Report:

(CV Below)

Arriving to the ImpulsTanz Festival in Vienna has been such a long journey. Initially, I’ve been selected in 2022 with the mentorship of Wim Vendekeybous. I didn’t receive the visa in that year. Skipping 2023 with being busy with my personal life and my master’s thesis, I was invited to Europe for another event and had a short visit in Vienna. And finally, in 2024, it felt that it was the right time for being a danceWEBer and I have been selected again to be present at impulsTanz with the mentorship of very dear and sweet Isabel Lewis. This time, we did the visa process more accurately and it happened. A long process of consistent effort finally fruited. Although due to the difficult exchange situation with the country I am coming from, I still needed support for the food and mobility. Hopefully, that has been partially covered and with the alliances of global friends and colleagues, I arrived to Vienna safe and secure.

Being provided with accommodation, and having early preparatory meetings with our great mentor Isabel Lewis helped me to land in the festival and get to know people on a smooth rhythm. A great advantage of the choice of Isabel as danceWEB mentor has been her pedagogic power and ability to hold space for people to connect with themselves and each other. I noticed that her artistic practice is intimately connected with her pedagogic practice and it was pretty much a wholesome work. Her deep understanding and supporting presence throughout the festival has been a great warmth of the heart. I personally would love to spend more time together with the danceWEB group and Isabel throughout the whole festival. I would say the presence of Isabel Lewis and the way she wove the danceWEBers together carefully as well as how we as danceWEBers were communicating and interacting with each other was one of the most beautiful experiences of this festival. Minding the challenges as well, it really felt cozy to see danceWEBers here or there in Vienna, Biking together or Spending time together!
Unfortunately, I couldn’t really connect with the city of Vienna that much. We were there for about 5 and a half weeks, but the intensity of the experience of the festival and the fear of missing out led the danceWEBer to bike from somewhere to somewhere else in the city, being on a run! It has been my third time traveling in Europe, and this one was the longest one, but it took me about two weeks to really attune myself with the city and the whole process. The organizers and the communication team advised about the workshops and performance selection, but the reality is that when you come from a country with a large systematic and cultural differences, living in a European city alongside such an intensive experience of the festival can be pretty shocking! I would suggest to the organizing team and the future danceWEBers to really prepare a proper discipline for this time in Vienna. Specially for people from different cultural backgrounds, some personal assistance might be a necessity to prevent collapse and loss and increase the efficiency. Personally, I don’t consider danceWEB as a 5-week experience. The 5 weeks are the peak! The preparation and research for the workshops, performances, all the people who are present in this festival, and one can see their profile both on the impulstanz website and on the internet, is a work of a couple of months. If you are selected for danceWEB, I would deeply suggest checking who is presenting works, workshops, and performances and what their background is. Alongside, see what your desire is from this experience and how this experience can relate with your whole artistic trajectory. Attend proper time to Create your unique path through this festival. Of course, it is something that will be unfolded throughout your time in Vienna, but being prepared will create a lot more efficiency. Physically, mentally and emotionally! Also, about the nutrients, it is good to ask your friends and previous danceWEBers to see what are the best plans and options for meal prep and nutrition management. Biking, Moving, Partying and Interacting with loads of people requires properly prepared nutritions for keeping the health and sanity! However, as I could witness that one of the danceWEBers was struggling with their food, my suggestion for the festival is to provide extra accommodation for the recipients who are coming from the south of the global economy. Here, in this case, equality has a different meaning. The presence of these unique artists, carrying heritages from less attended parts of the world in comparison with the central European country, will create a culture of solidarity and care that to me seems like the ultimate goal of any artistic practice and gathering. These people need to be taken care of in a very different way. 

Honestly, it wasn’t easy for me to relate with many performances, workshops, and parties happening during the length of the festival. While witnessing challenges, difficulties, and war in Western Asia ( meaning Palestine, Lebanon, and my own country), I was kept questioning about the truth and authenticity of the happiness and happy faces I was encountering. To me, it was a feeling of neglect that has been woven into the lifestyle of many people in Europe. There was no care. At some point, this behavior became understandable throughout the politics. Yet, Bringing back the attention to the frame of the festival, although I could witness that there are some efforts for interrupting this behavior and approach by selecting artists, teachers, and even the mentor from non-European and people of different traditional and cultural backgrounds, the majority of the people invited to the festival seem to be people who belong to the Euro-centric ideality of approach. This could be seen in a spectrum that has been partially mentioned in the solidarity statement of 2024 danceWEBers below. I believe that disruption of this pattern can really fulfill the true goal of this program, which in my reading seems to be to hold space for diversity to arrive together singing a song. And ImpulsTanz is a potent platform to take such action and create an effect. To me danceWEB is not only a space to receive something that has been presented and leave. It can be a beginning for longer term collaborations and exchange which embodies potentialities for creating meaningful change in the world.

Alongside the difficulties and confusions I was encountering with the city of Vienna and the whole festival, I can say that the overall of the danceWEB felt right and I am grateful to be welcomed and seen as an artist throughout this experience, encountering so many artists from all over the world. I had memorable experiences dear to my heart, as well as some harsh moments! Though, now after about 3 months, I can’t say that this experience is integrated and fully digested yet, I am hoping to do further works with the fellow danceWEBers, workshop facilitators, people I met alongside this journey and the festival itself. Although it is in a learning process, especially in the large institutional / corporation level, the action toward hosting people from different parts of the world for the sake of togetherness is an honorable and appreciable action and has a direction toward the better. With all the bitter-sweet experiences I am happy to be part of this process and I would be willing to step into further collaboration and action toward the collective good.

Spreading Love 
Abtin / LÂAM


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. 

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognize the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

*My Curriculum Vitae: *

Academic Educations:
M. A. in Philosophy of Arts 2020-23, University of Arts Tehran
B. A. In Music Composition 2014-17, University of Applied Science and Technology, Culture and Art – Unit 11 (Tehran School of Music)
Associated Degree in Pure Mathematics 2010-14, Shahid Beheshti University (National University of Iran
High School Diploma in Mathematics and Physic

Workshops / Intensives : danceWEB 2024, with Alix Eynaudi, Defne Erdur, Sara Shelton Mann & Jesse Zarit, Nicole Berndt-Caccivio & David Bloom, Storm, Maria F. Scaroni, Tamera Alegre, Laura Aris, Rasmus Ölme, Sonja Pregrad, Jaseem Hindi, Fredric Gies, Niall Jones, Sophia Rodriguez, Alex Franz Zehebauer & Jen Rosenblit, Ulduz Ahmadzadeh / Voice Training for acting and Performance with Arash Absalan / Dancing on the Edge scholarship 2020 (3 weeks online) with Micheal Schumacher, Alleyne Dance, Christina Mertzani, Ian Robinson / Solo Lab 2019 with Sonja Pregrad / ICCD/HZT workshop/exchange 2018 With Ingo Reulcke, Wanda Glonecka, Suzane Vinsence / “DanSong” 2018 With D’imobilite Foofwa / Movement Improvisation 2017 “Move The Space” With Iris Van Peppen / Workshop On Voice and movement Improvisations 2017 With Ayşe Orhon / “Flying Low And Passing Through” 2016 With Ehsan Hemmat / Introduction to Contemporary Dance 1,2,3 2016-2017 with Mohammad Abbasi / “Contact Improvisation” 2015 With Mozhgan Hashemian / General Acting 2014 Workshop with Hasan Farzi Pour / “Dramaturgy and Stage Play Analysis” 2014 With Ali Pour-Issa / “Study on The Art Theories of 20th Century” 2013 With Mazyar Eslami / Guita Garakani’s Story Writing Classes 2010-2012

Music Studies: Jazz and Music Improvisation Studies with Mahan Mirarab, Hamzeh Yeganeh, Alireza Ghahremani / Piano Performance with Rebeka Ashoughian/ Arpineh Israyelian/ Andrea Moradian/ Hamzeh Yeganeh/ Arin Melikian/ Ramin Amin Tafreshi / Tanbour Performance (Ethnic Instrument of Western Iran) with Seyed Arash Shahriari / Seyed Farid Elhami / Tombak Performance (Traditional Persian Percussion) with Arzhang Kamkar/ Hamid Qanbari / Oud Performance with Ehsan Emami / Music Theory and Practical Harmony with Loris Hovian

Other Studies : Theory and Psychology of Ayurveda Studies | Way of Council Studies and Facilitation | Wheel of Consent Studies and Facilitation | Studies on Shamanism | Effective Leadership Exercises in W. Erhard Practices | Vipassana Meditation | Traditional Tai Chi Chuan | Hatha Yoga | English T.T.C.


Productions

Dance Films
DænCité (Work in Progress), with Amir Asgari, Winter 2023 / The Six Pieces of Kalkan, 2021 – 2022 / 02:02:rE , with Amir Asgari, 2017 – 2021 / LEMMA , with Amir Asgari, 2017 /
Music - Sound Design
TIDA, Sound Design and Original Soundtrack Composition, Directed by Nona Pirouzian, Fall 2023 / Dance of The Blossoms, with Ali Gerami and Amir Asgari, March and April 2023 / TEM Virus , Music for Script-play reading, 2021 / The Bench (Ending Credits), Original Soundtrack for Short film “The Bench”, Best Soundtrack Award Winner in Rima Film Festival 2021 Rio / Ro Sar Beneh be Balin (Go Leave your head on the Pillow), Progressive Musicoullage, 2019/ XÂAN Amiri, String Quartet on Persian ethnic Music of West of Iran (Tanbour) (Score Link) / Oriental Suite , Live record at House No.4 Music Festival (Video Link), 2018
Performances
“Threshold” Directed/Designed by Elahe Mounesi, Performed for 15 Nights in Ezatollah Entezami Memorial House 2015 / Art Against ISIS Performance Festival, Created By Bahar Alizadeh, Curator: Anima Ehtiat 2015 / “A Requiem for Oedipus”, Conducted by Abtin Gholampour Producer: Theatre Forum of Shahid Beheshti University, Performed at Shahid Beheshti University’s Main Hall. 2015 / Harold Pinter “New World Order” Directed by Abtin Gholampour, Stage Theatre, Performed in Shahid Beheshti University’s Main Hall 2014 / Martin Crimp “Attempts on Her Life” Stage Reading, Directed and Translated by: Ali Akbar Alizad, Theatre Forum of Shahid Beheshti University 2013 / Aubade, Playing Piano and Keyboards for a Progressive Rock Music Performance, Live at Cafe Avant Scene, Tehran, 2012
Given Workshops / Retreats
Rhythm • Body, A Workshop and Research Project on Rhythm, Music, Body, Dance and Collaboration in an Improvisational Context, September 2024, Tehran / Solo - Poly a one day workshop to research on the Sources of the Movement, June 2024, Tehran / How to Ask for What we want? April 2024, Shiraz / The Way of Council 3-days retreat, Alborz, April 2023 / The Way of Council 3-days Retreat, Alborz, September 2022 / Introduction to Pleasure and Consent: A workshop on Boundaries and Limits, September 2021, Tehran / introduction to Pleasure and Consent: A workshop on Pleasure July 2021, Tehran /

Report:

Connections – crossing national borders, aesthetic styles, and cultures of working and communicating – arising in/through dance and shared creation processes are to me a very special, if not the central, aspect of danceWEB. Before even mentioning the huge performance and workshop program that was open for us as danceWEB scholars to take part in, I am incredibly grateful that I had the opportunity to be part of such a diverse and rich temporary research community! Rarely have I found myself in the midst of a group whose individuals were at the same time brilliant movers, sensible and empathic listeners, critical minds and caring humans! I experienced a sense of trust and belonging that was not based on sameness, but on the communal embrace of our differences. And this, I think, is a truly utopian experience, an experience that I believed to be impossible.

A great contribution to this becoming actually possible was made by Isabel Lewis, this year's danceWEB mentor. The way she facilitated moments of listening to each other, exchange on aesthetics and politics, space for the corporeal pleasures at the very core of dance, and mutual support between us has really impressed me! Isabel has taught me how to trust that pleasure (paired maybe with some other virtues) can be a good guide to make beautiful work. Thank you for this, Isabel!

I was indeed surfing or sailing on this support of group and mentoring like on a big and beautiful kin-ship, while Impulstanz could at times really feel like an endless sea. Even though I immersed myself fully, it was impossible to see or do everything: to watch all pieces in the program, to attend to all the workshops and classes I would have liked to, to get into depth with all the interesting people that I met. In this sense, danceWEB has also been an exercise of navigation and modulation. Cruising through the city on a heavy bike was as much part of this exercise as daring to speak/show in front of new people or taking a day off from a great workshop because there was not a crumb of energy left for it.

While the programming of performances has left me several times disappointed (of course with exceptions) and I believe that the festival could profit from a reassessment of its curatorial criteria, or a whole other system of curating, I very much enjoyed what I was able to learn in the research projects and classes offered in the frame of the workshop program.

In the aftermath, I noticed that I chose to take classes with a number of elder dance artists and choreographers, like Ishmael Houston-Jones, Glenna Batson, or Sara Shelton Mann, which were partly open to people with mixed abilities more or less movement experience. I am glad that I had a chance to witness their wisdom and experience in art making and in facilitating spaces for research on dance and movement. It feels especially important for me to learn from older generations and from mixed ability groups, as I perceive the field of dance as one dominated by young, healthy, and abled bodies.

At the end of this report, I would like to mention that I am also very grateful to the Tanja-Liedtke-Foundation who for me covered the remaining amount of money that each chosen danceWEB scholar needs to find by themselves. If I had lacked their support, joining the program would not have been possible for me this year. My feelings of gratitude are mixed with the awareness of privilege. Not everyone in our group had the chance to be proposed for a funding and I wish there was more transparency about how this works. On a side note, I want to add that Gerlinde and Kurt Liedtke started their foundation after their daughter, dancer and choreographer Tanja Liedtke, died way too young in a car accident. So, in an odd way, I also feel grateful to Tanja's spirit who keeps dancing through her parents' efforts to keep her memory alive. May Tanja's spirit continue to dance in peace!

While I am writing this report, it is mid October 2024.

I have been back in Berlin for six weeks now. Rains and storms have come and begun to defoliate the trees. The summer is clearly over. My suitcases have long been unpacked. I feel melancholic as I always do in autumn.

I have been talking to C. in Chicago, to L. in L.A., to B. and L. who came for some days to Berlin. They all say that they feel a bittersweet longing for the time spent together dancing, talking, laughing, and sweating in the Viennese summer heat. I feel it too. They ask questions about the future of (our) dancing. I ask them too. But although the whole of Berlin's contemporary dance scene is momentarily holding their breath while fundings are being cut or completely canceled, in my experience, sweetness overpowers bitterness.

And I know why. Because I am still busy harvesting. There is a whole truckload of insights and learnings from this danceWEB experience that keeps unfurling and will surely continue to unfurl in my work and life! Thank you to everyone who has made this precious experience possible!

Photo: Judith Milz

////////

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Amiga - what happened?

A workshop another workshop another performance another performance another party another time with no sleep another lets go, why not? another workshop at 9am another class another meeting another saloon another party another club another theatre another theatre another back at the dorm another room another floor another gym another bed another class another losing sense of time another lake another lake another showing another showing another workshop showing another meeting another introduction circle and another introduction circle another talk about liquids and leaks another talk about being a octopus or a jellyfish another swimming pool another sauna another spritzer another hangover time another no washing machine available another pink bike another pizza another email another cancelling a show email another late message another J-lo movie another drink another sweat another thought another vienna is sleeping another rihanna song another FRIENDS another hiiieee another critical feedback about a performance another performance another drama keeps us going

Lets go thoughts*****
Reflecting on my time in DanceWeb feels surreal and certainly not demure…
It feels like a cloud that swept in, giving me intense, fleeting moments, only to drift away, leaving me profoundly impacted. It was as if I had stepped into another world, one that's difficult to fully capture in words—I felt transported far beyond anything I'd known before.
My mouth dropped open in pure shock—bam!—when I first received my acceptance, and somehow, it’s still dropped, even months later. What just happened?
Now, as I write, memories come flooding back: pink bikes, secrets shared in the dorm, the schedule with all the performances, the gym, the FOMO, the fatigue, saloon whispers, hot gossip, #friends, laughter, tears, jokes, and nostalgia.
Being in Vienna afterward is emotional, almost like a breakup from an intense crush you had for a month. Now it’s over, and life moves on. Indeed, it’s dramatic!
I feel incredibly privileged to have had this opportunity and the resources to fully immerse myself. I felt like a child in a candy store—so many things to see and experience.
A candy highlight***With all the workshops, I was able to dive deeper into my research and gather new insights and perspectives.
Another sweet highlight***the chance to watch numerous performances! It was so important for me to see what I liked and what didn’t resonate with me, and I enjoyed discussing these insights with the other dancewebbers. ***Observing which shows drew a full house and how the audience responded to each piece.
and Another crunch highlight***Meeting Isabel, Rio, and the other DanceWebbers left me endlessly grateful!!
I feel so lucky to have connected with such a powerful group of people; I experienced a sense of belonging I haven't felt in years. Oh, j'adore! I say yes!
Friendships blossomed, and I will cherish them for a long time.
Together, I felt like we became this floating mass of people, singing "We Found Love" by Rihanna, surviving on minimal sleep and random snacks—life was pricey at Arsenal and not for everyone—but somehow, we were always full of energy to keep going and stay together.
There was so much care and softness among us,
and a fierce energy on the dance floor.
The dance floor was a healing place that I continue to hold dear,
but many times, this space felt unsafe, fragile, and uncertain.
I hope for a better future, Vienna Beach.
*****

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism

Report:

I cannot think of my DanceWEB experience without acknowledging the pivotal mentorship of Isabel Lewis.
Isabel Lewis is an ideal mentor for DanceWEB 2024. Her practice of “hosting” immersive “occasions” that blend dance, art, and social interaction to create inclusive, sensorial spaces was key in uniting the DanceWEBbers. Emphasizing embodied experiences that honor individual expression, reject rigid representation, and explore ecological and relational themes, her work inspired a large, diverse group of young artists. Isabel fostered a richly collaborative environment that allowed unique artistic possibilities to flourish. She brings to mentorship a skilled pedagogical approach that encourages “outside-of-the-box” thinking and anti-hierarchical/horizontally attuned practices. Her guidance invited us to share our ongoing interests through artistic expression, motivating us to delve deeper. This is a true gift, centering our learning. I am forever grateful for Isabel’s depth of knowledge and sensitivity.
To the festival, I recommend continuing to choose mentors whose practices are rooted in principles of sharing, simultaneity, community, and togetherness. These qualities are essential in embracing DanceWEB’s diverse community. With the right mentor, the DanceWEB experience becomes truly fulfilling and wholesome!

Reflection on workshops, research, and performances:
The following are the questions that drew me in, that I sought answers for, that arose in exploration, that is lingering on….

What can we do together that we cannot do alone? What is possible when love is stronger than fear? How does who we are inform how we move and the politics of our identities / positionalities? How many ways can we move–move with–be moved by–each other? How can queer love be an ally for racial-justice?
- Makisig Akin & Anya Cloud

How can dance conduct a varied conversation “while remaining faithful to its own temporality”?
- Soa Ratsifandrihana

In what ways can collective vocal lamentation foster a communal space for expressing complex and historically neglected forms of grief and mourning practices?
- Deva Schubert

How can we use nonsensical words to reveal the limits of language and expose its inherent impossibilities?
- William Kentridge

How can anarchy with tenderness disrupt expectations in performance?
- Ivo Dimchev

How can violence be performed in a subversive way that doesn’t simply reproduce its images?
- Davi Pontes & Wallace Ferreira

What scores can transform the stage into a playground with unpredictable, changing rules that turn excess into therapy on the path to conflict resolution?
- François Chaignaud & Aymeric Hainaux

How does each of the participants’ temperaments and their story(s) influence the meaning of a choreographer’s archival material?
- Maria Hassabi

What role do gestures of sexual and queer seduction play in the construction of choreographic resistance, and how might they transform the audience's perception of vulnerability and power within the dance; challenging the narratives surrounding Black bodies in spaces dominated by a judgmental gaze?
- Davi Pontes & Wallace Ferreira

What if, in 1963, the no-to-spectacle postmodernists of the Judson Church were confronted with members of the Harlem voguing scene, their love of glam and big entrances?
- Trajal Harrell, François Chaignaud, Marlene Monteiro Freitas, Cecilia Bengolea

In what ways can the interplay of anger, sweat, pain, and pleasure within a performance evoke a sense of "radical aliveness"?
- Xenia Koghilaki

Can one slow down performative time for themselves and experience it in all of its bodily and fleshy mystery?
How can we creating instantly generated fictions and challenge conventional narratives in performance?
- Isabel Lewis

How does the exploration of labor and its systemic constraints through durational performance challenge conventional perceptions of productivity and value in contemporary art spaces?
- Dana Michel

Can the studio be used as a laboratory for contracting new relationships? For practicing new modes of being together and building new kinds of worlds together?
- Keith Hennessy & Ishmael Houston-Jones

How can sound as a political and poetic position suggest the invisible and delicate relationship between the body and other (im)materialities and influence images, choreographic sketches, videos, texts and people? How can collective listening and sound creation practices foster a deeper understanding of cultural and political contexts within performance?
- Jassem Hindi

How does waacking and voguing serve as a form of cultural expression and resistance for BIPoC communities, and in what ways can the dance style honor its historical legacies while reinterpreting them through a contemporary lens? How can the act of "letting it out" serve as a form of catharsis and healing within the community?
- Archie Burnett

How does the exploration of night as a refuge give space for resistance against oppressive narratives, and what parallels can be drawn between classic literature/folk tales and contemporary struggles for survival?
- Sorour Darabi

How does contemporary flamenco invite other dance genres to expand creative expression for dancers?
- Jose Manuel Alvares

How can historical figures interweave and appear in choreography?
- Trajal Harrell

How does the exploration of forgotten dance styles illuminate the relationship between collective memory and personal identity?
- Camilla Schielin

How can improvisation and immersive installation create a space for futurism exploring cross-generational and gender-nonconforming identities?
- TRY Collective


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Sincerely,
Bita Bell

Bita Bell is a dance artist and composer with a BA in music composition and an MFA in dance. Born in Iran, she studied in Hong Kong and lived in the U.S. from 2012 until moving from New York City to Vienna in 2020.
Her artistic research and practice are based on the concepts of the body as archive, collective imaginations, visceral sensations, radical softness, and playful improvisations. Her works aim to expose, question, and subvert socio-political matters that disrupt the joy in daily life. She recently completed the Artistic Research Fellowship at THIRD DAS Graduate School in Amsterdam where she self-published her first zine titled 'containing multitudes, at times fragmented': a compilation of personal, political, and poetic writings emerging from a diasporic experience of living through urgent times.
She has been awarded the 2023 Startstipendium for Music and Performing Arts from the Austrian Federal Ministry for Arts and Culture.

Report:

DanceWEB has allowed me to pursue my hunger for knowledge, creativity, and connection, in this sometimes-elusive field of dance. As a performance and visual artist, I feel grateful to have been part in this program and to have had Isabel Lewis as a mentor. She has brought together such various daring minds and provided a space which has made us feel seen, granting us an access to this world of dance and performance. Being part of this group was amazing and at times also overwhelming.
It took me some time to establish meaningful connections but once I did, these connections helped me navigate the festival, feeling supported and at ease.

I also cherished the freedom of going after an individual program and fostering even more connections through niche interests. I fell in love with many minds and visions throughout these five weeks of workshops, shows, research, and bike rides, learning more about what truly captivates me and what does not. This has allowed me to get a clearer image of what I truly feel called to do and motivated me to work on that narrowed down yet expanded path. I am looking forward to finding out what the connections I have made will develop into and where they might lead me.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Firstly i would like to thank DanceWeb for the opportunity,I would like also to thank LifelongBurning for making it possible for me to be in Vienna and i would like to thank our incredible mentor Isabel Lewes for an amaizing time we had and the enlightenment shared during the residency,I would also want to extend my gratittude to the stuff and the organisers and all the instructors.The information,skills,experience, connections that i have lived during my time in Vienna
am always grateful.I would like to thank instituations and individuals who made this opportunity possible for me.

Everyworkshop and research project that i attended changed the way i think as a creator and a performing artist in the world of ideas,my practice was challenged and i am happy that i went through that proccess.The atmosphere and the ernegy at arsenal is something that i struggle to find words to discribe till this date because i witnessed the dance world i dream of everyday.

I am priveleged to have watched world premere performances from big artist who are doing great in the dance world. Most of the performances were jaw dropping and and i dont believe what i saw.

Once again i say thank you and i hope that our path will cross again.

Report:

danceWEB 2024 report - Andrea

It’s really hard for me to put into clear, not-only-poetic words what felt like a huge lively intensity, but I’ll try my best!

Danceweb came at the right moment to me and helped me navigating my questions and doubts within the realm of performing arts, nourishing a clearer, personal view.

The amount of offer is so wide that already choosing my schedule was a significant exercise and I saw a clear(er than before) picture of interests coming back to me.
I find myself only now in October being able to open the notebooks from those five weeks, after having been digesting a very intense and fulfilling experience.

I’ve created bonds with people which are both affective and artistic and this I feel is for me is the most valuable long-term gift.
The chance to share artistic and critical views with peers and of blending more focused research moments (mostly during workshops, day gatherings, sharings etc.) with more social and fuzzy ones (mostly at nights) also does something very precious to the way discourses and affects translate reciprocally in different but complementary directions, when we work and deal artistically with bodies.
The density of happenings in both contexts made it for me more tangible how dance is a very, very life-based artistic form. I had a feeling of aliveness from those weeks that I’m trying to hold fresh on me: both artistically and personally; it felt very exciting.

I value so much the encounters I had, the network of people I’ve resonated with, friends and potential collaborators I met: such great human beings and artists are being gathered in this frame!
Being myself a creative coming from various backgrounds I feel dance to me is mostly about connection, and the affective co-presence and tenderness of our group made me inhabit the dance bubble in the way I’d love it to be everywhere all the time; it left me with a feeling that there are ways to navigate artistic environments which feel good. Likely not in all contexts and not all the time, but doing it once means it can happen again and again and again.

This experience made me trust myself more and for sure (hopefully) helped my artistic path find its way(s).
Danceweb felt to me a pedagogical and research proposal that is faraway more experimental than what I’ve experienced before in any other institutional frame. I’m very grateful for having been part of this. <3

_______

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. 

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

ImPulsTanz seems now, over two months since its closure, like a distant dream. These summery days and nights in Vienna were unprecedently meaningful for me, a true opportunity for physical, intellectual, and cultural exchange with teaching artists, but most significantly with fellow danceWEB and Atlas participants. Although it was very clear that the workshops were carefully chosen and arranged, offering a variety of styles and approaches to dance and movement, this was not the feeling about the evening program, and a certain disappointment was registered among many danceWEBbers from this part of the festival – excluding a few exceptions, the curatorial choices confirmed a politically-neutral and aesthetically pleasing traditional approach to dance and performance making.
It is important for me to mention that the danceWEB coordination team—Sara, Tina, and Val—were so generous and kind throughout the five weeks of the festival, and the smooth technical parts of this experience are thanks to them. Isabel Lewis’ presence as a mentor, group facilitator, and teacher was incredibly inspiring. Her unique pedagogic approach and profound acquaintance with practices of sharing knowledge and hospitality made every danceWEB meeting into an artwork of sharing space, time, and practice.

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:
Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.
Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.
The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.
We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Participating in the Impulstanz Festival was an incredible experience for me, both as an artist and as an individual. The festival provided an inspiring environment where I could deepen my physical practice, expand my artistic knowledge, and connect with a vibrant community of dancers and teachers from around the world. From the structure of the workshops to the quality of the instruction, every aspect felt thoughtfully organized and geared towards artistic growth. I am truly grateful for this experience.

That said, I encountered a few significant challenges that I believe are important to share, particularly as they relate to the experience of international participants.

As an Iranian dancer and an international artist, one of my primary challenges was the language barrier. While I was able to follow the basic directions in English, fully understanding all the techniques, subtle instructions, and corrections given by teachers was difficult. English is not my native language, and I sometimes felt isolated during complex explanations or nuanced discussions. It may be beneficial for future editions of the festival to consider ways of supporting non-native English speakers, perhaps through translators, language-specific materials, or even simply more visual guidance.

Another challenge was adapting to the cultural environment. Arriving in a new country and adapting to an unfamiliar culture brought a mix of excitement and, at times, culture shock. It was sometimes overwhelming, especially while juggling an intense schedule of rehearsals and workshops. I believe that providing some guidance or orientation for newcomers—such as a festival-appointed guide to help us navigate Vienna and understand its public transport system, key locations, and basic local customs—could be invaluable. This kind of support would ease the transition, allowing participants to focus more fully on their artistic development.

One of the most significant concerns, shared by many international participants, was financial. While I recognize the effort and resources required to organize a festival of this caliber, I believe additional support for international artists with limited funding could make a huge difference. Offering more scholarships or financial aid opportunities would help ensure that dancers from various backgrounds can access this unique experience without an overwhelming financial burden.

Additionally, I found the cost of food on-site to be surprisingly high. The café in Arsenal, where many of us gathered between classes, was quite expensive, which created financial strain over the length of the festival. Without access to kitchen facilities to prepare our own meals, we were left with limited and costly options. Providing more affordable food options or a communal kitchen space could significantly reduce expenses for participants, especially for those coming from countries where exchange rates make daily costs prohibitive.

In conclusion, I am incredibly thankful to Impulstanz for creating this remarkable opportunity and for bringing together such a diverse community of dancers and artists. I hope the festival will consider these suggestions in future planning to make the experience even more inclusive and accessible to participants from all backgrounds.

Thank you again for this enriching experience.

Best regards,
Lagha Ghavam


Solidarity Statement
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

When I saw that Isabel Lewis would be the mentor for danceWEB, I was called to apply as the “frog”. Doing her workshop, Unambitious Stripper, in another iteration was a really profound experience to embrace sensuality and awaken the senses. It was an honor to hold space with her and host salons showcasing the other webbers’ creative processes.

It was incredible to take Communal EPIC Fiction with Isabel and the 50+ other people in the room and experience all the different ways to participate in a performance, as a performer, an intent observer or anything in between.

It’s a rare occasion to have the opportunity to dance 5-weeks in a row from morning until night. I’m grateful to have had this opportunity not once but twice.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

It was such an amazing experience to spend time with so many amazing people from all walks of life. I strongly feel that our mentor Isabel Lewis really made our time together invaluable and created a mentorship experience where everyone felt heard, seen, and remembered.

Although the danceWEB program within the festival was thoroughly exhausting I just kept reminding myself how privileged we were to have this opportunity of experiencing the multitude of workshops and performances. I tried to dive headfirst in and keep saying yes just for the 5 weeks, saw alot of performances I hated or disagreed with, a small small handful I loved and met people that I know I will have some form of connection with for the rest of my life.

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:
Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.
Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.
The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.
We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

First of all big thanks and appreciation for DW team and mentor Isabel Lewis who hold the duration, activities and other meanings of this program together.
Of course to be granted the participation in DW is a great privilege and opportunity.
The field projects by Be Heintzman Hope and Sophia Rodriguez were excellent both artistically and pedagogically. Fashion Performance workshop with Krõõt and Vera was very calming and regenerative, Nora's From Ancient to Dub- heart of respect and wisdom.
The rest of feedback I will focus to be delivered from two aspects: one is the aspect of inclusion ( alarming lack of it) and the other is the hierarchies of geopolitics. I am also sure that this is not new to organisers.
I think that despite DW being an incredible opportunity, chance to explore and evolve for dance professionals from all over the world, there is some understanding lacking of how to really make everyone feeling actually represented in the format that DW takes, especially in the context of activities exclusively design for DWebers. It simulates the interest in where the artist comes from, it celebrates the diversity of practices, but in actuality i got the impression that many people feel excluded from really being able to put their context and relation to dance and its politics in the universe of DW. I will borrow the term 'double empathy'- when a practice is presented/shared and other people can not put in the context, nor familiarity, they do not see it worth empathising with, it stays barely on the surface. This creates certain dynamics of ostracism. As for an adult individual and artist it was terrifying to witness how this leads to specific group dynamic that of course is never addressed, because it is just too big, too complex, too activity driven. it is of course one side of it, and at times things are what they are, but i think that regards resources what it takes from many people to actually arrive in Vienna for DW and spend the time there- it is not ok, it shows lack of hospitality and deeper lack of respect towards artists that are not entangled in the representations with western type of mirroring of behaviour. I wish DW would take a better care in understanding the need to be able to put practices shared by DWebers in context, what is the point even other wise, it becomes arbitrary and pretentious. it is traumatising when i am asked where you come from- people have no any clue about, they are not having anything to grasp on for their actual empathy to engage, but when it is about status that i did SNDO- then i have a worth to be talked to. it is so so sad. As well DW being an educational structure for further professional growth, with the list of what kind of "free services" the scholarship includes, unfortunately couple of them go completely missing exactly because there is no ability for actual capacity for such things to even take place. I have no chance to prove it nor be compensated:)
Ablism is other big down side factor, many people lacked the possibility to actually network ( one of the free services:)) talk to each other, first of all because of the schedule, secondly because many people are not able to communicate in while during the whole group activities or parties, i think i don't have to explain reasons, there is no place offered where one can go and make sure the environment is ambient and people are not desperately coping in their nervous system to be able to meet, trust, talk, enjoy. I left Vienna in some sense re-traumatised, i am personally used to it, and that is also terrifying, completely dis-regulated and upset. And even there is this amazing idea about the 50 more group of DWebers having great time, i was really wondering if that is the truth for everyone or just the impression by the ones that fit well in dominating group dynamic. It should not be that way, and it is organisers responsibility to make sure of it, in stead of assuming that it is happening by it self.
Unfortunately the VIP traditions of Impuls Tanz, i just don't get it, it is disgusting, it should stop, it kills the imagination!

Report:

This five weeks has been an intensive ride—a whirlwind of emotion, connection, and reflection. DanceWEB was a melting pot of creativity; I found myself surrounded by warm-hearted people who continue to inspire me every day.

The emotional dialogues I shared with participants were some of the most touching aspects of my experience. It was daunting to be so open and vulnerable with others, but I learned the profound power of sharing space and ideas. I’ve ignited a curiosity within myself that I know will carry forward into my practice.

Nora Chipaumire’s workshop, and her presence in general, was particularly nurturing. The energy she brought into the room and the way she guided us through opened up spaces within me that I forgot existed. I will always remember how humble and alive she made me feel.

Isabell Lewis was a true blessing in this experience—perhaps the most amazing mentor I could have asked for. Her ability to hold space, alongside her artistic vision and teaching practice, was incredibly important to me. I felt seen and supported, and I hope to witness and learn more from her in the future.

It wasn`t easy or always possible to combine so many activities and socializing together. I totally ignored my limits many times. But as I reflect on this journey, I am filled with gratitude for the connections I've made and the lessons I've learned. This experience has been a catalyst for growth. Thank you to everyone who were there and to those who made this possible!

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

I want to personally thank a couple of people:

My community and family for blessing me with the support to attend, I am forever grateful for you all continuously pouring into me. <33

The danceWeb dream team of staff Sara, Tina, Val, and Rio !! thank you for all you did for us and continue to do behind the scenes <3

Angélique thank you for love and understanding when I needed most, nuff respect ! <3

Isabel thank you thank you!!! The perfect host, thank you for giving us the space to know that we are all aiding in each other's growth and to just be with each other while we transform inside of the 5 weeks. Endless love and respect to you <3

2024 Webbers, We did that! We created something special that I believe will be felt for a long time. Continuing the legacy of webbers before us that not only are incredible artists/makers but who are warriors in the ongoing fight of injustices on and off the dance floor. I am beyond proud of us, now and forever! Cause we did find LOVE in a hopeless place.. See you all soon! <33333333333


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Kris Lee

Report:

My experience at the 2024 Implustanz was one in a trillion opportunity, everything was overwelheming for me, but generally i became more enligtened and exposed as an artist in so many different ways:
Through Artistic training and development by renowned and experienced mentors at the dance web program. I Had the opportunity to learn directly from internationally renowned dance mentors through workshops, discussions and interaction in various dance styles, repertoire and concepts, which is a rare opportunity especially for an African based artist like me, coming from a place where such opportunities are limited.
This helped broaden my professional understanding of dance and performance arts. But also improved on my performance, teaching and facilitating skills which am hoping to utilize more in the future.

Networking & Collaboration. My participation in the Dance Web scholarship, gave me an opportunity to meet and interact with people from different artistic backgrounds and capacities; dance artists, directors and choreographers from different countries like U.S.A, Germany, Korea,Polland e.t.c. Networking helped me connect and interact with other artists of different cultural backgrounds,this is key to foster future collaboration opportunities inform of exchange and co-productions between me and other artists which hopefully will happen.

Exposure, through attendance of various dance performances that happened during the festival by world reknowed choreographers and artists like Damian Jallet, Sidi Labei and many more, helped broaden my knowledge and experience in dance theatre and performance art.

Had the opportunity to compete at an internatioinal dance platform; Dance is Arythm, helped me experiment and exchange with multiple dancers on the floor and represent my culture with pride.

The festival team was so helpful, and were always available whenever i needed help and assisstance, special thanks to Sara and Isabel Lewis and the whole people running the festival.


Yours Artistic
Lutaaya Tonny a.k.a Tonny Of Africa

Report:

There is no going back now.

DanceWEB was a transformative experience for me; to meet and work alongside some of the brightest, most imaginative and generous peers working in dance, under the mentorship of Isabel Lewis, enabled me to understand clearly both the realities and importance of making performance. I am more committed to my work—both its rewards and challenges—than ever before. Truly, there is no going back.

There are myriad experiences, from workshops to performances, late-night meetings and adventures with new friends, that make these five weeks so significant. I have learnt new techniques, expanded my understanding of dance, collected new ideas, and most importantly developed new connections and friendships that will hopefully form life-long collaborations. There are plenty of challenges along the way too! Managing the intensive schedule is no easy task, but ultimately this high-pressure environment was a fantastic (if masochistic) pleasure.

I encourage young dancers and artists to apply for this program! And thank very deeply the staff, funders, and organisations that enable it to continue.

I look forward to discovering what grows from this...


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

courtneymackedanz.com
courtneymackedanz@gmail.com
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I ran within a herd with some of the most wild, powerful, tender, and life affirmingly beautiful creatures that I'll likely ever know at danceWEB at ImPulsTanz this past summer. Before arriving to Vienna, I'd been spending a lot of time relatively alone in the tall grass pastures of my body, with a heightened awareness but scarce outlet for reciprocal intimacy to share, to roam, to gallop with others in and through embodied work. I cannot believe the luck of my lifetime to have met some of wild ones that I danced with this summer, truly. I am not a horse girl. I've never ridden a horse, and don't really care to. I don't actually know anything about horses at all but am trying to find a way to describe the unique power that it felt to yield to co-becoming through well facilitated individual attunement which bred group sensitivity, warmth, experimentation, and risk embracing play which encouraged me to run—to really, actually, move. I know that what happened was a herd's work and I know that I am changed for having been a part of that phenomenal stampede. It was fast, relentless, breathtaking, exhausting, inspiring, electric, overwhelming, intense, and real. The danceWEB program, cohort, and our reality quaking mentor, Isabel Lewis, left me windswept and densely filled with wonder. It's months later and the embodied memories are still emerging when I move in the studio—I savour them lately like little sugar cubes. I hope that future constellations of danceWEB participants can trust the ones they run with—the intense program, their thoughtful mentors, their astonishing cohort of peer artists, and the many facilitators, colleagues, collaborators, loves, tricksters, foes, and friends, the sometimes fantastic (and in other moments harmful) programming, the parties, the biking, the doner, and the delirium—trust the momentum of the experience, and I hope that future scholars can love and trust their herd the way I loved and trusted mine, to delight in dash of it all!⠀
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Solidarity Statement_The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports: Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces. Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate meaningfully into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world. We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.
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Report:

Life outside Vienna slowly started to vanish from existence, and life became local and slower, in the middle of the danceWEB madness.

Anxiously driving from red light to red light, trying to make it in time to the next show/workshop/meeting/party, when it is already too late. These everlasting rides became the moment to rest, to chat with someone in the motion, prepare and cool down. Learning about my fellow dancewebbers by joining their routes, leading each other, learning about them by riding side to side, looking for each other, sharing the risk of riding to red lights and seeing the same colors of sunsets/rises. Talking about sneakers and wines and finding time for gossips and confessions.

I want to acknowledge the impression our mentor Isabel Lewis left to me. I’m grateful for everything she did for us, how she held the hope in every conversation we had. The way she inspired me with her words. I wish to fall asleep and wake up again jumping in that circle we shouted each other's names for as long as everyone was seen and heard. I will think about that moment as long as it's rooted in every cell of my body and will never get lost from me. I know the whole five weeks is somewhere in me, all the people I met I have in my existence. Seeing that people stay in touch and are already working together fills my body with excitement. My time will come, too.

I never assumed Impulstanz as an institution to take a stand on the war in Gaza, but the lack of resistance and voice anyone raised regarding the genocide was depressing. There were active individuals in the group of dancewebbers, but the festival showed no interest to support them. Signs of progression were lacking, apart from some of the performances and loving and nurturing danceWEB staff members, Thank you Sara, Val and Tina <3. Thank you Be for your Stripper Gollum workshop and waking up the ghostly sexiness in me/us. c u all.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism

Report:

My experience as a danceWeber was defined by moments. The moment I first met my friend Parvati from India, We reflected on the incredible support from the facilitators. We promised to trust the adventure, taking things slowly and allowing the experience to unfold naturally, just like our friends from previous years of DanceWeb had shared. We both felt anxious about networking, but we encouraged each other to stay grounded, take breaks, and let things happen at their own pace.

The moment when our Korean colleague, Yoo Ji Young presented her a three-minute artistic speech in Korean, and even though we didn’t understand the words, we felt. understanding without words and reaching a physical mutual expression. The moment the first drum beat ignited my spirit in Raza Hammadi's class, The live music echoed through the corridors of Arsenal, filling me with energy and making me eager to move. During Simon Mayer's workshop on the art of celebration, I was reminded why I dance, as I danced with an elderly man on a wheelchair. We moved together, maintaining eye contact and simply sharing joy. I participated in my first acting and movement performance with Sophia Rodriguez, where I spoke about my mother. This was my first time sharing my story in such a personal way, and it felt freeing to express emotions I had kept inside. I faced challenges during Damien Jalet’s classes, completing all three of his workshops. They were physically demanding, and I found myself critical of my performance. However, I learned valuable lessons about the difficulties we face as students pushing through tough classes.

Throughout this journey, I closed my eyes, cried, and laughed, feeling the support of those around. By the end, I completed over 200 hours of dance and attended more than 35 performances, reflecting on my experiences with others. I am truly grateful for this incredible opportunity and the memories I created.

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and intransparent allocation of financial support, that does not seem to consider the vastly different economic opportunities available to different scholars, as well as the inadequate provision of information and support during the festival, and an apparent lack of resources to adequately respond when these structural problems led to acute crises. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices. in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.
On the final day of danceWEB we could share our specific concerns and thoughts regarding the festival and the scholarship program in a feedback session. However, it is unclear how the feedback actually reaches the discussions of the broader team and planning of ImPulsTanz. A practical suggestion to complement and make the feedback process more transparent would be to include representatives from the scholarship program to share the common feedback in a meeting of the festival team, and compensate this work with a fee.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Danceweb – what an epic, sweaty, profoundly deranged, beautiful, ecstatic experience. One taps into the deepest internal storage of energy that one possesses – biking, workshops, biking, shows, biking, parties – but the co-created momentum of the group sustains you. It can feel like a blur, as if time stretches and condenses simultaneously, and then – bursts of clarity, heightened attention, highly attuned perception.

I am incredibly grateful to have been part of Danceweb 2024, and I can’t recall a time that I felt so fueled, tired, in love, in joy, in pain, in …. Just really -- IN IT. The artists that this cohort was comprised of were extremely inspiring, and the support, warmth, tenderness, intensity, knowledge -- all that we exchanged -- will stay with me, truly, 4ever. This summer deeply affected me as an artist and person, and will continue to do so, I have no doubts. At many points, I found myself falling in love with dance as a medium all over again. In other moments, I was seriously disheartened after seeing certain shows. How to hold space for both of these experiences? How to find something generative in this friction? For me, the conversations, through words and through movement, the laughter, singing, screaming, were as meaningful and important as all the workshops, shows, research projects, etc. Looking back, I wish I had prioritized even more time for those kinds of moments. When creating one’s schedule, the overwhelming desire to do and see as much as possible is unavoidable – and of course it's impossible to do it all. Much love to Marie Kaae, Marta Navaridas, Jermaine Browne, Peter Jasko, Niall Jones, Samantha van Wissen, Raja Feather Kelly, Jose Agudo, and of course, Isabel Lewis.

It is essential to mention that having Isabel Lewis as a mentor was a b l e s s i n g beyond words – I so encourage Impulstanz to choose upcoming mentors for Danceweb who are truly committed to the art of mentoring -- to the genuine artistry of it. The energetic field that Isabel shaped and held for us to swim in was a legitimate artistic creation – one of unparalleled consideration, thoughtfulness, and depth. Thank you, Thank you, Thank you.
At several moments throughout the 5 weeks, Isabel articulated to us that the bonds, connections, and relations that are formed through art – these are the true material – the materiality that endures through what is, in essence, an ephemeral artform, IS relationship. The amount of people that one encounters over the 5 weeks is immense, to say the least. But these encounters, whether it be with teachers, workshop office staff, fellow participants, artists, are worth trying to embody fully – sometimes the most fleeting encounters are the ones that lodge themselves most deeply in one’s memory. A huge thank you to Tina, Sara, Val, and Rio, for everything.

Staying awake to the details, to the subtle realms throughout the experience…
When it comes to a festival operation of this scale and stature, it is important to note that there is always more work to be done. This is not to discredit the large amount of work that inevitably goes into such a project, but rather to articulate that the work is never finished in regards to art – that’s one of the many powerful and transformative components of art – its unfinishedness, its aliveness, and its ability to grow, change, learn… to work towards the creation of supportive structures, and the dismantling of harmful ones. See below:




*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

MY IMPULSTANZ —DANCEWEB EXPERIENCE & REPORT

THE DREAM
DanceWeb has always been a dream project I wanted to attend since I got to know about it in 2009, after I joined as a dancer in Ijodee Dance Company (owned by Adedayo LIADI), but some how it always eluded me, and it did so for many years until my application got accepted in 2023 for the 2024 set.

Although the process of perfecting my application and eventually succeeding in attending danceWEB this 2024 was laced with a whole lot of challenges, which included personal, economical and financial, my determination kept me focused on the dream and achieving it.

First of all, I am grateful to God for such divine favours and to the Impulstanz / DanceWeb organisation for considering my application for the project.
You all have my deepest respect for how you've continued to make the festival happen for over 3 decades and it's still growing in leaps and bounds, makes me proud to be a Webber.

THE WORKFORCE
To the different individuals that make up it's workforce (in no particular order); Rio, Sara, Val, Wolfgang, the studio office ladies, workshop assistants and more, I just want to say that you guys were very professional, coordinated, accessible, supportive and friendly...simply amazing. You made my stay, engagements and participations easy and stress free. I am forever grateful.

If ever I had any hitches or complaints, each situation was swiftly attended to, which then assured me that mine and other Webbers welfare and wellbeing was of top priority to you all. This built my confidence, made me feel at home, safe and cared for. Thank you!

THE MENTOR
The provision of a mentor(s) for Webbers is a great idea because they help to keep participants grounded and directed. Their support can never be underestimated.

My unwavering appreciation goes to my / our mentor Isabella Lewis for her equally unwavering love, guidance and support all through.

THE WEBBERS
I was amazed at the large number of creative participants that Impulstanz & danceWEB had to cater to this 2024, and to know that this is the same annually and has been so for over 30years, is indeed amazing.

The individuals I met, lived with, attended dance classes, mentoring sessions, shows and social gatherings with, were all very unique in their different ways and I discovered a community of very supportive individuals, that finally became my family.

Our mentorship sessions together, dance classes , picnic at the lake and hangouts at the vestibule and festival village will remain evergreen in my mind.

Even as we have all gone in our different directions, we continue to stay in touch and connect one another to creative opportunities around the world.


MY OBSERVATIONS

The following are observations I made and hope that they can be considered in some small ways;

1) Due to no fault of mine, I arrived a few days after the scheduled arrival dates, and when I landed in Vienna, I had nobody to welcome or assist me in locating my accommodation. I had to find my way by myself.
This should not happen to anyone at all.
A Chaperon(s) should be on ground until all Webbers have arrived.

2) There should be a standby Chaperon at the accommodation (at least for a week), to assist Webbers in settling in and helping them resolve challenges associated with being in a new environment.


3) There should be a continuous orientation to enlighten Webbers about the accommodation, their environment and how to use the online map to access locations for workshops, shows and other needs....at least for a few days.

I never got this experience and felt like fish out of water.


4) There could be 2 to 3 scheduled excursions organised by management to take Webber around Vienna on sightseeing.
This will boost Tourism and pave way for Foreign and Cultural exchanges.


FURTHER RECOMMENDATIONS

1) There could be an outcome presentation by Webbers.
The piece could be developed from their mentorship session or as an assignment from danceWEB which should be showcased during the Expression session or on a different platform.

2) The Impulstanz literature materials are numerous, colourful and informative. However, to add to the efforts of printing and distributing them in hard copy format, Impulstanz could design a card with a QR Code on it, which when scanned, the brochure and other literature materials would be uploaded into one's device automatically.

3) danceWEB has grown into an institution for dance and affiliated creative learnings, it should seriously consider the following;

a) Establishing an Alumni of its past dancers?

b) Using the strength and connections of the Alumni to help dancers in need of support, sponsorship and to tackle challenges.

c) Creating a structure that would give the alumni the opportunity to be part of the Impulstanz creative team and workforce before, during and / or after the festival.


CONCLUSION:

In all, I will award Impulstanz / danceWEB 100% for an excellent job well done for the set of 2024.
It was an amazing experience for me and I never wanted it to end, and for this reason, I hope to be able to attend the festival annually all the way from Nigeria or from wherever else I will be around the world.

Thank you.

Dorothy Ugonwa Obiayo, Esq

Report:

danceWEB has been an important meeting point on my artistic path—a place for connecting with others and engaging with the creative matter. The strongest experience was the collaborative engagement into a diverse community of thought and feeling, fostering discussion and building conditions for empathetic comprehension.

First and foremost, it has alleviated my everyday feeling of solitude and reconfigured my approach to temporary communities. The unique tenderness among the danceWEB group members has awakened a desire to transmit a similar sensitivity to future projects—ensuring that some particles of this experience remains present.

Meeting all the experienced and experiential bodies restored my trust and conviction in the body as an exceptional cognitive tool—a medium, filter, receptor, tuner, speaker, and interlocutor. It has transformed my perception of studio time, emphasizing that it is a unique social situation and that workshops can be regarded as both performance and political practices.

Ultimately, the dynamics of the danceWEB group have given me the courage to establish new methods and seek answers through action. It has reminded me to release the often overwhelming feeling of responsibility as an author by recognizing the multiplicity of intelligences and skills present in group dynamics.

Through workshops and research projects, I encountered a variety of approaches that helped diversify my own practice—revealing possibilities for development and exploration. I felt inspired to articulate artistic questions into open and capacious practices for experiencing, understanding, and evolving. Engaging with various workshop proposals made me realize how heterogeneous they can be while still being internally complementary. In this process, I freed myself from the tyranny of rational consistency.

What struck me was the vast gap between progressive workshop proposals and the often outdated forms of most programmed performances. This highlighted the challenge of finding contemporary ways to communicate research findings through performance proposals.

Two months later, I am still confused, without final answers, but filled with a potent ferment and belief in the importance of continuing forward.

I have also gained a new ritual- anywhere I travel, I check, if any of the danceWEBers happens to be there as well, so that we can meet and have a deep empowering conversation.

„We’ve found love in a hopeless place.”



*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. 

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

My goal for the summer at ImPulsTanz was to get involved in workshops with topics of interest to me that I would rarely (if at all) have an opportunity to research and deep dive in in such an open manner in Bulgaria, where I am from and am currently based. This involved mostly topics dealing with queer love, sex, sexuality, gender identity, somatic work, boundaries, and consent, and I feel very lucky and thankful for the experience. Some of the workshops were more physically demanding, others - more psychologically demanding, but I believe that ultimately I picked the best balance between the two considering the circumstances I was in. Unfortunately during the second week of workshops I tore a muscle in my clavicle/shoulder area and dealt with a lot of physical pain and a huge restriction in movement. My ability to join more physically demanding workshops was affected quite a bit which in turn affected my overall experience at the festival. Dealing with an injury is never easy, but dealing with it at a place and time that feels like a once in a lifetime opportunity to take on as much as you possibly can, was definitely a bigger challenge. Fortunately the workshop program is quite rich and diverse, and I still could follow the intention I originally had. Now I even feel that this injury brought me exactly to the places I needed to be in order to have the best experience for me. So for any future danceWEBber that ends up in a similar situation - don’t overstress it, there is plenty to do and experience even with physical restrictions.

I feel that being part of the danceWEB journey was an incredible opportunity to research and get to know myself better as an artist and as a human being. Finding new ways to approach my own practice was one of the greatest takeaways from these 5 weeks. I am thankful that our mentor Isabel Lewis was focusing on this during our group meetings. I found that even though I did not always enjoy what we were doing during our time together as a group, her expertise and care for us as artists, and being always open to support us during the festival, contributed a lot to us having a memorable and meaningful experience. I am still processing all the information and experiences that I received, and it feels like the processing part will continue to happen for quite some time still. One major key point that was constantly emerging for me, over and over, in many different ways, was boundaries. Where the challenge, ambition, physicality, mentality, time, availability, etc. reach a threshold, and being reminded how important it is to understand and uphold one’s own boundaries. It felt so easy to get overwhelmed with the schedule of workshops, performances, social life, fear of missing out, getting constant input and little rest, and managing it all was a curious rollercoaster of success and failure. While in Vienna, the question emerged whether the state of overwhelm is a necessary part of the danceWEB experience (or any other similar program) in order to learn and grow. My genuine feeling about it is that while this often was the way to go in the past, the world around us currently - globally, but also in our day to day lives, is so overwhelming too, that I am not sure that piling more of the same is as beneficial anymore for everyone. In my case this question brought a new perspective to the way I managed my own program at the festival, but also continued to positively affect my decision making processes after the program ended, keeping in mind that sometimes less is more and that doing fewer things with more intention and care can be its own challenge, but can be just as, if not more rewarding in the end.






*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organising and activism.

Report:

“Heathbroke? Hot”
That's all I could write, when I tried to journal right after danceWEB.

Now I will try again, two months’ distance from the danceWEB planet.

The first day, Helena and Maxine, told me:
“Make your drama so dramatic that it makes us laugh.”
This marked the beginning of a road toward letting go of the fear of being TOO MUCH!!!
So yeah, be ready for some nostalgic narration of a month paced by hyperactive exhaustion, dramaturgically developed around a massive amount of love, with an ingrained hum of structural unease.
A web: a polycentric knot that sheds within the viscera, so that they are constantly moved by other tangles.
Tangles that compel the body to be enmeshed in a communal flow driven by:
pleasure,
pain,
hunger,
clashes, crushes,
inspiration, fatigue,
“it’s enough” but we want more.
A web whose threads are made of sound waves and butterflies in the stomach.
And we needed this when there is so much compressed into a time-space that normally cannot accommodate all this intensity.
We needed generative, transformative, invisible powers that arise from encounters. These encounters traversed discomforting, undisclosed terrain, causing my body to erupt in directions I didn’t know existed! The movements of this eruption continue to echo in my body to this day.

One of the major changes I can articulate after danceWEB pertains to the way I (non-)move in the studio. The knowledge gained in workshops was refined through the social and sensorial intensity of the entire month. DanceWEB made me realize how serious pleasure is if I want to make art. And I understood that I can find pleasure in unknown territories. So, the uncanny grows into fertile ground for sensual exploration. Then, sensual frictions generate uncomfortable awareness of the placement of my body in relation. The body in relation is constantly being questioned within absurd gaps. Holes formed in an overly centered system that tries to host our multiversal desires. Haunting the air was a readiness to turn our group into an ongoing, nasty and cheerful performance as a way to experience a home where alternative social norms are ruling. “Dance needs a game inside you to keep it alive” (Isabel Lewis).
Twerking on the bike when the polizei is passing by. All the clashes of our planet with the norm-al one were reminders of the systematic restraints of the context of our bodies, as well as the limits of our emotional, social, and physical capacity.

Despite everything, I can say that we literally became masters at “finding love in a hopeless place.” We did this, and it’s not an easy task. For that, I am also indescribably thankful to our special mentor, Isabel Lewis. She guided us in this process and deeply inspired me in her workshops. Among the various artists teaching, Raja Feather Kelly, nora chipaumire, and Angelique Willkie have had a noteworthy impact.
And I have a flood of words of appreciation for all my fellow dancewebbers. Our shared and community-driven month prompted us to come up with a collective statement that summarizes some of our conversations:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties acclimatizing to the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

It’s been 2 months since the end of danceWEB and I keep having sentences teachers, fellow webbers, Isabel Lewis, and shows put in my head on a loop. These words and sounds are changing me in a way I could not have foreseen. I hear them again and again. I hear them and they give me the strength to imagine other narratives where one can need, want, and fear in an artistic political way. I hear Parvathi talk about her activism against the Indian government for social justice. I hear Bita, Sepideh, Lagha, and Abtin share their experience of living in / coming from a nation-state that forbids any act of dancing and how they maintain their meaningful artistic practice in the midst of all that. I hear Nora Chipaumire chant «We do not apologize, we stand in power, we take the same amount of space, colonialism is in our bone marrow ». I hear Isabel Lewis state the rules of Communal Epic Fiction and I keep on hearing «We will be civil but we won’t be polite » because politeness kills creative processes, we need friction within creative processes for them to be fruitful. I hear the heels of François Chaignaud during Mirliton, I feel the intense anger and passion leading to this encounter; I hear these heels and feel queerer than ever. I hear Lisa talk about their urge to go take dance classes which brings them euphoric sensations of sexiness. I hear Tatenda tell me that I can always decide to change my perspective on things. I hear him play music throughout the entire festival. I hear Lisen’s growls as an empowering voice forcing us to fight for equality. I hear my doubts, anxiety, and tiredness while meeting people again and again, asking people again and again which workshops they are taking. which shows they gonna see and if they wanna bike with me to the next event. I hear our fierce danceWeb group celebrate Kris and Tonny as they win battle after battle for their spot in the finale of Rhythm is a dancer. I hear my heart beat as I feel inspired by Kris and Tonny. I hear myself repeat to whoever wants to hear this that «The most beautiful thing about danceWEB is the group I am part of. I am so inspired by the way so many people in this group directly speculate with their dance practice on hopeful presents. I did not foresee dance having such transformative power anymore. » I hear the whole room cheer for Belly as she dances in an AfroFusion class with fun, rage, and humor. I hear my bicycle wheels make an awful noise as I try to cross the road at the red light. I hear the audience leave the theatre as I am crying watching the life-changing performance of Irmãs Brasil, I see them and see the transphobia with which this Viennese audience receives their work. I hear myself, danceWebbers and other participants complain about stories being told which represent archaic, abusive, and violent stories we don’t want to see on stage anymore. I hear Maria Scaroni and her score ‘It’s enough’ where one person gradually applies pressure on the body of an immobile partner until they say ‘it’s enough’ meaning that the pressure applied reached a limit; this exercise expresses vulnerability, trust, and power dynamics translated into bodies touching one another. I hear Sara, Tina, and Val patiently taking care of all the needs, wants, and fears of an overwhelmingly big group; I hear them and I am often thinking that they would need more support, and more time off. I hear the Viennese police apply their blatant racism and homophobia to us webbers by stopping our very recognizable pink bikes on every occasion they get to just ‘randomly’ control IDs, alcohol levels, and drug consumption. I hear constant discussions about a lack of transparency from the festival about money, about who pays what to be here, who gets a scholarship, and who doesn’t. I hear these discussions and we then have to find strategies for sharing resources, applying transparency, and giving up power. Money talks should not be an option or a secret, by talking about money we undo capitalistic behaviors and tend towards a more equitable distribution. I hear emotional discussions about ‘how to continue collaborating after danceWEB’ from all of us, planning residencies, zoom calls, letters, group chats… I hear the power that a group of willing, motivated and hopeful dance artists possesses and I am honored to participate in this effort to change the way institutions relate to individuals, and the way politicians treat people; I feel the strength of this group, I feel the urge of this group; I feel the love for dance that this group has. I hear these words and feel empowered, I find meaning in acts of sharing space with these people. I hear these words, and thoughts in movement and believe that dance can be activism. Dance can change worlds, dance is the art form of the past, present, future, and evermore where we can all need, want, and fear. danceWEB was maybe about that for me in the end, a deep listening practice (term and methodology invented by Pauline Oliveros) that Isabel introduced us to on the first days of our encounter. A practice that goes beyond the involuntary nature of hearing but attempts to consciously listen. And as I deeply hear and listen to the plurality of these bodies, I repeat to myself «We stand (and dance) in justice », we stand in togetherness as our skins become thinner.




*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. 

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

There's a fair amount of critique swirling around Impulstanz. Like many other places, it is a big machine moving within the guts of neoliberal capitalism. However, to only discuss the problematics would be way too simplistic, because the festival holds a rich complexity, and its positive dimensions have uniqueness all their own. Impulstanz has a big place in the dance world, it is a massive international figure where we get to rub elbows (and heads, other body parts) with people coming from different places and perspectives. While this reveals asymmetries (see elaboration at the bottom of the page), the meetings and entanglements it facilitates are something truly special. As for Danceweb - yes, cramming everything into five intense weeks is overwhelming, leaving not much space for digestion, breath-catching, or reflection. A tip for future Dancewebbers: choose your daily strand of focus wisely - 1. workshops, 2. performances, or 3. Socializing, cause you can only focus on one of these, or the other strands, and you, will suffer. And yet, this intense immersion is where the massive generosity and value lie. Ideas start to flow, you meet kindred spirits, and run into unexpected, beautiful, differences. And I was filled with awe for the incredible people I met. Yes, it might be impossible to grasp everything as it unfolds, but I am quite fascinated to experience how things continue to fall into place for me, and so grateful for witnessing how the group continues to support and connect.

Thank you to mentor Isabel Lewis for making me believe again that other ways of being together are possible.

some notes from my notebook during Danceweb // quick guide :
expansion rather than destruction
stay mythopoetic - incorporate MOODINESS
making space for each other (sonic ecology)
Bashe - okey
create shrine space - no shame in leaving !
circular desires - pleasure of eating - dancing - pooping
feel into strangeness - feel into ambiguity / Unknown plays a role

How expensive is your vulnerability??

Thank you to thought provoking, fun, juicy, educative and challenging workshops and field projects with Be Heintzman Hope / the Stripper Gollums, Marie Kaae, Niall Jones, Anqelique Willkie, Cuba Mami, Jassem Hindi, Matteo Marziano Graziano & Laurent Pellissier & Daniela Zorrozua Cantillo/ the Dramaramas
And more …

Thank you to DanceWeb crew for all support, guidance and late night emergency whatsapps.

A special thank you to generous, highly intelligent, warm, sexy and brave dancewebbers Anastasiia Antonenko, Abtin Gholampour, Andrea D’Arsiè, Baden Hitchcock, Bartosz Ostrowski, Belly Malala Raveloarijaona, Bita Bell, Cary Shiu, Courtney Mackedanz, Clarissa Rivera Days, Dorothy Obiayo, Elena Suárez Guevara, Emma Bertuchoz, Guy Dolev, Helena Araújo, Inka Romaní, Jiyoung Yoo, Johanna Ackva, Kadence Neill, Katya Volkova, Lagha Ghavam, Kris Lee, Laura Stellacci, Laima Jaunzema, Lene Vollhardt, Leevi Meetinen, Lisa Laurent, Luisa Pisetta Ravanelli, Luke Macaronas, Marianna Sfyridi, Maxine Segalowitz, Marin Shamow, Momen Nabil, Nazar Rakhmanov, Noumissa Sidibé, Parvathi Ramanathan, Pierre Piton, Sepideh Khodarahmi, Tatenda/ Shumba Chabarwa, Tonny Lutaaya, Yann Slattery, Verena Schneider, Yevhenia Kravets, Gisela Riba, Ana Petkova, Dorde Živadinović Grgur, Tuul Vahtolai, Nora Stancu, Be Heintzman Hope.

You have inspired me deep to my core.

Here’s a solidarity statement from us all:
*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:
Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.
Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.
The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.
We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism

Report:

The most present during the month of the festival was the feeling of undergoing something epic, existential and utopic. It was psychedelic as well, because of the intensity and amount of bombardement that once body-mind receives. The summer camp of universal propositions, that allowed me to be a child, to forget what I am to be what I want. It rides you on the swing of euphoria, love, overwhelm, excitement, emptiness and exhaustion.
Thank you for that, it changed me and my desires forever.

Probably the most important thing to say is that DanceWeb is first of all a meeting of 50+ artists supported and run by amazing people like Rio, Sara and many others standing behind this program and truly caring for the unique and welcoming experience that it offers.
They manage to create incredibly efficient machine that drives the creation of specific
movement between selected artists. An atmosphere of family, feeling of open many doors with their generosity and years of experience.

We all were amazed by the qualities of Isabel Lewis in the role of mentor, her dedicated attention and selection. Because the group that was chosen and then attuned with gestures of hospitality was very caretaking and sensitive to each other and community dynamics. It was something that I wasn’t expecting and was almost shocked on arrival. Thank you my dear Webbers, sending you kisses wherever you are. I was deeply touched and surprised by that atmosphere and the very acts of support and interest that participants were giving to each other. The general effect of it is truly uncursing.
The experience served as a reminder for the importance of setting an intention and trust when a flight begins. In my motivation letter for attending the program I mentioned:
- to continue uncursing from alienation and fixation on war
- to find myself in emergent collective mysteria
- to play like a child
- for personal and communal miracles
It is almost funny how the gifts was precisely how I wished for. The group promised me the potential of loving attention to each other in the field. It is exciting to know that from now on I have this illusive family scattered around the globe, having eyes on the moves of one another.
ImpulsTanz is truly an “ecumenical council” of the dance scene. It is amazing what potential its heritage carries, but also I would like to point, how big is the responsibility of this crown. It is extremely important for the festival to have courage and agility to be able to change and accommodate new waves, energies and urges in the program.
While I was much more satisfied with the program of the workshops and general curation of the DanceWeb, I was a bit shocked by the the showcased performances. The Impulstanz classic program had incredible gems that I anticipated and 8tension featured a couple of miracles, but the general program lacked edginess, true search, young energies and general pursuit of the sacred nature of the theater craft. I found it retrograde and obviously suffering from nepotism and certain carelessness in the selection.
Saying these, I would like to stress that it was of a great importance to me to witness and experience this ride of visions. It makes my own desires and pursuit much clearer. Thus nurturing motivation and self-trust. But the position of the festival and the vast impact that it has on the field makes me desire for more recognition for the importance of its curation.
Knowing how overworked the team is makes me wonder: would the festival benefit from becoming a biennial and how much the curatorial team can allow fluidity of curatorial concept and selection? What if it would be taken as default that each next year the mentor of the previous DanceWeb would be invited for co-curation of the program of performances? It would also serve us, Webbers, to know that curation acknowledges our presence in the field.

Among the workshops that I took I would like to mention some that made the most impact on me: Sara Shalterman, Jassem Hindi and Niall Jones. It left a huge trace on my practice, vision and the way I desire to dance.
Eventually, the biggest strength of DanceWeb is to create a collective. The power young artists who come with the freshness of the art reality, who are feeling the pressure of current situation, filled with passion, who have the power to question themselves and their environment with awareness of their time, and socio-political needs. This meeting and this power I take with me. This energy that moves the collective motivation to redefine stagnated institutions and power structures, old fashion concepts and bourgeois conventions. With this energy I’m going back into the world. Something has started …
Thus I would like to stress how important the choice of the mentor for the DanceWeb program is. The caretaker who is ruther known to be great at community fasciculation and building rather than just a renowned choreographer. This year it was the best choice we could wish for. Isabel was doing her best to facilitate the moments of exchange between us. I wonder how the curatorial team of the program could be able to give even more space for the community exchange.
It would be great for us, if Webbers would have space to cook food together, perform after care/body work for each other, to play music and dance with each other informally. A space that we would feel like belonging to us in this period of collective transformation, a self runned lounge with a stove, fridge, sink, carpet, beamer and a modest sound system.

In conclusion, I would like to express my gratitude again for the team that facilitated the DanceWeb 2024 with the kind attention, care and patience for participants.
Last but not the least, I would like to thank Nureyev foundation for giving me the chance to expand. In the current time when my home country is under the regime of the tyrant that has started the unfair war, we lost support from within the country as well as decrease of support outside. It is of incredible importance to find out that there is a foundation that is taking care of the growth of Russian dance artists in resistance across the globe. Being of tatar origin, I find a lucky sign in receiving support from the institution that carries Rudolph's name. Thank you!


I am including here the solidarity statement that had been composed collectively by the DanceWeb participants 2024. It is expressing the concerns about the festival organization that I share entirely.

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

REPORT
Impulstanz 2024 in Vienna for the DanceWEB Scholarship

SUMMARY
The entire five weeks of danceWEB was a beautiful intense powerful shake to my system. It showed me what I am capable of (often through the eyes of others), it led me to reflections about some specific qualities I would like to bring to my own art practice and also how I would like to make this art. From being in the classroom and workshop of so many teachers over the weeks, I also understood what kind of facilitation I like or would like to offer in my teaching/facilitation processes. Interesting to me was also observing myself as an audience member, and the audience of Vienna too. Outside of artistic practice, there were also learnings about creating and managing expectations of oneself, managing energy and rooting to my intuition.
Perhaps it is not expecting anything at all and being somewhat oblivious to the veracity of its reputation, that made my time at Impulstanz 2024 as part of the DanceWEB Scholarship programme, beautiful and impactful in ways I am yet to discover.

During my time in DanceWEB 2024, I completed 7 workshops, 2 week-long research projects and attended 37 performances. Further, the flexibility of the programme also allowed me to drop into 5 other workshops during the weeks. (This was a medium-hectic schedule – there were danceWEBers who had did more than this and also those who chose carefully to do lesser to manage energy and be honest to their own mood for the day)

The workshops and performances sparked new interests for me, that I hope to be able to explore further through some of the networks developed there. Apart from that, I was lucky to be part of a group of 52 artists from different parts of the world, all selected to be part of the danceWEB programme. Each one of them also influenced and inspired me in different ways. In them, I found companions, comrades and collaborators in spirit, many of whom I am sure to go further and work together with.

Mentorship by Isabel Lewis
Isabel’s own practice is dynamic and sensitive at the same time. But apart from that patient open and grounded energy held the group tremendously well. She listened and watched, and did it in a way that made us as a danceWEB cohort gather as a supportive and creatively generatively group. The Salon sharings formats as well as the possibility to discuss ongoing artistic questions with her, along with other danceWEBers was the icing on the learnings happening in the workshops.

Co-Funding
I received my co-funding costs covered thanks to the Culture Moves Europe mobility grant. They provided a travel costs and a per diem for the entire period which was enough to cover the co-funding, as well as food grocery costs. Having this co-funding made it possible for me to truly focus on the learnings from the workshops at Impulstanz festival 2024, and to enjoy the process in a carefree way.
I was eligible for this grant simply by being a resident in Europe, even without being an EU citizen. Atleast one other DanceWEBer received this grant in our year. Please feel free to reach out if you need help with the application.

Accommodation
Stay for all scholarship holders was organized by the DanceWEB Scholarship team at the OeAD student accommodation near Westbahnhof, Vienna. As was organized for us: I stayed in private room with attached bathroom, sharing a kitchen with three other danceWEBers. Having access to a kitchen helped in sticking to a reasonable budget over the five weeks while cooking nutritious meals for oneself as was much needed! I highly recommend batch-cooking ahead if you are able to just to have the food question sorted. The dancing, heat and commuting and late hours of back-to-back performances can otherwise be very taxing, leaving barely enough time to eat let alone buy food that was available at our odd hours and reasonably priced.
This shared premises was also another communal space for us to come together and bond over shared meals, food ingredients, medicated balms and bonding conversations.
The rooms were comfortable and gave an island of quiet alone-time in the otherwise hectic and social schedule. Like other parts of the world, Vienna is becoming very hot in summer. Arriving there during a heatwave, and not having any ventilators/fans already present in the room, was difficult to manage until we organized the fans for ourselves.
Note: Ask the OECD office for ventilators as soon as you arrive! They have several of these in their storage probably left by previous guests who stayed there. Otherwise its very hot in the summer months in Vienna, and difficult to sleep and enough rest.


Choosing your workshop and Performance Programme – desires, fomo and energy management
Booking one’s workshop preferences, applying for research projects and reserving spots for performances at Impulstanz was a big project in itself prior to getting to Vienna. This was happening throughout May and June, even without knowing if one would make it for DanceWEB due to the co-financing requirement from participants. My initial plan involved a couple more workshops and _ performances. However, the intensity of the programme and its demand from energy and health only became clear after the first week. After this I tried to cancel and re-arrange a few choices. Apart from that, some choices of workshops changed depending on my experience of the first session. (Tip: Ask yourself every day and for every session if you really want to be there. No need to feel obliged for others’ sake or for fear of missing out)
Overall, I tried to keep a balance between various types of workshops:
- rhythm and percussion-based practices,
- art compositional strategies and choreographic tools
- movement techniques
- somatic practices
- allied performance tools, like sound


The workshops I enjoyed the most are:
- Seeing from the eye of the heart by Sarah Shelton Mann and Jesse Zerritt: This moved and excited me in ways I cannot describe. I loved seeing an 80-year-old being so excited with movement and the body. Jesse’s proposals affirmed that what I am pursuing and seeking in my own practice is indeed not in vain, even leading to new strategies I could explore for my next choreography.
- Communal Epic Fiction by Isabel Lewis - Proposed as a game, the negotiations of creativity, freedom, relationship building, and ephemerality of actions and performance were super exciting. It offered the groundwork for other interesting collaborative works in the group.
- Waacking with Archie Bennet: a teacher who is encouraging which challenging the student, being precise in the feedback and honest, but also constructive. Getting the whole group together to cheer for everyone, and always making us aware of the history and roots of the form. Not talking down to us for not being able to attune to the beat (as present-day listeners of electronic music).


Workshops I missed and would like to do next time based on experience of others:
Nora Chipamuire
Elenor Bauer
Niall Jones

Learnings and Reflections
Reflections about being audience: I enjoyed performances that were like experiences feeling like I spent an evening with the performers, rather than being very absolutely assured on its stance. I liked performances when sometimes it was difficult to tell what it was really about. I liked also performances that involved audience participation. I liked performances that showed some skill and virtuosity even though this is not a must. I like performances I enjoyed performances where the performers respected the audience and the importance of performing. I learnt about applause culture in Vienna and learnt about my own ways of showing appreciation. Making sketches is one way of being a viewing audience. Sometimes, falling asleep is a relevant way of being an audience. Sometimes, rejecting and calling out something one disagrees with in the performance, is a way of being an audience.

Reflections about learning and facilitation styles: Some level of preparation and structure by the facilitator helps. How to communicate one’s idea is crucial to help others get creative with the same tools. It helps to lay out how someone arrived at an idea, ie, the vision, the problem, the figuring out, the mistakes and the present workable-solution that the facilitator arrived it (like Communal Epic fiction’s roots in failing to sustain collectives). Give breaks. Recap at the end of the session. Encourage several group-try-out and individual/group sharing moments, not just at the end.

Reflections about making own work: I would like to make work that acknowledges the intelligence and experience of the audience, I would like to make work that lives with the audience, that is easy-going and chill while being political, that has humour, that is serious and powerful, that is irreverent, that is not taking itself too seriously, that feels cosy sometimes like a grandmother’s story. I would like to make work that also relies on some precise movement techniques.

Learnings from other danceWEBers: I learnt from other companions of mine to tune in to one’s needs, resting is important even if this means not making the absolute best of an opportunity. Kindness and teamwork, Patience, Listening, Sticking to difficult things.

Reflections about running a festival:
As an arts administrator who has run festivals in New Delhi and worked towards audience engagement in South Asia, I am particularly impressed by how Impulstanz has become an integral aspect of the city’s artistic offers for the residents of Vienna as well as overseas. The possibility of Impulstanz has clearly created a huge audience for dance that appreciates very diverse works and forms. There appears to be a mature viewing public. Further the Public Moves programme is brilliant in how it makes dance accessible (by making it free of charge and located in large prominent squares of the city) to any one passing by, and gives a push to trying out movement practices that were never usually in their periphery before.

Appreciation and Gratitude for the DanceWEB team: The DanceWEB Scholarship team at Impulstanz, Sara, Val, Tina and Rio did very good organising and coordination, running the entire thing as a smooth well-oiled machine. They prepared us well to a decent extent pre-empting many questions that may come later. They also tried to address new and ongoing requests throughout the festival. They were kind and patient, and also listened well for feedback. Big appreciation and gratitude to them!

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

SOMMAIRE
I. INTRODUCTION
1. Objectif du rapport.
2. Remerciements & Reconnaissances.
3. L'Opportunité de la Bourse pour les Danseurs Africains.

II. ISABEL LEWIS – LE MENTOR IDEAL
1. Avant le Festival.
2. Pendant le Festival.
3. Apres le Festival.

III. ATELIERS
1. Analyse & Impression: Week 1, Intensive 1, Week 2, Week 3, Intensive 3, Week 4.
2. Inspiration apportée par l’expérience.

IV. PERFORMANCES
1. Liste des performances visionnées.
2. Analyse critique des performances les plus marquantes

V. VIE QUOTIDIENNE
1. Arrivée à Vienne.
2. Colocation.
3. Transport.
4. Social.

VI. CONCLUSION
Influence sur la créativité et la pratique de la danse

VII. CONTACT

I. INTRODUCTION
1. Objectif du Rapport
Je m'appelle Raveloarijaona Belly Malala, originaire de Madagascar. Je suis gérante d'un studio de Danse et de Pilates dans mon pays, je suis également professeur dans ces domaines. J'ai eu l'honneur d'être sélectionnée pour la bourse DanceWeb 2024. Cette résidence artistique, d'une durée de cinq semaines, s'est déroulée à Vienne, en Autriche, du 10 juillet au 14 août 2024. En tant que gérante de L-fy Studio, un espace dédié à la danse et au Pilates, ainsi que danseuse et professeur de danse, j'ai abordé cette opportunité avec une grande motivation.

Ma participation à ce programme de formation et d'échange était animée par un désir profond d'apprendre et de partager. La perspective de rencontrer des artistes issus de divers horizons culturels m'a particulièrement enthousiasmée, car je suis convaincue que la diversité culturelle est une source précieuse d'apprentissage. Elle encourage le partage d'idées et favorise la création de liens durables.

Cette expérience enrichissante m'a permis d'acquérir de nouvelles perspectives artistiques et pédagogiques, que je me réjouis de partager avec la communauté de danseurs à Madagascar. Mon objectif était également de représenter dignement Madagascar, en mettant en lumière notre riche culture et notre talent artistique. Par ce biais, je souhaite ouvrir la voie à d'autres talents malgaches, en leur montrant qu'ils peuvent eux aussi aspirer à de telles opportunités à l'avenir.

L'objectif de ce rapport est de partager les moments marquants de mon séjour, en couvrant la résidence elle-même, les ateliers auxquels j'ai participé, les performances que j'ai observées, ainsi que les perspectives que cette expérience a ouvertes pour l'avenir. Cette bourse représente une opportunité inestimable pour les danseurs africains, leur offrant une plateforme pour s'épanouir et s'engager sur la scène artistique internationale.

2. Remerciements et Reconnaissance

Tout d'abord, je souhaite exprimer ma profonde gratitude envers le Festival Impulstanz pour son existence et pour l'organisation de programmes internationaux tels que DanceWeb et ATLAS. Ces initiatives offrent aux danseurs du monde entier une plateforme unique pour explorer la danse dans toute sa diversité et permettent des rencontres enrichissantes entre artistes de différents horizons.

Un remerciement spécial s'adresse au directeur du festival, Karl Regensburger, dont la vision et le dévouement ont rendu possible cette expérience exceptionnelle. Merci pour son engagement à créer un espace où les danseurs peuvent s'épanouir artistiquement.

Je tiens également à remercier chaleureusement Isabel Lewis, notre mentor, qui a joué un rôle crucial dans la cohésion du groupe DanceWeb 2024. Grâce à ses exercices réfléchis et à sa bienveillance, elle a su créer un environnement propice à l'apprentissage mutuel et à la collaboration. Sa gentillesse, sa patience, et son engagement ont été une source de réconfort et d'inspiration pour nous tous. C'était un honneur de rencontrer une artiste de son envergure et d'apprendre de sa vision unique. Je suis profondément reconnaissante de l'opportunité qu'elle m'a offerte de faire partie de ce projet.

Je souhaite également adresser mes sincères remerciements aux sponsors de la bourse. Sans leur soutien, ma participation à DanceWeb n'aurait pas été possible. Leur générosité a eu un impact direct sur ma vie, me permettant de vivre cette expérience transformante. Ils ont véritablement le pouvoir de changer des vies.

Enfin, un grand merci à l'équipe DanceWeb – Sarah, Rio, Val, et Tina – pour leur assistance tout au long du processus. Je tiens particulièrement à remercier Sarah, qui, dès l'annonce des sélectionnées, s'est montrée investie dans ma situation. Malgré la quantité d'informations à gérer, elle a su rendre tout clair et accessible. Leur rapidité à répondre, leur soutien psychologique, et leur écoute attentive, tant avant mon arrivée qu'au cours de mon séjour, ont été d'un grand réconfort durant cette période stressante.


3. L'Opportunité de la Bourse pour les Danseurs Africains
**Impact sur la Carrière des Danseurs Africains**

L'Afrique regorge de talents artistiques exceptionnels, souvent en quête d'opportunités rares qui peuvent transformer une carrière. Pour beaucoup de danseurs africains, une bourse comme celle de DanceWeb peut représenter l'unique chance de leur vie de se confronter à une scène internationale, d'échanger avec des artistes de renommée mondiale et de découvrir des œuvres et des approches artistiques novatrices. Pour les plus chanceux, d'autres opportunités suivront peut-être, mais elles restent rares.
La réalité des défis auxquels sont confrontés les artistes africains est bien palpable. Pour ma part, les difficultés ont commencé dès l'annonce des sélectionnés le 9 février 2024, et n'ont cessé qu'à mon arrivée à l'OEAD le 9 juillet.
Les obstacles étaient nombreux : contraintes financières, obtention du visa, gestion du temps. Malgré tout, ma détermination à saisir cette opportunité était inébranlable. J'ai dû économiser avec rigueur, solliciter l'aide de ma famille, et frapper à la porte de diverses grandes structures en quête de co-financements. Malheureusement, aucune de ces démarches n'a abouti. La réponse était souvent la même : l'absence de budget disponible ou la rigidité des budgets culturels déjà alloués pour l'année en cours.
Grâce à mes économies personnelles et au soutien de ma famille, j'ai pu couvrir les frais de mon billet d'avion et mon per diem, mais ce fut un véritable défi financier. Je suis consciente d'être privilégiée de pouvoir travailler et ainsi subvenir à ces besoins, mais je sais que beaucoup d'autres danseurs africains n'ont pas cette chance. C'est pourquoi je profite de cette plateforme pour plaider en faveur d'une facilitation des frais de voyage pour les futurs bénéficiaires de la bourse DanceWeb, notamment pour mes compatriotes malgaches.
Le Festival Impulstanz est une opportunité unique, qui a le pouvoir de transformer la vie des danseurs africains en élargissant leurs horizons et en leur offrant une immersion dans la richesse de la danse contemporaine et de la danse en général. Le Festival Impulstanz est l’une des plus belles expériences de ma carrière. Pour que d'autres puissent également profiter de cette expérience, je me tiens à disposition pour offrir mon assistance aux futurs DanceWebers malgaches ou à toute autre initiative visant à soutenir leur participation à ce programme exceptionnel.


II. ISABEL LEWIS – LE MENTOR IDEAL

1. Avant le Festival
Dès le début du Festival, les exercices proposés par Isabel Lewis ont joué un rôle crucial pour créer des connexions entre les 50 boursiers de DanceWeb. Avec autant de personnes, de noms, et d'histoires à retenir, il était essentiel de poser des bases solides pour la cohésion du groupe. Isabel a ouvert les portes à ces connexions avec des exercices qui ont permis de briser la glace et de commencer à tisser des liens dès le premier jour.

Un exercice marquant consistait à écrire anonymement trois vœux sur un papier, puis à tirer au sort ceux des autres. Si je ne me souviens plus exactement de ce que j’ai écrit, les papiers que j’ai reçus ont laissé une impression durable. Ce fut une véritable surprise, en rentrant à Madagascar, d’apprendre que l’un de ces vœux provenait de Nora, l'une de mes colocataires. La vie, avec ses coïncidences, nous réserve parfois de belles surprises.

Un autre exercice consistait à partager avec le groupe ce que nous aimions, ce qui nous faisait peur, et nos interrogations profondes. Par exemple, j’ai noté que Gisela avait partagé son amour pour les gens qu’elle aime, sa peur de la mort, et son questionnement sur la signification d’être humain. Marine, quant à elle, a exprimé son amour pour le fait d'être présente au Festival, sa peur de perdre sa mère avant son retour dans son pays d'origine. Cet exercice a révélé la bienveillance et l’écoute qui régnaient au sein du groupe des DanceWebers.


Isabel nous a également guidés à travers des exercices d’écoute inspirés par Pauline Oliveros, qui ont approfondi notre connexion avec nous-mêmes et les autres.
Un grand exercice sur notre art, bien qu'angoissant au départ à cause de la nécessité de trouver les idées, les mots, et les mouvements, a été un moment fort avant le Festival. C’était l'occasion de nous unir autour de nos créations artistiques, de nous connecter à travers nos différentes formes d'expression. Cela nous a donné l'énergie nécessaire pour commencer le Festival sur une note positive et collective.

2. Pendant le Festival
Les deux salons organisés durant le Festival ont été des moments privilégiés pour découvrir le travail et la vision artistique des autres DanceWebers. Chacun de nous disposait de 6 minutes, à renouveler quatre fois, pour s’exprimer. C’était fascinant et inspirant de voir 25 danseurs s’animer en même temps, chacun avec son univers unique.
Ces échanges m'ont profondément influencé en tant qu'artiste. Ils m'ont offert de nouvelles perspectives et m'ont permis d'explorer divers aspects de la création artistique. J'ai découvert que la simplicité pouvait parfois en dire bien plus que des mouvements complexes, et que tout élément – silence, cris, écritures, théâtre, images projetées, accessoires variés tels que chaises, haut-parleurs, miroirs, instruments de musique – pouvait être intégré dans une création chorégraphique. Cela m’a donné des idées et une nouvelle approche pour raconter mon histoire à travers la danse.

3. Après le Festival
L’après-Festival a été chargé d'émotions. Chaque jour, on ressentait l'approche de la fin, ce qui nous poussait à nous rapprocher encore plus les uns des autres. Les étreintes se multipliaient, et les liens créés durant le Festival devenaient de plus en plus palpables. Bien sûr, certaines connexions étaient plus fortes que d'autres, influencées par la colocation, les cours suivis ensemble, ou les spectacles partagés. Mais ce qui me manquera le plus, ce sont les moments passés tous ensemble, à vivre et à créer au même instant.
Cette cohésion et cette richesse humaine sont en grande partie dues à Isabel. C’est une relation à la fois humaine et artistique qui marquera chacun de nous pour toujours.

III. ATELIERS
1. Analyse & Impression
Week 1: 15–19 July

1.) SAMANTHA VAN WISSEN
Together we dance more!
Beginners
09:30 – 11:30

La manière d’enseigner de Samantha Van Wissen m'a particulièrement marqué par sa clarté et son efficacité. Elle prend le temps de parler, d'expliquer en détail les mouvements, et n'hésite pas à faire répéter régulièrement les parties plus compliquées. Cet aspect pédagogique m'a beaucoup intéressé du fait que j’enseigne, surtout compte tenu de la diversité du groupe, tant au niveau des compétences que de l’âge des participants. Samantha a su adapter son enseignement pour répondre aux besoins de chacun, ce qui est une compétence précieuse dans un contexte aussi hétérogène.
Un des éléments marquants de ce cours était les exercices de toucher en duo ou en groupe, où il s'agissait de toucher un point spécifique du corps de son partenaire. Ces exercices étaient un travail fascinant d’isolation et de lâcher-prise, permettant une connexion subtile mais profonde avec les autres et avec son propre corps.
Choisir ce cours doux pour commencer ma journée a été une décision judicieuse. Cela m'a permis de maintenir une bonne énergie tout au long de la semaine, surtout en contraste avec les deux autres cours plus physiques que je suivais. Ce moment de centrage sur mon corps en début de journée m'a aidé à aborder le reste des activités avec une plus grande sérénité.


2.) RACQUEL CAUTIION Dancehall – Get Jiggy
Open Level
14:00 – 15:45

Ce cours de Dancehall Female a été une expérience enrichissante qui m'a permis de découvrir de nouveaux steps tout en améliorant ceux que je connaissais déjà. En tant que pratiquant de Dancehall depuis longtemps, avoir l'opportunité de suivre des cours avec des professeurs jamaïcains est toujours un privilège. Le retour aux sources est essentiel pour approfondir la compréhension et l'authenticité de cette danse.
Travailler avec Racquel Caution a été un véritable plaisir. Son énergie débordante est contagieuse, et elle sait parfaitement comment la transmettre à ses élèves. Le cours était à la fois physique et amusant, nous poussant à repousser nos limites tout en nous amusant. Pour véritablement incarner le Dancehall, il faut être puissant et affirmé. Racquel a su créer un environnement qui encourageait chacun à exprimer cette puissance avec confiance.


3.) LAURA AIRIS
Ultima Vez Vocabulary
Advanced
16:00 – 17:45

Laura Aris est une professeure exceptionnelle, animée par une passion palpable pour son art. Ce cours a été un véritable défi pour moi. Dès le premier jour, je me suis demandé si j’allais continuer, tant l’expérience était intense. Ce cours combinait des aspects physiques, techniques et psychologiques, tous aussi exigeants les uns que les autres. Pourtant, c’était aussi une opportunité unique de me surpasser, et c’est ce qui m’a poussé à persévérer.

Au final, j’ai énormément appris , et je suis profondément reconnaissant à Laura pour tout ce qu’elle m'a transmis. Ce cours m’a permis de découvrir une approche du travail au sol complètement différente de ce que je connaissais, ainsi que l’utilisation d’accessoires comme des chaussures ou des bâtons. Le travail en duo, auquel je n’étais pas habitué, ainsi que l'exploration du mouvement dans un grand espace, ont également été des aspects révélateurs de cet atelier.


Intensive 1: 20&21 July

RAZA HAMMADI
Jazz
Intermediate
12:15 – 14:30 & 17:45 – 20:00

Ce cours de Jazz intensif, comme son nom l’indique, a été un véritable condensé d’informations et de techniques, transmis de manière progressive mais en un temps limité. Nous avons travaillé intensivement sur la posture, en portant une attention particulière à la position du corps, des bras, du dos, du pelvis et des jambes. Grâce à ce cours, j’ai pu corriger certaines habitudes parasites qui affectaient ma technique et améliorer mes performances de manière significative.
En tant que passionné de Jazz, ce cours était parfait pour moi. Raza Hammadi, avec son mélange d’humour et d’exigence, a su rendre chaque session à la fois stimulante et enrichissante. Ses deux assistants étaient de véritables modèles et sources d’inspiration, et leur performance à l’ouverture du festival m’a donné encore plus de motivation pour participer pleinement à ce cours.
La présence d’un musicien durant le cours apportait une dimension supplémentaire, en nous permettant de travailler sur différents rythmes, ce qui enrichissait encore plus l’expérience. Ce cours de Jazz reste l’un de mes moments forts du festival.

Week 2: 22–26 July

1.) ANASTASIA STOYANNIDES Vienna Hatha Yoga – Bien Tempéré
Open Level
09:30 – 11:30

Ce cours d'Hatha Yoga a été une véritable découverte pour moi. Au départ, j'ai trouvé la pratique très lente et peut-être même trop douce, surtout comparée au Pilates que je pratique régulièrement, où l'on travaille une vingtaine de postures en une seule séance. Cependant, dès le deuxième cours, j'ai commencé à saisir la profondeur de cette discipline. L'idée de réellement se connecter avec son corps à travers une posture et la respiration propre à l'Hatha Yoga m'a progressivement parlé.
En tant que premier cours de la journée, c'était un excellent moyen de bien démarrer. Cette pratique m'a permis d'étirer mon corps et de relâcher les tensions accumulées, de déstresser, créant ainsi une base sereine pour le reste des activités quotidiennes. L'Hatha Yoga a apporté une dimension de détente et de recentrage que je n'avais pas anticipée, mais qui s'est révélée extrêmement bénéfique.

2.) TRISHA AGIA
Afro Fusion
Intermediate
11:40 – 13:25

Nous avons principalement travaillé sur l'Afro House, une magnifique danse venant d’Angola. Ce fut un réel plaisir de revisiter des steps que je connaissais déjà, tout en découvrant une nouvelle approche. Trisha Agia possède une excellente pédagogie, et la répétition des steps nous a permis d’intégrer les mouvements plus facilement, de manière à ce qu’ils deviennent naturels.
En tant qu'enseignant d’Afro à Madagascar, mon objectif était de m'améliorer dans tous les domaines : gestion de l'énergie, précision des mouvements, expressions, et surtout l’improvisation. Les exercices en groupe et dans l’espace ont été particulièrement utiles pour travailler l’improvisation, un aspect que je souhaite approfondir dans ma pratique. Ce cours m'a offert de précieuses compétences et une nouvelle perspective que je suis impatient d’intégrer dans mon enseignement.

3.) SALIM GAUWLOOS Contemporary Jazz – Dancing Meditation
Intermediate
16:15 – 18:00

Le cours avec Salim Gauwloos a été un véritable temps fort du festival, et sans aucun doute l’un de mes ateliers favoris. Sa pédagogie est unique, empreinte de positivité, ce qui rend l'apprentissage à la fois agréable et stimulant.
Les chorégraphies qu'il propose, associées à ses choix musicaux, sont tout simplement hypnotiques. Chaque session était un moment de pur plaisir et d'immersion dans la danse. Il n'y a pas grand-chose à ajouter, sinon que j’ai adoré ce cours du début à la fin.


27&28 July

Les 27 et 28 juillet, j'ai ressenti le besoin de faire une pause, car la fatigue mentale et physique commençait à se faire sentir. Il était nécessaire pour moi de me déconnecter un moment, de faire autre chose et de penser à autre chose avant de reprendre avec une nouvelle semaine. J'ai profité de ce temps pour découvrir Vienne et admirer la beauté de la ville. Cette pause m'a permis de me reposer pleinement, de me ressourcer, et de passer du temps seul, ce qui était indispensable pour retrouver mon énergie.


Week 3: 29 July–2 August

1.) MARTA CORONADO
Pamplona Release Technique – Enjoying the Laws of Motion Intermediate
09:30 – 11:30

J'ai adoré Marta Coronado et son assistant, et ce qu'ils m'ont transmis lors de ce cours.
Ce que j'ai retenu le plus de son enseignement est sa technique sur la verticalité, qui est à la fois fascinante et très instructive. Son approche de l'échauffement, qui incluait des sortes de massages et la Release Technique, était totalement nouvelle pour moi. Cela m'a poussé à explorer les mouvements de manière plus doux et plus profonde, en cherchant à rendre les gestes plus grands tout en gardant un contrôle précis. Tout un paradoxe.
Ce cours m'a également offert une autre perspective du travail au sol, mélangeant relâchement et contrôle. J'ai beaucoup appris sur le momentum, ainsi que sur l'importance de l'écoute — de la musique, de soi, et des autres — pour parvenir à une parfaite synchronisation.


2.) ANDREW CHAMPLIN
Ballet for Contemporary Dancers
Beginners
13:50 – 15:35

La présence du pianiste durant ce cours apportait une véritable authenticité à l'ensemble. Cela s'est avéré essentiel non seulement pour comprendre les temps, mais aussi pour mémoriser les enchaînements à la barre.

Andrew Champlin est un professeur formidable. Sa manière de transmettre le ballet mettait tout le monde à l'aise, loin de la pression que l'on peut parfois ressentir dans les cours de ballet classiques traditionnels. Le **Ballet for Contemporary** s'est révélé être un excellent moyen de se reconnecter avec le ballet de manière contemporaine et accessible.

J'ai beaucoup appris au cours de ces sessions. Les corrections de mouvements que j'ai reçues étaient exactement ce dont j'avais besoin pour progresser. De plus, le travail sur la coordination et la direction a été particulièrement enrichissant.

3.) JERMAINE BROWNE
FemFunk
Advanced
16:10 – 17:40

Les mots de Jermaine Browne résonnent encore en moi. Son enseignement allait bien au-delà de la danse, et les conseils qu'il nous donnait peuvent être appliqués dans la vie quotidienne.
Les cours étaient physiques et représentaient un véritable casse-tête au départ, avec la rapidité des mouvements, le respect des temps, et tant d'autres aspects à maîtriser. Pourtant, c'était un plaisir de se challenger dans cet environnement. Jermaine nous a clairement poussés à explorer plus loin ce que nous faisions, à aller au-delà de nos limites. Il jouait habilement entre le "plus" et le "moins" — moins d'énergie, plus d'expression; plus d'expression, plus de sensation.
Dès que la musique commençait, on avait envie de se projeter dans cette version future de soi, plus forte et accomplie. Jermaine Browne est un professeur très touchant et impressionnant.

La troisième semaine : Un défi physique
La fatigue a commencé à se faire sentir physiquement à partir de la troisième semaine. J'avais mal partout : les chevilles, les hanches, les genoux, et surtout ma jambe gauche. À certains moments, j'étais tellement épuisé que j'avais envie de pleurer, mais je me rappelais la chance que j'avais d'être là. Les pauses entre les cours étaient devenues essentielles pour ma santé. Pendant les longues pauses, je m'assurais de dormir au moins 20 minutes pour récupérer avant de reprendre.

Intensive 3: 3&4 August

1.) ALLEYNE DANCE London Alleyne Dance Intensive
Advanced
12:10 – 17:10

L’incarnation de la puissance de la danse

Elles sont l'incarnation même de la puissance de la danse. Je ne les connaissais pas avant, je les ai découvertes en feuilletant les catalogues d’Impulstanz, comme tous les autres professeurs d’ailleurs. Mais dès que je les ai vues, je me suis dit qu'il fallait absolument que je prenne leur cours.

Nous avons appris tant de choses. Les simples indications sur la respiration, la direction, et l’énergie nous poussaient toujours plus loin dans notre improvisation. Je retiens particulièrement les indications sur les doigts, les mains, ainsi que ces enchaînements puissants et extrêmement exigeants. Leur art résonne profondément en moi, car il porte une identité africaine très marquée.

Ce fut sincèrement le cours le plus difficile pour moi, surtout physiquement, avec mes problèmes de hanches et de genoux. J'ai même dû manquer la dernière heure de cours le dimanche pour voir un physiothérapeute, que je tiens à remercier d'ailleurs pour avoir soulagé mes douleurs.

Week 4: 5–9 August

1.) STÉPHANE PEEPS
House
Open Level Week 4 14:15 – 16:00

Le cours commençait avec l’échauffement intensif de Tyssa, une occasion précieuse pour explorer et se connecter avec son corps avant d’entrer dans le vif du sujet. C’était très cardio, mais essentiel pour se mettre dans la bonne énergie.
En tant que passionné de House, j’ai été ravi de redécouvrir cette danse. Le travail répétitif d’un step permettait d’explorer le mouvement sous différents angles, nous poussant toujours à aller plus loin. Comme le disaient tous les professeurs, il n’y a pas vraiment de répétition, mais plutôt une amélioration continue du mouvement et des enchaînements. À chaque passage, il s'agissait de voir comment aborder les mouvements différemment.
L’ambiance était celle d’un clubbing, avec de nouveaux enchaînements appris à chaque cours que nous répétions seuls, en duo ou en groupe. C’était une expérience de lâcher-prise, d’énergie positive et de good vibes.

2.) Conny Aitzetmueller
Contemporary Pole
Intermediate
18:15 – 20:00

J’ai clôturé mes cours avec le Pole Dance. Le cours ne s’est pas déroulé à l’Arsenal mais dans le studio de Pole Dance de Conny Aitzemueller. Bien que cela me paraisse loin, j’étais ravie de découvrir un nouveau quartier, surtout en cette dernière semaine. Nous étions confortablement installés dans un vrai studio de pole, ce qui a ajouté à l'expérience.
J'ai, bien sûr, adoré les cours. Nous avons travaillé plusieurs mouvements sur une pole statique, et c'était intéressant de découvrir le Pole Dance sous un angle chorégraphique. C’était, sans surprise, très physique, et les bleus étaient au rendez-vous.
Ce que j’aime avec la Pole Dance, c’est le regain de confiance en soi que l’on ressent chaque fois qu’on réussit à exécuter un mouvement, même le plus simple. Le Pole Dance est une discipline à la fois féminine, sexy, et sportive. Certains mouvements étaient de véritables défis.
J’ai adoré la manière dont les professeurs ont transmis leur savoir, rendant chaque séance unique et enrichissante.


2. Inspiration Apportée par l'Expérience
Mon expérience à Impulstanz a profondément influencé ma pratique de la danse. Chaque cours m'a permis de redécouvrir certaines disciplines que j’enseigne dans mon studio sous un angle nouveau, en explorant des approches différentes et en enrichissant mon répertoire technique. Le fait de sortir de ma zone de confort avec des disciplines comme avec l'Ultima Vez Vocabulary, la Release Technique, et le Dancing Meditation m'a donné des outils pour repousser mes limites artistiques et personnelles.
J'ai également pris conscience de l'importance de l'identité, au-delà de la simple technique. Chaque correction de mouvement, chaque nouvelle approche apprise renforce ma capacité à transmettre des connaissances précieuses.
Les moments partagés avec les autres danseurs m'ont non seulement permis de me nourrir d'inspirations variées, mais aussi de développer des idées pour l'avenir. Je me sens prêt à explorer de nouvelles voies artistiques, en intégrant les techniques et philosophies apprises à Vienne. Que ce soit par le développement de nouvelles chorégraphies, l'amélioration de mon enseignement ou la création de projets collaboratifs.
En somme, cette expérience m'a donné une nouvelle perspective sur ma pratique, renforçant ma détermination à rester concentré et à continuer de m'améliorer, pour moi-même et pour mes élèves.

IV- PERFORMANCES

Avant le début du Festival, j'ai sélectionné les performances à voir en fonction des horaires des ateliers. Mon choix a été guidé par les informations du catalogue ainsi que des recherches sur Internet. Une fois arrivée à Vienne, après le premier briefing, j'ai ajusté mes choix en fonction de mon emploi du temps et de celui des autres participants de DanceWeb pour certaines performances. Cependant, j'ai majoritairement maintenu les ateliers que j'avais choisis au départ.

Mes sélections étaient tout de même assez spontanées. Je ne connaissais aucun des artistes. J'ai essayé de choisir des performances qui ne heurtaient pas trop ma sensibilité, des ateliers qui n'étaient pas trop tardifs ni trop longs. Je pense que 20 performances étaient un nombre raisonnable. Malgré cela, la fatigue se faisait ressentir à chaque performance que je regardais, malheureusement.

Certaines m'ont profondément touchée, d'autres moins. Mais une chose est certaine, cette expérience a élargi ma vision de l'art contemporain. Personnellement, c'était la première fois que je voyais ce type de spectacles avec ces moyens, et dans de grands théâtres. Tous ces artistes sont une veritable source d’inspiration.

Une phrase d'Estelle Zhong Mengual, entendue lors de leur performance Non Humans, m'a marquée. Bien que je ne me souvienne pas des mots exacts, elle évoquait l'idée que c'est normal qu'il ne se passe pas toujours quelque chose d'exceptionnel, que ce soit sur scène ou dans la vie. En effet, l'art peut être simple, chacun ayant sa propre simplicité. Bien que cette performance m'ait moins parlé et ait heurté ma sensibilité en raison de la nudité, cette phrase m'est restée en tête

La performance d'Anne Teresa De Keersmaeker / Rosas, bien que légèrement longue en raison de notre position assise au sol et tout près de la scène, était fascinante. Avoir la chance de voir son art raconté à travers toutes les tenues qu'elle a portées sur scène au fil des années est incroyable. Son échange avec ses danseurs, diffusé via le vidéoprojecteur, était tout aussi poignant. C'est en voyant ce genre de grandes artistes que je me dis : "J’aime la danse et je veux faire ca toute ma vie ».

Parmi les performances dansées, celles de Soa Ratsifandrihana, Sidi Larbi Cherkaoui, Alexander Vantournout, Kim Sungyong, ou encore Maud Le Pladec feat. Jr Maddripp ont particulièrement attiré mon attention. J'appréciais particulièrement quand je comprenais l'histoire, quand j'arrivais à imaginer ce que la performance voulait exprimer, ou quand la danse elle-même parvenait à me captiver.

Les moments les plus marquants étaient ceux des performances d'Aymeric Hainaux & François Chaignaud, ainsi que de Harrell / Bengolea / Chaignaud / Monteiro Freitas (M)imosa. Voir le public sourire, rire, danser sur place, s'étonner, apprécier, c'était fascinant, et cela créait un véritable moment de partage entre nous et avec l'ensemble du public.
 
VII. VIE QUOTIDIENNE
1. Arriver à Vienne
Transport
Je souhaite partager une réflexion concernant les transports, notamment pour les futurs DanceWebers africains. Ayant déjà vécu en Europe il y a longtemps, je n'ai pas perdu mes repères. Cependant, cette réflexion pourrait être utile à d'autres.
Pour certains participants, les types de transports disponibles à Vienne peuvent être totalement nouveaux. Par exemple, à Madagascar, nous disposons uniquement de bus et de taxis ; il n’y a ni métros, ni trams, ni Ubers. Pour certains, Vienne pourrait être une véritable introduction à la vie européenne. Il serait utile de souligner l'importance de maîtriser des outils comme Google Maps pour se repérer, et d'accentuer les informations sur les différents modes de transport disponibles. Google Maps nous a été d'une aide précieuse tout au long de notre séjour.

Carte SIM
Nos cartes SIM ne fonctionnent généralement pas en Europe. Pour m'orienter et accéder à Internet, j'ai acheté une carte SIM à l'aéroport. J'avais opté pour une offre à 40 euros, mais il est probable qu'il en existe d'autres moins chères. J'étais sous le coup du stress et de la panique à ce moment-là. Il serait pertinent de mentionner dans les informations aux futurs participants la nécessité d'acheter une carte SIM à l'aéroport pour pouvoir s'orienter facilement jusqu'au logement.

2. Colocation
Vivre en communauté a été un véritable défi pour moi, étant de nature solitaire. Cependant, j'ai créé des liens très forts avec mes colocataires. Elles sont devenues de véritables repères pour moi ; les voir quelque part me rassurait instantanément. Nous avons toutes les trois opté pour les transports en commun, ce qui facilitait nos rendez-vous avant les performances ou les cours que nous partagions. Je suis vraiment reconnaissante que le Festival ait mis Nora et Lagho sur mon chemin.

Globalement, la cohabitation s'est bien passée, malgré nos rythmes de vie différents. Nous étions toutes respectueuses les unes envers les autres. Même si nous avions peu de cours en commun, nous réussissions tout de même à partager des moments dans la cuisine, et surtout dans le tram.

En ce qui concerne les produits ménagers, nous ne savions pas vraiment si nous devions acheter des balais ou d'autres équipements, car nous pensions que le nettoyage serait effectué deux fois par semaine, comme indiqué. Au final, durant tout le Festival, les personnes chargées du ménage ne sont passées qu'une seule fois. Peut-être serait-il utile de préciser qu'il est nécessaire de nettoyer soi-même sa chambre, ce qui est tout à fait normal bien sûr. La machine à laver était un peu difficile à comprendre au départ, mais une fois qu'on avait saisi le fonctionnement, tout allait bien.

3. Transport
Les transports en commun étaient le meilleur choix pour moi, surtout sur le plan physique, car ils permettaient de me reposer après les cours. Certes, cela rallongeait certains trajets, et il y avait plus de marche à faire, mais c'était plus pratique pour moi. De plus, cela m'a permis de découvrir davantage les environs. N'étant pas habituée à utiliser un vélo, cela aurait été une source de stress et de pression supplémentaires. Je remercie sincèrement le Festival d'avoir inclus les transports en commun dans la bourse, car cela aide vraiment.

4. Social
Je suis une personne qui ne sort pas beaucoup, mais j'ai eu l'occasion de participer à des sorties deux fois au début du Festival et deux fois à la fin. Ces moments m'ont permis de m'évader un peu du quotidien et de découvrir les talents de musiciens et de DJ parmi nos collègues. J'ai passé des moments agréables. Les deux premières fois, je suis restée environ 30 minutes, tandis que les deux dernières fois, lors des soirées de clôture, j'ai décidé de rester plus longtemps.
 
VI. CONCLUSION
Influence sur la créativité et la pratique de la danse
Cette expérience a été incroyablement enrichissante tant sur le plan humain, artistique que professionnel. Partager cette aventure avec tous les DanceWebers a véritablement incarné l'authenticité de l'expérience. Lorsque je pense à DanceWeb, ce sont avant tout leurs visages et leurs talents qui me viennent à l'esprit. Cette diversité culturelle est une immense richesse. Les meilleures performances, à mon sens, ont été celles où chacun d'entre nous a pu exprimer son art sous le regard bienveillant de tous. Si je devais résumer DanceWeb 2024 en un mot, ce serait la bienveillance. Je suis fière de savoir que j'ai désormais des connaissances partout dans le monde. Cette expérience est gravée dans mon cœur.
Ce type d'immersion était une première pour moi : être plongée quotidiennement dans des cours, assister à des performances dans des lieux d'exception. Artistiquement et professionnellement, cela m'a ouvert les yeux sur de nombreux aspects. Dans mon quotidien, mon art est principalement axé sur l'enseignement. Cette expérience m'a offert une multitude d'outils pour devenir une meilleure professeur et pédagogue. J'ai acquis plusieurs techniques, mais surtout, cela m'a donné l'envie d'approfondir la partie créative de mon art. Je souhaite désormais me consacrer davantage à la création afin de donner forme à toutes les inspirations que j'ai reçues durant le Festival. Tant d'idées fusent en moi.
Je remercie le Festival d'exister et d'avoir transformé ma vision de l'art.

VII. CONTACT

Current Address:
Street: IIJ 91 FA Ivandry, Antananarivo 101
Country: Madagascar
Phone 1: +261 33 14 461 96
Email: bellysid@yahoo.fr / lfy.contact.mg@gmail.com
Url: www.lfystudio.com

Report:

It is hard to describe my experience in danceWEB in a few words. It has been a complex experience made from many different and contradictory feelings. That is the reason why after a couple of months I am still trying to reach a real understanding of some events and relationships that have taken place during these weeks in ImPulsTanz. It's something that is often heard from dancewebbers: the festival is an overload of information and sensations that have to be digested little by little.

DanceWEB Europe has been a very intense and enriching experience from which I have enormously benefited as an artist. I had spent the last years in Barcelona working as an independent choreographer in the studio completely disconnected from what other artists were doing or thinking. Thanks to a prize I was awarded at the Certamen Coreográfico de Madrid, I was given the opportunity to go to the ImpulsTanz 2024 in Vienna and meet new artists, discus with them and exchange ways of understanding dance and art.

To share this experience with another 51 dancewebbers from all over the world is one of the best things of the program and I was very attracted to hear them and see the ways they looked at dance.
Before arriving in Vienna, I had been fantasizing about how different our perspectives about dance could be, especially according to the different countries we were coming from and living in, and about how surprised I could be when meeting the other people and their approaches to movement. In that sense it was a kind of deception at some point: I suppose I was expecting to find amazingly innovative thoughts and totally unexpected points of view which could open a new life for me. However, I understood soon that dance is a very small world even if spread all around the represented countries and that most of us, seemed to have had the same understanding of art, expectations, modes of production, etc. And that is exactly what Vienna taught me: how isolated we are and still how equally we think in a totally globalized society which keeps feeding itself promoting individuals who do what the others are ready to buy, and there we go.

An other thing very nurturing of the Festival was the possibility to see so many performances. Although not all of them were interesting to me because of the aesthetics, I really learned about them. It was funny for me to see how most of the Dancewebbers were like me: they were passionate about what they saw and, since we did not always agree, we had interesting discussions about the work of the different artists that were programmed.

About the classes I really enjoyed having the opportunity to try so many different practices and approaches to dance. I particularly appreciated the conversations we had about dramaturgy, dance practices and music with Guy Cools, the salons and meetings with the mentor Isabel Lewis, who accompanied us without impose ideas but guiding and enabling debate, and the classes with Samantha van Wissen, really focused on the body and its relation with space and others bodies.

However, there are things that I feel could be improved. For example, aid and financial support for people who do not have resources throughout that month; I think there are several simple ways that can solve this problem quite a bit. Another important thing is the security of the lounge, the only space provided for the 120 people of DanceWeb and Atlas. It would be essential a safe space to meet and share experiences outside the Arsenal studios. It would also be important to have a place in the Arsenal to heat food and eat.

I would like to highlight the great learning and personal growth experience that these weeks have meant for me and to thank all the people who have made it possible: thanks to Paso de 2 - Certamen Coreográfico de Madrid, to Isabel Lewis and Rio Rutzinger for their commitment to the scholarship and the help to emerging artists, and of course to all the teachers, performers, and those in charge of the organization that have given their time for the festival to work perfectly, from the workshop office (Sara, Tina and Val) to the cafeteria or even the rental of bicycles. All of them are essential to create for us this wonderful learning opportunity.

Report:

Report:

Becoming a Dancewebber is something that many dancers aspire to achieve in their careers, and for years, I have been applying for this scholarship. My first experience at the Impulstanz Festival came in 2019 through the Atlas program, and it profoundly changed my perspective. So I was excited, hopeful and grateful to be able to experience it once again.

Returning to Impulstanz this year as a Danceweb scholar, I was already familiar with the physical and mental demands, the festival’s dynamics, and the daily logistics. Yet, I found myself spiritually unprepared for the deeper challenges and opportunities the experience would demand.

I am deeply grateful to Isabelle Lewis for including me in the 2024 cohort and for curating such a diverse and inspiring group of artists, providing a safe, supportive space for us. Being a Danceweb mentor is not a role to be taken lightly—it requires more than artistic acclaim; it calls for strong pedagogical skills and human qualities to truly support and facilitate such a large, varied group of artists. Isabelle rose to this challenge with exceptional grace and dedication.

As a whole, I arrived at Danceweb hoping to experience a shift in my artistic practice. By the end, I realized that the most transformative moments came not from the formal teachings, workshops, or performances but from the exchanges with fellow Danceweb scholars. Their unique insights, knowledge, solidarity, and ways of navigating the art world reshaped my perspective.

However, individually and collectively, we encountered challenges that impacted our experience at the festival. In response, we have come together to address them in the following solidarity statement:

“Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties acclimatizing to the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.”

Report:

Verena Schneider (she/her, they/them) is a dancer, acrobat, performer and choreographer and has been pursuing the intensive practice of handstand, acrobatics and contemporary dance since studies of circus arts in FLIC - Scola di Circo (IT) and ESAC – Toulouse (FR) and biology at the University of Innsbruck (AT). Verena’s main themes merge and question artistic labour, training strategies, ecologies of relations, co-creative situations within the interdisciplinary field of circus & dance. With the desire to contribute in the field of interdisciplinary performance art, she founded the Vienna-based cultural association Freifall: The aim of the association is to promote interdisciplinary projects. Together with Charlotte Le May, Verena co-created the circus Kumquat Company and is currently completing her MA in Choreography at Fontys University/Rotterdam. Works have been shown at venues such as WUK Performing Arts (AT), Werk X (AT), Dschungel Wien (AT), BRUX / Freies Theater Innsbruck (AT), Parallel Vienna (AT), CircusDanceFestival (DE), and Centquatre (FR) among others. Currently, Verena is co-leading a circus-dance lab co-produced by Tanzquartier Wien and ON THE EDGE Festival.

*Personal Report"

When I think back to danceWEB 2024, I can't quite recount it as a linear story.
Something intangible happened along the way. I consider myself incredibly fortunate to have been part of this experience.
The memories are scattered, but one thing is clear: I was lucky to be part of such a fruitful and beautiful experience.

In a way, I feel like it saved me on an emotional level and artistic level. The experience helped me dealing with things I felt overwhelmed and I didn't know how to go further. I met so many people I could deeply relate to and that gave me a space to express and live the things I want to believe in — things I feel deeply within, but aren't so present and possible in the life I am in.

It also helped me rediscover where I want to dig deeper in my personal life as well as within my artistic and choreographic practice, but for sure also the challenges are around and practices I am not familar with.

It’s about the people: ...the ones I meet while doing it, ...those engaged in it, ...souls and spirits who see and feel beyond the surface, beyond the social structures of the global society….and still there is so much to do.

I had the opportunity to connect with incredible artists and choreographers like Isabel Lewis, Sarah Shelton Mann, Nail Jones, Be Heintzmann Hope, and Sophia Rodriguez — artists I never would have met otherwise. It opened doors to approaches, ones I couldn’t have explored due to the working conditions and precarities of the dance and circus fields.I left ImPulsTanz overflowing — filled with stimulating, challenging, and nourishing input, with the hope to continue those practices. It allowed me to better position myself in my work, but also reflect once more on the political frictions in which we live and create art.

Everyone should do danceWEB.
Our gaze is valid.

Being overwhelmed by the number of performances was a gift, though I felt some were challenging and could be interpreted as insensitive. I believe some could have benefitted from more dramaturgical support to be received differently.

Coming from Austria and now living in Vienna, having traveled to Vienna numerous times — the city and the festival weren’t new to me.
I’ve attended classes at ImPulsTanz over the years. But… being part of this whole experience was something else.
It had a huge impact on how I now allow myself to relate to the festival and the insights I gained… the lounge, the shows, and the talks with different artists and people around the festival.

And once again, it’s about the people.
We had an amazing mentor - Isabel Lewis.
Through the mentorship of Isabel, we were encouraged to approach things critically and openly, constantly trying to view them from multiple perspectives. She was a great support and mentor and did an amazing job, mentoring us through the festival.

A few notes from her Epic Fiction workshop stay with me:
"Everyone is an expert." "No one is an expert." "Care for each other" "Anyone can lead." "No one is obliged to follow."
It’s about active and soft agency, trust, and community-building, which where used for performing, but I think mainly also important for life.

When going through the registration process, I wondered, “Why do I need hostel accommodation when I already have a shared flat in Vienna?”. Now I understand. At times, I felt distanced because of that decision, and I regret not choosing to live in the shared housing...
There were moments when I thought I missed out. But do we always need to have it all? Perhaps not.
Maybe also depending on the moment in you're life you're doing danceWEB.
Still, I wish I had asked more questions beforehand, especially regarding the scholarship, housing, and how things work. Those insights would have been so helpful... even for me, as an Austrian. I can only imagine how valuable they would be for people coming from far away, with different realities. That touches on broader themes of transparency and supporting international participants — especially those coming from non-EU countries or politically challenging environments.

In summary: Be confident and ask those who have done this program for more insights. You have to ask. It’s an incredible opportunity, and now that I’ve experienced it, I would love to do it again and be part of that amazing experience. Coming from a circus background, I think there could be more support and programming for interdisciplinary artists working between circus and dance.

Thank you to all the people who give their love, life energy and work in this festival and scholarship program. It’s a unique and pretty rare opportunity.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

Report:

When I think back to my time at danceWEB, I feel a blur of emotions and memories. I landed within an exceptionally inspiring cohort, each member vulnerable and generous, and I immediately fell head-over-heels in love with each one of them. Feeling this community support within a group as large as 50 people was unlike anything I had experienced in a long time. We supported each other through everything, respecting our differences and standing by one another when needed. Having such a close-knit, intelligent, and caring group of critical thinkers enriched our journey through the intensive schedule.

Receiving the danceWEB scholarship transformed my artistic career. I made connections for future projects that I hadn’t been able to create in my hometown. A valuable lesson I learned as a choreographer is to trust even the slightest intuitive curiosities. This fountain of resources is always available to me. Practicing and learning pedagogy from an incredible variety of teachers from all over the world, who shared knowledge that nourished our spirits and souls through our dancing bodies, provided an experience unlike any other. I’m still absorbing and reabsorbing what surfaced.

During danceWEB, I gained more opportunities to lean into risk and reap the benefits. I saw this resource support many of my fellow danceWEBbers in their careers, and I felt drawn to it and to artists I admired, like Les Irmas Brasil. Their performance was one of the most inspiring I had ever seen, and I'm so grateful it took place at Impulstanz and won the 8Tension award, alongside Deva Shubert.

Receiving guidance and mentorship from Isabel Lewis during her office hours grounded me amid the busy and chaotic schedule. She brought an anchoring and clarifying support, that I am confident each and every one of us felt. She listened to what we needed and generously provided containers for us to feel out these needs with warmth til we found our own ways, and of course, her source of reasoning through the continuous spoiling of choice, JOMO for everything.

I am grateful for all the different teachers who shared their pedagogy with me. The schedule allowed me to explore various ways of world-building across different times, with slowing and stopping time, too. I continue to absorb what I learned from these classes, and I won't stop for a very long time. Thank you Isabel and danceWEB for making this experience one that I will never stop being grateful for!!


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Artistic Development & Outcomes
September 2024
By Marianna Sfyridi

Looking back on my experience with the danceWEB scholarship, I can confidently say that it has had a big impact on my artistic journey and personal development. During the Festival, I was able to immerse body and mind in a rich tapestry of (an extravagant record) 50 performances, more than 10 workshops, 2 Research projects and collaborations that greatly influenced my practice. One of the most tangible outcomes of this period is my documentary NOSTOS: Migrating Bodies, Migrating Dances, which I developed through extensive research and creative exploration both at the festival and during my subsequent research during my MA of Dance Performance at The Place.

NOSTOS is a reflection on migration, rhythm, and homecoming, and it draws upon the traditional dance of Greece and the practice of Capoeira. The project allowed me to collaborate with artists I met in Danceweb from diverse backgrounds and practices, such as Đorđe Živadinović Grgur, Momen Nabil, Tatenda Chamarwa, Lagha Ghavam, and many more. Their unique approaches enriched the creative process. The film captures not only these collaborations but also the essence of movement as a connector between cultures, communities, and histories.
The role of our mentor Isabel Lewis was pivotal in the creation of a family of Dancewebers who strolled on their bikes from dance to dance and from research to research. But she also catalysed a deeply professional and at the same time relaxed pathway of practice; she provided great guidance and support along with an honest gaze that unlocked our artistic potential in a deep way.

The workshops and research projects I participated in throughout my danceWEB residency provided a fertile ground for developing new techniques and deepening my dance, martial art and writing practice. In particular, my time at Impulstanz allowed me to engage with the works of other artists, which opened new perspectives on the potential of the body as a storytelling medium. After one of the Research projects' completion I also had the opportunity to audition for the Atash Company, a pivotal experience that emerged naturally during my research and networking in the vibrant festival environment.

And now, for the memories that added a little extra flavor to the whole experience! Who could forget our sunset dips in the lake, where we swapped artistic insights between getting caught in the weeds... and laughter? Or our life in the dorms, where we somehow managed to stretch, dance, and occasionally sleep despite the constant FOMO when someone was passing by? PS: Let’s not forget the impromptu gym sessions where we worked off all that schnitzel and strudel within a disco dance vibe that would make the regular gym person wonder!

One of my favorite memories has to be the speed race between theatres, clutching our festival programs, half-collapsing but still sprinting to catch just one more show after a day of intense workshops. We were exhausted but somehow still empowered—fueled by adrenaline and inspiration, and maybe a little coffee and ice cream. The festival lounge was our unofficial HQ, where we recharged (mentally and physically) for the next marathon of performances, discussions, and spontaneous dance-offs.

In addition to the artistic growth, the festival’s networking opportunities were invaluable. The connections I made with fellow artists, choreographers, and researchers have already led to future collaborative opportunities. Being surrounded by a global community of like-minded individuals fostered a sense of camaraderie, care and support that will remain with me as I continue my career.

The danceWEB scholarship has been transformative, both in terms of my personal artistic development and the scope of my projects. I am grateful for the experience, and I look forward to continuing to apply the insights and skills gained during my time at the Impulstanz Festival, and of course, return back in the 2025 to explore more.

With gratitude,

Marianna Sfyridi - Circadian Bodies
Dancer, Pharmacist
Choreography

Report:

Being a Dance Web scholar has been an important and unforgettable experience for sure. It was a time of professional healing for me.

I encountered difficulties in the beginning in finding a co-funding body. The memo on links to apply for funding for artists with russian national identity was outdated and out of a hundred links, there were at most two working ones. It was also not possible for me to apply to russian cultural funds because of my anti-war stance. The identity of a 34 year old political emigrant with a student visa did not allow me to apply for funding either because of age restrictions or because of my status as a university student or because I am a non-EU citizen. However, at the very last moment, after I had already refused to participate in the program, I was told that my academy Akademie der bildenden Künste decided to fund my participation.

Since 2015, after having received a diploma`s and a master’s degree in contemporary dance, I went more towards performative and socially engaged art; the identity of the dance artist remained challenging for me for a long time. Due to my background of conservative education, numerous ethical violations of dance institutions I experienced an internal resistance related to my personal history in addition to the joy of participating in the program.

However, being part of a fairly international set of participants gave me the chance to understand better the experiences of dancers from Egypt, Madagascar, Zimbabwe, Iran, Mexico, Serbia, South Korea, and others. This opened the space to discuss the politics within the dance scene in different contexts, to share work pieces on our gatherings and make a collective action intervention in support of Palestine during the opening of ImPulsTanz festival.

I was happy to see numerous performances from queer dancers, but missed the representation of trans* masculine and non-binary artists. Also I would wish for more places for dancers outside of western Europe.

I would like to shortly share some impressions of the classes I took part in. For me, as a dancer with multiple back injuries, Michaela Kratky`s “Rückenglück” deep-muscle-oriented classes have been healing. Susanne Bentley's “Embodying Text” class went deep in the technique of Action Theatre, Angélique Willkie’s “Voice & Movement” class shared multiple paths on the way of exploring voice, Marta Navaridas’ “Performing Presence (free? strict? freak?)” impressed with a teaching approach that felt like working on self-reflection of the position and presence aspects of teaching from the critical gaze; nora chipaumire’s “Nherera – from ancient to dub”, touched me by the strong “knowledge must be shared” basis of the classes; Ivo Dimchev’s “Trash Off” classes, oh my queer goddess was a care of my soul and a supportive hand on my way of crisis overcoming; Kerstin Kussmaul | “Psoas Connection – Experiential Anatomy”, created a space of reflection on my choices of professional development, and for sure helped me relieve my Psoas muscle in a way that I can still feel, Frédéric Gies Technosomatics course was kind of the revelation of the summer for me, highly recommended.

I am incredibly grateful for this opportunity to participate and I want to say thank you to my mentor Isabel Lewis, my colleagues in this year's Dance Web, teachers and everyone involved in the organization.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties acclimatizing to the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

it was a great summer
out of what I have expected or worried

thank you Isabel, and
all friends and colleagues in danceWEB
I’m gratefully aware that it’s special to feel comfortable within a big group

the dancing, the bike ride, the sweat

I wish and will
to continue living with what I have learnt
to practice the ways how we feel and taste togethering
to dare to desire and to imagine
to hold and to hug
to be slutty with lots of care
to care but not caring too much

it’s luxury to be moved and keep moving
I send all my warm thoughts to the spread around cute people
and I look forward to different moments of crossing again.

for future applicants, in case if my experience would be helpful to your application, feel free to reach out.




*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism

Report:

I am late to the party - I arrive to Emma's letter on the table
what I recall from these five weeks is absolutely disorganized
I say yes to everything like I am 16
we throw ourselves into the dance
(celebration) it is hard and fast
leaving the class radiant (archie??!!) leaving the theatre in fury
a feast of questions : pages of ??????
for the moments of striking beauty those of deep frustration (performed diversity) – a smell of tokenism
in great measure – absolute excitement and a bit of hopelessness
it is a weird feeling to be simultaneously in two worlds - one you would happily sink into one you look at from afar sourcils froncés. I teared up twice while sitting in the audience first time with a burning throat second time smiling my teeth out merci !!
opinions rubbing against each other, une cacophonie
an attempt at avoiding choices, consuming everything, this is completely absurd – or funny
la phrase que j'ai recopiée : the ancestors weep at how much we look like the hate that came to eat us
I still read it
an attempt to cure fear of heights (!!!!) so high up, delectable dance ! mouth-watering
pure delight and gratefulness, dining at the table of these marvels : Je suis à vos pieds. since then visits and video calls
lost a bottle but found dolphin stickers on the altar
thank you thank you




Solidarity Statement
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

The DanceWeb experience was not an easy one, on many levels, but the right decision and an important step that came for me in the right time.
I came with questions and I left with answers I didn’t had questions to and lots more unanswered questions.
Looking back now, 2 months after the end of my DanceWeb there are still things remaining, people I hold close to my heart now, vivid memories of dancing and falling in love with it, the space created by our mentor Isabel Lewis that held so much emotionality play and fragility, new desires that cracked wide open ..

I took breaks and didn’t regret them <3
I took a lot of research workshops and regreted not taking so many dance classes in arsenal

Whats love got to do with it (anya cloud&makisig akin) shaped my systhem, and Nial Jones in the last week made the full circle back, through being in trembeling.

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

DanceWEB was like a dream. A dream wrapped in a time bubble- one so vague that those five weeks grew into what I now recall as the most rewarding life experience.

A flash of remembrance flies through my mind, from the first moment I entered the student housing lobby.
Having little to no idea how to proceed, I was greeted by the lovely Tina who, alongside Val and Sara, was full of warmth and support. They acted as our pillars over the course of the summer, guiding us through the festival. Gratitude for their help wouldn't suffice.

However, it was Isabel who made this experience a transformative one. Isabel Lewis- the mentor I never knew I needed. Overflowing with appreciation, sympathy and liberality, she filled the room with her passion, eager to discover each and everyone of us 49 webbers. From sharing our practices, to the late night salons, sunny lake days, collective tears and goodbye hugs, we ended up discovering ourselves, as a community.

“Find my way to feel at home with others” was the note I happened to exchange with Cary, a fellow dance webber, through one of the practices Isabel had initiated in the first few days. It stuck with me, as I never fully grasped the meaning of the word home in its ambiguity. I've been thinking a lot about the term itself and what meaning it gains for each of us- how we interpret it and how personal it becomes. However, by the end of the festival, it became crystal clear that Impulstanz had been my home for the past weeks.

The first weeks definitely took a toll on me, both mentally and physically. Adjusting to the schedule and the place, overwhelmed by all the new faces I encountered, but overjoyed by the endless possibilities that came within the festival. The Arsenal being the vast and beautiful space that it is, it holds a special place in my memory of my time in Vienna. I loved how, running from one studio to another, you were transcended to a whole new world- one of creation and knowledge. In having such an array of workshops, filled with new souls and different teachers, it was rather peculiar how I’d find comfort in recognising a familiar face from an adjoining class. It became clear in my mind how the littlest things can make such a difference and bring a sense of peace.

A big advantage that came with being a scholarship recipient was the flexibility of building our own schedule. With over 200 workshops and 50 performances to choose from, having full access to all these opportunities, but also freedom in readjusting said events at any time, brought ease into finding the balance that would support the recovery process. I was eager to discover the art site in Vienna and support new and young artists. The broad range of themes presented in the works, from world sensitive crises, ancient greek figures and linear legacy to gender binary, freedom and artistic healing highlighted the diversity and the universal need to act and speak upon such humanitarian matters. My personal favorite however, was the Impulstanz classic “(M)imosa”. The role was so seamlessly passed between the four artists, bringing to life characters such as Prince and Kate Bush, engaging with the audience and transforming the theater into a lively atmosphere of conversation.

In contribution to my participation, I express gratitude towards 4Culture Association for the nomination for the DanceWEB Scholarship Programme within the Life Long Burning network. Furthermore, I thank the Romanian Cultural Institute and The Center for Projects Timisoara for their co-financing support.

“This festival changed me” were my teacher's words. As I am writing this report, I find myself in the exact same position.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Browsing through older scholarship recipient’s reports, an observation (by Tis Aly, and others) struck me, that I want to reiterate here: the transformative power of danceweb is that it doesn’t end. I carry the interconnectedness and future potential of these new 52 (and counting) relationships with me as I continue to move around countries and contexts, choregraphed by opportunities and work engagements.
This newfound community of colleagues and friends shaped my experience of Impulstanzfestival 2024 in Vienna, by holding me and needing me, in equal, but not always balanced amounts. It was also a space for critical exchange and growth, raising awareness for the shortcomings of the festival and its organisation as well as heightening the intensity and the fun of the entire experience.
There was already a sense of futurity while we were only getting to know each other as a cohort, building connections that we felt extended into our collective future. I hope to continue to exchange with these darlings for many years ahead.
Most days I was repeatedly overcome with an overwhelming sense of gratitude. For being a part of my year’s group of fantastic artists, thinkers and makers, for Isabel's mentorship, who led our exchanges as an engaged, compassionate and disarmingly honest mentor and as a deeply inspiring artistic personality, as well as for the availability and openness that I could feel within myself: I was able to let the rush of impressions, workshops, performances and conversations affect and transform me.
I’m not the same person after this summer. Of course this is most often true about time passing and changing you, but the experience of danceweb was one on overdrive. Dancing, learning, moving, cycling, and hugging new friends all day long and most of the night is an incredible way to reach for the limits of your own selfhood.

I’m extremely grateful for my cohort, all the beautiful souls it brought together. I want to thank the danceweb organisational team, for their endless work. I have endless gratitude for the two week research project with Raja Feather Kelly that handed me a new set of tools to think about how I approach working with group processes — Raja announced on the first day that he would treat us just like members of his theatre company and he generously gave us so much insight to his own approach. I'm very excited and curious for how he will continue to transmit his knowledge as the 2025 danceweb mentor.

More gratefulness for the chance to get to work with Isabel Lewis’ practise of communal EPIC fiction in a very large group, another very inspiring tool for my own ways facilitating instant creation. For a two-day intensive with Maria Hassbi that reminded me of the importance of searching for clarity in one’s own methods. For Whacking with Archie Burnet and the bursts of energy and wisdom in his approach to teaching dance and life. For Germaine Browne and Marta Coronado’s experimental course in which they attempted to fuse their respective styles and, last but not least, for nora chipaumire, for rocking my world and kicking my ass as well as she did the first time I trained with her. Thank you all, infinitely.

*Solidarity Statement*

The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.
Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival. 
The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.
We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Experience Report for danceWEB Program - ImPulsTanz 2024
Elena Suárez Guevara, Director of Project 'KU'
Participating in the danceWEB program at ImPulsTanz 2024 has been one of the most enriching experiences of my career. The program offered invaluable artistic exposure, professional connections, and a new lens through which to view both my own work and the international dance community. While there were challenges—particularly regarding financial access and transparency—this experience has ultimately reaffirmed my commitment to expanding my artistic practice. I hope my reflections contribute constructively to future editions of the program and support broader, more inclusive participation for Latin American artists. Below, I outline some key aspects of my experience and insights gained from my time at danceWEB.

1. Challenges in Securing Financial Support in Mexico
Being selected for the danceWEB 2024 program was both an honor and a pivotal moment in my career. However, securing financial support presented significant challenges. Despite numerous applications and communications with Mexican institutions, foundations, and companies, I was unable to obtain sponsorship. Programs like these represent a considerable investment, and the lack of accessible resources for Mexican artists limits participation in such transformative opportunities.

2. Need for Transparency in Full Scholarship Allocation
During the application and preparation process, I communicated extensively with the program team, explaining my financial constraints. However, at no point was a full scholarship offered, despite my efforts to share my situation. As a result, I had to cover the program fee, international flights from Mexico, and living expenses through a family loan. I hope future editions can offer clearer, more transparent information on full scholarship options to ensure that those with significant need have an equitable chance at securing them.

3. A Call for Greater Support for Latin American Artists
My experience highlights the need for danceWEB to consider increasing financial support for Latin American artists. Representation of diverse artistic perspectives would greatly enrich the program, fostering broader cultural exchange. Artists from countries like Mexico, Colombia, Chile, and Cuba bring invaluable insights and approaches, yet often face substantial financial barriers to participate in international programs like this one.

4. Impact on My Career and the Value of Collaborative Networks
The program had an immense impact on my career. Working and connecting with artists from around the world not only broadened my professional network but also reaffirmed my appreciation for the unique qualities of Latin American art. I observed that our cultural contributions could offer meaningful enrichment to the European programming landscape. I believe it would be beneficial for the festival's organizers to explore Latin American work more deeply, as our perspectives can provide fresh, diverse insights that resonate internationally.
5. Gratitude for the Opportunity to Experience the Full Festival Programming
I am deeply grateful for the chance to attend nearly all of the scheduled performances. Experiencing the festival’s programming offered valuable insights into audience reactions and artistic selections. However, I did notice a degree of homogeneity in both the programming and audience, primarily composed of festival artists. This observation led me to question whether the program is reaching a broad audience. I also heard feedback from several attendees who expressed disappointment with certain performances, underscoring the need to periodically evaluate the resonance and impact of the festival's lineup.

6. Importance of Safe, Inclusive Spaces for Program Participants
It would be highly beneficial for the danceWEB program to facilitate safe and inclusive spaces where participants can gather and share experiences. Unfortunately, the accommodations provided were not conducive to building community, and, in some cases, neighbors exhibited aggressive behavior under the pretext of noise complaints. Furthermore, the festival lounge did not serve as a secure or welcoming space for us. Designating friendly and accessible meeting areas would greatly enhance the sense of community and connection among participants.

7. Reflections on Hierarchies and Separation Among Artists
I was left with questions regarding the noticeable hierarchies and divisions between artists at the festival. While workshops provided a more casual environment, it was difficult to initiate conversations with artists showcasing their work in other spaces. Reducing these barriers would facilitate richer exchanges and foster an environment that promotes interdisciplinary dialogue.

8. Deep Gratitude for Isabel Lewis' Mentorship
I am especially grateful for the mentorship of Isabel Lewis, whose dedication to her mentees went above and beyond. Isabel made a conscious effort to spend meaningful time with us, despite her demanding schedule, even going so far as to arrange a dedicated space at the Arsenal to allow us extra time with her. This gesture reflected her commitment and generosity as a mentor, and her support was undoubtedly one of the most valuable aspects of this experience.
This time with danceWEB has been an invaluable opportunity for growth and reflection as an artist. I am sincerely grateful to have participated in this year’s program, and I hope that future Latin American artists receive increased support to access these exceptional experiences.

To conclude this report, The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:
Solidarity Statement

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and intransparent allocation of financial support, that does not seem to consider the vastly different economic opportunities available to different scholars, as well as the inadequate provision of information and support during the festival, and an apparent lack of resources to adequately respond when these structural problems led to acute crises. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

With so many encounters, connections, new relations, friends, impressions, inspirations, accesses, events, performances, talks, and still ongoing processes it feels funny to word down the experience of danceWEB to a report. I guess one of the core aspects of being part of the scholarship program is indeed the abundance of everything – having the privilege to access the ImPulsTanz program extensively, planning it according to one's interests, and sharing it with so many people. A very special situation.

I am looking back to this special situation as deeply impactful and precious time to reflect upon, refine, situate and stimulate my work as a performer and maker. I am looking back to this as a time of so many valuable meetings and sharings and connections that will stay with me and continue to excite, nourish and trouble me.

Endless thanks to the group of danceWEB 2024 for your kindness, smartness, genuineness, drive and openheartedness. I am impressed.

Endless thanks to my roomies, my heart smiles when I think of our little house and the feeling of home you brought.

Endless thanks to Isabel, you amaze me with your mentorship and ability to host, to facilitate, to meet and to share your artistic thinking in such a generous and attentive way.

Below I share the Solidarity Statement of danceWEB 2024 that addresses issues present in the program and throughout the festival.

xxx
Tuuli

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

Hi, Stranger!

Current report consists of two parts, the first addressing a brief personal impression of the DanceWEB program, and the second presenting a critical collective perspective on it.

In general, I evaluate the program as a resourceful platform for neoworking and gaining a variety of knowledge: from theoretical to anarchic collective processes. I find it especially valuable that as a participant of the program I could build my own educational track, understanding my needs for self-regulation in the activities during the month of the festival. In a way, the program was a booster that gave me a great reserve of energy, imagination and potential the artistic realisation in the coming season. I definitely recommend this program to those who have recently moved to Europe and who need grounding in a local professional context.

Also I would like to thank the organizers of the festival, who were caring, sensitive to my needs and solved problems if they arose. Rio, Sara, Tina, Val, thank you for your interaction! I would also like to say thank you to the funding body that made my participation in the program possible!
And of course, I have endless admiration for mentor Isabel Lewis and my DanceWEB peers <3.

It is important to note that for me the DanceWEB experience is first of all a collective journey of 5 weeks, which obviously has to be critically meaningful in addition to everything else. Below, you will find the statement that is the result of collective reflection, analysis and articulation.
Please pay attention to this message!


The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.

Report:

DanceWEB has been a major event for my development as an artist, validating my path, my interests and a clarification of the ambiguities I observe in contemporary dance and performance discourse. Isabel Lewis has been the best mentor imaginable. She is a role model in a world that embraces a total reorganization of the fractured, individualized and compartmentalized domain of dance and performance. Her way of leading, co-creating and directing is nothing like I've experienced before, and she does it with an unparalleled generosity, and clarity.

I found something very rare at Impulstanz, which I believe was strongly prompted by Isabel's presence, and of course also nourished by a real mass of highly skilled exceptional facilitators: a real sense of community, of care, and of co-learning and co-facillitating creative growth. Many times I felt on edge, both overwhelmed by the many choices to make, and also by some of the teachers lessons. I found myself taking very different classes than I initially thought, and I do not think there is a comparable place to this one, where you actually have the chance to try out so much, and can let go of preconceptions of what you should do, and to implement your learnings daily and make new choices about the continuation of this exploration, on a weekly basis. My learning and growth was huge, and I am still incorporating it.
However I do think that when taking part, one should be aware that infrastructurally this event is a challenge, especially with limited resources. Bring your tupper ware and prepare mentally for organizing your food daily, and to make time to have your elemental needs met. If you need space to process or rest, I have looked for trees nearby, and also found some empty rooms to use upon request. My tip is to take care of your body's needs and be aware it might have more need for certain types of replenishment than you are used to.


*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, and community organizing.

Report:

My time at Danceweb has been an journey filled with growth, challenges, joy, and inspiration. Participating in this program has given me the opportunity to immerse myself in a world of artistic expression and exploration and it has been an incredible experience to delve into so many different artistic forms, both as an active workshop participant and as an engaged audience member. I have had the privilege of deepening my knowledge of a range of new choreographic tools and techniques, which has given me a much broader and deeper understanding of my artistic expression Every moment has been a chance to learn something new, to question and reconsider my own methods, and to open up to new perspectives. This has not only enriched my knowledge but also renewed my passion for dance and choreography.

Spending six weeks surrounded by so many fascinating, skilled, and curious dancers and choreographers from around the world has been an invaluable experience. This gathering of talent and passion created an environment where ideas and artistic visions flowed freely, leading to countless conversations and collaborations that I will carry with me far into the future. The creative atmosphere has been not only inspiring but also a constant reminder of the unifying power of dance across the globe.

In addition to the significant development and burst of energy for my artistic practice, I have also had the opportunity to build an broad and extensive international network. This network has not only opened doors to new opportunities but has also provided me with a platform to share my own work with a global audience. Through participating in various projects and events, I have been able to create meaningful connections and lay the foundation for many potential collaborations that I look forward to developing in the future.

It was particularly touching and significant to meet the participants from Iran. Together with other Iranian dancers and choreographers in exile from Austria and Germany, we formed a community of Iranian artists who shared unique and valuable moments.These encounters gave me an entirely new perspective on my role as a queer Swedish-Iranian choreographer—a perspective and dialogue that is invaluable to me.

I leave this program with a deep sense of gratitude and enrichment. I have gained an immense amount of knowledge, inspiration, and insight that will shape my future work. Additionally, I have found renewed motivation and a stronger hope for the future of dance. Danceweb has given me a stronger conviction in the potential of dance to influence and bring change, and I look forward to continuing to explore and contribute to this field with renewed energy and creativity.

Report:

Attending the Impulstanz festival was nothing short of transformative. The opportunity to learn under the mentorship of the incredible Isabel Lewis was an honor; her guidance and insight have profoundly influenced my perspective as a dancer and artist.
The festival provided a unique platform to connect with people from all over the world, each bringing their own stories and backgrounds. Through the constant learning in various workshops, I was able to work on myself deeply as a dancer, pushing boundaries and exploring new dimensions of movement and expression.

Watching different shows throughout the festival also allowed me to refine and train my eye as an audience member, enhancing my appreciation of diverse forms of dance and performance art. Beyond the artistic growth, I gained a new understanding of the geopolitical situations of the people around me, broadening my perspective not only as an artist but also as a human being.

This was an experience that went far beyond just artistic practice—it changed me profoundly and is something I will carry with me for the rest of my life.

Report:

DanceWEB is a mythical creature, an experience you have heard you will never forget.
As any transformative experience I can barely remember an episode of what was happening with me in Vienna from July 10th to August 14th 2024,
although my calendar screams that a lot of things were in fact happening, I almost envy myself on that calendar. Throughout the festival I kept meeting artists and dancers, who would look at me dreamily with their wise eyes and say with a knowing smirk „I also did dance web in 20XX“. It is like an underground fight club or a sect.
If you know you know. The sacred knowledge has been passed.
I got to meet absolutely brilliant minds through Impulstanz Festival and what is so precious get to rub against them: both create some impact and get influenced by them. Mycelium growth at its best. The total impact is in the making and yet impossible to evaluate, but some things will definitely never be the same. DanceWeb is the sponsor for the new neuronal connections developing in me since July.
Special mentions:
The care provided by Tina Bauer, Val Holfeld, Sara Lanner, Rio Rutzinger.
The space held and created by Isabel Lewis.
The proposal of love as a driving force of the program.

The system (as any) needs adjustments (as shared in the feedback), but it definitely runs and it runs forward and gives hope as a free float space of creatives’ assembly and intensive exchange.

Report:

All of the workshops I attended were interesting, but I got a lot of ideas and had a lot of fun in Kira Kirsch's Acis Syllabus, Sabine Parzer's Sensing & (not) Seeing, and Nicole Berndt-Caccivio and David Bloom's workshops. The classes I chose were mostly open level. What impressed me the most was the diversity of ages. I enjoyed interacting with students ranging from their 20s to their 80s. Most of them live in Vienna and come to the festival every year for the movement workshops. I remember feeling the gravity of touch and interacting with grandfathers in their 80s in Kira Kirsch's class, Sabine Parzer's class where we spent hours moving with our eyes closed from the moment we entered the studio, and Nicole Berndt-Caccivio's loving eyes and every moment of love.

The 41 performances I watched were more about visualization and physical expression than they were about a clear concept or theme. I was overwhelmed by the boldness and scale of the work, and it made me think differently about my own preconceived notions. The only thing I was disappointed with was the accessibility of the show. While there was good wheelchair accessibility, there was no audio description or subtitles, and the lack of trigger warnings made for a traumatic and unpleasant experience. Nevertheless, the most interesting performances I saw were Deva Schubert's Glitch Choir from the [8:TENSION] program, Netti Nuganen's The Myth: last day, and choreographers Ian Kaler and Saint Genet. Deva Schubert's Glitch Choir was a beautiful piece of work that explored the concept of glitch through body, movement, and sound, developing the scene and suggesting directions to pursue within the phenomenon of glitch. Saint Genet's performance was an eight-hour performance where the entire space was transformed into a new location, where the audience lived, ate, drank, and breathed alongside them for eight hours.

I think I felt exhausted because I had been working every year for eight years after graduating from school without a break. Ever since I started paying attention to social phenomena, I have been questioning what dance can do now and what is the point of my performances. I was feeling a lot of emptiness and meaninglessness in proportion to the happiness I felt from my ongoing work. One of the big reasons I applied to DanceWeb was because I wanted to fall in love with dance again, and I wanted to have the strength to continue my work. Writing this post after the program is over, I feel like I'm in a different place than I was before. I'm still not sure how this will manifest or how it will be organized, but I have achieved my biggest reason for joining, and I have a clearer sense of direction and a deeper love.

Report:

DANCE THE WEB //

// that was the only task I set for myself – when I go to Vienna, I want to dance in that web,
with the web, on it, under it, through it, I want to meet as many spiders as possible who weave it,
and together, we will weave another new one.
It turned out that we wove something incredibly serious for me,
something powerful, emotional, and promising.

From the moment I found out that I was selected by
- now I know - amazing mentor Isabel Lewis,
my excitement became a life quality that would culminate
in one of the most significant life experiences of five weeks.

I’ve already said – what a mentor!
I believe that choosing a person with serious integrity and experience in hosting and horizontal practices,
someone so open, warm, dedicated, generous, sensible, and intelligent,
was key to the atmosphere created among the dancewebbers.
From the very first days, the encounters and introductions – things opened up in the direction of radical vulnerability,
which allowed for incredibly smooth, easy, and approachable communication among the participants of the program.
And so, the weaving of the web could begin, in the way I imagined.

In the intense days, the most challenging thing for me was resisting FOMO,
but the content I received through selected research projects and workshops,
meetings and working with wonderful workshop leaders,
as well as among people who were truly interested and committed to the work,
was a wonderful, encouraging experience that developed week by week.

- Nulla dies sine linea – and literally, every day brought something or someone new.
I met new fantastic people from all over the world, we talked about everything,
whether we understood each other or not, I felt that I was growing.
And that something incredible is happening to me.
Sometimes, it was tough, and intense, and we were tired, but we kept winning.
 
One of the ideas was to record somehow the passing time in my sketchbook every day,
during and at the end of the day, and now, when I flip through it,
each time I’m delighted and instantly teleport myself back to certain moments,
moments of incredible fun, joy, warmth, and learning.

As it began with Isabel, with the workshops and conversations with her and the webbers,
so the abundance of content and stimuli only grew and expanded.
Brilliant individuals achieved something much more significant:
a community that I believe will live on in various forms and dimensions.

Inspiration, motivation, joy, and work.
A smile, a hug, movement. And dance.
And words. And gaze. And language. Languages.
Poetry and fruits.
And another hug. And more hugs.
Momentum and rest. And breath and sigh.
And the studios. And the parks. And the lake and the river.
Fluid and firm. Firm but fluid.
Excitement and fire.
Water and flow.
And the sweat of work and the tears of joy.
Momentum and rest. Host and guest.

I’ve seen and heard so much,
tried and missed,
danced and let go,
released and took,
and I hope, gave.
A few times I stumbled,
more times I soared.
And because of all of that,
I am grateful and uplifted.

Thank you:
Anastasiia. Abtin. Andrea.
Baden. Baxi. Belly.
Bita. Cary. Clarissa.
Courntey. Dorothy. Emma.
Elena. Helena. Guy.
Inka. Johanna. Jiyoung.
Katya. Kadence. Kris.
Laima. Lagha. Laura.
Lene. Leevi. Lisa.
Lisen. Luisa. Luke.
Marianna. Marin. Maxine.
Momen. Noumissa. Nazar.
Parvathi. Pierre. Sepideh.
Tatenda. Tony. Verena.
Yann. Gisela. Ana.
Zhenya. Tuuli. Nora. Be.
Sara. Val. Tina.
Rio and Isabel. And Raja.
Maria. Rasmus.
Anne. Frederic.
Damien. Aimilios.
Jassem. Archie. Niall.

//

In a world of minimal, minimized people,
I spent the FIRST five weeks with those who are maximal!
That web is found and woven. What remains is the following:

"To spin a web.
-
Inside of the web,
to dance the beginning
to write the middle
to act out the end.
To dance what we love,
dance what we fear,
backwards.
-
To consume The Web."
(personalised score which I got from my beautiful dw friend K)

----------------------------------------------------------------------------------------------

*Solidarity Statement*
The 2024 DanceWEB scholars have collectively drafted this statement to include in our reports:

Throughout our experience participating in DanceWEB, we encountered a variety of cultural and structural problems in the management and delivery of the festival. These issues included a failure to address inequalities in access for participation, especially for scholars coming from outside of Europe. We note in particular the inequitable and untransparent allocation of financial support, which does not seem to consider the vastly different economic opportunities available to each scholar. We note too, an absence of clear information, adequate resourcing, and reliable support for those experiencing difficulties joining the program. We also observed a failure to ensure the safety of both festival participants and members of the public in ImPulsTanz venues, like the Vestibül, and an unwillingness to meaningfully include our perspectives and voices in festival forums and public spaces.

Most concerning to us, was the fact that our feedback about these issues appears to be similar to the feedback of previous DanceWEB cohorts extending back several years. Therefore, we believe there is an ongoing disregard of these issues and the voices of participating artists, pointing to further structural issues within the management of the festival.

The opportunity to participate in DanceWEB has been fundamentally transformative for each of us in different ways. We are incredibly grateful for this program and want to ensure other artists can participate into the future. We include this statement out of a deep desire to see the program further improve: to better serve and support our needs as emerging artists, to better recognise the different social and cultural contexts we come from, and for ImPulsTanz to develop the necessary processes to further grow and adapt in a rapidly changing world.

We are curious about how we, the DanceWEB alumni, can actively contribute to the future of ImPulsTanz, not just as "mentees," but as artists whose work also traverses fields including facilitation, research, production, management, community organizing and activism.