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:
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 <firstname.lastname@example.org>.
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 Right & Left
Zürich - CH - Accent on Action & Reaction
Wien - Austria - Accent on Action & Reaction
Munich - DE - Accent Movement Notation
Munich - DE - Accent on Action & Reaction
Freiburg - DE - Accent on Eyes
München - Germany
Berlin - Germany
Wien - Austria
10.02. - 12.02.2017
17.03. - 19.03.2017
24.03. - 26.03.2017
28.04. - 30.04.2017
30.06. - 02.07.2017
14.07. - 16.07.2017
24.02. - 05.03.17 (9 days, 01.03. off)
07.04. - 16.04.17 (9 days, 12.04. off)
09.06. - 18.06.17 (9 days, 14.06. off)
Bird Price if paid by
08.01.17: € 195.00
05.02.17: CHF 360.00
05.02.17: € 195.00
31.03.17: € 195.00
31.05.17: € 195.00
11.06.17: € 195.00
03.01.17: € 560.00
01.03.17: € 560.00
01.05.17: € 595.00
|Summer Retreat for Advanced Students
(if you have participated in at least 3 of the 9 day
seminars during the past years)
Berlin - Germany 11.08. - 20.08.2017 (9 days, 16.08. off) 09.07.17: € 560.00 € 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: email@example.com
Please request banking information together with your registration.
VIENNA: Ulrike Kinz, Tuchlauben 18/15, A-1010 Wien, T +43-1-533 38 55, firstname.lastname@example.org
Please request banking information together with your registration.
ZÜRICH: Michael Johannes Blume, Dörfli 8, CH-8777 Betschwanden GL, Tel.: +41 (0) 76 465 8109,
e-mail: email@example.com, more information: http://www.klangkuenste.de/movement-studies.html
Participants from other countries, please ask for a reduced rate.
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.
PROF. AMOS HETZ - MOVEMENT STUDIES
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.
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 judgment.
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 Hetz
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
This web site was last updated on September 18, 2016.
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