Dance Techniques 2010

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134 Observation Techniques centers. Simpler and (in part) manual instruments are, however, also available at larger dance institutions. 37 The knowledge gained from biomechanical research, however, has already made its way into many contemporary dance techniques, especially those techniques that base their understanding of movement and forms of conveyance explicitly on information about the human movement apparatus. An example of this would be Axis Syllabus, a movement and movement observation training developed by dancer and choreographer Frey Faust. It uses the practical application of anatomical, biomechanical, and physical knowledge during class to find and train ‘healthy’ (meaning with respect for the body and its movement principles) movement solutions. 38 Cognitive research has its own viewpoint toward movement that, in turn, has a special effect on dance training—combining experimental psychology with biomechanical analysis methods. At Bielefeld University, for example, neuroscientists and movement scientists have joined dance practitioners to explore questions about the structure of human movement, especially researching movement control and acquisition. A project team directed by Bettina Bläsing, specifically researching dance movement, was able to show that subjects with greater dancing abilities had more differentiation and were more strongly function–oriented in the mental representation of movement processes in long– term memory than was the case for novices or beginners. 39 These results, along with further studies, 40 suggest how a mental dance training might look like when adapted to an individual’s unique movement memory. Research in Bielefeld also reconfirmed that when one trains a movement process mentally, one also trains motor execution, and vice–versa. 41 In addition to knowledge about the body’s anatomical, physiological, and mechanical properties, knowledge about cognitive and neuronal regulation can also be used to make dance training more effective for the teacher’s and dancer’s respective goals, and to optimize physical processes. Observation Techniques: This overview has characterized movement analysis as a process that can be supported by a series of trainable ‘techniques’, each of which represent their own specific view of movement and provide the appropriate observation tools. The individual method must be chosen by the observer and fine–tuned to the dance technique being examined, the individual goals, and the overriding analytic strategy. Analyzing movement is thus a creative process in and of itself. This essay only presents a selection of the most common movement analysis methods—they can be combined and further developed. 42 Analysis itself can also create and form movement knowledge, as well as movement processes. My thanks to the experts Bettina Bläsing, Henner Drewes, and Claudia Jeschke, all of whom responded to questions about various analytical methods. 37 There are, additionally, initial attempts to develop measuring instruments that dancers can use in their everyday lives: for instance, a force platform in the form of a ‘force mat’ that the owner can easily roll up and store after measuring the pressure dis-tribution on the soles of his or her feet during a relevé. A prototype of such a mat has been developed by the Ambient Intelligence Group, which is part of the excellence cluster Cognitive Interaction Technology (CITEC) at the Bielefeld University. 38 An anatomical–physiological type of observation is increasingly characterizing contemporary dance training; it is firmly anchored in many techniques that take a somatic approach (see the essay by Irene Sieben). Gill Clark’s teaching can be exemplary here for the specific work with anatomical knowledge: see Gill Clarke—Minding Motion / Concept and Ideology and her class on the DVDs. In contrast to other movement analysis methods, anatomy classes are almost universally a part of dance universities’ curricula. 39 To get these results, the researchers compared the biomechanical data of executed movements with data that provided information about the mental representation of the process in the subjects’ long–term memory; see Bläsing 2010, pp. 87–92. 40 See, for instance, Thomas Schack: ‘Building blocks and architecture of dance’. In: Bläsing et. al., pp. 11–39. 41 Martin Puttke—dancer, dance teacher, ballet director, and cooperation partner of Bettina Bläsing—has already integrated a corresponding, self–developed mental training form in his ballet teaching; see Martin Puttke: ‘Learning to dance means learning to think!’ In: Bläsing et. al., pp. 101–114. 42 The questions used as the basis for the research projects collected in this book provide a good example of how elements of different observation methods can be combined and used to create a movement– analysis framework. Observations that resulted are primarily documented in the subsections of Movement Characteristics and Physicality. (See Diehl’s/Lampert’s introduction about the creation of the question catalog.) Based on the research projects, it also becomes clear that movement analysis is just one building block for analyzing dance training and the interpretation of a dance technique: Methodological, didactical, historical, conceptual, ideological, social, psychological, etc. aspects must additionally be researched and considered with respect to their effects on the movement and its aesthetic— which occurs exemplary in this publication.
Observation Techniques 135 LiteraturE Bläsing, Bettina ‘The dancer’s memory: Expertise and cognitive structures in dance’ In: Bläsing, Bettina | Puttke, Martin | Schack, Thomas The Neurocognition of Dance. Mind, Movement and Motor Skills Hove / New York: Psychology Press, 2010, pp. 75–96 Boenisch, Peter M. körPERformance 1.0. Theorie und Analyse von Körper- und Bewegungsdarstellungen im zeitgenössischen Theater Munich: epodium, 2002 Dahms, Sibylle (Ed.) Tanz Stuttgart: Bärenreiter-Verlag, 2001 Drewes, Henner Transformationen: Bewegung in Notation und digitaler Verarbeitung Essen: Die blaue Eule, 2003 Emio Greco I PC | Amsterdamse Hogeschool voor de Kunsten (Ed.) Capturing Intention. Documentation, analysis and notation research based on the work of Emio Greco I PC Amsterdam: Emio Greco I PC and AHK, 2007 Forsythe, William Improvisation Technologies: A Tool for the Analytical Dance Eye (CD-ROM with booklet) Karlsruhe: ZKM, 1999 Hartewig, Wibke Kinästhetische Konfrontation. Lesarten der Bewegungstexte William Forsythes Munich: epodium, 2007 Hutchinson Guest, Ann Labanotation: the System of Analyzing and Recording Movement London / New York: Routledge, 2005 Jeschke, Claudia Tanz als BewegungsText: Analysen zum Verhältnis von Tanztheater und Gesellschaftstanz (1910–1965) Tübingen: Max Niemeyer Verlag, 1999 Jeschke, Claudia Tanzschriften: Ihre Geschichte und Methode Bad Reichenhall: Comes Verlag, 1983 Koutedakis, Yiannis | Owolabi, Emmanuel O. | Apostolos, Margo ‘Dance Biomechanics: A Tool for Controlling Health, Fitness, and Training’ In: Journal of Dance Medicine & Science, Vol. 12, Nr. 3, 2008, pp. 83-90 Laban, Rudolf von Kinetografie. Labanotation: Einführung in die Grundbegriffe der Bewegungs- und Tanzschrift Ed.: Claude Perrottet, Wilhelmshaven: Noetzel, 1995 Laban, Rudolf von Choreutik: Grundlagen der Raum-Harmonielehre des Tanzes Wilhelmshaven: Noetzel, 1991 Preston-Dunlop, Valerie | Sanchez-Colberg, Ana (Ed.) dance and the performative. a choreological perspective – Laban and beyond London: Verve Publishing, 2002 Puttke, Martin ‘Learning to dance means learning to think!’ In: Bläsing, Bettina | Puttke, Martin | Schack, Thomas The Neurocognition of Dance. Mind, Movement and Motor Skills Hove / New York: Psychology Press, 2010, S. 101–114 Rick, Cary | Jeschke, Claudia ‘Movement Evaluation Graphics’ In: Rick, Cary Tanztherapie. Eine Einführung in die Grundlagen Stuttgart: Gustav Fischer, 1989, pp. 23–89 Schack, Thomas ‘Building blocks and architecture of dance’ In: Bläsing, Bettina | Puttke, Martin | Schack, Thomas The Neurocognition of Dance: Mind, Movement and Motor Skills Hove / New York: Psychology Press, 2010, pp. 11–39 Wilson, Margaret | Kwon, Young-Hoo ‘The Role of Biomechanics in Understanding Dance Movement: A Review’ In: Journal of Dance Medicine & Science, Vol. 12, Nr. 3, 2008, pp. 109–116 Links Bewegung und Notation (Henner Drewes) www.movement-notation.org Dance Notation Bureau Homepage www.dancenotation.org Eshkol-Wachman Movement Notation Center www.ewmncenter.com Inside Movement Knowledge www.insidemovementknowledge.net International Council of Kinetography Laban / Labanotation www.ickl.org Labanlab – Interactive Labanotation Tutorials www.dance.ohio-state.edu / 5_resources / labanlab / index.htm Open Benesh www.dancewrite.com / OpenBenesh Synchronous Objects for ‘One flat thing, reproduced’ by William Forsythe www.synchronousobjects.osu.edu The Benesh Institute www.benesh.org The Language of Dance Centre www.lodc.org Visualizing (the Derra de Moroda) Dance Archives www.movement-notation.org / VisualizingArchives Laban, Rudolf von Die Kunst der Bewegung Wilhelmshaven: Noetzel, 1988
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Table of Contents 166 Sabine Huschk
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Foreword 9 dance scene (Freie Tanzs
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Introduction 11 Background and star
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Introduction 13 time, to go beyond
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Introduction 15 individual, sensed,
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Introduction 17 in Cologne), as wel
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Introduction 19 Supplementary Contr
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Introduction 21 Digital documentati
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Introduction 23 The years to come w
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Research Questions 25 Concept and I
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Research Questions 27 Teaching: Pri
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30 Background Influenced by Ruth Cu
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32 Interview Alan Danielson Intervi
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34 Interview contract. But what I w
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36 Introduction Maren Witte Introdu
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38 Historical Context Maren Witte H
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Alan Danielson — Humphrey/Limón
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60 Background Influenced by Alexand
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62 Interview Anouk van Dijk Intervi
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64 Interview Do you follow a stri
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66 Introduction Gerald Siegmund, An
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68 Introduction the central axis. T
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70 Historical Context Gerald Siegmu
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72 Historical Context affiliation,
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Anouk van Dijk — Countertechnique
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Page 83 and 84: Anouk van Dijk — Countertechnique
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Page 94 and 95: 94 Interview Barbara Passow Intervi
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Page 110 and 111: 110 Understanding the Body / Moveme
Page 116 and 117: 116 Teaching: Principles and Method
Page 124: 124 Barbara Passow — Jooss-Leeder
Page 127 and 128: Observation Techniques 127 methods
Page 129 and 130: Observation Techniques 129 comprise
Page 131 and 132: Observation Techniques 131 ends so
Page 133: Observation Techniques 133 body’s
Page 137 and 138: Working Somatically 137 Trisha Brow
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Page 141 and 142: Working Somatically 141 bible for g
Page 143 and 144: Working Somatically 143 Movement, h
Page 145 and 146: Working Somatically 145 research. C
Page 147 and 148: Dance Techniques and Lives 147 Patr
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Page 153 and 154: Dance Techniques and Lives 153 Chor
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Page 157 and 158: Dance Techniques and Lives 157 depa
Page 159 and 160: P.A.R.T.S. — Contemporary Positio
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Page 167 and 168: Daniel Roberts Cunningham Technique
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Daniel Roberts — Cunningham Techn
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198 Background Influenced by Non-tr
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200 Interview Gill Clarke Interview
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202 Interview more flow, become mor
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204 Introduction Gill Clarke, Franz
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206 Introduction 4. To contradict m
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208 Historical Context Gill Clarke,
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210 Historical Context Companies de
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212 Concept and Ideology Gill Clark
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214 Concept and Ideology Intent The
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216 Understanding the Body / Moveme
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Gill Clarke — Minding Motion 221
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232 Background Influenced by Lao Ts
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234 Interview Jennifer Muller Inter
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236 Interview my own company in 197
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238 Introduction Yvonne Hardt, Vera
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240 Historical Context Yvonne Hardt
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242 Historical Context Relevant The
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244 Concept and Ideology Yvonne Har
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246 Concept and Ideology Space has
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248 Concept and Ideology Thus the t
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Jennifer Muller — Muller Techniqu
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266 Background Robert Rauschenberg
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268 Interview Lance Gries Interview
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270 Interview compilation of quotat
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272 Introduction Gabriele Wittmann,
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274 Historical Context Gabriele Wit
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276 Historical Context ‘Trisha Br
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278 Historical Context Individual A
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280 Concept and Ideology The concep
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Lance Gries — Release and Alignme
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Who’s Who 297 Ingo Diehl studied
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Who’s Who 299 Friederike Lampert,
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Who’s Who 301 Yoann Trellu is a m
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Credits 303 List of illustrations P
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