Optional training - Modern Dance 1

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Subject guarantor:

Andrea OPAVSKÁ, Libuše OVSOVÁ

Name of lecturer(s):

Andrea OPAVSKÁ, Libuše OVSOVÁ

Learning outcomes of the course unit:

The design of the individual lessons leads to a gradual learning of movement principles and methods in modern dance. Improvisation and touch technique as well contribute in training movement memory, developing the movement apparatus, strengthening physical fitness and the technical level of the movement. Imagination is worked on primarily. A general and important superstructure is the development of student creativity, recognition and awareness of the greatest movement potential of one's own body, which originates in practical research into the use of physical regularities and kinesology. Among other basic outcomes, is student self support, respect for one's body, listening to intuition, shared responsibility of the process (working in a team) and the development of the artistic character of the student.

Mode of study:

Exercises linked to theory knowledge.

Prerequisites and co-requisites:

A requirement is an openness to acquiring new skills, basic movement quality and principles of modern dance, improvisation skills, creativty, interest in theory information, effort to acquaint oneself with current events in modern dance in the field of teaching and choreograpy in the Czech Republic and abroad. Participation in dance - education seminars and workshops organized by other professional institutions, monitoring and comparison of instruction methods of various teachers, continues learning of new information through the internet is recommended. Independent study through e-learning and study materials and recommended professional writings are emphasized.

Course contents:

Contemporary dance technique represents and open system of training methods which emphasize natural movement expression and effect use of the body in motion.

Warm-up begins with the concentration of thoughts. It is focused on the awareness of the fundamental position of the body and relationships of its individual parts in a vertical or horizontal position, their mutual coordination, integration of the perifery and center of the body. Gradually and sensitively activating the muscle and joint system in all three planes - spinal, lateral and contra-lateral. The following movement sequence and dance in floor work, center work and work in space (jumps) using various movement qualities and their purity and fuction (sharpness, fluidity, etc.) and developing basic movement priniciples - energy, body fall on a vertical axis and horizontal plane, finding teh moment of response and suspension, developing impulses and feeling a spiral as motivation for changes in body position, sequence of movement and its plasticity, awareness of body weight, its transfer and use in movement, use of support points and the isolation of various parts of the body, perception of opposition, countermovement - or topics: walk, run, internal and external space, acceleration-deceleration, time, coordination-isolation. The close of the class is devoted to extension or strengthening the most burdened parts of the body and integration.

During each class breath support is emphasized which ensures fluidity and connectedness of individual movement sequences, maintaining lightness and disengagement in quick and dynamic movement. Breath is connected to the activation of the central stabilization system which contributes to the effective organization of any movement. Attention is also focused on the precise localization of the initiation of a movement and manner of its subsequent articulation which gives the movement it recognizable shape. In each movement sequence there is an emphasis on the precise definition of the space orientation of the movement. Indirectly, this is dependent on the following expanding of attention from oneself to the space in which the student moves, the situation relative to colleagues and ability to react to various internal impulses. Emphasis is, also, placed on working with energy and changing dynamics and musicality

Movement principles throughout the two semesters are systematically repeated and gradually merged which results in an awareness and internalization of the foundations and practical use. This all appears as diverse and complex movement sequences which require a particular needed physical and mental concentration by the student.

Students are systematically lead to an awareness of methodically connected practice.

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.

Internet:

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

www.dancebooks.co.uk

moodle.amu.cz – e-learnig

Assessment methods and criteria:

Credit is awarded based on: activity in exercises.

Course web page:

Note:

none

Further information:

Course may be repeated

Schedule for winter semester 2016/2017:

The schedule has not yet been prepared

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans: