Contemporary Dance Training 1

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Subject guarantor:

Andrea OPAVSKÁ

Name of lecturer(s):

Andrea OPAVSKÁ

Learning outcomes of the course unit:

The concept of individual lessons leads to a gradual adoption of movement principles and method techniques of contemporary dance, improvisation and touch technique, which contributes to the training of movement memory, development of the muscle apparati, strengthening physical fitness and technical level of movement. A general and important extension is the development of knowledge and awareness of the movement potential of one's body which originates in the practical research of using physical laws and kinesology. Among other further results are student self-promotion, respect of one's body, shared responsibility for the process and development of the students artistic personality.

Mode of study:

This is a practical look into the technique of contemporary dance originating in theory knowledge.

Prerequisites and co-requisites:

Requirements are an openness to acquiring new knowledge, the basic movement quality and priciples of contemporary dance, ability to improvise, creativity, interest in theory and an effort to become aware of current events in contemporary dance in the field of education and choreography domestically and abroad. Participation in dance - education seminars and workshops organized by other institutions, monitoring and comparing the instruction methods of various instructors, continual adding of new information through the internet are recommended. Independent study through e-learning and study materials and recommended bibliography are emphasized.

Course contents:

Contemporary dance techniqus present and open system of practice methods which emphasize natural movement expression and effective body function in motion.

The warm-up is focused on an awareness of basic body posture and the relations of its individual parts in vertical or horizontal positions, coordination, body center and periphery integration. To gradually and sensitively activate the muscle and joint systems at all three levels - spinal, lateral and contralateral. The following movement links in floor work, center work, and work in space use and develop the fundamental movement principles - body fall on a vertical axis and horizontal level, searching for the moment of rebound and suspension, developing impulses and feeling spiraling as motivation for change in body position, succession of movement, awareness of bodyweight, its transfer and use in movement, use of support points, perception of opposition, counter-movement - or topics: walk, run and internal space, accleration-deceleration. The close of the lesson devoted to extension or strengthening bearing parts of the body and reintegration.

During each class breath support is reiterated which provides fluidity and interlinking of individual movement sequences, maintaining lightness and relaxation also in fast and dynamic movement. The activation of the deep stabilization system is linked to breathing which contributes to the effective organization of any type of movement. Attention is as well focused on precise localized movement initialization and manner of its subsequent articulation which gives movement a noticeable form. Each movement sequence is emphasized with a precise definition of the spatial orientation of the movement. Indirectly related to this is an extended attention to proprioception in space, in which the student moves and their situation in relation to colleagues.

Emphasis is palce, as well, on changable dynamics, difference in movement quality and musicality.

Movement priniciples during both semesters systematically reiterate and are gradually linked which results in an awareness of and internalization of the fundamentals and practical use. Parts of various and complex movement phrases are revealed which requires necessary physical and mental concentration by the student.

Students are systematically guided to an awareness of methodically linked 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:

1) required participation in a minimum of 10 lessons

2) participation in the workshops by Zuna Kozankova Liquid Joints (29.9 - 2-10), Jaro Viňarsky (9-13:00, 9-13.11) and Limón Today (14:00-19:00, 9-13.11) and their written analysis (class structure, aim, main principles, instructor approach, etc.)

3) a written review of two premieres (performances) of contemporary dance during the Winter semester.

Written work to be submitted by: 11. Jan. 2016.

Course web page:

Note:

No notes

Schedule for winter semester 2017/2018:

The schedule has not yet been prepared

Schedule for summer semester 2017/2018:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• 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)