BII: The Body's intrinsic Intelligence FOR DANCERS
Movement is the essence of life and our bodies are built for it. 'BII – The Body's Intrinsic Intelligence' seeks to investigate and practice a way of moving that is in harmony with the body's natural design and that allows for optimal structural integrity, coordination, and cooperation in complex athletic movement sequences. Through multi directional exercises, improvisations and anatomical theory we refine our understanding of the human body in motion. Our effort goes towards energy conservation, injury prevention, and reducing myo-fascial pain. We address individual dancer concerns in regards to movement challenges on the one hand and tools for improving virtuosity and athleticism on the other. We observe the interplay of the body’s individual components in detail, while allowing for a democratic approach in learning and body management. Karola will adapt her class to the individual abilities and needs of the participants, but it is common to have a mixed level group. The class begins slowly and culminates in a multi-directional phrase with floorwork, inversions, and jumps that can be executed at a slower or faster pace.
Inner Waves BII: The Body's intrinsic Intelligence FOR THE AGING BODY
Movement is the essence of life and our bodies are built for it. 'BII – The Body's Intrinsic Intelligence' seeks to investigate and practice a way of moving that is in harmony with the body's natural design and that allows for optimal structural integrity, coordination, and cooperation. We explore movement principles that help us in everyday activities as well as in sports or at the workplace. We address participants' specific questions that could range from walking, getting in and out of bed, to exercising properly at the gym. Our effort goes towards energy conservation, injury prevention, and reducing myo-fascial pain, to maintain or reinstate mobility, agility, and overall well-being. We observe the interplay of the body’s individual components in detail while allowing for a democratic approach in learning and body management. Through multi directional exercises, improvisations and anatomical theory we refine our understanding of the human body in motion. Karola will adapt her class to the individual abilities and needs of the participants.
BII: The Body's Intrinsic Intelligence DANCER SELF CARE
Our bodies are built to move. 'BII – The Body's Intrinsic Intelligence' seeks to investigate and practice a way of moving that is in harmony with the body's natural design and that allows for optimal structural integrity, coordination, and cooperation during situations that we encounter in everyday life as well as in complex athletic dance sequences. In this 'Dancer Self Care' workshop we take time to look inward. Our focus lies on injury prevention and recovery through understanding joint anatomy/function while allowing ourselves to be at peace with our individual physical reality.
Through multi-directional movement sequences, somatic work, improvisations, studying anatomical models, palpation, and discussion, we observe the interplay of the body’s individual components in detail, and refine our listening and response tools. We will adapt the speed and complexity to each participant's needs, offering a gentle, democratic, and (w)holistic approach to body management and teaching. This class is a slow motion class that introduces somatic principles and exercises to the students for the purpose of giving them options to listen to their pain patterns, to current or chronic injuries to learn from them and to help relieve symptoms.
THE MAGIC AND SCIENCE OF WALKING
BII: The Body's Intrinsic Intelligence walking basics
Walking is the most common of movements we do every day. But is it fun, or do we focus on 'getting from A to B'? Let's explore how to elevate a simple activity to an enriching and creatively fulfilling one. This workshop addresses intellect and spirit at once: while using walking as a tool for mindfulness we analyze human movement, both in theory and practice. We will examine walking mechanics, the gait cycle, and the three dimensional, multi directional interplay of the body's structures. We will look at anatomical models, imagery and explore walking physically. We will be slowing movements down to analyze individual components and the forces acting on our bodies. Through walking we revitalize the spiral movement patterns that are genetically embedded into our structure: A well coordinated walk allows for mobility in all joints, which reinstates the constant ebb and flow of tension and relaxation that helps us maintain a healthy and vivid dexterity into old age. Discovering the beautiful complexity in something so seemingly simple, we can then play with the transition from walking to creative walking and dancing!
The first class meets at a movement studio and subsequent classes will meet at interesting outdoor or indoor locations to walk on flat and irregular surfaces. Day one: theory and basic principle exploration Day two: grassy surfaces Day three: steps and slopes Day four: beach Day five: concrete surfaces Day six: Creative walking and dancing
Logistics: Wear stretchy, loose clothing that keeps you comfortable and that does not restrict movement in any way. Be prepared to primarily walk barefoot, but also bring socks, and comfortable shoes. Layer up so you can adjust to varying degrees of warmth or weather conditions. If you have specific questions email Karola at firstname.lastname@example.org in advance.
MOVEMENT FOR ACTORS
At the high school, college and professional level I teach movement for actors. We explore body language and find intersections of pedestrian actions and dance. We develop this from an inner process that reflects on the character development in acting and plays with finding original movement to express ourselves non-verbally.
I teach grades 7-12. Focus lies on the artistic process, generating authentic movement, performance quality, and analyzing body language.
Contemporary/Post Modern Dance
A BII approach
Class begins with addressing neural conductivity and warming up the musculo skeleptal and fascial web through oscillating motion and gentle all-directional explorations. Receptors in the surface anatomy and in the muscles are stimulated by touch, breath and movement. Fascial adhesions are gently released, focusing on introducing mobility in all joints of the body by moving through moderate range of motion and multi-directional orientation as appropriate to each joint. The dancer gains increased kinetic awareness and speed of reaction.
The mechanics of entering and leaving the ground, energy efficiency and using the fascial web for propulsion and feedback, the generation, maintenance and transmission of kinetic energy, as well as individuality, performance quality and dancing in tandem with others are some of the key elements I address in any given dance class.
I use both set exercises as well as improvisation in order to deepen the understanding of movement principles. With proper attention to detail we dissect phrases into their individual components analyzing the demands, challenges and opportunities for efficient and structurally sound use of the body's components, paving the way for athletic and fast work across, as well as in and out of the floor. Tuning our listening and response tools we explore phrases that are organic, spiraling, undulating, multi-directional, and fluid, using inversions and work with a partner.
The movement language is specific and chronological, fluid and powerful, which is achieved by finding organic ways to generate kinetic energy and maintaining and channeling this energy through the body's natural pathways by maintaining the greatest structural support value in the participating articular structures.
More info (philosophy) on BII:
As a movement educator I am responsible for my students and the only body they are given in this lifetime. They might expect me to help them pursue professional careers in dance or become dance educators. Whatever their personal goals are, it is my job that I stay abreast of the latest cross-disciplinary developments in the world of performing arts, and to continuously update my knowledge of kinesiology and biomechanics in order to give my students the tools to strengthen and prepare their bodies and minds for one of the hardest, least protected and most competitive artistic professions: Dance.
I define technical strength as the ability to move intelligently and within the parameters of anatomical and bio-mechanical guidelines, while developing responsiveness to, and understanding of, the demands of various dance styles, individuality and choreographic goals.
The body is a community: individual components that are intrinsically interwoven work together, delegating muscular effort and shock absorption, propulsion, joint collaboration, and tension balance. Laying a foundation of movement practice that maintains structural integrity at all times, supports injury-free and long lasting careers in dance.Today's dancer needs to exhibit great versatility and adaptability, open-mindedness and creativity in order to work with the increasing numbers of choreographers that blend disciplines and break new ground on international platforms.
I seek to maintain a positive and life embracing atmosphere at all times as I believe in greater learning success under positive work conditions. I encourage students to ask questions and enter into a constructive dialogue with me about the principles presented in class. I learn from my students and grow with them, constantly developing my classes and adjusting to new situations, artistic needs and scientific findings.
STUDY RESOURCES COMPILATION
Study Resources (image by Frey Faust)
(video) BII at Salem master Class 'Introductory Series' short excerpt, 2015
(video) BII at Salem master Class 'Introductory Series' trailer, 2015
(video) 'BII - The Body's Intrinsic Intelligence' class, 2014