Movement Studies with
Prof. Amos Hetz is an excellent movement teacher with many years of experience. His interests, background, history and vision as a body-philosopher bring him to focus on the origins of movement, creativity, and the ability to learn. His teachings are interesting for actors, dancers, singers, physical therapists, Feldenkrais®, Sensory Awareness® or other movement practitioners, teachers, anybody working with children or otherwise professionally involved with movement.
Dennis Leri, international Feldenkrais® Trainer, says about Amos:
"Thanks for organizing this for Amos. The Eshkol work was very valuable to both me and Mark Reese. Amos is good and patient teacher. You can tell people that I highly recommend this workshop. The students will, like me, find that the work with Amos will positively inform their work for years to come."
If you want to read more about Amos Hetz, you can go to http://www.feldenkrais.de/167.0.html to read about his lecture in April 2007 at the German Feldenkrais® conference on "Learning Movement and its Aesthetic Value" or order his article:
Notes for a lecture at the European Feldenkrais Congress 30 March - 3 April 2005:
"Wounds are the Doors to the Movement Secret.
The role of the individual in art, education and therapy.
Another link where you can read more from Amos: http://sarma.be/oralsite/pages/Amos_Hetz_on_Scores/.
Please visit also the newest website of his work in Israel: http://www.roomdancesfestival.com/en/home.
German website: www.amoshetz.de.
You can download flyers in German for each upcoming workshop from this site.
Amos Hetz has given titles to all his weekend workshops, "Accent on ...". To all these accent courses, you can request separate flyers (most likely in German) from .
The long seminars will go deeper into the themes of the accent courses. Besides this, the 9-day seminars are an introduction into the Eshkol Wachman Movement Notation.
Berlin - Germany - Accent on Turning & Rolling
Zürich - CH - Accent on Waves
Wien - Austria - Accent on Up & Down
Zürich - CH - Accent on Music II
Freiburg - DE - Accent on Touch
München - DE - Accent on Rhythm II
München - Germany
Berlin - Germany
Wien - Austria
26.01. - 28.01.2018
02.03. - 04.03.2018
13.04. - 15.04.2018
08.06. - 10.06.2018
15.06. - 17.06.2018
29.06. - 01.07.2018
09.02. - 19.02.18 (9 days, 14.02. off)
23.03. - 01.04.18 (9 days, 28.03. off)
27.07. - 05.08.18 (9 days, 01.08. off)
Bird Price if paid by
01.02.18: CHF 360.00
|Summer Retreat for Advanced Students
(if you have participated in at least 3 of the 9 day
seminars during the past years)
Berlin - Germany € 600.00
|REGISTRATION AND MORE
BERLIN, MUNICH, FREIBURG:
Ute Birk, Mansteinstr. 13, D-10783 Berlin, Germany,
Tel./Fax: +49 (0)30-217 01 02, email: firstname.lastname@example.org
Please request banking
information together with your registration.
Ulrike Kinz, Tuchlauben 18/15, A-1010 Wien, T +43-1-533 38 55, email@example.com
Please request banking
information together with your registration.
Blume, Dörfli 8, CH-8777 Betschwanden GL, Tel.: +41 (0) 76
e-mail: firstname.lastname@example.org, more
Participants from other countries, please ask for a
Registrations please by mail, e-mail or fax to the
indicated local organizers. You can also request
further registration information from them.
For Berlin, Munich and Freiburg, please register by
using the registration form below and sending half of
the workshop price on or before the early bird date to
the above listed bank account. Registration in the
order they were received. The second half is due on or
before the first day of class. In case of
cancellation, a complete refund will be made up to 10
days before class, after that, the full workshop price
has to be paid if no replacement person can be found.
HETZ - MOVEMENT STUDIES
|Accent on Chairs.
No ANIMAL sits on a CHAIR (unless it was trained in the
circus), neither are HUMAN BEINGS born with a chair. We
spend as many hours on CHAIRS as in BED, or even more. In
some cultures people SIT on the floor, on a cushion, on a
stool or chair, or sit high up at the bar.
All cultures over the globe develop their own forms of
CHAIRS and parallel to this their own particular way of
SITTING is one of the most common
positions, like LYING or STANDING. Eating at the table,
sitting in the office, driving the car, riding the bike,
playing a musical instrument and many more actions are
done in the sitting position.
CHAIRS are found in many forms, shapes, materials, widths
and heights, with and without support, and with various
number of legs.
Looking for the ideal CHAIR is inclined to fail. Each
INDIVIDUAL has his/her own personal CHARACTER, different
PROPORTIONS, different POSTURE and different HABITS. We
all take our BODY for granted and find ourselves in
different situations that force us to adapt our sitting
without being trained to do so. As a result we find that
many of us have troubles with SITTING.
In the workshop ACCENT ON CHAIRS we will play with sitting
POSITIONS, open ourselves to the POETRY of the CHAIR and
learn to ACCEPT sitting as a MOVEMENT. We will PLAY with
one or more chairs, alone and with other people. We will
experience the CHAIR not only as a piece of FURNITURE, but
as a movement TOY that can give us RELIEF from the
PRESSURE of sitting, and lead us to IMPROVE the way we sit
and ENJOY it.
Accent on Games.
Games are a set of given
rules allowing the participants the freedom to move
spontaneously in respect to the set of constraints. In the
games that I use, the mover enters into interaction
with another person, or with an object, usually with both.
As most of the actions can be done in more than one way,
the mover is asked to act according to the given rules,
and yet s/he needs to find solutions to situations that
are created by the other movers and by the objects.
Almost from the beginning
of my teaching I include movement games in my
classes. Down the years I have invented and developed many
games. I have repeated and examined them again and again,
improving the rules and definitions, so that I can explain
the rules clearly, and then let the important part be
learnt through direct experience. Some of the games have
many different roles, and the participants need to repeat
the game several times before they can feel free and
enjoy playing. Part of the learning is to give the
participants the possibility not only to play the game,
but also to observe it.
In the following part I
explain some of the concepts I have incorporated into my
workshops and games:
The six primary spine
curves: front, back, right side, left side, rotation to
the right and to the left. These six major configurations
of the spine are very pronounced in the first years of
life, when the child is mainly in a horizontal position.
Slowly they are inhibited as the child acquires the
ability to differentiate head movement from the pelvis,
arm gestures from the torso and the movement of the legs
from the pelvis. The potential ability to differentiate
increases as specific movement skills are acquired, yet
every differentiation depends on inhibiting the other
limbs. Usually this inhibition is acquired unconsciously
and is not always very efficient. Reconstructing the six
primary curves gives the mover the ability to sense again
the work that is done during inhibition, and to improve
it. Even with such a specific and delicate subject I
incorporate the use of games. By touching each other,
leading and following, or as a group going in a circle
with the participants calling to change the direction with
a new curve.
Every gesture is goal-oriented, which means that the end
position is chosen consciously but the path of movement
is done automatically, not through choice. Modulation is
the attempt to observe the gesture, to use the energy
invested and not to block it. To take into
consideration the initial position, to follow the curves
that are involved, to observe the beginning and the end
of the gesture, and to continue the movement in the
initial direction and not hold out against it.
Exercising it through small and large gestures like
throwing and catching balls, kicking balls and handling
sticks while moving with a partner. Opening any action
to the many ways it can be done, and integrating it to
the whole of the person who is involved. Touching,
leaning, following and observing each other’s gestural
direction. A basic way to train the mover to modulate is
to do the "same gestures" on many different bases, in
lying, crawling, sitting standing, walking and running.
Not assuming that once you have done it in lying you
will know to translate it to any other position. In
essence most of the games as all the other elements of
the work deal with modulations curves and waves.
Studied visual art, music and dance. Studies movement at
the Kibbutzim Teachers’ Training College in Israel with
Lotte Kristeler (a disciple of Elsa Gindler). Graduate
form the Avni Art institute. He later made the
acquaintance of Noa Eshkol (co-creator of the
Eshkol-Wachman Movement Notation). He studied the F. M.
Alexander Method and with Moshe Feldenkrais and later
was invited to teach in the Amherst training. He was the
coordinator of the Movement Section of the Jerusalem
Academy of Music and Dance, where he could establish a
"Movement Department", separate from the existing Dance
Department. In 1972, Amos set up a dance ensemble called
"TNU’Ot" ("Movements") and from 1989 he is the artistic
director of of a chamber dance festival ("Room
Dances Festival") in its frame he was performing his
dances composed with the EWMN (Eshkol-Wachman Movement-
Notation) in Israel and all over the world. He spent a
year in Berlin, Germany at the invitation of the
“Wissenschaftskolleg”, the Institute for Advanced Study.
In 1999 got the Jerusalem award for his achievements in
dance, and movement education.
As a loner on the chaotically expanding forefront
of movement arts, Hetz rigorously avoids the trend
toward ever more intricate extravagances in the search
for so-called "originality". His interests, background,
history, and vision as a mover and body-philosopher
instead bring him to focus on the origins of movement,
creativity, and the ability to learn.
Training the eyes is a very subtle task. We do it in a
number of different ways: Connecting the eyes with the
different curves of the spine. Training the eyes in
peripheral vision by asking the mover to follow two people
simultaneously. Moving the eyes as a limb in given
directions. Training the eyes to observe movement from
different bases: standing, lying, on all fours, looking
between the legs upside down, observing while moving.
Talking about the movement that was observed and making a
distinction between sensations and feelings, description and
Eshkol-Wachman Movement Notation.
Teaching the EWMN Eshkol-Wachman Movement Notation, I found
myself using games even in this analytical subject. Each
participant was asked to compose a movement sequence for a
group of limbs, to teach it to the others by imitation and
then to create a small dance phrase from all the gestures
together. Playing with gestures related to one’s own body or
to the absolute space, alternating between these two,
bringing us closer to the ideal mover who erases the
dichotomy between body and space. Or a game for two people:
one is passive, with closed eyes, and is moved by the other.
The person with closed eyes has to identify the kind of
movement by naming the limb and the movement type (plane,
cone, or rotation).
Learning the notation gives the mover the posibility to
articulate the differences in clear concepts and as such
bringing us closer to an objective knowledge of movement.
Along the years of teaching I composed many circle dances
that gives the mover the posibility to to dance as part of
the group (and not only in an spontaneous improvisation
form). To train him/herself in this ancient social forms of
dance, with the deep pleasure and satisfaction to be in
rhythm and to coordinate not only with the whole body but
with the rest of the group.
(in part from: Notes On Games - Berlin 9.3.02 by Amos
printed in Feldenkraisforum 40 in June 2002 in Germany)
Articles in "Contact Quarterly" on Amos Hetz and the
Eshkol-Wachman Movement Notation: "Notation for Liberation
of Movement" by Zvi Yannai, CQ7:2, Winter '82. "The Fine
Art of Teaching: Amos Hetz in Jerusalem" by Julie Sandler,
CQ 13:1, Winter '88. "School for Movement: Interview with
Amos Hetz" by Michal Wydra, CQ 15:2, S/S ‘90. "Why do I
move? What moves me? - Conversations with Amos Hetz" by
Irene Sieben, CQ S/F '97
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was last updated on October 8, 2017.
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