Name of teacher / supervisor
Roos van Berkel
Periods
Block 1, 7 weeks
Block 2, 6 weeks
Block 3, 6 weeks
Block 4, 6 weeks
Study load
49,5 contact hours
8 self study hours
Competencies
1, 3, 4
Summary
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 and 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.
Content and design of the class
- Check-in to recap material from previous classes and explain subject(s) of today’s class.
- Observing and exploring in order to gain embodied understanding of the topic.
- Application and integration navigated between material from other technique classes, pedestrian activities and/or composition
- Q&A
Learning goals
Student:
- Connects the curious, associative skills of a child to dance as a practice.
- Can name different ingredients within one or a series of movements.
- Can place the ingredients of movement in overarching categories.
- Relates this information to personal and/or collective styles, genres or idioms.
- Practices how language is one of the vehicles to practice 'embodiment'.
- Shows an inclusive approach towards the different possibilities of movement.
- 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: https://medium.com/motion-bank/introduction-to-annotation-as-a-research-practice-in-dance-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)