Name of teacher / supervisor
Roos van Berkel

Period
Block 1, 5 weeks
Block 2, 6 weeks
Block 3, 5 weeks

Study load
19 contact hours
6 self study hours

Competencies
1, 3, 4

Summary
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 (solo) work.

Content and design of the class
Check-in to recap material from previous classes and explain subject(s) of today’s class.
Exploring and observing 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:

  • Names different ingredients within one or a series of movements and places these ingredients 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'.
  • 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)

 

Delen
Alexander technique