Tags

, , , , , ,

I have come to understand the relationship between a conscious awareness of center line integration and the extremities of the body. If one does not find an anchor from the intrinsic strength established by a physical understanding of anchoring ones movement from the ascending and descending energy of the center-line, then the outside eye will be able to detect a weakness and imbalance by observing the body trying to grab on to space exhibiting unnecessary tension in the extremities.

 

When a dancer has tension in the wrist, elbow and shoulders; or in the inability to track the ankle knee hip appropriately, one is not accessing the necessary strength found within the strength of center line practice. If the connection to the flow of energy from the center line is blocked or broken, it will be reflected elsewhere in the body.

 

Dancers are much weaker than they realize especially when it comes to understanding how to access the integration of center-line practice and strength in the standing leg.  It is crucial in the physical developmental growth of a dancer to take the time to build strength, integration and open energetic pathways through repetition so that they might understand clearly how to make the shifts and changes they need to anchor themselves the space within themselves that resides along the upper and lower center lines of the body.

 

 

There has been a disservice done to students who are only experiencing movement to keep their minds busy rather than experiencing a conscious understanding of how to activate technical skills to fulfill the movement experience in the first place.  If a student just moves about space hoping to get something right rather than really understanding in the moment how to put said technical skill into practice, the dancer will then be at the mercy of fate or the odds to get the information rather than spending the right kind of time necessary in order to make the shift themselves.

 

If we continue to teach movement for the sake of movement administering movement as a baby sitter to keep the mind of the student distracted from the reality of technique; we not only do the student an egregious disservice to their educational process, but we also weaken the opportunity for technique to evolve or reside with integrity inside the art form itself.