Moving on Breath: Duncan Explorations

 

I

Unit: Breath

Theme: Duncan Explorations

 

Introduction

Today we will address breath. As said by Bradley (2016), at the most basic level, dancers should use inhalation to emphasize growing movements, and exhalation to extend shrinking movements. This use of breath provides a greater fluidity of movement, musicality, and often creates an enduring quality that fosters enjoyment of movement.

 

II

Learning Objectives

 

• Understand the way in which breath can enhance the quality of expressive movement 

• Explain how breath connectivity can be increased during performance
  

• Gain awareness of breath capacity and connectivity

• Experience breath connectivity through Duncan style moves

 

III

Warm Up

 

IV

Main Lesson

 

1

Breath Connectivity

Breath Connectivity

Question 1

After experiencing breath connectivity in the way it is explained in the video, describe what you felt during and after breathing?

2

Athletes breathing versus diaphragmatic breathing.

 

Question 2

Explain in your own words the way breathing works?

3

 Quotes

The dance of Isadora Duncan is a crafted study and artistic rendering of the human soul. The technique is based on the free flow and organic expression of emotions (Durham 2008). She introduced the use of breath in her dance, which changed the way it was perceived and the qualities the movements were showing, a unique dance. Allen (2018) used Duncan’s internally focused, solar plexus breathing technique as the impetus for creating movement for her company.

  Lessons from Isadora : Re-Examining a Century Old Creative Process to Create New Movement and Expression

 

Question 3

After reading the abstract from the link above, what does the author mean when writing:

"Isadora Duncan developed a process for creating movement consisting of breathing into an area of the body known as the solar plexus and waiting for internal inspiration, without force or affected design, to move her."

 

 

 4

 

Article

How to Use Breath to Enhance your Movement 

Use the prompts bellow to experience breathing. For explanations go the link.

• Don't hold your breath
• Breathe three-dimentionally
•  Coordinate your breath with Movement

 

Question 4

After moving using the prompts between parenthesis, what differences did they make in your movement experience?

 

V

A Note to Remember

 

Duncan used the breath as the nucleus of movement, letting action stem from the breath itself. Coordinating an inhale or exhale with certain gestures or movements can also help you to embody certain artistic qualities (Caldwell 2021).

VI

Case Study

 

Andrea Seidell

 Question 5

What is your impression of this dance style?

 

 

VII

Discussion Questions

1. Write a reflection on your experience with breath and movement.

2. In which way do you think breath can enhance the quality of your expressive movement? 

3. In your opinion, how can we increase our breath connectivity during performance?

4. What would you do from now on to develop your awareness about breath capacity and connectivity?

VIII

Activiy

1

Walk around the room (Use directions, levels and focus)

Now connect with your breath ass you walk.

Now move on the inhale and pause on the exhale.

Then, move on the exhale and pause on the exhale.

Combine the inhales and exhales as you move.

2

• Students explore some Duncan's moves in order to apply their knowledge of breath while moving ( runs, jumps, turns).
• Then they work in ensembles and create an 8 movements phrase with the moves learned in class.
• They share their work and then repeat it but this time with music.

Christina Perri - A Thousand Years (Piano/Cello Cover)

 https://youtu.be/QgaTQ5-XfMM

 

IX

Journaling

 

X

Glossary

solar plexus: a network of nerves in the abdomen behind the stomach that contains ganglia sending nerve fibers to the internal organs of the abdomen. It is the general area of the stomach below the sternum. It is the third primary chakra according to Vedic tradition.

XI

Sources

Allen, Rebecca (2018). “LESSONS FROM ISADORA: RE-EXAMINING A CENTURY OLD CREATIVE PROCESS TO CREATE NEW MOVEMENT AND EXPRESSION. https://digitalcommons.montclair.edu/etd/209/

Bradley, Chelsey (2016). Teaching Students to Use Breath to Enhance their Dancing. https://www.danceadvantage.net/teaching-breath-coordination/

Caldwell, Rachel (2021). How to Use Breath to Enhance Your Movement. https://www.dancemagazine.com/use-breathe-enhance-movement/

Druham, Valerie (2008).  The Dance of Isadora Duncan by Valerie Durham. https://bourgeononline.com/2008/08/the-dance-of-isadora-duncan-by-valerie-durham/

XII

Students' Work

 

 

 

 

 Make Up Work (Read on 5/11/2024)

 

3 days ago

Nicholas Finley

2/1

1. After experiencing breath connectivity in the way it is explained in the video, describe what you felt during and after breathing?

    - I felt physically calmer even after such a short time of conscious breathing. During, I felt a heightened awareness of my physical form. 

2. Explain in your own words the way breathing works?

    - Breathing is the process of filling and emptying the lungs of air. Breathing can be done from the diaphragm (expanding the torso) or from the shoulders (clenching and expanding upwards).

3. After reading the abstract from the link above, what does the author mean when writing: "Isadora Duncan developed a process for creating movement consisting of breathing into an area of the body known as the solar plexus and waiting for internal inspiration, without force or affected design, to move her."

    - I think she is saying that she is using conscious breathing as a starting point for an inside-out creative process. 

4. After moving using the prompts between parenthesis, what differences did they make in your movement experience?

    - They added a sense of flow and unity to my movement. 

5. What is your impression of this dance style?

    - It may be shallow, but the first thing I notice is that the level of coordination or apparent discipline between the dancers is lower than what I would expect in a concert setting. On the other side of this coin though, each dancer is bringing a unique flavor to the choreography that I assume is brought about by this inside-out expressiveness. Perhaps this approach is better suited to a more individualistic role (soloist, character, monologue/dialogue) than to this sort of ensemble piece. 

DISCUSSION QUESTIONS

1. Write a reflection on your experience with breath and movement.

    - I have some preexisting experience with breath and movement from practicing yoga, so this wasn't a completely novel experience, but it's new to use that towards expressive ends. 

2. In which way do you think breath can enhance the quality of your expressive movement?

    - It is one of our most readily available bio-rhythms, and can therefor give a natural ebb and flow to our movements.

3. In your opinion, how can we increase our breath connectivity during performance?

    - The only real way to ingrain something like this is to do it many times. When we perform (or practice performing), we will have to consciously remind ourselves that this is a tool we can reach for until it becomes second nature. 

4. What would you do from now on to develop your awareness about breath capacity and connectivity?

    - I want to sing more often as part of my musical practice