A kinder, softer approach.
This post is all about the relationship you have with your nervous system. How you ask your body to move and how it is likely to respond. There is also an introspection into how I have discovered path ways which I didn’t even know existed, all by generating a kinder, softer approach.
Ballet is a discipline that, as it develops, requires more and more physicality. It can be frustrating when you can't accomplish certain demanding steps. The part of the body that needs training, in order to accomplish the step, and your brain is deeply connected. The nervous system must carry the message from brain to muscle freely. Are you aware of the correct path way which carries this message? Do you have a way to kindly ask your muscles what you require your body to do? Do you treat your body with the respect it needs to co-operate with what you need? If you are completely unaware of what I have asked, it might do you well to carry on reading.
On top of the athleticism of ballet, movements also often communicate an emotion, which sets us apart from an athlete. The step and the emotion have to both deliver equal understanding to the audience. So therefore the emotion cannot jeopardise the movement and vice versa. The two parts must work together, yet apart, as emotions are highly linked to the functionality of the body it is also required to "act" this emotion and not let the feeling take control. I'm going to give you an example. Have you ever surprised yourself by how well a pirouette turned out, or a tour en l'air, when you have put no force, no energy or waisted emotion into it, and for that reason it worked better than usual? Or, how your performance on stage perhaps always seemed worse than in the studio, as on stage was with added adrenaline and heightened emotions?
From my experience, the development of connection between emotion and movement has often been overlooked in my ballet training. I admit to being an emotionally driven person and I needed to learn how to make this work for me, rather than against me. I did pick up one line which particularly stuck with me. The teacher told me to simply "place my skeleton". To move the bones and not the muscles. This way I could release unnecessary force or power. I stripped my body of matter and muscles and visualised only my skeleton as I moved through ballet class. It was fascinating how I felt lighter, easier and could move through movements more precisely. We all have a clear idea of what the perfect "ballet form" is, but we disregard that this comes from the bone structure. Everything else is there to support it.
This notion obviously does not just apply to ballet dancers, and needless to say requires a certain training of the muscles for any kind of training. I have noticed on several occasions the 'nonchalant guy' or the one that tends to not "put as much into it", will often beat the more talented guy, who is eager to show off his ability. This is not to say one needs to not try as hard. It's important to be in control of your emotion and ego, and know when to apply it on execution. I noticed by swinging a kettle bell that that split second I had from centrifugal force, when the 16kg weight seemed like a feather at the top of the swing, was a crucial moment for my whole body to relax and let go, resulting in being able to do more swings. It's just as important to turn the muscles on as it is to engage them. But turning them off requires a high level of concentration when your blood is pumping, you may be nervous, your heart beat increased and adrenaline is kicking in. It can also be difficult to disassociate trying hard, and pushing in a way that wont help you...a 400 metre runner knows he can not push 100% for his whole race. Try adopting a training method which equally teaches the muscles to work and also relax. I have found yoga is perfect for this. Choose wisely when you give your maximum energy, and on which steps you will need it most.
I have noticed that fellow colleagues who seem to be in control of their emotions whilst dancing, are less injury ridden, more trusting and reliable on stage, and ultimately, are able to have a longer career. This, I can honestly say, has not come easily to me. I used to finish simple combinations with a red face, and had emotions rise up inside of me that I didn't even know existed. I often got frustrated by my body not doing what I told it to do, and I danced with a stress which showed visibly on the exterior. It took a lot of work to put breathe into my movements and let go of the stigma that "just because I wasn't putting 'my all' into every step, did not mean I was lazy". I had to work consciously to relax my body, to realise that when I was standing at the side of the studio, or even side stage a midst a show, it did not require me to force my balletic posture and stand turned out. I had to relax from within. I scanned my body, paying particular attention to my face and torso, and concentrated on filling my lungs with fresh oxygen and letting them be totally free. I relaxed from the centre of my back, and diaphragm at the front, whilst I watched my breath come in and out, and noticed from that centre part of my body the conscious relaxation could penetrate through my entire body. I invite you to try this now.
There was a marvellous quote I read today in the book I'm currently reading: "12 Rules for Life" by Jordan Peterson.
An artist is proven to be one of the most stressful careers. We constantly expose who we are, we tell and live other peoples stories whilst we're vulnerable, and we are on an eternal path where we have to face ourselves constantly. We play with our emotions, we use them to make a living, and at the same time they're so intertwined with every step of our journey. Your body is a statement of your journey and every emotion you carry is linked intrinsically with the health and functionality of it.
That allows me to conclude, with this final fact that will help you on your journey, and that has a major impact on how you execute movements: to love your body, and if you feel like you don't or you can't - then learn!
This post is dedicated to my darling Tommaso.
Do you agree or disagree with anything I have written? I'd love to hear from you guys; contactable on my Instagram account.
Picture is taken of 'Tamula Järv' in Vōru, Estonia. Where the soothing water gave birth to the post.
Ballet is a discipline that, as it develops, requires more and more physicality. It can be frustrating when you can't accomplish certain demanding steps. The part of the body that needs training, in order to accomplish the step, and your brain is deeply connected. The nervous system must carry the message from brain to muscle freely. Are you aware of the correct path way which carries this message? Do you have a way to kindly ask your muscles what you require your body to do? Do you treat your body with the respect it needs to co-operate with what you need? If you are completely unaware of what I have asked, it might do you well to carry on reading.
On top of the athleticism of ballet, movements also often communicate an emotion, which sets us apart from an athlete. The step and the emotion have to both deliver equal understanding to the audience. So therefore the emotion cannot jeopardise the movement and vice versa. The two parts must work together, yet apart, as emotions are highly linked to the functionality of the body it is also required to "act" this emotion and not let the feeling take control. I'm going to give you an example. Have you ever surprised yourself by how well a pirouette turned out, or a tour en l'air, when you have put no force, no energy or waisted emotion into it, and for that reason it worked better than usual? Or, how your performance on stage perhaps always seemed worse than in the studio, as on stage was with added adrenaline and heightened emotions?
From my experience, the development of connection between emotion and movement has often been overlooked in my ballet training. I admit to being an emotionally driven person and I needed to learn how to make this work for me, rather than against me. I did pick up one line which particularly stuck with me. The teacher told me to simply "place my skeleton". To move the bones and not the muscles. This way I could release unnecessary force or power. I stripped my body of matter and muscles and visualised only my skeleton as I moved through ballet class. It was fascinating how I felt lighter, easier and could move through movements more precisely. We all have a clear idea of what the perfect "ballet form" is, but we disregard that this comes from the bone structure. Everything else is there to support it.
This notion obviously does not just apply to ballet dancers, and needless to say requires a certain training of the muscles for any kind of training. I have noticed on several occasions the 'nonchalant guy' or the one that tends to not "put as much into it", will often beat the more talented guy, who is eager to show off his ability. This is not to say one needs to not try as hard. It's important to be in control of your emotion and ego, and know when to apply it on execution. I noticed by swinging a kettle bell that that split second I had from centrifugal force, when the 16kg weight seemed like a feather at the top of the swing, was a crucial moment for my whole body to relax and let go, resulting in being able to do more swings. It's just as important to turn the muscles on as it is to engage them. But turning them off requires a high level of concentration when your blood is pumping, you may be nervous, your heart beat increased and adrenaline is kicking in. It can also be difficult to disassociate trying hard, and pushing in a way that wont help you...a 400 metre runner knows he can not push 100% for his whole race. Try adopting a training method which equally teaches the muscles to work and also relax. I have found yoga is perfect for this. Choose wisely when you give your maximum energy, and on which steps you will need it most.
I have noticed that fellow colleagues who seem to be in control of their emotions whilst dancing, are less injury ridden, more trusting and reliable on stage, and ultimately, are able to have a longer career. This, I can honestly say, has not come easily to me. I used to finish simple combinations with a red face, and had emotions rise up inside of me that I didn't even know existed. I often got frustrated by my body not doing what I told it to do, and I danced with a stress which showed visibly on the exterior. It took a lot of work to put breathe into my movements and let go of the stigma that "just because I wasn't putting 'my all' into every step, did not mean I was lazy". I had to work consciously to relax my body, to realise that when I was standing at the side of the studio, or even side stage a midst a show, it did not require me to force my balletic posture and stand turned out. I had to relax from within. I scanned my body, paying particular attention to my face and torso, and concentrated on filling my lungs with fresh oxygen and letting them be totally free. I relaxed from the centre of my back, and diaphragm at the front, whilst I watched my breath come in and out, and noticed from that centre part of my body the conscious relaxation could penetrate through my entire body. I invite you to try this now.
There was a marvellous quote I read today in the book I'm currently reading: "12 Rules for Life" by Jordan Peterson.
"Why do people suffer from anxiety? That's not a mystery. How is it that people can ever be calm? There's the mystery. We're breakable and mortal. A million things can go wrong in a million ways. We should be terrified out of our skulls at every second. But we're not."-A man who believes the planet can only improve if we work on ourselves as individuals, and also brave enough to contradict society. Let the softness and calmness overcome you.
An artist is proven to be one of the most stressful careers. We constantly expose who we are, we tell and live other peoples stories whilst we're vulnerable, and we are on an eternal path where we have to face ourselves constantly. We play with our emotions, we use them to make a living, and at the same time they're so intertwined with every step of our journey. Your body is a statement of your journey and every emotion you carry is linked intrinsically with the health and functionality of it.
That allows me to conclude, with this final fact that will help you on your journey, and that has a major impact on how you execute movements: to love your body, and if you feel like you don't or you can't - then learn!
This post is dedicated to my darling Tommaso.
Do you agree or disagree with anything I have written? I'd love to hear from you guys; contactable on my Instagram account.
Picture is taken of 'Tamula Järv' in Vōru, Estonia. Where the soothing water gave birth to the post.
Comments
Post a Comment