz. His own works are Catharsis for Beginners, Ulysses and Goldberg Variations.

For the past three years he has been developing an improvisation practice, triggered by an in-depth observation of a recording of Steve Paxton’s Goldberg Variations.

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SÄVELLYSTYÖPAJA II  3 op

Opettaja: Olli Koskelin

Aika: ma-pe 4.-8.6. ja 11.-15.6.  klo 9.30-12.30, musiikkiluokka

Osallistujamäärä: max 12

Ilmoittautumisaika: 27.2.-21.5.2012

Avoimen yliopiston kiintiöpaikat: 2 / enintään 4 / ilmoittautumisjärjestys

Sävellystyöpajan II painopiste on opiskelijoiden omien sävellysten ja kurssin aikana tehtävien harjoitustöiden tarkastelussa, analysoinnissa ja purkamisessa. Sävellykurssi ykkösen sisällön painopiste on jo sävellettyjen eri aika- ja tyylikausien teosten analysointi ja tutkiminen. Analysoinnin avulla opitaan ymmärtämään niitä monia lähestymistapoja ja metodeja, joilla sävellykset syntyvät.

Kurssi kakkosen tavoite on oppia omien töiden tarkastelussa musiikillisten ideoiden kehittelyssä ja jäsentelyssä tarvittavien “työkalujen” ja käsityötaidon monipuolista hallintaa. Tehtävien purku tapahtuu kuuntelun, keskustelun ja  nuotinluvun avulla. Sävellyskurssi 2 on tarkoitettu sekä Sävellystyöpaja I –kurssille osallistuneille, mutta sille voi osallistua myös vaikka ei olisi ykköskurssia suorittanut. Kurssit ovat itsenäisiä kokonaisuuksia.