Teaching Size and Pathway in the Kinesphere

Last summer I attended a workshop on Language of Dance  with Tina Curran. Also teaching was Frederick Curry, certified in Laban Movement Analysis (which you can Google and find out more about).

Each day of the workshop focused on a different umbrella topic, including body, space, shape and relationships, and effort/dynamics. These concept categories are familiar to me through the work of Anne Green Gilbert. But the view lens and perspective of both LOD and LMA gave me a fresh take on concept teaching.

I’m going to talk about space, and in particular the kinesphere, because – since returning from the workshop – I’ve been exploring this in all my teaching to great effect. Lately I’m teaching children ages 4-10, college-aged students and people over the age of 50. Everyone is responding very positively to the learning.

Why am I so excited? Because sensing ourselves in space is so important.

Here’s what I’d like to share.

The kinesphere is the space around us. I give the image of a ‘hamster ball’ – one of those transparent globes that allow your pet to run around the house without getting away from you. I prefer this image to ‘bubble’ because it’s not as fragile. You can touch the inner surfaces without breaking through.

Within the kinesphere, we can grow and shrink, changing size. ‘Extension’ is the word for stretching and reaching the limbs in all directions. ‘Flexion’ is the word for bending our limbs at the joints, shrinking towards the core. Therefore, ‘extension’ moves us towards ‘big’ and ‘flexion’ towards ‘small’.

As we explore extension and flexion within the kinesphere, staying in one place (standing, sitting in a chair, or sitting on the floor would be options), we create pathways. Reaching directly out from the navel or core, we make direct pathways. This is called moving centrally. Upper and lower limbs can move centrally in all directions, challenging balance. Central pathways are straight, direct and radiate from the core.

Peripheral pathways touch the inner surface of the kinesphere. Movers sweep limbs across the space, in curves, in all directions. Tossing over the top is peripheral movement. Keep the image of touching the kinesphere to encourage big reach, and remind movers of the space behind and below, too.

Transverse pathways cross the midline, passing from one side of the kinesphere to the other, in front and behind the body while remaining in one place. Smaller, intricate movements may appear in this exploration. The pathways can take direct or indirect routes as they cross the midline. Encourage movers to explore all limbs, both upper and lower.

After exploring size and pathway in the kinesphere, take a walk or transition into a warm up and see how your sense of space is affected. How does this change your spatial awareness? Do you move with more volume? Are you aware of all sides and dimensions of yourself in the space, not just the front of the body?

This is a great way to start a movement exploration, and establish a bigger and more dimensional sense of self and others.

 

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October 2, 2015. Tags: , , , , , . Elements of Creative Dance, Kate Kuper on Teaching Creative Dance, Studio Teaching, Teaching Tips, Warm Ups. 1 comment.

Teaching the Developmental Movement Pattern Sequence (Braindance) through the lens of technique

If you are already doing the Developmental Movement Pattern Sequence found on my CD Brain Bop (also called the “Braindance” developed by Anne Green Gilbert), you might enjoy using these same 8 patterns to develop a technical warm up for your students ages 7 or 8 and up.

I suggest working with one or more colleagues to brainstorm ideas that work for ballet, modern, jazz or hip-hop. Start with one technique only, and develop a progressive warm up that follows the sequence while also teaching elements and principles of the technique.

Then, film or otherwise document the different sequences and keep them handy. They can be used on a rotating basis.

In my Creative Dance for Children seminar, college students divided into groups and created. I videoed and posted, so that whoever was lead-teaching had a point of departure.  The warm up was refined and improved upon from one week to the next.

In our ages 8-10 class, we divided our semester into 4 weeks each of modern, ballet and hip hop just for the warm up. The rest of the lesson followed a concept-based approach for technique, improvisation and composition. We did refer back to the  “technique of the week” in the across the floor phrases, layering on new technique ideas as they were introduced through the warm up over the course of the semester.

In preparation for our “Informance” (informal, open class), students decided ahead of time which of the three different warm ups they wanted to share. That became the warm up for the demonstration class, shared with parents and friends.

May 16, 2015. Tags: , , , , . Kate Kuper on Teaching Creative Dance, Studio Teaching, Teaching Tips, Warm Ups, Working with Kate's Material. Leave a comment.