OTHER ASPECTS:

NEEDS We suppose a strong need of self-realisation and the development of a humanistic oriented society in all human beings. Perhaps the most important step in the development of an open and democratic society is the continuous work of transforming exclusion into co-operation and respect.

EXCLUSION When we speak about exclusion, it always sounds extreme, done purposed and evil. For the victims of exclusion this is true. Looking from outside, we have to admit however, that exclusion represents a normal human and animal social behaviour happening every day (even if this is an ugly thought). Thinking back to school we remember immediately boys and girls, that got into a somehow strange role - for instance as too fat or thin, not enough skilful, too good or poor performance in school, or whatever reason - and were excluded more or less violently. I´m saying this in regards to traditional, not multicultural schools. Transferring these mechanism to multicultural groups, normal schools would multiply the possibilities of exclusion, as human beings tend to join by language and custom. Moreover school creates a primary contact based on language and tests, which implies discrimination. Western societies and institutions did not really take the challenge until now. So we need a concept and a philosophy within societies as well as on the international level, which allows the experience of connection between people. As counterweight to daily life ruled by the second hand experiences of alienation and media, post-modern societies need the transmission of humanistic values by an aesthetic education through the body, which integrates artistic handwork in the knowledge how to use the body together with self - expression, -experience and philosophy. Development of a practical concept aimed at developing the education of tolerance and international understanding on a non-verbal basis through dance and body work and it's performance as a common project in various countries.

CONCEPT We use an approach of aesthetic education, which would give human beings from different ethnic groups and civilisations the chance to explore their differences against the neutral and non-assessive background of a set of elements which are common to all human beings thus enabling them to fully experience and appreciate the wealth of cultural tradition. This educational approach is not rigid in style, employs techniques from different ethnic contexts, leaves space for individual creativity against a background of a fixed structure containing universal themes and gives impulses for co-operation in a playful way.

If the teaching style in dance improvisation is non judgmental, the big problem is a certain laissez - faire of a regardless appreciation, whatever students perform. If everything seems to be all right there will result a certain lack of challenge. If this is true for adults it is dramatic for children. Beside e the playing drive, they want to feel a challenge, which seems to be felt as a form of being taken serious. How can we find a productive combination of being non judgmental in the pedagogic but avoiding being of uncritical regardless acceptance on artistic level?