Dance Techniques 2010

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Observation Techniques
Wibke Hartewig
Observation Techniques
Movement analysis for contemporary dance techniques
“The head will follow. If you simply leave it behind in the space, it will come along because
of its natural weight.” A., following the Countertechnique teacher’s directions, is
focused on his cervical vertebrae, sensing movement in his back as it progresses upwards
and toward his head. 1 Meanwhile, B., who is dancing next to A., is wondering whether
or not gravity is applied the same way it was in yesterday’s Release Technique training.
Today’s Release class, by teacher C., is being observed by dance scholar D. who wants
to find out which movement characteristics occur automatically during the ongoing improvisation:
D. is investigating the influence of improvisational techniques on movement
aesthetics. At the same time, she is doing groundwork for E., a dramaturg, who wants
to incorporate a similar form of live improvisation in his newest choreography; the two
of them will discuss the impact of using such a scene in a finished work. Later, F. will be
sitting in D.’s seat, taking notes about the characteristics of the Jooss–Leeder Technique
training, working on a document for the Leeder Archive about how this technique is
being passed on. While this is happening, G. is observing H., her student, do pliés as he
has knee problems.
Dance movement is observed for myriad reasons by a number of people with different
levels of expertise. Those who are observing might not consider what they do to be movement
analysis. When a dancer takes up a teacher’s corrections, is that movement analysis?
What if said dancer unconsciously breaks down the combination into parts so as to be
better able to grasp it? Or is an analysis happening when a dancer, during an improvisation,
exercises self–observation in order to play with movement parameters? Ultimately,
every dance teacher conducts some type of movement analysis during a class, an analysis
that is fused with teaching methods and one that is also conveyed to the students. Accordingly,
the ways of observing movement in contemporary dance training are as hybrid and
dependent upon the personalities involved as is the field of teaching contemporary dance.
A contemporary dance technique 2 , because it is concerned with and of itself, might
make the impression that analytical methods are part of the work—especially in techniques
wherein the body’s anatomical and physiological elements are resourced, referred
to by name, and called upon during class. At the same time, what are known as somatic
techniques, like Body–Mind Centering, Alexander Technique, Feldenkrais method, and
Klein Technique, represent a special case: They explore and encourage personal investigation
that foster (self)awareness of the body and movement processes. 3 Contemporary
dance training—whether it be a somatic work, improvisation, or modern and postmodern
dance—includes any number of techniques that engage conscious analysis in varying
degrees.
Besides movement observation inside the dance, methods for movement analysis exist
that are more geared toward theoretical analysis. This essay is about these methods;
1 The technique named here, by way of
example, was chosen from the techniques
discussed in detail in this book.
2 About the definition of ‘dance technique’
and the characteristics of contemporary
dance techniques, see the introduction by
Ingo Diehl and Friederike Lampert.
3 See essay by Irene Sieben about
somatic techniques.
4 See introduction by Ingo Diehl and
Friederike Lampert as well as the results of
the research projects in this book.