Dance Techniques 2010

More documents

Recommendations

Info

88 Teaching: Principles and Methodology Although a Countertechnique class follows a ‘no nonsense get up and do it’ approach, the teacher is careful in vocabulary choices, avoiding terminology that can be misunderstood. Giving feedback while working on an exercise is an integral part of the class. Often Anouk van Dijk asks the students: “How did it work for you?” “Was there a difference?” “Why do you think we do this exercise?”— thus encouraging students to verbalize experiences and problems. Students often have false assumptions about their bodies and their physical capabilities; they might think of themselves as, for example, having no turn–out or no plié. What they think they can or cannot do often is the result of their interpretation of information given by teachers. Misunderstandings arise in the chain of acquiring information, interpreting information, and applying it; false assumptions will eventually have to be addressed so students can develop and explore their true potential. A student might think he cannot move his head because he has a tight neck, but after learning where the head / neck joint is located, the weight of the skull becomes available for movement. With the use of the direction and its counter–direction (which distributes the weight in space), the student is able to move his head more freely. On one hand, feedback may happen after any kind of exercise, as in the above example. On the other hand, students often approach Anouk van Dijk after class to ask questions about a particular exercise and how they should approach it. Given the need to verbalize experiences, the teacher’s role in communicating ideas, principles, and content is essential. Since Countertechnique also has a theoretical component, in–depth explanations about the principles will come at some point in class. Verbal explanation is needed for the students to understand the difference between a more conventional way of doing an exercise and doing it according to the principles of directing and counter–directing. Countertechnique concepts are implied in the choice of words that teachers like Anouk van Dijk and her colleague Nina Wollny make. Instead of using the verbs ‘to focus’ or ‘to concentrate’, which imply the notion of a center, they choose phrases like ‘put your attention to’, or ‘allow yourself to’. These phrases imply an engagement without expectation. Similarly, saying ‘suspend’ rather then ‘reach’ helps students think in spatial directions rather than in terms of muscular tension. Language triggers physical action—much more so than students are aware of—which is why Anouk van Dijk and Nina Wollny ask students to verbalize experiences. Van Dijk and Wollney assist the student in finding the proper terminology so both the verbal and physical experiences develop side–by–side. The teacher’s role is to share information so as to improve students’ movement skills both on a physical and mental level. He or she is there to guide, offering suggestions instead of corrections. At first, a teacher concentrates on teaching steps and basic elements that make up the skeleton of the class. This is one of the reasons why, at first sight, Countertechnique classes exude a formal and even strict atmosphere. But, as Anouk van Dijk explains, she personally tries to establish an objective foundation for working with students so as to distract them from personal obsessions, prejudices, and fears. Clear and objective information added to the skeleton of the class provides students with a neutral grid upon which they can experiment and learn how to approach their work differently. In Countertechnique classes, no imagery or metaphors are used to stimulate the imagination. What students have to visualize, above all, are anatomical relations between various bones and spatial directions. Using imagery in the physical learning process would stipulate specific content and thus encourage a way of thinking that favors a result— an image is quickly perceived to something that should be achieved—and would be a diversion from process–related thinking. The teacher does not use personal metaphors to share information either, since personal metaphors are likely to cause misunderstandings with students from different cultural backgrounds. Countertechnique classes are not ‘hands–on’ classes. Information is communicated by verbalization and physically demonstrating when the body is directed and when not. Touching students may, however, occur when discussing anatomical detail. Anouk van Dijk uses her hands to encourage students to feel the results of directing and counter–directing. Once a student has felt the difference, applying the principles will be easier. This only happens once the student is familiar with the exercises, however, not before. In summary, one can say that in a Countertechnique class, movement acquisition happens in two phases. First dancers learn exercises by copying them, which creates a class structure. The teacher demonstrates the exercises full–out with all the directions, length, ease, and risk. At the beginning, demonstrating how Countertechnique functions will convey more to dancers than a lot of words. Before dancers can have an idea about the principles, teacher demonstrations provide inspiration. Once familiar with the exercises, the real work begins. In the second phase, information from the Countertechnique toolbox is gradually introduced. Anouk van Dijk, as well as her colleague, Nina Wollny, guide the students through both theoretical insights as well as through the practical experience. The intention is to introduce theory in an informal and playful way, step–by–step. After all, it should not be forgotten that the main goal of Countertechnique is to keep—and often retrieve—the joy of dancing by absorbing new and often complex insights into how the body works. In this way, joy and interest in exploring can continue to grow throughout a dancer’s career.
Anouk van Dijk — Countertechnique 89 Gerald Siegmund, Anouk van Dijk Conclusion With her down–to–earth, common sense approach, Anouk van Dijk says, “It is only dancing, not world politics.” This does not imply, of course, that she doesn’t take her work seriously. What’s at stake, in the on–going development of her work, is to take pressure off both the moving body and the mind so dancers remain open for movement and continue to enjoy dancing. Countertechnique intends to make a dancer’s life, and that of students wanting to become professional dancers, easier. She hopes that both her research into the efficient functioning of movement and the system she has been developing since 2002 will help future generations of dancers to enjoy a long and healthy career. link For further information about Anouk van Dijk, her company, and Countertechnique see: www.anoukvandijk.nl
Page 3 and 4:
Ingo Diehl, Friederike Lampert (Eds
Page 5 and 6:
Ingo Diehl, Friederike Lampert (Eds
Page 7 and 8:
Table of Contents 166 Sabine Huschk
Page 9 and 10:
Foreword 9 dance scene (Freie Tanzs
Page 11 and 12:
Introduction 11 Background and star
Page 13 and 14:
Introduction 13 time, to go beyond
Page 15 and 16:
Introduction 15 individual, sensed,
Page 17 and 18:
Introduction 17 in Cologne), as wel
Page 19 and 20:
Introduction 19 Supplementary Contr
Page 21 and 22:
Introduction 21 Digital documentati
Page 23 and 24:
Introduction 23 The years to come w
Page 25 and 26:
Research Questions 25 Concept and I
Page 27:
Research Questions 27 Teaching: Pri
Page 30 and 31:
30 Background Influenced by Ruth Cu
Page 32 and 33:
32 Interview Alan Danielson Intervi
Page 34 and 35:
34 Interview contract. But what I w
Page 36 and 37:
36 Introduction Maren Witte Introdu
Page 38 and 39: 38 Historical Context Maren Witte H
Page 41 and 42: Alan Danielson — Humphrey/Limón
Page 57: Alan Danielson — Humphrey/Limón
Page 60 and 61: 60 Background Influenced by Alexand
Page 62 and 63: 62 Interview Anouk van Dijk Intervi
Page 64 and 65: 64 Interview Do you follow a stri
Page 66 and 67: 66 Introduction Gerald Siegmund, An
Page 68 and 69: 68 Introduction the central axis. T
Page 70 and 71: 70 Historical Context Gerald Siegmu
Page 72: 72 Historical Context affiliation,
Page 75 and 76: Anouk van Dijk — Countertechnique
Page 87: Anouk van Dijk — Countertechnique
Page 92 and 93: 92 Background Influenced by Limón
Page 94 and 95: 94 Interview Barbara Passow Intervi
Page 96: 96 Interview When do you consider
Page 99: Barbara Passow — Jooss-Leeder Tec
Page 102 and 103: 102 Historical Context Claudia Flei
Page 104 and 105: 104 Historical Context to the Folkw
Page 106 and 107: 106 Historical Context stretches an
Page 108 and 109: 108 Concept and Ideology was mindfu
Page 110 and 111: 110 Understanding the Body / Moveme
Page 116 and 117: 116 Teaching: Principles and Method
Page 124: 124 Barbara Passow — Jooss-Leeder
Page 127 and 128: Observation Techniques 127 methods
Page 129 and 130: Observation Techniques 129 comprise
Page 131 and 132: Observation Techniques 131 ends so
Page 133 and 134: Observation Techniques 133 body’s
Page 135 and 136: Observation Techniques 135 Literatu
Page 137 and 138: Working Somatically 137 Trisha Brow
Page 139 and 140:
Working Somatically 139 Work on the
Page 141 and 142:
Working Somatically 141 bible for g
Page 143 and 144:
Working Somatically 143 Movement, h
Page 145 and 146:
Working Somatically 145 research. C
Page 147 and 148:
Dance Techniques and Lives 147 Patr
Page 149 and 150:
Dance Techniques and Lives 149 Wou
Page 151 and 152:
Dance Techniques and Lives 151 Wha
Page 153 and 154:
Dance Techniques and Lives 153 Chor
Page 155 and 156:
Dance Techniques and Lives 155 alwa
Page 157 and 158:
Dance Techniques and Lives 157 depa
Page 159 and 160:
P.A.R.T.S. — Contemporary Positio
Page 161 and 162:
Page 163 and 164:
Page 165 and 166:
165
Page 167 and 168:
Daniel Roberts Cunningham Technique
Page 169 and 170:
Daniel Roberts — Cunningham Techn
Page 171 and 172:
Page 173 and 174:
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
Page 195:
Page 198 and 199:
198 Background Influenced by Non-tr
Page 200 and 201:
200 Interview Gill Clarke Interview
Page 202 and 203:
202 Interview more flow, become mor
Page 204 and 205:
204 Introduction Gill Clarke, Franz
Page 206 and 207:
206 Introduction 4. To contradict m
Page 208 and 209:
208 Historical Context Gill Clarke,
Page 210 and 211:
210 Historical Context Companies de
Page 212 and 213:
212 Concept and Ideology Gill Clark
Page 214 and 215:
214 Concept and Ideology Intent The
Page 216 and 217:
216 Understanding the Body / Moveme
Page 218:
Page 221 and 222:
Gill Clarke — Minding Motion 221
Page 223 and 224:
Page 225 and 226:
Page 227 and 228:
Page 229:
Page 232 and 233:
232 Background Influenced by Lao Ts
Page 234 and 235:
234 Interview Jennifer Muller Inter
Page 236 and 237:
236 Interview my own company in 197
Page 238 and 239:
238 Introduction Yvonne Hardt, Vera
Page 240 and 241:
240 Historical Context Yvonne Hardt
Page 242 and 243:
242 Historical Context Relevant The
Page 244 and 245:
244 Concept and Ideology Yvonne Har
Page 246 and 247:
246 Concept and Ideology Space has
Page 248 and 249:
248 Concept and Ideology Thus the t
Page 250 and 251:
Page 252 and 253:
Page 255 and 256:
Jennifer Muller — Muller Techniqu
Page 257 and 258:
Page 259 and 260:
Page 261 and 262:
Page 263:
Page 266 and 267:
266 Background Robert Rauschenberg
Page 268 and 269:
268 Interview Lance Gries Interview
Page 270 and 271:
270 Interview compilation of quotat
Page 272 and 273:
272 Introduction Gabriele Wittmann,
Page 274 and 275:
274 Historical Context Gabriele Wit
Page 276 and 277:
276 Historical Context ‘Trisha Br
Page 278 and 279:
278 Historical Context Individual A
Page 280 and 281:
280 Concept and Ideology The concep
Page 282 and 283:
Page 284 and 285:
Page 286:
Page 289 and 290:
Lance Gries — Release and Alignme
Page 291 and 292:
Page 293 and 294:
Page 295 and 296:
Page 297 and 298:
Who’s Who 297 Ingo Diehl studied
Page 299 and 300:
Who’s Who 299 Friederike Lampert,
Page 301 and 302:
Who’s Who 301 Yoann Trellu is a m
Page 303 and 304:
Credits 303 List of illustrations P
show all

Dance Techniques 2010

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?