body body

A.DM.1 Understand how to use movement A.DM.1 Understand how to use movement skills in dance.skills in dance.

A.DM.1.1 Use dynamic alignment, A.DM.1.1 Use dynamic alignment, articulation of movement, and aesthetic articulation of movement, and aesthetic criteria to refine dance movement.criteria to refine dance movement.

What is your perception of your What is your perception of your being and how does it effect being and how does it effect

dance?dance? Word WallWord Wall Perception Perception Aesthetic Experience Aesthetic Experience Tension Tension Proprioception Proprioception Somatic Movement Somatic Movement Alexander TechniqueAlexander Technique Agenda card, swing in 4Agenda card, swing in 4thth warm-up, pelvic rocks, warm-up, pelvic rocks,

standing leg swings, battements, alignment, standing leg swings, battements, alignment, across the floor, feet, release of tension across the floor, feet, release of tension

How do these concepts relate How do these concepts relate to your dance ability?to your dance ability?

Self-confidenceSelf-confidenceResilienceResilienceEgoEgoAffirmationAffirmation

Why does self-awareness matter?Why does self-awareness matter?

Describe your bodyDescribe your bodyTalk about it Talk about it Out side self…view of temple Out side self…view of temple Inside self….we have many sides to Inside self….we have many sides to

ourselves, we never show all sides at ourselves, we never show all sides at once. We learn about who we are through once. We learn about who we are through what people say about us, how we think, what people say about us, how we think, values and feeling and experiencing values and feeling and experiencing relationships with othersrelationships with others

Alignment for Dancers—Part One: The Inside-Out Principle Alignment for Dancers—Part One: The Inside-Out Principle In dance, we have a constant companion—our reflection. Many of us are taught (both implicitly and explicitly) to In dance, we have a constant companion—our reflection. Many of us are taught (both implicitly and explicitly) to

evaluate our performance in class by what we see in the mirror. Over time, this visually oriented process instills an evaluate our performance in class by what we see in the mirror. Over time, this visually oriented process instills an outside-in outside-in model for evaluating alignment—or placement—as it is more commonly referred to in dance class. In model for evaluating alignment—or placement—as it is more commonly referred to in dance class. In order to be effective, this model relies on informed seeing. Informed seeing requires knowledge of human order to be effective, this model relies on informed seeing. Informed seeing requires knowledge of human anatomy and the ability to identify skeletal landmarks on the body, which help to determine if the body is aligned anatomy and the ability to identify skeletal landmarks on the body, which help to determine if the body is aligned properly.properly.

So, what do we mean by “proper” alignment. (This was a word that virtually every one of my dance teachers used So, what do we mean by “proper” alignment. (This was a word that virtually every one of my dance teachers used when referring to issues of placement.) I found the following definition in my when referring to issues of placement.) I found the following definition in my Encarta® World English DictionaryEncarta® World English Dictionary (© (© Microsoft Corp.):Microsoft Corp.):

properproper adjadj 1. Appropriate or correct. 2. Fulfilling all expectations or criteria. 3. Behaving in a respectable or 1. Appropriate or correct. 2. Fulfilling all expectations or criteria. 3. Behaving in a respectable or socially acceptable way. 4. Characteristic of or belonging exclusively to somebody or something. 5. Strictly socially acceptable way. 4. Characteristic of or belonging exclusively to somebody or something. 5. Strictly identified and distinguished from something else.identified and distinguished from something else.

Think of the history of ballet and you come to realize that proper alignment may have had less to do with Think of the history of ballet and you come to realize that proper alignment may have had less to do with potentiating movement than it did with social mores back in the court of Louis the XIV. Perhaps a better word to potentiating movement than it did with social mores back in the court of Louis the XIV. Perhaps a better word to use in the dance classrooms of today when talking about alignment or placement would be optimal.use in the dance classrooms of today when talking about alignment or placement would be optimal.

Optimal alignment suggests the most advantageous alignment—that placement in which the body is free to move Optimal alignment suggests the most advantageous alignment—that placement in which the body is free to move in any way, in any direction, without first needing a readjustment of some sort. Are the eyes the best and most in any way, in any direction, without first needing a readjustment of some sort. Are the eyes the best and most reliable way to assess this?reliable way to assess this?

Our eyes can only offer an objective (Our eyes can only offer an objective (outside-inoutside-in) evaluation of the body’s preparedness to move. It is ) evaluation of the body’s preparedness to move. It is bodily/kinesthetic sensation that offers a subjective and immediate sense of the moment that occurs between bodily/kinesthetic sensation that offers a subjective and immediate sense of the moment that occurs between thought and action—the moment from which our movement potential unfolds. By training dancers to be more thought and action—the moment from which our movement potential unfolds. By training dancers to be more aware of their bodily/ kinesthetic sensations, we can help them to find the individual nuances necessary for their aware of their bodily/ kinesthetic sensations, we can help them to find the individual nuances necessary for their own body to be optimally prepared for movement in class. This leads to an own body to be optimally prepared for movement in class. This leads to an inside-outinside-out understanding of alignment, understanding of alignment, in which alignment serves movement rather than serving as a purely aesthetic criteria. in which alignment serves movement rather than serving as a purely aesthetic criteria.

Dance, Perception, Aesthetic Experience and The BrainDance, Perception, Aesthetic Experience and The BrainEver since I first saw a dance performance I have wondered Ever since I first saw a dance performance I have wondered why it is that I am sometimes both fascinated and touched by why it is that I am sometimes both fascinated and touched by someone or a group of people moving about on a stage, in a someone or a group of people moving about on a stage, in a

studio or even on the street. At the same time I have studio or even on the street. At the same time I have wondered why it sometimes leaves me completely indifferent. wondered why it sometimes leaves me completely indifferent.

This question I have tried to address by combining insights This question I have tried to address by combining insights from cognitive neuroscience, psychology and aesthetics.from cognitive neuroscience, psychology and aesthetics.

My research is divided into five strands: perception, attention My research is divided into five strands: perception, attention and interest, anticipation, emotion and meaning. My current and interest, anticipation, emotion and meaning. My current

focus is on meaning and emotion. How can dance give rise to focus is on meaning and emotion. How can dance give rise to certain emotions? How does meaning emerge in dance? Why certain emotions? How does meaning emerge in dance? Why

does much dance seem pointless, stupid and dreadful?does much dance seem pointless, stupid and dreadful?Our experience when watching dance is the product of a Our experience when watching dance is the product of a

myriad of sensory, cognitive and emotional brain processes. It myriad of sensory, cognitive and emotional brain processes. It is not accidental but depends on the properties of the brain is not accidental but depends on the properties of the brain processes involved in the analysis of sensory stimuli and on processes involved in the analysis of sensory stimuli and on the interaction of expectations, associations and personal the interaction of expectations, associations and personal

preferences as laid down in the brain.preferences as laid down in the brain.

In so far as sensory processing is concerned there is no difference In so far as sensory processing is concerned there is no difference between an audience watching the finished work and a choreographer between an audience watching the finished work and a choreographer watching a work in progress: Choreographers and dancer(s) will continue watching a work in progress: Choreographers and dancer(s) will continue adjusting a work until every aspect has been fine-tuned to its desired adjusting a work until every aspect has been fine-tuned to its desired perceptual and emotional effect.perceptual and emotional effect.An artist, whether a choreographer, painter or director, can deliberately An artist, whether a choreographer, painter or director, can deliberately choose to as it were "upset" the visual system or simply ignore how the choose to as it were "upset" the visual system or simply ignore how the work is perceived altogether. However in composing a work an artist will work is perceived altogether. However in composing a work an artist will again try to create a perfect "stimulus". If the purpose is to disorient the again try to create a perfect "stimulus". If the purpose is to disorient the observer then this is what guides the composition. If the purpose is observer then this is what guides the composition. If the purpose is neutrality as it is in some conceptual art than fonts, clothes, spaces, neutrality as it is in some conceptual art than fonts, clothes, spaces, movements etc will be composed so as to erase any preference or movements etc will be composed so as to erase any preference or perceptual bias on the part of the observer. perceptual bias on the part of the observer. I am of course an artist myself. This is one reason why I am critical of I am of course an artist myself. This is one reason why I am critical of much psychological, neurological and philosophical accounts of dance. In much psychological, neurological and philosophical accounts of dance. In my research I try to give an account that is consistent with current my research I try to give an account that is consistent with current empirical findings, conceptual considerations found in philosophy and my empirical findings, conceptual considerations found in philosophy and my own artistic intuition. This is one reason why I prefer to refer to my own artistic intuition. This is one reason why I prefer to refer to my research as speculative...research as speculative...

Good Dancers Make it Look EasyGood Dancers Make it Look Easy An example of Somatic Movement Education in Dance EducationAn example of Somatic Movement Education in Dance Education by Greg Holdaway by Greg Holdaway Good dancers don't make it look easy - they make it easy; ease in Good dancers don't make it look easy - they make it easy; ease in

movement and postural alignment is an underlying factor in the movement and postural alignment is an underlying factor in the development of good dance practice and a long lived practical development of good dance practice and a long lived practical enjoyment of dancing. This paper discusses the way we use our enjoyment of dancing. This paper discusses the way we use our bodies. It considers the role of muscle tension and proprioception, bodies. It considers the role of muscle tension and proprioception, or body awareness, in dancers alignment and movement quality or body awareness, in dancers alignment and movement quality from the perspective of the Alexander Technique. It then discusses from the perspective of the Alexander Technique. It then discusses the Alexander Technique as a method for facilitating ease of the Alexander Technique as a method for facilitating ease of movement while dancing. It benefits both teachers and students to movement while dancing. It benefits both teachers and students to 'make it easy' for themselves.'make it easy' for themselves.

Alignment, Tension and ProprioceptionAlignment, Tension and Proprioception Bodily alignment plays a very important part in Bodily alignment plays a very important part in

ease of movement and coordination. Movement ease of movement and coordination. Movement looks better and feels better, when a dancer or looks better and feels better, when a dancer or student has a well balanced alignment. student has a well balanced alignment. 

We all have a characteristic alignment, which is We all have a characteristic alignment, which is usually thought of as the arrangement or usually thought of as the arrangement or 'stacking' of our bones on top of each other. 'stacking' of our bones on top of each other. Alignment involves more than thisAlignment involves more than this

however, it forms the dynamic series of inter-relationships between however, it forms the dynamic series of inter-relationships between the various parts and structures of our bodies. It is changing the various parts and structures of our bodies. It is changing constantly, and yet always changes within a characteristic pattern, constantly, and yet always changes within a characteristic pattern, reflecting your personality. Your alignment reflects the way you 'use' reflecting your personality. Your alignment reflects the way you 'use' your body, the way in which you integrate all of your parts together, your body, the way in which you integrate all of your parts together, how they interact and relate in movement.how they interact and relate in movement.

It is by their characteristic alignment that we recognize our friends It is by their characteristic alignment that we recognize our friends from a distance, yet our own alignment resides almost completely from a distance, yet our own alignment resides almost completely out of our conscious awareness. We have grown used to it or out of our conscious awareness. We have grown used to it or trained ourselves into it, and like background noise or static we trained ourselves into it, and like background noise or static we often only become truly aware of it when it changes. Our alignment often only become truly aware of it when it changes. Our alignment affects all our movement, no matter what the context.affects all our movement, no matter what the context.

Most teachers take care to direct their students to have good Most teachers take care to direct their students to have good alignment, what is not so often understood is how to create good alignment, what is not so often understood is how to create good alignment. The relationship between muscular tension, alignment. The relationship between muscular tension, proprioception and alignment needs to be considered. Alignment proprioception and alignment needs to be considered. Alignment distortion or poor alignment is usually a consequence of unbalanced distortion or poor alignment is usually a consequence of unbalanced and inappropriate muscular tension in the body.and inappropriate muscular tension in the body.

We have an "anti-gravity reflex", which "integrates [our] other reflex We have an "anti-gravity reflex", which "integrates [our] other reflex systems”, keeping us upright and balanced without any conscious systems”, keeping us upright and balanced without any conscious attention or effort. When this is over-ridden by habitual muscular attention or effort. When this is over-ridden by habitual muscular tension our alignment is disturbed (Jones, 1976). Our bodies tension our alignment is disturbed (Jones, 1976). Our bodies become 'pulled-down' against our natural tendency to balance become 'pulled-down' against our natural tendency to balance upright.upright.

It is this pulling down which becomes habitual, residing out of It is this pulling down which becomes habitual, residing out of conscious awareness. Yet it is actual muscular activity being carried conscious awareness. Yet it is actual muscular activity being carried out in the body - you are actively pulling yourself out of balance.out in the body - you are actively pulling yourself out of balance.

The conventional method of alignment correction, "pulling-up", succeeds in altering, sometimes The conventional method of alignment correction, "pulling-up", succeeds in altering, sometimes drastically, the alignment of dance students. Specific corrections, for example; "drop your drastically, the alignment of dance students. Specific corrections, for example; "drop your shoulders", "tuck your pelvis under", "knees over feet" etc, while often representing accurate and shoulders", "tuck your pelvis under", "knees over feet" etc, while often representing accurate and necessary improvements in alignment, all tend to generate extra and compensatory muscle necessary improvements in alignment, all tend to generate extra and compensatory muscle tension throughout the body. (Can you tighten your fist without tightening your neck or lower tension throughout the body. (Can you tighten your fist without tightening your neck or lower back?).back?).

What actually happens is more accurately described as "pulling-down" - the student strives to What actually happens is more accurately described as "pulling-down" - the student strives to correct by adding more surface muscle tension and, rather than returning to a natural easy correct by adding more surface muscle tension and, rather than returning to a natural easy balance and coordination, succeeds only in further disturbance and distortion of their system. balance and coordination, succeeds only in further disturbance and distortion of their system. 

As senior Alexander teacher, As senior Alexander teacher, Marjorie BarstowMarjorie Barstow states; "You can't get rid of tension by adding states; "You can't get rid of tension by adding tension". tension". 

As the student applies conscious effort to alter their movement pattern or alignment, they As the student applies conscious effort to alter their movement pattern or alignment, they gradually become accustomed to the effort involved - the correction of the habit becomes a habit gradually become accustomed to the effort involved - the correction of the habit becomes a habit itself, holding the moving body together with muscle tension. They eventually lose the feeling of itself, holding the moving body together with muscle tension. They eventually lose the feeling of doing anything and cannot feel the effort nor the alignment other than in terms of this is what doing anything and cannot feel the effort nor the alignment other than in terms of this is what feels right. feels right. 

The unfortunate result is a taught, 'held' looking mover who, as a consequence of fatigue and a The unfortunate result is a taught, 'held' looking mover who, as a consequence of fatigue and a loss of ease, flow and lightness, loses also their natural joy in movement - without knowing why. loss of ease, flow and lightness, loses also their natural joy in movement - without knowing why. 

This is exactly the problem. It feels right to move in a habitual manner, it feels right to correct This is exactly the problem. It feels right to move in a habitual manner, it feels right to correct faulty alignment using the same habitual tension pattern. We become accustomed to a certain faulty alignment using the same habitual tension pattern. We become accustomed to a certain level of tension, a certain style of alignment and it just feels right to work that way. Even when level of tension, a certain style of alignment and it just feels right to work that way. Even when poor movement quality, restriction and injury are present it can be very difficult to assist a trained poor movement quality, restriction and injury are present it can be very difficult to assist a trained or training dancer to give up the old habitual way of moving. For them it often does not feel or training dancer to give up the old habitual way of moving. For them it often does not feel possible to move at all without this characteristic tension. possible to move at all without this characteristic tension. 

This is what Alexander referred to as 'faulty sensory appreciation'; it feels to us as if we are This is what Alexander referred to as 'faulty sensory appreciation'; it feels to us as if we are 'aligned' and applying appropriate effort, when if fact, seen from the outside, we are not.'aligned' and applying appropriate effort, when if fact, seen from the outside, we are not.

A graphic example of faulty sensory appreciation is provided in the following anecdote: Alexander A graphic example of faulty sensory appreciation is provided in the following anecdote: Alexander was working with a young girl who had been unable to walk properly forwas working with a young girl who had been unable to walk properly for

some years. Her body was twisted and distorted. After Alexander had worked with her, and she was some years. Her body was twisted and distorted. After Alexander had worked with her, and she was "comparatively straightened out ... the little girl looked across at her mother and said to her in an indescribable "comparatively straightened out ... the little girl looked across at her mother and said to her in an indescribable tone: 'Oh! Mummy, he's pulled me out of shape.'"! Alexander goes on to say; "In accordance with this poor little tone: 'Oh! Mummy, he's pulled me out of shape.'"! Alexander goes on to say; "In accordance with this poor little child's judgment, her crookedness was straightness, her sensory appreciation of her 'out-of-shape' condition was child's judgment, her crookedness was straightness, her sensory appreciation of her 'out-of-shape' condition was that it was 'in shape' ... Small wonder that all attempts to teach her had resulted in failure!" (Alexander, 1923:91) that it was 'in shape' ... Small wonder that all attempts to teach her had resulted in failure!" (Alexander, 1923:91) 

The principle of faulty sensory appreciation operates on a very subtle level: when a student holds his or her arms The principle of faulty sensory appreciation operates on a very subtle level: when a student holds his or her arms to the sides behind the line of their body, the teacher may offer the correction of bringing the arms further forward, to the sides behind the line of their body, the teacher may offer the correction of bringing the arms further forward, in line with the body (depending on the style of dance being taught). If asked now what this feels like, the student in line with the body (depending on the style of dance being taught). If asked now what this feels like, the student will reply that the arms feel too far forward. Often, the student will very shortly return to what feels right, i.e. will reply that the arms feel too far forward. Often, the student will very shortly return to what feels right, i.e. moving the arms back again. Similarly, a person with a posture which leans backward in the upper back, when moving the arms back again. Similarly, a person with a posture which leans backward in the upper back, when assisted to stand easily in a balanced upright position, will usually report that this feels like they are leaning assisted to stand easily in a balanced upright position, will usually report that this feels like they are leaning forward. A quick check in the mirror shows the inaccuracy of the feeling. forward. A quick check in the mirror shows the inaccuracy of the feeling. 

Alignment can thus be seen as only one side of the coin. Tension habits are the other, and both must be Alignment can thus be seen as only one side of the coin. Tension habits are the other, and both must be addressed if the student is to regain the accuracy in proprioception which will allow improvement in movement addressed if the student is to regain the accuracy in proprioception which will allow improvement in movement quality. A dancer's habitual alignment and tension habits underlie and dominate all of their movement, both those quality. A dancer's habitual alignment and tension habits underlie and dominate all of their movement, both those developed before dance training and those developed in training.developed before dance training and those developed in training.

An untrained dancer may look like they are "falling apart", "slumping", "dis-integrating" or "poorly balanced" with a An untrained dancer may look like they are "falling apart", "slumping", "dis-integrating" or "poorly balanced" with a lack of precise technique. In this state they are in danger of acute injury through accident or chronic pain lack of precise technique. In this state they are in danger of acute injury through accident or chronic pain problems due to poor alignment.problems due to poor alignment.

A trained dancer however, is working on their alignment by "pulling-up" and using conscious effort to specifically A trained dancer however, is working on their alignment by "pulling-up" and using conscious effort to specifically "get it right". By doing so they are increasing muscular tension throughout their body, and eventually develop a "get it right". By doing so they are increasing muscular tension throughout their body, and eventually develop a tension/alignment habit sometimes referred to as "the dancers grip" (Conable, 1991:114). The dancer looks "held-tension/alignment habit sometimes referred to as "the dancers grip" (Conable, 1991:114). The dancer looks "held-together" and lacks the flow, extension and ease of movement coordination of less tense colleagues.together" and lacks the flow, extension and ease of movement coordination of less tense colleagues.

Both of these situations rely upon the dancers feel of what is right to do, their proprioceptive sense, and in both Both of these situations rely upon the dancers feel of what is right to do, their proprioceptive sense, and in both situations this feeling is inaccurate and leads to problems.situations this feeling is inaccurate and leads to problems.

The muscular tension and faulty alignment associated with habit and faulty sensory appreciation both before and The muscular tension and faulty alignment associated with habit and faulty sensory appreciation both before and after training, interferes with movement quality, fine movement sensitivity and enjoyment of dancing. It leads to after training, interferes with movement quality, fine movement sensitivity and enjoyment of dancing. It leads to greater risk of injury - stress related and accidental injury. Coordination and movement learning processes are greater risk of injury - stress related and accidental injury. Coordination and movement learning processes are disrupted and greater effort is required to balance.disrupted and greater effort is required to balance.

A means to improvementA means to improvement Alexander said "if it is possible for feeling to become untrustworthy as a means of direction, it should be possible Alexander said "if it is possible for feeling to become untrustworthy as a means of direction, it should be possible

to make it trustworthy again" (Alexander, 1932:36).to make it trustworthy again" (Alexander, 1932:36). It is possible to re-educate our sensory appreciation, making the proprioceptive sense an accurate and sensitive It is possible to re-educate our sensory appreciation, making the proprioceptive sense an accurate and sensitive

guide to ease and coordination - this amounts to a training in body-feeling analogous to specialized training in guide to ease and coordination - this amounts to a training in body-feeling analogous to specialized training in visual skills (painter) or aural skills (musician). It is indeed possible to 'make it easy' for yourself and your visual skills (painter) or aural skills (musician). It is indeed possible to 'make it easy' for yourself and your students.students.

F.M. Alexander discovered an integrating principle of whole body functioning; he found that the moving F.M. Alexander discovered an integrating principle of whole body functioning; he found that the moving relationship of his head, neck and torso was the major factor influencing his coordination. Directing the movement relationship of his head, neck and torso was the major factor influencing his coordination. Directing the movement of this relationship and other moving relationships in your body with your thinking, has the effect of allowing your of this relationship and other moving relationships in your body with your thinking, has the effect of allowing your body to coordinate itself, using the effort necessary for the activity, while easily balanced and aligned. The body to coordinate itself, using the effort necessary for the activity, while easily balanced and aligned. The movement looks and feels natural, flowing and dynamic. movement looks and feels natural, flowing and dynamic. 

The faulty appreciation of ourselves in movement makes it very difficult to assist a person to improve their The faulty appreciation of ourselves in movement makes it very difficult to assist a person to improve their coordination through the use of words and demonstrations alone. You may well have discovered something coordination through the use of words and demonstrations alone. You may well have discovered something similar yourself. Alexander developed a particular use of his hands to guide the movement of the student's body, similar yourself. Alexander developed a particular use of his hands to guide the movement of the student's body, and this skill, refined over many years of practice, is the foundation of the training of the Alexander teachers of and this skill, refined over many years of practice, is the foundation of the training of the Alexander teachers of today.today.

The basic characteristic of this approach is that the student learns to un-do patterns of habitual tension, thereby The basic characteristic of this approach is that the student learns to un-do patterns of habitual tension, thereby allowing the body to re-establish a natural easy coordination. The student does not learn any 'new' movement, or allowing the body to re-establish a natural easy coordination. The student does not learn any 'new' movement, or do any Alexander 'exercises'- rather they learn how to facilitate current movement skills and assist the learning of do any Alexander 'exercises'- rather they learn how to facilitate current movement skills and assist the learning of new movement skills. This means that the Technique, once learnt, can be practiced during ordinary dance new movement skills. This means that the Technique, once learnt, can be practiced during ordinary dance classes.classes.

The Alexander Technique in dance classThe Alexander Technique in dance class Alexander Technique incorporates easily into dance classes of any style. The experience of the Technique is Alexander Technique incorporates easily into dance classes of any style. The experience of the Technique is

unique and unusual and the first consideration is for the dance teacher to have personal experience of this. The unique and unusual and the first consideration is for the dance teacher to have personal experience of this. The Technique can only be really appreciated with the delicate guidance of a qualified Alexander teacher's hands.Technique can only be really appreciated with the delicate guidance of a qualified Alexander teacher's hands.

Then the students are given both class and personal instruction in the Technique by a qualified instructor. As this Then the students are given both class and personal instruction in the Technique by a qualified instructor. As this occurs, the dance teacher finds it possible to use the insights, concepts and sometimes even the terminology of occurs, the dance teacher finds it possible to use the insights, concepts and sometimes even the terminology of the Technique directly during classes and rehearsals.the Technique directly during classes and rehearsals.

In particular, the dance teacher learns how to see movement quality differently, and to assess the movement In particular, the dance teacher learns how to see movement quality differently, and to assess the movement organization of each student. It becomes easy to identify those students who are tensing unnecessarily in the organization of each student. It becomes easy to identify those students who are tensing unnecessarily in the attempt to succeed, and assist them to regain their balanced alignment in movement. In particular, the learners’ attempt to succeed, and assist them to regain their balanced alignment in movement. In particular, the learners’ attention is drawn to unnecessary tension in the attempt to copy or learn a movement - and care is taken to attention is drawn to unnecessary tension in the attempt to copy or learn a movement - and care is taken to prevent or inhibit this tension.prevent or inhibit this tension.

For the students, this approach can feel less 'dramatic', than just 'going for it', but the clarity of their understanding For the students, this approach can feel less 'dramatic', than just 'going for it', but the clarity of their understanding of each movement is enhanced, ensuring clean integrated movement skill development, especially in energetic of each movement is enhanced, ensuring clean integrated movement skill development, especially in energetic and strenuous movement sequences.and strenuous movement sequences.

The dance teacher's use of language and instruction in class becomes attuned to easy, flowing released The dance teacher's use of language and instruction in class becomes attuned to easy, flowing released movement. Accurate functional information is given during classes, allowing the students to think accurately about movement. Accurate functional information is given during classes, allowing the students to think accurately about the way they move to assist their development of more accurate and easier movement skills. the way they move to assist their development of more accurate and easier movement skills. 

ConclusionsConclusions Simply correcting alignment in dancers is not enough - tension and movement integration need to be addressed Simply correcting alignment in dancers is not enough - tension and movement integration need to be addressed

in the process of correction, to ensure movement is as easy and coordinated as possible.in the process of correction, to ensure movement is as easy and coordinated as possible. Our responsibility as dance teachers is to ensure that our students move with a minimum of unnecessary muscle Our responsibility as dance teachers is to ensure that our students move with a minimum of unnecessary muscle

tension and an integrated dynamic alignment from the start - easing the long process of refinement in mastering tension and an integrated dynamic alignment from the start - easing the long process of refinement in mastering their skill, and avoiding the need for later retraining, or worse, having to give up dancing due to tension, pain and their skill, and avoiding the need for later retraining, or worse, having to give up dancing due to tension, pain and injury.injury.

The Alexander Technique is a method which addresses the sophistication of the moving person. The Alexander Technique is a method which addresses the sophistication of the moving person. Using a trained body awareness and accurate knowledge of the way your body functions, Using a trained body awareness and accurate knowledge of the way your body functions, movement becomes comparatively effortless and you may experience a reawakening of a joy in movement becomes comparatively effortless and you may experience a reawakening of a joy in the freedom of movement not experienced since early childhood.the freedom of movement not experienced since early childhood.

BIBLIOGRAPHYBIBLIOGRAPHY Alexander, F.M. Constructive Conscious Control of the Individual. Gollancz Paperbacks: Alexander, F.M. Constructive Conscious Control of the Individual. Gollancz Paperbacks:

London(1923) London(1923) Alexander, F.M. The Use of the Self. Gollancz Paperbacks: London(1932)Alexander, F.M. The Use of the Self. Gollancz Paperbacks: London(1932) Conable, B & W How to Learn the Alexander Technique, A Manual for Students. Andover Road Conable, B & W How to Learn the Alexander Technique, A Manual for Students. Andover Road

Press: Columbus, Ohio(1991)Press: Columbus, Ohio(1991) Garlick, D The Lost Sixth Sense, A Medical Scientist looks at the Alexander Technique. School of Garlick, D The Lost Sixth Sense, A Medical Scientist looks at the Alexander Technique. School of

Physiology and Pharmacology, The University of N.S.W.: Sydney(1990)Physiology and Pharmacology, The University of N.S.W.: Sydney(1990) Jones, F.P. Body Awareness in Action, A study of the Alexander Technique. Schocken Books: Jones, F.P. Body Awareness in Action, A study of the Alexander Technique. Schocken Books:

New York(1976)New York(1976) Sacks, O. The Man Who Mistook his Wife for a Hat. Pan Books: London(1996)Sacks, O. The Man Who Mistook his Wife for a Hat. Pan Books: London(1996) ****** Proper body alignment through good posture is about more than just the fact that your body Proper body alignment through good posture is about more than just the fact that your body

becomes a machine when performing activities like lift and bending. Improperbecomes a machine when performing activities like lift and bending. Improper

body alignment can result in muscular strains, back problems and the inability to enjoy your daily body alignment can result in muscular strains, back problems and the inability to enjoy your daily life. Exercise can help improve the flexibility and strength in your core muscles, helping your hips life. Exercise can help improve the flexibility and strength in your core muscles, helping your hips and spine to line up correctly. Check with your doctor to determine whether these exercises are and spine to line up correctly. Check with your doctor to determine whether these exercises are right for you.right for you.

Pelvic ClockPelvic Clock The pelvic clock exercise can help improve the flexibility of your pelvis while strengthening your The pelvic clock exercise can help improve the flexibility of your pelvis while strengthening your

back and abdominal muscles to help keep your hips aligned. Lie down on the floor with both back and abdominal muscles to help keep your hips aligned. Lie down on the floor with both knees bent and the soles of your feet flat on the floor. Tighten the muscles of your abdomen to knees bent and the soles of your feet flat on the floor. Tighten the muscles of your abdomen to press the small of your back on the floor. Imagine that your hips are at the starting position of 12 press the small of your back on the floor. Imagine that your hips are at the starting position of 12 o'clock and begin to slowly rotate your hips through their full range of motion, going around the o'clock and begin to slowly rotate your hips through their full range of motion, going around the clock face. Repeat in a counter-clockwise motion.clock face. Repeat in a counter-clockwise motion.

Create an Exercise Plan Build a Custom Plan Here Based on Your Goals and Favorite Activities. Create an Exercise Plan Build a Custom Plan Here Based on Your Goals and Favorite Activities. merckengage.commerckengage.com

Sponsored LinksSponsored Links Pelvic TiltPelvic Tilt The pelvic tilt can help improve the strength of your lower back and abdomen while at the same The pelvic tilt can help improve the strength of your lower back and abdomen while at the same

time decompressing your spine to allow for more flexibility. Lie down on your back with both time decompressing your spine to allow for more flexibility. Lie down on your back with both knees bent and the soles of your feet flat on the floor. Exhale while at the same time tightening knees bent and the soles of your feet flat on the floor. Exhale while at the same time tightening the muscles of your abdomen to press your lower back into the floor. This motion will tilt your hips the muscles of your abdomen to press your lower back into the floor. This motion will tilt your hips forward slightly to decompress your lower back. Hold this position for five seconds and repeat forward slightly to decompress your lower back. Hold this position for five seconds and repeat five to 15 times daily.five to 15 times daily.

Neutral SpineNeutral Spine

This exercise requires a broomstick or yardstick to help you follow the alignment of your spine. Stand up, and This exercise requires a broomstick or yardstick to help you follow the alignment of your spine. Stand up, and begin by lining up the stick to it follows your spine from your pelvis to the back of your head. Use both hands to begin by lining up the stick to it follows your spine from your pelvis to the back of your head. Use both hands to hold the stick in place, with one hand holding behind your head and your other hand holding the stick in line with hold the stick in place, with one hand holding behind your head and your other hand holding the stick in line with your lower back and hips. Bend at your waist as if you were bowing while holding the stick in place. Keep your your lower back and hips. Bend at your waist as if you were bowing while holding the stick in place. Keep your back straight when performing this motion. When you have become comfortable with bowing using proper body back straight when performing this motion. When you have become comfortable with bowing using proper body alignment, begin to bow while simultaneously bending your knees. Continue to use the stick as a reference to alignment, begin to bow while simultaneously bending your knees. Continue to use the stick as a reference to determine whether you're using proper posture. With practice, this exercise can train your body to bend and lift determine whether you're using proper posture. With practice, this exercise can train your body to bend and lift objects using proper body mechanics and a healthy posture.objects using proper body mechanics and a healthy posture.

Cat StretchCat Stretch Begin this exercise by kneeling on all fours on the floor in a crawling position. Position your knees directly under Begin this exercise by kneeling on all fours on the floor in a crawling position. Position your knees directly under

your hips and your hands directly under your shoulders. Inhale and lower your abdomen toward the floor while your hips and your hands directly under your shoulders. Inhale and lower your abdomen toward the floor while lifting your head to look at the ceiling. Hold this position for several seconds. Exhale while slowly lifting your lifting your head to look at the ceiling. Hold this position for several seconds. Exhale while slowly lifting your abdomen and rounding your back as if you were trying to touch your back to the ceiling. Lower your head and abdomen and rounding your back as if you were trying to touch your back to the ceiling. Lower your head and tuck your chin into your chest when performing this motion. Hold this position for several seconds, and relax. tuck your chin into your chest when performing this motion. Hold this position for several seconds, and relax. Repeat five times.Repeat five times.

Read more: Read more: http://www.livestrong.com/article/373641-proper-alignment-exercises/#ixzz1k17nczGfhttp://www.livestrong.com/article/373641-proper-alignment-exercises/#ixzz1k17nczGf Jun 14, 2011 | By Cynthia Myers Jun 14, 2011 | By Cynthia Myers Cynthia Myers is the author of numerous novels and her nonfiction work has appeared in publications ranging Cynthia Myers is the author of numerous novels and her nonfiction work has appeared in publications ranging

from "Historic Traveler" to "Texas Highways" to "Medical Practice Management." She has a degree in economics from "Historic Traveler" to "Texas Highways" to "Medical Practice Management." She has a degree in economics from Sam Houston State University. Before turning to freelancing full-time, Myers worked as a newspaper from Sam Houston State University. Before turning to freelancing full-time, Myers worked as a newspaper reporter, travel agent and medical clinic manager. reporter, travel agent and medical clinic manager.

Photo Credit ballet silhouettes image by Slobodan Djajic from Fotolia.com Photo Credit ballet silhouettes image by Slobodan Djajic from Fotolia.com The beauty of dance lies not only in the movements the dancer executes, but in the grace with which the dancer holds herself. Proper The beauty of dance lies not only in the movements the dancer executes, but in the grace with which the dancer holds herself. Proper

body alignment allows the dancer to move freely and lessens the risk of injury. Poor body alignment puts excess strain on muscles and body alignment allows the dancer to move freely and lessens the risk of injury. Poor body alignment puts excess strain on muscles and joints, while proper alignment helps to strengthen the dancer's muscles. Learning proper alignment is often the first step in learning to joints, while proper alignment helps to strengthen the dancer's muscles. Learning proper alignment is often the first step in learning to dance.dance.

Step 1Step 1 Stand facing forward with your arms hanging loose and naturally at your sides. Your head should sit level on your neck, neither tilted Stand facing forward with your arms hanging loose and naturally at your sides. Your head should sit level on your neck, neither tilted

forward or leaning back. Avoid hunching your shoulders. Check your alignment in a full-length mirror.forward or leaning back. Avoid hunching your shoulders. Check your alignment in a full-length mirror. Shoulder Posture Brace Comfortable, Lightweight Brace Improves Posture & Relieves Pain. Shoulder Posture Brace Comfortable, Lightweight Brace Improves Posture & Relieves Pain. www.gaiam.com/Shoulder_Bracewww.gaiam.com/Shoulder_Brace Sponsored LinksSponsored Links Step 2Step 2 Soften your knees. Stand with knees over the toes. The kneecap shouldn't extend over the toes. Don't lock the knees, as it puts extra Soften your knees. Stand with knees over the toes. The kneecap shouldn't extend over the toes. Don't lock the knees, as it puts extra

strain on the back of the knees, putting pressure on the base of the spine.strain on the back of the knees, putting pressure on the base of the spine. Step 3Step 3 Align your spine so that your back is straight, still with the natural curve at the base of the spine. Your shoulders, hipbones and knees Align your spine so that your back is straight, still with the natural curve at the base of the spine. Your shoulders, hipbones and knees

should be in line. According to Andrea Adams, a posture alignment specialist with Moving Synergy in Austin, Texas, stacking these major should be in line. According to Andrea Adams, a posture alignment specialist with Moving Synergy in Austin, Texas, stacking these major joints like the rungs of a ladder reduces stress on the joints.joints like the rungs of a ladder reduces stress on the joints.

Step 4Step 4 Balance your weight evenly over both feet, flat on the floor. Don't roll your feet inward or outward.Balance your weight evenly over both feet, flat on the floor. Don't roll your feet inward or outward. Step 5Step 5 Relax. Tensing your muscles can put strain on muscles and joints and pull the body out of alignment. Regular exercise and relaxation Relax. Tensing your muscles can put strain on muscles and joints and pull the body out of alignment. Regular exercise and relaxation

techniques, such as deep breathing, can help you to relax.techniques, such as deep breathing, can help you to relax.

Read more: http://www.livestrong.com/article/229505-proper-body-alignment-for-dancers/#ixzz1k16iSow8Read more: http://www.livestrong.com/article/229505-proper-body-alignment-for-dancers/#ixzz1k16iSow8