Dance Techniques 2010

Barbara Passow — Jooss–Leeder Technique
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Barbara Passow’s exercises and movement combinations
are characterized by a clear relationship to the space. The
following features are found in the spatial relationships:
→ Dimensional planes:
Movement sequences are executed with a clear spatial
alignment in both the dancer’s positioning and the
direction of the dancer’s body inside the kinesphere or
in the space. Diagonals, along with the laterals
(the high–deep dimension), sagittals (the backward–
forward dimension), and the horizontals (the side–side
dimension) are used systematically. Changes in frontal
positioning using torsion and turns are an important
part of the exercises.
→ Preferred spatial level:
Most of the class takes place in standing. Elevated
positions (for instance, standing–leg elevated onto ball
of the foot with the gesture leg in attitude) and jumps
are also common elements; lower levels and floorwork
are seldom used.
→ Extent and / or range of movement in space:
The spatial range (narrow–wide) is a distinguishing
feature because extensions and stretching often occur
at the end of fall– and swinging–elements, or might
be used as a transition to torso bends or waves.
Large peripheral movements performed by the extremities
with clear directional alignment (trace forms)
and that incorporate the full kinesphere also belong
to the movement repertoire (i.e., eight swings, scoop
spirals, and strew spirals).
→ Use of spatial levels:
Exercise sequences incorporate all spatial levels
(i.e., sagittal, lateral, and horizontal).
→ Spatial diagonals:
The spatial diagonals (i.e., diagonals drawn from
corner–to–corner within the Laban cube) are important
orientation points for falling and balance, labile
(off–center) turns, and tilts. These demand more
balance since the body is taken off the vertical axis
and away from its normal level.
→ Movement design and / or patterns in the space:
Movement of the extremities and the torso trace either
straight, open half–circle, round, or S–shaped gestural
paths (i.e., trace forms) in the space.
These trace forms are found, for example, in forward–
moving arm circles performed by both arms, in a falling
movement with centrally aligned scooping eight
swings, in a stretched–out starting position with both
arms executing downward scoop swings followed by
a torso bend that leads the body into a stretched high–
diagonal, and lateral torso swings with and without
torsion.
These basic forms were also used as patterns for spatial
pathways while moving through the space (for
instance, walking with and without frontal changes,
walking forwards and backwards along small half–
circles).
→ Symmetry and balance in the form:
These movement sequences take body symmetry into
account either by using mirror–inverted repetition of
the series or repeating the sequence on the other side.
Furthermore, other types of spatial reference appear
in movement sequences and are described as ‘free flow’,
‘bound flow’, and ‘guided movement’ in the Jooss–Leeder
Technique. 19
In relation to the body’s architecture and movements
within the kinesphere, a movement’s point of origin can be
either ‘central’ or ‘peripheral’, which will affect the shape:
→ Central movements originate either at the body’s
center or in a joint at an extremity (pelvis or shoulder),
and flow outward towards the periphery.
Examples: Forward impulse movements that correspond
to a gymnastic ‘body wave’; central arm movements
like eight swings in front of, or close to, the
body; guiding the pelvis and arm on the central level
when walking backwards along a circular path.
Movement flow is swaying or wave–shaped.
→ Peripheral movements originate in the limbs
(i.e., extremities), or in regions of the body at a
distance from the center.
Examples: A flexible torso with arm gestures on
various levels (partner exercise); curling and
uncurling the spine in all directions; inward and outward
rotation of the arms at pelvis level; arms
per-forming frontal strew circle and a transition to
torso circles. Movement flow is generally direct
and continuous.
The relationship between the initiation of any given movement
and its qualitative character should occur by using a
wave movement of the entire body and / or torso, and an
impulse movement originating in the pelvis:
→ Wave movements are created with a shifting of the
pelvis or part of the spine (forward, backward, or to the
side), and are characterized by a successive, flowing progression
along the torso through the spine, as well as in
the movement’s continuation through the arms and legs.
Wave movements can also be executed as isolated
movements, such as wave movements of the arms.