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Hove, Arthur O. (ed.) / Wisconsin alumnus
Volume 69, Number 4 (Jan. 1968)

Kloepper, Louise
Form and feeling in the dance,   pp. [6]-13

Page [7]

own movement with an inward looking eye. To effect the subjective-objective
tionship of the dancer to his body instrument, attention can be called to
a single
action. The mind concentrates more deeply if given one point of mental focus
     Sa timehe-n-gie action can be "observed" and felt by the senses
by noting_(l)--its
structural action, (2) its spatial action, (3) its rhythmic action, (4) etc.,
etc., etc.
Since the student in this instant is observing himself as he would another
body, his attitude is objective. When the student responds to the "feel"
of the
movement, the attitude becomes subjective.
  I attempt to teach technique from the above point of view as well as develop
the necessary strength, coordination, speed, and flexibility.
  Composition provides another avenue for discovering how to project ideas
feeling. We work with the movement possibilities inherent in an idea-with
shapes the idea may take in and through space, the dynamic flow it may suggest.
This material is used as the material, to be subjected by the dancer to disciplined
manipulation according to compositional devices and principles. The dancer's
personal feeling or idea as such no longer becomes important except as it
a guideljne for selection of the infinite varieties of feeling and expression
describe the dance.
Form and Feeling in the Dance
                                by Louise Kloepper
                                chairman, UW dance division
            THE HUMAN BODY is at once an instrument to accomplish tasks,
an instru-
       . . - ment through which thoughts and feelings are experienced, and
an object
         of esthetic expression and contemplation. To separate the body's
feeling aspect
         from its movement aspect is difficult because such a separation
is purely a mental
         discrimination of varying facets of the total phenomenon-the feeling,
         human being.
           It has been my concern in teaching beginning technique and composition
         classes to help young dancers discover their body as an instrument
and thereby
         discover the relationship of the subjective self to the objective
body self-to discern
         the distinction between the personal-feeling-doing self and the
body self. Aware-
         ness of the avenues of communication between the self and the body
as an instru-
         ment help to objectify movement in the dance experience.
           The dancer's primary means of self-communication is through his
muscle or
         kinesthetic sense. But young dancers too often resort to the painter's
means of
         self-communication-the visual sense-  and therefore overlook this
direct experi-
         ence with body action. The problem in teaching dance technique and
         is to clarify the relationship between the individual as a person
and his body as
         an instrument.
           The technique class, I teach offers an opportunity for the student
to study his

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