user avatarAndrea Boll Eligible Member // Teacher
user avatarAnne Garrigues Eligible Member // Teacher
user avatarJuliette Dürrleman Eligible Member // Teacher
user avatarKerstin Kussmaul Eligible Member // Teacher
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IDOCs » LEAP Teacher residency in Grenoble with the French, Swiss and Austrian Team 5-9 of Dec. 2014
6 essentials of a class identified during the LEAP - teacher residency in Zürich in March 2014 by: Andrea Boll (CH) Anne Garrigues (FR) Juliette Dürrlemann (FR) Sabina Holzer (AU) Kestin Kussmaul (AU) Simon Wehrli (CH)
2014.12.07

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6 essentials of a class, approched and interpreteded by the 6 teachers during 5 days, teaching the morning class of 2 h at Pacifique Grenoble.

We thought the class with 6 teachers, each getting a time slot of 16-20 min for one essential. Teachers:

Andrea Boll, Anne Garrigues, Juliette Dürrlemann, Sabina Holzer, Kestin Kussmaul, Simon Wehrli

1st of Dec.

  • friendly environment, Simon: close to each other in a circle and zooming in and out (seeing the others) and spirals in terms of looking around yourself (feet stay on the ground). Than bring it into space, saying in contact with someone an d than adding a friend (seeing 2 peoples) and let yourself be inspired by them.
  • breath and movement Anne: coming from touching the wall, walking through space and touching the back of an other person (in a circle), listing the movement of the breath, breathing wideness of the pelvis, the depth of the ribcage, down to the ground lying on the stomach engaging the ribs and the bath, exploring condensation and expansion in relation to breath.
  • alignment Sabina: getting up on all four. Massaging the space with your back. Curving and flattening the back - going back to the heels with curved back, flat back. Getting into dog pose, rolling through the spine from the tail bone, down in plank pose, going down, bending the Ellbogen, into cobra (arched back). Couple of times. With each exhale, bring the navel gently to the spine and strengthen your pelvic floor. Standing touching the transition of neck and head. Letting the eyes drop and relax to the back of your head. Moving the head. Letting the eyes just following the movement. Putting the hands on the pelvis. Explore and play with it and add opening the arms
  • lâcher prise (exhaussement) Juliette: rolling down from the weight of head, change the rhythm, accompanying each other going down to the floor and coming back up, handstand against the wall (many times) to challenge and feel the balance
  • getting to know oneself better, Kerstin: back to back with a partner, giving weight and using the other one as support for your own back space; moving through space together while sharing weight; open duet with Tango music, integrating those elements
  • creativity Andrea: stay with the partner and and play with connection from shoulder blade to shoulder blade - sitting bone to sitting bone and across the back (shoulder blade to sit bone)
 
2nd of December
 
class (theme: shoulder area, stability and mobility)
  • friendly environment Kerstin: partner exercise with touching squeezing shoulders and arms connecting up to the head and down to the body; exploring the shape of your partner’s shoulder blade; exploring mobility of the shoulder blade in relation to serratus anterior and rhomboids including belly movement., moving the tip of the scapula to the outside.  
  • alignment Juliette: phrase based on yoga ‘stabilisation of the shoulder blades’, dog pose (rotation of bicep), sequence passing through the elements explored before  
  • breath and movement Anne: open in the arms in the space and include the others, to support the ribcage from the organs, support the arms from the ribcage; going to the ground and using the exhalation to move and turn; inhale-pause-move,went with exhalation, other way around, alternating between the two; relation to the ground with one part of the body and add an opposition to the sky;   
  • lâcher prise (exhaussement) Andrea: concentrating of crating space between ears and shoulders, lying on the ground on the belly and pull from the fingers down to the feet to enlarge that space, than lift the tail bone by pushing from the feet, roll over and down from the shoulder blade to the opposite hip (3 x across the floor, changing side); same but rolling down all the was till the outside of the leg touches the floor (lying on the side, leaning on the lower arm), transfer the wight into the feet to get up and and restart (3 x across the floor adding more and more dynamic); than same but start from standing and add a jump in the end (3 x across the floor adding each time more dynamic. 
  • getting to know more about oneself Simon: upside down, upside down with a partner tracing path and giving security, revisiting with the tracing partner
  • creativity Sabina: one is touching the other is moving, the toucher touches the arms with different qualities / intensities, mover let herself be inspired by the touch rather than manipulated; exploring this and go down to the feet; reaction of the two sides of the pelvis until down to the feet, change roles, finding a dance of dialgues 
 
3ed of Dec.
 
class theme: the feet as a base
  • friendly environment Andrea: massaging the pillows of the feet by walking through the feet on the ground (spongy feet); walking forward rolling the feet down from the heel along the side of the foot and rolling down from the little toe to the big toe. Than transfer the weight feeling the support of the foot and observing the moment when the knee come over the ankle and than toes and allow the opposite side of the hip to open / counterbalance. Idem walking backwards starting from the big toe to the small toe along the side of the foot and arriving on the heel. Standing with the feet wider than the hips and shifting the weight from one foot to the other leaning forward over the standing leg (bend) and let the arms swing. Increase the speed and slow down and let the movement dissolve but resonate. 
  • breath and movement Sabina: lying at the back in constructive rest. Connecting with the breathing. With inhale curve your lower spine, arching, exhale curge your tail bone upwards. After some time, while exhaling ad a soft humming. Press your feet into the ground. The movement of the spine, breath and sound is activated and initiated through the feet pressing to the floor. With the humming keep your chest relaxed, the pressing of the feet is going till the neck.  Change to a gentle ah - sound. Don't push the sound out, keep your chest relaxed. Synchronize breath and movement. Lift the pelvis with exhaling with soft ah.
  • alignment Simon: phrase activating the push from the feet (grounded heels) to arrive to sequential motions, including balances and dropping
  • lâcher prise (exhaussement) Anne: constructive rest position as a starting point: activate the tibia and fibula over the ankle (proxima movements of the ankle) departing from sqotting and supporting on hands and feet; hanging over and playing with giving weight into the hands / balancing with always mentioning the connection to the feet; idem standing up plying with shifting weight and loosing and finding balance; walk on a line; walking forward on a line  with leaning sidewards and be supported / caught by the colleagues on 2 sides. 
  • creativity Kerstin: 4 point movement through space (4 points touching the floor / 4 supporting point) in order to locomote through space with off-balance situations; parter exercise: developpés to find balances and the other partner redirects gently. 
  • getting to know more about oneselfJuliette: game of dancers and a director going assuagements (walking, running, falling, speaking, singing). Than 2 by two one directs the other one from the side of the space. Take freedom in the interpretation. Than change roles. 
 
Feedback from the dancers
To have 6 teachers asks to get completly blanco. A class like that should be 3 h, 1/2 h for each teacher.
The role of teacher and dancers is more exchangeable in a setting like that. You have to take the responsiblity for your own learning. 
wish: work on the different physicality's, based on the different backgrounds of the teachers state of mind and state body
 
 
4th of Dec. 
class theme: centre and perifery 
strucure: Anne starts with friendly environment the other teachers can take it over at any moment in any following order with the task to develop it from where the previous teacher is at the moment of taking over. The essentials we use as a basic structure of the class but we don’t decide who is doing wich one.
 
the essentials we defined afterwards in the evaluation talk about the class as followed:
  • Anne environment: afterwards it was defined by the LEAP-TR-Team also as ‘getting to know oneself’: Come to your ordinary body (might be different than your dancer body), touch your face, touch one hand with the other, touch the sole of the feet, put the hand on the sex. This are the 6 diaphragms of the body. Those diaphragms pomp the liquid of the body. Hand on the navel and on the same level on the back. And connect those point in the breathing or in movement. Let the navel to connect with the floor.
  • Andrea coordination and alignment: lying and crossing over from toes, knees, hips, fingers, nose; Starting from the periphery (toes) into the center (from spiralling to centrifuge energy), coordination of to legs as initaiation in order to spin (on the back), than before the spinning stops transform the velocity into getting up or even jumping. Find your way back to start again.
  • Juliette friendly environment / working as a group: inclination to move trough space together
  • Simon lacher prise: one is in the middle the others around in a circle. 1. Everybody at the same time goes towards the person putting the hands close to the body but not touching. 2. same but touching 3. touch and push (the person in the middle will is lifted up by every bodies push).
  • Kerstin getting to know more about oneself / availability: revisiting Andrea’s material and taking it apart, helping a partner to dig into it. Than introducing to jump from toes and fingers lying on the back and kick into the air. Contracting into the center to change level. Taking the weight of someones head / giving the weight of the head into the hands of the partner, moving like that
  • Sabina creativity: guiding each other from the head through space, supporting the head with different body-parts. Across the floor with reactivation of the head center connection (like magnets), than being drawn to each other, across the floor to work with the experiences of the class with a partner, than add the notation of being a person.
Feedback form the dancers:
  • less organic
  • working around an essence than visiting it, leaving again = working on the periphery and than go to the center / essence
 
5th of Dec.
class - theme: articulation in the hip joint approched with musicality 
agreement: the next teacher is observing and takes over teaching from an observing position 
 

alignment Kerstin:

  1. with a partner, one is lying on the floor the other one takes the lower leg in the arms (like a baby) and brings the knee over the hip joint. With very small movement find the point were the femur can balance (weight falls back into the hips).
  2. dogpose, than taking the knee forward and bring the heel under the hip. Lengthen the back, turn the heel inside, than back to dogpose
movement & breath Juliette: 
  1. figures 8 hanging forward with the chest
  2.  moving on all 4 bringing hands to feet and feet to head.
  3. singing Frère Jaques in your own language, supporting the movement with the sound and other way around; than with a partner
getting to know more about oneself Andrea: 
across the floor
  1. shake the bushes (see video, see video and idoc: ...................)
  2. step to the side and forward rolling through the foot from the heel along the side and from the small time to the big toe (ball of the feet and toes), lean onto the foot (knee bend) and lean forward, let the arm swing and shake the bushes (see video)
  3. step forward rolling through the foot from the heel along the side and from the small toe to the big toe (ball of the feet and toes)
  4. stepping backwards, same idea:
  5. combining the 3
lâcher prise Simon: 
  1. across the floor, changing the rythmes
  2. jumping with to feet on the ground
  3. jumping from one foot to another
  4. kick ball change and crossing steps to change to the side
  5. exercise all in a line, forward an baclwards with turning (all as a group)
  6. idem with turning 
  7. idem with a partner opposite each other
  8. with jumping, exploring
creativity Anne: 
going from movement to recuperation, hearing in oneself the musicality of what is coming, in trios moving and listening at the same time
friendly environment Sabina: Sabina was sick and we took over this essential as a task for all of us
 
 

Attachments:
hexagram essentials of a class
 
 
 
 
 
 

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