the Netherlands

Returning to the company ICKamsterdam (where I worked four years as a dancer), was the final stop of my research. The time was spent training in DS/DM, reviewing new research on the method, discussing possible strategies for developing a teacher training program, participating in a workshop with neuroscientists about cognitive synchronicity between dancers, and teaching DS/DM to the company. The opportunity to teach offered me the chance to incorporate my research ideas of fascia and flow to dancers already familiar with the method. This offered me feedback to bring back to the University of Michigan to reflect upon, develop further, and continue practicing with dancers in my personal grad studio time, which is dedicated to the development of my thesis.

The dance department is giving me the chance to offer Double Skin/Double Mind in Winter Term 2019. I will work with non-dance majors and dance-majors that are participating in my thesis work. This allows me the opportunity to focus on practice as research, while simultaneously delving deeper into work outside the studio.

• Within grad studio this semester, I am to gain feedback of the Double Skin/Double Mind process in order to defend my thoughts on a new approach to training dancers. We will also be developing movement structures that support the state of flow, developing a challenging cognitive and physical pattern.
• What does DS/DM offer to students in terms of reducing stress and pain?
• Does it stimulate a more autonomous and creative process in which dancers feel more willing to participate? (Rather than a hierarchical structure; choreographer>dancer, but a more equally balanced relationship in responsibility of studio and stage work)
• Does this method of training foster intrinsic motivation, awareness, and a new use of the body which can all be applied to other dance techniques?
• Does the structure of this class promote appreciation for learning by focusing on the process of learning and growth versus performance evaluation?