Teaching Philosophy & Research - Sarah Swenson
My life’s research has been devoted most recently to the practices and advisement by my dance elders, especially Simone Forti and the late Rudy Perez. I have several ongoing projects in various phases in this arena. Their influence has driven and continues to push my own practices in unpredictable and unanticipated directions which has been extremely satisfying.
In teaching technique, composition, and improvisation, I aim first to establish a non-competitive atmosphere between myself and my students, and between them and their classmates. I invite questions and create opportunities for observation and thoughtful peer feedback as helpful tools for learning about ourselves, as well as deepening respect and appreciation for one another. My classes are adaptable for all levels, ages, and abilities.
My choreography/composition classes have usually been based on a combination of traditional components of dance creation with elements of improvisation and conceptual ideas as triggers in the pursuit of original movement language. A lot of time is spent sharing created material and I prioritize thoughtful, constructive feedback model from them using an “I saw” [as opposed to “I liked”] format before offering my own observations. I really push students to find their own original vocabulary, instead of relying on what they have seen or may have learned in technique class or online.
I enjoy offering the joy of spontaneity in improvisation for both pleasureable recreation, and as a tool for creation. I often incorporate exercises and scores from my work with Simone Forti and Rudy Perez, Contact Improvisation, and other movement practices and theories as triggers, and incorporate writing as a tool as well as a support and record of daily endeavors.
I studied Classical Pilates for 13 years with the late Master Kathleen Stanford Grant, whose method was very individualistic: the approach depends on the person. I’m committed to the Classical style in both mat and machine work and enjoy presenting this material to beginners and helping them locate and employ the core abdominals for strength and stabilization in pursuit of of full body integration. I like to use many of the original warm-ups [Before the 100] that Kathy devised and taught me.
When teaching technique, I consistently stress the importance of really knowing one’s own body - to to deepen self-awareness of individual anatomy, and of working safely within that structure - at all levels. My modern techniques classes are based in the Lester Horton Dance Technique, and incorporate principles of other important modern dance pioneers. I teach “progressive” Horton, having modified or eliminated elements I deem risky or anatomically unsound, and explain that certain elements of the technique, especially nomenclature, derive from early-mid 20th century appropriation attitudes and assumptions [“primitive” squat, “Egyptian” arms], etc.
I’ve come over the years to see Horton as closer to a martial art, not only for it’s formal characteristics but for it’s ability to strengthen the body, while challenging verticality. My class is based in rhythm and on the principle that ‘arrival’ improves technique in the pioneering forms - and for this I prefer percussion. This is reinforced by my physical demonstration and verbal description of movement. When working with any level, I have found that most can do more than they think they can, and that at times obstacles to achievement can include an individual’s own perceived lack of ability. Therefore, I aim for clarity of demonstration and explanation, and am always prepared for ever greater simplification, when and if necessary. I am aware that intimidation, most often in beginners, can be a factor in the degree of success. I have incorporated this understanding into my approach and work to make class enjoyable and non-threatening, while disciplined and challenging. In turn, I'm constantly observing my students to understand how they learn. When working with more advanced students, quality and dynamics rise to greater importance, although I have found that these ideas are not wasted on beginners and can be useful in getting certain concepts across. I don’t lecture much in my technique classes, I teach “learn by doing”.
I am an experienced repertory and performance coach, and bring these skills to bear in advanced classes, identifying problems of technique, range, rhythm, focus, and dynamics, generally and specifically. I hope that at the end of any year, semester, or period of study my students leave with an enhanced degree of confidence, technical skill, an articulate, expressive body and a greater appreciation of music.
My experience working with a variety of populations taught me early on that high expectations, coupled with meeting people where they’re at, produce great rewards for student and teacher. I maintain this attitude at all levels, including professional, and I am seldom disappointed. I have a good rapport with students and musicians, and enjoy the ability to motivate a class to success. I have a vast body of work to re-stage and/or re-investigate. I enjoy interdepartmental collaborations especially with musicians and composers; but also with visual artists, poets and directors.
Courses (all levels of):
Lester Horton Dance Technique
Composition
Improvisation
Repertory & Performance
Pilates
Mid-century Post-modern dance
My life’s research has been devoted most recently to the practices and advisement by my dance elders, especially Simone Forti and the late Rudy Perez. I have several ongoing projects in various phases in this arena. Their influence has driven and continues to push my own practices in unpredictable and unanticipated directions which has been extremely satisfying.
In teaching technique, composition, and improvisation, I aim first to establish a non-competitive atmosphere between myself and my students, and between them and their classmates. I invite questions and create opportunities for observation and thoughtful peer feedback as helpful tools for learning about ourselves, as well as deepening respect and appreciation for one another. My classes are adaptable for all levels, ages, and abilities.
My choreography/composition classes have usually been based on a combination of traditional components of dance creation with elements of improvisation and conceptual ideas as triggers in the pursuit of original movement language. A lot of time is spent sharing created material and I prioritize thoughtful, constructive feedback model from them using an “I saw” [as opposed to “I liked”] format before offering my own observations. I really push students to find their own original vocabulary, instead of relying on what they have seen or may have learned in technique class or online.
I enjoy offering the joy of spontaneity in improvisation for both pleasureable recreation, and as a tool for creation. I often incorporate exercises and scores from my work with Simone Forti and Rudy Perez, Contact Improvisation, and other movement practices and theories as triggers, and incorporate writing as a tool as well as a support and record of daily endeavors.
I studied Classical Pilates for 13 years with the late Master Kathleen Stanford Grant, whose method was very individualistic: the approach depends on the person. I’m committed to the Classical style in both mat and machine work and enjoy presenting this material to beginners and helping them locate and employ the core abdominals for strength and stabilization in pursuit of of full body integration. I like to use many of the original warm-ups [Before the 100] that Kathy devised and taught me.
When teaching technique, I consistently stress the importance of really knowing one’s own body - to to deepen self-awareness of individual anatomy, and of working safely within that structure - at all levels. My modern techniques classes are based in the Lester Horton Dance Technique, and incorporate principles of other important modern dance pioneers. I teach “progressive” Horton, having modified or eliminated elements I deem risky or anatomically unsound, and explain that certain elements of the technique, especially nomenclature, derive from early-mid 20th century appropriation attitudes and assumptions [“primitive” squat, “Egyptian” arms], etc.
I’ve come over the years to see Horton as closer to a martial art, not only for it’s formal characteristics but for it’s ability to strengthen the body, while challenging verticality. My class is based in rhythm and on the principle that ‘arrival’ improves technique in the pioneering forms - and for this I prefer percussion. This is reinforced by my physical demonstration and verbal description of movement. When working with any level, I have found that most can do more than they think they can, and that at times obstacles to achievement can include an individual’s own perceived lack of ability. Therefore, I aim for clarity of demonstration and explanation, and am always prepared for ever greater simplification, when and if necessary. I am aware that intimidation, most often in beginners, can be a factor in the degree of success. I have incorporated this understanding into my approach and work to make class enjoyable and non-threatening, while disciplined and challenging. In turn, I'm constantly observing my students to understand how they learn. When working with more advanced students, quality and dynamics rise to greater importance, although I have found that these ideas are not wasted on beginners and can be useful in getting certain concepts across. I don’t lecture much in my technique classes, I teach “learn by doing”.
I am an experienced repertory and performance coach, and bring these skills to bear in advanced classes, identifying problems of technique, range, rhythm, focus, and dynamics, generally and specifically. I hope that at the end of any year, semester, or period of study my students leave with an enhanced degree of confidence, technical skill, an articulate, expressive body and a greater appreciation of music.
My experience working with a variety of populations taught me early on that high expectations, coupled with meeting people where they’re at, produce great rewards for student and teacher. I maintain this attitude at all levels, including professional, and I am seldom disappointed. I have a good rapport with students and musicians, and enjoy the ability to motivate a class to success. I have a vast body of work to re-stage and/or re-investigate. I enjoy interdepartmental collaborations especially with musicians and composers; but also with visual artists, poets and directors.
Courses (all levels of):
Lester Horton Dance Technique
Composition
Improvisation
Repertory & Performance
Pilates
Mid-century Post-modern dance