Dance Wellness

The Mirror as a Training Tool in Dance Class

January 21, 2019 by 4dancers

*Students in dance class with mirrored wall. Photo by Lori Teague.*

I’m so glad to be able to share the following article from Sally Radell, MA, a longtime colleague in dance medicine, on the faculty at Emory University in Atlanta, GA. Sally’s research for many years has been in looking at how using the mirror affects the dancer — we have posted information on this topic from her before on this site. Sally recently presented her latest research at the October 2018 IADMS (International Association for Dance Medicine and Science) conference in Helskini. It was valuable information, and thought-provoking, to put it mildly! So here you go — take care and happy/safe dancing! – Jan Dunn, MS, Dance Wellness Editor

by Sally A. Radell, MFA, MA

The process of building ourselves as dancers is a long and arduous process. Years of technical training are required and certainly the more efficiently we train the more successful we are at building the technical skills needed for professional performance.

Dancers should not underestimate the importance of how they feel about their bodies in the studio and how this impacts the quality and effectiveness of their training. In fact, research has shown that a dancers’ psychological health and well-being can improve or impede their classroom or stage performance.

The Mirror in the Dance Studio

One classroom tool that has caused some concern in the technique class is the mirror. It is so familiar in the dance studio that many of us take it for granted. Teachers frequently use it as a classroom management tool to visually bring the class together when teaching new material. The teacher has an optimum vantage point when facing the mirror, demonstrating the material with the same physical facing as the students, and simultaneously viewing them as they learn it. This provides for ample correction opportunities and can be an efficient use of time when teaching short classes. However, NOT using the mirror in teaching generally requires the instructor to face the class directly and do a mirror image demonstration of the phrase material. This requires more concentration and focus for the teacher. Whether or not to use the mirror in the studio can be a complex problem for teachers.

Students tend to love having a mirror in the studio. It provides students immediate visual feedback and a constant stream of information on ones’ alignment and performance of a dance phrase. The mirror also provides students an opportunity to fix their hair, examine how they look in their new tights and inevitably compare their body to those of other dancers in the studio. The mirror is a potent tool with distraction powers that can be overwhelming and difficult to manage for most students.

One cannot help but ask the question — is the mirror a helpful or harmful tool in the dance studio, or perhaps a bit of both? Most of the literature on this topic comes from dance instructors and their use of the mirror in the classroom. Opinions vary. Some instructors feel it is a useful tool to check and correct ones’ line or the performance of a particular phrase. There have only been a few formal research studies, primarily focusing on ballet, which tend to discuss the disadvantages of mirror use.

*Dance students in mirrored classroom. Photo by Lori Teague.*

Disadvantages of Mirror Use in the Studio

Students may develop high levels of self-consciousness and self-criticism from starring at their images in the mirror.
There is a high temptation for students to compare their physical images to other dancers (or the teacher) in the room which can lead a dancer to feel badly about her body.
The use of a mirror can lead to a dancer feeling “disconnected” from her proprioceptive body awareness which is needed for efficient training. This can delay optimum development of a dancers’ technical skills.

New Mirror Research

Further research has recently been done which probes a bit deeper into mirror use with dancers of various skill levels and in different styles of dance. For example, a recent study was done comparing beginning and advanced ballet dancers. The beginning dancers reported using the mirror enthusiastically, while the advanced level dancers discussed the importance of limiting mirror use in class in favor of focusing on the physical sensations of the movement to stimulate technical growth. However, both levels of students felt worse about their bodies by the end of the semester. This suggests that training on how to use the mirror sparingly and efficiently does not help a dancer feel better about her body in class. Perhaps the mirror is just too potent a tool to be used effectively at any level of dance training?

Other recent research compares the impact of mirrors on the body image of modern and ballet dancers in both mirrored and non-mirrored classrooms. By the end of the semester both the modern and ballet students in the mirrored classroom felt worse about their bodies. However, the students in the modern and ballet non-mirrored classrooms felt better about their bodies by the end of the semester. Overall, perhaps these results suggest that the negative impact of the mirror on a dancers’ body image can transcend styles, at least between modern and ballet styles?

As research in the area of mirror impact on body image grows, evidence is mounting on the potency of the mirror and its capacity to harm a dancer’s body image beyond the confines of ballet. I strongly encourage dance teachers and students to reconsider their use of the mirror in the classroom and explore alternate methods of achieving what the mirror seemingly offers. Without a mirror in the classroom dancers can fully focus on their proprioceptive learning and the sensation of movement in their bodies. This will ultimately keep their focus fully “in their bodies” which is the most efficient route to feeling good about themselves and developing the optimum technical skills required for professional careers.

Note: This post is an update to the previous post we have on the site, also authored by Ms. Radell. View that post here.

Sally Radell, MFA, MA. Photo by Jon Rou.

Sally Radell is professor of dance at Emory University in Atlanta, Georgia. She holds a BA in dance from Scripps College in Claremont, California, an MA in dance from The Ohio State University, and an MFA in dance from Arizona State University. She came to Emory in 1987 to start a degree program in dance. The substantial growth of the program and success of this endeavor is one of her proudest professional accomplishments. Ms. Radell has been active as a choreographer, teacher, performer, administrator, dance critic, and somatic educator. Over the past twenty years she has conducted research on dancers, body image, and the mirror and has published in professional journals including Journal of Dance Medicine & Science, Research in Dance Education, and Perceptual and Motor Skills. Professor Radell has also presented nationally and internationally on this topic with different organizations including the American Association of Health, Physical Education, Recreation, and Dance and the International Association of Dance Medicine and Science. She is committed to the promotion of psychological wellness for dancers.

Dancing While You’re Pregnant

March 11, 2018 by 4dancers

Aloha and Happy Spring!

I know it’s spring performance season, but I hope you can take a moment to read our new post from Ann. F Cowlin – a long time dance colleague of mine in New England. Ann has worked at Yale University for many years, and has a medical background. She founded “Dancing Thru Pregnancy” in 1979 – I learned about this program in the 1990’s, and how valuable this information can be – and am so glad we now have the opportunity to share it with you.

And on a brief personal note — you won’t be hearing “Aloha” from me after this, as I have just moved back to CO (Denver / Boulder) after 6 years on Kauai. Glad to be back and integrating again into the

wonderfully diverse metro dance community. If you’re ever in this part of the country – would love to hear from you!

Aloha (for the last time!) and Happy Spring performances! – Jan, Editor/Dance Wellness

“When a normal, healthy child is born, usually in the father’s compound, the women perform the nkwa to rejoice. Then…they sing and dance their way to the compounds of the mother’s kin to inform them of the joyous event through the dance-play, gathering additional dancers as it moves from compound to compound. In this nkwa, in which only married women who have given birth perform, the dancers highlight procreative body parts, birth exercises and child care gestures.” – page 164, Hanna JL, To Dance is Human: a theory of non-verbal communication, 1979. Rev. ed. 1987.

About Dancing Thru Pregnancy®

by Ann F. Cowlin MA, CSM, CCE, Founder/Director, DTP

From its inception in 1979, Dancing Thru Pregnancy® (DTP) has been inspired by this passage from Judith Lynne Hanna’s amazing text, in which she describes how the Ubakala of Nigeria “announce” the birth of a child. The dance serves a dual purpose – it tells of the birth, while it teaches the uninitiated how pregnancy and birth occur.

As a professional dancer, I long ago recognized the transformative power of dance to make experiences accessible. Through Hanna’s writing we see how dance is itself one of the earliest and most profound ways in which common human experiences are taught and learned. Contemporary culture often removes this type of learning from our environment.

Employing dance to help women approach birth has always struck me as an obvious first choice in preparing women for the physical, emotional, identity-forming and joyful process of birth. From its start – under the auspices of the West Virginia State Health Department’s Improved Pregnancy Outcome Project and the WVU Medical School Ob/Gyn Department – through its ongoing development at Yale University, DTP has undergone a perpetual choreographic process toward the most beneficial way to help women cope with this major life event.

In the intervening years, science and technology have reinforced our understanding of how non-verbal
learning happens. In the process, DTP has trained thousands of movement teachers and trainers about pregnancy and postpartum fitness, bringing activity to millions of moms-to-be worldwide. Our own programs, based at Yale, have a 14% cesarean rate over 35 years.

Mirror neurons are key to how empathy and understanding of experience are produced when people view and learn movement and gesture. The mere perception of an action sets off a low level firing of the neural pathway that executes the actions we are seeing. A most excellent discussion of mirror neurons appears in Acharya and Shukla’s article, Mirror Neurons: Enigma of the metaphysical modular brain, J Nat Sci Biol Med. 2012 Jul-Dec; 3(2): 118–124. The authors provide a thorough grounding in the history of how we have come to recognize that mirror neurons exist and how they work.

There are more arenas in which dance also shines as a preparation.

Appropriately choreographed, dance enables excellent physical fitness and includes all the elements of physical activity that research demonstrates are effective for optimal health in pregnancy and coping with the rigors of birth. From the perspective of exercise physiology, labor is an ultra-distance endurance event, followed by a strength test (birth), a physical recovery period, and 18 years or more of sleep deprivation.

What fitness elements contribute to a healthy pregnancy, powerful birth, and short- and long-term health for mom and baby?

Cardiovascular Fitness

Achieving cardiovascular endurance (aerobic fitness) is essential. There are so many benefits of aerobic fitness that a full recitation and hundreds of citations will not fit in this blog. Check DTP’s website Research pages and our Facebook page for references. But, to summarize: cardiovascular fitness improves implantation, enhances nutrient and oxygen delivery, reduces the incidence or severity of some pregnancy disorders, reduces the risk of fetal distress, reduces stress on maternal cardiac reserve while pushing, reduces the risk of cesarean, hastens recovery, helps maintain a healthy weight, alleviates anxiety, builds body-image confidence and enhances long term maternal and fetal health. The two forms of cardio or aerobic activity most often cited for effectiveness are running and aerobic dancing.

Strength & Flexibility

Two other elements of dance that are useful for pregnant, birthing and parenting moms are strength and flexibility. There are many movement actions derived from numerous dance forms that promote both power and elasticity in the muscles, connective tissue and skeletal structure. Some effective positions, movements and skills are shared with other disciplines: Traditional childbirth preparation, weight training, gymnastics, physical therapy, yoga, t’ai chi, pilates, boot camp, plyometrics, proprioceptor neuromuscular facilitation (PNF) techniques, Feldenkrais, Alexander, somatic therapies, posture training, etc.

Mind/Body Skills

An arena in which dance shines is building mind-body skills. Dancing relies on centering – aligning with gravity to produce the greatest efficiency for movement (balance) – along with breathing as a component of movement.

Align
Breathe
Focus on the breath
Sense the movement within

Then, allow the body to dance…

Centering also reduces the load on the nervous system and allows the brain to modulate into the parasympathetic nervous system state, also known as the relaxation response (autogenic training, hypnosis, meditation, progressive relaxation), the zone (athletes’ term), mindfulness (big in research presently), the trophotropic response (the scientific term), or the alpha state (the current fad term). Dancers sometimes refer to this as tuning in to the unconscious or flow. The actual coordination of motions, such as pushing, is primarily unconscious. The conscious piece is keeping a clear image of the goal, while allowing the body to work. This is the skill that allows the birthing mother to follow her body’s urges, flowing with the labor rather than trying to control what is going on. It gives her access to the cathartic and euphoric nature of birth as a dance.

Muscle Bonding

A part of the dance experience I truly enjoy is a phenomenon known as muscle bonding. When a group does vigorous physical activity together – dancing together, a sports team, a dance company – a special kind of bond forms. Part of the euphoria is this muscle bonding experience. The wonder of it is what the Ubakala women experience moving together to announce the birth of a child.

When I am dancing with my pregnant ladies and we are in the grove with our modified hip hop
routine, we are smiling at each other and feeling completely alive. We are breathing hard and working hard, but we are strong. My hope is always that when she senses that labor and birth are starting, a mom-to-be can get in that groove with the baby and support personnel. Birth becomes a dance.

A Caveat

No blog on pregnancy or birth is complete without a caveat. Every pregnancy and birth is unique. Sometimes things go wrong. But, mostly they go right! And, moms can optimize the experience. One of the greatest dangers to pregnancy and birth is sedentary behavior. Regular, vigorous, strength-inducing, flexibility gaining, mindfulness, relaxing, muscle bonding fun is available. Take advantage of it.

In future posts, we will discuss specific items that help the body and mind prepare for birth and motherhood.

Ann F. Cowlin is a movement specialist and dance instructor in the Yale University Department of Athletics, Physical Education and Recreation; coordinator of the Childbirth Education Program at the Yale Health Center; and former Assistant Clinical Professor in the Yale University School of Nursing. She founded Dancing Thru Pregnancy^®, Inc. in 1979, and is the author of Women’s Fitness Program Development, and chapters in Varney’s Midwifery (3^rd, 4^th & 5^th ed.) and Sports Nutrition (4^th ed.). A former professional ballet and modern dancer who received her MA in Dance from UCLA, she is a member of the International Association for Dance Medicine and Science (IADMS) and the Society for the Developmental Origins of Health and Disease (DOHaD).

Dance Medicine & Science In the UK

August 8, 2017 by 4dancers

Aloha to all!

Erin Sanchez is our guest contributor for the article below, and we are so pleased to post the information she has to offer. Erin is one of the strong voices in the current younger generation of dance medicine and science (DM&S) leaders. A US dancer who received her undergraduate degree in dance at the University of New Mexico, she then went to London to pursue her MsC in Dance Science at Trinity Laban Conservatoire of Music and Dance. She has remained in the UK, and currently is the Healthier Dancer Programme Manager at One Dance UK, and is also affiliated with the National Institute of Dance Medicine and Science (NIDMS). It has been my pleasure to get to know her, and her work, over the last five years.

The UK has become a leader in the dance medicine field internationally, and organizations such as One Dance UK and NIDMS have greatly advanced the efforts to bring DM&S information to the nationwide dance community. I know you will enjoy reading what they have accomplished in a relatively short amount of time…….Pass it on!!

(And a side note — you may see a few unfamiliar spellings of familiar words — that is British English, a slightly different version than what we use here in the US !)

Aloha -Jan

Jan Dunn, MS – Dance Wellness Editor

Healthier Dance Program Staff and NIDMS Staff — ***NIDMS/HDP Road Trip!***

by Erin Sanchez, MSc

One Dance UK’s Healthier Dancer Programme and the National Institute of Dance Medicine and Science

What is the Healthier Dancer Programme?

The Healthier Dancer Programme (HDP) was launched by One Dance UK in 1993 and is dedicated to improving the performance and physical and psychological health and wellbeing of dancers. We connect with dancers, teachers, choreographers, directors, administrators, healthcare practitioners (both medical and complimentary therapists), fitness professionals, researchers, academics, policy makers, (and anyone else who will listen!) in order to encourage open dialogue and collaborative working.

The National Institute of Dance Medicine and Science and a brief history of the HDP

The Healthier Dancer Programme is a part of the National Institute of Dance Medicine and Science (NIDMS). NIDMS was launched in 2012, and works to provide three key resources for the dance sector in the UK:

Affordable access for all dancers to high quality, evidence-based, dance-specific health care and dance science support services.
Research in dance to provide an evidence base for training, rehabilitation and healthcare in dance.
Education for dance, healthcare and research professionals.

NIDMS has successfully opened three free dance injury clinics within the UK’s National Health Service in London, Birmingham, and Bath. Research undertaken by NIDMS partners ranges across many subject areas including psychology, talent development, physiology, biomechanics, and strength and conditioning.

NIDMS Partners

NIDMS is a consortium of seven partners: The Royal Ballet, Birmingham Royal Ballet, One Dance UK, the Royal National Orthopaedic Hospital, Trinity Laban Conservatoire of Music and Dance, University of Birmingham, and University of Wolverhampton. It was conceived by Helen Laws, who began her work with One Dance UK’s HDP in 1997. Helen undertook the second national enquiry into dancers’ health and injury in the UK, and published the findings in Fit to Dance 2. Based on the findings regarding the rates and causes of injury and access to injury care, she then began a programme of educational ‘road shows,’ information sheets and books, all aimed at providing information for professional and student dancers and teachers which could hopefully reduce preventable injuries. Helen also initiated an online listing of qualified, dance-specific healthcare practitioners across the UK, our Healthcare Practitioners Directory.

Advisory groups of expert medical practitioners and physiotherapists working in dance companies and professional training programmes were assembled to inform the work of the HDP, and now form our Dance Medicine and Science Expert Panel. Partnerships were developed with dance teacher training organisations, medical and research institutions, and dance companies and schools, to help disseminate key research in dance medicine and science.

However, during this time the lack of affordable options for dance-specific health services became more and more obvious. Ms. Laws began fundraising for NIDMS in response to this need in 2007. Since 2012, NIDMS has successfully opened three free dance injury clinics within the UK’s National Health Service in London, Birmingham, and Bath. Research underpinning both training and healthcare undertaken by NIDMS partners ranges across many subject areas including psychology, talent development, physiology, biomechanics, and strength and conditioning.

Key moments in the development of the HDP

The HDP has become the education and dance sector advocacy arm of NIDMS’ work. Specifically, the HDP provides dissemination of advice and information, delivery of workshops, and talks and conferences aimed at those working in the training and professional dance sector. Our work exists solely to educate and empower dancers and those working with dancers at every level. Further education work is carried out in partnership with Trinity Laban Conservatoire for Music and Dance (London), and the Universities of Wolverhampton and Birmingham, who provide master’s and PhD level studies in dance science.

The Team

Dance Medicine Staff UK

The current team in the HDP is overseen by Helen Laws, the Head of Industry and Artist Support / NIDMS, and includes 3 team members: Claire Farmer and Stephanie De’ath, who are the Managers of NIDMS, and Erin Sanchez, the Manager of the Healthier Dancer Programme. There are also two emeritus team members, Dr Sarah Needham-Beck, who has just moved on to pursue a new position as a Research Fellow in the Occupational Performance Research Group at the University of Chichester, and Niamh Morrin, who is currently undertaking her PhD at Bucks New University.

Resources and information

NIDMS provides clinical care and strengthens the evidence base of dance medicine and science through research activities, as well as by taking a leadership role on postgraduate education in dance science. Dancers in the UK can access specialist dance injury clinics, which are entirely free, and provide for dancers’ medical needs throughout their injuries – this includes physiotherapy, MRI and bone scans and surgery, if necessary. NIDMS also provides preventative musculoskeletal and fitness screening and a health cash plan that provides up to £800 of injury care treatments, dental and optical cover, and GP, medical, counselling and legal helplines. Details on these services are available here.

One of the key activities of the HDP is Healthier Dancer Talks. These are educational workshops delivered to professional dancers, students, teachers and artistic and support professionals, and cover a broad range of topics – for example:

Nutrition and hydration
Rest
Overtraining
Psychology of injury
Dance specific conditioning
Interval and circuit training
Safe dance practice for teachers

In particular, the HDP has partnered with Safe in Dance International (SIDI) as a Registered Provider of courses leading to their Certificates for dancers and dance leaders. In addition, they have partnered with the University of Birmingham to provide training in developing healthy motivational climates, through the Empowering Dance training. To learn more about all our talks, visit this page.

Healthier Dancer Conferences

Another of our focused activities is an annual conference on a particular topic in dancers’ health. Our healthier dancer conferences are filmed and highlights, clips, interviews, and more are available via our YouTube channel. Our next conference in November 2017 will be a part of a conference season; 3 conferences, 2 days, 1 venue, and will feature specialist days for teachers, choreographers and health. The focus will be on mental health and the psychological and social aspects of injury.

Erin Sanchez is the Healthier Dancer Programme Manager at One Dance UK in London, and with her colleagues within the National Institute of Dance Medicine and Science, organises dance science and medicine focused conferences and workshops for dance professional and students, as well as researchers and healthcare practitioners; advocates to government, employers and stakeholders in the dance sector; and develops resources to support dancers’ knowledge of physical and psychological strategies for health, wellbeing and performance enhancement.

Erin’s main interests in dance medicine and science are psychology, talent development and mental health. She pursued a BA (Hons) in Dance and Sociology from the University of New Mexico while training as a dancer. She moved from the US to the UK in 2009 to pursue an MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in London.

She is a registered provider for Safe in Dance International (www.safeindance.com), a member of the International Association for Dance Medicine and Science (www.iadms.org), and holds the qualification in Safe and Effective Dance Practice. She also manages the Dance Psychology Network.

Sidelined?

March 17, 2017 by Rachel Hellwig

By Samantha Hope Galler

Louise in Kenneth MacMillan’s “Carousel” with Miami City Ballet. Daniel Azoulay.

Understanding Injuries

Since I began my career nearly 10 years ago, I have discovered that professional ballet dancers are among the strongest human beings. When I was 5 years in to my professional career, I met with a sports medicine doctor. During our conversation he said to me, “Well, it’s not like you are playing tackle football.” I could not believe it. His comment opened my eyes to how little people understood the dance world and the risks that come with it. Dancers put their careers on the line every day. We must deal with disappointments, but, most of all, we must deal with injuries. Discovering mental stamina while sidelined is the biggest challenge.

The Worst News

The worst news a dancer can receive is that she or he must hold off on what they live and breathe. Dance injuries come when you least expect them. Performing and rehearsing is going along so well and then all of a sudden things come to a screeching halt. It is a complete shock. Many injuries will take weeks, months, or even years to come back from. Emotional attitudes are compromised and difficulties arise from being sidelined. Fortunately, dancers today have access to advanced dance and sports medicine doctors who will answer any questions they have regarding their path to recovery. Depending on the severity of an injury, movement may be limited. This can force a dancer to be away from the studio for quite some time. Other injuries may allow a dancer to continue some normal activity like watching rehearsals or marking in the back of the studio. It is common to find a young dancer joining a company and sidelined early on from an overuse injury. A professional dancer’s schedule can be drastically different from that of a student and they may not be used to it. I have learned that a dancer’s first injury is a crucial learning experience. It was for me. It is the first time a dancer is forced to sit out, cross train, and build back mental and physical strength. There is a significant amount of time to reflect on yourself and any recent experiences. Reflection can be a positive experience, especially when the person is in their most vulnerable state. Reflecting can build a dancer’s confidence while they discover new ways to approach goals. This is when a dancer finds their deepest strength to pull through.

Learning to Cope

Mental stamina and mental clarity are two crucial elements dancers require to tackle their careers. Interestingly enough, our training prepares us for injuries in more ways than one. It is a matter of finding the patience we need to keep our head in the game. Most professional dancers are accustomed to spending 7-8 hours a day rehearsing. It can be quite a shock when all of a sudden you do not have that schedule anymore. Time seems to go by more slowly because the schedule is quieter. It is important to fill that schedule with activities that keep the mind and body alert. A portion of time can be spent working with a sports psychologist to learn how to compartmentalize, gain focus, and grasp the situation. Feeding the mind with positive thoughts and meditating has helped me find trust and confidence. I really have to believe there is a master plan behind it all.

Back to Work

Visualization plays a key role in my return. As I approach the weeks before returning to the studio, I begin to visualize my pirouettes and jumps. Sometimes I watch rehearsals just to become accustomed to the sounds of the pointe shoe hitting the floor. In addition, I find time to research and study ballet videos. Even though injuries stop us from being able to physically practice, we can still keep our minds going. Watching these videos reminds the mind what the movements feel like without actually doing them. All of these practices guide us in the right direction. When the chance comes to finally step back into the studio, it is important to feel ready. I find comfort in knowing what muscles I can and cannot move. This helps me narrow down a productive workout routine to stay into shape. Although it is not easy to work out equivalently to a daily rehearsal schedule, two or three hours in the gym can make a huge difference. The more I do while recovering the more I can focus on the main issue once I am given the ok to move on. My workouts typically include reformer sessions, gyrotonics, biking, and swimming as permitted. My advice for those coming back from an injury is to try all different forms of cross training. If you do Pilates all the time, make sure to throw in a few sessions of swimming to build stamina in a different way. This career is first and foremost visual so it is important to understand how to make an appropriate comeback so that you can feel confident with your progress once you are in the studio or on stage. Be ready to face anything that comes your way.

Enhance Your Dancing With The Alexander Technique

January 11, 2017 by 4dancers

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I’m very pleased to bring you this current article, on The Alexander Technique, from a longtime dance / dance medicine colleague of mine, Nada Diachenko, faculty in the Dept. of Theatre and Dance at University of Colorado, Boulder.

Nada was a professional dancer in New York for many years, primarily with Erick Hawkins, before she went into the academic dance world. We first met at the American Dance Festival (Durham, NC) 30+ years ago, and formed a lasting professional and personal friendship based on our mutual interest in dancers’ well-being and health. Over the years we have had many opportunities to work together at CU-Boulder, teaching Dance Wellness course offerings and starting a Dance Wellness Screening Program, along with Pilates.

Nada’s particular focus for many years has been The Alexander Technique (AT) – teaching dancers how this particular neuromuscular re-education practice can help facilitate more comfortable and productive movement in their bodies, both in dance and daily life. I have experienced AT many times over the years, both with Nada and other practitioners, and always strive to incorporate many of the principles daily, to allow more ease in my body movements. I’m so pleased that she offered to write this article for us.
Nada has included some excellent links for further reading / researching on AT – enjoy and pass it on!

– Jan Dunn, MS, Dance Wellness Editor

by Nada Diachenko

Do you ever wonder why you get the same correction year after year?

Or why you continue to work on your turns and they don’t get better?

And maybe you struggle with learning a new style and can’t figure out how to make that easier.

Personal History

Honestly, if I had asked myself those questions as a young dancer I would have had to answer yes. In retrospect, I wish I had studied the Alexander Technique (AT) at 19 when I first discovered an AT book at a NYC bookstore. That book sat on my shelf for years. When I finally had a series of weekly lessons, I discovered ease, freedom of movement, balance, and an overall sense of organization. Then I read that book, Body Learning, by Michael Gelb which led me on a life changing journey as a dancer and teacher.

It wasn’t until I moved to Colorado after a 20 year career in NYC as a professional dancer that I began to understand the power of the technique.

While on faculty at the University of Colorado (CU), I realized I wanted to help dancers go deeper in changing inefficient movement habits. It also became clear to me that I needed AT for myself in order to continue to move and dance into the future with less strain and pain.

So I trained and became a certified AT teacher. I learned skills and gained tools that helped me change some of my very strong compensation patterns from injuries and imbalances from my scoliosis. Incorporating these skills and tools that helped me so much, I developed AT courses for undergraduate and graduate students at CU. One of their basic requirements is to read Body Learning. [Read more…]