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UWL Conference New Beginnings – Beginning Again: the Feldenkrais

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UWL Conference New Beginnings – Beginning Again: the Feldenkrais 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 Paris. Aldor (2012; 2017) suggests that Feldenkrais experienced holistic dance/gymnastic studies with Israeli expressive modern dance pioneer Margalit Ornstein (Vienna 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).
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