Dance Longevity's topics - tribe.net

Dance New England Dance Camp 2009

aileen — Fri, 03 Jul 2009 21:57:29 GMT

Our 30th year!

Dance Camp 2009 will be at Camp Robin Hood August 14 - 25th, in Freedom, NH!

This yearly community dance retreat has been going since 1980

www.dne.org/camp/2009/

Camp offers a wide variety of classes including contact, African dance and drum, yoga, partner dance, music, healing arts, theater, and so much more! Much more.

Very affordable for individuals and for family vacationing! We operate on a sliding scale for camp fees, based on registrants' income.

Registration ongoing now!

Late Fees: June 15: $25 / July 6: $50 / July 27: $75.

For more information on DNE, our history and Mission Statement, please go to dne.org

To contact our registrar Samantha for additional questions: registrar at dne dot org

posted in Dance Longevity - 0 replies

Thoughts on "SuperStars of Dance"!

Wed, 07 Jan 2009 05:04:44 GMT

That sure beats having some of those poor dancers on "Dancing With The Stars"! Good actors do not necessarily make good dancers, and vice-versa(with some notable exceptions). Just watch the movie "Center Stage", and you will know what I am talking about. The dancing in that movie was awesome. There were quite a few renowned dancers, in that movie, but they couldn't act.

Links & Sources:

http://www.rottentomatoes.com/m/center_stage/

http://abc.go.com/primetime/dancingwiththestars/index?pn=index

http://en.wikipedia.org/wiki/Superstars_of_dance

posted in Dance Longevity - 0 replies

Other Helpful Forms Of Dance!

Tue, 06 Jan 2009 04:23:43 GMT

Attended a Modern Dance class tonight. It was awesome! The Ballet & Jazz experience helped! A lot of fun!

I had attended a class at this studio, Contemporary Dance Theatre, in Cincinnati, Ohio.
Link:www.cdt-dance.org/about

Interesting Article from Wikipedia on "Modern Dance"!
Link:http://en.wikipedia.org/wiki/Modern_Dance

posted in Dance Longevity - 0 replies

Hip Bursitis

Khara_Mia — Mon, 15 Dec 2008 21:56:22 GMT

Has anyone ever dealt with hip bursitis? How long does it last and what stretches did you to alleviate it? I've had this issue for about 2 weeks now. It's painful and it feels like it's throwing off my alignment. I've done research on it, but I feel that I'd benefit from a dancer's perspective on things. Any help would be greatly appreciated.

Thanks!!

posted in Dance Longevity - 1 reply

a well-rounded physical practice

darshandances — Mon, 15 Dec 2008 17:16:42 GMT

Do you have one?
It can be difficult to create it in these times. We are so busy, and it seems necessary to focus our passions. But I have found that my practice does not feel complete unless it includes three elements: an alignment and flexibility component, a strength and discipline component, and an endurance or cardio component. Depending on the way I am practicing, dance usually falls gently into perhaps the first and third, but may not necessarily complete them. Dance also adds the necessary element of organic change. Because a body tires of any practice too repetitive, and such a practice may cease to provide all the benefits of a changing regimen.
Because time does seem limited, I find that generally my practice settles into a couple of these areas, say flexibility and strength plus dance, and will be missing the third, often the cardio element. I think as long as I cycle gently back through, making sure to cover the three over a period of time, the practice is still balanced. Indeed, it does tend to be the cardio element that falls through for me, and I can feel the difference. I miss a certain sense of lightness. Often in winter I miss it. It took me a while, early in my dance, to realize that for me dance is generally not enough to cover the cardio component, except perhaps during the times when I am dancing for hours every day. When dance is the discipline component, and I am working on technique and line, repeating sections, it is generally great exercise but not complete cardio. So for most of us most of the time, we should remember that we want to add some other satisfying cardio component and see how it makes us feel.

posted in Dance Longevity - 1 reply

long live tribe

darshandances — Sun, 14 Sep 2008 16:01:19 GMT

I am so pleased that tribe is still with us! Folks were thinking over the weekend that it had gone... But I have so enjoyed the conversations we have had here, and returned to over time. Such a thought provoking site, and I have been grateful to connect with you all here.

posted in Dance Longevity - 2 replies

Strength

darshandances — Mon, 13 Oct 2008 16:33:54 GMT

Here's a question for you: What is strength? In general, or in the context of dance...

posted in Dance Longevity - 2 replies

What is arthrosis?

Astrid_Seftali — Mon, 15 Sep 2008 15:20:27 GMT

What on earth is arthrosis? I showed my cousin a thickened joint on my second toe and she told me we now both have arthrosis... I had never heard of that. She says it is from overexertion of the joint and I should wear an orthopedic brace or something in bed. I don't think, I will find one in Tokyo (just got back from Germany, she told me this the day before I left). Any adice? she also said, that thickening of the bands can only be removed with an operation. Is this true?

posted in Dance Longevity - 1 reply

beautiful curvaceous spine

darshandances — Sat, 14 Jan 2006 08:36:12 GMT

On another tribe someone was talking about the importance of maintaining the curve of the lumbar spine/low back. Mentioning that injury can be caused by too much tucking under of the pelvis discouraging the natural curvature. What a subtle balance, and so different for every body, is that snaking map of curves the spine. In my teaching and even just my self talk, I do offer reminders to lift the navel up and in because I believe in the energy that comes from that engagement of the core. Also, I have seen the tendency for time to curve the lumbar spine deeper and weaken the lower abs, and I try to offset that. Finally, it seems like most dancers lean towards settling into swayback in forgetfulness, and I know this can compromise the wellness and balance of the spinal system. I'm wondering about your spine: which way do you curve when you get tired or forget? I want to know if this feeling I have is founded, that more dancers err to the increased curve. In any case, we need to find the place where our own spinal system feels strong, honoring our natural curve, and strengthen from there.

posted in Dance Longevity - 12 replies

habit vs ritual

darshandances — Sun, 22 Jun 2008 14:56:28 GMT

Speaking of energy, here is an interesting exploration:
On the subway recently I saw a tattoo on a guy's arm that read 'Habit is a great deadener.'
A great jumping off point for conversation! I've had a few on it. Contemplate for a moment...
I thought it would be important first to consider the difference between habit and ritual. In the context of the tattoo, I think a habit is an action that we repeat blindly, while a ritual must be felt with full presence.
And it seems right to figure that the former can be an energy leak, while the latter will usually be an energy boost.
Thoughts?

posted in Dance Longevity - 8 replies

career longevity? How to dance forever?

ChristyFricks — Mon, 31 Jul 2006 18:51:34 GMT

After 11 years of dancing off and on I know I want to be involved in bellydance for a long long time. So I've switched my focus lately to really thinking about what parts of bellydance I really feel passionate about. And I'm focusing only on those areas right now.

For instance: I love doing research on the history of dance and giving lectures at the local Univ.. I just started a tribal fusion troupe that is such a joy to dance with. I'm offering workshops and doing solo performances with props. And I love teaching.

But, I"ve decided to abandon most of my restaurant type gigs. And I want to really limit the shows/events that I personally organize and sponsor.

I'm hoping this will help me not burn out on dance. And I'd like to start working on building lifelong dance projects and achievements.
What I'm interestedin is how people achieve career longevity. Not neccesarily fame or money, just people who continue to dance for many years.

I'm rambling now..... :-)

posted in Dance Longevity - 28 replies

a strong and growing practice

darshandances — Tue, 17 Jun 2008 08:02:00 GMT

Now that I have been working for a while in the sports medicine office, administering exercise protocols for all manner of patients, from competing athletes to elderly patients with ripe syndromes and fresh surgeries, and so many in between--I have added an aspect to my personal menu for a complete and organic physical practice. Now I've known innately for already a hundred years that my practice would need a)some flexibility training/stretching b)some cardio work, heartbeat pushing to clean out the energy lines c)some spiritual expression and discipline such as dance/martial arts... I also like to add resistance training in for stronger bones and toning muscles not as much used in dance.
Now I have added another simple element: bits of physical therapy interspersed throughout.
I become more aware of body elements that are more vulnerable to imbalance, and simple exercises that can help rebalance systems.
1) Core exercises can be done every day. Most of us know that by now; we don't necessarily do it. It doesn't just mean crunches. The core goes all the way around the spine, and just as important as neutral-neck crunches are opposite arm-opposite leg reaching to level on all 4's with a stabilized neutral spine ie you can balance a football on your back and it doesn't fall off... Also reaching opposites from belly down position, and of course 30-60 second plank holds are always good. Finally, squats done with a co-contracted core and outer thighs engaged are a good stabilizer as well. I try to think around the spine, tighten up, and do a couple of these and others all by themselves at least a few times a week. If I feel my glutes are getting weak or my hipflexors tight, I will certainly add bridges with neutral spine and glute focus rather than hamstring tightness to the list.
2) For the knees and hips, some basics: Simple straight leg lifts in every direction: lying on back lift to level of other bent knee; on side, lift top leg one set, then bottom leg, and repeat. Keep heel and toes level for these side raises, and leg aligned with body. And finally lifting straight leg from belly down position. Keeping the foot flexed, a couple sets of all 4 of these will awaken and strengthen muscles on all sides of pelvis and knee. A more intensive knee exercise involves a pillow under the knee (big one if possible). Just press the knee down on the pillow, trying to straighten the knee. Step ups and lunges, and things that remind our body to generally keep the weight behind the toes to avoid loading the knees. Then, nice long stretches of the hamstring (ie lie on back and pull relaxed straight leg up with a towel, hold 30 sec), and the IT band at outer thigh (same towel hold, pull straight leg down past other foot and across body, not too high, to hip level at side or wherever the stretch is felt. Some people like to use the foam roller to roll out IT band tightness. Not a bad idea; those guys get tight and knees and hips don't like it...)
3) Rotator cuffs: surprise! It seems that certain practices that make for beautiful dance posture can lead to decreased scapular mobility (the normal range of motion involving the upper arm and shoulder blade is called 'rhythm...'), rhomboid dominance, and serratus anterior weakness. Lying on the ball or bench and pulling a weight down from overhead to the belly works the serratus. So does a straight arm push up, just lifting and lowering the ribcage from plank position. What makes the blades move apart. Strong rhomboids, good for dance are also good for the cuffs though, don't get me wrong... strong chest lift holds are good for your shoulders; just make sure when you aren't dancing that your shoulder blades can move when you raise your arms, as lovely as it is when they don't... Then, here's a great one: rotations themselves... you need a band anchored to something at your side, unless you lie on the table on your side and lift a light weight. Elbow stays directly below shoulder, at side of body, arm stays 90 deg... For the lower arm/closest to resistance, start with fist out in front (thumb up) and rotate across belly without moving elbow. For top arm/farther from resistance, start with forearm across belly and pull to coffee cup position out in front: internal and external rotation. Do make sure for these that shoulder blades are down and in in back = chest lifted & shoulders rolled open. Two handy stretches to explore without pain are, touch the thumb and forefinger gracefully to the doorway or wall corner just above head level. Open the shoulder and try to lengthen the space between the point of the deltoid muscle (halfway between shoulder tip and outer elbow) and the nipple... External rotation with abduction... then, take a towel behind the back with one hand, pull the other end over opposite shoulder to front and pull gently with other hand: internal rotation. We should make sure that we care for the rotator cuffs with all the bags we carry and other crazy things we don't even realize we do.
So many things, we really must listen to the body, be as patient and intuitive as we can, and ask someone for insight from time to time, especially if we have any discomfort.
I'll finish this stream with one more: let's remember to warm up and stretch our calves well. Particularly if we wear heels, we have to be particularly patient and thorough with this. After standing at a rooftop party in heels for five hours one night, someone we all know tore a calf muscle doing spinning kicks in capoeira the next day, after an hour of class!
Possibly could have been prevented; at least now, our friend is more aware of a vulnerability in her makeup. Therapy program is going well and friend is back in action, but what a lesson in how the body works! Healing feels great (sometimes itches and aches...), but getting stronger and more aware of the body's signals and requests is even better when possible.
Great Spirit, please continue to grant us the gentle lessons, and let us be present enough to listen and become wise...

posted in Dance Longevity - 4 replies

left/right body/brain balancing

darshandances — Tue, 03 Jan 2006 02:29:46 GMT

I'm wondering if you've noticed any activities in your dance practice and even just your daily life that are predominantly left- or right- side dominant. For most of us writing is one. But what about in dance or yoga? Are there tendencies to balance to one side? If so, is there anything you do in your balancing practice to even this out?
I had noticed that my dance and yoga practices had places where they were right side dominant. I even noticed that at times I was right eye dominant. I've tried to be aware of this and set the default in many instances on left in my own practice.
I was reading a book called The Alphabet vs the Goddess that introduced a really interesting theory about the effect of the early development of language on brain side-dominance and specifically the shift of focus to left brain (right body) dominance and how it may have effected patriarchical society.
I found it intriguing. In any case, it seems like a good idea to keep changing the defaults we set in our brains in order to attain and maintain our highest level of awareness. Especially considering the percentage of our brain we purportedly actively use. Might as well exercise the thing!

posted in Dance Longevity - 15 replies

Dance, Indian Style

feiruz_al-bnefsagia — Fri, 11 Apr 2008 20:21:12 GMT

From NewsWeek: http://www.newsweek.com/id/131556?from=rss

Aniruddha Knight is the ninth generation of professional Indian dancers. But he's the first of his lineage who is half-American--and male.

He is tall, slim, and strikingly long limbed. Dressed in jewel-colored silk tunics and antique ornaments that are family heirlooms, he looks more like a handsome young maharaja than a traditional South Indian dancer. But at 27, Aniruddha Knight is the ninth generation heir of a 200-year-old family of professional dancers and musicians from Chennai, India. He is also half American. His father, Douglas Knight, married into this artistically rich family when he studied classical drumming on a South Indian mridangam at Wesleyan University, where Aniruddha's late grandmother--T. Balasaraswati, India's prima danseuse--and her two musician brothers had taught since 1962. This spring, Knight is touring the Northeast with his six-member musical ensemble (including his father) and new works in a program entitled "From the Heart of a Tradition."

That tradition is bharat natyam, one of India's six major--and distinct--classical dance styles. It is taught to every middle-class girl in India and now, with immigrant teachers and establishment of dance schools across suburban America, it is vigorously practiced by Indians and Americans alike. However, the version that Knight dances is stylistically unique. It originated as a temple offering performed by young women who were dedicated to serving God by retelling ancient Hindu myths through music and dance in the temple courtyard. It was art in the service of religion, an act of worship, not popular entertainment. Eventually, some of the dancers were inducted by local princely families into becoming court performers. A stigma attached to the professional dancer that only disappeared when dance was recognized as a national art form at the time of India's independence in 1947, when the patronage of all dancers and musicians was taken over and sanctified by the secular government.

It was in this climate that Balasaraswati was recognized as the greatest Indian dancer of all time. Dance for Knight, as for his grandmother, is spontaneous, not rehearsed as the music is: as the ensemble sings a composition, he improvises movements; he follows the music, even joins in. He takes the lead, giving his accompanists a cue to move to the next line of text. In short, there is constant communication between dancer and the accompanists. The star of the show is first the music, then the dancer, who still uses the old compositions handed down as prayer, a love song to God. As Bala describes it, the aim is to create joy through beauty--a transporting ecstatic experience that is shared by dancer and audience through melody, rhythm and mime. Done right, the dancer could transport the audience through a near out-of-body experience into a rapturous state.

Knight's mother, Lakshmi, Balasaraswati's only child and longtime vocal accompanist, died of cancer in 2001. A highly trained singer, she did not learn to dance until late in life when she realized that this rare art would die out if she did not carry on the tradition. She became Balasarasati's principal pupil and, before Aniruddha was born, was a well-known dancer accompanied onstage by her mother who sang for her in an ironic role reversal. Lakshmi and Douglas raised the infant Ani in their idyllic New Jersey home on the wooded banks of a river, surrounded by music at all times: his father played the mridangam, his mother sang and danced in her puja room (a shrine devoted to the family gods). She taught a few handpicked American students: India's ancient arts were traditionally taught within the family, not to outsiders dropping in for an occasional lesson. Learning was through constant osmosis, an absorption of culture in the guru's home. "It is second nature to me," Knight says. "My mother performed onstage when she was seven months pregnant with me."

Knight is fluent in Tamil, his mother's language, and spends half a year in India, performing and learning from aunts and cousins who had worked with his mother. He has established a school and an archive of family history in Chennai. (The Smithsonian boasts an archive of Bala's performances, too.) It houses all the records of his grandmother's performances. "The pride of place is held by my great great grandmother's veena [a stringed instrument like a sitar]," he says. "She played it all her life, it's what she valued most. It's 175 years old, we revere it." Then he proudly recounts: "She was the first woman to play publicly, she composed thousands of pieces of music and played them for stalwarts in the profession. She changed South Indian music." Thinking back to these latest four generations of women whose mantle has fallen upon him, he feels blessed. Of his dual Indo-American heritage--when he's not in India, he's performing in such prestigious U.S. venues as Jacob's Pillow in Massachusetts and New York's Asia Society--he says: "It's isolating to identify with two cultures, it creates a split personality. I can never be just one or the other, it's a heartwrenching lonely process. But then, what I have, many don't have." Any regrets? "Yes, I lost my mother who was my friend and my teacher at a critical age. I miss her."

Critics invariably (and unfairly) compare Knight with his illustrious grandmother--at the peak of her career, after she had mastered her famed abhinaya (mime). But Knight is still young, and if his mastery of gesture, rhythm and movement is any indication, that fine abhinaya will come with maturity. What he has first to plumb is the full power of his strong masculinity, for which there is no precedent, as there are no male dancers in his ancestry. In the meantime, audiences are mesmerized by the beauty of his clean and precise movements. That he sings while he dances, anchors him firmly in the Balasaraswati tradition.

posted in Dance Longevity - 0 replies

Fascia massage

judithchestnut — Fri, 29 Feb 2008 06:00:29 GMT

Connective tissue massage

More info here

http://tribes.tribe.net/danceposters/thread/ea1862d3-e038-4989-a89a-ce2cc217c61e

and/or here

http://www.ausdancensw.com.au/templates/tp_ThisPage.asp?pid=977&mpid=14&ptid=2&bcp=0

posted in Dance Longevity - 0 replies

new tribe

Astrid_Seftali — Tue, 05 Feb 2008 12:13:30 GMT

I created a new tribe for Arabian love poems. You are invited to join!
http://tribes.tribe.net/arabianlovepoems

posted in Dance Longevity - 0 replies

help! lateral hip pain- iliotibial band inflamed and show coming up

Astrid_Seftali — Sat, 08 Dec 2007 03:41:34 GMT

I need some urgent help, we have a bellydance show show coming up tomorrow and I have been waiting for this pain in my right hip to subside and it won't. I read up on it and found that it must be the iliotibial band that hurts, the part that runs from the upper ridge of the pelvic bone along the outside of the hip down towards the knee. I have felt pain on the outside of my hip and when it get worse, running around toward the inside of the groin for at least two weeks now. My solo tomorrow involves a number of grand plies (squats with knees pointing out) and every time I go down that part hurts and hinders my movement.
Two days ago I had a massage and was stretched for this and the therapist told me not to apply any heat to the area for two days (no hot baths, no lying on lava stones, which was exactly what I had been planning to do for relief = ( ), and he glued tape over the area for support. This morning I got up and it still hurts ! And I wonder whether not applying heat was really a good idea.
I have been taking some pain killers and glucosamine/chondroithin off and on and the pain killers help, but I am afraid I might overexert and injure muyself more if I dance on pain killers, and they might put a burden on my heart (aspirin) and give me shortness of breath while I do, isn't it?
If you have any advice, please post a.s.a.p, thank you !
posted by:

posted in Dance Longevity - 5 replies

Does poetry help you dance?

judithchestnut — Sat, 04 Aug 2007 03:03:54 GMT

The Last Dance by May Riley Smith

Midnight is past, and it is time to go:
Yet still I linger in the banquet hall
And with the dancers clap my hands and call
For one waltz more, although my step lags slow,
And my dark coachman waits for me I know
Upon the lowest stair.

This is part of a poem from Dance in Poetry by Alkis Raftis. I think this is a poignant poem suggesting that the dancer is frail and that she thinks her dancing days will be over before she would like them to be.

Are there any poems that help you to dance that you can post here?

posted in Dance Longevity - 4 replies

Nutrition and supplements

Irina — Thu, 14 Jun 2007 15:51:04 GMT

With all our busy schedules and work and school and running around from dance class to yoga and to late-night gigs (this goes without even mentioning normal life errands) – I am sure that eating properly is a challenge for many of us. Food that’s full of nutrients and vitamins is often pricy when eating out, and dragging your own lunches from home is often not practical – I guess this is more of a problem for the urban dancers. (Not eating should not be an option, considering that we need to have energy to do everything we need to do and practice dance with dedication and concentration)

I see this as a serious problem, since nutrients are obviously necessary to our health and can prevent injuries and help us dance for the rest of our lives. So the question that I have is this: what kind of vitamins/ nutritional supplements – if any - do you live by? Do you feel there is something that actually helps you feel better, or helps you focus or … for example – is a good way to protect joints…? This is a very broad question :) but any input is welcome. I am not looking for a quick-fix-magic-pill, but rather for things that can help where our diets fall short. Thoughts?

posted in Dance Longevity - 4 replies

lordosis correction- cross post!

joyrochelle — Mon, 09 Jul 2007 16:43:33 GMT

Allo all-- I have been battlling a lordosis and all the associated aches, pains and grumbles for some time-- i am really getting into my pilates practice, but would love some futher input as to how to correct this spinal misalignment!

Thanks in advance!
peace- Joy

posted in Dance Longevity - 5 replies

Pilates Mat Certification- for new teachers and audit!

CarolSharon — Wed, 25 Apr 2007 17:30:17 GMT

Welcome new teachers and practicioners interested in auditing!

You will be able to teach ALL matwork levels with confidence after completing this 145-hour certification with Carol LeMaitre and Sharon Gallagher, who bring 15 years of combined teaching experience.

Having studied under such Pilates greats and rehab specialists as Ellie Herman, Lizz Roman, Eric Franklin (Franklin Method), Kathy Stanford Grant, Jennifer Stacey, and Liz Koch, Carol and Sharon share the wisdom of the Pilates elders and innovation of modern modalities.

Course Details: Mat Certification
*Rate: $1,250, (**reduced rate available for audit**)
*Dates: May 4, 5, 18, 19, June 1, 2, 8, 9, 22, 23 2007.
Fridays 5pm-7pm and Saturdays 2pm-6pm
Test Date: September 29th

* 30 hours lecture
10 hours mat classes
25 hours each observation and self-practice
50 hours practice teaching
5 hours review and testing

* Understand fundamental Pilates principles and their matwork applications.

* Apply functional anatomy and kinesiology theory in connecting core muscles and pelvic floor engagement and initiation during movement execution.

* Expertly modify exercises for clients with special needs.

* Practice teaching group classes under Carol and Sharon's supervision, including follow-up discussion.

* Supplemental reading included:
Return to Life, Joseph Pilates
Anatomy of Movement, Blandine Calais-Germain

Interested?? Questions?? Wanna sign up???

Contact: Sanchez Street Studios
1589 Sanchez Street, SF
www.sanchezstreetstudios.com
sanchezteachertraining@gmail.com

To register call: 415-648-4911

posted in Dance Longevity - 1 reply

Help! Back Injury

Alex — Tue, 29 May 2007 13:24:11 GMT

Hello everybody,
I need feedback on back injury problems. I've been having lower back pain every now and then for the past three years, but it's been six months now since I started feeling pain again and it's hasn't gotten better. I used to go to a chiropractor, but this time around didn't work to ease the pain. I went to physical therapy and after nine sessions of ultrasound, heating pads and massage, I still wake up in the morning feeling stiffness in the lower back, and I haven't been able to dance, train, take classes and workout the way I used to. This week I started working out on my own 'cause I wasn't feeling well not doing anything, so I started walking 45mins to an hour, and jogging the last 5 to 7 mins of the route. I'm also planning on taking beginners yoga to start stretching out again (yes, I did lost a lot of flexibility), just once or twice a week depending on my body's feedback. Anyways people, I need feedback and support, it's not easy been lazy just 'cause it hurts, and I miss dancing (a hell lot). Thanks 4 ur attention, and as yogis say... Namaste, peace and happiness on earth.

posted in Dance Longevity - 3 replies

Pop!!

torchsong — Wed, 14 Mar 2007 19:22:58 GMT

I have this odd popping going on in my back every time I do an omi, figure 8 up or down, forward or back. Mostly circular movements. Hip drops and linear movements do not seem to trigger it. It is not painful but it is extremely distracting. My chiropractor seems to think it has something to do with where the hip connects to the spine which I think makes a certain amount of sense. It does seem like the popping is perhaps right next to the spine rather than the spine itself. He has no idea what to do for it. My teacher has never had any students with the problem before.

Anyone else have this happen to them? I'd really like to get rid of this.

Thanks!

Jennifer

posted in Dance Longevity - 2 replies

goals for the new year

darshandances — Mon, 25 Dec 2006 18:56:21 GMT

What do you think?

I want to overhaul my organizational and filing systems, to help me become a better business person, and a more freely evolving artist, research and action at my fingertips, able to use the resources at hand, gently skeptical of perceived limitations, moving forward into unchartered territory...

posted in Dance Longevity - 2 replies

balancing posture paradigms over time

darshandances — Tue, 23 May 2006 07:31:16 GMT

I've been noticing how in the world of dance and body awareness we pass through times where a certain postural adjustment will be in fashion. Consider the pelvic tuck. We've really been working this one for the past several years, and for good reason: to offset the swayback tendencies of tired backs and weak abs that came from the era before. So we discovered the invaluable pelvic tuck and put it into our practices most universally, and we found different ways of achieving it and we perfected it... At some point we discover that there are actually problems that can arise from too much pelvic tuck, or a tuck not initiated properly for a particular body type, and people begin to find that certain pelvic tuck tendencies can lead to certain structural problems. Too much focus on the tuck can result in tight glutes and sacral joint, psoas strain, flattening of the healthy lumbar curve, a pressing forward of the upper femur bone which can cause various issues in the hip and knee joints and elsewhere. So the point is, every body is a little different, and we have to be so aware of our own growth and structure, trying to find an active and growing balance between strength and flexibility in our bodies as we make upon them the demands of the day. Don't get me wrong: I encourage the pelvic tuck for most people; it should be initiated by the abs, and balanced by that inward spiraling of the thigh bones that blossoms the booty open in the back in opposition to the tuck. There in that opposition lies a healthy vibrancy that I think we can strive to attain and be comfortable with.

posted in Dance Longevity - 6 replies

control vs softness

darshandances — Mon, 25 Sep 2006 19:28:27 GMT

I recently had a rolfing session. It was great. My rolfer watched me walk, and she noted that she wanted to see more movement in my lower middle back. I was surprised in a way, because I figured that as a dancer/athlete/yogini, it would be apparent that I am flexible in there. But in observing the feeling of my own walk with that in mind I begin to see that as a trained dancer control of the body can begin to be my first instinct. I know what position I think for instance that the curves of my spine should feel like, since I am so often focused on just that; but on further thought it shouldn't stay in that one position invariably. Obviously in dance, walking, movoment, the spine should shift healthily around that ideal neutral posture. There should be easy, gently sexy movement in the spine, as I walk, and this will actually strengthen my posture awareness and keep it from getting rigid.

posted in Dance Longevity - 1 reply

Darshan and Raquy & the Cavemen workshop Info- UPDATED!

joyrochelle — Tue, 24 Oct 2006 00:41:22 GMT

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Joydances & Adina’s Blessings Presents….

Two of the Hottest Talents in the
New York City Belly Dance Fusion Scene!

A two hour Tribal Fusion Belly Dance workshop with Darshan

Darshan (Cammi Vance) has an extensive and very exciting biography which includes her notable performing with American Tribal Style innovators Gypsy Caravan in Portland, Oregon, her solo dance creations that blend Turkish and Egyptian Cabaret with Samba, Flamenco and yoga, and now her third year as a member of the intriguing Dalia Carella Dance Collective in New York City.

And a two hour mixed level Middle Eastern drumming workshop with Raquy Danzinger

Raquy Danziger is one of the most popular performers, teachers and composers of Middle Eastern Drumming today. Audiences worldwide are not only surprised by this young woman from America, but captivated by her virtuosity, profound musicality and the passion she brings to performances. Her varied repertoire includes traditional Middle Eastern music as well as her own compositions. The highlight of her career was in March 2005 when Raquy was invited by the most famous drummer in Egypt, Saiid El Artist to perform as a soloist with his troupe.

WHoWhatWhere?!: Sunday, November 19th, at the Tranquility Wellness Spa
at 88 Noble Avenue in Milford, CT:
www.tranquilitywellness-spa.com

∞Dance workshop from 2:oopm-4:oopm : $4o.oo /class
∞Drum workshop 5:oopm- 7:oopm : $4o.oo /class
∞Hafla with live music, noshing, quaffing, dancing (duh) & generally a grand old time
starts at 73opm and ends round about 93opm : $5.oo entrance

Please Inquire about performing at our hafla and submit payment with registration to:

Joy Herbst at 62 Far Horizons Drive, Shelton, CT 06484
joydance@joydances.com

posted in Dance Longevity - 0 replies

Building up arms

natalieb — Tue, 21 Feb 2006 16:18:07 GMT

I keep seeing my little stick arms in pictures and in videos and I would like to bulk them up a little bit. What exercises to people recommend?

posted in Dance Longevity - 10 replies

healthy weight loss

joyrochelle — Fri, 04 Aug 2006 01:22:54 GMT

Well, my weight went upo a wee bit again, and it all settles in my abdomen- which is so very inflattering on me due to my body shape--- I do know what I need to do- I guess i need to get my ass in the gym to do some chronic cardio slavery ( ugh- so boring) cuz I dont get to dance classes enough to get myself all cardio'd up- (maybe I could steal jennifer Beals workout from Flashdance?) need to moderate my food choices again- been eatin gout of ...whatever.... so i am trying to get back to mindful eating, eating slowly so that when i am full i stop, and consider what i am eating....

But i sure would like to commiserate here with some ladies who are on the same boat or have some wisdom to offer me.

posted in Dance Longevity - 1 reply

to honor the knees

darshandances — Fri, 27 Jan 2006 03:07:01 GMT

I've been hearing about knees a lot lately. Who here knows some good approaches to care of the knees, especially injury prevention?
Things I've noticed: Keep the knees from bending past the toes with full weight on is a good guideline. Disperse the weight when possible by reaching the hips back or firmly engaging the entire thigh and core. the Awkward series of postures in Bikram Yoga feel effective to me in developing the knee practice, but only if given real complete concentration. There are three sections in the Bikram format, all with feet aligned under knees under hipjoints. Of course in dance there will probably be times when we don't follow these guidelines, like for Turkish drops and knee drops. In those cases, think, "disperse the weight; engage, stay lifted and light--keep the center of gravity feeling high so there is a liftedness at least to the weight pressing on the flexed knee joints.
I want my practice to strengthen the joints and tissues of my knees and make them flexible. I want to care for those tissues even while I pursue a sometimes extremely active lifestyle.

Eagle Pose too. Crossing all arm and leg joints. Opening. Releasing the toxins there.

posted in Dance Longevity - 1 reply

? about Baddha Konasana (Bound Angle Pose)

nomadictribal — Fri, 14 Jul 2006 15:04:59 GMT

pic here: http://www.yogajournal.com/poses/486_1.cfm

I've been working on opening up my hips for a long time, and have succeeded in many directions, but still suffer in this pose (and others, like Lotus). My knees don't touch the ground, and while I try to keep my thigh muscles working and engaged to protect my knees, my knees (esp. my weak right one) still feel the pressure.

What advice do any of you have? Maybe other poses I can work on to help this one, or even dance moves?

love.
ali

posted in Dance Longevity - 4 replies

Warm up for explosive veilwork

darshandances — Thu, 22 Jun 2006 17:15:42 GMT

This is a reminder. I have found in the last year that my deltoids muscles (shoulder/top of arm) can be a vulnerable spot for me. I think sometimes it is because I carry such heavy luggage full of dance gear ie cost less and tribal jewelry, not to mention notebooks, laptops and workout shoes -- up and down New Yorks subway stairs, lifting them through turnstiles, etc. This simple everyday activity can be more strenuous than we think. In fact, we hardly think of it because, what choice do we have? I just do it. A trainer friend of mine was saying recently that if someone's deltoids are not huge then he doesn't give them more than a certain weight to lift with them; he might have said 25 lbs. Anyway, yesterday I was in rehearsal and it didn't occur to me to warm up for the veil combos. Heck, veil work IS a warmup! Of course, teaching classes I always warm them up. But we tend to treat ourselves differently. So the veil movements were pretty passionate right off the bat, and I threw it up in the air, and a front section of my deltoids went into spasm. Oops! Not too bad, but it limited my movement through the day. I want to be sure to care for that area. We take it for granted, but I know plenty of people who have tendonitis or bursitis and really have trouble moving there. That can cramp one's dance style. So let's make sure we warm those things up, and perhaps gently strengthen over time to condition for the unreasonable demands we wil inevitably place on them. Anybody else got tips for how to care for deltoids? Strengthen, prevent itis's, etc?
PS With a well functioning shoulder joint, there is less strain on the neck. Everything is so connected.
PPS Also regarding the luggage issue, remember to be kind to your knees, hips, low back, by engaging core and muscles in a balanced way and properly stacking joints as if you were in an exercise class, as much as possible.

posted in Dance Longevity - 0 replies

tootsie care

joyrochelle — Wed, 14 Jun 2006 21:02:41 GMT

I am wondering about good foot care- I have always had some real tough tootsies, and now I have been vigilantly pumicing, but it only does so much. I get some rpetty ouchy callouses on my pinky toe ball that can totally wreck my step. I am too inpatient to sit with my feet soaking too. Does anyone have good creams or oil mixtures that they make/can recommend?

posted in Dance Longevity - 1 reply

Clearing energy

darshandances — Mon, 05 Jun 2006 20:35:46 GMT

I may have mentioned to you that I recently took a workshop in a Chinese method of visceral/abdominal massage called Chi Nei Tsang. It was apparently first practiced by monks in the mountains as an adjunct to Chi Gong meditation, the point being to clear the energies of the body/center for higher spiritual work. It was a powerful workshop, and only the beginning of a branch of study for me. But indeed, one of the premises was to guide the breath and awareness into the center of the body where we process everything or, if not, where things get stuck. Emotions, memories, energy, beliefs, as well as food and toxins. Dancers have the rare opportunity to become really aware of everything going on in their bodies. Mostly only, mind you, in a moment of stillness (or in an emergency!)... Do any of you have clever methods for going deeper into your body, or clearing energy there? Ways of looking clearly into your center? I believe an effective practice for this can greatly discourage development of disease.

posted in Dance Longevity - 2 replies

Aristotle-On Longevity and Shotness of Life

lalalottalove — Sun, 21 May 2006 00:07:24 GMT

On Longevity and Shortness of Life

By Aristotle

Written 350 B.C.E

Translated by G. R. T. Ross

Part 1

The reasons for some animals being long-lived and others short-lived, and, in a word, causes of the length and brevity of life call for investigation.

The necessary beginning to our inquiry is a statement of the difficulties about these points. For it is not clear whether in animals and plants universally it is a single or diverse cause that makes some to be long-lived, others short-lived. Plants too have in some cases a long life, while in others it lasts but for a year.

Further, in a natural structure are longevity and a sound constitution coincident, or is shortness of life independent of unhealthiness? Perhaps in the case of certain maladies a diseased state of the body and shortness of life are interchangeable, while in the case of others ill-health is perfectly compatible with long life.

Of sleep and waking we have already treated; about life and death we shall speak later on, and likewise about health and disease, in so far as it belongs to the science of nature to do so. But at present we have to investigate the causes of some creatures being long-lived, and others short-lived. We find this distinction affecting not only entire genera opposed as wholes to one another, but applying also to contrasted sets of individuals within the same species. As an instance of the difference applying to the genus I give man and horse (for mankind has a longer life than the horse), while within the species there is the difference between man and man; for of men also some are long-lived, others short-lived, differing from each other in respect of the different regions in which they dwell. Races inhabiting warm countries have longer life, those living in a cold climate live a shorter time. Likewise there are similar differences among individuals occupying the same locality.

Part 2

In order to find premisses for our argument, we must answer the question, What is that which, in natural objects, makes them easily destroyed, or the reverse? Since fire and water, and whatsoever is akin thereto, do not possess identical powers they are reciprocal causes of generation and decay. Hence it is natural to infer that everything else arising from them and composed of them should share in the same nature, in all cases where things are not, like a house, a composite unity formed by the synthesis of many things.

In other matters a different account must be given; for in many things their mode of dissolution is something peculiar to themselves, e.g. in knowledge and health and disease. These pass away even though the medium in which they are found is not destroyed but continues to exist; for example, take the termination of ignorance, which is recollection or learning, while knowledge passes away into forgetfulness, or error. But accidentally the disintegration of a natural object is accompanied by the destruction of the non-physical reality; for, when the animal dies, the health or knowledge resident in it passes away too. Hence from these considerations we may draw a conclusion about the soul too; for, if the inherence of soul in body is not a matter of nature but like that of knowledge in the soul, there would be another mode of dissolution pertaining to it besides that which occurs when the body is destroyed. But since evidently it does not admit of this dual dissolution, the soul must stand in a different case in respect of its union with the body.

Part 3

Perhaps one might reasonably raise the question whether there is any place where what is corruptible becomes incorruptible, as fire does in the upper regions where it meets with no opposite. Opposites destroy each other, and hence accidentally, by their destruction, whatsoever is attributed to them is destroyed. But no opposite in a real substance is accidentally destroyed, because real substance is not predicated of any subject. Hence a thing which has no opposite, or which is situated where it has no opposite, cannot be destroyed. For what will that be which can destroy it, if destruction comes only through contraries, but no contrary to it exists either absolutely or in the particular place where it is? But perhaps this is in one sense true, in another sense not true, for it is impossible that anything containing matter should not have in any sense an opposite. Heat and straightness can be present in every part of a thing, but it is impossible that the thing should be nothing but hot or white or straight; for, if that were so, attributes would have an independent existence. Hence if, in all cases, whenever the active and the passive exist together, the one acts and the other is acted on, it is impossible that no change should occur. Further, this is so if a waste product is an opposite, and waste must always be produced; for opposition is always the source of change, and refuse is what remains of the previous opposite. But, after expelling everything of a nature actually opposed, would an object in this case also be imperishable? No, it would be destroyed by the environment.

If then that is so, what we have said sufficiently accounts for the change; but, if not, we must assume that something of actually opposite character is in the changing object, and refuse is produced.

Hence accidentally a lesser flame is consumed by a greater one, for the nutriment, to wit the smoke, which the former takes a long period to expend, is used up by the big flame quickly.

Hence [too] all things are at all times in a state of transition and are coming into being and passing away. The environment acts on them either favourably or antagonistically, and, owing to this, things that change their situation become more or less enduring than their nature warrants, but never are they eternal when they contain contrary qualities; for their matter is an immediate source of contrariety, so that if it involves locality they show change of situation, if quantity, increase and diminution, while if it involves qualitative affection we find alteration of character.

Part 4

We find that a superior immunity from decay attaches neither to the largest animals (the horse has shorter life than man) nor to those that are small (for most insects live but for a year). Nor are plants as a whole less liable to perish than animals (many plants are annuals), nor have sanguineous animals the pre-eminence (for the bee is longer-lived than certain sanguineous animals). Neither is it the bloodless animals that live longest (for molluscs live only a year, though bloodless), nor terrestrial organisms (there are both plants and terrestrial animals of which a single year is the period), nor the occupants of the sea (for there we find the crustaceans and the molluscs, which are short-lived).

Speaking generally, the longest-lived things occur among the plants, e.g. the date-palm. Next in order we find them among the sanguineous animals rather than among the bloodless, and among those with feet rather than among the denizens of the water. Hence, taking these two characters together, the longest-lived animals fall among sanguineous animals which have feet, e.g. man and elephant. As a matter of fact also it is a general rule that the larger live longer than the smaller, for the other long-lived animals too happen to be of a large size, as are also those I have mentioned.

Part 5

The following considerations may enable us to understand the reasons for all these facts. We must remember that an animal is by nature humid and warm, and to live is to be of such a constitution, while old age is dry and cold, and so is a corpse. This is plain to observation. But the material constituting the bodies of all things consists of the following-the hot and the cold, the dry and the moist. Hence when they age they must become dry, and therefore the fluid in them requires to be not easily dried up. Thus we explain why fat things are not liable to decay. The reason is that they contain air; now air relatively to the other elements is fire, and fire never becomes corrupted.

Again the humid element in animals must not be small in quantity, for a small quantity is easily dried up. This is why both plants and animals that are large are, as a general rule, longer-lived than the rest, as was said before; it is to be expected that the larger should contain more moisture. But it is not merely this that makes them longer lived; for the cause is twofold, to wit, the quality as well as the quantity of the fluid. Hence the moisture must be not only great in amount but also warm, in order to be neither easily congealed nor easily dried up.

It is for this reason also that man lives longer than some animals which are larger; for animals live longer though there is a deficiency in the amount of their moisture, if the ratio of its qualitative superiority exceeds that of its quantitative deficiency.

In some creatures the warm element is their fatty substance, which prevents at once desiccation and congelation; but in others it assumes a different flavour. Further, that which is designed to be not easily destroyed should not yield waste products. Anything of such a nature causes death either by disease or naturally, for the potency of the waste product works adversely and destroys now the entire constitution, now a particular member.

This is why salacious animals and those abounding in seed age quickly; the seed is a residue, and further, by being lost, it produces dryness. Hence the mule lives longer than either the horse or the ass from which it sprang, and females live longer than males if the males are salacious. Accordingly cock-sparrows have a shorter life than the females. Again males subject to great toil are short-lived and age more quickly owing to the labour; toil produces dryness and old age is dry. But by natural constitution and as a general rule males live longer than females, and the reason is that the male is an animal with more warmth than the female.

The same kind of animals are longer-lived in warm than in cold climates for the same reason, on account of which they are of larger size. The size of animals of cold constitution illustrates this particularly well, and hence snakes and lizards and scaly reptiles are of great size in warm localities, as also are testacea in the Red Sea: the warm humidity there is the cause equally of their augmented size and of their life. But in cold countries the humidity in animals is more of a watery nature, and hence is readily congealed. Consequently it happens that animals with little or no blood are in northerly regions either entirely absent (both the land animals with feet and the water creatures whose home is the sea) or, when they do occur, they are smaller and have shorter life; for the frost prevents growth.

Both plants and animals perish if not fed, for in that case they consume themselves; just as a large flame consumes and burns up a small one by using up its nutriment, so the natural warmth which is the primary cause of digestion consumes the material in which it is located.

Water animals have a shorter life than terrestrial creatures, not strictly because they are humid, but because they are watery, and watery moisture is easily destroyed, since it is cold and readily congealed. For the same reason bloodless animals perish readily unless protected by great size, for there is neither fatness nor sweetness about them. In animals fat is sweet, and hence bees are longer-lived than other animals of larger size.

Part 6

It is amongst the plants that we find the longest life-more than among the animals, for, in the first place, they are less watery and hence less easily frozen. Further they have an oiliness and a viscosity which makes them retain their moisture in a form not easily dried up, even though they are dry and earthy.

But we must discover the reason why trees are of an enduring constitution, for it is peculiar to them and is not found in any animals except the insects.

Plants continually renew themselves and hence last for a long time. New shoots continually come and the others grow old, and with the roots the same thing happens. But both processes do not occur together. Rather it happens that at one time the trunk and the branches alone die and new ones grow up beside them, and it is only when this has taken place that the fresh roots spring from the surviving part. Thus it continues, one part dying and the other growing, and hence also it lives a long time.

There is a similarity, as has been already said, between plants and insects, for they live, though divided, and two or more may be derived from a single one. Insects, however, though managing to live, are not able to do so long, for they do not possess organs; nor can the principle resident in each of the separated parts create organs. In the case of a plant, however, it can do so; every part of a plant contains potentially both root and stem. Hence it is from this source that issues that continued growth when one part is renewed and the other grows old; it is practically a case of longevity. The taking of slips furnishes a similar instance, for we might say that, in a way, when we take a slip the same thing happens; the shoot cut off is part of the plant. Thus in taking slips this perpetuation of life occurs though their connexion with the plant is severed, but in the former case it is the continuity that is operative. The reason is that the life principle potentially belonging to them is present in every part.

Identical phenomena are found both in plants and in animals. For in animals the males are, in general, the longer-lived. They have their upper parts larger than the lower (the male is more of the dwarf type of build than the female), and it is in the upper part that warmth resides, in the lower cold. In plants also those with great heads are longer-lived, and such are those that are not annual but of the tree-type, for the roots are the head and upper part of a plant, and among the annuals growth occurs in the direction of their lower parts and the fruit.

These matters however will be specially investigated in the work On Plants. But this is our account of the reasons for the duration of life and for short life in animals. It remains for us to discuss youth and age, and life and death. To come to a definite understanding about these matters would complete our course of study on animals.

THE END

posted in Dance Longevity - 0 replies

hamstring neglect

darshandances — Fri, 21 Apr 2006 03:16:57 GMT

This is a reminder to strengthen your hamstrings, those lonely muscles at the back of your thighs. In my experience, they are one muscle group that is not given a worthy workout with bellydance. Not only will you want to cross train to keep them toned, but it will also be important in balancing the strength of your whole leg system. Many people injure the knees or hamstrings because the quadriceps, front thighs, are so strong. You KNOW you got strong quads. Something to keep in mind. Anybody got any delicious hammy exercises? Here's one: Lie on your back with your heels up on a chair. Using one leg at a time, lift your booty off the ground by pressing the heel into the chair. 15 times per leg, three sets each. What else?

posted in Dance Longevity - 3 replies

energy loops of the body

darshandances — Wed, 10 May 2006 15:55:40 GMT

I was recently at an Anusara yoga therapy workshop with Sianna Sherman (www.opentograce.com)(quite awesome) and one of my favorite parts was this series of loops to consider in the body's posture:
It feels good to start with the chest loop, opening the heart. First, do not shorten the sides of the body (hip to armpit) but actually lengthen this. You can lift the shoulders for a moment but we will not leave them there... then scoop the shoulder blades down and in as though you would cradle the heart with them and offer it to the sky... arms and shoulders will open, spine lengthens... A loop, up in front, down in back...
Then we must consider the pelvic loop. Another familiar one. The lower abdominal muscles pull the pubic bone gently up, tailbone reaches down, spine reaches up... Chest and pelvic loops in the same direction...
The kidney loop... middle back expands with the breath and bottom of the ribcage pulls in even as the top is reaching toward the heavens! An opposite loop, this helps balance the other two, the curves of the spine, and adds a nice resistance.
What about the head? Pull the palate (top of mouth) in and the back of the head up, lengthening the spine. Lo-o-ong neck. Energy all the way up the spine, flowing freely. This loop matches the kidney one directionally.
Then there's the femur loop! Oh, this is a good one. People seem to have a tendency to sit on their thigh bone and jut the top of it forward. Even dancers. When you see this to the extreme on people, their lumbar curve may appear flat and the butt is likely tight. This can create problems for the psoas and low back, plus butt tension... First it is encouraged to spiral the thighs inward' 'blossoming' the butt behind... It is as if, excuse me but, I reach my hand right between the tops of your thighs, front to back, and you go ahead and let your booty open back a bit. So feel your own thighs creating this feeling. With that spiraling in, the tops of the thighs move back and the bottoms might move forward a bit, helping to relieve hyperextension at the knees. Meanwhile, what about that booty out back? This has added your lovely lumbar curve back into the equation, but, well... Really though, going back through the spinal loops and reaching the spine upward will balance this out and should leave just a graceful curve in the lumbar and a series of exciting energy loops running through the body. Really going through and concentrating on balancing this stuff out can feel like a workout, just standing there...
The last loop I know of in this line is the outward spiral to the lower legs bringing the knees to track right out over the forward facing second toe even while the thighs spiral inward: opposing spirals creating energy. The bottom of the femur moved forward with the femur loop and this moves the top of the tibia forward as well, not necessarily to the point of bending the knees, but removing any hyperextension. The bottom of the tibia moves back, where often it is pushed forward. This movement reduces stress on the ankles.
In summary, and for a posture meditation, here are the loops from the side. Draw a body facing right. The head loop is clockwise. Chest loop counterclockwise. Kidney loop clock. Pelvis counter. Femur clock (and in), and tibia counter (and out).
Something to think about. I found a comfortable difference in the chest lift, an opening and softening of the back with the kidney loop, a postural correction with the head loop, and an increased awareness and opening with the femur. If standing and considering is not challenging enough, try going through them in downward dog! Or during torso isolation drills!

posted in Dance Longevity - 2 replies

This tribe

Tue, 02 May 2006 11:34:06 GMT

This is a very interesting tribe. Can't think of anything to post here at the moment but I will in the future.

posted in Dance Longevity - 1 reply

Shoulder advice please.

Sun, 26 Mar 2006 16:58:40 GMT

Darshan, or anyone, could you suggest some movements that will help open the shoulders, and build strength while being kind to rotator cuffs? I'd really appreciate it.

Pat

posted in Dance Longevity - 4 replies

Bellies for Breasts

RajnitheMistressofToads — Thu, 16 Mar 2006 01:46:01 GMT

I've started a team of bellydancers/ drummers/ friends to participate in the DC Walk to Empower to benefit breast cancer support and research. You don't have to donate or raise funds to walk with us! Please visit my personal/ team page for more information:

http://dcwalk.y-me.org/site/TR?px=1478934&pg=personal&fr_id=1157

Feel free to forward to anyone you know personally who might want to participate!

MT.../ Jen.../ Rajni

posted in Dance Longevity - 0 replies

when life was a workout

darshandances — Sat, 11 Mar 2006 00:37:15 GMT

Someone asked me the other day if her shopping and carrying bags through the city counted as exercise. Indeed, I have taken gigs in New York in the snow that have wound up requiring some serious trekking; a serious challenge for me. And some of the luggage that I cart around the city, up and down subway stairs: rehearsal and workout gear, a costume, my computer, CDs and some other project--wow! Sometimes I am amazed at my stamina! It's a good thing I have a well-rounded workout practice.
What I told the woman asking was that it can be exercise if you treat it as exercise, with as much awareness as if you had stepped into a gym. I will now engage my core, bend my knees, align my posture, and lift these groceries to the angle where I feel the appropriate resistance for an isometric contraction for 5 Minutes each arm, 3 sets. As I walk. Well, it's possible. But often, life's activities are a bit more hectic and complex: we may not have time to take such care, and the situation may not be quite so balanced. Well, it can be part of an active lifestyle, but in life or dance or--in the bedroom for that matter--anywhere that you might expect the unexpected to be included in the activities you demand of yourself, ideally you will have a present sense of your body engaged and pre-conditioned. That's why I try not to consider my dance performances as part of my exercise regimen. Those are what I train for.
In the hunting and gathering days, they would have been puzzled at the thought of a gym. Life was exercise plenty, we just needed enough food to get by. But they did what they did every day. Now there's plenty of food; if we want to be ready for extenuating circumstances including carrying several bags of groceries across town, we just need to make sure we are strong and engaged. Sporadic exercise at a particular intensity can do more harm than good.

posted in Dance Longevity - 2 replies

Bellydance as a martial art?

darshandances — Fri, 17 Feb 2006 04:56:41 GMT

Let me share with you an article that I read today that made me reflect upon my practice.

..."The intent of such training in the traditional martial arts can be viewed in two distinct ways. One major motive lies closer to fighting pragmatism than the other: to fight, the body must be properly conditioned. Cardiovascular fitness, flexibility, strength and stamina are all required for sustained physical engagements. Stance training, both stationary and dynamic, builds the deep-rooted lower body strength that translates to stability in movement. Extended postures and direct stretching of the body provides a maximum range of motion necessary to be a fully versatile fighter capable of striking at the safest distance and from multiple positions. The running exercises... couple agility practice with pure cardiovascular training -- a good fighter must be light-footed and not easily winded.
The other way of viewing basic skills training is one that really aligns itself with the "arts" in the term "martial arts:" edification of character. In the same way that the underlying ideals of theater, dance, literature, and painting (can be) to explore human nature, action and ethical conduct (in addition to motives of an aesthetic nature), traditional martial arts seek to improve the student through their practice. The cultivation of the positive traits of humility, perseverance and elan are all deeply valued by the Chinese and indeed by most societies everywhere. Learning to fight concomitantly with learning to be a better person is said to be the most fundamental principle of the traditional martial arts..." Tang, Loui, & Klingborg. "Combat Shaolin" c2003 Unique Publications. From "Inside Kung Fu" magazine Nov2005.

This exerpt follows a discussion about how Western motivation seems to tend towards wanting to skip the "difficult, repetitive and often boring" part of training and get on to the practical aspects of fighting, so that the art of kung fu almost ceases to be thought of as "hard work" in the modern era.

Aside from its specific reference to dance, do you think this article has any other parallels to the practice of dance? Or useful ideals?

posted in Dance Longevity - 10 replies

what kind of exercise did you get this week?

darshandances — Tue, 31 Jan 2006 08:59:37 GMT

Bikram yoga. Some running and weights. Capoeira. Afro-Brazilian Dance. Personal dance practice. What else?

posted in Dance Longevity - 11 replies

Intuition vs inertia

darshandances — Sun, 29 Jan 2006 00:14:41 GMT

I didn't want to go to Capoeira class today just a little bit more than I did want to go. Yet I found myself outside Acao Ginga, parked, still not sure, then found myself inside and class beginning. I knew that part of the reason for the resistance was that last time I had a class there I cleverly got myself kicked in the face. That was kind of uncomfortable, and only relevant to today to the extent that I must remember not to let that happen again. I was talking with my mom at brunch after about the energy that gets you to a class or exercise practice, or the lack thereof. For me I know there is a place my energy sits and wouldn't mind doing nothing at all. And sometimes that's ok. But since I want to have an active lifestyle, I feel I need more often than not to choose to push through the inertia of resting. Of course, honor the importance of rest in its time, but notice that inertia is there and ready to keep me from activity if I do not have a plan to push through. If intuition says not really, make sure it is really intuition and not just a desire to check my email and have a cappucino in the safety of my own home... There may always be a gentle resistance to pushing the energy through; it's called the wall... on the other side, I have found that there is a great supply of energy. I patiently climb, and know I will arrive in time...

posted in Dance Longevity - 1 reply

I have a question

tracey1971 — Mon, 30 Jan 2006 22:47:35 GMT

I get charlie horse type cramps in my FEET when I practice for more than 20-30 minutes at a time.

Can anyone suggest stretches that might help that specific area? I didn't know if it was because I am flat footed and have no arch or what. I vaguely remember having this problem when I studied classical ballet but I can't for the life of me recall HOW I remedied it.

Thanks!
Namaste
O

posted in Dance Longevity - 9 replies

inexpensive good quality dance shoes

darshandances — Sat, 31 Dec 2005 18:04:51 GMT

If you're looking for some great dance shoes ~ I enjoy the shoes I got from www.appledanceshoes.com
To protect your feet! Although me, I'd rather dance barefoot.

posted in Dance Longevity - 4 replies

dance related injuries

darshandances — Sun, 25 Dec 2005 18:29:27 GMT

Have you had any? Are there certain types of injuries that you find are common in your field of dance? And why do you suppose that is?

posted in Dance Longevity - 11 replies

what else do you do for exercise?

darshandances — Sun, 25 Dec 2005 18:26:57 GMT

So how many hours of dancing per week do you do? All one kind or do you practice a few? And what other activities do you do for cross-training/exercise? I want to know what people feel is a nice balanced physical practice for a dancer. what's working for you, cuz something is... you look mahvelous!

posted in Dance Longevity - 5 replies

Releasing the psoas

darshandances — Sat, 24 Dec 2005 20:29:55 GMT

I'm collecting exercises for becoming aware of and releasing the psoas muscle (the abdominal stabilizer and hip flexor that runs along the front of the lower spine and into the pelvis, connecting to the thigh bone...). I do enjoy a nice deep lunge, reaching up and even back with the same hand as outstretched thigh. I like to hold it until the feeling softens, which for me can be a while since I get tight there. Here are some links that I am going to read through several more times for my own clarity, because I feel that this is an extremely important muscle, particularly for the dancer.
www.yogajournal.com/practice/169_1.cfm?ctsrc=sectnav
www.yogajournal.com/practice/170_1.cfm?ctsrc=sectnav

posted in Dance Longevity - 3 replies