{"id":632,"date":"2024-03-18T11:14:22","date_gmt":"2024-03-18T11:14:22","guid":{"rendered":"https:\/\/lab-o.art\/?page_id=632"},"modified":"2024-04-13T06:58:10","modified_gmt":"2024-04-13T06:58:10","slug":"lab-method","status":"publish","type":"page","link":"https:\/\/lab-o.art\/en\/research\/lab-method\/","title":{"rendered":"LAB Method"},"content":{"rendered":"\n
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Method<\/h1>\n\n\n\n

What is LAB-MT?<\/mark><\/h2>\n<\/div>\n\n\n\n
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From steppingstones to fields<\/h3>\n\n\n\n
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Many other bodywork methods we explored during LAB-MT research start from an often-linear structure, from logical ‘building blocks’. These are then adapted\/adapted to the context in which the teaching takes place.<\/p>\n\n\n\n

At LAB-MT we noticed that the ‘method’ used by Magda Thielemans always started from the unique (artistic) context as both reference and point of departure.. <\/strong>The performative nature of her ‘lesson’ meant that an iterative process always took place, which is modular and not linear: <\/strong>an instruction leads to observation on the part of the teacher. In turn, this leads to the next instruction. Where necessary, a previous step or exercise is referred to. <\/p>\n\n\n\n

It led to the conviction that LAB-MT is not built from building blocks, but from ‘fields’: the structure of a lesson is always a search from the context created in the space, from experience of presence<\/em> (see e.g. Gumbrecht, 2004), in which different alternatives can be offered again and again by the teacher.<\/p>\n\n\n\n

The teacher follows the learner, the learner follows the teacher<\/strong>: learning<\/em>– rather than learner-orientated<\/em>. It allows for differentiated work within and as a group, without having to constantly adapt the exercises to each individual. However, there is constant attention for each participant: the character and structure of the exercises allows for additional personal suggestions during the instructions. This method is very much in line with what is artistic or art-based<\/em> research at RCA: seeking alternatives, not solving problems, where the method follows not only the logos (teaching from a fixed system) but also the methos (teaching from a convention in the group) (Vanmaele, 2022). <\/p>\n<\/div>\n\n\n\n

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In the past years of research, we have become aware that LAB is not a didactic method but rather a pedagogical starting point.<\/strong> The core of LAB lies in the relationship the learner establishes with the instructor, and the relationships the learners establish with each other. The why<\/em> comes before the how<\/em>, even though the nature of the instructions and exercises makes it seem to the participant that it is mainly about the latter. During the ‘lessons’, we constantly ask what relationship the participants enter with their own bodies as well as with the Other. Within LAB-MT, it is the experience that stems from artistic practice – becoming conscious together – that lies at the heart of Magda’s teaching practice. LAB-MT starts from a learning community<\/strong>,<\/strong> just as artistic creation within the various disciplines of RCA often happens collectively. <\/p>\n\n\n\n

The context, the creation of a here-and-now moment, in which the conditions are determined by the group and as a group itself, are the core of LAB. It is the teacher who, based on possible assignment fields, creates a composition that is never separate from the group event. <\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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The fields<\/h3>\n\n\n\n

Central fields that recur in almost every LAB-MT assignment are: Me, The space, The other, The Moment, The spectator. They form basic principles from which to start and build the exercise. Each field can be further expanded: I physical becomes so: I mental, I social, I artistic… I physical, in turn, becomes: My skeleton, My center of gravity, My axis, My movement, My standing still, My strength-support-relaxation-souplesse-explosiveness-control-control-abstention-rest… and so on. <\/p>\n<\/div>\n\n\n\n

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Basic structure<\/h3>\n\n\n\n

Besides the starting point of the fields, there is always a classic basic structure in parts. From each of the parts, you can play with the cited fields. The choice is first and foremost context- and, in my case, artistically driven. The structure consists of: <\/p>\n\n\n\n