What’s new this summer?

20160702_115654 (1)I have just returned from working with HORSE dance Theater, Taipai, my third visit in three years. Plans are already in the works for summer 2018 – we always work at around the same time every year ..Mid June to early July.

Every year has so far been exciting, different and full of fun and new friends. This year included a ZB1 class, and more zero balancing sessions than ever before -Klein/Mahler and Zero Balancing fit so well together. The quality of the week – “Lightness”

What;s next?

Summer MELT!! with Movement Research- July 16-20…1-3, the basic stretch and placement class with theory and movement weaving together.

Ongoing classes with Movement Research Tuesdays Thursdays and Fridays 10-12..check class calendar for specifics–through August 18

Zero Balancing Sessions…Contact me for details…in Manhattan and in Queens

 

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Klein Technique in Minneapolis coming soon!!!

Minneapolis! coming soon

Hola! my return to friends and Klein technique teaching and zero balancing sessions take place Friday evening – Sunday afternoon May 18-20.  Theory, Practice, space and time to integrate.

Contact Jennifer Arave on Facebook event Klein Technique w Barbara Mahler or araveji@gmail.com

Workshop – Friday evening, Saturday 11-430, and Sunday 11-3

Zero Balancing Sessions are still available mainly on Saturday evening May 19.


check calendar for contact

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AND NOW!!

  1. 17358576_10155190254199720_1042633709424620787_oBarbara Mahler is a longtime and active member of the New York Dance Community  dancer,  choreographer, performer, movement educator and zero Balancing practitioner and faculty (1989). She has been teaching for above 30 years and is instrumental in the development and dissemination of Klein Technique. She was associate director of the Susan Klein School of Dance from 1983-2004, building on her studies of this technique since 1978. Barbara was a Movement Research artist-in-residence from 2001-03, and 2006-2008;  a faculty member at Movement Research since 2005. She teaches worldwide in a variety of contexts, in ongoing education programs, festivals and open workshops. As a choreographer, she works with subtle and complex movements, with the themes of time and architecture. Her solo work has been shown in New York City – St. Mark’s Church, Abrons Art Center, with New Dance Alliance; as the RAD festival  Michigan, and in Santa Barbara,CA with ARTBARK International.  She received a BA from Hunter College under the direction of Dorothy Vislocky and her MFA from UWM-Milwaukee 2008. \

    BKSD_2-3   click her for flyer pdf

    20180220_150642 (1)JOIN ME, with dancers Jamie Graham and Trina Mannino, choreographers and MEGHAN FREDERICK/ETHAN WOODS APRIL 27 and 28 at Brooklyn Studios for DANCE…a shared evening of works, works in process      8pm

$20  tickets 
Brooklyn Studios for Dance
210 Lafayette Avenue
Brooklyn, NY 11238

BkSD is pleased to announce a shared evening of dance by choreographers Barbara Mahler and Meghan Frederick/Ethan Woods.

Mahler’s work embodies sparse, architectural elements, often noted as “moving sculpture.” Capturing underlying emotional tones that are kinesthetically experienced by the viewer, Barbara Mahler offers two new pieces in this shared evening. First, a solo, performed and choreographed by Barbara Mahler, will be followed by the duet “when we ARrived, performed by her longtime dancers Jamie Graham and Trina Mannino. The duet is a stark portrait of kinship and intimacy, reflecting the sense of support that women in our culture are lending to one another. Both dances will be performed in silence.  “. . . Mahler’s (work) drew us into her introspective world . . . Her movements were, at first, static with accents of a hand, head or foot slamming against the surface. Mahler’s was movement that harkened back to an earlier era of Modern Dance, performed with great skill and attention.” – Jeff Slayton of See Dance.

Mahler’s dances are created with the support of BkSD as a 2018 artist in residence, Lift-Off, a group feedback series led by Karen Bernard and NDA, and Movement Research, which supports the artist by engaging her as a teaching artist since 2005-present.

‘no such thing’, a collaborative duet performed by Meghan Frederick (dancer) and Ethan Woods (musician), utilizes egalitarian relationships between Ethan’s and Meghan’s bodies and sound-making capabilities to research the role of performance as spiritual practice under late capitalist Trumpism.       Created over the last 10 months, between North Carolina and New York City, in a shipping container in Red Hook, Brooklyn, and at/with support from the Dragon’s Egg (CT), ‘no such thing’ is an eerily hilarious dance, featuring alien abductions, radio jingles, Mork and Mindy sweaters, and lots and lots of shapes. Join the artists on this shiny, failed quest for enlightenment, or at least something that feels equally sparkly.

Launched in April 2015, Brooklyn Studios for Dance lives within the historic Cadman Congregational Church in Clinton Hill, Brooklyn. Inspired by a shared reverence for gathering space, the church congregation and the dance community entered a partnership to share a facility. The mission of BkSD is to a serve the professional dance community while at the same time building a culture of local engagement that responds to the interests of both communities.

Since officially opening its doors, BkSD has offered a variety of classes, workshops, residencies and performances to the professional and non-professional community. This past year, BkSD engaged over 1000 participants and over 150 teachers and artists.

BkSD was initiated by Pepper Fajans who led a renovation effort of the church’s 1920s-era gymnasium and developed a programming structure for the organization. Together with a volunteer community of dancers, and with the generous help of a founding team, Fajans transformed the 30’ x 60’ column-free space into a vibrant dance studio, with a sprung Marley floor. BkSD is Directed Pepper Fajans.

For Tickets: Eventbrite ticket link: https://www.eventbrite.com/e/a-shared-evening-barbara-mahler-and-meghan-frederick-tickets-44538156826
For More Information: 
bksd.org

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Klein Technique w Barbara Mahler

Join me Every Tuesday and Thursday

Klein Technique aka Stretch and Placement w Movement Research Tuesday and Thursday 10-12 Eden’s Expressway. 537 Broadway avec moi
barbaramahler.net

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Some Recent and Soon to come Adventures of Barbara!

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photo by Reiko Yanagi

It has been a very fruitful and busy time! with travels to Taipei, with Horse Dance Company, June 2017, my second time, and returning again June 2018.

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photo by Julie Lemberger

Tiny clip of “It OcCurs to mE” as part of the Movement Research at the Judson Church 25th Anniversary September 2016

 

I also returned to Santiago, Chile (October 2017), my third time in that beautiful city, this time as part of an annual festival of Somatic Practices curated by Marcela Ortiz.  Klein Technique is an extraordinaryily helpful and profound movement practice for all movers, which is everyone!  My annual workshop in Minneapolis (since 1992) takes place the Weekend of December 9 and there are still a few spaces available, and zero Balancing sessions can tbe had as well.  Click Link below

mahler december 2017 flyer-poster (2)

There also has been the creation and performances of a new solo, “De sHelvEd”- and a duet still growing with Trina Maninno and Jamie Graham. Our performances took place at the University Settlement House in Manhattan in June, the Queens Museum in July, The Secret Theater in October as part of the QueensBoro Dance Festival, at Movement Research’s weekly open performance, and at Dixon Place November 28.   Berlin and the Easter Workshop happen early April, and here in NYC  we have THE Show at the beautiful Brooklyn Studios for Dance – the space is  AMAZING!!!  in April 2018.

Classes continue through December 22, 2017 and we begin again Mid January, with an additional movement class one evening per week at BKSD. Check the on line calendar on the main page of web site.

Some student comments:

A week at IDA in London:  Barbara has been amazing. Her knowledge and intelligence is beyond belief. The technique is so fundamental, and her pedagogic approach towards teaching… can’t find the right words but it is so incredible but subtle that it is rather invisible. This is incredible because it is there. I felt (having come 4 out of 5 days) that everybody in the class learned something but not in their heads, on their bodies, including myself on this.

I have certainly been challenged and confronted, but in an environment that allowed me to take the time, space, energy to try things out, without needing to learn, or fulfill expectations, or worry about gaining anything, and as a result I feel all these things happened!

I gained a huge amount, a re-connection to my dancing and moving body. A feeling of it’s potential. I go away with a rich resource to practice and practice. I feel better, positive.

The workshop was extremely interesting and physically engaging. The simple movements/patterns with profound and complex feedback. I feel I will be processing over the next few days, weeks…I would like to do more with Barbara.

“One word – Transformation. Traveling to a place that is old and new. Old in the sense of feeling movement as I did before a hip injury and new in the sense that your class has opened a new way of feeling about my place in the world.”

“One of the biggest ideas I’m taking away from Barbara’s classes is the idea of options-for-moving. In the last few years I was thinking a lot about range-of-motion in the sense of how dancers endeavor to move with a broader range-of-motion. When I began taking Barbara’s classes, I was thinking about and focusing on how I could increase my own range-of-motion. Btu when I heard her talk about options-for-moving, I started thinking about movement differently. While I continue to investigate range-of-motion, Barbara’s idea about options-for-moving opened up ideas about options-for-identity, options for moving through life and building a way to be.”12107268_10100688318296639_1871288470071084891_n.jpg

I bid you good holidays, health, and especially joy.

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Sharing w you again this lovely article.!

Barbara Mahler: How I Teach Klein Technique

Posted on January 31, 2017 by Rachel Rizzuto, Dance Teacher Magazine February 2017

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 cueing the “weight of the head to pull on the tail.”

To a novice, a Klein Technique class might appear monotonous or even strange. But “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 34 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 repattern their bodies, leading to the dissolution of bad habits, a new range of motion and injury prevention.

A latecomer to dance as an undergraduate at Hunter College, Mahler found herself plagued by injuries. “I was always having back problems,” she says. Then she found Susan Klein’s studio and noticed a dramatic transformation in her body. “I realized I wasn’t in pain and my back was getting better,” says Mahler. “I was learning how to understand myself.” She quickly became a devotee and eventually a certified teacher.

For many modern dancers in New York City, Mahler’s class is a source of revelation. “I grew up doing lots of ballet, so when I went to college for modern dance, I was constantly told to be more grounded and give in to my weight,” says Trina Mannino, a student of Mahler’s for two years. “It was in the hanging over that I felt this surrender in my body. It started to shift for me.”

The beginning of class isn’t the only time revelations occur. Near the end, when Mahler noticed her students going from a fetal position on the floor to a spread-eagled X-position by initiating from the feet, she suggested they pair up and try moving from a different part of their bodies to see if that led to any discoveries. While one partner lay on the ground, the other placed their hands on their partner’s trochanters (the two bony protuberances at the top of each thigh bone) for tactile encouragement. Afterward, Mahler had them walk around the room to feel the difference in their bodies.

The change was immediately visible: The side of the body that had been touched appeared longer and more relaxed. “I feel like my legs are walking me!” said one student, clearly surprised.

That surprise is what Mahler hopes her students leave class with. “I want them to have a different experience of being in their body,” she says. “And that information is something you take away and apply to other classes.” DT

Barbara Mahler has been teaching Klein Technique since 1983. She was on faculty at the Klein School of Movement from 1983 to 2002; today she teaches at Movement Research and Gibney Dance Center in NYC. She has a BA in dance from Hunter College and an MFA from the University of Wisconsin–Milwaukee. Her choreography has been presented by Danspace Project, Brooklyn Arts Exchange and Dixon Place in New York.

Trina Mannino
is a professional dancer who has been Mahler’s student since 2014.

Photos by Kyle Froman

Don’t miss a single issue of Dance Teacher.

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JUNE!! Performances Workshops Classes

Source: JUNE!! Performances Workshops Classes

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JUNE!! Performances Workshops Classes

photo by Kathee Miller

June brings a multitude of travels teachings performances! Classes at Movement Research continue through mid=august…..17038759_10154133399120216_5392707084910391238_o.jpg

A QUOTE ABOUT MY WORK:Okay. Here we go! I loved the stillness in the beginning. You were in a striking shape that really sparked the curiosity of the audience. I loved how long you stayed on the floor. What stays with me most from the piece is the clarity of focus in both your face and body; the pauses and syncopated rhythms in the movement; the sudden ending with the strong toss back of your head. I should have written some notes for myself to give more specific feedback than this, but what I always love about your work is the care you take with crafting your body-the space-your body in space. Your minimalist approach to sound magnifies the texture and qualities of the movement – movement which is highly developed and often unexpected. And there’s a directness or honesty in this sparseness that is centering for the viewer ”         COME AND SEE!!!

SATURDAY June 17 730 pm SOLTICE at UNIVERSITY Settlement House, Manhattan, NY —an evening of dances by Frances Rosario-Puleo, Stephanie Schwartz, and Craig Hoke Zarah

SUNDAY QUEENS OUTDOOR DANCE FESTIVAL – DANCE CHOREOGRAPHED BY BARBARA MAHLER, PERFORMED BY JAMIE GRAHAM

Jamaica Performing Arts Center front steps clearing
PERFORMANCE  slot 2-3pm….with 4 Queens based Choreographers
SATURDAY June 24=July 3….HORSE dance COMPANY, Taipei ,Taiwan…
For movement classes/Workshop in Klein Technique and zero balancing sessions
SUMMER MELT 1-3 WITH MOVEMENT RESEARCH JULY 17-21
LAST SATURDAY CLASS AT BROOKLYN STUDIOS FOR DANCE JUNE 17…

Barbara Mahler: How I Teach Klein Technique

  • play5:32
    Barbara Mahler Teaches Klein Technique
    Watch and learn how Barbara Mahler teaches the Klein Technique #TechniqueTuesday #TuesdayTip

     

www.danceteacher.com
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New Things/This Month of May

Returning to my “second home” _Minneapolis, MN for a long week=end workshop – Klein Technique May 12-14..My almost annual visits to Minneapolis began in 1992, first with New Dance Lab (Linda Shapiro),  Dancing Feet (Rosy Simas), a Cowls Grant from the University. Dancers in the city still use the technique to help with care for their bodies, and lengthen their dancing career. Annual/ semi annual workshops are now organized by Wendy Ruble and Jennifer Arave.   Come and join this amazing community!

For movers of all types and styles, for interest in exercises to help support the lower back and pelvis, and to be more aware of the body we live in.

https://www.facebook.com/events/488415261490365/

Also check out the article in February Dance Teacher Magazine:

http://www.dance-teacher.com/2017/01/barbara-mahler-teach-klein-technique/

For ongoing classes and other workshops please check the calendars

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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.
Marcla
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

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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

View Profile | More From This Author

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.
http://www.dance-enthusiast.com/features/view/Barbara-Mahler

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