Arm styling as a function of your whole body

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When you are working on arm styling, do you singularly focus on your arms?

Although this seems logical, anatomically we move our arms from our back, closer to our spines.

Our body architecture defines how we optimally move in space Yet our working concept of this is gradually overtaken by the  familiarity of our habits – compression and tension. We often divide our spines  into two entities;  our neck and the rest of the spine.  Our spine is a flexible and stable multi jointed structure of which the neck is one part.

Tight neck muscles increase the possibility of pain in the shoulder joint.  It is the important reason that I help students recognize that the organization of the skeletal head/neck/spine relationship is the key to a well functioning muscular system.

Here is a simple illustration of our arm joint, the head of the humerus attached to a socket in the shoulder blade (scapula):

I noticed  that when I explored arm styling, if I didn’t think about the connection to my back, my arms tended to pull my neck out of whack, which in turn cut off the alignment of the arm in the socket.

Similarly, that same arm joint appreciates a free neck to apply constructive feedback to the easeful movement of the arms in space.

Keep this in mind for your next practice session:

‘Map’ your shoulder joint – know where it is. (On your shoulder blade which sits on your back).

Lead your arm styling  with your fingers and elbow.

  Keep your neck free of tension.

If you want to find out more, book a lesson with me, either on Zoom or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

 

 

 

 

Is google good for our nervous system?

Imagine over dinner, you and a friend are trying to remember the name of an unusual  named object and you both know what it is, BUT….., you simply can’t come up with it.  It is on the tip of your tongues.

(This very scenario happened in a lesson last week between my student and me).

One of you comes up with the second word, INDUCER – yes that’s it and….the first is….?

Nothing comes to mind!

We can choose to go right to the google search bar and type in “INDUCER the thing that goes on your occiput”.

(Note: the Still Point Inducer™ was inspired by Osteopathic Physician John E. Upledger, developer of CranioSacral Therapy).

And voila!  Here it is:

Still Point Inducer Original - Solid Red Foam - Help Relieve Congestion, Headaches, Anxiety, and Overall Tension
STILL POINT INDUCER

No more wondering; mystery solved – STILL POINT!. The information was quickly accessed, but the brains potential to recall was impeded.  Hmmm..

I thought, what if we wait a bit and don’t challenge our nervous systems to remember in this very instant, but let it marinate for awhile while the brain continues to wonder?

Although difficult, I managed to inhibit my desire to google it.  And impressively, she did too!

That day, 3 hours later, I was taking a walk and Still Point, literally popped into my brain.  I wasn’t trying to recall it, but there it was.  We’ve all been there and it’s a bit weird.

The internet paired with google is a godsend to us curious humans who want more information quickly. It is unequivocally a huge money/time saver. But, I’m wondering what can be gained from letting our brains process tip of the tongue moments the good old fashioned way.  Not google, not even that anachronistic thing called an encyclopedia.

But googling how ‘google it’  affects our nervous system returns few results.

Ironic, huh?

I did find this one:

Is Google Making Us Stupid?  What the Internet is doing to our brains.

The author, Nicolas Carr shares his own experience:

“….what the Net seems to be doing is chipping away my capacity for concentration and contemplation. My mind now expects to take in information the way the Net distributes it: in a swiftly moving stream of particles. Once I was a scuba diver in the sea of words. Now I zip along the surface like a guy on a Jet Ski”.

In Alexander discovery terms, here is how the availability of 24/7 instantaneous access to all information affects our nervous system:

  • Although we are in the moment, we are too rapidly adding information to our limited mental space.
  • Eventually,  our nervous system becomes habituated to being forced to react in a staccato manner all the time.
  • We are living in a version of fight or flight.

 

Changing habits rewires our nervous system.  I help people do this every day to feel better.  Whether it is creating more ease and flow in your daily life or your ballroom routines there is a toolkit available to you 24/7 once you spend some time noticing what you are already doing that is working against you so that you can provide new intentions, and thought processes that work for you.

I’d like to thank the Internet AND google for helping me with this blog!!

If you want to find out more, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

Could un-learning be the best learning?

Learning….

It’s a noble process that feeds our soul and ego.

Learn a new skill  to improve yourself,  learn French, or add a checkmark to a long delayed To Do list.

But what if unlearning makes learning so much more efficient?

When I started my training in un-learning, I had no idea how challenging it would be –   days of confusion, and wanting that old model of ‘you do this and then this happens’, period.  As a dancer I had to execute, practice, learn new choreography, and acquire better technique.  It served me well, until my body started to complain.

But I soon discovered that unlearning habits that are creating impediments is truly the organic method of moving forward with ease. The world opened up in a way that I did not anticipate.

As I went to my AT training each day, the only requirement was to bring my curiosity.   No conclusions, no remembering, no testing myself or getting anxious about not having accomplished enough.  Does that sound luxurious to you?  I came to love this process and I began to see real results.  Yes, my friend, unlearning creates results.

Here’s one example:  In a recent lesson, my rower and I discussed the shoulders, thinking expansion through the shoulder girdle  and widening in the whole torso.  Pushing your shoulders back is a muscular doing that cannot be maintained in the long run and it is not a productive workaround.

I continue to work with my students in this way…….identifying ingrained habits and selecting new thinking to replace them.  We are thinking anyway, it’s just that we’re not aware of it and we are mostly guided by habit.

Here’s another more pedestrian example:  Using your cell phone – compressing your neck to look down at your phone and tightening in your hip joints.  And, we’ve been visually conditioned to see this collective habit as RIGHT.  But hey, what if we just changed our way of using our phones by NOT compressing and holding our phones in front of our face.

Then, that would seem RIGHT. Right?  I will definitely go out on a limb and say that right is also respectful of how we are designed.

If you suffer from physical discomfort both in your daily life and when you are doing what you love to do,, I can teach you how to care for yourself for the rest of your life!

If you want to find out more, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Revisiting daily posture to improve your ballroom posture

I know that sounds silly, but really, is it?

In order to pick up your paper, whether you have it at your front door or at the end of your walkway outside your home, you will bend some joints.

The question is, what joints are you using to bend in order to lower yourself in space. HOW are you doing this?  Are you cold and hurrying as fast as you can in your stiffened from sleep state? 

Fair enough.  It’s cold outside in the winter.  I understand because I try to get out and in as quickly as possible and that is my priority.  My movements are stimulated by cold, and sometimes snow – I tip toe in slippers through the white covered lawn and hope that no one sees me in my winter coated robe straining to grab the paper before my feet are wet and frozen.  I’m really not thinking at all about how I’m bending my joints.

But I know better

When I work with students we learn to pick up something from the floor with awareness .  It’s one of those procedures that challenges thinking and pausing before action. Here are the joints that our bodies are designed to utilize during this movement:

  1. ankles 
  2. knees  
  3. hips      
  4. atlas (joint connecting the skull to the top of the spine)

When you are bending in order to pick up a speck of lint from your carpet, or doing a deep lunge in tango or rumba, your body will very much appreciate it if you DO organize yourself around the above joints.

We often approach movement based on how we move through our daily lives.

My student tightens her neck and lower back when bending down to pet her cat, prepare dinner, unload the dishwasher, sit at the computer, AND during ballroom practice.  We may think that the way we move outside of the studio has nothing to do with how we move inside it, but it is surprisingly connected.

Slowing down to really picture the location of our moveable joints helps to challenge inefficient habits/beliefs and allows us to re-pattern how to approach movement.

So the next time you pick up your newspaper or that sock that you dropped, let your neck be easy and your back to widen  Thinking this, it will be harder to misuse your neck and lower back as a moveable joint (it is not!) 

Then apply your newly found ease to that tango lunge, rumba walk, or Latin inspired squat.

But when it is freezing outside when you pick up your paper, you can give yourself a pass!

If you want to find out more, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

The Thing about Performance and Mental Pressure

Being a performer for many years and then taking up competitive ballroom dancing at a mature age, I thought that my nerves would be tamped down and chill during comps.  I was wrong.  I wrote about it here.

But, I also know that certain conditions can mediate or eliminate the very nerves that can interfere with a free, rehearsed routine.  And it has to do with self imposed pressure……and isn’t all mental pressure self imposed?

There seems to be an unexpected reduction of self pressure when the very element of winning is perceptually removed.  The pressure of winning is out of the question because of an initial poor performance, or a confluence of events that seems to make winning unlikely.

As for the later, I can recount a recent experience at the NY Dance Festival.  I started the comp with only 2 hours sleep the night before and soon realized that the number of dances I would be doing was more like 2 or 3 times the number I signed up for. There were semi-finals, finals and some hidden ones I did not take note of.

For those reasons, I felt that going for a win was beyond consideration. I just wanted to stand up in my last heat!  (It took some grit, but I did and won 2nd place in my first gold comp in scholarship round and 3rd place in championship round).  I wouldn’t recommend these conditions, but it is an interesting to note how a reduction in self imposed pressure plays out.

Similarly, Nathan Chen the favorite to win gold in the men’s singles ice skating competition back in 2018 fumbled and fell badly in his short program. Pretty much a disaster.  There was almost no chance that he could finish on the podium.  Here’s what he said after the short program:  “Regardless, I am going to be nervous,” he said. “It was the same pressure I always put on myself.  Honestly, it was bad. I made as many mistakes as I possibly could have.”

But, in his long program, we wondered if this would be another embarrassing repeat of the short program.  It could not have been more opposite.  He landed every single jump, quad or otherwise and even threw in a 6th quad for good measure.  He finished off the podium but moved impressively from 17th to fifth.

So how could this be?  Remember that Chen also had a poor skate in the team competition and then followed up with the bad short skate.  By the time the long program rolled along, he had nothing to lose – except his nerves around winning.  He was more relaxed and able to plug into his rehearsals and training, allowing his nervous system to quiet and his muscles to coordinate.

The reason for the first two unexpected performances?  According to , an Olympian and a registered mental performance consultant who wrote the article excerpted below: 

“They are catapulted from minimal attention to intense media focus, which can make the athletes feel like they’re being scrutinized and judged.  This new attention can shift their focus on the need to win and away from what will allow them to be successful — the process.”

Aha!  This is something I can help you with.  Being in the moment, staying in the process, the pressure of winning is all in the future – you can only be in this moment, literally.  Easier said than done, but a rich endeavor that, yes, can help you win!


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small adjustments to posture relieve pain

One tiny tweak that can make your posture stand out and win you competitions

small adjustments to posture relieve pain

When I started taking Alexander Technique lessons 18 years ago I had little awareness of how subtle this tweak thing was. I spent a lot of time trying to fix myself around the technique but after awhile I understood the consequences of utilizing a thinking process as a way to enjoy a kinesthetic change.

Every day I am honored to pass this on to my students!

So here’s the definition of tweak:  Tweak; to improve (a mechanism or system) by making fine adjustments to it.

So how can this tiny tweak help our posture?

Your head is heavy – around 14 pounds – your whole spine enjoys the length that a balanced  head/neck invites .  Muscles in the neck need to let go so the head can poise.  Forget about position.

So, the fine adjustment that defines ‘tweak’ is really a letting go?

So, the fine adjustment that defines ‘tweak’ is really a letting go?

Imagine what happens when you ‘tweak’a mechanism or even a process.  Take computer coding  – far from ballroom dancing but appropriate for our purposes here.  Programmers use the term elegance to explain the seamlessness of a well running program.  And they are continually ‘tweaking’ the code to distill it down to just what is needed to operate smoothly.

Another example: Discovering that a slightly loosened screw creates just enough ‘wiggle room’ to build in better balance, and stability to that bench or other structure you are putting together.

Yes, an awareness of what you are doing and what  you can give up.

Yeah, I know – this is not what you are used to.  Working hard is well, working hard and universally rewarded.  But what we are seeking as dancers is the impression and possession of ease, balance and grounding.

Yet, if we can manifest these qualities by giving up selectively targeted muscular tension, we can attain what we are seeking and……It involves….

…….One, Tiny, Tweak.

Here are 5 reasons why it can make a demonstrable difference in your posture:

  1. It is quite simple…..when you think about it.
  2. It involves not doing something (Read:  take a break from working so hard!).
  3. It is  kinesthetically pleasureable.
  4. It promotes good health, away from dis-ease.
  5. The tiny tweak impacts your whole  body.

In lessons,  I can show you through my hands what this tweak feels like.

It’s freeing.

It’s a self care tool that you can use anytime you choose.

You can apply it to any movement, stillness or an entire ballroom competition!

But habits run deep and lessons provide a continuous reminder of what new habits can be learned and taken on as the new normal.

Back and neck pain becomes the small passenger in the rear view mirror, no longer in the front seat!

If you want to find out more, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

Erin Marie Akin and I sat down for a quick interview….

Hey Dancers,

My student, (and already beautiful pro smooth dancer), Erin Marie Akin reflected on how  her lessons with me, along with the amazing self care principles of  the Alexander Technique, helped heal her back pain.

Click below for the video.

If you would like to know more about how I can help you to learn to care for yourself by reducing pain and discomfort both on and off the dance floor , book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

 

 

 

 

 

 

Ballet and Ballroom Structure – it’s surprisingly the same…

Ballet and Ballroom
Nunez and Bolle in “Manon” Click to view the video

Since I work with both ballet and ballroom dancers, I’ve become curious about how the two, quite different forms of movement can call upon the same organizing features of the Alexander Technique’s principles of a good head/neck/spine relationship.

Ballet structure – at least the classical form – derives from a largely two dimensional approach. The torso and rib cage are carried squarely over the legs with  less invitation of spiraling.  The exceptions are epaulement, a position in which the shoulders are at right angles to the direction of the supporting leg, with one shoulder thrust forward and one back.

And as well, choreographic diversions which are becoming more and more commonplace as so many different dance styles inspire choreographers to create outside the ‘ballet box’.

Examining the connection between uprightness and a free neck is useful for ballet dancers who are often trained to “pull up and brace”.  I’ve found that training stresses lengthening in the spine, but the truth that this can be done with a free neck is often overlooked or not understood.  The “monkey see, monkey do” approach passed on through generations doesn’t give students their own means of working towards coordinating themselves around a thoughtful process.

Ballroom structure – in Latin and American Rhythm, the defining movement style is largely three dimensional e.g. Cuban motion requiring oppositional rotation of the whole torso, facilitated by lats driving the pelvic spirals or figure eights.  Uprightness is all about grounding, again created by opposition.  Freedom in the neck to improve posture?  The end point (good posture) has been explained to me by my wonderful teachers, but not the “how to”.

All of the experience gained in Latin and Rhythm can be brought to Standard and Smooth – the rotation in the torso during leg led transitions, but without the figure eight Cuban motion – not including choreographic flourishes.  Note:  I don’t claim to be an expert in Standard or Smooth as my ballroom experience has been primarily Rhythm and Latin, but I have learned that one assists the other.

Here’s how these two structures are anchored in the same approach

  1. They are both human movement styles.
  2. They both call upon the body to produce an aesthetic, artistically appealing performance.
  3. They both require coordination of all the parts of the body into one organized whole.
  4. They both – in all the various permutations of style – seek an economy of effort with great underlying strength.

 

Want to learn the best kept secret for acquiring all of above?  It’s all in your head! (neck/spine)!

If you want to find out more, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

 

Do we need a users manual for our body?

I bought a new coffee maker last week and with happy expectation began to set the current time.  The time shown would not budge. I read the user instructions over and over, and followed step by step to set the time yet nothing changed.   Time frozen at 10:28.

I called customer service and shared my frustration.  She said “does it say 10:28”?  Yes!  “That is actually a sticker – just remove the sticker.”  Voila!  Problem solved. The takeaway?  User manuals aren’t always user friendly.  (Sound familiar?)  

We are not issued a users manual for how to operate our body when we most need it – mostly after the age of 8 when sitting in chairs in school, and soon after hunched over phones that become an exercise in spinal compression.

While being engaged in physical activity on a regular basis helps to activate muscular engagement and can be an antidote to downward pull (or bracing), we don’t really know how to modify our ingrained habits organically.

Years ago, I was baffled by the fact that I was a retiring ballerina who spent quite a few years working on acquiring strength, placement, beautiful lines and stamina. (Here’s my full story).  Yet,  with all that training – admittedly grueling at times – I was teetering on the brink of  hopelessness, coupled with anguish and pain. This, even though I had stopped performing, and was active raising a family.  But I was fortunate to discover something new and it was the only thing that helped.

It’s this:

Our mind, which is controlling our movements all day long anyway can direct us in a more efficient way, towards more ease with selectively controlled muscular effort.

If this sounds vague and impossible, try this simple movement:

Stand facing a mirror, arms hanging at your sides.  Raise one arm to the side, shoulder level.  Notice what muscles in your arm created that movement. Did your neck tighten?  Repeat a few times.

Now tell yourself to make the same movement, but remain still.  Notice if by only telling yourself to move you experience the muscular action previously.

Now begin moving your arm to the side, as before, but this time you will think of leading the movement with your fingers.  Did you use the same muscles as before?  Did your neck muscles tighten this time?

Did you use your brain to make that change?

If so, imagine what this new thought process can do for your ballroom dancing!

If you want to find out more about acquiring a User’s Manual for your body, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.

 

 

 

Q. How do you ‘work’ on your posture? A. Stop, think, go.

1) PAUSE

2) NEW THINKING

3) ACT/GO/PROCEED

When a student books an appointment with me, I ask them to fill out a form indicating what they want to get our of their lessons.  Often, the answer is “I want to work on my posture”. Over the  years teaching the principles of the Alexander Technique,  I have realized that without question our culturally conditioned answer to change is to ‘work’ at it.  Even if that is not consciously the thought.

Immediately, I encourage the deletion of the word ‘work’ from their image of improving their posture.

Quite the opposite of work.  If I’m going to preach about anything  (sorry, I can do that!), it is this:  Improving your posture is NOT about ‘working’ at it.  AT LEAST NOT IN THE WAY WE ARE CONDITIONED, in other words, work as muscular effort, tension, strain and the rest.

Forget about exercises for adjusting the position of your head  on your spine.  You are just making it worse. You may be successful in momentarily modifying the stacking element of your head on your spine, but it is reapportioning one holding pattern (your habit) in place of another.

So, what is this concept of changing your posture without re-positioning something/applying work?  How do you do that?

Let’s replace the words, work, do, implement, re-position, with the word THINK.

Yep, THINK.

Or another way of looking at it; pause and think and then proceed.

My ballet conditioned body was starved for another option besides working hard.  I discovered it by practicing the new principles that I learned from my years of training in the Alexander Technique.

In our Ballroom dancing, like ballet  – we want it to look easy, but we need to know how to BE easy by changing our thinking.  This is what I have focused on in my ballroom dancing – definitely not 100% successful, but imagine what it would mean to knock your unnecessary work load down 50, 60, 70 per cent?  Wouldn’t that feel great?

I can help you to know WHAT to think!

If you find this intriguing, book a lesson with me, either on zoom.com or if you are in the NY/NJ area at my studio in Montclair, NJ.  Please use my contact form, tell me about yourself and leave your availability.  I will respond within 24 hours.

Happy Dancing!   If you know other dancers who may benefit from reading my blog, please forward.