Kinetic Imitation

The learning process of this method is established through a given, already existing movement vocabulary.

The executer is learning, this for him first new movement language, by observation, external explication and demonstration, and then through proper imitation of the body action.

It is a method, that develops a body and movement consciousness over the appropriation of an introduced and recognized movement technique.
After a certain time of practice, the learned and trained given vocabulary becomes more familiar and is internalized, therefore starts to develop within the executer a consciousness for
movement aspects as,

body shape, movement execution, weight sensation, movement articulation, space orientation, movement flow etc.

This process happens in relation to the particular studied, practiced and appropriated Movement Technique, Stile, or Method.

All established techniques or stiles mediate their proper movement and body aesthetic.
As well favour certain movement and body aspects which characterize the dance stile and remove or diminish others that don’t provide the stile or technique.

Practicing an established dance technique as Ballet, Graham, Limon, Cunningham, which are well known and profiled techniques in today’s dance education, occurs to be an important part to achieve an overall dance education.

As dance history shows us, is the transition and practice of a technique one of the prerequisites for developing an artist, which can execute in a professional and artistic way its art form.

During its carrier, the dance interpreter will always be confronted with a variety of different movement languages.
As already mentioned, the more conscious and professional he becomes over its movement technique and quality and its ability to feel himself within the movement, the better he will be prepared to enter another world of body movement.

A given movement vocabulary, specially artistic choreographic work consists of characteristic rhythmic and dynamic patterns, mostly a particular relation between music and movement, and as well of specific spatial and social relations.
Those aspects are instantly transmitted to the dancer. His access and proper connection concerning the vocabulary depends on this information.

By practicing first, the mechanical and technical movement aspects and almost simultaneously starting to capture and practice the movement quality and sensation, the given vocabulary becomes real, felt, internalised and proper.