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Inhale
All dance, every movement, every human life begins the same way: with a breath. Whether we realize it or not – the rise and fall of the chest caused by our breath all we do. We often take for granted.
Young dancers are so involved with large flashy moves that underestimate the power of breath to dance. Understanding the importance of breathing can help dancers experience a dynamic and expressive range, and greater kinesthetic experience. And it can help teachers get their students beyond the level of the level of mere technical skill real art. But we must first understand how the effects of the breath of dance.
Holding your breath creates a dancer, choked lifeless. By connecting respiratory dancers reaffirm their most basic human capabilities and contact with fellow dancers (and their public).
Traditional Classical Ballet strives to create the illusion that the dancing body is something of another world: a princess, a swan, a fairy, a sylph. The physical effort is camouflaged breathing is hidden. Contemporary dance – both ballet, modern dance, Jazz – rejects the fantasy world of classical dance and embrace the human form, with all its possibilities motion.
Contemporary dance did not deny or hide your breath, but embraces, using the breath as impetus for movement. The gentle flow of inhaling and exhaling us along, as waves to take a boat into the ocean. We gesture with one arm in a leg, while our bodies up and down support in the form of flow breath. The fight against this natural rhythm creates a dancing body, which is against nature, not of this world (or at least do not feel comfortable with him).
Here are four ways to start the investigation of how breathing is essential for dance performances. Just to raise these points, we can find a complete experience more satisfying for the dancer and the spectator.
Anchoring the spirit
By consciously focusing on the inspiring and exhale, we can anchor our mind on the present moment. In contemporary life, they often brag about our ability to multi-task. In fact, our school systems taught as a life skill. The result: a generation where people believe in one thing and do another.
For the dancer, it's disastrous. The dancer on stage who is not fully present, seems distant, indifferent and robotic audience. Students in dance class that is not fully present loses important corrections and opportunities for improvement.
However, to raise awareness about the inspiration and expiration at the dance, we bring the presence of this moment in motion. A Martha Graham said: "All that is important this time movement.Â" This Â'presence 'connects us to our bodies, our teachers, our colleagues and viewers.
Support (shape-flow)
Our breath, we realize it or not, reports and supports all of our movement. Go ahead and try to stay completely more … CanÂ't you, at least not for long. The rise and fall of the diaphragm and chest happens at the bottom of all our dance steps. Even more interesting, is that the same movement he makes is by inhalation or exhalation creates a different expression.
Try this experiment with a friend AA. Ask your friend to keep your arms at your sides to shoulder level. Then, on the inhale slowly raise arms over his head. Then they repeat the arm movement with an exhale rather than inhalation. Noticing a subtle difference in the expression of movement? Do they seem more candidates? Do they seem more resigned? Now try the same approach, holding your breath. Do you think my life?
Take awareness how the breath organic shapes and informs our movement can help the dancer to develop an instrument tuned and sensitive.
Texture
Beyond the subtleties of the form of support mentioned broadband textures breath phrasing to shape our dance, improve and encourage our movement phrases. The ups and downs, supported by inhalation, exhalation and sudden staccato bursts of rapid coughs phrasing is natural that all our organs readily accessible.
However, dancers who ignore the biological model of your breath make the movement with a monotonous quality, dehumanizing. Using the breath as a tool for writing, the dancers can reach new heights and depths of expressiveness.
Body
Not only mental breath and expressive benefits, but also offers practical advantages. Breathing, by providing oxygen to the muscles and brain, helps the body function at its optimal level. Otherwise we provide vital oxygen to our muscles and brain can not function at our best ability.
Dancers shallow breathing, or worse, holding their breath, their bodies deplete the oxygen supply and a rapid decrease in the strength slow process of physical and mental.
Exhale
In this age of super connectivity, where thousands of miles are traveled in a fraction of second thanks to cell phones and the Internet, who secretly want real human contact. Dancing with the mindfulness of breathing sounds in the depths Subconscious Viewer's creation of this connection.
Our desire to escape the theater and television and literature to see the fantastic worlds has changed to a real desire to assert our day. We want reality shows, true stories in theater, memories of events to read, and lives and breathes the man who dance on stage.
James Robey is Founding Artistic Director of the Bare Bones Dance Project, Artistic Director of Ridgefield Conservatory of Dance and Adjunct Faculty member at The Hartt School at University of Hartford where he teaches Horton Modern technique and Jazz Dance. James is active in the Connecticut, New York, and National dance communities as a guest artist, master teacher, independent choreographer, and lecturer. For more information visit http://web.mac.com/jamesrobeydance
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