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When observing nature, we find flowing forms in water, air, geologic shifts, animal and plant life – basically in everything that moves, including us. Myriad currents are discernible, energizing, and wondrous. When noticing the motion of a particular animal, we can sense the full-bodied attentiveness, the direction, the intention, and the
In nature’s flowing forms, i.e. in water, air, and anything and everything that moves, there are currents that are discernible, energizing, and wondrous. When experiencing movement, making movement, performing movement, and observing movement, we can find the flow, work with it, draw it, and watch it evolve. How do we recognize and make fluid forms? How do we find the
In nature’s flowing forms, i.e. in water, air, and anything and everything that moves, there are currents that are discernible, energizing, and wondrous. When experiencing movement, making movement, performing movement, and observing movement, we can find the flow, work with it, draw it, and watch it evolve. How do we recognize and make fluid forms? How do we find the
How do performing musicians develop their personal voices? The Swiss pedagogue Emile Jaques-Dalcroze (1865-1950) invented Eurhythmics to address this question. Specifically, we’ll focus on plastique animée, a movement practice that Dalcroze created for analyzing sound through movement. We’ll attempt to feel with our arms and legs what a
Dalcroze Eurhythmics is a music class where we practice sensing the body through musical movement. Can our bodies help us learn how to read and interpret sheet music too? Yes!
The feeling body is the single constant throughout all of our experiences, but
Dalcroze Eurhythmics: what does a conductor do?
What can embodiment, proprioception, and attention to nuance teach us about how we express ourselves and interpret the expression of others? How do conductors lead groups of musicians without making a sound?
This course is designed for students with a serious interest in dance, as well as those curious about exploring embodied cognition and movement practice, whether or not they have previous dance experience. Together we will investigate multiple aspects of embodiment, dance-making and performance, cultivating tools for attentive observation,
