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Teaching: Principles and Methodology
ful Motion over many years, and whilst it is a coherent
methodology, it has not aimed at becoming a certified
method or a fixed technique.
One could, perhaps, identify certain qualities that
support the efficacy of the teaching. Alongside in-depth,
embodied, and conceptual knowledge developed through
somatic research and practice, extensive experience in
performance, teaching, and observation, it seems that a
good mastery and use of language are desirable, as well as
an ability to verbalize the unfolding process of one’s own
movement in the moment. This allows the teacher to guide
participants through their own process, whilst a good eye
for the nuance of movement helps to identify what might
be useful keys in unlocking obstructions to the free flow of
movement through a body. Patience is an important ingredient
as well, as it can be counterproductive to bombard
a dancer with too much information all at once. In order
to facilitate learning, it is sometimes best to step back and
allow time for a dancer’s own experience and discoveries
to work as a more effective teacher.
As for the artistic process fostered by Minding Motion,
it has been made clear throughout this chapter that there is
no single stylistic goal. Rather there is an emphasis on the
refinement of the dancer’s own perception of, and attention
to, their own movement as well as encouragement for
the individual dancer / performer to assimilate and apply
this knowledge in their own way, according to their artistic
interests.