Winter Solstice 2020

Dear Friends... 

How are you? 

2020 is coming to an end and it's been, well... #2020. 

Whenever I've been asked "how's it going?" this year, I've responded with a roller coaster emoji. My language capacity doesn't seem to be sufficient for the swell of emotions that has surged on any given day and I'm not sure that there's a better image that's worth a few, or a thousand, words. Perhaps you've experienced this as well. This year has been complicated for me on micro and macro levels. 

I've been missing my communities and moving together.

I've also been afraid of making videos and the vulnerabilities that invites. 

But, I've been wanting to share Tracy Scott Silverman's "Here Comes the Sun" and the ways it has moved me for a long time. So, here goes!

Please join me in this simple solstice dance (click here or check out the video below):

Thank you to Tracy Scott Silverman for the kind permission to use your music. Tracy Scott Silverman has produced so much amazing music - check it out here! 

Thank you for joining me in this dance!

May this Winter Solstice bring you light.

Secrets for Dancing in Small Spaces - Tip 3

Working in a small space can be an optimal time to break down large goals and achieve not only them, but the ability to dance longer and dance stronger. 

What is (are) your short and long term goal(s)? Write them down. 

Break that down. 

Break that down further. And yet, again. 

I often hear from my students, "I want to increase strength." or "I want to increase flexibility." 

These are valid, but arbitrary goals. What does "strength" mean? What does "flexibility" mean? 

I suggest that both are needed to help each other. More on that forthcoming - read on! 

What if the goal is specific? "I want to do a triple pirouette." Again, break it down. 

For example, I'll break down the goal of a triple pirouette, in parallel. The mechanics of a pirouette include physics, and from the ground up, foot strength, calf strength, alignment of the ankle/lower leg, knee, femur, and pelvis, flexion of the femur in the hip socket of the working leg, core strength, back strength, arm placement, application of spotting techniques, and balance on one leg for the time it takes to execute a triple pirouette. There are a lot of elements on which one could work to enhance the mechanics of a triple pirouette without actually just repeating the pirouette. In truth, without proper execution of these mechanics, repeating a task improperly will not be effective in the long term for achieving the goal with consistency. 

Some exercises might include: calf raises with a focus on alignment and strength or use of a resistance band; Pilates exercises to increase the strength of the iliopsoas for hip flexion, core stability and rotation, and back strength; planks to increase core and arm strength and alignment; and/or balancing in parallel pase. Can you think of others? This might be incorporated into class, as a pre-class warm up, or as part of cross-training for dance in your small space. 

As I mentioned previously, flexibility and strength are equally important. For more reading and research, check out this article from Dance Informa: Why the Australian Ballet dancers quit stretching. 

Flexibility is defined as the range of motion around a joint. Many dancers are able to manipulate multiple joints to achieve a look for a moment. (I refer you back to the tilt challenge on social media a few years ago and the many dance scientists who argued against it because of the extreme displacement of the body in an effort to achieve a momentary image.) Strength is necessary in order to stabilize the area around a joint for the most efficient and safe movement pathways to be achieved. 

But that's not all! Laura Baehr, DPT (Doctor of Physical Therapy) reminds me that this type of training is not only beneficial for our bodies, but also for our brains! Repetition of physical movement creates neurological pathways that can change our brains over time. This ability of the nervous system and the brain to change and adapt is called neuroplasticy. (Neuro - having to do with nerves or the nervous system. Plasticy - ability to adapt or change.) Neuroplasticy happens through and supports repetition. In practice, if you want to remember proper ankle/knee/ pelvis alignment so you can achieve triple pirouettes every time you execute the skill, you need to repeat the "broken down" exercises on a regular basis. Your body and brain will remember these new pathways and you'll be well on your way to successful multiple turns. Neuroplasticity doesn't just apply to pirouettes... the concept is referenced in medicine and rehabilitative practices. Click here to dig into neuroplasticity. 

Everyone's body is different and each of us has different strengths and imbalances. I encourage you to take the time in small spaces to break down your goals and explore your own strengths and imbalances. You might be surprised that you're dancing longer and dancing stronger when you get to move in big spaces, again. 

Happy and safe exploring! 

Thank you to Dr. Laura Baehr for your insight and expertise. Check out this dancing scientist at Laura Baehr Moves (or on instagram @labmoves). 

Strength and flexibility are necessary for dance technique and performance. 
Pic by Brian Mengini Photography from a pre-2020 performance

  

Creativity in the Time of Covid

Covid-19 has presented innumerable challenges (#obviousstatements). 

But, the pandemic also has invited creativity and ingenuity. And persistence. 

I'm Artist in Residence in Dance in Alvernia University's Fine and Performing Arts Department. One of my roles is to mentor dancers and develop opportunities for concert dance at Alvernia. (There are no college dance programs in Berks County). 

Dance happens everywhere and Alvernia University in Berks County, PA is no different. Dance happens here. No matter what. 

Art-making happens here. No matter what. 

In the Spring, Alvernia Theatre Director and now-Chair of the Fine and Performing Arts Department committed to making theatre happen during these strange times. No matter what. 

Zoom-ed. Distance-d. Mask-ed. Phoned in. Filmed. 

This week, Theatre is happening at Alvernia University. Dance is happening. 

I'm so proud of this conglomeration of artists (young and not-so-young) who have banded together and demanded that the "Arts are Alive at Alvernia!" In 2020. 

Now, more than ever, we need to be embodied. We need to connect emotionally and physically. We need folks who will stand up as unconventional leaders who model vulnerability through live performance.

This team is doing that. 

Part of the magic of live performance is its perfect imperfection and impermanence. An element of that can be achieved through digital performances, now. It's imperfect, but it is creative. The doing and witnessing creates an energetic connection between performers, crew, and audience that can somewhat exist through the digital sphere. It's not perfect, but it's innovative and what we have available to us. We'll figure out how to make the most of this moment. 

Check out what's happening at Alvernia this week and next through Alvernia Theatre's YouTube Channel. 

Secrets for Dancing in Small Spaces - Tip 2

 I mentioned in Secrets for Dance in Small Spaces - Tip 1 that I've traveled a lot for dance. 

Traveling has inspired me to find multiple uses for things that I carry with me. I seek out props, tools and accessories that can have multiple uses. (Check out my Hacks for Dancers in DanceAdvantage.net). For example and in addition, (in a pinch): 1. Lipstick can be used as blush. Slide the lipstick on your cheekbone and blend with your fingers. 2. Shampoo can be used as body wash. Create a lather. 3. Hand sanitizer can be used as a face wash (not makeup remover!). 4. Baby wipes have many uses. 5. As do hair ties (rubber bands), hair pins (paper clips), and hair spray (stop runs in tights on the spot! Or, keep those stray threads or ribbons from fraying more). 

Dance everywhere!

When it comes to dancing in small spaces, I love a simple yoga mat. Most yoga mats are about 6' long by 2' wide and less than .5'' in thickness, depending on how you think of the dimensions. I don't always carry a yoga mat with me, because that's extra bulk. I have digested those dimensions as a general guideline for my ability to engage in a full-body practice in any space. 

1. In Tip 1, I suggested focusing movement in one plane. A yoga mat provides a visual guideline for these planes. 

2. A yoga mat can be placed on uneven surfaces to provide consistency. Most mats are squishy and a little bit sticky. However, if a dancer is working on carpet, tile, bricks, or some other uneven surface, a yoga mat can provide ground-level consistency and a bit of shock absorption. But! - yoga mats can be sticky. Socks and specific shoes can help mitigate the risks of dancing on a sticky surface. I encourage you to test and try out what works for you. 

3. Jumping can be dangerous in ideal circumstances (which include but aren't limited to proper training, sprung floor and adequate shoes). Jumping in small spaces in dangerous. If a dancer has a great desire to jump, a yoga mat can be folded and laid down to provide a soft landing surface for small jump practice. This might include soutes from first and second position, soutes on one foot with the other in pase or coupe, and changemonts. I strongly discourage working on big leaps in a small space. More on that in Tip 3.  

I also discourage working on turns in a small space. (Again, stay tuned for Tip 3.)

4. Focus on alignment. The squishiness of a yoga mat can demand that a practitioner focus on alignment. The extra "give" might invite the body to compensate to achieve a particular form. I suggest slowing down (more in Tip 3) to recognize one's personal habits and weaknesses in order to achieve a safe and healthy form and alignment. In regular practice, the body will make these patterns habit and will "revert" to these adjustments when faced with new dance surfaces. This will allow dancing longer and dancing stronger. 

5. Make your practice a ritual. In her book, The Creative Habit: Learn It and Use It for Life, Twyla Tharp suggests that a ritual begins with taking an initial step.  For some yogi's this begins with rolling out the mat. For some dancers, putting on tights. For you, perhaps rolling down from the top of the spine, reorganizing some furniture, or starting a specific playlist. Once that initial act is started, the rest will organically fall into place. 

Admittedly, this takes time. The practice of doing takes time. The recognition takes time. And sometimes the response takes time. I encourage you to commit to the initial start. I've laid out my mat many times and it has sat there for a few days before I could return. But, during that in-between time, I knew it was there and waiting for me. I (and those in my bubble) moved around it in my space during that waiting time, acknowledging its importance. 

 6. A place for any practice. Rolling out a mat means that you have started. It means you've committed to a something that goes beyond what already exists. It's a movement that says "I trust what will happen next in this space." Engage in a stretch and strengthening practice. Follow a YouTube video. Do Pilates. Perform a ballet barre. Dive into a segmented contemporary dance warm up. Click onto one of the many virtual platforms and connect through a virtual and physical space. Know your body and use the mat as an example of creative restrictions and possibilities. 

7. More than a mat. An instructor at Drexel Pilates suggested that if I didn't have a long foam roller, I could roll my yoga mat and lay my spine down on it for a restorative opening of my shoulders and chest. To achieve this, roll up your mat tightly. Lay it down and lie on it so your spine is supported by the long side and the rest of your body can drip over and around it (like hot fudge dripping over ice cream.) Wow! In the age of Covid, this was a powerful release. A folded or rolled mat can also be a bolster for a seated meditation, stretch, or too much computer time.

What are some of the creative ways you've used your mat?

NDEO Persisted

 The National Dance Education Organization has persisted in developing a deeper sense of community during Covid-19 through regular webinars (that are recorded and can be watched later), digital communications, and virtual meet-ups where folks from various sectors can come together and share things that are working (and those that aren't) during these strange times. 

NDEO's first virtual conference is this weekend. 

JCWK Dance Lab artist Laura Baehr and I presented on the process of HOMEbody. 

I also shared some of the tools I use to practice performance, in the Zoom-studio and in-person studio. 

Thanks, NDEO for keeping us connected so that we can keep connecting, learning, and growing as dancers and people! 

Secrets for Dancing in Small Spaces - Tip 1

 Years of touring and traveling to perform, choreograph, teach and rehearse taught me to warm up in some strange places. Even when I give presentations, I want to feel like I am fully prepared to perform - because every presentation is a type of performance. So, I'll warm up. 

Hotel rooms, hallways, office spaces, porches, tiny dressing rooms, green rooms and backstage spaces have all been my "studio". 

Some of the lessons I've learned are particularly helpful during these strange times when dancing is limited to our isolated spaces. Folks who are able to get into a studio, while masked, still need to maintain distance in space. (Shout out to all of those studio spaces who have taken the time and effort to mark out DanceUSA's space recommendations and are super sanitizing!) 

Here are some of the things I've learned. 

Secrets for Dancing in Small Spaces - Tip 1:

Work in one plane. 

There are three anatomical planes of the body. Most dance practice moves through and engages all of these planes, but it's possible to just work in one plane. 

For example, undulations, flat backs/ tabletops, tendues/ degages, developes, fondus, grande battmonts can all be isolated in the sagittal plane (front and back). The body's facing can rotate to execute laterals, tendues/ degages, developes, fondus, grande battmonts in the coronal/ horizontal/ toaster plane (side to side). 

Strength and flexibility exercises derived from Yoga and Pilates often isolate into these planes. 

I challenge dancers to use the tools they have available to them to create warm up phrases that dance so that the body can fully warm up while engaging all of the methodologies that dance employs: joy, wellness of physical and mental bodies, strength, flexibility, movement flow, creativity, artistry, technical prowess, and whole body connectivity (among many others).  

What is a dance technique warm up that you can isolate into specific planes? Share a video of yourself moving in the comments! 

Published Reviews for The Other Side of the Window Screen

 Thank you to everyone who has already participated in The Other Side of the Window Screen. We've had an incredible audience response and the Fringe Arts Fringe 2020 still has a few more weeks! 

Here's what the reviewers are saying...

Camille Bacon-Smith wrote in Broad Street Review:

"Arms are often held up, angled or outstretched, as if the dancers are reaching for something just out of their grasp. Home, maybe - a concept we perpetually seek, but seldom find. When I thought of "home" in the piece, though, I envisioned not a place but the bodies we inhabit, the lived bodies of the dancers, and our own bodies as we unconsciously synchronize with the movement on the screen."

Read more here.

By Jane Fries for PhiladelphiaDance.org's The Dance Journal

"...evokative of sci-fi royality, they burst into digital life..."

"HOMEbody is a dance of shifting moods..."

"...liquid movements... precise yet curiously enigmatic..."

"quietly transporting"

Read more of Jane Fries's review by clicking here.