Dance Techniques 2010

260
Teaching: Principles and Methodology
After establishing a vocabulary, Muller works out movement
ideas with the dancers. With certain dancers in
mind, she choreographs scenes tailored to them or with
particular challenges. Scenes might be scrapped or material
turn out differently than planned (i.e., what starts as
serious may, for instance, become funny and ironic, like
a cartoon). Muller allows the shapes to take on a life of
their own and abandons her original intention if necessary.
Despite cooperative work with her dancers and however
much the original idea evolves during rehearsals, Muller
views herself as the author; she is responsible for her
works and decides on all details. Thus, Muller’s teaching
methods instill (indirectly) an understanding of the artistic
process that puts the choreographer center stage.
The dancers, for their part, have the responsibility to
perform with credible emotional intensity and intention.
In this respect, Muller’s artistic work and her technique
are fundamentally interconnected. Since dancers often
work with Muller for years, they have become part of an
artistic team in which their identification with the technique,
working methods, and the company are a central
to practicing their art. Dancing, in Muller’s company, is
not a ‘job’ that is simply performed, rather it is a profession
characterized by dedication and commitment over a
longer period of time.
Much to her chagrin, Muller’s main task these days
is in chasing down funds for continued company financing.
Her international teaching work, as well as training
dancers to become teachers, are part of what she does to
advance the company, both materially and as a means to
provide dancers with additional qualifications.
Dancers who are selected for Muller’s teacher–training
program learn about structuring classes and how to teach
the basic principles, especially how to rouse the imagination
using the voice and other means. Muller’s fixed class
structures are the product of many years of hard–earned
knowledge. Because she is always passing her knowledge
on to her (teaching) students, she is constantly reflecting
upon the material. Dancers can and have impacted various
aspects of her training.
Muller depends upon student feedback for self–assessment
purposes. While she acknowledges, to herself, particular
exercises and tasks that could be better prepared,
she also asks students for their feedback and to talk about
problem areas. Where do they have questions? Which
aspects remain difficult? Where does one feel progress is
being made? Muller usually incorporates the answers into
the next lesson. She tries to analyze the blockages and consequently
change her verbal instructions (rather than the
training sequence) to provide new imagery, or she slows
down the exercises. Follow–up work also includes considering
how to transform these blockages into positive
experiences.
The thoroughness found in the teacher–training program
is evidence of how much importance Muller places
on preparation and structure for teaching. A class is
planned with great detail, and basic class structure is
rarely changed, although she does prepare exercises anew
to correspond with specific objectives. Usually a particular
theme is worked on over the course of a week, and
certain phrases and movement sequences are prepared
to permit and support this focus. For new groups, class
planning must be adjusted to needs, and it must progress
as the students become more familiar with the material.
This requires that the teacher not only work out the lesson
structure, but also make decisions about tempos and / or
appropriate music choices.