UNIVERSITY & ART SCHOOLS

DANCE ANALYSIS

IN MOVEMENT

Paris-Lodron University, Salzburg

Austria

Dance analysis in motion - Practice, Performance, Analysis

A workshop by Valerie Oberleithner, Paris-Lodron University Salzburg

In what ways can dance be analyzed? The focus of the course is on the interweaving, linking and fusing of theoretical and practical dance analysis. Students will be introduced to different dance analytic methodologies and perspectives (historical, cultural) as well as to numerous practical exercises, approaches and working structures.

How can we analyze dance embodied? How do we analyze dance when we include kinesthetic empathy, somatic activism, and work on the body senses in the analysis? How can we prepare our bodies for an analysis that does not separate practice from theory, but rather shapes itself as something in common? Students will be introduced to practical movement exercises and concretely selected body work, as well as to different models of dance analysis. Students learn to situate dance performances in space, time and culture. They learn to discuss, debate and analyze dance performances based on different dance analytic models. Using selected body practices and theoretical as well as visual material, students will be prepared to speak and write about dance. Students will be animated to put concrete, selected video excerpts of dance performances into space through short reenactments in order to elaborate a body-based, plastic and expanded notion of dance analysis.

Working on the senses, mobilizing, activating and sensitizing one's own body is of interest on a social, political and ethical level. The body and movement experiences experienced in the course will be discussed, abstracted from personal experience and placed in a larger societal, political and social context and reflected upon. What does a moving body mean specifically for dance analysis? What happens when perspective and perception of the analyzing body changes through practical work on one's own body? How does this manifest itself in the relationship between the spectator (here the analyst) and the dancer on stage? What impact does this have on methodologies of dance analysis? And what impact does this have on the relationship between theory and practice?

EMPOWERED BODIES
Lille University / happynest

France

Collectively analyzing danced and non-danced material through embodiment and critical practice. A workshop by Valerie Oberleithner and Nicole Haitzinger in collaboration with Université de Lille Master's students

In this three-day workshop, we encounter choreographic practice and the practice of critical analysis as tools for exploring, analyzing and embodying danced and non-danced material.
The workshop brings together emerging artists selected by happynest and students in the Master of Arts program "Critical practices in dance" at the University of Lille.
At the start of each day, Valerie presents a panel of dance practices. These practices focus on building a safe space in which participants experience mutual trust, freedom of speech and a non-judgmental environment. To lay the foundations for horizontal collaboration between participants, Valerie introduces body practices emphasizing equality, improvisation, attention, listening, working with a partner or alone, and working with the body's senses. Bodies that are activated, mobilized, sensitized and aware interest Valerie from a political, ethical and aesthetic point of view.

BODY AWARENESS &

COLLABORATION

Paris College of Art

France

Body Awareness & collaboration. A workshop by Valerie Oberleithner

In this workshop we work on tools, practices and techniques of contemporary dance, choreography and improvisation.
Changing our body - mind set by moving in space and re - experiencing our forgotten senses we free a powerful potential which nourishes our artistic practice, creates a new access to our work and makes new encounters possible within our creative processes.
From sitting to moving - re-organizing the body in space and time
From open eyes to closed eyes – re – experiencing trust, re - composing relationships
touch, smell, taste, listen – re - enforcing forgotten senses to widen the field of play in creative art processes.