INTERNATIONAL WINTER ACADEMY SCHEERSBERG7-14.12.2014Version from 24.8.14

WAR AND PEACE – about Heroes and Anti-Heroes

Internationale Bildungsstätte Jugendhof Scheersberg, 24972 Quern, info@scheersberg.de, Tel. 0049 4632 84800

STARTING POINT

Everyone will be familiar with the title of Leo Tolstoy’s novel War and Peace, one of the most significant works in world literature. It is not without reason that this four-part novel has been filmed, or aesthetically presented, several times. In these film versions – especially the 1956 US-Italian co-production directed by King Vidor, the excellent cinematographic production clearly shows that heroism is always seen from a particular perspective, and that the great hero also has a dark side that is readily ignored or glossed over with this selected idealisation. Tolstoy’s representation of the ambivalence of man and the society he lives in is masterly, and the aforementioned film shows us the light and shadow of all human activities. This year we have experienced what we had hardly thought possible – that war has returned to Europe, where powerful states face each other threateningly while rattling their sabres. Comparisons are already being made with the outbreak of the First World War. In the media we are confronted daily with very different views, omissions and manipulations of this disaster, so that we hardly know which position to take.

It is also time to become active ourselves and to express our perception and vision of things by creative means, and use various workshops to catch up on the methods of communication that we have let slip.

The organisation of aesthetic processes is a fundamental phenomenon of social reality. We are sensuous beings, and orient ourselves on perception. ‘Nothing good happens unless you do it’ is a saying that suggests how important it is for the individual and for society in general that we not only perceive, but also reflect on what we perceive and derive actions from it. These acts can be important for the individual, but can also exercise great influence in a social context. The realisation of such acts does not need to exhibit a direct social benefit, in that they can also lead to exemplary or symbolic events, which can in turn make the core issues of a topic or issue much clearer for other people than words ever could.

We will be concentrating on the following subjects:

- Conflicts and their causes, coping with them and overcoming them.

- Aggression and depression as extremes of human behaviour.

- Participation of young people in political life and issues that arise therefrom.

- The aestheticisation of political currents v. politicisation of aesthetic currents.

- The reflection of protest movements in art and culture (e.g. happenings, pop art, land art, environmental art, multimedia presentations).

- Ecology and caring for the environmental as guiding principles for social behaviour and as an aesthetic mission.

QUESTIONS AND ANSWERS

1.What subject matter and topics of cultural education does the Winter Academy address?

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The Winter Academy (which has already been held five times) is an international activity providing cultural education in the widest sense of the meaning. Every year we hold an academy under a different motto, consisting of six to nine aesthetic workshops in the areas of art, music and drama – including photography and film – relating to the main theme of the academy, and under the expert guidance of workshop leaders from different countries.Mottos chosen in the past have included ‘The Freedom That I Mean’, The Golden Thread’ and 'Singing the Blues'.The number of participants will be about 80.2.What is the objective?The qualifications to be acquired relate in equal measure to expertise, personal and social competence. The most important aspect for the academy is however personal competence, the personal experiencing of learning new methods and ways of seeing and understanding the world.3.How do we work didactically and in a theme-related way?The Winter Academy is based on the workshop principle. The workshop leaders are experts who provide advice, but who are also fully involved in the group process. The concept, the approach, and the technical realisation are not defined from the very start, but are instead developed during the course of the workshop through collective perception, thinking and acting.The participants can set their own speed and level of work. The help and advice given by the workshop leaders is much and varied, but only optional and not compulsory.4.Which avenues and modes of acquisition are followed?The workshops are organised in the steps material, experiment und montage. Plenty of room is given for experimental creativity, especially at the beginning of the academy. By experiencing materials, working techniques and creativity, the participants are able to formulate their own key theme for dealing with the subject matter. The leaders’ job is to support the group members in realising their objective.5.Which locations does the academy use?The Winter Academy is always held at the Jugendhof Scheersberg international education centre in Schleswig-Holstein. This institution has the studios, workshops and equipment required. There is a large painting hall, a music room, a large ballroom complete with stage, and a fully equipped darkroom for black and white photography (analogue technology). There is also equipment for making short films and animations.The attractive surrounding countryside near to the Baltic coast is ideal for working outside, e.g. for land art projects. This is also very suitable for work in winter.It is significant that the application of the workshop principle at the Jugendhof Scheersberg is based on a tradition that goes back decades in a variety of contexts.6.Which time and organisational structures are used?The Winter Academy always lasts seven days, and is held in December for several reasons:1. It is a favourable point in time because participants tend not to have so many other obligations at this time of year.2. Escaping the stress and strain of the Christmas period is an important motive for many creative spirits to register for the academy.3. At this time of year the whole of the Jugendhof centre is at the academy’s disposal, so there are no spatial or organisational conflicts.Two days must be allowed for the incoming and homeward journeys, as many participants come from far away.The prospective participants, of all age groups, have to choose two possible workshops. The organisation team then decides which workshop the participants will be assigned to. It is still possible to change workshops at the end of the first day, but thereafter the groups remain the same.Cooperation between the workshops is very much desired, but is not specified in advance.7.What is innovative about it?There have been academies of this kind for a long time, but they are mostly based on teaching rather than on the workshop principle. Their emphasis is also primarily on artistic merit (expertise), whereas the other two areas of competence (personal and social competence) are assigned a more peripheral character. A prerequisite for the Winter Academy is also that all the workshop leaders are committed to the workshop principle and are able to plan things cooperatively in the run up to the academy.8.

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How do we incorporate the interests of the various age groups? A.The academy is open to all age groups as a matter of principle.B.The principles of lifelong learning and sustainability take priority and are supported by the consistent application of the workshop principle.C.While the field of realisation is the organisation of aesthetic processes, the inclusion of personal and social competence creates an overall social context.9.Who is involved in the ‘networks’?The Winter Academy is aimed at all age groups, both working people and those in education or further education.The event is international, usually involving three European countries (e.g. Germany, Poland, Italy).10.What previous experience can be drawn upon? It has been possible to successively improve the application of the workshop principle over the years. The feedback is mainly positive. Documentation und films are available that give a good impression of how the academy works and what results are achieved.

PLANNED WORKSHOPS

Work is done in different workshops related to the theme, and whereas synergies and cooperation between the groups are not planned, any such activities resulting from the work are certainly desirable.

The following workshops are planned:

1.Drawing and PaintingLeader: Prof. Malgorzata Bielecka, Daria Maron, Kielce, PolandStarting with drawing, we will investigate and step by step take different routes to painting. While experience with technique is important, it is not the most important thing. It is essentially about the fundamental rules of composition and structure of the picture. We will use the area around the Scheersberg to obtain our source material. The core concentration of this workshop is the reference to current social topics, confronting and analysing the antagonistic forces of war and peace and the people caught up in them as heroes and antiheroes.Please bring the following: overalls or apron, any drawing and painting materials you have, scissors, glue sticks, folder, any works you have already done or pictures of them, rags and brushes. 2. Sculpture and Three-Dimensional ArtLeader: Andreas Galanakis, GreeceWe will use the Scheersberg’s beautiful outside forum, which allows us to work outside yet protected, in order to gain important experience in the three-dimensional area and to become familiar with the distinctiveness of various materials and tools.Then we will deal with the topic of ‘war and peace’ and devise concepts that can be expressed in three-dimensional or sculptural form, and which appear to be a viable proposition.The resulting works can then be created individually or in group work.At the end of the academy we will exhibit our works in in the South Forum of the Scheersberg, where they can be viewed from all sides.Please bring appropriate working clothes with you, protective glasses, work gloves, a sketchbook and various pencils and crayons.3.Installation and PerformanceLeader: Prof. Wieslaw Karolak, Lodz, PolandInstallations are not three-dimensional artworks or sculptures, but specially arranged aesthetic ensembles, which usually make metaphorical statements. We will investigate a number of examples and do elementary exercises with which we will slowly work towards the structure of the installation.Performance is the art of confrontation and reassessment.Performance art is not an artwork in the traditional sense; it is the action itself, the authentic behaviour of the artist in a specific and political situation.

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Performance art, more than any other branch of art, relates to social life, social conventions, daily activities and processes. The focus of this workshop is on building in and with nature, and using our bodies and surroundings. The work will relate to the reinterpretation and transformation of the everyday and profane, and here especially to our highly charged and unfortunately also highly topical subject of ‘War and Peace’.You do not need any special preparation for this workshop, just an open consciousness, passion, interest in experimentation, and active hands and feet. Please remember to bring suitable outdoor clothing!4.Music: Experimenting with Body and SoundLeader: Esther Pürgstaller, Brixen-Bressanone, ItalyThe participants will deal with the themes of music and movement from several perspectives and in a fun manner in a protective environment. They will move, generate sounds, use material media, they will communicate verbally and non-verbally, they will move and be moved.The participants will be asked to perceive themselves and their environment in what is perhaps a completely new context. The impressions gained will sensitise them, help them to differentiate, and give them new opportunities to express feelings, impressions and perceptions, and reflect upon them in greater depth.In particular, we will focus on the joy in creatively developing non-verbal forms of expression using ones own body and instruments, and verbally with ones own voice. We shall try out, develop and practise new individual and relation forming patterns of action, and use discussions to reflect on this and raise our awareness.We will create individual, pair and group creations as a collage of rhythm, music, performance and dance. In this workshop we will work on a variety of main focuses in the field of music and movement, including harmony and discord, tension and relaxation, movement and inactivity, dynamism and the power of force, commitment and freedom.Previous experience with an instrument would be a benefit for this workshop, but is not absolutely necessary. But definitely do bring any instruments you may have!5.Experimental PhotographyLeader: Monica Maslon, Stefan Paruch, Warsaw, Poland The focus of this workshop is not on technical skill, although this is of course an important prerequisite for our work. It is however essentially about telling stories through photography – stories of heroes and antiheroes. We will look at how other photographers have done this. Then we will consider how we can construct and realise our own stories on the themes of war and peace. Finally we will combine our ideas to create a varied and workshop-related presentation.In this workshop we will use both traditional black and white photography as well as digital realisation and experimental forms of photography.The well-equipped black and white darkroom at the Scheersberg will be a great help.Please bring your camera equipment (analogue and digital), overalls, smock or similar, rags, negative envelopes, sketch blocks, pencils, scissors and glue sticks with you.

6.Short FilmLeader: Fabio Magnifico, Bielefeld, GermanyOur way of dealing with war and peace will only be marginally oriented on images from film and television. With our short film productions we will primarily deal with our own ideas and stories, the stories we have always wanted to tell but never got round to. The technical and creative resources of film on which we will orientate ourselves should serve to realise our ideas in one or two short film projects relating to our theme. As well as directors, cameramen and women, sound technicians and lighting technicians we also need actors to portray the heroes and antiheroes ...If you have made any films yourself, please bring them along.7.DramaLeader: Folke Witten-Nierade, Steinbergkirche, Quern, GermanyAs well as encouraging and teaching the “acting skills” of the participants by working on physical and vocal presence, this workshop will also include research and textual work, discursive reflection and writing scenes, before realising theatrically.There will be special focus on Mars, in his archaic and antique interpretation as the god of war, as a planet and a being, through to his modern being as a projection surface for cosmic future prospects. The current planned Mars mission (see the article in Der Spiegel, 18.8.2014) "MARS ONE"- especially reveals the role of media exploitation forms in the creation and definition of modern legends and

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heroism. "War and Peace" as modern global phenomena are increasingly endowed with meaning through media selection, either becoming stylised as major historic events or damned to obscurity in the public’s memory because they are simply ignored by the media. The examination of so-called heroes with or without media focus on the thin line of factors which make up the transition from peaceful co-existence to martial escalation, provides us with the material from which we will develop scenes that lie between everyday banality and global dimensions.8.Graphic PrintingLeader: Prof. Andreas Wendt, Dr. Roland Meinel, Leipzig, GermanyIn the print workshop we will experiment with various intaglio and relief printing methods, so that we can first achieve a familiarity with the ‘black art’. This will include some small excursions into the history of art; we want to look at how reprographic art has developed over the centuries, and what we can use for ourselves. Then we will approach our theme of war and peace and examine our image concepts to see what they can give us as leitmotifs. And then we develop small stories about heroes and antiheroes, which we can then realise using the repertoire of the ‘black art’.Please bring sketchbooks or blocks, pencils, scissors, craft knives, aprons or the like, and rags with you.9.Radio DramaLeader: Paul John, Bielefeld, GermanyA radio drama, or audio play, needs a framework, a sense of order and structure – but also an idea about examples and their antitheses. The dramatic composition of a radio play or a sound-scene follows special rules that we want to develop in our workshop. Then we must choose one method from these various possibilities and follow it in the workshop. The auditory environment of the Scheersberg will provide an exciting and varied frame for the theme of war and peace. There are no limits set for the shape of the hearing experience, and the whole trick is to work with the impulses we get from our surroundings.Working on an audio play is group work. We will not create individual works, but a play created by all of us that we will show to everybody else at the end of the academy.

We are expecting c. 90 participants from Germany, Poland, Denmark, Italy and Greece. The workshop leaders also come from these countries.

INTROSPECTIVE TABLEAU FOR THE PARTICIPANTS

1.AESTHETICS

The science of the senses, sensory perception,that which can be perceived, that which correspondsto the laws of perception.

Perceive everything exactly and consciously.Observe precisely.

2.CONSCIOUS AND SUB-CONSCIOUS PERCEPTION

Conscious perception means that we filter content through awareness. Sub-conscious perception means that we do not realise what we are memorising. This is information that we receive in an extremely short time, in less than 1/16 of a second. We call this phenomenon the ‘subjective time quantum’.

Try to consciously perceive as often as possible.Do not expose yourself to massive sub-conscious perception,That you don’t actually want.Always remember that the information stored in your memory cannot be consciously erased.

3.PERCEPTION AND IMAGINATION

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Being aware means experiencing perception and imagination You can talk in terms of ‘outer and inner perception’.Our perceptions of the outside world are sensed in relation to memories of the inner world.As soon as we begin to perceive, our imagination also becomes active.Because of the different associations we have, the way we experience perception is always different, even when perceiving the same object.

Try to separate outer and inner perception.Describe the contents of the perception and imagination fields.

4.COMPLETE PERCEPTION

Perception with all five external senses: Sigh, Hearing,Touch, Smell,Taste

Do not be satisfied with incomplete perception.Look for situations in which you can perceive completely.Avoid one-dimensional perception situations.

5.INTERHEMISPERICAL COMMUNICATION Interhemispherical communication is the exchange of information between the two halves of the brain.Left hemisphere: logical processes, algorithmic sequences, linear thinking, language (analytical), numerical and quantity proportions, structured concepts, time-related orientation.Right hemisphere: comprehensive grasping of situations, linking information with emotions; aesthetic thinking and acting, imagination, unstructured concepts, timeless orientation.

Use the power of both halves of your brain by looking for interhemispherical communication.Think about which half of the brain the focus of your reflections is in.

6.THE CIRCLE OF PERCEPTION, THOUGHT, ACTION

All activities require these three steps. If one is missing, then the prerequisites for creative activity are missing.There must be enough TIME available for each step.Try to keep to these three steps in everything you do!Make note of situations where one of these steps is missing and what this deficiency results in!

Try to keep to these three steps in everything you do.Make note of situations where one of these steps are missing and what this deficiency results in.

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7.LEISURELINESS, DIVERSITY, SELF-ORGANISATION

These three fundamental constituents for development (Peter Kafka) are conducive as methodical activities in creative processes.

LEISURELINESS means that there must be enough time and that creative peaks are not cut off as a result of rigid time frames.

DIVERSITY means that one-dimensional senses can be avoided. Where creative processes are concerned, many roads initially lead to Rome. One can always specialise later.

SELF-ORGANISATION means that the main driving forces come from within the individual and are not set by other entities (superiors, rules, codes of practice etc.).

Make sure that in your projects you adhere to these three constituents as often and as comprehensively as possible!

Make note of the consequences that occur when one of these constituents is missing.

8.CONTEMPLATION

Contemplation means concentrating ones mental powers.

The aim of all meditational procedures and methods is to reduce the many environmental impressions in order to liberate what is essential.During the meditation process one tries to set oneself to ‘zero’.Meditation methods include Zen meditation, yoga, tai chi, chi gong, and Feldenkrais. Autogenic training is in a sense also such a method.

Use meditation oriented techniques in order to sort out your consciousnessand to spare you from making mistakes.

9.MENTAL TRAINING

Mental training means using awareness processes to anticipate action patterns.Imagining actions to be carried out prepares ways of actually carrying out the actions.Mental training also includes brain games, perception games and simulations of all kinds, and also imaginary journeys.

Use mental training methods to increase the range of variation of your capabilities!Develop your own special forms of mental training.

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10.IMAGINATION

Imagination comes into play when we start to think without a specific goal, when we combine logical and aesthetic thought paths, experiment diversely and playfully, when we are communicative,and do not reject any unusual solution approaches.

This leads to the development of new, unusual organisational forms that deviate from routines and show us paths we have not trodden before.

Try to be imaginative.Don’t let yourself be distracted by objections and regimentation.Find your own golden thread. It will enable you to interlink your work and leisure time, so that you can experience both as one entity.

ALWAYS TRY TO ACHIEVE EQUILIBRIUM!

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Internationale Bildungsstätte Jugendhof Scheersberg, 24972 Quern, info@scheersberg.de

Director and contact:Prof Klaus-Ove Kahrmann, Husumerstr. 64, 24941 Flensburg, Tel. 0049 461 96754, 0049 173 61 03010; kkahrmann@googlemail.comSupervision:Karsten Biermann, Scheersberg, biermann@scheersberg.de, Tel. 0049 4632 84800

Fee incl. food and lodging: 190 € for students and 290 € for trainees

Announcementto termine@scheersberg.de. Please select TWO workshop wishes! In one of these two groups you will stay for the week. A change after one day is possible.

Translation: Alistair Tarwid

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