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Thanks very much for this stimulating discussion. Tiffany thanks for this links- it is a very interesting stream of work. I work with Pakour performers whose bodies similarly to choreographed dancing activities also open up possibilities for creative thinking and personal/professional development. http://www.tandfonline.com/doi/abs/10.1080/14759550701659029 Greetings from London (and Athens) Maria Sent from my iPad On 4 May 2012, at 08:30, "Tiffany von Emmel" <[log in to unmask]> wrote: Great conversation. Thanks, all! Katrin, Thanks for bringing up the topic, as I tend to participate by reading rather than responding. As a choreographer, one can work with larger groups, but choreographic processes need to be simpler in form and developmental. I've been working with groups using dance-theater improv, somatics and participatory performance in organization theory, strategy development, and relational leadership practice. In these dynamic forms, choreography looks much more like facilitation of group process, responding to relations in the moment, increasing complexity as the system grows connective tissue. Anna Halprin as a choreographer, still dancing at 90 yrs old, is brilliant with large group participatory dance processes. As an example of what this looks like in organizational practice, in 2006 a project with the International Society for Systems Sciences, I formed a facilitation team of dance-facilitators trained in OD to work with over 200 organizational members, in this case participants were systems scientists, ages 30-80 yrs old, and from four continents. The organization used participatory performance and visual arts for one week to explore "Sustainability, Democracy and Complexity". The project also served as an organizational change process to shift power relations and engage the diversity in the organization. The group collectively developed a performance by the end of the week, integrating the artifacts that had emerged in the week. This seed project founded Dreamfish and was the first in a series of large group projects. What has emerged since is a livelihood development network which intends to embody and scale social improvisation as a way to address global poverty. Structurally, it is a network organization, legally formed as a consumer cooperative incorporated in California and in 26 countries. For context, my doctoral research explored characteristics of social knowledge from an embodied participatory perspective by using dance-theater improvisation as an arts-based research method and video ethnography. The small group which served as both a site and method was a performance collaborative inquiry group that I co-founded in East Berlin. Three of the dissertation chapters are written as a film script with video stills. Here are a few chapters: https://www.socialtext.net/vonemmel/papers_book_chapters_and_presentations Sorry to be silent for so long. I appreciate the AACORN conversations and would love to participate more in the future. Tiff -- Tiffany von Emmel Founder, Dreamfish skype: vonemmel | @tiffanyvonemmel | http://vonemmel.com<http://vonemmel.com/> Dreamfish | Explore our new platform in construction: http://test.dreamfish.com Connected, we grow. On Sun, Apr 29, 2012 at 8:07 PM, Stephen Carroll <[log in to unmask]<mailto:[log in to unmask]>> wrote: Katrin, Thinking about Steve ‘s comments about his theatre experiences working with choreographers, I recently observed stage productions in which choreographers played a major role. In the last week I attended an opera –Havisham by Argento- and a play about Darwin entitled Sandwalk on my campus in which choreographers played major roles. By incorporating significant dance elements into both productions, the performances were enhanced significantly in an aesthetic sense as well as advancing the narratives. In the dancing elements of the performances , dance movements compatible with the capabilities of the singers and actors were introduced congruent with the usual space, music, lighting, and aesthetic limitations and considerations. The choreographers had to collaborate with actors, singers, as well as stage and musical directors and others to make these productions the memorable performances they were. Extensive rehearsals identified possible future problems which were then effectively made less probable. High adaptation skills for these choreographers were critical to their success. Many management academics and consultants over the past forty years have described the inability of many organizations of all types to adapt and change effectively when faced with changing circumstances. Traditional command and control systems, bureaucracies, internal silos as well as differences in subunit cultures, often prevent necessary collaboration and problem solving from occurring. Awareness of the choreographic model might be very helpful in such organizational design and change programs. Steve C. Stephen (Steve) Carroll Maryland Business School 301/405-2239<tel:301%2F405-2239> [log in to unmask]<mailto:[log in to unmask]> -----"Aesthetics, Creativity, and Organisations Research Network" <[log in to unmask]<mailto:[log in to unmask]>> wrote: ----- To: [log in to unmask]<mailto:[log in to unmask]> From: Katrin Kolo Sent by: "Aesthetics, Creativity, and Organisations Research Network" Date: 04/25/2012 05:37PM Subject: choreography and dynamic structures - follow up and WSCI Dear AACORNERs, it’s impressing how many mails with great thoughts have already been sent. I am extremely grateful, that this network exists. Thanks to all of you, who make this such a remarkable meeting and discussing space! I decided to collect emails and follow discussions individually, in order to summarize and then bring the theme back to all AACORNers. I hope this way, I respect also the people in the network, who are not too interested in this vibrant mail traffic. Hope this is fine for all of you. There is only question I would like to ask right now: Is there anyone of you, who knows something about “service choreography” notation (WSCI)? I would love to learn more about this. Thanks again Best Katrin This email has been scanned for all viruses by the MessageLabs Email Security System. This email has been scanned for all viruses by the MessageLabs Email Security System.