STAGE DANCE MUSIC COURSES Damad 2010
training of trainers workshop
(led by Peter and Philip Corbefin Marsac)
Report
- Saturday, May 22:
morning Blurbs redefinition of the workshop and its goal
What questions arise when transmitting traditional dance, and how to try to answer them?
To do this, it seemed interesting to ask the trainers to expose them to other trainers how to pass a dance - their education - and to seek their critical comments. Three trainers have applied: Caroline Buthion, Eric and Sylvie Goujot Huvier.
Roundtable: The 18 trainers present (list attached) and leaders arise.
Intervention Buthion Carolina: the Corent (pronounced courento) of Biscay.
Carolina says no, then choreographed dance, with both figures.
Comments:
Trainees appreciated the clarity and simplicity of explanation. Effective pedagogy. However, they would have liked:
details on the origin of the dance that dance
be shown in full at the beginning of the intervention
more details on the basic step.
In the discussion that follows will address the questions:
stress of the trainer to share the dancers can help reduce it? Yes, some people think.
overheating prior Caroline says that in his group, the temperature rises, she prefers une progression musculaire dans les danses qu'elle propose.
Intervention d'Eric Goujot : la mazurka gasconne
Eric propose plusieurs exercices préparatoire autour du thème : “guider – être guidé” dans les danses en couple fermé. Eric explique qu'il insiste sur ces questions dans ses ateliers, avant même d'entrer dans l'explication de la danse elle-même. En outre, grâce à la “danse-contact”, il amène les danseurs à être plus à l'aise avec leur corps et avec le corps de leur partenaire.
Mais Eric n'entre pas dans le détail de l'explication de la mazurka proprement dite.
Commentaires :
Les stagiaires reconnaissent l'importance the question "guide be guided." They had hoped that Eric goes after his demonstration
Topics discussed later, the rhythm of the mazurka ternary help clarify the issue of time box (to match the high point of the pitch with the melody). Details on the upbeat.
Afternoon: Watching movies collectage
Corbefin Pierre said of the collecting film clips made during the years 1970 and 1980 on the theme of roundels and hammocks in Gascony Occitan by the Conservatory of Toulouse and Association for Popular Culture in Agen (ACPA): chain and roundels two of the Landes, rondeau Savès of two (or Samatan), motion (or rondo) Upper Agen, motion of the Valley of Ossau. Emphasis is placed on the movement which constitutes the unique gesture - the style - this family of dances (the support suspension, obtained by pre-uplift).
- Sunday, May 23:
am: Speech by Sylvie Huvier: the seven "skip" Beam
begins with Sylvie, a circle, an exercise based on "simple" and "double". Then she gradually added elements specific to "jump" in question: cut, turn, etc.. Up to two who are not dancing.
Comments:
Trainees appreciated the "tranquility" of the proposed approach, as well as its progressive character.
The debate then focuses on:
when introducing learning movement? Before or after it? The ideal would be to show the two together.
show when the whole dance? Before or after? Before, and the best possible.
patience in learning
measures 2 / 4 and 6 / 8
uplift.
facilitators would have liked more emphasis on Sylvie specific movement jumps (and hammocks and roundels) and the principles that organize engines: the couple uplift / suspension.
afternoon: Peter Corbefin intervention: the posture of the dancer
Before dancing, it is essential that the dancer moves from the more or less relaxed posture that is hers in the daily (upper body resting on the bottom Body: pelvis, legs and supports), an upright posture, body restored around the spine. Thus adjusted, the body is already tonic, because ready to react in one piece.
Suggested exercises: to focus attention on the dancers:
Breathing: quiet, slow and steady
supports: broad-based and open
their relationship with the ground: the "touch up"
tone legs, joint flexibility
Basin:
horizontal column, back: arms and fingers outstretched, to get closer scapulae
neck, head, chin towards the throat
wire, plumb, vertical: lifting the arms slowly to touch his fingertips over the top of his head.
Comments:
If most of the trainees is recognized the value of these exercises and awareness they generate, some have reported difficulty in their interest the dancers questions about the body and posture. Generally, the dancers want to learn dances, without asking any questions.
Peter returns to the fact that the beauty of dance is primarily based on the quality of the posture of his interpreter. The step is not essential. What counts above all in the traditional dance is its expressiveness: the intonation of particular gesture she develops - his identity - which varies from one directory to another, from one culture to another. And this particular tone will likely be approached only if the body is in a holding position, rectified, restored.
Monday, May 24:
morning Marsac Philippe intervention: the pitch of the motion of Upper Agen
The two leaders doing the motion of Upper Agen. Philippe then decomposes the step into several sequences. Part go first. Then return portion, students arranged in parallel lines behind the trainer. With an accompaniment to the voice-based, onomatopoeia, to "calibrate" the succession of support and magnitude of the rhythmic movements of this specific motion. When the presentation is not in full, a melody will be introduced in place of the beginning of onomatopoeia. The dancers are now arranged in procession on a circle. They dance to several songs in succession, all having served as a medium for this sort of rondo.
Comments:
Students liked:
the progressive aspect of pedagogy, "the general idea first, then add the details."
the use of onomatopoeia for the dancers immerse themselves in the rhythm: "the tip-tip", the effectiveness of sounds that evoke the quality of support, duration of displacement. More effective than the numbers, because addressing another part of the brain.
The debate continues on this question: what choice do in a workshop between one side counts (count: 1, 2, 3, 4, etc..) and the words, sounds, and sundry within the spoken language, and the other senses: the dancer s' impregnating shows that the trainer and trying to reproduce it, by "observing, listening, felt" all without recourse to spoken language. But the choice of words remains the simplest and most effective, especially when it relies on rhythmic onomatopoeia, which Philip has demonstrated its effectiveness.
The trainer should be chosen according to its method of dancers whom he is dealing with, or should he put forward his tastes and convictions? Opinions are divided. The leaders are in favor of the second choice. With what tools
the dancer must leave it to the end of a workshop? Central issue. A student says very strongly that the trainer was primarily a responsibility vis-à-vis the dances he teaches. "We can not do anything in relation to a heritage." Where to begin, the interest of work from investigation documents whenever possible.
Review and Prospects
Critical Assessment of the workshop by the Interns:
in 30 minutes, can there be a dance show, or pretend to learn to dance? This has hampered an intern in particular; along the side of intimidating the year: having a dance show before Gascon trainers known experts in this field.
facilitators ask students why they chose to limit the directories to the dances of the Southwest. The leaders say they felt better able to assess the educational stakeholders on dances that they were familiar. The following discussion comes to the conclusion that otherwise would have better leaders appreciated the quality of education stakeholders if they had offered their dances that they, animators do not know.
facilitators should have clarify to stakeholders: "You have 30 minutes. Show us what you think is essential! ".
the workshop was too short and too fragmented in time. Should imagine in another context than a festival, where the festive environment does not lend itself to the concentration and reflection.
One question was not addressed: how to distribute a teaching time, as we are dealing with a training weekend or a weekly workshop of a quarter, a year?
Critical Assessment prepared by the facilitators after the workshop:
the positive side, he welcomed a number of things :
good attendance at the workshop: a workforce of between 18 and 20 people (and cosmopolitan plus, with a representation of the Belgium and Italy).
the nomination of three trainers who have ventured to face other trainers
seriousness, motivation and the excellent climate that led to all activities, especially during debates.
Note, however, this. The general impression that we, the two leaders, have withdrawn from this experience is that students, although they do not have explicitly said, are partly remained unsatisfied. Ils attendaient de nous que nous apportions plus de réponses que nous l'avons fait à leurs attentes. De notre côté, pour que les stagiaires présents puissent s'exprimer le plus largement possible, nous avions décidé de ne pas être omniprésents dans les débats, de ne pas nous poser en “donneurs de leçons”. C'est ce que nous avions retenu de l'esprit de cet atelier, tel qu'il avait été souhaité par Eric Thézé. Mais ce choix de rester un peu en retrait nous a empêché de développer des thèmes que nous aurions souhaité aborder.
Une liste de ces thèmes aurait dû être dressée en début de stage avec les stagiaires, à From their wishes and ours. And we would have treated those among them who we thought were priorities. With, for illustration, interventions from us giving our views on the subject. To be discussed then.
Anyway, the total duration of the workshop (8:30) limited the possibilities. And issues that arise in the future is this: can we imagine t effectively treat a subject as vast and as complex as training of trainers in traditional dance in a dozen hours? The answer is no, obviously. Also, the prospect of an extension of this experience, we propose a reflection on a possible cycle de plusieurs stages, selon une fréquence à déterminer, permettant de traiter d'un programme abordant quelques-uns des thèmes qui nous paraissent devoir être évoqués en la matière, et dont nous proposons ci-dessous un début de liste, à titre simplement indicatif :
la danse traditionnelle et son contexte d'origine : la société traditionnelle. Interactions
les sources, les documents d'enquête. L'analyse d'un document
la posture du danseur
les styles, les gestuelles : l'intonation particulière du mouvement
le vocabulaire de la transmission : expliquer un pas, un mouvement
la relation entre le formateur et le groupe
etc.
Thank you all, thank you to Eric have wished that this experience takes place. We will be happy to extend it with you, with whom we share this love first attempt.
PC and Ph. M., 2010.
