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Dance Techniques 2010

What does today's contemporary dance training look like? Seven research teams at well known European dance universities have tackled this question by working with and querying some of contemporary dance s most important teachers: Alan Danielson, Humphrey/Limón Tradition, Anouk van Dijk, Countertechnique, Barbara Passow, Jooss Leeder Technique, Daniel Roberts Cunningham Technique, Gill Clarke Minding Motion, Jennifer Muller Muller Technique, Lance Gries Release and Alignment Oriented Techniques. This comprehensive study includes interviews, scholarly contributions, and supplementary essays, as well as video recordings and lesson plans. It provides a comparative look into historical contexts, movement characteristics, concepts, and teaching methods. A workbook with two training DVDs for anyone involved in dance practice and theory. Ingo Diehl, Friederike Lampert (Eds.), Dance Techniques 2010 – Tanzplan Germany. With two DVDs. Berlin: Henschel 2011. ISBN 978-3-89487-689-0 (Englisch) Out of print.

What does today's contemporary dance training look like? Seven research teams at well known European dance universities have tackled this question by working with and querying some of contemporary dance s most important teachers: Alan Danielson, Humphrey/Limón Tradition, Anouk van Dijk, Countertechnique, Barbara Passow, Jooss Leeder Technique, Daniel Roberts Cunningham Technique, Gill Clarke Minding Motion, Jennifer Muller Muller Technique, Lance Gries Release and Alignment Oriented Techniques.

This comprehensive study includes interviews, scholarly contributions, and supplementary essays, as well as video recordings and lesson plans. It provides a comparative look into historical contexts, movement characteristics, concepts, and teaching methods. A workbook with two training DVDs for anyone involved in dance practice and theory.

Ingo Diehl, Friederike Lampert (Eds.), Dance Techniques 2010 – Tanzplan Germany. With two DVDs. Berlin: Henschel 2011. ISBN 978-3-89487-689-0 (Englisch) Out of print.

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Barbara Passow — Jooss–Leeder Technique<br />

115<br />

3. Movement phrasing—eight fundamental qualities:<br />

The basic components for a movement sequence’s<br />

variation on qualities and dynamic modulation are<br />

energy, the movement initiation, and speed. Eight fundamental<br />

movement qualities can be derived by combining<br />

the components’ characteristics. A movements’<br />

dynamic shadings and phrasing can be derived by<br />

using these combinations, as listed in Table 2 below.<br />

In summary, Passow’s training program contains the<br />

following fundamental types of movements:<br />

→ Whole–body movement shapes initiated centrally<br />

and peripherally, as well as isolated partial–body<br />

movements;<br />

→ Torso mobility: torso bends and leans, as well as<br />

successive rolling upwards and downwards;<br />

→ Weight–shifts and releases in various directions and<br />

levels;<br />

→ Stability / Instability: fall and recovery movements,<br />

flexible and stable leans, tilts, center and off–center<br />

turns;<br />

→ Foot positioning, gesture leg movements, and attitudes;<br />

→ Step movements and sequences (with directional<br />

changes and frontal changes);<br />

→ One and two–legged jumps and / or landings;<br />

→ Falls and changes in body position (floorwork);<br />

→ Swings and swinging movements;<br />

→ Waves and impulse movements.<br />

A wide range of exercise sequences and complex movement<br />

combinations can be created by selecting movement<br />

forms and motifs from the various element groups. These<br />

represent a systematically structured exercise program in<br />

which the dance’s expressive quality is experienced by accessing<br />

a spectrum of variations as well as precise execution.<br />

Beyond acquiring these qualities and skills through the<br />

involvement with the Jooss–Leeder Technique in Passow’s<br />

classes, students are also made aware of fundamental technical<br />

movement principles; for example, alignment and<br />

centering, pelvis positioning, outward rotation in the pelvic<br />

joint, stable–labile (center and off–center), economy of<br />

movement, etc. In class students are able to experience the<br />

key features and peculiarities of this technique, and able to<br />

understand analogies by learning various ways of executing<br />

different movements (for instance, different types of<br />

curves or approaches to contractions, regulation of tension,<br />

and understandings of release).<br />

Table 2: Eight Movement Qualities 24<br />

Movement qualities<br />

Energy / Intensity<br />

strong<br />

weak<br />

Spatial Initiation / Design<br />

central<br />

peripheral<br />

Speed / Time<br />

quick<br />

slow<br />

1 strong central slow<br />

2 weak peripheral quick<br />

3 strong peripheral slow<br />

4 weak central quick<br />

5 strong central quick<br />

6 weak peripheral slow<br />

7 strong peripheral quick<br />

8 weak central slow

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