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Klein/Mahler Alignment, Stretch & Placement Class (open level)- Mondays 10am-12pm and Private Classes Available
In this class we work on aligning the bones by accessing the muscles most responsible for the transfer of forces through the body - the psoas, the hamstrings, the external rotators, and the pelvic floor. We do not work to "exercise" these muscle but rather to "wake them up"; to use them for support for and realignment of the bones. We work, and teach, for the body to be elastic, responsive, open to choices, and expressive. Movement, and the treatment of each individual student's body, mind and spirit with kindness, respect and generosity is our ultimate goal. And finally and most importantly, the body does not exist alone but in connection to the ground, the space, and to others. Note: You do not need to be a dancer to take this class & it is open to anyone interested in learning to be more open, efficient, connected, and freely expressive.

" The technique is meditative, consisting mainly of standing with the feet aligned under the hip joints, toes pointed ahead, and slowly moving into a forward fold starting with the top of the head falling forward in a move called a Òrolldown.Ó The focus is to sense how the bones act as conductors for gravity while releasing unnecessary muscular tension, thereby facilitating ease of motion."
- Asimina Chremos Time Out Chicago

New Approaches to Modern Dance Technique (rooted in Klein/Mahler Principles)
The form and structure of Rachel Thorne Germond's technique class is rooted in the principles of Release technique as gleaned from her studies of somatic work such as Alexander Technique, Nancy Topf's Dynamic Anatomy, and Klein/Mahler techniques. The underpinnings of the work lie in the understanding of anatomical function as it relates to dynamic and free flowing movement, while stylistically she incorporates a myriad of dance forms ranging from classical modern dance, post-modern dance, jazz, ballet, and contact improvisation. -some previous movement or dance experience recommended---
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rachel thorne germond in Not About Elvis Dance
c.2008 Dan Merlo

WORKSHOPS:
MOVING LIKE AN ICON
Ever wanted to move like Elvis? Now's your chance! Choreographer/dancer and occasional drag-king Rachel Thorne Germond has been studying and performing his moves for years and would like to teach you some of them. She will teach you to gyrate your pelvis, swivel your hips, snarl your lip, and swagger just like the King himself. We will look at some video clips of Elvis dancing, warm up with some simple yoga-type stretches, and move into learning a combination of Elvis -styled choreography.

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TEACHING PHILOSOPHY
As a teacher of dance, I think it is important to foster an environment that facilitates individual growth and communal spirit. Our common goal in the classroom is to delve into the possibilities of the combined movement of the body with the engagement of the imagination in order to fully embody dance's potential for personal expression. I aspire to apply creative solutions to a technical training that incorporates principles of somatic work with a knowledge of the canon of modern dance's vocabulary and principles of moving. I seek to bring those basic principles of moving to my students, employing them in complex and multi-dimensional movement combinations, while drawing attention to their functional aspect. Through demonstration, experiential partnering work, and the tangible use of the skeleton for anatomical visualization and specificity, I aim to inform dancers of the possibilities available to them for moving in a free manner that is rooted in the concrete connections of the pelvis, tailbone, and legs. I apply the principles of Bartinieff fundamentals such as body halves, core-distal initiation, and "carving" figure eights \so that the simple and organic stimulus and logic of movement can be developed. I believe that a dance class is not just a place to dance but to grow, to improve yourself through the process of dancing. The body and its reflex mechanisms can learn so much faster and wholistically when the mind is engaged and specific in its goals. The intelligence and instinct of the body is what I would like to teach my students to find for themselves; to engage their minds and bodies in such as way as to inspire them to push beyond what they know and leap into the unknown. We are investigating the possibilities together, I learn as much if not more than they learn for me. The process of this interaction fascinates me and I find it to be a continual source of inspiration and discovery.

From Time Out Chicago article on RTG Dance's Klein/Mahler Technique Class by Asimina Chremos (2008)
(read the full article by clicking on the link above)
Rachel Thorne Germond-an indie choreographer whose show, Fours, runs at Links Hall this weekend-uses the same Òcontemporary danceÓ wording in her press release and website. Yet, the two ensembles are worlds apart in both style and substance. One of the most radical differences between the groups is the way the dancers train their bodies. Although they don't perform classical ballets, HSDC dancers begin their rehearsal day with a ballet class. This means they work on a skill set originally developed in the royal courts of Europe during the 1700s. Think pointed toes, turned-out legs, graceful, rounded arm shapes, spins on one vertical leg, soaring jumps.

Germond, on the other hand, trains her pickup-troupe members in Klein-Mahler technique, originally developed in 1972 in New York as Klein TechniqueTM by Susan Klein, a dancer who was looking for a way to heal from an injury and further developed by Barbara Mahler. The technique is meditative, consisting mainly of standing with the feet aligned under the hip joints, toes pointed ahead, and slowly moving into a forward fold starting with the top of the head falling forward in a move called a Òrolldown.Ó The focus is to sense how the bones act as conductors for gravity while releasing unnecessary muscular tension, thereby facilitating ease of motion.

The various training approaches employed by different dance companies directly affect what you see on the stage. Choreographers and dancers collude in creating movement languages that reference how they view their fundamental material: the human body. So, while much dance goes under the name of contemporary, in the sense of being current and modern, there's a wide range of approaches and values represented. Your like or dislike for a dance performance may have a lot to do with what ÒlanguageÓ you recognize and understand. -Asimina Chremos



photos: Catherine Pedemonte c. 2005