Name of teacher / supervisor
Roos van Berkel

Period, duration
YR 1: Block 1: week 36-41 + Block 3: week 10-14
YR 2: Block 1,2: week 36-41 and 43 + Block 5: week 19-25

Study load
YR 1: 36 hours (31 contact hours, 5 self-study hours)
YR 2: 28 hours (24 contact hours, 4 self-study hours)

1, 3, 4

This is an introductory course to Laban/Bartenieff Movement Analysis. This framework originates from a Western perspective rooted in expressionism and Tanztheater enriched with insights from martial arts (Asian), somatics and ethnographic studies. It provides a theoretical framework aand experiential playground for fundamental elements that revolve around the use of the body, its relationship to surrounding space and how movement relates to inner intention. With activities such as observation, exploration and composition, the student learns how to distinguish ingredients of movement in time and space. The understanding of these ingredients is integrated in the somatic and choreographic practice of the student. The first year aims to provide each student with a better understanding of their personal movement signatures, which serves dance technique classes as well as the creation of solos.
The second year deepens the understanding of the elements provided in the first year and offers more lenses to promote nuance and variety in terms of (self-)observation and composition. This serves various workshops with guest choreographers as well as the creation of own work.

Content and design of the class

  1. Check-in to recap material from previous classes and explain subject(s) of today’s class.
  2. Observing and exploring in order to gain embodied understanding of the topic.
  3. Application and integration navigated between material from other technique classes, pedestrian activities and/or composition
  4. Q&A

Learning goals

  1. Connects the curious, associative skills of a child to dance as a practice.
  2. Can name different ingredients within one or a series of movements.
  3. Can place the ingredients of movement in overarching categories.
  4. Relates this information to personal and/or collective styles, genres or idioms.
  5. Practices how language is one of the vehicles to practice 'embodiment'.  
  6. Shows an inclusive approach towards the different possibilities of movement.
  7. Articulates different perspectives on movement as it is observed in context (objectivity vs subjectivity)

Working method(s) used
Learning, exploring, observing, improvising, composing and reflecting.

Used study material
Van Berkel, R. (2019). Reader: introduction to L/BMA which includes:
■ Abram, D. (1996). The Spell of the Sensuous. New York: Random House (p. tba)
■ Bainbridge Cohen, B. (1993). Sensing, Feeling and Action. Northampton: Contact Editions (p. tba)
■ Blakeslee, S. & Blakeslee, M. (2008). The Body has a Mind of its Own (p. tba)
■ Bloom, Galanter and Reeve (2014). Embodied Lives. Reflections on the influence of Suprapto Suryodarmo and Amerta Movement. Devon: Triarchy Press, p. 29-35
■ Hackney, P. (2001). Making Connections. Amsterdam: Gordon & Breach (p. 13-14, 42-43, 89-92, 96-98, 237-241)
■ Hutchinson Guest, A. (1989) Choreo-graphics. A Comparison of Dance Notation Systems from the Fifteenth Century to the Present. New York: Gordon&Breach (p. tba)
■ Newlove, J. & Dalby, J. (2004) Laban for all. New York: Routledge (p. 23-26)
■ Reynolds, D. (2007). Rhythmic Subjects. Hampshire: Dance Books (p. 7-18)
■ Wahl, C. (2019). Laban/Bartenieff Movement Studies. Contemporary Studies. Champaign: Human Kinetics (p. 3-13, 84-87, 175-180)
■ Motion Bank digital tools for movement annotation: motion-bank/introduction-to-annotation-as-a-research-practice-indance- 3a0884c5d720
■ Observation sheet for field trip
■ List of scenes from movies and sections of choreographies Assessment criteria
■ Attitude: pro-active, investigative, committed
■ Knowledge and Insight: vocabulary is shared in oral and written form
■ Artistic: shows evidence of integrating the acquired knowledge in dance practice
■ Individual reflection (writing, audio or video) after the last class Method of assessment
■ Tasks and assignments
■ Feedback and feed forward
■ Presentation (8-10 mins)

Learning goals in the class contribute to the overall development of the competency indicators
1.3 The graduate has a developed awareness of their body and its multi- layered physical and expressive potential and uses that understanding in developing and interpreting dance and performance material.
1.6 The graduate is able to critically analyse and creatively develop their physicality in relation to social and cultural determinations and expressions as well as evolving artistic concepts.
3.2 The graduate has an investigative attitude and can undertake (practice- oriented) research.
3.4 The graduate can employ the knowledge of critical and theoretical tools as well as artistic concepts in the development and/or interpretation of material, the creation of a role, the fulfilment of an artistic vision, or development of their personal dance practice and artistic vision.
4.4 The graduate offers and accepts feedback in a constructive way.
4.5 The graduate is open to new information, is able to in take more than one perspective, listens and tries to adapt their understanding of a situation and other perspectives in an intercultural, diverse working community.

The overall development of the student is assessed at integral assessment meetings, twice a year, through combined self-assessment and assessment by teachers, coaches and mentors. This course forms a continuous line with the Alexander Technique, ATM, Experiential Anatomy - kinesiology and supports all contemporary dance classes