Mode of class 2
Creative Explorative Formation
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Nourished by
Movement Factors
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Body Space Time Energy Flow
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Election of a Movement Theme depending on the necessities and technical level of the student
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Election of Methodology
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Sensibilization Exploration Improvisation Creation Kinetic Imitation Play
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Development of Activities that enhance the development of a proper movement vocabulary, creativity, Fantasy, Body and movement sensibility and a consciousness for the motion Efforts
Content
1) Introduction
2) Body 1
3) Body 2
4) Epilogue
Introduction
The beginning of a class carries an enormous importance for all continuous parts of the class.
It is a coming together of a group of people, known or unknown, establishing an atmosphere within the people, the re-connection with one owns body and movement execution, the relation between me and my own being, me and the other members, the relation between the teacher and the participants.
The teacher has the responsibility to establish a healthy, respectful and inviting work-atmosphere.
Guiding the students to relate consciously to their own body, awakening the body sensation, re-feeling ones breathing, muscle tonus, body part relation etc.
The teacher can help to establish via small social activities a respectful relation between the people in the room. Taking in account that most of the time in a dance class, the student works with himself and its body alone, thus it seems helpful to interact in some occasions with the other.
The idea of the Introduction is to gather the concentration from the outside world towards oneself. One’s own body, towards the today feeling of the muscles, weight, movement feeling, breathing, the body sensation.
This can be achieved over different practices, depending on the necessities, atmosphere, daily routine of the group.
Here we can mobilize the body by small improvisation or imitation tasks or guided sensibilisations exercises, playing movement games or meditation, breathing exercises etc.
Important seems that oneself and the others establish an respectful and open atmosphere where the human, the student can re-find himself within its own body to begin to relate in a fresh and “empty” way towards its movement execution, creativity, establish, gain and renew consciousness.
Body 1/2
In Relation to a creative-explorative Development
Giving space to develop and enhance
movement fantasy and creativity is a very importaspect for the overall education of a dance student.
Classes should be prepared and organised within the different levels of the education.
Classes of movement Exploration based on the motion efforts, guided Improvisation motivated by the body senses as contact improvisation and creation tasks should be part of the total teaching.
By introducing the theme of each new class, giving sufficient information on the theme and class topic, teaching the overall relation of movement perception, movement expression in space and time, truthful requirements are given to the student to indulge in his creative process and growth.
When teaching non-professional Groups, participants of different social institutions as students at regular schools, kindergarten, people with incapacities, nursing homes etc, the participants have most of the time a very low consciousness of their body and movements.
Out of experience I can say, it is helpful to pick up the participants on their level of movement capacities as simple as Walking, Running, Stopping, Turning, Jumping, Bending, Rotating, Extending etc.
With other words, movements out of their daily life.
Over this way one can then start to introduce a variety of movement aspects as Time changes or Weight and Force variations, to develop consciousness and movement sensations over contrasts, means, exploring and expressing the given tasks with one owns body in a playful and creative way, bringing them closer to dance.
I would not recommend to introduce and teach a foreign movement vocabulary to people who are not used to learn and execute movements which are not their own.
To learn and incorporate a new vocabulary, a movement technique, needs time and practice and serves more for a group which is taught on a regular base.
It is beneficial to use a variety of methods and techniques which motivate movement creativity. Methods, which enhance the proper way of moving in space and time, techniques that develop the sensation of dancing and expressing oneself alone and with the others.
Starting from movement plays into guided body mobilization, Exploration, Improvisation into simple and proper, small creations within the course of the class.
Epilogue
-the Elaborated task or details of the daily creative work can be demonstrated and explained
-discussions and opinions can be exchanged and discussed
-Additional already worked creations can be presented
-Questions can be answered
-Further Information can be given