Dance Techniques 2010

Anouk van Dijk — Countertechnique
77
Gerald Siegmund, Anouk van Dijk
Understanding
the Body / Movement
Prerequisites
Anouk van Dijk developed Countertechnique over time,
on a day-to-day basis with contemporary and ballet
trained professionals who needed a more balanced muscular
training. The idea is to expand physical capacities by
deepening the mental understanding of physical processes.
Since Countertechnique helps dancers to think differently
about their bodies and movement capacities, an educational
background or some knowledge of body awareness
techniques is helpful. Anouk van Dijk’s study of Alexander
Technique influenced the development of Countertechnique,
thus experience in Alexander Technique is helpful.
Dancers who have studied Alexander Technique understand
the connection between mind and body; they are
aware that thoughts can influence the body and the way it
moves. They are already familiar with certain anatomical
facts such as exact joint location. This information helps
the informed dancer efficiently direct and counter–direct
movement into space. Most importantly, however, experience
in body awareness techniques changes the students’
frame of mind; it shifts their attention away from an ideal
or a goal that is to be achieved and allows them to focus
on process. “It is not important how it looks. What
is important is whether it makes more sense to you,” says
Anouk van Dijk.
In general, those students or dancers who are accustomed
to working on their own projects, to making
choices, and taking responsibility for their work are the
quickest to pick up the principles of Countertechnique;
their learning attitude is more conducive. Whether or not
dancers have a strong technique or have already attained
a certain level of strength is not of primary importance,
the information gained by studying Countertechnique will
help them build strength and coordination in a healthy
way. That said, certain physical characteristics can influence
the learning path in a positive way. Dancers who have
deep hip flexors, supple shoulders, and a deep plié will
find it easier to create and use the space in their joints
for directing and counter–directing. Apart from that, it is
helpful to have muscles that are both flexible and strong.
Anatomical attributes, however, are only as good as what
one does with them. Having an inquisitive mind and an
analytical eye for picking up movement, as well as the
ability to structure and process abstract information and
actively access it, are helpful mental skills for dancers who
work with Countertechnique.
Analytical thinking is utilized in a practical, down–to–
earth context. Dancers should trust their instincts and
their joy of risk–taking, and simply see what happens, i.e.,
go with the flow and see where the movement tasks lead.
If the situation in class becomes too tense, Anouk van Dijk
holds up the image of a bright yellow smiley. Her saying,
“Fuck it. It’s just dance,” might sound like blasphemy to
some, but it helps take pressure off dancers and reduces
fear. The dancers shouldn’t take themselves and what
they do too seriously. If they are stuck on an exercise or
a movement phrase, or even with the Countertechnique
information, they should just smile, drop it, do something
else, and come back to it later refreshed.
“She talks about ‘distraction’ a lot.
She gave the example of opening her mail
while walking up the stairs: Taking the
stairs this way is a lot easier than when
you concentrate on how many stairs you
still have to go. You know? I mean you
don't come up exhausted if you’re thinking
of something else. But if you think of
walking the stairs, you get exhausted. So,
in dancing you can apply the same idea.
Okay, so when I try to widen my trunk and
it is not working, I should not focus on
widening my trunk, but do something else,
like lowering the tension in my neck.
So by doing another thing you distract
yourself from the actual goal.”
Yorrith de Bakker, student
Whereas the ability to structure and process information
is helpful in the learning process, the most essential motor
skill for Countertechnique is coordination. Coordination
implies both the physical coordination of body parts
as well as the coordination between mind and body that
directs and counter–directs movement in space. If dancers
have good coordination, other motor capabilities like
endurance or speed will follow. Dancers are able to move
faster when their directions are clear, they will utilize less