On the last Horizon, coming on the next horizon

Classes are taking place 3 times a week, and zero balancing and other hands on/one on one sessions are available in New York.

September was full of activities including participation in the 25 Anniversary of Movement Research at the Judson Church (I was a first participant in 1992) as well as their 25 Anniversary of the AIR  (2000-2001, and 2007-8)

I performed an excerpt of “It oCCurS to mE”, 2016  https://www.dropbox.com/s/uh3gu3z6scukb4p/BarbaraMahler.9.12.16.CLIP.m4v?dl=0

September also brought me back to Santiago, Chile for to teach an intensive 4 days of Klein Technique as part of Marcela Ortiz’s  Cuerpo Inteligencia 14362603_10154475512634720_29153061100570679_o

Travels to Santiago, Chile were enriching, exciting, and filled with the excitement of new learners.
Trina Mannino/Follow @Trinamannino on Twitter

Great to be part of the 3rd Queensboro Dance Festival at the Sectret Little Theater in LIC, along side the rich and vibrantness of the Queens Dance Community featuring dance of all styles ! Congrats to Karesia B for the organization and vision of the event.

Coming in a short time will be my second participation in ARTBARK’s dance events in Santa Barbara, and LA, California including a master class 14701037_1870523923182404_6950888480356311107_o

with performances of many at the venues listed below


December (brrrrr!!!) brings me back to the dance community of Minneapolis, since 1992 many return visits….join us!  December 9-11

February to Boston at Green Street Studios and Boston Conservatory, and hopefully a creative retreat time at EARTH DANCE!!!!

join the mailing list! enjoy the fall


By Trina Mannino/Follow @Trinamannino on Twitter

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Barbara Mahler on the Intersection of Choreography and Teaching

Performer, choreographer and educator Barbara Mahler returns to the Performance Mix Festival with her solo IT OcCurS to mE. Mahler has known festival founder Karen Bernard for years, beginning when they shared their work in the same program in the ‘70s. They continued to bump into one another in their Tribeca neighborhood where they both lived and worked at that time.

The two came together again this past May when they revived one of Bernard’s works Vinyl Retro (1999) for a Dance and Process performance at The Kitchen. “It was rare for both of us,” Bernard says. “For me, to be working with someone and for her to be dancing in another person’s work.”

“I was on another planet,” Mahler says with a chuckle. Bernard’s dances are peppered with props and video while Mahler is drawn to work where the body alone is the focal point. Despite their contrasting approach, the two veterans had great fun working together.

Mahler didn’t grow up dancing like her counterpart. Instead, she stumbled upon it while studying at Hunter College. “I walked into the dance club which was on Wednesday afternoons. There was Dorothy [Vislocky] and her infamous drum.”

Barbara Mahler in Bellas Dance. Photo: Rachel Thorne Germond

She soon enrolled as a dance major, taking any classes available. It was at Hunter where she first learned of Susan Klein’s Klein Technique™ through Vislocky — both of whom had a deep impact on Mahler.

After graduation she began studying at the Klein/Barry Studio while working a host of jobs including as a bank teller and house cleaner. “The technique was the only thing that gave me a language that I could understand myself as a mover,” she says.

Today, she continues to teach in the Klein Technique tradition in New York and abroad, describing it as “an original method of developing movement and posture through deep understanding of skeletal and muscular structure of the body and its expressive possibilities.”

The venerable artist has trained hundreds of dancers and non-dancers while continuing to create solos and dances for small groups that are pregnant with nuance and skill.  She spoke with The Dance Enthusiast about how her teaching and choreographic life intersect. Here is an excerpt from the conversation.

Barbara Mahler in We Do Weddings Too. Photo: Julie Lemberger / julielemberger.com.

Trina Mannino for The Dance Enthusiast: What parallels, if any, do you find in your teaching and choreography?

Barbara Mahler:  All of my work and research in the realm of re-educating my own body has laid a foundation for me… My teaching, in turn, inspired my dancing and choreographic life. In the beginning of my dance making, I was choreographing mostly solos. And those dances were usually too hard for me. I was constantly challenging myself to get better.

TDE: Does Klein Technique™ influence your choreographic process?

BM: I’m not sure it informs my process, but the work is in my body which is what I use to create the movement. I work best with people and dancers who have studied with me. There is a particular clarity that I look for, self-understanding and grounded-ness [that comes from studying the technique].

Barbara Mahler

TDE: How has your choreographic work evolved?

BM: It started off being more emotional, simple and sparse. I went through a narrative period. It’s continued to grow technically, but it supports the simplicity and preciseness of my early work. At its best, it develops slowly.

TDE: Over the years, you’ve taught hundreds of dancers and non-dancers. In what ways, has “taking class” changed?

BM: Taking class has gone through many phases; from being a purely physical practice to a conceptual practice. Yoga, Pilates and weight training have had strong influence on dancers. Financial stresses have created more teachers in the dance community for that kind of work, and in turn, have affected the bodies and minds of many — which is neither good nor bad. Survival has become more and more difficult.

The time for the development of work is not as available and so the artistic process has changed for many to accommodate these real life situations. In some ways, I see the mind and intellect has — at the present time — a stronger emphasis than the body or the spirit.

About BarbaraMahler-Dances/Kleintechnique/Zerobalancing

Barbara Mahler is a long-standing and active member of the New York City dance community as a choreographer, performer and educator - a master teacher of and contributor to the out reach of Klein Technique™ ( first certified teacher, teaching at the school 1982-2004). She is a Zero Balancing Teacher and Practitioner, and through these mediums of touch, movement, performance - creating in all of these realms, involved in the extraordinary and intricate world of movement and the body: moving, sculpting, teaching, re-educating: always learning. As a Her choreographer, she draws upon the intricate and infinite possibilities of the textures of time, space and the (her) body, creating dances that are spare, articulate, emotional," and elegant" (NY Times). Her choreography is consistent with her teaching vision and bodywork: exploring the endless possibilities that the body can reveal. Barbara has been an on-going faculty member with Movement Research (NYC) since 2004 and was an ongoing guest faculty at the State Theater School in Copenhagen, Denmark 1994-2015. She has taught at many other studios, colleges, and dance festivals in the greater NY area as well as across the US. She travels abroad and across the United States, Canada and Europe creating, performing and teaching. Barbara is a senior teacher and practitioner of Zero Balancing, a hands on healing modality, maintaining a private practice in movement therapy, and body work.
This entry was posted in barbara mahler/klein technique, dance and performance, dance/performance, klein technique, somatics, workshops, zero balancing. Bookmark the permalink.

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