Dance Techniques 2010

244 Concept and Ideology
Yvonne Hardt, Vera Sander
Concept and Ideology
The conceptual basis of the Muller Technique rests on
three fundamental principles: working with flows of energy,
the power of imagination, and knowledge about the
body’s physical structure.
According to Muller, energy and matter form the essential
elements of dance and movement, and they also
inform all of life. Accordingly, every movement is initiated
by a change in the flow of energy. Movement is cyclical,
governed by a constant coming and going, by an up
and down. This is why Muller describes her technique as
being concerned with life forces. She localizes two energy
sources: one is located within the center of the body, approximately
two finger–widths below the navel; the other
is outside the body, approximately two feet below the
ground. Imagination is particularly important for locating
these energy sources.
Shapes made by the body thus change because of the
flow of energy. Muller states that while “an arm remains
an arm,” the sensation of the arm’s weight and / or lightness
changes with the change of energy. The body is subject
to constant change as energy ebbs and flows endlessly,
animating us to move. Muller’s objective is to make the
body transparent for the flow of energy, and overcoming
tension is imperative for this process. Muller explains,
“This energy needs space to move. Whenever you have
tension in your body, you are going to stop the energy from
moving.” 11 Thus, in order to move, we must call upon the
flow of energy as opposed to muscle power. Muller speaks
of never allowing the flow of energy to die out, that the
student must always be “sourcing the energy.” Movement
initiation comes from inside the body and is not formed
or generated by anything exterior; accessing this energy is
enabled by the imagination. Dancers visualize energy that,
over an extended training period, can be experienced even
more precisely; this sensed energy also includes physical
vibrations. Muller explains it thusly: “…imagine energy
as a warm spot that you can visualize. That is why visualization
is so important, that you can visualize something
that is in there that is like your motor. It is what makes
you run.”
The distinct importance of visualization and / or imagination
can be considered the second key element of her technique.
Visualization and imagination can train not only
an awareness of the entire body, but also help discern the
intention behind any given movement. Muller is fond of
saying, “The strongest tool we have is our mind and our
imagination.” Such tools aid in fostering a body awareness
that remains individual, and not necessarily anatomical.
Imagination also helps dancers position body parts in
relation to one another; Muller’s description of body structure
utilizes positional relationships. This is the third key
element in her technique. For Muller, this is not primarily
about a medical and / or anatomical understanding of the
body, even though the structure of the human body (i.e.,
the relationship between weight placement and the alignment
of the legs and spine) is a core component. Weight
should always be placed over the balls of the feet and the
hips should be frontally aligned.
The interplay between freely flowing energy, proper
body structure, and awareness of body and movement
creates what Muller calls the “informed body.” This is a
body that, through training of constant awareness, only
perceives, and does not attempt to dominate or control the
energy—it is able, instead, to use the detailed knowledge
and subtly channel it through the body. In relation to this,
Muller notes that dancers must be ‘intimately’ familiar
with all parts of their bodies and specific in the creation of
individual movements. This is about both perception and
detail: What are the eyelids doing at this moment? How is
the energy flowing through the wrist? Muller uses this type
of questioning in guiding her students towards a detailed
awareness. Knowing what individual body parts are doing
is important for the execution of every movement. The
technique’s goal is to achieve an awareness of both the
intention and initiation of every movement using Muller’s
energy–based principles.
Imagining the Body
Referencing energy systems in the body, her understanding
of the body is distinct and separate from the Western
medical perspective. This approach disregards the classic
mind–body dualism wherein the body is reduced to merely
executing commands of the controlling mind—which
would relegate the physical dimension to a subordinate
and separate role from that of the reflective mind. At the
same time, as she draws on a variety of descriptive metaphors,
Muller’s body imagery is in no way homogenous.
11 Unless otherwise indicated, all Jennifer
Muller quotes are taken from transcripts of
the Muller Labs from 23 November–1 December
2009.
12 In doing so, she broke with her influential
mentor Antony Tudor.
13 The musician and composer Marty Beller
has composed for international choreographers
and dance companies, including
Jennifer Muller / The Works, Sean Curran,
Chet Walker / 8and ah one, Julio Bocca / Ballet
Argentino, RhythMEK, Heidi Latsky, Rebudal
Dance, Alice Tierstein / Young Dancemakers,
Andrew Jannetti and Dancers, Bill Hastings,
Kathy Wildberger, Kelli Wicke Davis, and
Roger Williams University Dancewar. He was
the drummer on the award–winning album
Washington Square Serenade for Steve
Earle (among others), and has toured with
the Tony–Award–winning musician Stew. His