Contemporary Dance Training 2
Name of lecturer(s)
Learning outcomes of the course unit
The design of individual lessons lead to a gradual adoption of movement principles and methods of techniques of contemporary dance, improvisation and touch techniques, which also contribute to the training of movement memory, developing the muscle appratti, strengthening talent and movement technique level. A general and important metastructure is the development of the recognition and awareness of the movement potential of one's own body which comes from investigating the use of the nature of physics and kinesology. Among other basic starting points is also the self-reliance of the student, respect for one's own body, mutual responsibility for the process and development of the artistic personality of the student.
Mode of study
Exercises applying theory knowledge.
Prerequisites and co-requisites
Completion of Modern Dance 1 and 2.
Contemporary dance technique represents an open system of training methods which emphasize natural movement expression and effective body function in movement.
Warm-up is focused on an awareness of the basic structure of the body and relations among individual parts in vertical or horizontal positions, their coordination, integration of the periphery and center of the body. Gradually and sensitively the muscle and joint system is activated at all three levels - spinal, lateral and contralateral. The resulting movement phrase in floor wok, center work and work in space uses and develops basic movement principles - fall of the body on a vertical axis, searching for immediate reflection and suspense, developing impulses and sense of springing as motivation for chaning body position, successive movement, awareness of bodyweight, its transfer and use in movement, use of support points, perception of opposition, countermovement - or topics: walking, running, internal and external space, accelleration-deceleration. The final lesson is devoted to countermovement or strengthening stressed parts of the body and reintegration.
In the course of each lesson breath support is repeatedly emphasized, which ensures fluidity and continuity of individual movement sequences, maintenance of ease and freedom in quick and dynamic movement. The breath is deeply linked to the activation of the stabilization system which contributes to the effective organization of any movement. Attention is also focused on precise localized movement initiation and manner of its subsequent articulation which gives movement its clear form. Each movement sequence emphasizes a precise determined spatial orientation of the movement. Indirectly related to this follows a broader attention to the proprioception of space in which the student moves and its their situation in regards to colleagues.
Emphasis is placed, also on changable dynamics, diversity in movement quality and musicality.
Movement principles, during both semesters, systematically repeat and gradually are joined to one another. With this comes an awareness of the internalization of the basics and their use. this are discovered as part of various and complex movement phrases which require a particular necessity of physical and mental concentration by the student.
Students are systematically guided to becoming aware of the methodic continuity of exercises.
Recommended or required reading
Bartal L., Ne´eman N.: Movement awareness and creativity. UK: Dance Books Ltd.
Belej M.: Motorické učenie. Prešov: Prešovská univezita, 2001.
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.
Calais-Germain, B.: Anatomie der Bewegung (Technik und Funktion der Körpers). Wiesbaden, 2.Auflage, 1999.
Dowd, I.: Taking Root to Fly.USA: G&H SOHO, Inc., 1995
Feldenkrais M.: Feldenkraisova metoda. Pohybek k sebeuvědomění. Praha: Pragma, 1996.
Fitt S..: Dance Kinesiology. New York: Shirmer Books, 1988.
Franklin E.: Conditioning for Dance. Human Kinetics Publishers, 2003.
Franklin E.: Dynamic Alignement Through Imagery. USA: Human Kinetics, 1996. *
Hackney P.: Making Connections. Routledge, 2002
Hodgson J.: Mastering Movement. Routledge, 2001.
Howse J.: Dance Technique and Injury Prevention. Theater Arts Book, 2000.
Huwyler J.: The dancer´s body, a medical perspective on dance and dance training. UK: Dance Books Ltd., 2005.
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
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.
Linc, R.: Náuka o pohybe. Martin: Osveta, 1993
Masters R., Houstonová J.: Naslouchejte svému tělu. Praha: Pragma,1993.
Matt Pamela: A Kinestetic Legasy. USA: CMT Press, AZ, 1993.
Newlove J., Dalby J.: Laban for all. Routledge, 2004.
Olsen.A.: Bodstories.New York: Station Hill Press, 1991.
McFarland & Company, Inc., Publishers, 2006.
Parková G.: Umění proměny. Praha: Alternativa, 1996.
Rolf I.: Rolfing a realita těla: Pracujte s přirozenou tělesnou gravitací. Praha: Pragma, 1999
Rolland, J.: Inside Motion, An Ideokinetic Basis For Movement Education. Rolland String Research Associates, 1984, 1987.
Solomon R., Solomon J., Minton S.: Preventing Dance Inhuries. 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. *
Wildman F.: Feldenkrais a jeho metoda - cvičení pro každý den. Praha: Pragma, 1999.
www.impulstanz.com - Official website of the Modern Dance Festival in Vienna
www.artychaud.com - Official website of Frey Faust instructors and dancers which oficiální stránka tanečníka a pedagoga Freye Fausta, which develops the Axis Syllabus method system
moodle.amu.cz – e-learnig
Assessment methods and criteria
Credit is awarded based on:
a) 80% class participation
b) written analysis of two workshops on contemporary or modern dance, which the student completed during the Summer semester
c) written review of two contemporary dance performances which the student attended in the Summer semester (Written review and analysis comparing the two evenings/dance conservatory performances.
Course may be repeated
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
The subject is a part of the following study plans
- Choreography (Bc) (required optional subject, optional subject)
- Choreography (Mg) (required optional subject)
- Dance Pedagogy (Bc) (required subject with the possibility of repeat registration, optional subject)
- Dance Pedagogy (Bc) - Classical Dance (required subject with the possibility of repeat registration, optional subject)
- Dance Pedagogy (Bc) - Modern Dance (required subject with the possibility of repeat registration, optional subject)
- Dance Pedagogy (Bc) - Folk Dance (required subject with the possibility of repeat registration, optional subject)
- Dance Pedagogy (Mg) (required optional subject)
- Dance Pedagogy (Mg) - Classical Dance (required optional subject)
- Dance Pedagogy (Mg) - Contemporary Dance (required optional subject)
- Dance Pedagogy (Mg) - Folk Dance (required optional subject)
- Dance Theory (Bc) (required optional subject, optional subject)
- Dance Theory (Mg) (optional subject)