Months of not writing but as we begin a new season with MOVEMENT RESEARCH Classes, please take a moment to read updated or/and more detailed descriptions and bios, and as well COME AND TAKE A CLASS IN Person when you can

-Barbara Mahler began her studies with Susan Klein and Colette Barry in 1977 when their studio on 56 street opened. A “intern”, moving on as a substitute teacher, daily plus classes, deeply folded her into the development of their work, as well as into the Bartenieff  studies both were involved in. She later moved to the Klein Studio in 1979, teaching and again deeply involved in the growth of the studio and in the mid 80’s became a full time faculty member, onto the “motor” of the studio and main teacher. The first certified Klein technique teacher and a traveler to all parts of the country as well as internationally. Between the years 2001-03, the studio was named Susan Klein and Barbara Mahler school of Dance in thanx for her efforts and contributions. She also choreographed, performed, and practiced zero-balancing. In 2004 Barbara moved on to complete her MFA at the University of Wisconsin/Milwaukee and began teaching with Movement Research. 

Her initial introduction to dance was at Hunter College, under the profound tutelage of Dorothy Vislocky, creator of the Dance Major at Hunter College, – a woman with an open and keen mind, and a very broad vision of movement, performance, and art. 

Schooled in many dance techniques, Barbara’s main interests for teaching, -both pure Klein, and Dance allowed her to travel to many interesting countries and states, often the support of her past students – Yasmeen Godder,- Israel 2015; Felix Rukert- (Pina Bauch) 2010-14, Labor Gras -and then Tanzfabrik 2017-present All Berlin. A guest artist at Iceland’s dance conservatory as well as with the Main Modern Dance Company 2012, 2015.She was a guest teacher at Danse Alliensen in Stockholm as well as in Gothenburg numerous times 2004-2013 with one fabulous residency for the creation of new materials in Gothenburg 2012.  She enjoyed time at the circus School in Stockholm, and 20 years at the Danish School for Modern Dance- 

Barbara has taught at TQW -Vienna, Austria twice, and was a guest teacher in London at Chisenhale and Independent Dance Agency.

There were 2 teaching and choreographic Residencies with Adrienne Clancy in Silver Spring Maryland and at at Wilson College, PA with Paula Kellinger; with Dancing People/Robin Steim in Medford Oregon as well as  travels to Oslo,Norway;  participation in The Full Moon Dance Festivals in Finland—-, 2001-03, and beautiful Bearnstow in Maine-2001,02,03,08,09—SFDI in Seattle; Tangente in Montreal as well as studio 303.

I/she has been involved in, and still as they occur, in many festivals and graced with space, bodies, time, dancing and teaching.In Chile in Valpariso and Santiago with a large grant from the government for my specialty work. Limmerick, Ireland  through Mary Nunan, and the University 2016

A frequent visitor to Minneapolis- New Dance Lab as well as the University; and a Sage Cowles Land Grant recipient in 1999.

Most recent repeated residencies have been with HORSE DANCE THEATER Taipei,Tawain 2016-22, and in a series -” The Intelligent Body- a somatic series of workshops curated annually since 2016 with Marcela Ortiz in Santiago as well as Conception.There’s always teaching, – and moving. There is also body work /hands on work called Zero Balancing , which I have been studying and practicing since 1983, becoming certified and then graduating in the first class of teachers in 1989. This work is detailed, sentistve and feeds into all my other loves and passions.As a performer/choreographer- mainly solo and have worked with 

.QueensboroDanceFestival; NewDanceAlliance-Performance Mix – many; Solstice – an evening of choreographers, ; Freeskewl; MDGDance;Take Root at GreenSapce; Judson Memorial Church – the presenting series by Movement Research; an artist in residence with MR 2002-03 and 2007-09.; and New Dance Alliance 3x., BrooklynStudiosForDance 2016-18 …others. 

I loved my ten or so years teaching at Hunter College, and my short times with SUNY Empire State. 

I am a recipient of a BAX 10 Award 2013 for which I am very grateful and have numerous teachers and long time supporters to thank…Dorothy Vislocky, Susan Klein, Jana Feinman .Neil Greenberg, Wally Cardona, Jeremy Nelson, Movement Research, Dance Entropy/Valerie Green, Karin Jameson, Dr.. Fritz Smith (ZeroBalancing) Karen Bernard,/ NewDanceAlloance, my daughter Bella, BAX, others.

I have been teaching during the pandemic primarily on zoom -30 months, and finally moving into unperson, out of New York out into the world.

www.barbaramahler.net for more information and class schedule.

FRIDAY CLASS – iN PERSON

Our time in this KLEIN TECHNIQUE–Movement Classs will be devoted to the application of the essential principles of Klein Technique™ as it applies dance technique..    We will work on the  floor, and standing and occasional barre phrases to facilitate fuller use of the two ball and socket joints and their figure 8′—phrases for clear use of legs, trunk, and shoulder girdle/arms, connecting us to the earth, giving us the floor as we reach into space.

Klein Technique™ works at the level of the bone, the simplest and deepest structure in the body to work with clarity, imagery, and energy. Working on this level allows us to drop in uCnder te layers of muscle which holds us in set postural configurations. The work we do in class focuses on deep connections of support and movement: Freeing the legs and spine, connecting the pelvis to the legs, and connecting the upper body to the lower, and the skull to the feet. 

We work on grounded-ness by first standing the pelvis on top of the legs so we can be upright, aligned to the forces of gravity. Building on this principle, we explore the deep muscles of postural support—the hamstrings (sitz bones to the heels), the external rotators, the psoas and the tail to pubic bone/tail to heels. Throughout the class we interweave theory and physical practice where we welcome everyone learning at their own pace.

THURSDAY KLEIN TECHNIQUEtm STRETCH/PLACEMENT

Klein Technique™ works at the level of the bone, the simplest and deepest structure in the body to work with clarity, imagery, and energy. Working on this level allows us to drop in uCnder te layers of muscle which holds us in set postural configurations. The work we do in class focuses on deep connections of support and movement: Freeing the legs and spine, connecting the pelvis to the legs, and connecting the upper body to the lower, and the skull to the feet. 

Barbara Mahler”s Klein Technique class always begins the same way: Students slowly roll down until they’re completely folded over—and stay there for about half an hour. This, dancers say, is where tiny miracles happen. There’s a Zen-like calm so strong it’s palpable, as Mahler weaves through her students, gently inviting them to “bring attention to the hamstrings” or the “weight of the head to pull on the tail… it’s a way to re-educate and facilitate change—it’s knowledge for people to help themselves move better, with less pain and more ease,” says Mahler, who has been teaching it for 38 years. Klein Technique was developed by Susan Klein in the 1970s as a response to her own injuries. Part somatic practice, part movement technique, its repetitive, slow-moving approach helps students realign and re-pattern their bodies, leading to the dissolution of bad habits, a new range of motion and injury prevention.

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