Teaching - Overview
My main teaching principal is to hone in on, develop and sharpen each persons individual and unique movement qualities. To strengthen once conviction, confidence and ability to generate movement in the present moment. Get insight into the worth it has, both to your own development and also the development of the artform in general.
I feel that there is a great imbalance in the way that dance and movement art is taught.
Far too often it tends to cater for a heavy technical approach. Which usually has the end result in generating movers that more ore less resembles chameleons.
Which is extremely suited for the role as the company dancer, ore the background dancer for big stage musicians. Where the ability and skill to quickly imitate and reproduce a broad range of different types of movement qualities and dynamics, often is the sought after currency.
Now this is all fine and good, and I encourage the pursuit of a sound technical base.
Since it heightens your body-awareness, enables your body to be more adaptable and gives you a
broader range of movement possibilities.
However it is only one side of the coin. The other side is what I mentioned earlier, your ability
to generate absolutely unique, honest and powerful material in every moment.
Now to be able to do this is a skill, and as with every skill it needs cultivating,
sharpening and training to realize its full potential.
In order to do this I use improvisation as the main tool. Looking at it and implementing it as a technique
in which there are many different areas, both mental and physical to expand and investigate.
The play is usually to find the right amount of balance between freedom and limitation. Too much of either ore tends to become counterproductive.
The quest is also to identify, map out and question underlaying habits and safe-zones one tends to rely on. Another important aspect is the skill to kindle ones interest into what you’re doing.
Since the mind often tends to wander off and get distracted from the current activity if it gets bored.
Finally a big emphasis of the teaching lies in questioning the role of the ”I” within the practice. Where is the sense of I located within your movements? How much is this I in control of the generated material?
If the material isn’t generated by this I where does it come from? Is it possible to break away from the sense that it has to be an I present at all times ”doing” all the movements? And if so how will this effect your material and your way of moving in space and time?
Improvisation - advanced - 16.30 - 18.00 - Sundays @ Frihet i Rörelse, Halmstad
Improvisation - beginner -TBA @ Frihet i Rörelse, Halmstad
Movement meditation - beginner - TBA - TBA @ Frihet i Rörelse, Halmstad
Info and bookings www.frihetirorelse.se