Koltai till Sverige 2012
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Presentation av Judith Koltai och hennes arbete
Judith Koltai är en av Thérèse Bertherats första elever. Hon har utvecklat sin egen syntes Syntonics bl a med utgångspunkt från Antigymnastiken men även från Charlotte Selvers Sensory Awareness som i sin tur härstammar från Elsa Gindlers arbete.
Hon arbetar också med Authentic Movement, AM som väldigt kort och förenklat kan beskrivas som en terapeutisk metod att uttrycka känslor via fria rörelser.
Judith som bor i Kanada kommer till Sverige regelbundet sedan 1996. Hon är vår länk till historien, och vi är mycket glada och tacksamma att få ta del av hennes unika kunskap och erfarenhet. Judith, med rötter i Ungern, bodde i Sverige på 1950- och 60-talet, talar på kurserna mest svenska och ibland lite engelska som tolkas vid behov.
Judith Koltai, MA. ADTR
Diplome Technique Corporelles Therese Bertherat.
Member of the Academy of Registered Dance/Movement Therapists.
Initiator and founder, holder of the trademarks of Embodied Practice and Syntonics.
Founder and Animateur: The Cassandra Project
For over 30 years, pioneer in body movement practices applied to education, the performing arts, psychotherapy and physical rehabilitation.
Pioneer in the application of the discipline of Authentic Movement to the creative/performing arts and specifically to voice, text, writing and the initiation of original work.
Most current publications:
Forms of Feeling - Frames of Mind in Contact Quarterly, Summer/Fall 2002,Vol.27,No.2
Making Sense, Getting Through: "The Word's Body" in Canadian Theatre Review,
CTR 109, Winter 2002
is a registered Canadian trademark.
Its initiator and Founder is Judith Koltai.
Experience and Training in Embodied Practice is offered exclusively by Judith Koltai as well as a few experienced professionals trained and authorized by Judith Koltai in the forms of: classes and workshops open to the general public; specialized workshops for experienced professionals; Masterclasses - an experiential research and study collective for advanced students and experienced professionals.
Embodied Practice regards the human organism as Conscious and Autonomous Holon.
(A 'holon' is a system which is whole unto itself, which is an integral part of a greater whole than itself, and which itself is formed by smaller wholes.)
The Pedagogical Principles and Methodology of Embodied Practice are based on the notion of Autopoiesis as defined by Chilean biologists Humberto Maturana and Francisco Valera. The principle of Autopoieisis states that living systems, such as the human organism, are capable of continually and dynamically adapting and changing themselves in the face of changing external conditions. They are syntonic (i.e. healthily and harmoniously responsive). Their structure is that of interconnected networks which, interacting amongst themselves, dynamically recreate these very networks.
Such systems are best understood in terms of pattern and process rather than static material structure. Therefore, what is essential in maintaining, attending to, and training the human organism is not its physical composition or momentary structure, which constantly changes, but the continuing process by which it responds, adapts and recreates itself.
The language and vocabulary of Embodied Practice is that of unfolding potential rather than that of diagnosis, analysis or interpretation.
Learning in Embodied practice is experiential through the practice of the Disciplines of
Syntonics and Authentic Movement.
is a registered trademark and is currently practiced exclusively by Judith Koltai and a limited number of experienced professionals trained and authorized by Judith Koltai.
Roots and developments
Methode Mézières' - the principles and practices developed by pioneer French physiotherapist Francoise Mézières.
'Anti-Gymnastic' of Thérèse Bertherat, a student of Francoise Mezieres and author of
the book: The Body Has Its Reasons.
'Sensory Awareness', based on the discoveries of German movement teacher, Elsa Gindler and introduced in North America by Charlotte Selver.
'Syntonics' -evolution and consolidation of the above principles into a holistic discipline, founded and trade marked by Judith Koltai
Syntonics practice is guided equally by educational, rehabilitative and aesthetic principles.
The aim of Syntonics is the elimination of unconscious and dysfunctional muscular and movement habits and the harmonious balancing between tonus and action in the skeletal musculature. It is a form of "re-education: recovering what Francoise Mezieres called the body's "divine normality". The purpose is not correction or achievement of a static ideal state, but recovery of the dynamic ability of the organism to continually respond, adapt and re-create itself in a healthy and functional way.
The methodology follows the principle of the Methode Mezieres to elongate and balance the chain of the posterior musculature and to eliminate limiting and misleading compensations between muscles. The practical tools of the discipline are the "Preliminaries": small, precise, repeated actions inviting a new vocabulary and a special kind of attentiveness to sensory and kinaesthetic sensation. Initially supportive guidance by an experienced and attentive teacher is required to ensure precision and to remind of and support attention and consciousness. The most important goal, however, is the internalization of the principles and practices by the student, so that both function and awareness are naturally incorporated into daily activities and habit is replaced by conscious and freshly adaptable responsiveness.
originates in the discoveries of pioneering dancer/choreographer Mary Starks Whitehouse (1911-1979). It is rooted in practices and insights gained from revolutionary modern dance teachers Mary Wigman (Germany) and Martha Graham (U.S.) as well as in psychiatrist Carl Jung's revelatory understanding of the authentic/creative process in the depth of the human psyche. Authentic Movement as a discipline was further developed and defined as a discipline by Janet Adler, a student of Mary Whitehouse and American psychologist John Weir.
Authentic Movement is practiced in many varied contexts: as psychotherapy, personal/creative investigation, mystical practice, contemplation, and as source of original artistic creation in dance, theatre, writing and visual arts.
The form of this practice is deceivingly simple. A 'Mover' (or several 'Movers') moves, with eyes closed, consciously following spontaneous physical and vocal impulses in the presence of an open-eyed Witness (or several witnesses). Within the container of clearly defined and articulated guidelines of physical and psychological safety, the task of both Mover and Witness is to bring a specific quality of attention to direct bodily experience.
The guidelines free Mover and Witness from judgement, projection and interpretation
of spontaneously emerging personal and creative material. They invite suspension of conventional forms and pressures of interaction and creation.
Informed and confirmed only by one's own authentic and tangibly experienced truth, both Mover and Witness are enabled to access and bring forth material arising from the deeper and often hidden layers of consciousness into articulable action, word, creation.
The discipline invites and teaches the ability to listen to deep internal cues. It is a practice of uncompromising faith in one's embodied intelligence and authentic creative consciousness.