1 Community Dance as a Psychomotor Approach to Personal Development in (Higher) Education An Interview with Mara Natterer J. Lemmer Schmid In times of rapid transformation processes triggered by digitalization, artificial intelligence, or complex problems such as climate change or social inequality, the education system is particularly challenged to prepare the younger generation not only with specialist knowledge but also to best support their personal development to face current challenges (HOPE, 2024). For this, so-called future competencies must be defined and newly established in their didactic targeting in schools and universities. In the German Higher Education Qualification Framework (HQR, 2017), the term "professional competence" has been defined as an appropriate educational goal. Responsible and reflective action is based not only on professional and methodological skills but also on social and self-competencies (ibid. p. 4). While promoting social competencies, such as through conversation leadership seminars, is now common in higher education teaching, fostering self-competencies, such as emotional selfregulation, health competence, adaptability, as well as creative and critical thinking, is rarely explicitly covered in curricula (Schmid, 2019). Against this backdrop, a research project at the University of Applied Sciences Emden/ Leer explored the extent to which psychomotor approaches could effectively fill this gap in the education system. To this end, bodyand movement-oriented seminar offerings were evaluated across departments through qualitative interviews regarding their acceptance and impact. Through a series of diverse block seminars ranging from psychomotricity to acroyoga, shiatsu, and dance improvisation, key principles for a body-oriented teaching practice to promote self-competencies were identified. On the one hand, it became apparent that holistic learning spaces that address not only intellectual receptiveness and responsiveness but also the personal experiential level, present a range of challenges and risks. These include, for example, maintaining privacy and autonomy and ensuring trauma-sensitive experiential spaces. At the same time, innovative practical suggestions were also gained, such as body-oriented reflection methods that deepen the integration of cognitive learning content with a personal and professional attitude (Schmid, 2023). 2 The following excerpt from an interview with dancer and teacher Mara Natterer illustrates how social and personal competencies can be promoted in the context of higher education using the example of "Community Dance." The considerations presented here can be equally applied to primary and secondary schools. What is Community Dance, and what fascinates you about this approach? Community Dance is a form of dance that brings people of all ages, abilities, and backgrounds together to experience dance collectively. It is an inclusive approach that focuses on participation and a sense of community rather than technical perfection or performance. Community Dance can encompass different dance styles and be practiced in various contexts, such as in schools, public spaces, or hospitals. The focus is on the creative process. The dance experience can foster a range of qualities that play an important role for students of all disciplines: personal motivation, focus, goal orientation, training of perception, and strengthening trust in oneself and others. This work opens a learning and experiential field for encounters with oneself and others, based on mutual respect and appreciation. I am fascinated by the feeling of aliveness that arises when dancing, it brings the opportunity to feel ourselves, and thereby creates an authentic contact with our environment. Community Dance seems to place great importance on "community." What does this word mean to you? The word community implies, for me, a willingness to support each other in growth and learning and to create a space where everyone can reach their full potential regardless of the common goal pursued, whether as a temporary working group or a living community. I believe that only collective thinking and action are truly sustainable, and we must therefore focus on what connects us as humans. How can students experience these values in dance classes? How do you work specifically? The core of the work is personal experience experiencing these values "in one's own body." Through practical exercises from dance, movement, and somatic approaches, participants' awareness of their own bodies, others, and space is trained, their creativity 3 is sparked, and a foundation of trust is built within the group. For example, the experience of letting oneself fall and trusting that the group will catch them (see Figure 2). Beyond self-experience, it is also about giving them a repertoire of exercises to reconnect with their body that they can apply in their own life and work contexts. Another important element is performative improvisation in public spaces such as in a shopping center or on a marketplace. We practice a state of heightened presence, listening to each other and to the immediate environment, and take this as inspiration for movement impulses. Where does the line between everyday movement and dance lie? At what point am I perceived as a "performer" in a public space? And what does that do to me? This experience expands the perceived boundaries of our scope of action and can contribute to a feeling of empowerment, on both an individual and collective level. Additionally, there is a theoretical part that provides an overview of the origins, working methods, and some Community Dance projects worldwide. A well-known example is the documentary film "Rhythm is it," which shows how Royston Maldoom developed a dance performance at Berlin schools in socially disadvantaged areas in collaboration with the Berlin Philharmonic (Meyer & Dörken, 2004). A final joint reflection on the experiences made during the seminar helps to integrate these on a deeper level. How do you ensure that people, particularly students, are willing to engage in the movement form of dance and improvisation at all? I try to challenge the students without overwhelming them. Challenge is important for the participants' full attention and to enable personal successes. The psychomotor principle of voluntariness is essential for general acceptance and willingness to engage in something new. For most, especially the intervention in public space is an extraordinary experience that leaves lasting impressions. I often hear from students that they were surprised to feel so free, creative, and connected with the group. Witnessing people enjoying expanding their personal space for play and action and thus gaining a sense of freedom touches me deeply. 4 Concluding Remarks: Many students reported in an anonymous online survey after the seminar that they had gained new perspectives on everyday situations through the exercises and performances and felt they were now moving through the world more openly and confidently. Additionally, the importance of inclusion and overcoming personal boundaries was emphasized. The experiences in the seminar not only strengthened physical and mental presence but also the ability to act and interact more autonomously in social and professional contexts. Overall, Mara Natterer's comments show that Community Dance, through its creative and inclusive dance practice, promotes personal competencies and creates a sense of community. This form of dance offers a valuable addition to traditional teaching methods and demonstrates how psychomotor, in this case, dance-based approaches can make a significant contribution to personal development in educational institutions. Prof. Dr. J. Lemmer Schmid Professor of Motology at the University of Applied Sciences Emden/ Leer Constantiaplatz 4, 26723 Emden, Post@Joerg-Lemmer-Schmid.de Licensed as a Psychological Psychotherapist for children, adults, and groups. Individual and team supervision in educational/ psychosocial professional fields. References: HOPE (2024): Willkommen bei HOPE. In: www.Hochschulnetzwerk- Persönlichkeitsbildung.eu, 18.08.2024 HQR (2017): Qualifikationsrahmen für deutsche Hochschulabschlüsse -- Kompetenzmodell. In: https: / / www.hrk.de/ fileadmin/ redaktion/ hrk/ 02- Dokumente/ 02-03-Studium/ 02-03-02- Qualifikationsrahmen/ 2017_Qualifikationsrahmen_HQR.pdf, 4 15.09.2024 Meyer, R., Dörken, T. (2004): Rhythm is it! [Film]. BOOMTOWN MEDIA GmbH & Co. KG, Berlin 5 Schmid, J. L. (2023): Leib- und bewegungsorientierte Reflexionsmethoden -motologische Ansätze zur Förderung von Verantwortungsbereitschaft. In: Studer, J., Sotoudeh, E, Abplanalp, S. (Hrsg.): Persönlichkeitsentwicklung in Hochschulausbildungen fördern. Vol. 2: Reflexionsprozesse verstehen und begleiten, 1. Aufl. Hep Verlag, Bern, 83--98 Schmid, J. L. (2019): Selbstkompetenz, Leibwahrnehmung und Somatics. In: Göhle, H., Allkemper, S. (Hrsg.): Handlungshorizonte zwischen Theorie und Praxis -- Gegenseitige Anstöße in Psychomotorik und Motologie. Wissenschaftlicher Verlag für Psychomotorik und Motologie (WVPM), Marburg, 43--92