6-8 MARCH 2019
In the second conference in Cologne the focus is on how changes can be implemented within curricula and higher education structures. Taking further the outputs and discussions from the conference in Amsterdam we will establish perspectives and measures for inclusive film school education.
Beginning with keynote speakers and continuing with parallel workshops, culminating on the second day in a plenary discussion and commitments and check-ups for the future, participants are invited to share their experiences and discuss the events of the conference. The design of the workshops in Cologne allows us to identify potential solutions and perhaps new implications of diversity issues that were identified in the first conference.
To ensure the continuity and connection between both conferences, the conference in Cologne will use the conceptual summary (by Elonka Soros) as a foundation for further discussion. Also a visual protocol (graphic recording by Christiane Brückner) will sum up the significant aspects as well as findings of both of the conferences. The two parts are relatively close together (Amsterdam in January 2019 and Cologne in March 2019) and provide a completed process for the participants (although both conferences are standing on their own and can be visited separately).
Cologne registration deadline: 31st January
WednEsday | Thursday | Friday | 6-8 MARCH 2019
7 March 2019
The curriculum ahead. Migration, mobility and a plan for multiplicity
Mark Terkessidis, Psychologist and journalist with focus on pop culture and migration
Although we hear a revival of nationalist rhetoric in parts of the political class and the media, it is evident that the everyday-life especially of the urban space is shaped by mobility and migration. Cities have become vague fabrics, “parapolises“. Thus, it is not possible to carry on with ideas of politics and culture still based on sedentariness. It has to be based on the fugitiveness and multiplicity of individuals. As policy, this means a strict programme of interculture, the development of a „Vielheitsplan“ (a plan for multiplicity) for the institutions – not as some kind of special address or „helping hand“ for immigrants but as a process of innovation for the whole organization. This also concerns the field of the arts. People working in the arts usually think of themselves as flexible, open and transnational. Nevertheless, the reality in Germany (and Europe) is different. Implicitly, the frameworks and the categories stay national and most often the „creative class“ is recruited from a specific milieu. A plan for multiplicity includes the opening of the institutions, the working through of the question of accessibility, the everyday discrimination, the recruitment processes, the atmosphere, the curriculum etc.
Born 1966, Diplom-Psychologist, PhD in pedagogy about the „banality of racisms“.From 1992 to 1994 editor of the popculture-magazine “Spex”. From 2003 to 2011 moderator for the Westdeutscher Rundfunk´s programme “Funkhaus Europa”. Contributions about (popular) culture, migration, racism and social change for „tageszeitung“, „Tagesspiegel“, „Frankfurter Rundschau“, „Die Zeit“, „Freitag“, „Literaturen“ and for „Westdeutscher Rundfunk“ and „DeutschlandFunk“. 2011/2012 Fellow at Piet Zwart Instituut of Willem de Kooning Akademie Rotterdam; 2012 – 2018 Lecturer at Universität St Gallen (HSG). Since 2012 co-director (with Jochen Kühling) of the ongoing project „Heimatlieder aus Deutschland“:
Kulturkampf - Volk, Nation, der Westen und die Neue Rechte (Köln: Kiepenheuer & Witsch 1995), Editor (with Tom Holert) of Mainstream der Minderheiten - Pop in der Kontrollgesellschaft (Berlin: ID-Verlag 1996), Psychologie des Rassismus (Wiesbaden: Westdeutscher Verlag 1998), editor (with Ruth Mayer) of Globalkolorit - Multikulturalismus und Populärkultur (St. Andrä-Wörden: Hannibal 1998); Migranten (Hamburg: Rotbuch 2000), with Tom Holert: Entsichert - Krieg als Massenkultur im 21. Jahrhundert (Köln: Kiepenheuer & Witsch, 2002); Die Banalität des Rassismus. Migranten zweiter Generation entwickeln einen neue Perspektive (Bielefeld: Transcript, 2004), with Tom Holert: Fliehkraft. Gesellschaft in Bewegung – Von Migranten und Touristen (Köln: Kiepenheuer & Witsch 2006); Interkultur (Berlin: edition Suhrkamp 2015), Kollaboration (Berlin: edition Suhrkamp 2015); Nach der Flucht. Neue Vorschlage für die Einwanderungsgesellschaft (Stuttgart: Reclam, 2017)
8 March 2019
Missing Foundations: Diversity, Intersectionality, and Institutions in the Master’s Hous
Prof. Sylke Rene Meyer, California State University, LA
In 1979 at New York University, a feminist conference took place commemorating the thirtieth anniversary of Simone de Beauvoir's “The Second Sex” of 1949. One of the invited speakers was Audre Lorde, a black, lesbian poet and literature professor. In her remarks, she called out the conference's white demographics and refused to participate in a feminism as a predominantly white movement. Turned into an influential essay entitled "The Master's Tools Will Never Destroy the Master's House," Lorde was responding to white feminism in its institutional context, tying universities and academic conferences to the house of the master. Now forty years later, in Cologne in 2019, another conference takes place at an academic institution to address diversity. Questions of diversity are often – perhaps always – institutional ascriptions of identity. In my talk, I will refer to Robin DiAngelo’s 2018 book “White Fragility”, and to Kimberly Crenshaw’s seminal essay “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Anti-discrimination Doctrine, Feminist Theory and Antiracist Politics" published in 1989. Following Crenshaw, I will discuss the intersectionality of race, ethnicity, class, and gender, and offer my read of DiAngelo’s analysis of her work as a diversity trainer as a form of identity disruption. I will argue that diversity cannot be separated from structural racism, structural sexism, institutional classism, and ableist behavior that is inherent to our institutions.
Sylke Rene Meyer is a writer, director, media artist, performer, educator, and co-founder of the performance group Studio206 in Berlin, Germany. In 2018, she co-founded the performance collective „Family Room“ in Los Angeles. Her practice is informed by and engages with film, media history, theory, and criticism, and encompasses feature and documentary filmmaking, as well as writing and collaborative experimentation across theater, new media and digital platforms. Her work has garnered numerous awards such as an Emmy Award, and Best Film Awards at major festivals such as Seattle, Chicago, and Montreal. She is a Professor of Creative Writing, and Director of the Institute for Interactive Arts, Research, and Technology at California State University in Los Angeles.
Arrival day, 6 March 2019 from 2-5.45 pm
Three guided tours through Köln-Mülheim
In the district of Köln-Mülheim, there are many challenges the diverse urban society will face in the near future: post-industrial transformation and the loss of identity that comes along with a highly frequented, stressed and stressing mobility infrastructure and a very diverse population – long established residents, often elderly locals, underprivileged and migrant areas, artists, workers, gentrifiers and a growing creative industry. This post-industrial transformation and the vast spacial resources that accompany the transition are developing an accelerated dynamic that will continue to cause modifications in the district for years to come.
The participants of the guided tours walk through the district on three different routes, each of them different from the others in history, mix of residents, and architecture. The tours traverse various neighborhoods with specific and different characters („Charakterräume“).
On the tours, the participants will receive information on the history and development of the district, but most of all, they are asked to become active themselves by reflecting on their expectations and potential prejudices.
Each participant is asked to use his or her mobile phone during the tour to collect sounds that, according to the participant, reflect the character of the district. Each group is also asked to find an object along the way that represents an incisive place, and a person or story they came across during the tour.
The guided tours will last for approximately 1.5 hours, after which participants will meet at the IFS conference room.
Each group will draw a mental map, a reconstruction of their tour from memory. Which way did I go? What did I see? Where did we find the object that we brought back with us? The maps will be hanged on the wall and the three groups will have the opportunity to look at them and discuss the different maps and objects.
Afterwards, the participants will gather in small groups of three, one participant from each tour, to play the sounds that they have recorded, tell the stories that accompany the sounds and discuss their impressions and experiences of Köln-Mülheim.
The goal is to give the participants an idea of the district’s diversity while at the same time illustrating that even though heterogeneity exists, topographic and mental boundaries prevent real interaction between the different neighborhoods.
In the end there should be a vision deriving from the stories and objects: How can the character of each neighborhood stand out clearly without creating distance or boundaries? What connective elements can be found in the sounds and objects collected on the way?
About Eva-Maria Baumeister
Eva-Maria Baumeister works as a director at the junction between (music-) theater, radio play and performance. After she studied theater studies in Amsterdam and theater directing at the FOLKWANG UNIVERSITÄT in Essen, she directed plays at various theaters in the German-speaking area. She also directed a number of radio plays and currently holds her second fellowship from the FILM- UND MEDIENSTIFTUNG NRW. Her curatorial activities started in 2006 when she founded the festival KALTSTART in Hamburg. In 2013/14 she was artistic director of the JUNGES THEATER in Göttingen together with the dramaturg Udo Eidinger. From 2015 till 2017 she co-directed DIE STADT VON DER ANDEREN SEITE SEHEN with the urban developer Isabel Maria Finkenberger at SCHAUSPIEL KÖLN – a pilot project supported by the national urban development policy.
About Nina Rühmeier
Nina Rühmeier studied theater studies, history and german literature at the Freie Universität Berlin and the Université de Paris VIII, Vincennes-Saint-Denis. From 2006 until 2011 she worked as an assistant dramaturg, later as a full time dramaturg at Maxim Gorki Theater Berlin. From 2011 until 2013 she worked freelance at Schauspielhaus Zürich and with the company FRANZ VON STROLCHEN. From 2013 till 2018 she worked at Schauspiel Köln where she – among other things – supported the project DIE STADT VON DER ANDEREN SEITE SEHEN. During these years she has lived in Köln-Mülheim.
About Isabel Maria Finkenberger
Isabel Maria Finkenberger studied architecture with a special focus on urban development and urban planning in Berlin, London and Stuttgart and worked in various planning offices in London, Sydney and Stuttgart. Since 2009 she has worked with her Cologne-based office STUDIO if+ on the interface between planning, teaching and research. From 2015 till 2017 she co-directed DIE STADT VON DER ANDEREN SEITE SEHEN together with Eva-Maria Baumeister at SCHAUSPIEL KÖLN – a pilot project supported by the national urban development policy. In 2018/2019 she represented the chair of Urban Planning, Urban and Regional Development at the Hochschule Ostwestfalen-Lippe as a substitute professor.
(optional - please see registration form)
Thursday 7 March, 14.30 – 16.30 h & Friday 8 March, 11.00 -13.00 h
ifs, Schanzenstr. 28, Room 103 (first floor)
Language creates images in our minds. It shapes our world and invites the future. Inclusive verbal and nonverbal communication skills are essential for teachers and staff to level with their diverse students and colleagues. The awareness of our assumptions is the basis to overcome our current limitations and our unconscious bias in order to recognize something new and outstanding.
Through moderated exchange, the effects of our unconscious prejudice within various cultures can be revealed. Using techniques such as framing and refraiming (verbal) and deliberate handling of dominance techniques (non- / para-verbal), solutions are presented that provide the participants with new and concrete help for more effective communication.
A laboratory environment to experiment with various possibilities of inclusive language and behavior (verbal and non-verbal).
To explore methods of dealing with unconscious bias.
About Anna Momber-Heers
Anna Momber-Heers is an Expert for self-control & self-efficacy and
teaches acting techniques for everyday professional life to
executives and entrepreneurs. She is a coach & facilitator working
for both the acting-world and in companies. One of Anna's topic is
to increase awareness of diversity and find practical day-to-day
solutions in companies that help reduce bias and enable innovation
Thursday 7 March, 14.30 – 16.30 h & Friday 8 March, 11.00 -13.00 h
ifs, Schanzenstr. 28, Room 104 (first floor)
This workshop builds on the explorations mapped in Canon Exposed in Amsterdam from January. Here the approach considers implementation possibilities for when the canon in the curriculum is expanded. Through guided discussions, with small explorations facilitated jointly within groups, we will specifically be looking at questions, risks and consequences in the application of a curriculum design that strives toward diversity and aims to be inclusive. How can we gain more knowledge about film cultures beyond Europe and North America? In which way can we integrate our students in canon formation? And what does it mean to work with a “flexible” canon?
Guided discussions with small joint explorations.
To broaden the canon in the curriculum.
About Mieke Bernink
Mieke Bernink is professor and head of the MA-programme ‘Artistic Research in and through Cinema’ at the Netherlands Film Academy. Having studies philosophy and psychology before bidding farewell to the academic world to pursue a career in film criticism as editor of the Dutch film and visual culture magazine Skrien, she subsequently worked as Secretary of Film and Media Education at the Netherlands Council for Culture. In 2008 she was approached by the Film Academy to set up a master’s programme. As professor she’s also, with colleague professor Eyal Sivan, in charge of the Film Academy’s Research Group on Artistic Research, focussing on curriculum development, media technology and narration, and sustainability of artistic research and production.
About Jyoti Mistry
Jyoti Mistry is Professor in FILM at Valand Academy in Sweden and works in film both as a research form and as a mode of artistic practice. Select film works include: When I grow up I want to be a black man (2017), Impunity (2014), 09: 21:25 (2011), Le Boeuf Sur Le Toit (2010) and I mike what I like (2006). Select publications include: Gaze Regimes: Films and Feminisms in Africa (2015). Places to Play: practice, research, pedagogy (2017); special issue of the Journal of African Cinema: “Film as Research Tool: Practice and Pedagogy” (2018). She was DAAD Researcher at Babelsberg Konrad Wolf Film University (Berlin). In 2016-2017 she was Artist in Residence at Netherlands Film Academy. In 2016 she was recipient of the Cilect Teaching Award in recognition for innovation in film research and pedagogy.
Thursday 7 March, 14.30 – 16.30 h & Friday 8 March, 11.00 -13.00 h
ifs, Schanzenstr. 28, Room 108 (first floor)
In Amsterdam, the two sessions identified the political and power dynamics that play out around and within European film schools. The groups mapped out the ecosystem in which the schools operate. This revealed two clear ‘hotspots’ where film schools have most control and influence regarding diversity: the admissions process and the teaching process.
The aim for Cologne is to work within these two hotspots and generate strategies that address the challenges and opportunities that lie within each. Through delving further into the fabric of the systems in which we work, delegates can identify and explore potential for new practices that work towards building a more diverse community whilst identifying these conditions that are necessary in order for these to function and flourish. The workshop's goal is to develop meaningful and relevant strategies for the European Film School community in finding their relevance for the film makers of tomorrow.
Within the setting of a Systemic Thinking methodology, all participants will gather around a single table to explore and build onto the politics and power map captured from the Amsterdam workshop. Through a systemic interventionist approach, they will add a layer of strategy to this map thereby going beyond where we are right now to explore the challenges and opportunities that exist and the direction in which future strategies may want to go.
About Paul Tyler
“If you’re writing a TV series, designing a new marketing campaign, refocusing your company’s vision, defining policy, capturing best practice, innovating a new service, organising a conference, negotiating a contract or lobbying a government, you’re working within a system.”
Paul brings a highly analytical, creative and often humorous approach to reveal these complex worlds. 25+ years experience developing and producing concepts, strategies and projects within the cultural, public and corporate sectors. By applying a systemic mindset, he pinpoints the challenges, opportunities and mechanisms for choice-making within the systems in which we work, rest and play. He reveals the drives, dependencies and motives that fundamentally define the relationships between characters, contributors or users. This exposes the choices each makes, the values on which those choices are made and therefore what’s really at stake. All backed-up with a sharp editorial eye that focuses on logic, narrative, ethics and ultimately what makes people tick.
Nominated for a BAFTA (2005), BBC Creativity Award (2004) and Association of Online Publishers award (2005), Paul went on to win the Prix Jeunesse (2006) web award for originating, studio directing and producing the BBC’s flagship cross-media show BAMZOOKi. He co-designed the Copenhagen School of Design and Technology’s Digital Concept Development graduate programme in 2010 that focused on communication, commerce and marketing. He originates from London and lives and works out of Copenhagen.
Thursday 7 March, 14.30 – 16.30 h & Friday 8 March, 11.00 -13.00 h
ifs, Schanzenstr. 28, Room 106 (first floor)
Diversity has a form. Diversity has a sound. Diversity is a language. This workshop is a crash course in un-learning established film languages that have helped keep diversity out of the frame. Frame composition and montage are important building blocks that cement the relational structure between the characters on screen and us, the audience. These semiotic devices tend to operate in subtle ways that often go unnoticed. To use the suggestive title of Shelly Silver’s new experimental film on female repression in Asia, this workshop is concerned with ‚A tiny place that is hard to touch’.
In the first half oft he workshop extraits from historical and contemporary films will provide the starting point for a comparative analysis of normative and alternative modes of ‚suture’. Finally, we will attempt to formulate a set of proposals of how the progressive visual represention of gender, class and race can find a place in film school education.
The process of de-schooling visual norms is long and complex. This workshop hopes to give an impulse so that diversity awareness can unfold beyond the conference in our daily professional practice. In order to optimise the short amount of time avaliable participants will be asked to watch a selection of films and clips in advance.
About Maxa Zoller
Dr. Maxa Zoller is the Artistic Director of the Dortmund | Cologne International Women’s Film Festival. She also works as a film curator for Art Basel and has presented experimental film screenings at Tate Modern, South London Gallery, no.w.here in London and the Munich Filmmuseum. In 2014 she co-curated a major solo exhibition of Anthony McCall at EYE Filmmuseum in Amsterdam.
Maxa’s interest in the threshold between cinema and art developed out of her Ph.D. thesis ‘Places of Projection: Recontextualising the European Experimental Film Canon’, which she completed under the supervision of Ian Christie und Laura Mulvey at the London Birkbeck College in 2008. She taught experimental film history and theory at Goldsmiths College and Sotheby’s Institute of Art, and from 2015-18 at the American University in Cairo.
In her writings for MIT, IB Tauris, JRP-Ringier and Hatje Verlag she covered topics ranging from post-colonial and post-socialist identity discourse and feminism to her academic expertise; the history of Western avant-garde and experimental film, its contexts of exhibition and historiography.
Her writings and interviews can be viewed here: http://independent.academia.edu/MaxaZoller