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Grenoble
Sequence "head & tail" as base for partner work:
a) how can I accompany my partner and help his dancing?
one is dancing the sequence, the partner finds the way around (side tracks, crossing over, go backwards, repeat, all what is around) by following the direction of the head or the tail of the dancing partner. The sequence is the main road the partner finds the pathways beside the main road.
b) idem looking for platforms to lean, to give weight, to go up / slide down
c) idem + jumping over
Same class as in Amsterdam in trems of exercises / movement sequences. But since we had the luxury of 2 h, I estimated as à main focus ten (self)-reflection and movement analyze through getting en giving feedback constantly. We worked on the three sequences through the week by hooking up in pairs watching and observing each other while dancing the exercise. And than having 3-4 min feedback sessions telling each what we see, what could be worked on what is missing, where to focus on the next time dancing the sequence.
In principle the work structure was:
I showed the exercise
we went through it together
reshowing and giving more information and explaining moments and specific parts which the participants were asking for or which I observed need it more focus and analyze.
Than dancing it and observe each other
feedback
dancing it again
sometimes repeating again
Like this we went through 3 sequences in total. The sequences are explained in deatils in the idoc:
Each sequences is quite rich in material and demanding in performing it. Every day we digged deeper into the elements of the sequences and explored the potentials also by improvising with the different movement ideas, the anatomial functional information and movement qualities. I encouraged own research within the proposed frame and learning by observing a partner, as well through repeating often to be able to get to know the material well.
More and more I find myself teaching to dancers with diverse backgrounds.
In order to be able to offer information and proposed material in set sequences and encourage own research to dig into the proposed material by playing and improvising with elemnts, qualities and technical skills within the same class and exercise I found it important to
identified movement principals in order to achieve alignment, build stamina, and move and work with anatomical functional skills.
- connection of shoulders an more specific the tip of the shoulder blade to the sit bones (straight down f.e. right shoulder to right sit bone or across f.e. left shoulder to right sit bone) and to the back of the knees and from there to the heel. Practice In order to use this connection as a motor of movement: sit down backwards connecting shoulder blade to sit bone and sit bone to the heel, sit bone to the ground (preferably one sit bone after an other is touching the floor. The same can be practice going down sidewards. By Concentrating on the lateral line from shoulder blade to sit bone, pressure is taken off the spine and squatting and going down to the ground from there can be expirenced easy and dynamic (rebound as moment of potential). To come back up to standing bring the sit bones to the heels, rather than the heels to the sit bones in order to get the feet under the center and get up (straight or in spiral or jumping). To move forward and downwards: bring the top of head to the pubic bone and than dive into the floor, using the hands as support, getting up by brining again the sit bones to the heels and use the momentum to get to vertical and the from there the velocity for turning, jumping, spiraling
- using the pillows of the muscles like air bags to shift weight and meet the floor, the wall or a partner. This can be combined with the breath: breathing in = ‘blow up’ the pillow (more tonus) and resistance to a surface (moving away from it) and breathing out to soften and move further in
- kicking the ball, kicking movement out but also back in, heel towards the pubic bone or sit bones to jump or moving through space. Energy comes back in and velocity is available. Same with the arms (from fists and fingers)
- spirealing and centrifugial energies for momentum, suspension, speed and economical moving
All can be approached from a more technical point of view, anatomic-functional or from a more sensational idea. I tried to always offer both.
// Teacher2014.12.07
Hi Andrea,
This sounds very interesting. I wish I could have taken part in these classes.
Best,
Andrea
This project has been funded with support from the European Commission.