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Andrea Boll 
// Teacher
Anne Garrigues // Teacher
Juliette Dürrleman // Teacher
Kerstin Kussmaul 
// Teacher
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24 of March: co-teaching Simon Wehrli and Andrea Boll
2) Lying on the back sending all 4 limbs up, dropping them down and turn over on to all 4s, send legs out into plank, spinning over one side of the hip, sending legs out and walk on the sit bones, roll backwards over one shoulder, gathering and opening onto belly, closing in while spiralling one arm under, come onto back with feet on the ground, drop the knees come up sitting and send one leg out into standing forward bend, continue falling into the same direction, spinning down, onto the back, feet on the floor, let knees drop and get up in spiral to come back down into the floor...other side!
3) Free fall down into opposition, roll into floating on the belly, roll on into opposition, roll to open up and spiralling upwards + Andrea's coda from 1e)
25 of March: Breath & Movement co-taught by Sabina Holzer and Kerstin Kussmaul
Sabina and Kerstin research together since a year, but are not used to co-teaching with each other.
The reason for the theme was a desire to start with a "single-ness" of approach that keeps developing without loosing its seed. As breath is the very initial movement, we thought it would be a good starting point. An underlaying theme for both of us is also how to come from somatic approach to more formal offers.
Class plan:
1) Sitting, tuning into individual breath without changing. Eyes can be closed. Then finding the diaphragm below the ribs with the fingertips by bending over the fingers with the torso and moving around. Coming back to sitting and listening to the breath, noticing changes if any occurred. Prolonging the breath and holding the inhale for some moments before exhaling.
2) A yoga-based sequence that emphasizes active stretches away from the floor, thus engaging the abdominal area, putting some awareness towards placement and awakening the potential of movement. As well as the coordination of the breath with movement, linking the length of the breathing in / out with the length of the executed movement.
3) Trio: P1 lays on floor, prolonges exhaling with a "sh" sound. P2 and P3 watch, then place hands on the body gently. P1 will only move during the exhale and find one initiation that keeps continuing until the end of the exhale.
P2 & P3 support the movement by "going for the ride".
In the next phase P2 & P3 place both hands together on the body and give resistance to P1. P1 expands into the resistance, finding unusual articulations throughout the body and so unusual positions and movements of the body.
Important is that the hands of P2 & P3 area placed on a spot right at the end of the exhale, so P1 has enough time to sense the resistance spots before moving.
Change roles.
4) Introducing a compositional aspect:
Alone again, moving through a diagonal and letting oneself by informed by the previous exercise. After some diagonals, participants are being asked to remember places they got interested in their moving through the diagonal, and to see if they can revisit the place: Not trying to copy it, but to inhabit the place again. Thus finding a way through space that is made of improvisational and more set parts.
Feedback / Notes:
Is a yoga sequence "a stranger" in a dance class? What is the kinetic experience of yoga ?
Yoga provides a good sense of of placement and there for is good to prevent injuries.
Do we have to warm-up the dancers in the class? - Rather waking up awearness and consciousness .
Warm up should stimulate the sensorymotoric actions. What is a "warm up"? Also a phrase could be a warm up?
Feedback for Trio exercise: It makes sense to really try to work together (for those who are giving the resistance through touch) and work with two points of resistance (just one hand, or both hands at one area). If there are more points, it can be overwhelming, - which for some people also can be inspiring, because the have to give up conciousness decision and surrender to the knowledge of the body. For others it might be too confusing. It is good to communicate with each other in the exercise.
Resistance can give support.
What is the advantage for the ones taking the class to take it from co-teachers compared to one teacher?
-> it brings in a horizontal way of working.
If knowledge is multiplied it is more accepted. (Quote of David Zambrano)
If you are surrounded by knowledge than it is more accessible. (Quote of Sabina Holzer)
26 of March : Form / Formless by Juliette Dürrleman & Anne Garrigues
(Description in French below)
The focus of this class:
- The longitudinal axis and its embryonary’s origin : the “notocorde”
- The appendicular skeletal and the release of the hip joins (the place of junction between legs and torso)
Summary of the class:
Development of the length axe by Anne: mini-lecture with fairy tail - quality of how we develop in the 1st weeks of our live in the womb considering the vertical axe
Neurosystem, muscles bones and facia (structure of the body), organs
Yoga-based exercise with the belt and yoga-based sequence by Juliette
Vibration of vertical axe - move from this idea
Air-Sequence
a) study it and going through
b) with someone giving light touches to activate certain body part
Description
Anne: (30 minutes)
1/ Free Movement with free neck (10 minutes)
« As you need, move, neck released.
Let this pathway between the head and the torso to be free.
Then, bring the head on the floor and massage it.
Roll with all the body while keeping the head in relation with the floor.
Then, find the lightness of the axis, as you can experience the fluttering of the brain and the spinal cord.”
2/Little story of the axis’ genesis (10 minutes)
Now Anne explains us with images and balloon’s the embryonary’s origin of the notocorde.
3/ Touch with a partner, sitting(5 minutes but it was to short)
- Vibrating touch: the hands touch just or at a distance at the front and the back of the torso. Go from the pelvis to the skull, to draw the notocorde’s way that roots in the centre of the perineum and goes up until the pituitary, back to the third eye.
- Full touch: to contact the organs and the spine. In the same, time put a hand on the lower face and the throat and the other on the skull then the neck. Then go slowly all the way down with the digestive gut at the front of the body and the nervous system at the back, which is protected by the skull and the vertebrae.
4/ Movement integration of the soft column (5 minutes but it was to short)
The appendicular skeletal stability supports the axis’ mobility
Juliette: (20 minutes)
We experiment the link between the legs and the torso with an exercise of the Iyengar®’s yoga
- Eka Pada Supta Pavana Muktasana with a belt in the hip joint:
Right leg bent + belt in the right hip joint, pulled by the left feet on the floor, hands crossed on the right tibia, wide elbows, with the length of the spine.
The goal is to create space in the hip joint and to release this area and not to bring the knee on the chest without awareness. Openness of the pelvis and shoulder ‘s areas.
- Adho Mukha Svanasana (the dog with the head down) with a partner and a belt :
The partner pulls the belt which is in the hip joint, the legs go back while the torso dives and stretches towards the floor.
It enables to free, stretch the spine and reach the organs and the nervous system.
- Little sequence of yoga postures to create bone’s alignments, by keeping the flow.
Anne: (10 minutes)
5/Dance exploration through the space
With the axis and the legs’ freedom
Weight and after lightness qualities
Juliette: (20 minutes)
6/Danced phrase about weight and lightness qualities
We use the sensations experienced with the belt postures to free legs into the space.
Be impregnated by this phrase and its musicality and not analyse it.
At the end, the phrase has a small improvisation before recycle.
7/Dance this phrase while a partner supports movement qualities with his touch
Place of touch: air under armpits, sternum suspension, heel roots, space support, notocorde flow, hip joints release in the legs lift…
Long time for dance in two groups alternately.
Students and teachers feed backs
- How can we increase and use the sensations discovered in the BMC part, in the formal part? Anne might intervene during the yoga postures or in the movement phrase, talking of the notocorde again.
- It might be possible to mixed much more yoga and BMC around the theme axis and periphery. One could build a long sequence of movements based on the two approaches.
This heterogenic approach offers a experience with a lot of highlight.
- The formal movement sustains a may of mind.
- This class made Simon think a lot but he was surprised at the end of the class of its effect: during the last phrase of movements, he felt very present in his dance.
If this class could be teach during 2 weeks every morning, it might dive really deep in the material. There’s inside a lot of new things to integrate. May be, it’s an idea to develop.
EN FRANÇAIS
Focus of the classe :
- l'axe longitudinal et son origine embryonnaire la notocorde
- le squelette appendiculaire et la détente des aines, lieu de jonction entre les jambes et le tronc
Anne: (30 minutes)
1/ Mise en mouvement : nuque libre (10 minutes)
« Bougez selon vos besoins tout en détendant la nuque.
Laisser libre ce passage entre la tête et le buste.
Puis amenez la tête contre le sol, massez la contre le sol.
Roulez tout en la gardant en contact avec le sol.
Puis, chercher la légèreté dans l’axe, comme le flottement du cerveau et de la moelle épinière »
2/ Petite histoire de la genèse de l'axe (10 minutes)
On se rassemble vers des images amenées par Anne
Explication développement embryologique de la notocorde avec le support d’image et de ballons.
3/ Toucher par deux, assis (5 minutes mais trop court)
- Toucher vibratoire: les mains touchent à peine, à l’avant et à l’arrière du buste. Remonter du bassin vers le crâne, pour tracer le chemin de la notocorde qui s'enracine au centre du périnée et monte jusque vers la glande hypophyse, en arrière du 3ème œil.
- Toucher organes et colonne vertébrale: toucher plein poser simultanément une main sur le bas du visage et l’avant de la gorge et l’autre sur le crâne puis la nuque. Puis descendre le long de l'axe longitudinal avec le sens du tube digestif à l'avant et du système nerveux protégé par le crâne et la colonne vertébrale.
4/ Intégration en mouvement de cette colonne fluide. (5 minutes mais trop court)
La stabilité du squelette appendiculaire soutient la mobilité de l’axe.
Juliette: (20 minutes)
Nous passons au lien entre les jambes et le tronc par un exercice tiré du Yoga Iyengar®.
1) Ekapa Supta Pavana Muktasana avec une sangle dans le pli de l'aine : jambe droite fléchie + sangle dans le pli de l'aine droite , tractée par le pied gauche, mains croisées sur tibia droit, coudes larges , longueur de la CV.
Le but n'est pas de ramener à tout prix le genou vers la poitrine mais plutôt de créer de l'espace pour l’articulation de la hanche, et détendre l’aine frontale. Ouverture des zones pelviennes et scapulaires .
2) Adho Mukha Svanasana ( le chien tête en bas) par 2 avec sangle dans le pli des aines frontales ( les jambes vont vers l’arrière tandis que le buste plonge et s’étire vers le sol) Ceci pour libérer , étirer la colonne vertébrale et atteindre le système physiologique (les organes) et nerveux (moelle épinière)
Puis petit enchainement de différentes postures pour créer des alignements osseux tout en trouvant un certain flux.
Anne: (10 minutes)
5/ Exploration dansée à travers tout l'espace
Sens de l'axe et liberté des jambes
Qualités de poids puis de légèreté.
Juliette: (20 minutes)
6/ Phrase dansée sur les notions de légèreté / poids
Utilisation des sensations expérimentées par le travail avec les sangles pour libérer les jambes dans l’espace.
Apprentissage par imprégnation de cette phrase de mouvements
A phrase se finit par une partie de mouvement libre avant de reprendre au début.
2) Danser cette phrase tandis qu’un partenaire, par différents types de touchers, soutient les qualités de mouvement demandées: l'air sous les aisselles, la suspension du sternum, l'ancrage des talons, le support de l'espace, la fluidité de l'axe notocorde, la détente des aines dans les levers de jambes etc...
Long temps de danse en deux groupes qui s'alternent.
Retour des élèves et des enseignants sur le cours
- Comment rendre plus apparent et réutilisable les sensations découvertes en BMC avec les parties plus formelles ?
- Peut-être faudrait il que Anne intervienne directement avec des mots en reparlant de la notocorde dans les postures ou dans l’enchainement. On peut encore plus mixer Yoga et BMC autour du thème de l'axe et la périphérie. On pourrait construire une séquence entière basée sur les deux, qui hybride les deux approches.
- C’est une approche hétérogène qui donne beaucoup de relief à l’expérience.
- Un mouvement formel soutient un état d'esprit.
- Classe qui a beaucoup fait réfléchir Simon, mais il est finalement très surpris de son effet à la fin de la classe lors de l'enchaînement : il se sent très présent dans la danse.
- Si cette classe était donnée durant deux semaines tous les matins, elle permettrait de plonger vraiment dans la matière, car il y a eu beaucoup de choses très nouvelles à intégrer. Idée à développer peut-être…
Thématique générale : form/formless
Extraits des discussions entre Juliette et Anne lors des préparations du cours donné lors de la résidence d’enseignement de LEAP à Zürich en mars 2014.
Anne: Je suis intéressée par les notions de forme et de substance. Par les chemins du mouvement et par la qualité tonique qui le nourrit. Comment être bougé, être traversé par la danse ? Le BMC nourrit mon travail de danseuse et d’enseignante depuis 20 ans. En BMC, on observe le mouvement depuis le début de la vie. A l’origine, lorsque nous sommes un embryon, nous sommes des êtres plats et fluides avant de devenir volumétriques. C’est la construction d’un premier axe primitif le notocorde qui nous oriente dans l’espace et prépare toute l’organisation de notre corps entre l’avant et l’arrière, en haut et en bas et latéralement. Puis l’axe vertébral se forme et les membres apparaissent ainsi que tous les organes du corps et le système nerveux… Nous devenons alors plus géométriques, prêts à rencontrer la gravitéà notre naissance.
Juliette: Je suis intéressée ici par ce que le Yoga Iyengar® peut apporter à la Danse (et dans d’autres lieux l’inverse). Le Yoga a pour but l’union du corps et de l’esprit et met un accent particulier sur l’étirement de la colonne vertébrale qui contient la moelle épinière.
Anne: Dans le BMC on approche les processus physiologiques par la somatisation. On part d'une image pour venir vers la région du corps concernée. Pour soutenir notre attention vers cette région, on utiliser les sensations et l'imagination, que l’on stimule par la respiration, le mouvement, le toucher ou encore la voix. Puis on laisse s'exprimer la partie du corps , s'incarner. On appelle ce processus l’embodiement, c’est un peu difficile à traduire en français : incorporation, incarnation, ou encore intégration.
Juliette: En Yoga, il y a une dimension de soutien physiologique qui passe par une dimension structurelle, l’esprit s’incarne dans le corps en posture. Donc c'est un peu le même processus que dans le BMC sauf qu’il n’y a pas toujours de mise en mouvement externe. On cherche une dynamique interne qui va produire la stabilité du mental, ceci dans une posture ferme et détendue . Le Yoga travaille sur les différents corps de la personne ( physique , physiologique, mental etc ...) et nous transforme de l’intérieur .
Anne: Tu vois en BMC on dit : « la stabilité précède le mouvement ». Mais c’est juste aussi dans l’autre sens : « la mobilité précède la stabilité ». C’est un aller-retour constant entre l’un et l’autre.
Juliette : Je mesure l’importance de valeurs éthiques dans le cours :
- respect de soi -même et des autres.
- ouverture d'esprit,
- sourire intérieur
- vivre l'instant présent comme si c'était le premier ou le dernier avec tout son corps tout son esprit
- faire preuve d’une attention soutenue sans crispations
- garder toujours le rapport aux autres, à l'espace autour de soi
- Pas d’auto jugement
- Attention portée aux alignements
- Jouer avec son corps comme si c'était un instrument et avec les autres comme si nous étions un orchestre
Anne : Je perçois que le système endocrinien est très engagé dans l’expression artistique. Il est très puissant et très subtil, il active des expressions variées avec une composante vibratoire. Pour simplifier son approche, je voudrais passer par l’embryologie qui est une manière particulière de percevoir le système endocrinien. Quand on souhaite s'équilibrer dans avec le système glandulaire on recherche l’alignement des glandes sur l’axe, et c’est l'axe du notocorde qui le soutient.
L'étude de l’embryologie permet de comprendre les mouvements de vie universels qui nous construisent et qui nous constituent et qui ne sont pas affectés par notre histoire personnelle. On parle de la place de l'espace en BMC. Bonnie et de nombreux enseignants de BMC cherchent dans cette direction depuis une dizaine d’années. C’est une approche subtile qui relie l’espace à la personne. Mais pour approcher cela dans notre cours, il faudrait aussi des pratiques très enracinantes. Travail avec le son et la vibration, pour stimuler la structure osseuse. Visiter nos limites du jour seul .du point de vue du développement on va s'enrouler très tôt et dans un liquide, la peau est poreuse .réveil de la peau.
Juliette : Dans la formation du danseur professionnel, je cherche à développer ou réveiller un état de conscience qui va permettre la subtilité, l'importance du détail dans un corps global déjà bien intégré (alors qu’avec l’élève débutant on dégrossit) Avec la notion de subtilité on approche la qualité de légèreté qui se construit à partir de l'expérience première de la gravité. Pour cela les alignements, et les étirements qui vont nettoyer les canaux subtils du corps (nadis) sont fondamentaux pour permettre au danseur d'être traversé par la pesanteur et dialoguer avec elle.
Le Yoga Iyengar est un des outils qui peut soutenir ce travail, mettant en jeu entre autres une approche précise et rigoureuse des alignements, adaptée aux capacités corporelles et mentales de chacun. La forme n'est pas formelle en yoga, c'est à dire que chaque posture se doit d'être dynamique et construite par des actions motrices allant dans des directions opposées. c'est la vitalité qui est mise en jeu dans la forme qui est intéressante pour le danseur. Mais aussi la possibilité très concrète d'améliorer sa force et sa souplesse tout en augmentant son champ de perception (Suis je capable d'exercer une poussée avec mon pied, tout en tirant avec ma main, tout en allongeant ma colonne vertébrale , tout en tournant mes côtes vers la droite , tout en détendant le ventre , tout en relâchant les muscles du visage etc? ..) Cela met en jeu la mobilité des os, des muscles , puis des organes et la stabilité du psychisme. Cela va travailler sur le tonus de chacun et aider à l'équilibrer : état « sattvique » de disponibilité ,d’aisance.
Je suis bougée par ... Je suis passivement active et activement passive ...
Anne : Est ce moi qui bouge dans l'espace ou est-ce l'espace qui me bouge ?
Est ce mon pied qui bouge sur le sol ou est ce le sol qui fait bouger mon pied ?
Juliette : Je crois que c'est une Histoire sur « moi » et « Moi », sur le « moi individuel » et le « Moi Universel » ; une histoire du choix qui peut se faire à un niveau infinitésimal, au niveau du détail
Anne : Et aussi à l’endroit de l’espace entre… le « mâ»…
Rèférence : Embryologie Barry Mitchell et Ram Sharma
27 of March: The class we never taught before (Shared teaching of all 6 TR teachers)
A co-taught class to the theme of "backspace" where every of the 6 teachers taught 15 minutes. Additionally to the theme we used the "essentials" of day 1 that should happen in a class (see idoc...) - everyone of the 6 teachers picked one of the essentials. We decided on the order beforehand according to the "essentials" but did not coordinate the exercises - they were to be developed according to what happened previously in class.
1) Creating a friendly cooperative environment (Juliette)
Space circulation and partners meetings by shaking the hand and saying "bonjour" "guten tag " then we hug every dancer with saying "bonjour".
After that keeping the circulation and keeping moving we greet the space,the floor, the back of another dancer and finally our own body.
Then we join together back to back in a circle shoulders touched , we breath together and we make sound as if we tune our sounds in one , several minutes.
2) Breath and movement (Andrea)
yoga-based sequence to travel through the body "separating" left & right, upper and lower part of the back and connect head & tail & front of the heels as orientation for aligment. Image for breathing to activate isotonic power: expend / filling up with air and deflate. Inhalation: pushing from the inside / center to the skin (expand) and let air go out (deflate, balloon). Get conciuos of the "empty / on hold" moments after exhalation or inhalation = potential moments of change, the moments before motion. F.e. inhale/expand and round the back - hold - think the next movement - exhale / deflate - air goes out, than the mevement happens (hollow the upper back).
3) Going beyond the comfort zone and taking risks (Kerstin)
P1 and P2: P2 contacts the back of P1 with a light touch / focus on surfaces with all kinds of body parts. Once a good connection has been established, P1 starts to move while P2 tries to stay in touch with closed eyes , following through with different body parts. P1 challenges P2 more and more, changing levels, directions, and speed while moving through space.
4) Lacher-prise (Sabina)
Walking through space - falling through the back.
Feeling the skin of the back supporting the front side. The back is the plate of a table and all the organs and bones rest on it and are supported on this plate. Feel how this feels when your are upright moving through space. Move through space; fall through the back. fall through your shoulders, through your rip cage, through your lambor area, through your sacrum. Fall through your spine.
Feel how the back space is supporting you. The skin of your back space is expanding and reaching forward, embraces you. Like an animal coming from behind, your animal coming from behind embracing you. As you are embraced from the back and your back space reaches forward, you reach forward to embrace the space in front of you.
As you continue moving and falling through your back talk about your back. Tell the story of your unknown spaces in the back, of this animal, which is embracing you.
As you continue moving and falling through your back whisper and talk very fast.
As you continue moving and falling through your back, talk very loud and very slow.
As you continue moving and falling through your back shift between these two modes of speaking.
Find and end and look for your partner. Tell her / him very with your hands and feet very fast and very loud what you experienced with your back.
5) Awaken the creative mind (Simon)
Moving with awareness of if a movement is to the "front" or to the "back" (individual interpretation). Starting to rewind executed movement. Playing with forward and backward. Starting to think all movement as rewinding movement. Acknowledging the changed movement quality. Having a sense of moving into past, of rewinding movement that has not been executed yet (with music).
6) Finding out something about yourself (Anne)
Let the space move you, a protective and supportive space all around you
Then with your hands sign, draw a trace of your dance experience, quickly directly, in space behind you
Then join you partner from the beginning of the class, and one is drawing on the back of the other tactile phrase like memories of the previous dances, the partner receives it. Then change role
Then, always standing, one is facing the back of the other delicately present and protective, and we stay several minutes quiet like that and change roles.
Feedback: A journey of physical experiences, with a certain quality of rawness, and "primordiality" (Kerstin)
This class on the back space was full of sensorial and imagination aspects. Tomorrow the theme is the back, as a part of the body.
28 of March
Theme: Differentiation and articulation of the back
1) Juliette.
a- The same spatial circulation than onThuesday by saluting every body in the studio , we use more all our body and our arms connected to our sternum and our heart . Our frontal and our backside body are involved in the movement of saying "Bonjour ".
b- We find a place . By 2, massage and stimulation of different parts of the back of the dancer who is standing in front ( this person can move if she needs ) .We begin with the neck , go on with the trapezium , the dorsal's area, the diaphragm's area, the lombair's area , and the sacrum's zone . We are careful to give also a support to the frontal tronc : we keep an hand on the sternum of our partner , on his stomach or on his navel in the same time as we awake the back of our partner.
same as the day before but extra attention on the transiation form where Julitte to me (taking the time for it). Specify the exercise, dig deeper into the image of expansion/deflation (isotonic power as dynamic energy to enlarge the range of movements) and "empty moments" as potetial moments of change and freedom in balances.
3) Kerstin: Creating a sense of alignment
Based on floor barre exercises, Kerstin introduces a set of exercises that focus on lenthening and curling in the tailbone, thus engaging deep pelvic and thoracic muscles while keeping a long neck. Transitioning from floor to standing, we keep the whole back in one piece while lowering our center into a deep plié, coming into a forward walk on all 4s.
4) Sabina: Lacher prise - stimulating physical excaution
Walking through space. Front, back to the side. Speeding up - trotting, passing through the spaces between people, speeding up even more.
Finding a space - frontal situation
One step falling backwards - stepping front again - a few times - developig a basic step front / back / sideways - Ginga related.
Letting the arms fly freely from the momentum of the movement
Using this step tracing with the hands the back down to the feet, touching the floor.
Play with the relation step / arms / ground / momentum
Group divided in two facing each other - playing with this elements, approaching each other and creating distance.
In pairs continue to play with this element. This time move into the negative space of your partner, play with extrem closness and distance,
challenge the space of your partner and your own.
Always stay in motion.
5) Anne (Finding out something about yourself)
From this closeness keep on moving through, and start to use your hands to push on the hands and the bodies of the partners. Find more and more strength in it, and connected this push to your feet, you fell a complete connection from the hands to the feet.
Then start to reach in the space, to engage the body in a whiled extension. Be in a generous dance in all the space; let the body move how it wants.
Join a partner and A is moving several minutes, B is witnessing him. Then B is choosing a aspect of the movement that was not fully developed, that appeared on the edge of the movement, he dances it, without any words, only 1 minute. Then A comes back to movement and includes what B propose to him. Change role
6) Simon (awaken creative mind)
Different movement material is proposed in a sequence: up side own, deep second position, leading with the hand, spiralling from underneath the shoulder blade, diving forward into the floor, going side by side over through lotus onto back, getting up backwards.
Once the material was established, participants were encouraged to use it in any way they wanted to. Playing with speed, space, repetition and time (with music).
FEEDBACK
Evaluation: was more connected, we picked up the transition from one teacher to another
The class was building up fluently and had a good rythm.
It was also more crafted than the day before, less "raw".
The class gives a lot of energy, the body was there...
Thoughts as a participant, by Sonia Ntova:
Our goal as teachers is to transmit knowledge and furthermore to challenge students to achieve awareness, critical thought and inspiration. We have learned in an hierarchical/ one teacher class approach. As students we have noticed from school that it is difficult to participate in a monologue.Why to be afraid to discover new ways of teaching? Teachers - Students in a continuous procedure of learning.
My experience as a participant in this team teaching class, gave birth the following thoughts:
Team teaching can help create a dynamic, interactive learning environment, and also become an inspiration (for instructors) for new research ideas.
It provides opportunities for integrations and interaction when the instructors teach together,and gives the environment of a small class. Many teachers in a crowded class have the opportunity to make small sessions, corrections, and more personal dialogue with the participants.
Shift of teachers can be challenging , as it comes as a surprise, and a burst of a fast new stimulation.
The purpose of a team-taught course,from an educational standpoint, is to push even more students to achieve higher levels of synthesis and integration in their study.
The core advantage in team teaching is to hear multiple perspectives on the same topic.
The dialogic structure increases the occasions for student- teacher interaction. It can give the students the possibility to stop looking for the “only one right answer” solution.
The presence of more than one instructor creates a collaborative environment and activates students to participate more in the creation/ learning process, make participants feel that they contribute to class.
Teachers can challenge their knowledge and their pedagogical experience and learn new approaches that will enhance their own research.
notocorde on ectoderm | hip yoga posture with a belt | belt detail | the dog yoga | the 2 bags, yock and amniotic | mesoderm between |
This project has been funded with support from the European Commission.