Methodology of Contemporary Dance 4
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Name of lecturer(s)
Learning outcomes of the course unit
The study aim is to develop methodic thinking and comprehensive reasoning skills about movement with a sensitivity for detail and a view to anatomic dependencies. The course is to lead to the support and consolidation of teaching skills, one's own creativity, movement research and analysis, forming an individual teaching style and an awareness of the role of the instructor. Part of the course is independent student teaching practice and its subsequent analysis and evaluation through discussion.
Mode of study
Theory instruction aims towards the systematic broadening of professional skills in teach methods and instruction steps (ex: sample analysis forms of various manners of instruction recorded on DVD, analysis of completed workshops, individual lessons) and practical exercises. The course includes independent student teaching practice in the Pegagogy Pro-seminar of the first year of dance teaching at HAMU which are consulted upon.
Prerequisites and co-requisites
The requirement is the completion of Modern Dance Methods 1, 2 and 3, primarily, an openness to learning new skills, development of movement quality and the principles of modern dance, improvisation skills, creativity, interest in theory, effort to learn about current events in modern dance in teaching and choreography in the Czech Republic and abroad. Recommended: participation in dance - education classes and workshops arranged by other professional institutions, a monitoring and comparison of teaching methods of various instructors, continuous gathering of new information through the internet. Independent study is emphasized through e-learning, study materials and recommeded professional writings.
The movement vocabulary of modern dance has not been codified and there is no set system of exercises. The methodology is based, primarily on a detailed analysis of movement principles and various methods which emphasize natural movement expression and effective function of the body in movement. This comes from practical research in the use of physical regularities and kinesology which generally leads to the development of recognition and awareness of the movement potential of the human body. In instruction, the students acquire, not only, theory information but all method and teaching knowledge. Skills are checked and consolidated, as well, through practical exercises in which the students learn to investigate and create a particular teaching style.
The syllabus for the Summer semester includes these topics:
- Fundamental characteristics of awareness technique, body work and release technique (working with imagination).
- Contact improvisation (post-modern dance and Judson Church Dance Theatre, democratic duet, body contact, fluid movement flow and energy, active relaxation, lifting, rolling)
- Partner dance in modern dance (comparing pas de deus and partner dance, imaginary axis of rotation and strokes, line of movement, partner common tempo-rhythm, grasp-support body handle, balance and imbalance)
Recommended or required reading
Bartal L., Ne´eman N.: Movement awareness and creativity. UK: Dance Books Ltd.
Bertherat, Bernstein: The body has its reasons: self-awareness through conscious movement. UK: Dance Books Ltd., 1995.
Bloom K.: Moves: A Sourcebook of Ideas for Body Awareness and Creative Movement (Performing Arts Studies). Taylor&Francis, 1998.
Feldenkrais M.: Feldenkraisova metoda. Pohybem k sebeuvědomění. Praha: Pragma, 1996.
Johnson, Don Hanlon: Bone, breath and gesture. UK: Dance Books Ltd., 1995.
Jowitt Deborah: Not just any body, advancing health, well-being and excellence in dance and dancers. UK: Dance Books Ltd., 2001
Olsen.A.: Bodstories. New York: Station Hill Press, 1991.
Parková G.: Umění proměny. Praha: Alternativa, 1996.
Rolf I.: Rolfing a realita těla: Pracujte s přirozenou tělesnou gravitací. Praha: Pragma, 1999
Wildman F.: Feldenkrais a jeho metoda - cvičení pro každý den. Praha: Pragma, 1999.
Calais-Germain, B.: Anatomie der Bewegung (Technik und Funktion der Körpers). Wiesbaden, 2.Auflage, 1999.
Fitt S..: Dance Kinesiology. New York: Shirmer Books, 1988.
Huwyler J.: The dancer´s body, a medical perspective on dance and dance training. UK: Dance Books Ltd., 2005.
Howse J.: Dance Technique and Injury Prevention. Theater Arts Book, 2000.
Franklin E.: Conditioning for Dance. Human Kinetics Publishers, 2003.
Franklin E.: Dynamic Alignment Through Imagery. USA: Human Kinetics, 1996. *
Koniak M., Leško, M.: Biomechanika. Bratislava: Univerzita Komenského, 1984.
Lánik V.: Kineziológia. Martin: Osveta, 1992.
Laws H.: Fit to dance 2. UK: Dance Books Ltd., 2005.
Matt Pamela: A Kinestetic Legacy. USA: CMT Press, AZ, 1993.
Solomon R., Solomon J., Minton S.: Preventing Dance Injuries. Human Kinetics Publishers, 2005.
Sweigard, L.: Human movement potential. New York: Harper&Row Publishers, 1974.
Todd M. E.: The Thinking Body. New Yourk: Dance Horizons, 1937, 1968. *
Cohen B.B.: Sensing, feeling and action. Contanct Editions, Northampton, MA, 1993
Hartley, L.: Wisdom of the Body Moving. Berkeley, California: North Atlantic Books, 1995.
Assessment methods and criteria
Credit is awarded based on:
a) 80% class participation
b) written analysis of two workshops in modern or contemporary dance, which the student completed in the Winter semester.
c) written review of two performances of contemporary dance which the student attended in the Summer semester
d) instructing a practice in a class for „Methods of Contemporary Dance“
e) minimum 4 hour teaching practice at a dance conservatory and two hours listening.
Schedule for winter semester 2019/2020:
The schedule has not yet been prepared
Schedule for summer semester 2019/2020:
The schedule has not yet been prepared