Name of teacher / supervisor
Roos van Berkel
Block 1, 2: week 37-42
Block 3, week 9-14
Total 36 hours: 31 contact hours, 5 self-study hours
1, 2, 3, 4
This is an introductory course to Laban/Bartenieff Movement Analysis . 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. The aim is to provide students with a better understanding of their personal movement signatures which serves dance technique classes as well as creative work. With activities such as observation, exploration and composition, the students learn how to distinguish parameters of movement in time and space. The parameters are defined in accordance with the Laban/Bartenieff framework. This framework originates from a Western perspective rooted in expressionism and Tanztheater. During the past couple of decades, it has been enriched with insights from martial arts (Asian), somatics and ethnographic studies.
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
- Associate: how the curious, associative skills of a child connect to dance as a practice.
- Identify: name different ingredients within one or a series of movements and to recognise that these ingredients are connected to a specific socio-cultural context.
- Categorise: place these ingredients in overarching categories: 'body', 'space', 'dynamics', 'shape' + 'relationship'.
- Relate: point out various connections between the categories and to relate these connections to personal and/or collective styles, genres or idioms.
- Embody: language as one of the vehicles to practice 'embodiment'.
- Include: an inclusive approach towards the different possibilities of movement.
- Contextualise: the articulation of 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. Part 1 - 4 which includes: Wahl, C. (2019). Laban/Bartenieff Movement Studies. Contemporary Studies. Champaign: Human Kinetics (p. 3-13) Hackney, P. (2001).
Making Connections. Amsterdam: Gordon & Breach (p. 13-14, 42-43) Bainbridge Cohen, B. (1993).
Sensing, Feeling and Action. Northampton: Contact Editions Godart, H. (2014).
Reading the body in dance - a model. resourcesinmovement.com/wp-content/uploads/2014/09/Reading-The-Body-in-Dance-1.pdf Frank, K. (2008)
The Body has a Mind of Its Own Review resourcesinmovement.com/wp-content/uploads/2014/09/Body-Has-a-Mind-of-Its-Own-Book-Review-1.pdf
Observation sheet for field trip List of scenes from movies and sections of choreographies
Attitude: pro-active, investigative, committed Knowledge and Insight: vocabulary is shared in oral and written form (peer feedback and maps and shortlist that articulates choreographic ‘likes’ and ‘dislikes’) Artistic: shows evidence of integrating 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 / 1.4 / 1.5 / 1.8 / 2.1 / 2.2 / 3.2 / 3.4 / 4.4 / 4.5 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.