https://feldenkraisresearchjournal.org/index.php/journal/issue/feed Feldenkrais Research Journal 2019-08-08T18:13:49-04:00 Editors researchjournal@feldenkrais-method.org Open Journal Systems <p>The&nbsp;<em>Feldenkrais Research Journal</em> addresses practical and theoretical aspects of research for the Feldenkrais professional field, interested researchers, scholars, and thinkers in related disciplines, and members of the public. This peer reviewed journal focuses on research into the Feldenkrais Method<sup>®</sup>, and related fields of practice, thought, research, action, and awareness. This peer reviewed Journal seeks to engage in a dialogue about research within the Feldenkrais professional field and beyond.</p> https://feldenkraisresearchjournal.org/index.php/journal/article/view/32 Feldenkrais Method® and Piano Somatics 2019-08-08T18:13:49-04:00 Alan Fraser phraser@alanfraserinstitute.com <p>This article is built around an extract from <em>Play the Piano with Your Whole Self</em>, my fourth in an ongoing series of books on piano technique. The series is titled “Natural, Artistic Piano Playing,” and to date contains over 250 Piano Somatics ATM<sup>®</sup> lessons. The hand on key functions much like a little person with legs (fingers), pelvis (hand) and torso (forearm). This analogy lends itself to Feldenkrais Method-style exercises which develop the relationship between the hand’s innate structure and function and the complex actions required to move a piano key artistically. Piano Somatics, the science and art of movement at the keyboard, addresses certain thorny problems in piano pedagogy that have exasperated generations of pianists. The Feldenkrais Method, with its understanding of skeletal mechanics, biological cybernetics and learning, offers the context for Piano Somatics’ new approach to piano technique.</p> 2019-08-08T17:44:04-04:00 Copyright (c) 2019 Feldenkrais Research Journal https://feldenkraisresearchjournal.org/index.php/journal/article/view/31 To know slowly 2019-05-29T00:28:31-04:00 Detta Howe d.howe@chi.ac.uk <p>This two-part essay offers a personal reflection on an emerging Feldenkrais-informed practice in dance performance and pedagogy. As a post-positivist piece of writing from practice, the essay acknowledges the first-hand experience of the researcher as documenter of embodied process. The essay makes reference to the research of Sylvie Fortin and Warren Long (2000) who explore the potential of Feldenkrais learning for the dancer. The writing of Moshe Feldenkrais (2010, 1990), Norman Doidge (2015) and Guy Claxton (2016, 1997) illustrate notions of organic learning and knowing slowly.</p> <p>In Part 1 of the essay I reflect upon the impact of the Feldenkrais Method on my dancing. I highlight how the Feldenkrais Method offered me the opportunity to get to know the difference between the dancer that moves and the dancer that knows they are moving. Part 2 directs the reflection towards the experience of students I have been teaching at the University of Chichester, introducing an emerging practice, <em>Awareness in Motion (AIM)</em>​.</p> 2019-05-28T00:00:00-04:00 Copyright (c) 2019 The copyright for this paper remains with the author(s). https://feldenkraisresearchjournal.org/index.php/journal/article/view/30 Gaga, Give Me More 2019-07-16T23:46:06-04:00 Helen Singh-Miller hsingh-miller@massart.edu <p>Through a comparative account of the Feldenkrais Method<sup>®</sup> and Gaga, movement language and pedagogy developed by Israeli choreographer Ohad Naharin, Helen Singh-Miller explores the spectrum of human movement presented in two of Naharin's dances, both performed by the Batsheva Dance Company in the last year.</p> 2019-05-28T00:00:00-04:00 Copyright (c) 2019 The copyright for this paper remains with the author(s). https://feldenkraisresearchjournal.org/index.php/journal/article/view/28 Practices of Freedom – The Feldenkrais Method & Creativity 2019-06-17T18:16:43-04:00 Thomas Kampe feldenkraisresearchjournal@gmail.com <p>Can you see that my lessons are [...] improvised, yet they are improvised with a method. [...] It's all the time improvisation but it has a method in it, therefore it's jazz. […] It's playing music on certain notes, making variations on a theme, and therefore it's a real learning. It's a lived thing. (Feldenkrais (1975: 155)</p> <p>Our daily life appears to us so simple and direct that we often fail to see its richness and appreciate its beauty. Nonetheless, it is a refined choreography of behavioural coordination. (Maturana, and Varela 1992: 233)</p> <p>The desire to develop this journal volume on Feldenkrais and creativity in collaboration with the IFF emerged from the symposium ‘<em>(re)storing performance - The Feldenkrais Method and Creative Practice</em>’, staged at Bath Spa University (UK) in 2015. The symposium brought together an international team of thirty artists, scholars and Feldenkrais practitioners to inquire, through practice and theoretical debate, the potential of the Feldenkrais Method<sup>®</sup> to facilitate creative practice within the performing arts, and of framing the Feldenkrais Method as creative practice per se. The symposium launched the <em>Special Issue on Moshe Feldenkrais</em> of the journal <em>Theatre, Dance and Performance Training (TDPT)</em>, edited by Libby Worth and Dick McCaw, and aimed to articulate new processes, connections, limitations and emerging problems. How do we develop new, extended, practices through the meeting of Feldenkrais’ educational modalities and artistic discourses? What hybrid practices emerge through a collage or layering of these diverse practices? How do such meetings of processes clarify, expand, support or limit one another?</p> <p>Moshe Feldenkrais repeatedly used artistic metaphors to describe his practices in non-dualist ways, such as ‘compositions’, ‘improvisation’, or the act of ‘dancing together’ (Goldfarb 1990) and activates reflective and transformative learning through embodied modalities, strategies and devices which can be called ‘choreographic’ (Kampe 2013, 2015, 2016). In similar ways Humberto Maturana and Francesco Varela described the human organic interaction with the world as ‘a structural dance in the choreography of coexistence’ (1992: 248). Current Enactivist transdisciplinary discourses on contemporary choreography, likewise, reframe the role of the choreographer as ‘engineering the determining conditions of personhood’ (Noë 2009), thus into close proximity of the organic educational concerns embedded in the Feldenkrais Method.</p> <p>The title of this journal volume leans on philosopher Michel Foucault’s writings on ‘pratiques de liberte’ - practices of freedom (1997). Foucault proposes the possibility of a ‘conscious practice of freedom’ (1997: 284), as a ‘care of the self’ towards the freeing and producing of one's own subjectivity, by inventing alternative practices which embrace ‘complex relationships with others’ and ‘a way of caring for others’ (1997: 287). The title implies that the Feldenkrais Method and contemporary creative arts processes and research cultures share such ethical concern in the meeting of these diverse practices.</p> 2019-05-22T00:00:00-04:00 Copyright (c) 2019 The copyright for this paper remains with the author(s). https://feldenkraisresearchjournal.org/index.php/journal/article/view/26 Introduction and Acknowledgements 2019-06-17T18:20:10-04:00 Cliff Smyth feldenkraisresearchjournal@gmail.com <p>It is my pleasure to say a few words of welcome to this volume of the <em>Feldenkrais Research Journal</em> – and give thanks to all who contributed. While this volume took quite some time to produce, it represents a significant achievement – bringing forth this important field of practice, thought, and research of the life of the Feldenkrais Method<sup>®</sup> in the world. Taken along with the special volume of ‘Journal of Theatre, Dance, and Performance Training’ (Volume 6, Number 2), from July 2015, it establishes the Feldenkrais Method as a significant contributor to teaching and practice in the contemporary performing arts. In this Introduction I wish to thank the many people who made this volume of the <em>Feldenkrais Research Journal</em> possible.</p> 2019-05-19T00:00:00-04:00 Copyright (c) https://feldenkraisresearchjournal.org/index.php/journal/article/view/18 ‘Feldenkrais®​ ​for Actors – How to Do Less and Discover More’ 2019-05-16T20:26:07-04:00 Thomas Kampe t.kampe@hotmail.com <p><strong>Review of ‘Feldenkrais for Actors – How to Do Less and Discover More’ by Victoria Worsley</strong>, illustrated by James Humphries; Nick Hern Books London 2016; 272 pages</p> <p>How do we train actors to develop an organic competence of their craft? How do we educate young people to become agile, creative, sensitive and affective performers in a cultural context that affords an increased disembodiment of everyday life experience? How do we encourage open-ended inquiry within a corporate increasingly goal-oriented and fast-paced vocational educational training system?</p> <p>Victoria Worsley, London based actor and Feldenkrais® practitioner, published the book <em>Feldenkrais for Actors – How to Do Less and Discover More</em> as a resource for students and teachers in 2016. Her writings emerged from her rich experience as an artist, teacher of Movement for Actors in Drama Conservatories, and as Feldenkrais practitioner who works with the general public. Her book offers a convincing resource for student-actors, professionals and pedagogues, with an historical introduction that links the work of Moshe Feldenkrais to theatre practice and to the current work Feldenkrais/Theatre peer-practitioners in the UK, a large experiential part linked to the needs of the student actor, and an appendix with useful links to resources for further study.</p> 2019-05-16T00:00:00-04:00 Copyright (c)