Co.ERASGA is pleased to announce: EXCHANGES 2016 Training and Master Classes with Hiroaki Umeda
Date/Time: Dec 5 2016, 12:00 am to 4:00 pm
Vancouver, The Dance Centre | Event calendarCost: $300.00
Find tickets: here
Special Dance Workshops presented by Co.ERASGA in partnership with The Dance Centre in Vancouver.
OPEN CALL TO DANCERS
Work and study “ Kinetic Force Method” with the world renowned and avant-garde Japanese multi-media dance extraordinaire Hiroaki Umeda.
Umeda is a choreographer and a multidisciplinary artist recognized as one of the leading figures of the Japanese avant-garde art scene. Since the launch of his company S20, his subtle yet violent dance pieces have toured around the world to audience and critical acclaim. His work is acknowledged for the highly holistic artistic methodology with strong digital back ground, which considers not only physical elements as dance, but also optical, sensorial and, above all, spatiotemporal components as part of the choreography.
Participants should have completed their basic contemporary dance training and a maximum of 1 year professional dance experience in the field.
Hiroaki Umeda Movement Workshop 'Kinetic Force Method'
Based on the movement method Umeda has been researching and developing, this workshop is designed for the participants to discover and develop their own movement. This is not a dance style, but a method of how to move your body.
The practice of Kinetic Force Method could be divided into three stages. First step is 'standing' in the Neutral Position. It is essential for the mover to master two kinetic principles to accomplish the postures of standing. That is, the 'Principle of Balance' which becomes the basis of movements, and the 'Principle of Tension and Relaxation' which generates all movements. In Kinetic Force Method, a perfect balance is obtained by controlling the three gravity points of the body: the center of the hip, the center of the chest and the effort point of the sole. Umeda claims that, 'If these three points are in full control, all human standing positions could be accomplished.' For instance, the so-called Neutral Position is achieved by 'placing the top of the chest, over the hip, over the center sole, and aligning it in a single grid.' And when the mover masters the gist of Principle of Balance, he or she will gradually notice the importance of the Principle of Tension and Relaxation. This is because when one stands in the most natural position in tune with the laws of physics, all redundant tension disappears from the body, which, in turn, enables the mover to generate maximum range of motion in minimum amount of input.
The second stage is 'moving' in harmony with the natural force. In Kinetic Force Method, all kinetic movements are engendered by adapting the body to the natural forces existing in the environment, such as gravity, repulsion and centrifugal force. In other words, the mover does not adopt active movements in order to command the environment, but rather develops passive movements by channeling to the natural force. 'It's easy to understand when you imagine the movement of swings,' says Umeda, 'since the fulcrum point of a swing is so solid, it naturally creates a beautiful trajectory with minimum input to the moving point, that is, the seat.' As is demonstrated by this simple principle of dynamics, when the mover once masters the Neutral Position of first stage, they will be able to realize a kinetic movement, which 'embodies the transmission of natural force running through their bodies.'
Lastly, the third stage is to develop a 'flow' by applying, again, the surrounding natural force. Kinetic Force Method differs from, for instance, forms of classical ballet since it does not attempt to generate a 'pose, or pause' by defying and controlling the gravity, but rather strives to develop a 'flow' by falling into chime with the surrounding environment. In order to create a beautiful 'flow,' that is devoid of any redundant noise (such as tension and ego), it is necessary for the movers to temporarily unlock the 'limiter of the consciousness' regulated by human logic. This is because it is significantly important for the mover 'to remove all prejudice which readily assumes the limit of human movements.' When one assumes that humans are capable of taking full control of the body, the movement becomes rigid and thus cannot transcend the existing physical formats. Rather, in order to generate unknown movements, it is important for the mover to once let go of reason and physically communicate with the natural surroundings.
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