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Kira Kirsch // Teacher
IDOCs » 'beyond the form’ - a surprising and controversial study into the (un)known
Let’s take a deeper look into arabesque, best known as a position in ballet vocabulary, and investigate its purpose. What is the legacy of arabesque? What does this shape, so strongly associated with classical aesthetic, offer us today in teaching dance technique? Can it be transformed into or rediscovered as a significant fractal piece to reveal meaningful information and functional relevance for multiple modes of movement?
2015.02.11

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- FULL NAME: Kira Kirsch  & Antoine Ragot

- PHONE NUMBER: +49 15236819645

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- TITLE OF THE ACTIVITY: Workshop/Lab (+ mini lecture)

  • DETAILED CONTENT DESCRIPTION (150 words or more): 

'beyond the form’ - a surprising and controversial study into the (un)known

 

Let’s take a deeper look into arabesque, best known as a position in ballet vocabulary, and investigate its purpose. What is the legacy of arabesque? What does this shape, so strongly associated with classical aesthetic, offer us today in teaching dance technique? Can it be transformed into or rediscovered as a significant fractal piece to reveal meaningful information and functional relevance for multiple modes of movement?

 

The questions we are juggling with are what is the validity of form and what makes a form go beyond form. 

 

We would like to propose the arabesque as a symbol. 

A symbol for the revelation of universal principles like the interdependent structural relationships in the human body. A symbol for the essential asymmetrical organisation of the human body during locomotion. A symbol for the expertise in weight distribution and in the orienting of masses towards one legged support.

 

The architectural and dynamic deployment into the arabesque would then provide an opportunity for a thorough study of essential functional patterns of the human body and consequently an important form for developing and  transforming our movement potential.

 

  • SUMMARY OF CONTENT DESCRIPTION (max 60 words; for publishing) 

'beyond the form’ - a surprising and controversial study into the (un)known

 

Let’s take a deeper look into arabesque, best known as a position in ballet vocabulary, and investigate its purpose. What is the legacy of arabesque? What does this shape, so strongly associated with classical aesthetic, offer us today in teaching dance technique? Can it be transformed into or rediscovered as a significant fractal piece to reveal meaningful information and functional relevance for multiple modes of movement?                                                                                                                                                                             

  • SHORT BIOGRAPHY (max 60 words for publishing (if co-taught all in all max 60 words)

Kira and Antoine have been teaching and dancing around the world for many years. They are both lively body sense activists & educators, sometimes artists and always passionate about dancing, improvising and community building among other things. 

Together they would co-teach this workshop to provide a contrasted and dynamic experience as well as to create opportunity for more individual feedback and discussion.

 

  • AIMED AT WHO (AND HOW MANY PEOPLE MIN /MAX?)
  • dance teachers, maybe people that are somewhat familiar with the concept of the arabesque. anyone that is investigated into teaching techniques. people that like arabesque and people that don’t like them. 

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-  TIME REQUEST: 2-3hrs or two classes with 2hrs each                                                                                                                                                                  

- TECHNICAL REQUIREMENTS (audio, beamer etc):  audio and maybe beamer                                                                                                                                                                                 

- SPACE NECESSITY (studio size etc):depending on the number of people participating but definitely a dance studio. 

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