10 Rules for Students and Teachers

학생 자원 Student Resources

기술 Technique

Alexander Technique *
The Feldenkrais Method *

*see sources at k-arts library

안무 Choreography

Susan Rethorst
A choreographic mind:
Autobodygraphical writings

the dance’s premise and content will be made manifest through the making, … I will arrive at where I want to go, at what I want to be doing with this dance by following my dance’s lead. … the ideas that are in me inform what I do and make, even as I am unaware of how that is operating. How what lies under my conscious decisions is leading those decisions. … working in such a way will add layers to [the dance], i.e., the dance will engender knowledge … my dances are smarter than I am.

On seeing, hearing, sense perception, practices:

Mary Overlie
Six viewpoints

Anne Bogart
A director prepares



Susan Sontag on boredom

Boredom is a function of attention. We are learning new modes of attention — say, favoring the ear more than the eye— but so long as we work within the old attention-frame we find X boring … e.g. listening for sense rather than sound (being too message-oriented). Possibly after repetition of the same single phrase or level of language or image for a long while — in a given written text or piece of music or film, if we become bored, we should ask if we are operating in the right frame of attention. Or — maybe we are operating in one right frame, where we should be operating in two simultaneously, thus halving the load on each (as sense and sound).

We Are Not One / Weather Vein

working title




Lyrics for “The Rose”

Early Phrases 1

16 Floor Phrases

Walking Pattern Phrase [I hope we can improve this]

For students unfamiliar with the use of “Tasks”, games, and “pedestrian movement” in choreography:
Yvonne Rainer

[in the 1960s] Many of the elements she employed—such as repetition, patterning, tasks, and games—later became standard features of modern dance.

Walking Pattern
Practice the walking leading with the head. Here is a video for you to observe:

Fugue (walking version)

Fugue – Score version: Walking, dancing, add pause and changing direction

Early Phrases 1

Score: Implied Direction – Down, Up, Out

Score: Ask Permission, Take something, Give it back, Head to floor, Roll

Roll Down

Walk, V Arms, Roll (Yura)

Slow Kneel

Flat Worm, Rolling Elbow

Wiggly Man (Ja-Eun)

Spin, Carry (lift)

Scorpion, Windmill phrase (Ye-Suel)

Monday 4/21/13 Instant Composition:

Bette Davis

I’m not entirely negative when I say that people should be warned before they set out to be artists: There is some glory in what I’m saying, which is that the process never ends. Neither does the fear and the insecurity and the fighting to be seen and to be as good as only you know you can be. It never becomes easy; it might at times be easier, but that passes. All artists are up against the people–the money people–who just want a product at the end of the day, something to sell. And the artist is trying to really make something of value, trying to be something of value. This is a fight I still have every time I work. And I think it is asinine that this is not stressed more to young people, but I think the schools are afraid that the truth would send all those young dreamers out the door with their tuition money. If I were teaching–God help us all–I would tell the truth: It’s going to be brutal, but you can make it glorious. And you’re going to have to fight.

–Bette Davis/Interview with James Grissom/1984

More Betty on dreams, goals and tasks, on regrets, on laziness, and on working toward greatness.