Dance Techniques 2010

50
Teaching: Principles and Methodology
Maren Witte
Teaching: Principles
and Methodology
Conceptual Basis
Alan Danielson pursues another goal that he explains by
referencing Limón’s notion that dance training exists to
show dancers the body’s infinite possibilities for movement.
Danielson is not looking for a particular aesthetic;
rather, he hopes the concepts will enable dancers to explore
their potential as well as to help them optimize their
skills in realizing limitless movement possibilities. Whether
it be a focus on articulation, strength, sense of timing and
rhythm, and mental and / or physical elements, or when it
comes to taking risks, daring to move slowly, to alternate
between being still and going fast, and to articulate, control,
release, and also do the opposite—the goal, according
to Danielson, is to train the entire body, the human dancer
who has a body, mind, and soul.
There is no clearly defined target group; this technique
is for anyone with a genuine interest in the body and
movement. Amateurs particularly enjoy Danielson’s training
because of its holistic approach, while, at the same
time, it is challenging and demanding. In ballet–oriented
schools, students sometimes see Humphrey / Limón training
as sloppy and write it off as avant–garde. In schools focusing
on somatic training procedures, his technique conversely
could be seen as bound and rigid. In other words,
how dancers respond to Danielson’s teaching and the way
in which they can benefit from it will depend a great deal
on the individual’s experience and the respective training
context.
Class material at the Limón School in New York is the
same in individual and group classes. Most teaching takes
place in groups. One–to–one teaching occurs in repertoire
rehearsals.
Danielson estimates that the basic principles can be
learned in a two–week fundamental course that familiarizes
students with the technique, regardless of previous
training. Students subsequently acquire an in–depth
knowledge of the principles during the nine–month program
at the institute. In most cases, it takes years to really
integrate the technique, to master it, and ‘dig deeper’. A
clear learning curve was observed in some students during
Danielson’s three weeks at the Palucca Schule, in particular
regarding the ability to articulate and initiate movement,
timing, and a certain, quite precise, ‘softness’ and
‘roundedness’ to the quality of movement.
Previous knowledge can be both helpful and a hindrance.
Ballet, for example, can be a hindrance because
of its focus on shapes, yet, on the other hand, it can be
a good pre-training for Humphrey / Limón students as it
gives them strength, flexibility, and coordination.
In addition to learning and perfecting movement principles,
teaching the Humphrey / Limón Technique also involves
a particular approach to the work. The learning
process is always at the forefront of Danielson’s teaching;
he encourages students to go inside themselves and
be aware of how they are feeling. He also wants them to
find a voice for what they have experienced, and to articulate
subtle experiences and feelings. Finally, an essential
part of the learning program involves investigating one’s
own potential and taking responsibility for oneself. In this
learning and working phase, training is therefore targeted
both toward results and a dancer finding his or her own
voice in the material.
Pedagogical Methods
Lesson structure is goal–oriented in that material is organized
and presented so that it contributes to the combination
danced at the end of class. This combination will
make many demands on the body, for example regarding
use and apportioning of energy, timing, changes of direction,
or accentuating small and large details with precision.
Class prepares the body for this combination, which
means working on strength, stretch, and maximum range
of motion. During initial phases of class, specific movements
and concepts are introduced that will appear in the
final combination.
It must be emphasized that, overall, the class is based
upon strength, coordination, and stretch work, and is less
dependent upon somatic work. Danielson appreciates
his students grounding themselves or ‘getting themselves
together’ with somatic work on their own before class
starts—indeed, he expects it of them—so that they are
ready for class.
Danielson trains four different ‘regions’ of the body systematically
during a class. With regard to physiology, he
wants to teach centeredness; the students should develop
a sense of center that can then be abandoned when working
off–center. He also demands they use their brains—i.e.,
thinking and reaction skills—so they are able to quickly
16 See DVD 1, Phase 1, “Opening.”
17 See DVD 1, Phase 2, “Leg drop / Swing.”
18 See DVD 1, Phase 3, “Feet / Leg gestures.”
19 See DVD 1, Phase 4, “Pelvis / Spine
articulations.”
20 See DVD 2, Phase 6, “Traveling through
space.”
21 See Class Plan on DVD 1.