photo – A. HitzenbergerBARBARA MAHLER MAKES DANCES
(You can also click on the heading “Choreography and Performance” before scrolling down to the different headings.)
ESSENCE OF MY WORK
Movement is part of our everyday lives, and can be shaped and formed to realize a specific goal. It can be virtuous, and/or pedestrian. The two can be part of the same canvas, the same dance. Movement is the underlying and strongest structure from which I create: designs, scenes, stories, and environments. My goal is to bring to the surface underlying emotional tones that are kinesthetically experienced by the viewer as well as to design tapestries that are stark, simple and intimate. I reference the body, my body, to research and create. My structures are rigorous. I am interested in beauty and mystery, and story – telling, as I work to distill the meaning of a dance to its purest essence. My current trajectory includes but is not limited to rigorous improvisational and collaborative process in both in rehearsals and performance. I use and reference the body, using pure movement and the process of its invention and investigation to create my dances.
My interest, my passion, is the body – the limitless possibilities of the body as an expressive instrument, to carry a story, express a viewpoint, depict a character, create an environment. I have pursued the form of the solo dance for many years. I think of solo dances as being in dialogue with the spaces in which they are created and/or performed, and each particular audience. Theories of physics, as well as the writings of Deeprok Chopra, Joseph Campbell, Dr. Fritz Smith, Susan Klein, others, inform us that nothing exists alone; that all things can only exist in relationship. There is no pure structure, everything is energy. This is the way I approach my solos/dances. They are given a new life with each new audience in each performance. Although all dances are created to realize a particular form or shape, to convey an event, fulfill a concept, solo dances are innately possessed of a spontaneity and flexibility that give rise to various interpretations and meanings. In the absence of other dancers, the solo dancer’s inner dialogue is the primary tool in creating and maintaining a relationship between performer and audience, while the dance itself creates the structure for the communication. The audience, an assortment of individual viewers, comes together in what I think of as a collective vision. The relationships thus created are with the self, the audience and the space. Although I know what my dances are, they acquire new life in each different circumstance. I mold and craft my dances in detail and design, and in paradox, aim for spontaneity and immediacy.
dancers – Becky Pearl, Jessica Winograd and Barbara Mahler from “No Place Like Home”
MOST RECENT:
Teaching and Performance Residency in Valparisso and Santiago, Chile – 2011- //www.gam.cl/danza/barbaramahler-
Zenon Dance Company School
Vanessa Smith Pilates-Glasgow, Scotland
Berlin at Schweille 7
EDUCATION
MFA in Dance and Choreography –University of Wisconsin/Milwaukee 2007
Master Teacher, teacher and student of Klein Technique 1977-present. Supportive studies – Dance Technique, Somatic work and Body Work (Massage, Body Mind Centering, Zero Balancing, Connective Tissue-Bindegewebmassage, Reiki.
1989 – Baltimore School of Massage
Senior Faculty and Certified Practitioner of Zero Balancing 1989
BA in Dance and Art Hunter College 1977
TEACHING -2004-PRESENT
Consistent ongoing classes in NYC, September-August, as ongoing faculty with Movement Research. Additional classes take place at 100 Grand, and Mackenzie Pilates Studio, Hunter College (NYC) (see class schedule)
Ongoing Faculty with The Theater School (SMD), Copenhagen Denmark
Intensive workshops as part of Movement Research’s’ MELT series for summer 2008, winter and summer 2009, summer 2010-present
On the ARTIST’S ADVISORY BOARD OF BAX – Brooklyn Arts Exchange
1989- PRESENT
Senior Faculty and Certified practitioner Zero Balancing- a hands on Body Work Modality.
1983-PRESENT Ongoing and consistent study in the hands on healing work, Zero Balancing – Originator Dr. Fritz Smith
1977- PRESENT Immersion in, contributor to, and Certified/Master Teacher of Klein Technique. Originator, Susan Klein. Student 1977-80, Teacher 1980-83. Certified, Assistant Director and Main teacher at the Susan Klein School of Dance and Movement Studies, NYC 1983-2004. 1990-present Master Teacher.
CERTIFICATIONS IN – Zero Balancing, Connective Tissue Massage (Bindegewebsmassage).
Studies in Touch for Health, Applied Kinesiology, Feldenkrais, Yoga and Meditation, Modern and Contemporary Dance Technique of all forms 1977-present
CHOREOGRAPHY 2007 -Present
2011-12 TAPESTRY solo – presented by Dixon Place, Green Space (LIC), the Harkness Dance Center at the 92 Street Y and duet “UNTITLED-92 St. Y Harkness Dance Center
2010-11 NEW DANCES – Green Space, LIC February 2011
THE GROUND UNDERNEATH (solo), ETCHED SKETCHES (trio)
THE GROUND UNDERNEATH has also been performed (2011) in Chile, and at the 92ST Y with Ann Blumenthael and Dancers, and as part of Sundays at 3, with performer Rebecca Alson-Milkman.
2008-10 DISPLACED DAMSEL - Dancing Divas Series at LA MAMA, NYC; Green Space Spring Series (L.I.C., NY) SPRING BLOOMS, curated by Valerie Green May 2009; AMERICAN DANCE GUILD Annual Performance; WESTFEST at the Merce Cunningham Studio May 2010 Studio; 25 ANNIVERSARY CELEBRATION OF THE WOW CAFE, curated by Jen Abrams – “Epigenesis”, MAY 2010; DUMBO Festival Fall 2o1o, as well as in Puebla, Mexico; LaborGras, Berlin; Ashland, Oregon-Dancing People Studio Showing, and the Seattle Festival of Improvisational Dance
DANCE OF SCATTERINGS -Ulla’s House, Brooklyn NY; Panetta Studio, DTW studios presented by Movement Research WINTER 2009
WE DO WEDDINGS TOO -August 2009 at Dixon Place; WOMEN MAKING HISTORY- 92 ST. Y’s 75 Anniversary Season; TAKING ROOT, at Green Space, LIC, WAXWORKS, Brooklyn, NY
2008-09 SHORTS - a trio based on the concept of the short story – November 2008 @ Judson Church as part of the Movement Research Presenting Series; January 2009 as part of the DNA APAP Invitation series; February 2009 presented by the Hunter College Dance Department (CUNY, NY) and Green Space’s new series TAKING ROOT, “an evening of new and used dances” curated by Valerie Green-September 2oo9 and New Dance Alliance’s (K.Bernard) Spring 2009 Season. Presented in excerpted form at the DUMBO Dance Festival in Brooklyn, NY, the American Dance Guild’s Fall Annual concert and December 2009 as part of the Harkness Center / 92 Street Y’s 75 Anniversary in Dance.
2008 WALLFLOWER – A duet, as part of the WET series at the West End Theater in NYC, curated and presented by David Parker March 2008, and as part of TEA DANCES, a series curated and hosted by Jody Sperling May 2008.
2007 THERE’S NO PLACE LIKE HOME – a full evening of solos, duets, trios and film presented by Danspace Project at St. Mark’s Church.
2007 HERSTORY @BAX PRESENTS- a trio including video-an abstract tapestry
2007 AGENDA – A duet exploring ideas of gender roles and stereotypes,
Dances created with support from the Movement Research Artist in Residence Program 2006-8, Danse Alliansen in Sweden, Hunter College alumni programs, 92 St. Harkness Dance Center space grants, and Ohio State University.
As an ongoing teacher at Movement Research since 2004 and an Artist in Residence 2000-02 and 2006-08, Movement Research continues to provide a home base for the development of my artistic visions and products.
photo: Julie Lemberger. Dancers-Jamie Chandler and Julianna Tilbury in “Etched Sketches” 2011
In “Wallflower” by Barbara Mahler, the choreographer starts against the back wall in jeans, glitter earrings in her ear. She’s lean, mature, with a short salt-and-pepper haircut. She tries out shapes against the back wall efficiently. In walks Rachel Thorne Germond, a tall soft dancer. She curves, Barbara angles; they move without creating meaning. Then Rachel hooks Barbara’s elbows into a hold against her chest – they are chest to chest, face to face – and lowers Barbara to the floor, open and exposed, in a significant action. As they continue a duet, Barbara’s role reminds me of a Balanchine ballerina: the story is about her as she is pretzeled and promenaded. As the piece ends, Barbara gains ground, and becomes both story and teller.” – CLARE BYRNE
Rachel Thorne Germond and Barbara Mahler – “WallFlower”
RESIDENCIES/WORKSHOPS :
Residencies at dance centers and festivals are multifaceted. They can consist of performances, workshops in Klein Technique (teacher of 30 years), and workshops in improvisation/composition called “Creating One’s Story” – geared towards the creation non-linear, non-narrative solo studies /dances whose main BEGINNING thrust is MOVEMENT of all aesthetic points of view.
A. Teaching and Performance Residency in Valparaiso and Santiago, Chile – 2011- //www.gam.cl/danza/barbaramahler-
B. Skolen for Moderne Danse- Copenhagen, Denmark – semi annual intensive workshops 1994-present.
C. Gothenburg, Sweden – workshop with focus on the re-education of movement patterns (Klein technique) followed by dance technique and improvisational studies. May 2010
D. Schweille 7, in Wedding Berlin. Workshop in Klein Technique - November 2011, July 2010,
E. Circuit-Est.- Montreal, Canada –workshops – 2001,03,05, 10
F. Ashland, Oregon –workshops in Klein Technique both as intensive study and its relationship and application to dancing. June and October 2009, June 2010, April 2011
G. Stockholm, Sweden through Danse Alliensen – December 2006, May 2009
H. Minneapolis, MN-University of Minnesota, New Dance Lab, Zenon Dance Company School, and Rosy Simas/Dances – 1993-present
Guest artist at the University of Milwaukee/Wisconsin Graduate Division June 2009
I .“ Performatica’ – Puebla, Mexico – a festival of artists coming together and sharing work of all aesthetics, attended by people from all over the world – March 2008
J. “LaborGras” and the “University of Berlin” – a co-production for a workshop, lecture and solo showing -April 2008
K. The first annual Dance Festival at OSU, Columbus Ohio. – A festival of all day movement/dance classes culminating in a final performance involving students, faculty and members of the dance community. An artist exchange in connection with Movement Researh’s Artist in Residence Program – June 2008. Chair – Susan Petry
L. SFIDA – In Seattle -an annual festival involving teachers of all somatic forms, how it becomes personified in their choreography for students of all dance forms July 2008
FULL MOON DANCE FESTIVAL – FINLAND -2002,03
About the GROUND UNDERNEATH and ETCHED SKETECHES – February 2011
“Beautifully choreographed and beautifully danced. This abstract piece evoked warm feelings related to relationships and just “being.” This piece deliciously points in the direction of ways in which abstract art can become a universal expression of deep felt emotions.” Professor Jana Feinman – Hunter College, NYC
“Barbara’s work is typified by clarity of movement and an uncommon exactitude. The dancers appeared as though they come from a mutual understanding of the body.
Barbara Mahler defies any expectations of when a dancer’s “prime” might be. As articulate and flexible as any dancer, she has a clear voice as a performer. Her technique is clear through her movement. In “The Ground Underneath” her abstract movements juxtaposed against a nature-based sound score create a subtle tension waiting to be resolved. ” Pete Chamberlain- dancer
April 2010
“Barbara Mahler both a creator at the top of her form, with full command of her craft, and an evolving, ever-developing artist full of surprise. Through movement, she’s able to transcend a conscious world and move beyond what even she knows. I think this can happen because she has committed to taking the time necessary to practice, practice, practice, bringing the body‘s subconscious up to a conscious level to then be able to tap back into the subconscious and continually operate on the cusp of both worlds. It is this “searching” commitment of a true practitioner that keeps Barbara on track and clear of the passing fashions of the moment and I strongly believe that supporting work of such integrity is good for the field!” Wally Cardona, choreographer/dancer
QUOTES
“Every iota of energy Mahler manufactures is perfectly directed and apportioned in just the right dosage to accomplish the required action. It’s the complete lack of kinesthetic verbiage that makes Mahler’s dancing utterly perspicuous.”
L.J. Sagolla, Backstage, NYC.
“Highly nuanced….”
Dance Insider, NYC
About “The Whispering Pages-short dances in white all in a row – “Her dance is a delicate rhythm familiar from most of our lives – moments of supreme wonder alternate with moments of supreme despair, and between the two, only a simple desire for balance”
Kathleen Duffy, Chicago
