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My Signal Teachers

Tracing my learning from each of my teachers helps me to tie together an understanding of how signals work in dance training. Each statement is my personal learning and a paraphrase of the teachers concepts.


Michael Chekhov,(book,1953) To the Actor, On the Technique of Acting: experienced acting exercises using internal and external imagery to vary SIGNALS through and around the body.

Shodokan Japanese Karate: Felt first time a MELODY of connected movements in the practice of the Kata.


Barbara Beech: experienced CONNECTINON of emotion with different qualities of movement; experienced the relationship of dance technique to improvisation.

Dee McCandless: felt the slow use of internal muscles to GAIN ACCESS to body movement; discovered the PROCESS of breaking a technique into pieces and improvising variations by putting the pieces of a technique in a different order and repeating parts in different ways.

Bobby DiAngelis: felt the personal story line of FOLLOWING an image and interacting with other dancers.

Kay Braden: experienced the detailed movement mechanics of the Utah school; experienced the results of daily small adjustments and increased awareness.

Powell Shepherd: experienced the completing of a GESTURE and the personal statement of a story line for my self with every movement.


Deborah Hay: experienced ERASING PATTERNS by breaking a movement into pieces,CONNECTING different areas of the body with emotional experience using imagery; USING IMAGES to extend stamina beyond personal expectations and to hold balance until concentration wanes; EXPERIENCING SIGNALS as a way of moving in and out of anticipation; EXPERIENCING SIGNALS as receiving and responding to awareness of the intelligence of every cell.

Steve Paxton and Danny Leppov: experienced FOLLOWING SIGNALS as spiral patterns, as connections with another body or surface, as a way to explore every direction with each body part, as a way of balancing and creating variations on weight and momentum; DEFINING SIGNALS as both receiving and sending, SEEING as gathering information and allowing information to flood inside, TOUCH as receiving information and connecting with another signal.

Heloise Gold: experienced SLOW CROSSING MOVEMENTS of Tai Chi and Chi Gong instantly CONNECTING the entire person.

Emily Conrad Daud: Micro movements increase SIGNAL flow and blend personal awareness with agility of movement. Trauma and disability are responsive to dance movement.

Sarah Brumgart: Laban. The experience of moving every direction with every body part increases ACCESS and SUPPORT of the entire body; experienced dance improvisation as VARIATIONS within a three dimensional grid that become changing pathways and movement qualities.

Barbara Mettler: Group Improvisations. SIGNALS are shared within a group. Signals within the group can be sensed, followed, redirected, magnified, contrasted, joined as in unison movement.

Nina Martin: Rewiring Dances.SIGNALS identified as energy flow through the body using the images of light or electricity; REWIRING SIGNAL PATTERNS by a random flurry of signals beginning at the spine.

Sculpture at the Austin Women and Their Work Gallery: A series of dropped pendulums in a line, with battery lights at the bottom end, placed over a bed of sand. SIGNALS between the pendulums created an infinite variety of loops and spirals as the pendulums interacted with each other. None became tangled even though they were moving between and around each other.

Margery Segal: Body-Mind-Centering. Every human system is INTERCONNECTED as discovered by Bonnie Bainbridge-Cohen. Trauma, memory and the function of organs are accessible through dance movement. The essentials of life can be seen in the vitality of SINGALS within the womb and early childhood.

Sumi Komo: Alexander Technique. Lifting and opening the upper spine are simple SIGNALS that free the legs and feet to rise, spring, and leap.

Julie Nathaniels: Skinner Release Technique. Following curved PATHWAYS interconnects the entire body. AWARENESS is a process of focusing our attention and receiving all kinds of information from the interrelationship of internal and external experience. Awareness of space is receiving and sending information internally and externally. THE DANCE PROCESS is less about transformation and more about a radical curiosity for what is happening in the moment.


Tony Cassadi. SIGNALS as varying the images of the torso as a three dimensional box and using the image of an “X” to connect the corners.

Alexandra Slavin: experienced Ballet as the INTERCONNECTION of the entire body; experienced something akin to nurture and trust.

Arletta Howard Logan: experienced IMAGERY as a key to learning movement and variation as a way to diagnose the next movement EXPERIMENT.

Tiffany Loos. The process of Ballet is to stay with the movement without concern for my ability to accomplish it perfectly.

Dana Lewis: SIGNALS begin somewhere specific and travel to other specific places. Both contraction and extension are engaged.

Rachel Meador: SIGNALS are synonymous with sending energy. BALLET IMAGERY is for training the interconnection of signals.
Tim Hurst. 03/15/17