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The rEvolve facilitator training program has been designed with the vision of increasing the numbers of people being involved in dance theatre across Australia and the world. rEvolve facilitators will be NDIS ready.

rEvolve works in 4 practice areas:
1. Learning a movement language;
2. Exploring the creative capacity;
3. Collaborating;
4. Performing;

1. Learning a movement language. Our human bodies have an enormous number of movement combinations. Imagine the smallest movement as a letter of a movement alphabet. Imagine any movement is created by a specific joint, a specific range of motion, a specific speed. We can easily bring awareness to any joint (lever) of our body as having 8 ranges of motion and 8 speeds. That's 64 easy movement letters we can perform with each of our joints. There are about 140 joints from which we can easily feel movement. So there are an easy 8000 movement letters we can all learn to distinguish. Imagine that any combination of 7 letters can be used to make a movement word. THE NUMBER OF MOVEMENT PHRASES ARE UNIMAGINEABLE!! As we play with motion, speed, coordination, and rhythm, we can explore engagement, emotion, character, plot or abstractions. Our potential for communicating and designing stories with our movement is extraordinary. As we become more and more proficient in a movement language we become competent in an embodied language, no longer needing to translate the 'meaning' back to our oral language. As we move and as we experience others' movements, we could just 'know' and respond.   

2. Exploring the creative capacity. The human being is, essentially, a creative being. In the rEvolve method, our creative capacity is brought to bear from the very first lesson through the setting of movement problems under the dictum, 'there is no wrong answer". 
As the lessons progress, the types of problems vary and become more complex. Each lesson is met by a success that comes from being in the work. Creative exercises are undertaken individually, with partners, teams, and by the whole group. The dancers' memories are enhanced along with the ability to bring a more complex movement language to bear. All this within the capacity of the dancers. rEvolve facilitators work with dancers to design exercises with which the dancers can work, with a sense of modest challenge, fun and achievement.

   

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3. Collaboration. We, humans, might be, not our individual identities, but the conversations we are part of. The rEvolve facilitator holds a space for dancers to work together in finding a team solution to the creative movement challenges. Dancers learn to honour the collaborative solution. For the experienced dancer, this can mean being comfortable with giving up a learnt solution. For the inexperienced dancer, this could mean being comfortable to be in expression with this new form of work. The collaboration creates something identifiably the work of that particular team.
The collaborative process teaches the skill of adaptability as dancers work in different groupings. Ultimately, dancers can find themselves developing leadership skills and capacity to facilitate the collaborative process with newcomers in their teams.    

4. Performance.  Performance is critical to human development. Indeed, we are all always in performance. Mastery can be defined as the ability to perform with the finest distinctions before increasingly discriminatory witnesses. Performance supports mastery by creating an environment for contribution. In the rEvolve method, the dancers are sharing small performances from the very first class.
Not all dancers involved in the work will choose to work on perfomances for outside audiences. However, in designing and rehearsing for a performance, the dancers acknowledge that there is a larger community that can be brought into the embodied conversation. Performances allow that community to participate in the special conversation mediated by dance, and provides the feedback to the dancers about how that conversation is being felt. In this way, dancers might find new challenges for technique, modalities of perfomative expression, and design. In otherwords the dancer will find a pathway of continual mastery. This is a path that has the lifespan of the dancer. 
Dance is not a single mode art. It can utilise music and sound, lighting, costume, masks, sets, projection, and even, the live human voice. As a theatre form, it can either honour or break the 'fourth wall', that boundary between dancers and audience. Performance is where all the learning of a movement language, the exploration of creativity and the collaborative process has a culmination. 

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