2.22.2012

Freedom Through Addition


Often when working with students I am confronted with their immediate discomfort as well as their deeply entrenched habitual patterns. These are often one and the same, habitual patterns cause or contribute to pain and often pain creates or enforces inefficient habitual patterns. Hence, we can not deal with one without the other. Fortunately, The Feldenkrais Method doesn't see a person's current way of moving as wrong nor do we seek to eliminate students' movement patterns. We understand that the movement patterns people adopt served them at one point, may not serve them presently, but may serve them again in the future. So instead of trying to subtract these patterns, we investigate and offer alternative options that may be more efficient for a student's present needs. We seek to add options to the possible movement patterns available for each individual. 

One example of this is a person's ability to turn when they have an injury or chronic pain in their lower back. When the pain is acute often it is aggravated by rotating the spine. Hence, it is understandable that people begin to hold the pelvis and lower back still when turning. Problems begin when this becomes habitual and continute to hold the pelvis and lower back still when no longer in pain. This will, most likely, create tension and further discomfort. So, you want to be able to rotate your full torso to the full extend that is comfortable, when possible. A Feldenkrais practitioner does not see the “holding of the pelvis and lower back” as a wrong choice, nor the idea of “full rotation” as right. There is only a “correct” way of moving in a given situation. When your lower back is in pain it is sometimes the “correct” thing to do to hold your lower torso still and when you are in less pain it is often “correct” to rotate your whole spine. Ideally each person is able to move back and forth between a number of options depending on how they are feeling, what they are doing and what is being asked of them.

The idea that almost no movement pattern is wrong, but each just represents another option that may be more or less ideal in a given situation is central to The Feldenkrais Method. Dr. Feldenkrais believed that each person needed at least three ways to do anything (turn, stand up, climb stairs, etc...). If you only have one option than you are compulsive and have no choice. If you have two choices you can really only say “yes” or “no” in a given situation, and this is too limiting and not really a choice. So, you need at least three options to really be able to make a choice and have freedom in any or every situation. And this is exactly what we aim to accomplish in both group and private Feldenkrais sessions.

I currently teach Awareness Through Movement® (group classes) and Functional Integration® (private sessions) at The Spa Room in DC, close to Tenley/AU Metro station. Also check out our Feldenkrais informational site. 

1.17.2012

20 Years Done. 20 Years To Go!

In the spring of 1992 Sharon Mansur and I performed together for the first time. I had created a piece called "Floor Plan II" for five dancers with original music by Alex Gardner which was premiered at the Hall of Mirrors dance studio at Glen Echo Park and Sharon danced in the piece. The performance also contained other works, including a solo by Sharon. Over the 20 years since that performance Sharon and I have collaborated in countless ways: by creating numerous works together, co-directing a dance company (Quiescence) for 7 years, as housemates, performing throughout the US, and teaching classes and workshops at universities, studios and even in old barns. This spring we are marking our 20th anniversary with a flurry of activities - last Saturday (1/15/12) we performed in Philadelphia in the Falls Bridge festival at Mascher Space Co-Op, we're teaching a 3-part improvisational workshop at Dance Place, we're creating and performing our first evening length duet (sightlines) February 18 & 19 at Dance Place and we're traveling to Michigan to perform in the RADFestival. A busy and fun winter/spring. Below is a some video excerpts from our performance in Philly. Enjoy.



photo by Stan Barouh

11.09.2011

The Russian Girl Text (She Arrived, Alone)

The first half of The Chemistry of Lime Trees (She Arrived, Alone) is based on an oral history I found from William Williams, the Commissioner of Ellis Island from 1902-1905 and 1909-1913. We used this story as a taking off point to imagine what it would be like to be stuck at Ellis Island - literally stuck on the border. I guess you could say the piece is a character study, or an impressionistic story-telling - I think Katie, who embodies the young woman in the story - does an amazing job. See the whole piece November 19, 2011 at CenterStage in Reston, VA.

Here is the complete text:
"A handsome, clear-eyed Russian girl of about twenty-years, the daughter of a farmer comes in and sits down before us. She is clean and intelligent looking. She nervously clasps and unclasps her hands and the tears are welling in her eyes. "That girl over there," says the commissioner, "is an interesting and puzzling case. Her father is a farmer in moderate circumstances. A young man with whom she grew up, the son of a neighbor, came here two years ago, and last year wrote to her father that of the girl would come over he would marry her. So she came, alone. But the prospective bridegroom didn't show up. I wrote him-he lives somewhere in New Jersey-and last week he appeared and looked her over. Finally he said he wasn't sure whether he wanted to marry her or not. Naturally her pride was somewhat wounded, and she decided that she had doubts herself. So everything is at a standstill. The girl says she doesn't want to go back, to be laughed at; and I can't let her land. You don't know any lady who wants a servant, do you? She could work! Look at her arms. A nice girl, too. No? Well, I don't know what to do. Are you willing to marry Peter if he comes again?" The girl nods, the tears brimming over. "Well, I'll write to that fellow again and tell him he's a fool. He'll never have such a chance again."

8.29.2011

Movement Two: Adelais Twisting

Here's the second in my series of videos of my daughter moving. In this one Adelais is hanging upside down during a aerial lesson with my wife and she just began doing this twisting movement side to side - completely her own initiation. Caught my wife off guard, but was pretty cool.


Movement Two: Aselais Twisting from Daniel Burkholder on Vimeo.

8.14.2011

First Adelais/Movement Video

I am creating a short series of videos featuring Adelais (my daughter) doing repetitive movement - which she loves to do. Each one will be less than a minute. This first one was recorded while we were in Milwaukee on a playground with Andrea (wife/mom) pushing her on a swing. She (Adelais) makes the best sound as she's being pushed.


Adelais Swinging from Daniel Burkholder on Vimeo.

7.17.2011

Performances Echos

This weekend we performed The Chemistry of Lime Trees at Danceworks in Milwaukee, WI. We had a wonderful experience working with the theater and its staff (shout out to Sarah!). We began in the theater on Sunday and worked all week. Here are some of the highlights that still stand out to me:
     • Katie: She so fully stepped into her role this week - it was truly wonderful to watch. A colleague, Elizabeth, commented on what a special performer Katie is and I couldn't agree more. She captured her character's vulnerability, strength and resolve and how these attributes changed or evolved over the course of the 35 minute piece.
     • The generosity of my collaborators: We were working on the ending of the first half and felt a section with the rope wasn't working. Not only was Katie (who is in the piece) making suggestions and trying to find a better answer, but Susan and Stephanie were joining in as well. Not sure how we ended up with the solution we ended up with, but it had bits of suggestions from all four of us - developed, riffed and shifted from one to the next.
     • After Friday night's show my colleague Ferne mentioning how she appreciated the time events were allowed to fill because it gave her the opportunity to connect her story to the stories we were presenting.
     • As we were leaving Friday night one of the ushers came out and asked Susan to sing one of the songs in the show again. After Susan sang a bit, the usher began singing it and dancing around.
     • After Saturday's performance, Marcia commenting that she felt the show was a very grown-up work of art. (whew, finally...)

And, mostly, the camaraderie and pleasure to hang, work and create with Susan, Stephanie and Katie for a full week - uninterrupted - a real treat.

If you came to the show I'd love to hear any reactions to had to the work - images that are staying with you, sections that were powerful or poignant, questions you may have, or anything that sticking with you. Thanks!

6.30.2011

Photos from Primary/Scale

In May the company presented Primary/Scale at the Northern Virginia Fine Arts Festival - you can read more about the piece here and here. While we were setting up the tech crew asked if I wanted them to stop people from taking photos, but instead I asked them to give the photographers my business card and request the photographers send me links to the photos they take. We ended up with so many wonderful photos. Below are some of them. Enjoy! And thanks to Don Arteides, Jaedra DiGiammarino and Ted Jamieson.

Primary/Scale from Daniel Burkholder on Vimeo.