art
mediation
for
Everyone
to play
with
music
creativity
and
"Everyone is an artist."
Joseph Beuys was the first to publicly formulate the idea of an expanded concept of art.
But it is not tied to his person, since he does not express an opinion, but an observation fact.
At HANSHERZFUSS, this is the starting point for all offers.
_culture impulses of the 20th centurylittlerichardchuckberryrudolfsteinerelvispresleythebeatlesjosephbeuysandywarholbobdylanund as far aserneilyoungpaulsimonjimihendrixjonimitchellsexpistolsramonesnirvanafugeesblackeyedpeasand so far all the dilettantes_
Everyone has a natural creative potential.
The creation of an independent thought is the primal phenomenon of being human - this ability to fill with imagination is the primal phenomenon of the artistic.
This is how man creates visible art - in principle everything can be a work of art.
Behind this there is neither arbitrariness nor arbitrariness, but extremely carefully executed ideas.
All well and good - but how does it work?
How do you know that the water is boiling not at 95, but at exactly 100 ° C?
Basically by playing.
Felix Mendelssohn Bartholdy, the great composer and Bach rediscoverer, said to his students:
"You shouldn't practice, you should play."
Friedrich Schiller already had quite a while before him
recognized and proved the instinct to play as the origin of all independent human development.
If this has been clear for so long, why don't I know anything about it?
And why is this kept secret at schools, universities and other educational institutions?
The intellectualization of the 19th century, with its academic arrogance, led to an entirely twisted outlook. The battle cry and the dogma to seduce the mind against everything individual and creative in man was: Creativity can only be expressed with high technical skills and great theoretical knowledge.
This resulted in a lack of culture, the forced accumulation of knowledge and the manual drill.
Before we - if at all! - to be able to start with something of your own, these were the conditions.
Since then, the libraries have been filling up to the ceiling
and unstoppable with "smart" and "important" books and millions of originally music-loving young people break sweats when they are supposed to play something or have severe physical ailments as daily practice has become hard work.
What's up?
From the second half of the 20th century, the above-mentioned dogma was refuted practically all over the world, but you can still find this attitude everywhere in many subconscious basic convictions, feelings and actions: The idea, “I can't sing / paint / poetry etc. ”, draws its nourishment from precisely this cultural misconception.
That we can achieve a strong and deeply moving effect on other people with our art, despite or precisely because of our academic lack of culture, is shown by all the art impulses that occur, mostly outside the mainstream: Stream of consciousness (around 1877), ethical individualism / anthroposophy (1900s),
Dada (20s), Rock'n'Roll (50s), Beatnick (60s),
Fluxus / Social Plastic, Punk (70s), HipHop (80s),
Grunge (90s) etc.
But even in the past centuries there have been niches in which this definitely found its place.
The so-called amateurs (now called autodidacts, amateurs or laypeople) were even in academic circles, if not officially recognized, at least respected artists, inventors, researchers, etc. (Johann Wolfgang von Goethe, James Bradley, Gregor Mendel, Heinrich Schliemann, Léon Foucault et al).
The origin of creativity
The creation myths of all peoples make God or at least a supersensible being responsible for the creation of the world; Well-guessing that - for the time being - invisible overriding, but also all-pervasive creative power resides in everything and everyone.
Would this infinitely creative being have had to go to university first to learn what kind of artistic activity? To create a work of art like the universe and everything in it? - The world would probably never have come about.
Do we have to do this in order to be creative?
But even the more scientifically influenced person cannot escape the primal reaction to what is perceived - provided he is not yet completely alienated: the amazement.
Through the fundamental experience of being separated in the original polarity: I and the world, amazement arises - this ignites the spark of questioning.
Hardly in the world, through curiosity and interest, we begin to play with everything. Holding things in our hands in amazement, twisting and turning them and examining them for their nature and possibilities.
Do we deal with things and situations in this way, do we bring them into unexpected conditions, see new possibilities and become inventive.
During implementation, we soon encounter obstacles that demand new skills from us: let's stay tuned, let's expand our technical skills and theoretical knowledge as if by ourselves. Nobody demands that of us - we want it.
Never again do we learn so much in such a short time as in the first three years of our life.
How about if the way we learned up to then was still available to us later?
If we are lucky, we will meet people who are on the way just like us or who have even preceded the path a bit - and who can become our guide / role model / teacher.
That's what HANSHERZFUSS is for
Artistic, technical and theoretical approaches complement and expand continuously as we are ready - to play.
Music - as well as all art in general - is always about the same thing: entering into a relationship, Create an interested, benevolent and questioning relationship between me and the rest of the world, open up new horizons, find myself again as a person.
All important creative people - whether they are university graduates or
Amateurs - have this together: Impartiality,
The ability to focus, increased attention and great care - that's what they got from the children ...
... And above all: the desire to play.
Trusting in the fact that we always carry all our possibilities within us, at HANSHERZFUSS we enter spaces of experience in which our potential can unfold unhindered to new and expanded skills.
You tell me where you want to go - we will find a way together.
So learning is possible.
Links to people and sources:
Joseph Beuys (1921-1986) Felix Mendelssohn Bartholdy (1809-1847) Friedrich Schiller (1759-1805) (" On the aesthetic education of man - 11th-16th letters ")
Johann Wolfgang von Goethe (1749-1832) James Bradley (1693-1762) Gregor Mendel (1822-1884) Heinrich Schliemann (1822-1890) Léon Foucault (1819-1868)
Guitar lessons - workshops - coaching - song circle session - SONGBIRD