Dance Techniques 2010

Jennifer Muller — Muller Technique
245
For example, the body is described as being surrounded
by an ‘envelope’, or conversely understood as an envelope
that can be filled with energy. Her body descriptions can
also include technological metaphors; for instance, the energy
source may be described as a motor, or the body’s
structure is compared to a series of tubes, or pipes, that
might be clogged. Media influence has also made its way
into her imagery, for example, when Muller asks students
to imagine their hips as a frontally–directed television
screen, or when she speaks about self–observation (when
students appear to be judging themselves), she might say,
“Turn off the camera.” Muller isn’t just fostering discourse
about the body with her technique; she draws upon
any number of impressions that help explain and assist
visualization, any of which can, indeed, be contradictory.
This is irrelevant as long as the images succeed in overcoming
specific problems.
Overall, one can say the Muller Technique is founded
upon a belief in thoroughly efficient movement execution,
in clearing blockages, in achieving transparency, and in the
‘usefulness’ of individual movements. This approach ties
into discourses about the economic and efficient use of the
body. Terms like ‘usefulness’ stand in contrast to Muller’s
movement philosophy that assumes an organic basis and
wishes to see energy flow freely, that does not wish to constrain
the body, and in which visualization (as opposed to
anatomical reality) plays a central role.
Muller is convinced that the body can be shaped through
her teaching method, a process she calls ‘body sculpting’.
This does not happen simply by striving for an ideal body;
physical changes are accomplished through work on increased
attentiveness, alertness, and a more ‘informed
body’. For example, once dancers understand the principle
of ‘drop and out’ in leg–work, a ‘carving out’ of the thigh
musculature and flatness (or ‘panels’) on the inside of the
leg is enabled. An outwardly rounded thigh, which indicates
a strong musculature, is thus lengthened. Thus, depending
on the dancer’s body type and previous training,
this technique can change the body’s physical appearance.
Muller has no body–type preferences, she values her
dancers’ individual and unique corporeality. Dancers in
her company have a variety of body types, reflecting the
humanistic ideals in her work.
These humanistic ideals also provide insight into
Muller’s handling of gender issues. There is no difference
between male and female in her training—based upon
her belief in equality and respecting differences. Muller
is, however, familiar with gender role stereotypes: One
reason she mentions as her decision not to become a ballerina
12 was that she did not like the image of women in
ballet at that time. She had no desire to be a floating, light,
ephemeral being as this did not match her sentiments
towards her own body, nor did it inspire her to move. In
contrast, polarities are exciting for Muller because every
person contains both yin and yang—principles of masculinity
and femininity.
Muller’s teaching also makes concepts about energy
tangible through music. Her courses are dependent upon
music, whereby one does not simply mirror the other;
rather, music is used as a pedagogic, emotional, and energizing
medium. This differentiated way of using music is
primarily a result of Muller’s studies at Juilliard, where she
was a serious student of music composition, and secondly,
as a result of her work with musicians and composers.
She and Marty Beller 13 have a particularly intensive artistic
working relationship.
Jennifer Muller selects music for her classes carefully.
The choices are by all means eclectic, however most
choices come from rock and pop (i.e., Joe Cocker, Boys II
Men, Michael Jackson, etc.) and are usually pre-recorded
(as opposed to a live accompanist). 14 She rarely uses classical
or experimental music for teaching.
Music must support the qualities and goals of any given
exercise. Knowledge about rhythm and the best rhythms
for certain exercises is a key aspect in the teacher training
that Muller offers her dancers. Not all exercises can be
executed well in the same rhythm: 3 / 4-time is especially
good for softer and warm–up movements; 4 / 4-time is for
movements that are faster, more linear, and directed in
design (as opposed to being curved or swinging). Music
in 6 / 8-time is used to support two elements simultaneously,
namely accentuation of the drop and rhythm for
the breath. Since lessons are usually accompanied by CD,
others teachers must spend time finding pop music with
the appropriate rhythms.
Above and beyond this, music serves to energize and
motivate students. Music is part of a strategy that creates
a good working atmosphere and makes the hard work of
training a little bit easier. Since grim determination and
seriousness can sometimes close the mind to learning processes,
music can help offset excessive concentration and
bring fun and passion back into the studio. Pop music’s
recognition factor and emotional charge work particularly
well for Muller. So, choice of music is yet another means
with which a favorable class environment and learning
atmosphere can be achieved.
drumming and percussion has been heard on
television and film soundtracks, including The
Daily Show with Jon Stewart, March of the
Penguins, Jon and Kate Plus 8, Confessions
of a Dangerous Mind, Malcolm in the Middle,
Sky High, Shallow Hal, Stuck On You, Higglytown
Heroes, Roswell, and many more.
14 In contrast, Muller training on the DVD is
accompanied by Knuth Jerxsen’s live percussion,
a musical variation that she seldom uses.
It was used here due to copyright issues.