EXPLORING THE MODERN DANCE TECHNIQUE CLASS AS A SOMATIC PRACTICE by MELANIE J. MEENAN A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2013 THESIS APPROVAL PAGE Student: Melanie J. Meenan Title: Exploring the Modern Dance Technique Class as a Somatic Practice This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Dr. Steven J. Chatfield Chairperson Mary Seereiter Member Shannon Mockli Member Dr. Jenifer Craig Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Melanie J. Meenan iii THESIS ABSTRACT Melanie J. Meenan Master of Fine Arts Department of Dance June 2013 Title: Exploring the Modern Dance Technique Class as a Somatic Practice This movement project investigates principles of modern dance technique and pedagogical practices which emphasize the inherently somatic nature of dance. Through designing, implementing, and evaluating an experimental modern dance technique course, my research considers: how dance can be inherently somatic, how teaching dance as a somatic practice differs from authoritarian dance pedagogy, and how implementing a somatic teaching philosophy affected my teaching strategies and practices. The catalyst for this project emanates from the personal belief that dance is somatic. The overarching aim of the experimental course was to promote deeper embodiment and ownership of modern dance experiences. Delineating principles of modern dance technique and somatic practices supported the development of course goals which emphasize the inherently somatic nature of dance. Themes of somatic dance pedagogy emerged: honoring student perspective in learning; process, mindfulness, and movement dialogue; language; repetition; and dedicated time. The somatic practice of modern dance technique is illustrated. iv CURRICULUM VITAE NAME OF AUTHOR: Melanie J. Meenan GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene City University London, United Kingdom (Laban) University of Wyoming, Laramie DEGREES AWARDED: Master of Fine Arts, Dance, 2013, University of Oregon Master of Dance Performance, 2005, City University London Bachelor of Fine Arts, Dance, 2003, University of Wyoming Bachelor of Arts, Journalism, 2003, University of Wyoming AREAS OF SPECIAL INTEREST: Dance Pedagogy Dance Science and Somatics PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Dance Department, University of Oregon, 2010-2013 Company Dancer/Outreach Instructor, Hannah Kahn Dance Company, 2007-2010 Pilates Instructor, Pilates Denver and Higher Health Chiropractic, 2008-2010 GRANTS, AWARDS, AND HONORS: Georgianne Teller Singer Dean’s Fellowship, Dance, University of Oregon, 2010-2013 Outstanding Dance Graduate Student Award, School of Music and Dance, University of Oregon, 2013 Gradate School Research Award, Dance, University of Oregon, 2013 Summer Research Grants, Dance, University of Oregon, 2012 and 2011 v ACKNOWLEDGMENTS I would like to express my sincere appreciation to my committee chair and mentor, Dr. Steven J. Chatfield for his enthusiasm, support, and mindful discourse during my time at the University of Oregon. Thank you for always challenging me to leap further. This project also wouldn’t have been possible without the caring support of committee member Mary Seereiter. Thank you for sharing your body of knowledge with me; I continue to be inspired by your embodied wisdom. This project was also stimulated by the intuition and curious nature of committee member Shannon Mockli. Thank you for sharing in pedagogical conversations and for your multidimensional support these three years. I would like to express my gratitude to committee member and mentor Dr. Jenifer Craig for validating dance in higher education through rigorous dance discourse. Thank you for supporting my growth as an artist, teacher, and researcher. In addition, I would like to express sincere appreciation to all of the dance faculty, staff, and my graduate colleagues, whom have contributed to my journey and studies at the University of Oregon. This research was made possible by the involvement of my movement project participants – thank you for sharing your thoughts and this experience with me. Special thanks to Wendy Loren for her compassion and support of this project. I would also like to acknowledge my previous teachers, mentors, and dance colleagues whose caring spirits have inspired my teaching and research. Finally, and far from least, I would like to acknowledge my family, especially my husband Sean, for his never ending support, patience, and inspiring belief in the potential of the human spirit. Thank you for taking this journey with me. You are my home. vi For my grandfather, Robert V. Andes Senior, whose “driving” spirit taught me to live fully with purpose and fortitude vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION.................................................................................................... 1 Statement of Purpose ............................................................................................. 4 Definition of Terms................................................................................................ 5 Delimitations.......................................................................................................... 10 Limitations ............................................................................................................. 11 Significance of Study............................................................................................. 11 II. REVIEW OF LITERATURE.................................................................................. 14 Introduction............................................................................................................ 14 Somatics and Dance .............................................................................................. 15 Somatic Principles ................................................................................................. 28 Modern Dance Technique Principles .................................................................... 30 How Can Dance Be Inherently Somatic? .............................................................. 36 III. METHODOLOGY ................................................................................................ 39 Course Design........................................................................................................ 39 Course Activities and Structure ....................................................................... 41 Writing Activities............................................................................................. 44 Evaluating .............................................................................................................. 45 IV. RESULTS AND DISCUSSION............................................................................ 48 Introduction ........................................................................................................... 48 How Does Teaching Dance as a Somatic Experience Differ from an Authoritarian Dance Pedagogy Model? ................................................................ 49 viii Chapter Page Honoring Student Perspective in Learning ..................................................... 49 Process, Mindfulness, and Movement Dialogue.............................................. 57 Language.......................................................................................................... 64 Repetition ........................................................................................................ 69 Dedicated Time ............................................................................................... 70 Conclusion ....................................................................................................... 72 How Did Implementing a Somatic Teaching Philosophy Affect My Teaching Strategies and Practices as I Worked Toward Facilitating Somatic Dance Inquiry in a Modern Dance Technique Class? ...................................................... 73 V. CONCLUSION....................................................................................................... 82 Future Research Recommendations....................................................................... 86 Concluding Remarks.............................................................................................. 88 APPENDICES ............................................................................................................. 89 A. RECRUITMENT FLYER................................................................................. 89 B. RECRUITMENT LETTER/EMAIL................................................................. 90 C. CONSENT FORM ............................................................................................ 91 D. LESSON PLANS.............................................................................................. 94 REFERENCES CITED................................................................................................ 103 ix LIST OF FIGURES Figure Page 1. The Somatic Practice of Modern Dance Technique .............................................