Dance Techniques 2010

118
Teaching: Principles and Methodology
→ Making movement sequences more complicated, or
expanding them, with respect to coordination;
integrating sequences and rhythmic changes into
movement combinations.
Increasing complexity and demands for precision in
a movement sequence (stability) will make the exercises
more complicated. Adding coordination requirements
will increase virtuosity and adaptability.
Passow’s rhythmic phrasing incorporates the upper
torso by use of swings and tilts, and includes the arms.
The step sequences through space come about half–way
through the class, at the latest. Training usually begins
with floorwork, including breathing exercises and elements
of yoga, which serves to mentally prepare students
and is not directly related to the exercises that follow.
After the warm–up phase on the floor, most of class
takes place with students standing center floor, in rows.
Movement sequences, in general, are characterized by a
clearly defined beginning and end, with accents. Special
attention is paid to spatial alignments. Spatial lines and
pathways (ornaments) are clearly defined, for example,
as ‘round’, ‘eight circles’, ‘circle with loops’, or ‘straight’.
Dealing with the frontal, sagittal, horizontal, and transversal
body levels is deliberate, exact, and distinct. Phrases
on the lower spatial levels (floorwork) are more sporadic
and used to connect contrasting elements within a combination,
and are not exercises in and of themselves. 32
The overall impression of the Jooss–Leeder Technique,
as seen in Passow’s teaching, is one of a dancer usually
standing upright, who makes extensive use of the space
with marked articulation of the arms and torso.
Passow repeats each of the nine to eleven exercise
sequences six to ten times. Because of her intensive prestructuring,
there are few pauses for students other than
water breaks, moments of waiting for group performance,
or during explanations and critique. From a physiological
standpoint, the amount of repetition should improve
muscular stamina. Improving aerobic fitness is a possible
byproduct, although not aimed for, per se.
Work–load patterns can only be deduced by observation.
The individual movement sequences are as follows:
→ Mostly whole–body exercises, or combinations using
parts of the upper–body and the lower extremities;
→ Movement execution using a medium muscle tonus or
a temporally structured change in tonus (i.e., contraction,
hold and extend, swing and coming back to
standing);
→ Increasing holding power, for leg–work in particular;
→ Targets maximum movement range for suspensions
and swings;
→ Often characterized by extensive use of the space.
This combination of exercises puts demands on a wide
range of muscle groups and the cardiovascular system.
Overall, the learning path described above leads from
easy to complex. Passow increases or reduces complexity
depending upon the teaching situation. Either individual
phrases are practiced and then connected to a sequence,
or partner exercises assist the student in understanding the
movement or help develop the movement quality. Students
work freely in the space in these moments, as an exception,
and are allowed time for research.
Passow’s teaching trains skills typical to ballet and
modern dance techniques; for instance, motor retention,
transferring movement sequences to the opposite side of
the body, and muscle elasticity in the form of strength for
leg lifts, jumps, and holding power. The latter is especially
important for torso and pelvis stabilization and thus for
alignment.
Variety in the methodology can be observed in how
Barbara Passow communicates movement content, and
less in the class structure. Her instructor–centered style
requires a range of personal skills. Because the teacher
is always the role model, he or she must have incorporated
the Jooss–Leeder Technique at a professional level.
The teacher additionally needs good demonstration skills
along with an ability to verbally describe an exercise and
convey rhythmic structure. This means having a keen
sense of observation: being able to precisely differentiate
is important inasmuch as a student’s mimetic success
is dependent upon adequate correction by the teacher.
Thus the observer / teacher must be able to recognize the
dancers’ rhythmic execution independently from that of
32 Passow pointed out that many decisions
about class content occur in conjunction with
the overall curriculum at the Palucca Schule
Dresden. Concentrations or adjustments arise
from conversations with other teachers about
the current learning curve of individual classes,
or might arise from reactions to repetition
of content, for example with the floorwork
that, as the case may be, is covered in other
classes and thus must not be repeated in
the Jooss–Leeder class. This shows that the
analysis of techniques and teaching decisions
must be seen within a larger context, i.e.,
that of the overall teaching institution. The
question is to what extent various content
and teaching concepts influence one another
within a dance educational context.
33 Visual and auditory impressions cannot be
separated from one another when perceiving
music and movement simultaneously.
Furthermore, the auditory experience is more
dominantly processed and determines the
observer’s experience of rhythm. “This may
be based on the fact that—in contrast to
visual perception—every auditory perception
is only possible in connection with a temporal
component (Neumann, et al 1986) and