The Principles of Bartenieff Movement
The Laban/Bartenieff Institute of Movement Studies (LIMS) has been training movement observers, teachers, and coaches for thirty years.
These 12 basic principles are an asset to anyone interested in improving communication skills through effective movement. At The Prism Centre we apply all of these principles through the Brain Dance in all our classes, to children of all ages and developments.
Check them out and try them today!!
1. Connectivity – The whole body is connected
2. Breath Support – Breath brings life and movement
3. Grounding – The earth provides a support, a ground for Being and moving.
4. Developmental Progression – Basic body connections are patterned through a stage-specific developmental sequence. –
The Movement Fundamentals :
A) Breath
B) Core to Distal
C) Head to Tail
D) Upper to Lower
E) Body Half
F) Cross Lateral
5. Intent – Intent organizes the neuromuscular system.
6.Complexity – Movement is multifaceted, orchestrating Body/Effort/Shape/Space.
7. Inner-Outer – Movement is meaningful. Outer reflects inner. Inner reflects Outer.
8. Function-Expression – Function and expression integrate to create meaning in movement.
9. Stability-Mobility – Stabilizing and mobilizing elements interact continuously to produce effective movement.
10. Exertion-Recuperation – Exertion-Recuperation is a natural cycle which replenishes movement vitality.
11. Phrasing – Movement happens in phrases. The preparation and initiation determine the entire course of the phrase.
12. Personal Uniqueness – Patterning is an adventure. There is no one pathway for all persons to achieve full movement functioning.
For more information please contact us at Prism Dance Centre, 604-461-3388
or by email, prismdance@hotmail.com
You can also visit the Laban/Bartenieff Institute online at:
http://www.limsonline.org/history.html
Saturday, November 22, 2008
Sunday, November 2, 2008
Why am I a RAD Ballet Teacher?
I had many choices back during my training to decide on a specific direction for certification as a ballet teacher. I choose the RAD (Royal Academy of Dance) for several important reasons.
Safety and Progressions
I believe strongly in the very logical and safe progressions and expectations that the RAD has laid out grade by grade. While each year requires hard work, focus and practice, the steps between each grade is achievable for the average student. To receive the highest possible marks often requires extra talent and physical gifts, but hard working students are rewarded at each level, based on the comprehensive and balanced marking system for exams. Because the progressions are age appropriate I believe that the body can be safely trained, without any undue and dangerous pushing of the body, especially the development of turn-out of the legs.
Personal Success
Many ballet syllabi focus exclusively on classical ballet technique. For many young dancers the physical requirements of classical ballet are a challenge. The balanced approach of the RAD syllabus which included character work and free movement, allows such students the opportunity for personal success in areas that do not require physical gifts, but rather an enthusiasm and love of dance. The various strengths of each student will be reflected in the exam marking, where technique, expression and musicality are given equal weight.
Character Work
I believe that the balanced approach to training is a great asset to the developing dancer. The RAD syllabus includes training in character work which is national dancing from Hungary, Russian and Poland. These are the dances that are used during all the major classical ballets in the “villagers” scenes. The RAD syllabus will prepare the dancers for the requirements of these corps de ballet roles, as well as giving the dancers the opportunity to explore rhythm and a proud style. Also, character work is an opportunity for the students to dance as partners.
Free Movement
The RAD syllabus also includes a section called Free Movement. This section is designed to give the students the opportunity for a different style of movement that enhances artistry, musicality as well as health and balance in the body. The dancer is encouraged to find the natural flow of movement by exploring the use of gravity, swing and suspension. The use of parallel for the legs helps to balance the hip muscles, which are often over-taxed if the dancer is only working with turn-out. This is much like cross training for the body. Also, the spine is used with freedom including rotation, flexion and extension. Often, the work on posture in classical technique can lead to tension and rigidity in the body. Free movement is an ideal opportunity for dancers to feel that the body moving freely and with relaxation can also feel strong and expressive.
Safety and Progressions
I believe strongly in the very logical and safe progressions and expectations that the RAD has laid out grade by grade. While each year requires hard work, focus and practice, the steps between each grade is achievable for the average student. To receive the highest possible marks often requires extra talent and physical gifts, but hard working students are rewarded at each level, based on the comprehensive and balanced marking system for exams. Because the progressions are age appropriate I believe that the body can be safely trained, without any undue and dangerous pushing of the body, especially the development of turn-out of the legs.
Personal Success
Many ballet syllabi focus exclusively on classical ballet technique. For many young dancers the physical requirements of classical ballet are a challenge. The balanced approach of the RAD syllabus which included character work and free movement, allows such students the opportunity for personal success in areas that do not require physical gifts, but rather an enthusiasm and love of dance. The various strengths of each student will be reflected in the exam marking, where technique, expression and musicality are given equal weight.
Character Work
I believe that the balanced approach to training is a great asset to the developing dancer. The RAD syllabus includes training in character work which is national dancing from Hungary, Russian and Poland. These are the dances that are used during all the major classical ballets in the “villagers” scenes. The RAD syllabus will prepare the dancers for the requirements of these corps de ballet roles, as well as giving the dancers the opportunity to explore rhythm and a proud style. Also, character work is an opportunity for the students to dance as partners.
Free Movement
The RAD syllabus also includes a section called Free Movement. This section is designed to give the students the opportunity for a different style of movement that enhances artistry, musicality as well as health and balance in the body. The dancer is encouraged to find the natural flow of movement by exploring the use of gravity, swing and suspension. The use of parallel for the legs helps to balance the hip muscles, which are often over-taxed if the dancer is only working with turn-out. This is much like cross training for the body. Also, the spine is used with freedom including rotation, flexion and extension. Often, the work on posture in classical technique can lead to tension and rigidity in the body. Free movement is an ideal opportunity for dancers to feel that the body moving freely and with relaxation can also feel strong and expressive.
Subscribe to:
Posts (Atom)
Posts
