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Le Rythme 2019 We Focus on Approaches to the Evolution of Theory in Eurhythmics

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Le Rythme 2019 We Focus on Approaches to the Evolution of Theory in Eurhythmics Imprint Le Rythme is edited by FIER (Fédération Internationale des Enseignantes de Rythmique) Domicile: 44, Terrassière, CH-1207 Genève www.fier.com The views expressed in Le Rythme do not necessarily represent those of FIER. Copyright remains the property of the individual author. Members of the FIER committee Paul Hille, president Fabian Bautz, vice-president Mary Brice, treasurer Hélène Nicolet, secretary Michèle de Bouyalski Pablo Cernik Eiko Ishizuka Dorothea Weise Cover picture: Anna Petzer Layout: Claudia Schacher Print: Druckerei Berger, Horn Preface Paul Hille, Fabian Bautz, Dorothea Weise With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier issues of the journal have presented valuable contributions concerning theoretical and scientific fundamentals. We have decided to intensify this emphasis. Happily, we received a great response to our request for theoretically-based professional articles, enabling us to offer a multifaceted spectrum of authors from Canada, the US, China, Finland, Sweden, Argentina, Mexico, UK, Germany, Austria and Switzerland. All of the contributions are in English. Hopefully, this will facilitate understanding within theoretical discourses in the eurhythmics community. Articles can also be found in their original languages on the FIER website (see documents/publications). In the printed issue this is indicated with a QR code at the end of each article; in the PDF version there is a link. Historic, scientific and theoretical perspectives in the articles are complemented by the chapter Artistic Research. Here various artistic processes in eurhythmics are reflected upon discursively. The resulting ideas generate new insights in the intersection between theory and practice. These kinds of approaches which create artistic and theoretical knowledge are extremely valuable for eurhythmics and should definitely be expanded further. The spectrum of theoretical subjects in eurhythmics is as wide as eurhythmics practice itself. For this reason, this edition contains a number of abstracts of several larger scientific research projects. In order to include a younger generation of eurhythmics practitioners with their theoretical approaches and intriguing topics, we especially encouraged eurhythmics graduates to submit abstracts of their academic papers. We are delighted to be able to present here nine excerpts from bachelor’s and master’s theses. Most of the full versions of these papers are available online in their original languages and can be retrieved by link or QR-Code. We offer our heartfelt thanks to Claudine C.C. Elian and Michael Schnack for enormous help with the translations. We wish you inspiring reading! Wien, Luzern, Berlin, April 2019 Paul Hille Fabian Bautz Dorothea Weise Historic Perspectives Selma Landen Odom Researching Elsa Findlay: Dalcroze Teacher, Choreographer, Writer 11 Karin Greenhead Hidden in Plain Sight? Challenges to the Understanding of Dalcroze Eurhythmics Today 23 Lilia Beatriz Sánchez So Far, so Close Rebuilding bridges through artistic research from Argentina 35 Theoretic Perspectives Marja-Leena Juntunen Dalcroze Eurhythmics – a Method, an Approach, a Pedagogy, or a Philosophy? 49 Andrew Goldman The Link Between Audiation, Embodiment, and Improvisation Theoretical and experimental approaches 60 Françoise Lombard Inner Listening – Foundation of all pedagogies 70 William R. Bauer Expanding Our Bodies of Knowledge 80 John Habron Dalcroze and Disciplinarity 90 Wolfgang Mastnak Eurhythmics and the Brain. A Neuroscientific Perspective 103 Eckart Altenmüller Brain Mechanisms of Motor Control in Musicians 116 Cheng Xie Eurhythmics goes China Thoughts on Culture-Sensitive Eurhythmics in China 127 Artistic Research Diane Daly A Dance of Shadows through Arts Practice Research 141 Hilde Kappes Opera Instincta – An Invention and a Finding 151 Susanne Jaresand, Maria Calissendorff Beauty/Schönheit/Skönhet An artistic research project in music and dance 161 Abstracts of Academic Papers and Research Projects Lisa Baeyens Synaesthetic Perception Processes in the Mediation of Experimental Music 175 Anna Großberger Evaluating the Phenomenon Flow in Eurhythmics Education for Adults 177 Patricia Hofmann Eurhythmics Improves Seniors’ Gait Safety – Even After Several Years of Eurhythmics Lessons 179 Tabea Kohler Discipline Related Conflicts in Eurhythmics Classes – with Preschool and Elementary School Children A solution approach based on space, time, energy and form 182 Klara Kramer Intra-Orchestral Interaction 184 Barbara Krepcik Rhythm and the Body An analysis of the perception and effect of musical rhythm with a focus on the significance of music and rhythm education 186 Mo Li Eurhythmics as a New Approach in School Music Teaching in China 188 Elisabeth Pelz, Bettina Rollwagen Phrasing 190 Andrea Schär Dance Along ... a Learning Platform for Music and Movement Teachers 192 Anne-Laure Schlaubitz Garin Jaques-Dalcroze Eurhythmics for People Affected with Parkinson’s Disease 194 Eva Schorndanner The Event of Attention in Movement Improvisation A study of Nancy Stark Smith’s “Underscore”, based on Bernhard Waldenfels’ phenomenology of attention 196 Elda Nelly Treviño The Effects of Dalcroze Eurhythmics on Psychological and Physical Variables 198 Una Minou Wiplinger Striving for Connectedness The principle of emotional resonance according to Barbara Gindl with special consideration of pedagogical approaches of Eurhythmics/Music and Movement Education 200 Historic Perspectives 11 Researching Elsa Findlay: Dalcroze Teacher, Choreographer, Writer Selma Landen Odom Dr. Selma Landen Odom is a dance historian with degrees in English literature, theatre history, and dance studies. She was founding director of the York University MA and PhD programs in Dance and Dance Studies, the first offered in Canada. Now Professor Emerita, she is an Adjunct with the Centre for Drama, Theatre and Performance Studies of the University of Toronto. She has published articles and reviews, contributed to conferences and organizations, curated exhibitions, and produced videos. Her choreography for Gluck’s Orpheus and Eurydice based on the staging by Adolphe Appia and Émile Jaques-Dalcroze at Hellerau, Germany was presented in collaboration with Richard Beacham and Karin Greenhead at Warwick University in 1991. She co-edited the anthology Canadian Dance: Visions and Stories (2004) and co-authored Practical Idealists: Founders of the London School of Dalcroze Eurhythmics (2013). Her continuing research focuses on sources, practices, and influences of Dalcroze music and movement education. 12 This article combines archival research and fieldwork in a microhistory of how Elsa Findlay (1892-1975) shaped her multi-faceted career. One of the first students to train with Jaques-Dalcroze, she influenced countless musicians, dancers, actors, teachers, students, and children after moving to the United States from England in 1921. She left traces of her teaching in Rhythm and Movement: Applications of Dalcroze Eurhythmics (1971), a classic text that remains in print and is now an e-book. My approach uses Findlay’s published and unpublished writings, along with close reading of many related documents, to focus on her practices and interactions with students, colleagues, and broader networks. I also incorporate what I learned from meeting her and watching her teach, and from interviews and conversations with others who knew her. Bruce Frumker, Elsa Findlay Collection, Cleveland Institute of Music Findlay was the first Dalcroze teacher I saw in action. When she invited me to visit her at the Cleveland Institute of Music in November 1966, she was in her mid-seventies, a tiny woman with ponytail and quick, protruding eyes. I was twenty-three, a student embarking on research in theatre history. I watched her teach three classes one Saturday. The children, led by her improvisation at the piano, played games such as walking or running to follow the music; singing, clapping, and playing hand drums to match her rhythms; using balls to feel the beat; jumping over sticks in time to her cues, or conversely they jumped and she played their timing. They devised movement individually, yet they learned as part of the group situation. Recognizing and writing notation came easily – they already knew what they were doing. In an atmosphere of artistry and irresistible fun, Findlay imparted the elements, forms, and values of Western classical and folk music. 13 We spent Sunday afternoon together at her apartment looking at books and photographs of the Bildungsanstalt Jaques-Dalcroze in Hellerau, Germany, where she studied from 1911 to 1914. She told about “exhilarating” lessons with Jaques-Dalcroze and her struggle to learn piano improvisation. She recalled Annie Beck’s choreography for the school festival productions of Gluck’s Orpheus, standing up to move and gesture. This first open-ended interview mapped out the Dalcroze world for me and set the course for what became a decades-long project. Findlay provided addresses for colleagues she thought I should meet, and generously lent photographs, journals, and a draft of her own book. Her enthusiasm propelled me to go beyond documents to find the living practice. We corresponded from then on, and I took her advice to meet people, observe lessons, and study eurhythmics myself. Experiences in the field brought many opportunities to recover and interpret activities from the past. Gradually I collected the stories of overlapping careers and networks, circles of relationship
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