UWL conference

New Beginnings – Beginning again: the Feldenkrais Method in Creative Practice

11 March 2017

9.30 registration and welcome All sessions are in the Weston Hall

Session 1: 10.00-11.00

‘Creative Beginnings: Dancing with Feldenkrais’

Thomas Kampe (PhD): Bath Spa University

This papers aims to retrace and re-connect the beginnings of early Modernist Dance and Body Cultures to body-codes and creative emancipatory ethics found in the work of Moshe Feldenkrais (1904-1984). It draws on the author’s extensive Feldenkrais-informed teaching practice in the theatre and dance sector, on recent practice-led somatic-informed dance research undertaken by the presenter in collaboration with choreographer Carol Brown and The New Zealand Dance Company, and on dialogues about dance and migration with scholars in Australia, Germany and Israel. The author hypothesises that Feldenkrais’ emphasis on an embodied fostering of the curious mature adult as a creative and emancipated individual not only emerged from his studies in Judo and his scientific background, but also from the early modernist ‘Körperkultur’ (body culture) and dance beginnings that formed important part of the cultural milieu in the 1920’s Palestine that Feldenkrais encountered before he left for . Aldor (2012; 2017) suggests that Feldenkrais experienced holistic dance/gymnastic studies with Israeli expressive pioneer Margalit Ornstein ( 1888 – Tel Aviv 1973) before moving to Paris. Ornstein was influenced by the work of Viennese Choreographer Gertrud Bodenwieser (Vienna 1890 - Sydney 1959) and European body- culture pioneer Bess Mensendieck ( date) , both visionary emancipatory proto-somatic pioneers While revealing similarities between Mensendieck’s, Bodenwieser’s and Feldenkrais’ ethos and practices, the paper also places Feldenkrais into the context of post 1940’s Israeli body-culture education which drew on European exile Modern Dance and holistic Gymnastic practices including the work of Elsa Gindler. It aims to re-view the beginnings of Feldenkrais’s work not as the work of a monolithic genius but as the result of an interdisciplinary milieu that emerged from utopian and diasporic Modernist artistic and educational endeavours. The author will present short video clips of recent examples of practical research that aimed to re-somatise the nearly forgotten practices of Gertrud Bodenwieser through Feldenkrais- informed dance processes.

Integrating the Feldenkrais Method within Tango Dance Technique

Marcia Carr (UWL) with assistance from Dr Rodreguez King-Dorset (UWL)

The Feldenkrais Method is a somatic educational system designed by Moshé Feldenkrais (1904–1984). Feldenkrais aims to reduce pain or limitations in movement, to improve physical function, and to promote general wellbeing by increasing students' awareness of their body and by expanding students' movement repertoire.

This paper demonstration will focus on Integrating the Feldenkrais Method within Tango Dance Technique by means of raising awareness of the body through movement, discovering its limits and possibilities and avoiding disturbing habits or unnecessary efforts.

This paper demonstration grew out of a discussion looking at the benefits of functional integration in relation to the trained contemporary dancer and dance teacher. When dancing a pas de deux, touch is an integral part of the dancer’s vocabulary and any disorganization within the body will often manifest itself not only within the performance of the dance in terms of choreography, but also in terms of the dancer’s connection; that will allow the bodies to be responsive to each other within the performance space. For a dance teacher this can often have an impact upon the way in which the pas de deux choreography is learnt.

The nature of functional integration is to use touch as a way of listening to the ways and pathways of movement within the body as well as to discover a common connection. It is also to find the moment where there is little realisation of where the body begins or ends in terms of that connection. This paper demonstration will focus on how we can use the skills from functional integration to not only assist the dancer’s body awareness, but also to find a way of ‘listening’ to the body, in order to amplify the bodily connection between the dancers.

11.00 break

Session 2 11.15-12.15

Workshop: Victoria Worsley (Feldenkrais Practitioner and author)

I spend a lot of time thinking about beginnings: how to introduce this work to actors who don’t know the Feldenkrais Method or what it can do to enable them in a new way: students who have to do it at drama school, experienced actors who don’t want to be taught to suck eggs or have come simply because their back hurts. I spend a lot of time trying out ways to help them appreciate that lying on the floor making small movements is meaningful for their development as creative performing artists. That whether they are experienced professional actors or first year students there are new ways to experience themselves, to respond, to explore that can be encountered via these funny lessons on the floor.

In this short practical workshop I would like to share one of those ways: a simple acting game that frames a very standard Feldenkrais lesson on the theme of turning. Very simple. Yet it often opens an actor’s eyes to see that the ways they respond in different emotional situations and their own specific movement patterns are interlinked. When it works well it can spark the realisation that new possibilities of differentiation and integration, new qualities of movement, can offer the opportunity to develop ever more finely nuanced performance skills.

12.15-130 lunch

Session 3 1.30-2.30

Paula Scales (UWL)

Feldenkrais and the somatic touch in the dance class

According to Eddy (2009) dance excites people to explore movement expression, deepen creative skills and investigate the body kinaesthetically (p.16). Bearing this in mind, it could be argued that there is a growing interest in dance and somatic practice in higher education. These dance courses focus on the various dance techniques that are selected and its implementation within the corporation of somatic pedagogy, in particular the growing interest and value of the Feldenkrais Method. However, it could be suggested that this is nothing new to dance pedagogy, as dance has used the corrective practice of touching, feeling and connecting as a 'Method' for correcting students for decades; helping to allow the students to feel the correct placement and connection with their bodies. This guidance becomes a partnership between the student and teacher in order to explore the student's body perception, image, technique and as a means of communication through movement. This practical presentation will look at a particular case study where the Feldenkrais Method has been introduced into a sixth form college performing arts dance class. It will consider the lesson plans, intervention and the responses from the students.

Brittany Blackwell (UWL)

Employing The Feldenkrais Method: The Mindful Art of Creating New Neural Connections Through The Discipline of West African Dance

The Feldenkrais Method introduced techniques, distinguishing its holistic approach to enhance awareness, reorganising the mind and body’s framework of connectivity. This is done by challenging that the existence of duality is a falsehood since it is erroneously perceived that the brain acts separately from the body. The remapping of synapses in the brain is always plausible; and, scientists have proven that humans only access and utilise a small percentage of this muscle. The presence of cognitive dissonance is challenging in shifting one’s belief that a person is fully equipped to begin, again, and unlearn then reset synapses in the brain that would influence one’s neuroplasticity, favourably.

In implementing this method in the arts practices, intending to examine the process of research as well as the reactions and fleeting thoughts throughout the creative process, grounds an individual in taking preventative measures to cease mental blockages, impeding the fullness of one’s academic articulation of creative expression. By focusing on the outcome, methodology, and observations along the process, the author will draw from her professional training experience in the somatic movement discipline of West African dance, which enhanced her fluidity in depths of expression, strengthening undeveloped areas through mindfulness, becoming more centered.

2.30-3.30 ATM or workshop lead by Alan Fraser

Break 3.30-4.00

4.00 Keynote Alan Fraser

Analysing Hand Function to Resolve a Dystonia

The relaxation and “neuromuscular let-go” of Feldenkrais Method can also be found in other modalities such as Alexander Technique and osteopathy, but Moshe’s emphasis on function is more unique to his method. It is the function of the hand in piano playing that determines the specific types of neuromuscular let-go strategies to be employed in resolving a focal dystonia. How one organizes the hand’s skeletal alignments directly influences the effectiveness of movements such as lying, standing, walking, running and jumping on the keyboard – whether the pianist is injured or healthy. This paper examines how one focal dystonia was resolved and then extrapolates the principles involved to other piano playing situations.

Biographies

Thomas Kampe

Thomas Kampe has worked with dance, theatre and movement for the last 30 years as performer, choreographer, director and educator. He has taught somatic approaches towards movement education and creative practice in different settings around the world. Throughout his career he has coordinated international transdisciplinary initiatives that bridge performing arts, health and education. He currently works at Bath Spa University as Senior Lecturer in Acting Studies. Thomas trained as a visual artist in Kassel, Germany and studied dance at the Laban Centre and at Middlesex University in London where he worked for 13 years with Austrian Ausdruckstanz pioneer and Holocaust survivor Hilde Holger (1905–2011). International artistic collaborations have included artists Liz Aggiss, Laura Belem, Carol Brown, Hilde Holger, Rosemary Lee, Julia Pascal, Colin Poole, German media-arts company ‘Blackhole-Factory’, Tanzinitiative Hamburg and Proforma Dresden. He is a practitioner of the Feldenkrais Method® which forms a foundation for his teaching, research and artistic practice. His most recent publications on Somatics and criticality include the chapter ‘The Art of Making Choices: The Feldenkrais Method as a Soma-Critique’ (Triarchy Press 2015), and ‘Eros and Inquiry – The Feldenkrais Method as a Complex Resource’ (Theater Dance and Performance Training 2015). Thomas is currently co-editing journal volumes for Journal of Dance and Somatic Practices and the International Feldenkrais Federation (IFF) Feldenkrais Research Journal.

Marcia Carr

Marcia Carr is an award winning physical theatre performer who has travelled internationally and is recognised as a Feldenkrais Practitioner. She is currently Senior Lecturer at The University of West London and department Lead for Performing Arts.

Marcia has toured both nationally and internationally. Tours include The Wild Party (The Mousepeople) Time Out Critics Choice, nominations - Vita Award, Market Theatre, Johannesburg, Best Ensemble, Stage and Television Award; Pigtales (Inamorata),Best Fringe Performer 2000, Manchester Evening Standard, nominated for Best Production; Big School (Coventry Belgrade Theatre); A Devilish Exercise (Into the Breech Theatre); Othellophobia (xplosive Acts); Juliet’s Dream (Sharp Theatre). Theatre includes: Sun & Heir (Royal Opera House); the Little Girl who was too fond of matches Best Actor 2007, Buxton Festival, nominated for Best Production (Impetuous Kinship); The Lost Thing (Impetuous Kinship) PALS (Maverick Theatre); Transfigured (Atlas productions). Television includes: Doctors (BBC), Dangerfield (BBC). Film includes: Mr Oakley (TaD too far), Sex Lives of the Potato Men. Musical Theatre includes: Laborintus II (Electric Phoenix); Fax of Life (Limited Company); The Unit (Mary Stewart David and Denis King); Profiles, cast recording (Mary Stewart David).

Marcia has toured for many years both nationally and internationally educating both young and old either facilitating workshops on all aspects of performance studies as well as lecturing to undergraduates and postgraduates on both academic and vocational courses. Some of her recent credits have included: East 15; Royal Central School of Speech and Drama; Queen’s Theatre, Hornchurch; Belgrade Theatre, Coventry; Director of Youth Theatre, Barking; Court Training Theatre; Kingston University; South Bank University; Goldsmiths University, Gifted and talented; Wolverhampton University; Winchester University. International credits include: ST&M Theatre School (Amsterdam). She is currently an Associate Artist with the National Youth Theatre and she examines and adjudicates nationally and internationally in all aspects of the Performing Arts. Marcia is also Director or the Creative Blast Company, an umbrella for transgenerational arts work and performances along with an academy, an agency and a production company which produces shows around Europe and is also Co-Artistic Director of the interdisciplinary award winning Theatre Company, Impetuous Kinship.

Marcia also reviews publications for the Society of Speech and Drama Teachers.

Marcia’s direction, choreography and physical direction include: CoalHouse Fort 100 (Impetuous Kinship); Alice in Wonderland (Impetuous Kinship); Grays 100 (Impetuous Kinship); Sugar and Spice (Futures Theatre Company); Company (UWL/London College of Music) Alice in Wonderland & Through the Looking Glass (Queen’s Theatre, Hornchurch); Harry From the Hill (Queen’s Theatre, Hornchurch); The Lost Thing & the Little Girl who was too fond of matches (Impetuous Kinship); Corpus Variorum or The Emender of Stories (KUDOS); The Silver Tongued Grandiloquent (Court theatre Training Company); Trainride & Girls’ Night Out (Impetuous Kinship); Merrily we Roll Long (Central School of Speech and Drama/ST&M, Amsterdam); The Person with Enormous Wings (TIE Court Training Company); Moot (MABrum); Webster Dextrious (MABrum); Bottom’s Dream & A Big Night Out (Chamberlain Players).

Rodreguez King-Dorset

Dr Rodreguez King-Dorset was educated and trained at The Guildhall School of Music and Drama, Rambert School of Ballet and Contemporary Dance, Brunel University and Sussex University.

Dr King-Dorset was a researcher in African performance at Cambridge University’s Centre of African Studies from 2010-15. He is the author of five academic books and his current book 'The New Music Renaissance: Black Influence on 18th to 21st Century Music' will be published in September 2018.

His work focuses on African diasporic performance, running throughout this is a concern about the meaning of the black body as resistance, focused on culture and critical dialogue. He pursues his creative and research interests through freelance collaborations and commissions within his Research-as- Practice he has produced 14 works as a Choreographer/Producer/ Director.

Funders include; European Union, AHRC, BBC, Channel 4, the British Academy, The Arts Council of England, Heritage Lottery Fund and the Department of Health with a total income generation of £600,000.

Victoria Worsley

Victoria Worsley was an actor, movement director and theatre maker for 20 years. She encountered the work of Moshe Feldenkrais via her first movement teacher, Monika Pagnuex in the mid 1980s and it coloured all of her work. Finally she joined the Professional Feldenkrais Training in Lewes 2003-7. She now has a flourishing practice in North and central London for people from all walks of life. She has taught in drama schools since 2006 and more recently at the Actors Centre in London as well as coaching individual actors and theatre companies. She also works with runners and martial artists and holds a black belt in Goju Ryu Karate Do. Her book ‘Feldenkrais for Actors, How To Do Less and Discover More’ was published by Nick Hern Books Nov 2016.

Paula Scales

A teacher of dance and performing arts within the state and private sectors for many years, has led to my interest in developing movement skills and technique on the students studying dance and performing arts. Currently a PhD candidate at the University of West London's LCM, my current research explores "Developing movement skills in performing arts: an investigation to stimulate a more creative, imaginative and sensitive movement skill engagement through a democratically orientated approach." In addition to teaching and research, I am also a Practical Teaching Supervisor (PTS) and Tutor for the Royal Academy of Dance (RAD) in the Certificate of Ballet Studies programme. I am also a member of the RAD Educational Sub- Committee.

Brittany Blackwell

Brittany Blackwell is a first-year MPhil/PhD in Music student at the University of West London’s The Graduate School. She received her Bachelors in Business Administration degree in Marketing from The Richard J. Fox School of Business and Management and her Certificate of Specialisation in Spanish from the Liberal Arts College at Temple University (Philadelphia, PA USA). Most recently, she received her Master of Arts in Music Industry Management and Artist Development from the University of West London’s London College of Music (Ealing, London, UK); and, during her program at the university, she founded the Music Industry Management Society and produced the university’s first-ever student-led conference addressing issues in the music industry that focus on empowering marginalised communities in the global music business. She is interested in advocating and implementing the message of diversity and inclusion. More specifically, for her MPhil/PhD work, she intends to research the implications of the residual effects of the African Diaspora, examining cultural appropriation, trauma, and economic disparities in the music industry.

Alan Fraser

Based in middle Europe, Canadian pianist Alan Fraser enjoys an international reputation both as a teacher and a performer. After studies in Montreal notably with Phil Cohen, he moved to Yugoslavia in 1990 to collaborate with pianist Kemal Gekić, developing an approach to piano technique that unlocks the hand’s innate power by returning to its structure and function. Completing a Feldenkrais training in 1992, he went on to synthesize these various strands of experience in several books on piano technique. He now runs the Alan Fraser Piano Institute in several countries in Europe and North America, and continues to write and perform. He lives in Belgrade, Serbia, and teaches at the University of Novi Sad.