Building sound academia. What actually happened in Helsinki?

How do we build sound collectives? How do we create an atmosphere of playfulness and free flow of ideas between adults? If human interaction is much more than words, if it’s also a lot about nonverbal interaction, how can we add this dimension to events where scholars meet to discuss cultural aspects of human life – using almost exclusively words? Are human beings more than merely brains attached to a chunk of flesh&bones, and does it make sense to imagine a modality of human interaction, we could call corporeal reflection? If academia is the institution entrusted with the task of to understanding and finding solutions to our problems, is it meaningful to not involve the reflection taking place in sensorial, bodily reflection in this institution?

These are some of the question that are put into play in the workshop I was facilitating in Helsinki, at the Cultures in sustainable futures conference, May 2015.

The whole session was video recorded. I have experienced that this is a fantastic way of learning from the workshops, I am facilitating. Since we are working with nonverbal interaction, with sound and gesture as means of expression and communication, of course, the temporal aspect is extremely important. In order to get an idea about how the timing works, and in order to get a clearer image about the building of ‘cultural tissue’ that is going on in the collective, analysing a video recording of the session is crucial.

I have picked some highlights of the workshop session, and I am sharing them with you here, for you to get an image about how the tools and methods work.

1) “Pick Two” – Establishing equal distance between you and two other participants of your (secret) choice. Description.

2) Gesture imitation. Read more here.

3) Gesture imitation, with sound

4) Gesture merging

What do you think? Can we reflect via the body?, without words?, in higher education? Does academia need to include bodily reflection as a modality? Can you present a thesis in the form of a choreography?

Join the discussion!! Pitch in!! Write your comments below. Join us on Facebook, join our group ‘Art in Organisations’ on Linkedin.

Dance: finding the balance of the self within the group

I stumbled upon this video on the Internet, and I was immediately overwhelmed by it

I wrote Becky Siegel, who is the choreographer behind the project, and asked her if I could do an interview with her, and luckily she said yes.

Casper: Becky please tell us something about the path that led you to start working with people with chronic illness and/or disability.

Becky: I had a growing sense that I wanted to help people that were suffering, through dance. It was so clear to me that dance is so therapeutic. All dancers know how we enter the studio and how much better we feel when we are finished. So I thought that if dance was so helpful for people who are basically healthy, the effect on people who are struggling with serious health problems had to be tremendous. I had a student who is a physical therapist at the Navarran association for Multiple Sclerosis and I asked her if she thought that they might be interested in trying some work with dance and she thought they would be. And that was how it began.
But I think on an even deeper level I had a sense that having been able to dedicate my life [to dance] was a tremendous gift and that somehow I wanted to give that gift back.

Casper: Thanks, Becky! I guess this raises a question about dance as therapy versus dance as an art form. Do you have any points on this?

Becky: That’s something that I think about a lot. And it can be very delicate. I think it’s a question that must be addressed head on in this kind of work. I am not a dance therapist, have no training in that area. I’m a trained dancer, improviser, choreographer, and teacher and try to bring all my experience – of about 40 years – to this work that I have started doing in the past 2 years.
On the one hand it is clear that dance is always potentially therapeutic, and that even the more therapeutic practices are also very artistic, but I see very clearly that in the different facets of the work that I do sometimes it is fundamentally therapeutic, and therefore totally about process and not intended for an audience, while other groups that I work with consider themselves dancers, or come to consider themselves as dancers, and have a desire to perform.
I myself am much more interested in the process than in the “result” (i.e. a performance), but often the work is so exquisitely beautiful that I am very interested in sharing it, feel that it is worthy of being seen by an audience.
So while I feel that dance always has that element of therapeutic benefits, I don’t feel that all dance needs an audience. I think that dance that is primarily therapeutic is a private experience. In the case of my work, it is a group experience so it is shared and witnessed by the other dancers present and that is enough. On the other hand, when one sits down to see dance as an art form, ideally one is not focussing on the fact that there are dancers of different abilities but on the beautiful dancing and the great choreography. So the great challenge for creating dance that is art when there are dancers with limited movement possibilities is being able to transcend those limitations, to really push their technique, as with any dancer, and to bring the greatest compositional skills possible to the creative process. I work primarily with improvisation, so all my students are given tools for finding their own languages as well as discovering choreographic possibilities.
In my work with illness and disability I find a difference in the way I teach depending on whether it is more “therapy” or more “art.” The therapeutic focus implies that these are people who need help and are, in some ways, dependent on me and my assistants to help them have a positive dance experience. The closer that we can get to my students’ being actively engaged in the creative process the closer we are to creating dance as an art form. The more that these students are able to get beyond experiencing themselves primarily as disabled, the more they are able to get beyond the self, the more that they are able to create art.


Casper: I would like to move on to the core of my interest in your work, namely the collective. Could you say a few words about what happens to group dynamics in your activities as a choreographer, teacher and dancer?

Becky: Being born and raised in the U.S. and having lived and worked in Spain for the past 28 years I have the opportunity to understand these two very different cultures, and their very different realities when it comes to the self and the group. The U.S. is an essentially individualistic culture while Spain is fundamentally social. Working in dance, I am very focussed on the relationship between the self and the group and place great emphasis in my training on the dancers’ being able to reach their fullest potential as individuals, attain a true consciousness of the self, and at the same time have a total awareness of the group. Attaining this balance can be very challenging: there are people who are not able to transcend the self and others who are so focussed on the group that they lose themselves, but my work deliberately addresses this question.
As a choreographer I find it most difficult to achieve this balance in the group: I have expectations that are perhaps beyond the dancers’ capabilities; the dancers are often immersed in their egos, trying to get the choreography “just right.” It can be a very long road before the dancer is able to transcend the self, get beyond their focus on their own performance and truly understand the whole.
When I myself was a young dancer I used to get terrible anxiety before performances. Then I remember the first time that I made a piece of choreography that I liked: I felt part of something larger than myself, that my performance wasn’t what mattered but rather the work itself. And I stopped getting so nervous before a performance.
In my teaching of group improvisation I feel more successful at helping dancers to reach this happy balance than when I am directing my choreography projects. We work on it everyday, starting out with individual exercises to explore each students’ possibilities. The transition to group work can be difficult, changing that focus from inward to outward without losing the self. But we all see the results when we are able to make that shift and they are very beautiful.
Curiously, the work with disability seems to make it easier to make that shift. It seems that the challenge of the difference of languages awakens the outward focus: without turning into condescension, there is an automatic empathy and excitement, equal on both sides of the mixed ability spectrum. At the same time, this challenge requires that the dancers be able to count on their own technique, so they are immediately in tune with their finest abilities. Somehow, this work brings out the best in all my students and brings them closer to this exquisite balance between the self and the group.
Another interesting thing happens in these groups: the students with more experience instinctively “teach” the less experienced ones: through their good example they instruct the newcomers in the art of choreographic improvisation (this is true regardless of whether it’s a mixed-ability group or not). Over the years I’ve loved witnessing how naturally the more experienced improvisors take on this role and essentially welcome the newer students through dance. They become teachers in a way; it’s like a passing on of knowledge from generation to generation.
As for how these group dynamics carry on into the other areas of our life, I’ve seen how my students have become dear friends, will sometimes go on vacation together, will welcome any occasion to dance together. They are my dear friends, too. And we all notice how much we need to apply the lessons that we are learning in the studio to our lives outside the studio, namely the ability to maintain that balance between the self and the other in our relationships, in our families; how to have relationships without losing ourselves.
And I’ve also seen how my students have carried on these ideas into their own teaching as they, in turn, have become teachers.

Becky Siegel has been teaching dance for more than three decades, both to professionals as well as to beginners. She was born in Denver, Colorado, but was raised in New York City where she received her dance training, studying classical Ballet and the modern techniques of Merce Cunningham and Martha Graham, and where she performed in the improvisational dance company of Richard Bull for several years. She has a degree in the Arts from Barnard College (Columbia University, New York) and a Masters in Performing Arts from the University Rey Juan Carlos (Madrid), where she wrote her thesis on the Sacred and the Profane in Dance. Becky has lived in Pamplona (Spain) since 1992, where she directs the companies Tempomobile – for whom she has created fourteen productions – and Kon moción, a semi-professional improvisational ensemble. In 2013 she created a dance program at the Navarran Association for Multiple Sclerosis (ADEMNA). In 2014 she created a similar one in the Navarran Association for Parkinson (ANAPAR). And in 2015 she began to collaborate with Lua, the dance group affiliated with the Association for persons with physical disability of Southern Navarra (AMIMET), teaching them modern dance technique, choreographic improvisation, and creating a collaborative improvisational project with the dancers of Kon moción.

8th Art of Management & Organization Conference

Building on the work of the 2012 Creativity & Critique conference (York) and the 2014 Creativity and Design conference (Copenhagen), the 2016 conference embraces the arts and aesthetics as critical design elements – as inquiry, methodology, development resources, etc. – to explore, feel and express the felt, sensory and emotional aspects of management, leadership and daily organizational life. We encourage participation from researchers, practitioners, educators and organizational development professionals working at the arts and organization nexus in ways that help us engage with the intangible such as:


  • Feeling organizations
  • Leading through the arts
  • The arts in organizational development
  • Studio pedagogy
  • The arts as means of inquiry/methodology in research
  • Aesthetics of organizational change/transformation
  • Creative processes in organizations


While we have set the theme as “Empowering the intangible”, the Art of Management and Organization conference welcomes submissions and participation from any field engaging with arts and aesthetics in management and organizations. No matter what the submission (streams, exhibitions, installations or performances), be creative, be bold!

Please submit all Stream and event ideas to by the 31st July 2015

I am definitely going to apply. How about you?

This is where the conference takes place.


Looks fantastic!!

Read more here:

dance nonverbal cultural sustainability

That is me, in the wheelcha-cha

(To see the video with English subtitles, click the Youtube icon)

This is a very moving and inspiring project. I have seen the video about 10 times, and I find that what I am seeing is something that we need more and more in our time: empathy, creativity, acceptance, trust, and meaning. This is of course a bunch of plus words that can seem a little easy to just put into text, but what can I do? This project is something really authentic, inclusive and respectful of what it means to be a human being.

The project Dancing from who we are started in 2013 as a spinoff from the dance association Kon moción, with the aim of expanding the association’s scope to people with chronic illnesses and disabilities.

Dancing from who we are is trying to break down barriers, bring dance to everyone, and discover the dances that are sometimes hidden behind our limitations in order to find languages that bring people together.

In the documentary we hear and see the director of the programme, Becky Siegel and her helpers. As for the participants, we hear the individual perspectives from two of them, a man who suffers from Parkinson, and a woman in a wheelchair. The documentary clearly makes you feel that these people are simply just people, like you and me. That it’s me in the wheelchair, having to face some altered conditions when it comes to the whereabouts of my arms, my legs, my head, my body in time and space.

What leaves me with curiosity after seeing the documentary, is to know more about what impact the project has on the collective. We see that the individual participants seem to have a transformatory experience. But what happens in the group? What happens to the people with whom each participant interact before and after the creative bodily experience this project provides?

In the exercises we are witnessing, there seems to be a huge creativity going on. There is a wealth of ideas being generated and shared. These are cultural patterns, created on the spot, building on the experience, philosophy and energy that each participant brings to the collective. But what happens to these patterns? Are these people building a collective culture together? Are the patterns being stored in the collective and are they building on top of each other, accumulating immaterial wealth to the group? Or are the simply just there in the moment, and then gone?

And lastly: what is the balance of initiative between facilitators and participants? How much influence does the participants have on the format of the activities? Being non-dancers, and being thrown into their specific conditions, do they see themselves as legitimate co-creators, and are they being invited to pitch in?

Dear reader, what do you think? Please comment, share and pitch in with ideas below

game of thrones, jamie lannister, nonverbal interaction

Non-verbal cacophonia in the North

As for Jamie, it seems he has two possible faces. He has a neutral, expressionless face, that he puts on, when he is somehow taken aback (which seems to take a lot). The other – which he puts on here – is this shrewd fox-like smile, which is saying something along the lines: “I know what you are trying to do, and I do have my own thoughts about it, but don’t you think I will reveal them to you. (Ha!)” The fact that the actor behind Jamie Lannister, Nikolaj Coster-Waldau, is a Dane might shed some light this binary facial language.

jamie lannister with two interchangeable faces

It is no wonder newcomers to Denmark have such a hard time adjusting to the culture. One thing is the language itself. The phonetics are so complex, that the language is a hobby horse for many linguists around the world. Danish kids seem to learn the Danish words later than other kids growing up with other languages learn their words. In consequence, learning Danish as an adult is a major challenge. On top of that, as I was saying, we have this arbitrary relationship with non-verbal interaction, where we are cautious to let as little as possible slip through.

The Danish language use, the pragmatics of spoken and written language, can be really efficient, when it comes to collaborating, and getting things done. In Danish, we have a rather small vocabulary – maybe because of the work it takes to learn the words – and a single word usually has a very limited range of meanings. Her is here. Der is there. No mistakes. A culture of efficiency, of accountability and of getting things done.

When it comes to emotional content, to person-to-person interaction, it’s another story. It is as if we had a radio jammer implanted in our bodies, that will obstruct the appropriate coding of our inner states and bodily emotions, washing the other person over with a rain of non-verbal white noise.

Danes are experts in reformatting whatever happens inside them into something unrecognizable, when it reaches the outside world. This is a culture of irony, sarcasm, and non-verbal cacophonia.

No wonder that the Danes’ divorce rate is among the highest in the world.