This programme is based on know-how developed in various international experiences, utilizes a wide international network of professionals and has its foundation in local settings and expertise. I CAN MOVE hence has the privilege to be able to learn from others’ mistakes. Thus the evaluation meetings were not held with the trainees at the end of the first semester, but rather at the beginning of the second semester. In other words, instead of pointing out to the trainees everything they cannot do and should have focused on during the past semester, leaving them to walk away frustrated, a more constructive road was chosen.
At the beginning of semester II the trainees had the opportunity to discuss their development and go through the basic techniques of what they learnt one by one in individual classes at the outset of the semester within the framework of Module V, with the trainees’ mentor and founder of YANTE, Nadia Arouri.
Module V was followed by a phase of dance technique classes with the returning artist Gianna Grünig, where classes were expanded by one-hour of choreographic atelier. The choreographies of the trainees were then compiled and presented to the public in a small showing at the end of the phase.
Module VI with Wilfried van Poppel and Amaya Lubigt from DE LooPERS, Bremen, Germany, provided a practical and theoretical introduction into modern dance history. This module was also concluded with a small public showing.
Module VII was the first non-dance phase of the programme. The trainees received rigorous training in communication skills, presentation skills, and where introduced to various communication methods and perspectives, most important of which was that of non-violent communication.
In November, one of the first believers in the I CAN MOVE programme, the dancer Lina Höhne, who played a pivotal role in the success of the EXILE performance, returned to Palestine to work with the trainees. Lina Höhne did not only teach dance techniques to the trainees but also held very valuable one-on-one sessions.
The semester was concluded with Module VIII, held by the renowned dancer and certified Axis Syllabus teacher, Matthew William Smith, who introduced the axis syllabus: lexicon of human movement principles. Axis syllabus is a system of cross-correlating movement principles, bringing pertinent information about training the body and movement practice into an accessible format.
Semester II
Intensive Module V – September 2012
Nadia AROURI
In contrast with more usual evaluation methods, this intensive module by Nadia saw our trainees receiving individual feedback at the start of the new semester, as opposed to at the end of the previous semester. This enabled the trainees to focus better on their potential and to implement the feedback more quickly into their technique classes.
Class Description
Module V was born in contrast to the general evaluation structures within the education establishment. This module turned around the common formats of evaluation; instead of giving the trainees individual feedback at the end of the first semester, this module was put at the outset of the second semester where each of the trainees received individual feedback on their performance throughout the first semester. The module did not focus on the evaluation part, rather on the progress potential in the recognition of one’s current standing. Hence, the feedback was mainly practical, where basic contemporary dance vocabulary was individually dissected and looked at from various perspectives. The module was structured as follows:
Day 1 and 2:
16:00 – 18:00 Group dance class
18:00 – 22:00 Group feedback and evaluation
Day 3 – 9:
16:00 – 18:00 Group dance class
18:00 – 20:00 Individual feedback trainee 1
20:00 – 22:00 Individual feedback trainee 2
Day 10:
16:00 – 18:00 Group dance class
18:00 – 22:00 Group feedback and evaluation on evaluation format and process
Semester II
Dance Technique – September and October – 2012
Gianna GRÜNIG
We continued with the technique training, which was led by the returning Swiss artist, Gianna Grünig. She took the students through some of the very technical exercises of the Graham and Cunningham techniques. She also looked at some aspects of movement in martial arts, particularly some of those in Tai Chi. As a preparation for the planned extension of the classes to three hours instead of the usual two we also added a one-hour choreographic atelier class. The horizons are getting wider and wider …
Class Description
In addition to the compulsory two-hour dance technique classes, an optional one-hour choreographic atelier class was offered as a preparatory step for expanding the classes to three hours.
Dance Technique Class
The returning Swiss artist Gianna Grünig introduced the trainees to some basic exercises of Graham and Cunningham. She introduced the trainees to exercises of Graham such as breathings on four and on six with waist twist, as well as contractions from second position parallel to the sides and in the center. In Cunningham, she focused on bounces and flat back exercises. Classes also focused on presence, focus, and general perception of space; running in different paths, eye contact, switching directions, framing technique starting from trios and building up. The trainees were also introduced to some martial arts principles, especially those of Tai Chi. The exercises would start with standing meditation in second position with the legs bent, afterwards one of the following topics and principles were introduced:
Choreographic atelier
In the choreographic atelier the trainees created sequences that dealt with the following topics throughout the month:
They following choreographic / improvisational tools were used in the creation process:
The material from both classes was compiled in a choreography by the trainees that was presented at the end of Gianna Grünig’s stay on the October 3, 2013.
Semester II
Intensive Module VI – From a Story to a Choreography – October 2013
Wilfried van POPPEL and Amaya LUBIGT
Our next intensive module was rather brief but very intensive. The very experienced choreographer Wilfried van Poppel and the choreographer and dancer Amaya Lubigt took our trainees through dance history, with a focus on Modern Dance, and repertoire with a close look at a number of movements from various modern choreographies. The material covered was used as an inspiration to create compositions to be presented in the community. Inspiration is the springboard for creation …
Class Description
Module VI was held by the Belgian choreographer Wilfried van Poppel and the Spanish dancer Amaya Lubigt. The module consisted of an introduction to dance history and repertoire, with a focus on its utilisation in a community context and the building up of presentations/performances. Like most previous modules, classes were split into two sections: a dance class in the fist 90 minutes followed by a dance history and repertoire section with an eye on composition for the following four hours. The dance classes focused on modern dance techniques and the quality of movement of the trainees. The dance history and repertoire section focused on post 1970’s expressionistic dance as follows:
The studied repertoire and material choreographed by the trainees were put together in a small performance that was presented on October 15, 2013. The performance programme was as follows:
Semester II
Intensive Module VII – Communication and Non-Violence – November 2012
Natasha ARURI
Although it is clearly impossible to cover the huge topic of communication in a few weeks we appreciate what Natasha Aruri managed to achieve in the short time she had. She examined various forms of communication – verbal, non-verbal and written in great detail, taking the trainees through processes such as facial expressions, voice volume, pitch, tone, listening, inferring, context and how all these interact and affect communication in subtle and unsubtle ways. Above all, non-violent communication techniques were examined and their importance in the project made clear. Communication is key …
Class Description
Module seven can be considered as an “introduction” into issues of communication, with basic theoretical information and some exercises. However, it cannot be considered as suffiient. To improve the communication skills of the participants some follow up from the project team was needed, as well as dedication and perseverance from the participants themselves towards enhancing their communication skills based on the newly acquired information. The following topics were addressed in this module:
Non-Verbal Communication
Violent vs. non-Violent Communication
This video was used as an Introduction to Non-Violent Communication.
The NVC method is presented:
Verbal Communication: Speeches + self presentation
Group work: Dynamics, Barriers, organization
Introduction to Interpersonal Communication
Group Work: Obstacles and Addressing the Problem
Group work: Practical Exercise
“All I can say for today is that I am overwhelmed with the excitement of the participants, and how strongly they seem to believe in their group assignment! They are very positive; they are seriously scratching their brains towards making a good job. They are thinking of practical measure, and are not leaving options off the table. Well, their euphoria and confience reminds of beginner-times, when one believes s/ he could change the world, which even though at this point I know is not realistic, yet it is good to see that they behold this spirit, and I just hope it lasts long with them!”
Presentation, wrap-up, closing discussion
“One observation was that of Sawsan’s presence. She is shy, but she is actually strong!” “Summar was highly interested in this new perspective on “language”, I guess she was questioning in her mind how to ever again trust witnesses as a lawyer!”
Written Communication & Communication in Projects
Presentation, wrap-up, closing discussion
“One observation was that of Sawsan’s presence. She is shy, but she is actually strong!” “Summar was highly interested in this new perspective on “language”, I guess she was questioning in her mind how to ever again trust witnesses as a lawyer!”
Group work: Practical Exercise
“All I can say for today is that I am overwhelmed with the excitement of the participants, and how strongly they seem to believe in their group assignment! They are very positive; they are seriously scratching their brains towards making a good job. They are thinking of practical measure, and are not leaving options off the table. Well, their euphoria and confience reminds of beginner-times, when one believes s/ he could change the world, which even though at this point I know is not realistic, yet it is good to see that they behold this spirit, and I just hope it lasts long with them!”
Dance Technique – November and December 2012
Lina HÖHNE
We continued to broaden and deepen the trainees’ dance technique foundation with Lina Höhne, who provided a lot of improvisation material to the trainees as a source of inspiration. In her sessions she focused mainly on the feet and legs in order to develop their perception and understanding of skeletal structures and to provide a firm base and improved posture and body alignment. Practice makes perfect …
Class Description
In a five-week process, Lina’s work focused on strengthening the technique of the trainees and giving them improvisation material to enrich their outside form and inside movements. Her technique work was influenced by Release and Chladek Technique. Her improvisation work was influenced by Contact Improvisation, BMC and Gaga. Lina focused on certain body parts, particularly the foot, and aimed to enrich the trainees’ perception of skeletal-structures, organs and various body fluids. The main idea throughout the five weeks was to strengthen the alignment of the trainees. To build up a stable ground – working on the feet and the axis of the legs. A big part of the classes took place on the floor; aiming at providing clarity in the three forces: impulse, gravity and body-behaviour. Floor-work exercises focused on strengthening the centre, making it visible to the trainees as a guiding force in movement. Lina worked with a lot of repetition of phrases and exercises in order to provide the group with clarity on their development throughout the five weeks and to induce stability inside the ever-changing teacher constellations.
While Lina was teaching the Gaza War ‘Operation Pillar of Defense’ took place. This reality outside the studio had a great impact on the classes. Its impact was positively detoured through relating the work more strongly to the idea of energy and the ability to share energy over great distances. During those five weeks Lina was simultaneously conducting research for her BA-thesis (‘Identity Through Dance in Palestine, 2013). Through individual talks and interviews for her research Lina had the privilege to closely get in touch with the trainees’ aims, life stories and realities.
Module VIII – Axis Syllabus – December 2012
Matthew SMITH
Matthew Smith was the tutor for our next Intensive Module which introduced the trainees to the complex but very interesting Axis Syllabus. This is a system by means of which to put movement principles into practice in a way that not only improves skills and techniques but also promotes strengthening of our body and its safety from injury. The influences of mind on body and body on mind were also put under the microscope and the trainees gained invaluable knowledge of how mental habits such as positive thinking affect our body. The power of the mind …
Class Description
Module eight introduced the axis syllabus: lexicon of human movement principles. Axis syllabus is a system for cross-correlating movement principles, bringing pertinent information about training the body and movement practice into an accessible format. This consolidation process helps to clear up misunderstandings and question traditions that are outdated, sponsoring the protection and enhancing the skills of today’s dancers and athletes, and the re-education of movement teachers, choreographers and project leaders the world over.
As the end of the second semester, this module gave the trainees much food-for-thought to take home with them throughout their semester break and into the new year of 2013. The module scanned the human body from the perspective of the axis syllabus. Additionally, Matthew Smith presented various therapeutic measures and prevention schemes on the physical as well as the psychological level.
Matthew Smith presented the following perspectives to the trainees, guiding them through various experiments that allowed them to explore these perspectives, each with his/her individual body.
Throughout the module Matthew guided the trainees through experiments and improvisation sessions bringing the awareness of the trainees to the head, thorax, and pelvis as a generator/motor of movement.
Towards the end of the module, Matthew invited the trainees to compare and feel the difference of how movement communicates to other parts of the body, when movement is generated from the head, thorax, or pelvis. Hence, how the pelvis is close to the center of gravity, and thus, has more power to lead locomotion.
Through the module, Matthew also set the focus on the power of the brain and the underlying potential of positive thinking. Additionally, one whole session was dedicated to the “Placebo effect”. The Film, “Placebo: Cracking the Code,” was screened for the trainees, which led to a comprehensive discussion on the role of the mind in shaping not only our experience of the world but also our health. Discussions centered on how the mind is the body and the body is the mind and how each exerts its influence. This was taken as a lead into the importance of practicing mental techniques as well as physical ones. Matthew also discussed with the trainees how negative thinking, as an inherent habit for survival, is less applicable in modern day life, although the situation in Palestine means in some moments that it is totally appropriate. The importance of learning to distinguish different situations and mental habits was stressed and exercised with the trainees, bearing in mind that developing the habit of positive thinking is less natural to the mind.
The startle reflex was also discussed with the trainees centering on how people who train with their mind can develop resistance to it. Empathy also had its share in this module, with discussions centering on how reading someone’s face is also better done by people who do this kind of training, due to their openness to what they see because their own personal stories/concerns do not get in the way.
Matthew’s module concluded with an end of semester showing that was open to the public on the December 15, 2012. The video of this showing can be seen on our YouTube channel under this link: http://goo.gl/EWRPkh
“Kamel has a wonderful approach and is an example of how motivation is the primary drive for change. If he maintains this way of working I am convinced he can go far in dance. He has a natural desire to get upside down. We worked on different ideas to support this. He needs to understand more how his core co-ordinates the spine when upside down.”
“Abed has a natural sense of using his weight/momentum and the linking of movement together, making him well suited for the phrase material we were working with. Because he was able to do this he was able to let go and fly with the movement, which was great to see. He also showed a fire for taking material and improvising with it which is something to be encouraged. He also has a choreographic sense of how movement can be arranged amongst a group. He was a very positive member of class and a motivator to the other trainees. The next step for him would be to work more with where he focuses when he moves. Allowing his focus to go out into the room and not hover down and inward to the sphere of movement that he is in.”