ISSN 2451-2966

PUBLISHED BYtype2

Marijke Hoogenboom

Three scenes from the art academy: the professional, the ignorant and the local schools

'h e s o', choreography: Mao Nakagawa, graduation performance, School for New Dance Development, 2017. Photo: Nellie de Boer.

'h e s o', choreography: Mao Nakagawa, graduation performance, School for New Dance Development, 2017. Photo: Nellie de Boer.

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The Netherlands is renowned for its adaptability to new developments and trends – in cultural policy as much as in education. Specifically in arts education, important experimental developments from the 1960s onwards opened up the academy and were the driving force behind unique programmes based in Amsterdam, such as the Mime School, the School for New Dance Development and DasArts. The innovative performing-arts field in the Netherlands still owes its quality and vitality to these schools and to the exchange they enable between education and contemporary art practice. This article explores three different approaches to art education, and speculates how it can act as a form of institutional critique, questioning the institution of the art academy as such and challenge its relation to the world.

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Marijke Hoogenboom

(1964), professor at the Academy of Theatre and Dance of the Amsterdam University of the Arts, The Netherlands. Publications include Archeological expectation high, The transformation of Grootlab into a place for arts education (“Traces of Time”, 2016). Walking in a different way and No connection without contamination (’’rekto:verso 69“, 2015). Wie verändert der Bologna Prozess die künstlerische Ausbildung, (“Wie? Wofür? Wie weiter? Ausbildung für das Theater von morgen“, Berlin 2012). If artistic research is the answer - what is the question? Some notes on a new trend in art education (“Practice and Research, Cairon 13, Journal of Dance Studies“, 2010), Building with blocks (“Theatre, Dance and Performance Training, Vol. 1(1)“, 2010. And as editor the series Gesprekken met Makers (De Nieuwe Toneelbibliotheek, since 2014), From TINA to TAMARA, Radio Futura-Het Boek (2014), Na(ar) het theater, After Theatre?, Supplements to the international conference on postdramatic theatre (2007). Hoogenboom was a co-founder of DasArts, she is presently the head of the University’s cross faculty Artist-in-Residence program, the head of Research of the Academy of Theatre and Dance, and since 2016 the chair of DAS Graduate School.