Considering the process of “making sense” of something a full-bodied, sensory project implicates the body intimately in constructing worldviews and identities—a problematic assertion in a culture in which the body has been thoroughly absorbed into consumer culture. From the fashion industry to the fitness industry to medical science and surgical reconstruction, Americans in 2009 consider—and have for many years—their bodies something to “work on” and “work out” rather than “work in” or even better “live in.” Studying the art of dance uniquely links embodied experience with cerebral activity. It brings the body and the mind to life. I approach dancing and watching dance as an experiential investigation—a sensory enterprise. I value developing “articulate” bodies and locating an equally lucid manipulation of language to describe and discuss that work. Whether in physical practice or intellectual inquiry, I want students to begin to regard the body an eloquent and adaptable instrument and vessel, worth probing. I teach modern technique infused with improvisatory exploration. Even in prescribed movement patterns, though, I ask students to approach class with an open and inquisitive mind, body, and honesty of presence. I work to endow students with agency to embark on a voracious, fearless, ongoing investigation of their own selves in motion. With a clear understanding of structure and a dynamic concept of alignment, I focus on building technical skill, emphasizing weight, momentum, stability, and fluidity. I encourage students to awaken a full-bodied self-awareness through movement and challenge themselves to take physical risks. Informed by information from my yoga practice, my approach includes ideas of impermanence, mindfulness, and attention to breath—and breathlessness. I concentrate on building strength, coordination, clarity of movement at the joints, a supple spine, efficiency of movement, and bodily connectivity. I invite students to negotiate states of balance and off-balance, and find a dialogue between the two. I want them to build confidence, range, physical responsiveness, and, ultimately, versatility. I believe in developing technical skill so that it can be used, applied, manipulated, and personalized. My goal is to create a sound foundation for continued study of any movement form. Annie Kloppenberg
Teaching
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modern technique * improvisation * choreography * yoga
banner photo: Kate Enright
Teaching Philosophy
modern technique w improvisation w choreography w 20th century dance history w writing w yogaModern%20tech.htmlhttp://www.lymitrio.com/teaching.htmlYoga.htmlshapeimage_4_link_0shapeimage_4_link_1shapeimage_4_link_2