Dance Techniques 2010

Barbara Passow — Jooss–Leeder Technique
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Exceptional in this technique, as taught by Passow, is
the individual ‘qualitative’ (usually energetic potential)
that is created and expressed in performance—one that
must come from the dancers themselves. LABAN students
also rated this component as important. They provided
the following written answers to questions as to when a
person, as dancer and observer, can speak of successfully
executing this dance technique (see table 1).
Passow’s concerns also include the dancer’s presence.
Presence emerges when authenticity and liveliness configure,
when a dancer concentrates on the task at hand, is in
the moment, has an inner focus. These affect how a movement
is executed and can be seen by an audience. Furthermore,
‘extending to the periphery’ gives the impression of
a dancer being connected to the space beyond the body’s
limits. This creates an immediate energy and communication
between the dancers as well as between the dancers
and the audience—which is further strengthened by focus
and / or direct eye contact.
Table 1: Students’ answers to ‘This is it’
‘Memo’ categories generated 17
Dancer–Subject:
Inward–Outward
Believability
Individual movement expression about qualitative
implementation
Movement precision and movement control
(calculated risk):
Balance
Stability
Movement qualities
Coordination of body parts and the whole body
Torso maneuverability
Relationship to music
The body’s relationship to space
Students’ answers
“It’s about the soul, like everything in dance.”
“Believing in what you and we are doing.”
“For me, the rhythm that she asks us to emulate gives us the sense of the movement
and the energy that we can put into it.”
“To set accents and make individual decisions.”
“Precision, playing with body weight, and having the capacity to drop and catch
weight at any point.”
“To be controlled in ‘letting go’ and being alive.”
“Connection to gravity (weight) and center.”
“To be grounded and strong in the lower body.”
“Relaxed limbs, strong core.”
“Released quality, mainly a fluid flow with some contrasting rhythmic moments.”
“The use of dynamic elements, particularly swings.”
“Swings incorporated in various ways, somehow almost in every movement.”
“To go with the rhythm of the movement.”
“An organically moving body, movement that works along with the breath.”
“Suspend and release.”
“Release of weight.”
“The coordination between arms and legs.”
“To connect the upper body to the arms.”
“Curves, moving released weight through space.”
“Curves. / The curved, rounded back.”
“Music is really important in this technique. It provides the impulse; movement and
music are very closely related.”
“Clear arm directions and gestures.”
“Peripheral and transversal pathways.”
“Intelligent spatial awareness and use of the kinesphere and planes.”
“Seeing other dancers find the planes and the curve of the upper back.”