Coaching Project for Teachers and Choreographers

 

Strategies for idea development, planning research sessions, creating and maintaining an atmosphere of inspiration and identification among participants


* * * * *

Who is the course for?

Recent graduates for choreographic educations, promising young choreographers or teachers who are making work in the public domain, and artists in collaborative fields who are interested in tools for expanding their creative process. 

 

Overall aims

  • Present a wide range of conceptual and theoretical materials that the choreographers can make use of after the workshop.
  • In a methodical manner, give assignments using these materials in practice. The intention is that they become integrated in the participants own choreographic [or teaching] practice.
  • The workshop/seminar is a complete self-contained experience.   By this I mean:  New materials will be introduced; then we will practice with them; then we will apply them sequentially toward final public presentations.
  • Propose and nurture a collaborative, communicative working environment that is conducive to growth.  Reflect on this working atmosphere to understand better how to reproduce this atmosphere for themselves. 

 

Project Components

 

It’s my experience that great dancers need something more than outstanding technique and great dances need something more than innovative, inspiring composition.  This elusive, special “something” has been given many names, but I think many of us can agree on it being related to presence in the individual; and rapport, communication, and a trust within the group dynamic.  What is not always so clear is: can these special qualities be taught, nurtured, developed and sustained?

 

One of the central themes of our seminar will be:  one of primary roles or tasks of the choreographer or teacher is to create and nurture this atmosphere, this esprit de corps.  (Esprit de corps is defined as: “A common spirit of comradeship, enthusiasm, and devotion to a cause among the members of a group.”)

Towards this aim, we will explore models for developing and sustaining esprit de corps.  We will do exercises that illustrate and can be effective in producing this state, and will work with many specific techniques for teaching and practicing dancemaking while keeping this theme in mind.  

 

We will also discuss and practice methods for:

  • Collecting ideas, brainstorming and planning
  • Planning classes and rehearsals,
  • the Craftsmanship of Guiding (ways to stay on track while still being in the moment),
  • Forms for Reflection, and ways to facilitate these processes
  • Trust- and Team-Building skills and processes
  • Using Observation Scores
  • Ways of using Notation for developing the work

In the context of this seminar, I would also like to offer some examples of my own approaches to several areas of teaching/study.  These areas are:

  • movement research and physical preparation,
  • contemporary dance technique,
  • contact and partnering principles, and
  • viewpoints of composition      

This information will not be shared to show the right approach to these subjects, but rather in the spirit of offering materials to put some paint on the canvas, to offer examples that can begin our discussion and reflection and lead to further sharing of materials and approaches from all team members.

 

20 - 31 August, 2012

Seoul, South Korea

A production of EO Creative


 

Upcoming --

European Tour 2017

22. – 24. June: Florence, Sesto Fiorentino, Italy

“Owning our Space” Workshop

+ Performances

30.6 – 2 July: Athens, Greece

Embodiment and Connection

6. – 9. July: Toulouse, France

Embodiment and Connection

17. – 21. July: Lisbon, Portugal

Embodiment and Connection

24. – 28. July:  Berlin, Germany

Tanzfabrik Summer Intensives

Embodiment and Connection

+ Video showing & Discussion

Read: Workshop Feedback from Participants