Barbara is long-standing and active member of the New York City dance community as a choreographer, performer and teacher; a major contributor in the development and outreach of Klein Technique, a Master Teacher. Assistant Director, and main teacher, she was the “motor” of the school from 1983-2004. From 2002-04 the name of the school was changed to the Susan Klein and Barbara Mahler School of Dance and Movement Studies to reflect her contributions and dedication. Since 2004, Barbara has been an ongoing faculty member with Movement Research, as well as teaching at various studios, colleges and festivals in the greater NY area, across the US, and abroad. As well she is on the faculty of the State Theater School-Dance Division, Copenhagen, Denmark. She continues to research, choreograph, dance, teach, and explore all ideas of movement and the well functioning, connected body in motion. Barbara maintains a private practice in body work (primarily Zero Balancing) and movement therapy.
Klein Technique is a living and growing body of work developed initially by Susan Klein in 1972. Her mentors, and greatest influences were Steffi Nossen, Martha Graham, May O’Donnell, Gertrude Shure, Don Farnworth, Colette Barry, Barbara Mahler, Dr. Barbara Vedder, D.C., Irmgard Bartenieff, Dr. Fritz Smith, M.D., Dr. J. R. Worsley, D. Ac. and many others taught her invaluable lessons; something to push against to spark change.
Klein Technique was developed within the context of Susan’s personal search to heal serious and devastating injury which occurred in 1971. She began dancing at the age of five. At the age of 19, about to join a major modern dance company found herself to be considered useless, unimportant, replaceable. The injury abruptly ended her professional career as a dancer. Her quest to recover expanded into a passion to develop a new dance technique and that in turn developed into wanting to change the TRAINING of dancers to a way of teaching dance – for them to learn their own way, and respect themselves, and be respected by others.
Klein Technique is a body of work; of knowledge, but it is also a way for dancers to be treated, respected and to be seen as individuals. The main thrust of the work is for dancers to find their own essence, their own identity and integrity and take that into movement. In order to do that we work at the level of the bone, not the traditional level of the muscles. Klein Technique is not a release technique in that our goal is not to release, but to move. In order to move most efficiently it is necessary to release or let go of the muscles that hold us back from moving and fix the body into a set and locked configuration. We aim at releasing the muscles so we can get down to the deepest tissue, the bone, where we can learn to move from the true essence of our individual nature. When the bones are aligned we become connected, we become powerful and strong. The body becomes efficient and alive, and injuries often heal. In order to move most efficiently it is necessary to release or let go of the muscles that hold us back from moving and fix the body into a set and locked configuration. We aim at releasing the muscles so we can get down to the deepest tissue, the bone, where we can learn to move from the true essence of our individual nature. When the bones are aligned we become connected, we become powerful and strong. The body becomes efficient and alive, and injuries often heal.
We align the bones by using 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.
All certified teachers need to have this deep understanding and embodiment of the principles and pedagogy so they too can add to the depth for the work.
Susan Klein and Barbara Mahler 2001
