ImPulsTanz News

Prix Jardin d'Europe Award Ceremony 2017 © Karolina Miernik

Become a jury member: ImPulsTanz – Young Choreographers’ Award

Dear audience, your opinion is of high demand at the ImPulsTanz – Young Choreographers’ Award: nominated are the 8 productions part of [8:tension] Young Choreographers’ Series – being shown between 12 July and 12 August at ImPulsTanz. Are you interested in performance and dance? Do you have time in summer to spend the evenings in Vienna's theaters? Do you enjoy discussing performances? Then apply as a jury member for the new ImPulsTanz – Young Choreographers’ Award, sponsored by Casinos Austria.

Grafik: Katharina Gattermann, Foto © Karolina Miernik

LASS SPRINGEN! (let it flow) – Dance workshops for economically disadvantaged kids and teenagers

Let's pack some nice workshop packages!
Not only is dancing much fun and awakens your zest for life, it also strengthens your capacity for empathy, self-confidence and cognitive skills. Please help us to also give economically disadvantaged children and youngsters the possibility, to induldge into our festival razzle-dazzle, discover themselves from a new perspective und let their fantasy and creativity run wild.

Pina Bausch Fellowship 2019 – Apply now!

The Pina Bausch Fellowship is aimed at dancers and choreographers from all over the world- with no age limit. For example, grants are given to attend residencies at renowned dance and choreographic institutions, spend time with an ensemble, or an internship with a choreographer. The new experiences and perspectives should encourage the further development of the individuals artistic signature.
Application period: 01 June until 15 September, 2018

Publication: “Dance & visual impairment"

Dance & visual impairment – For an accessibility of choreographic practices, produced by Centre national de la danse and Cemaforre-European Centre for Cultural Accessibility in the frame of the THE HUMANE BODY EU project, raises questions of how our senses are used in dance teaching practice. In considering how we might develop a more inclusive teaching methodology for blind and partially sighted learners it also exposes other questions: how might traditional ocular-centric teaching models be denying the potential for everyone of a more multi-sensory approach to learning dance? What possibilities might there be for a pedagogy that embraces touch and hearing as equals with vision?