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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206 Introduction<br />
4. To contradict myself I suppose I would say my teaching is in a way a<br />
‘method’—in the sense it tries to be a rigorous, coherent, developmental approach<br />
(as well as deliberately chaotic or open sometimes!!!). But it is not<br />
wanting to be ‘set’, as in ‘set content’ or only one ‘right’ way to approach<br />
something, not least because it is aiming to open up available ‘choices’ in action<br />
/ imagination.”<br />
While reading this chapter, it is important to keep in mind that the term<br />
Minding Motion is used as the title of a particular workshop offered in Berlin<br />
as part of the Tanzplan Research Project. It is retained here as convenient<br />
shorthand for Gill Clarke’s pedagogical process within this context, but is<br />
not intended to imply a fixed system or closed method of teaching.<br />
The term body is used in this chapter as shorthand for body–mind. It is<br />
not intended to imply a dualistic stance that, following Descartes, sees the<br />
body as separate from mind, and mind as the sole source of meaning–making.<br />
3 The limitations in language reflect the powerful influence of this separation<br />
of body from selfhood. German fares better than English in having the<br />
term Leib, which implies a lived body, but as this is not in current and common<br />
usage, it has not been adopted here.<br />
The research project on Minding Motion was realized during the summer<br />
term of 2009 in Berlin, using the Uferstudio space. The working periods were<br />
from May 4–8, June 1–12, and July 13–19, 2009.<br />
The group was composed of students from the Berlin Inter–University<br />
Center for <strong>Dance</strong>’s bachelor’s course Contemporary <strong>Dance</strong>, Context, Choreography,<br />
along with external participants from the dance scene, comprising<br />
altogether a group of ten. The condition for participation was full commitment<br />
to all of the three research units. Ongoing feedback was received in<br />
3 ‘On the one hand I have a clear and distinct<br />
idea of myself, in so far as I am simply a thinking,<br />
non-extended thing; on the other hand I<br />
have a distinct idea of body in so far as this<br />
is simply an extended, non-thinking thing.<br />
And accordingly it is certain that I am really<br />
distinct from my body, and can exist without<br />
it.’ (Descartes, 1984, p. 54)
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