Use existing class combinations as springboards for creative self-listening studies¶

Strategy · All strategies
Evidence · no claims cited

Description¶

The article recommends devoting a small but consistent period of technique class to the creative voice by using locomotor or culminating center-floor combinations as springboards. Students choose a featured quality or skill from the combination, create a short movement essentializing it, and use it as the primary vehicle for an improvisatory study. Alternatively, students infuse a given combination with their own phrasing, quality, timing, and pathway changes, optionally building pair duets that trade movements and include unison, followed by group discussion.

Design Implications¶

Context¶

Requirements¶

• A consistent period of class time; the purpose is tuning in to what the body's voice may wish to express, not making choreographers.

Constraints¶

• The article frames this as combining technical work with the individual voice rather than replacing technique content.

Target Learners¶

• dance technique students

Target Learning Goals¶

• develop individual creative voice and self-listening rather than other-imitating

Affordances¶

• Body Listening Five Somatic Components Framework

Related Strategies¶

• Thread conscious breathing strategies through warm-up, center work, and class conclusion

Examples¶

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Key Sources¶

• Enghauser, R. (2007). Developing Listening Bodies in the Dance Technique Class. JOPERD, 78(6). https://eric.ed.gov/?id=EJ795590. doi:10.1080/07303084.2007.10598039