Week 6: Klein/Mahler Technique

Hello! I hope you enjoyed Friday’s class with Richard and saw the connection between Aikido and dance, specifically contact improvisation. More on that later… This week we will explore the work of Susan Klein and Barbara Mahler. Since 1992 I have been studying with these two amazing teachers. I will share what I know to you this week. Here are links to their websites:






4 thoughts on “Week 6: Klein/Mahler Technique

  1. Right now I’m researching bioindividuality and while it has to deal with food and your genetics, it seems to also contribute to what we’re learning with the Klein/Mahler technique. Each person is different in body, mind and movement. So why not discover your own uniqueness and learn from it to treat your body better. I connected to the idea of this technique immediately and am interested to see what concepts I can learn from this for not only dance but overall body understanding.

  2. At the beggining of the week I wanted to focus on paying attention to the technique and how throughout the rest of the week I would be able to understand it with my body. I use my quadriceps with everything I do even including excess tension and the Klein/Mahler technique has helped me relax and use less of my quads and felt more of my hamstrings. Even though the hanging over with the head tail connection made my back sore, it feels different now then it did when I started the year. I’m just still suprised at how i feel less of a grip on my quads than I usually do. I’m sure if anyone keeps to this technique, we’ll all have a better feel to parts of our body then we did before.

  3. I thoroughly enjoyed doing the Klein/Mahler Technique. It is so often that we as dancers become so concerned with what we see in the mirror. It is actually a rather strange part of our practice, particularly because there are almost never any performance opportunities that involve mirrors. We should be training our bodies to do the movements not as we see them done, but how we feel that they are meant to be done. Klein talked about the necessity of movers having a deep understanding of the whole body. Another important aspect of the Klein Technique was recognizing that everyone’s body was unique. This means that every person can do an arabesque but the way it feels to each of us is unique to our body. Considering this information, I am going to work hard not to use the mirror at all in my study of dance, but rather concentrate on how the movement feels to me.

  4. This reply has to do with palpating the psoas. I was teaching one of my modern classes on Thur and was trying to clarify where the leg is lifted from and I could see my students were not quite getting the concept because of how advanced it is. So I palpated their psoas’ so they could feel and once they felt where it was supposed to come from it made a huge difference. I could see the light bulb going on over their heads. It is a wonderful teaching tool and am doing this with all of my older classes now!!!

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