The aim of this arts-based discourse is to foster and convey creativity through dance and movement, particularly in the context of global and societal conflicts. Building on 21st-century skills, the research develops an approach that interweaves visual, performative, and textile dimensions in order to explore and test new strategies for their mutual legitimization. The focus lies on investigating movement-based strategies within the tension field between human existence, artistic stylization, and aesthetic impact. Following Hartmut Rosa’s resonance theory (2019), “aesthetic gaps” are understood as spaces of successful world-relations in which creative educational processes can be initiated.

Central questions addressed are: To what extent do historical visions of movement and rhythm pedagogy retain their relevance today? What new challenges have emerged in contemporary contexts? And how can these traditions be connected with current pedagogical discourses in the spirit of material-based learning?

In experimental movement and performance labs with students, textile materials and choreographic settings serve as starting points for collective creative processes. Empirical data are collected through observation, material and movement analysis, and reflective practices. Particular attention is given to the function of religious practices and associated rituals and rhythms. As performative forms that have historically united body, movement, music, and community, they are examined as central teaching resources for visual arts education. Furthermore, the extent to which ritual and religious movement practices can serve as models for contemporary educational contexts—particularly in fostering collective creativity—is considered.

The practical focus lies in developing barrier-free, inclusive forms of teaching, resulting in a subject-didactic model specifically designed for everyday school life. In light of increasing class sizes, teacher shortages, and classroom management challenges, artistic movement practices are proposed as a means of stimulating creativity while simultaneously creating spaces for physical and social balance. Textile materials function as both visual and performative media that render the fundamental relationship between body, movement, and design visible and tangible.

The interplay of material, movement, resonance, and religious-cultural dimensions opens up new pedagogical perspectives and potentials. Ultimately, the project aims to develop innovative and inclusive teaching and learning opportunities that combine creativity, aesthetic experience, and social participation.

This research is based at the Center for Didactics of Art and Interdisciplinary Education at the University of Applied Arts Vienna and is situated within the framework of Paul Iby’s dissertation Material – Air – Human.

Keywords: Arts-based education, movement, dance, creativity, 21st-century skills, inclusive education, performative learning, interdisciplinary teaching, textile pedagogy, classroom management, educational innovation, embodied learning, rhythmic education.