Dance Techniques 2010

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Barbara Passow — Jooss–Leeder Technique
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approach to dance that had played a central role in the
Laban Centre’s early history.
In 1949 Jooss responded to a call from Essen and resumed
his position as director of the Dance Department
(which he had originally founded) at the Folkwang School.
As before, he promoted dance education that was appropriate
to the times: He wanted to systemize the aesthetic
and technical foundations, and envisioned an institution
wherein ballet and modern dance were taught as independent
but equal disciplines. It was also important to him
that the entire spectrum of dance culture be made accessible
to, and experienced by students. In 1961 the school
was finally able to get masterclasses in dance (classes
and / or courses for especially gifted students taught by experts)
up and running again—from which the Folkwang
Ballet emerged. Jooss remained the Dance Department’s
director (which had, in the meantime, become accredited
as the Folkwang University), until his retirement in 1968.
He was succeeded as Dance Department director by his
long–time companion, Hans Züllig (1914–1992).
Background:
Biographies and Environment
Barbara Passow describes her husband, Michael Diekamp,
who died in 2007, as her most important teacher. From him
she learned most of what now distinguishes her teaching
and educational activities at the Palucca Schule Dresden.
Diekamp completed a five-year dance and dance–teaching
program at the Folkwang School in Essen between 1956–
1961, during which time he became engrossed with the
working methods. He held Jooss in high regard because
“it [was] unthinkable for Jooss to imprint his style onto
his students. The point for him was always to awaken
and foster the dancer’s personality, not to constrain it in
any way.” 3 Diekamp considered Folkwang’s exceptional
strength to be its fundamental openness and flexibility in
being able to adjust instruction to individual students.
After his studies, Diekamp remained an additional two
years in Essen as a member of the masterclasses that Jooss
had founded. Diekamp eventually left Folkwang to dance
as a soloist in Mannheim and, later, in Cologne. After
two years, however, he returned to the Folkwang Tanz
Studio as a repertoire soloist and completed additional
dance–teaching training. During this time he met Barbara
Passow, whom he would later marry. After a professional
stage career in Dortmund, with the Cullberg Ballet
Stockholm, and the Tanztheater Wuppertal, in 1977
Diekamp began teaching at the John Cranko School in
Stuttgart. In 1986 he became the training director at the
Bremen Theater, and in 1994 was offered a position at
the Palucca Schule Dresden. After retirement, Michael
Diekamp continued to teach movement theory in Dresden
until his sudden death in 2007.
Reinhild Hoffmann, who studied under Kurt Jooss in
Essen from 1965–1970 at the Folkwang University—and
who is considered one of the pioneers of German dance–
theater—said of Diekamp that he, “counts among one of
the very few Folkwang students who understands how to
carry Jooss’s body of thought further in teaching,” and
who made it his business “to find one’s own movement
language by coming back to the body” and not to simply
“fabricate an action.” 4 As characteristic of her time at
Folkwang, Hoffmann says that Jooss encouraged her to
be extremely detailed and analytical about dancing, and
notes that it was important, for Jooss, to awaken “the
consciousness for ‘why do I move?’” She adds, “When
that is finally clear, you are freed from all styles, and can
invent movement yourself.” 5
Passow began her dance education at the Folkwang
University Essen in 1968—after Jooss’s retirement as director—under
Hans Züllig and Anna Markard. She also
completed a one-year teacher training parallel to her dance
studies, and took her final exams in 1972. (Her further
professional artistic and teaching career has been outlined
above.) 6 She also received a teaching appointment as lecturer
at the Palucca Schule Dresden when Diekamp took
on the professorship in modern dance there.
Founded by Gret Palucca in 1925, the Palucca Schule
Dresden played an important role in modern dance’s development.
Patricio Bunster (1924–2006) was lecturer
for modern dance and choreography from 1979–1984. A
dancer, choreographer, and teacher, Patricio Bunster, a native
of Chile, was a soloist for the Folkwang Theater Essen
from 1951–1953, and had studied with Sigurd Leeder in
London from 1953–1954. Bunster helped to spread the
Jooss–Leeder Technique in Chile and Latin America, both
as instructor for and director of the Dance Department at
the University of Santiago, Chile, from 1954–1973, and
again with numerous activities upon his return in 1985.
In 1961 Kurt Jooss brought Jean Cébron to the Folkwang
Ballet Essen as a choreographer and soloist. Cébron
had studied with Leeder in London and worked with Jooss
in Santiago, Chile, in the years following the war. Cébron’s
duets with Pina Bausch and his group works formed the
experimental profile of the Folkwang Ballet at the time.
After teaching stints in Stockholm and Rome, he returned
4 Ibid., p. 62.
5 Quoted from: Hedwig Müller / Ralf
Stabel / Patricia Stöckemann: Krokodil im
Schwanensee. Tanz in Deutschland seit 1945.
Frankfurt: Anabas Verlag, 2003, p. 189.
6 See Passow’s biography on the title page
of the project, as well as Edith Boxberger’s
Passow interview.