Primary Control: Head leads, body follows
1. Take a walk around the room. Maintain an awareness of yourself and the environment. Walk in a straight path, and then decide to look in a different direction. Observe how you turn naturally to move into that direction. Whenever you want to change direction, look first. See how the body follows.
2. Speed up your walk and take it into an easy jog. Continue the thought of leading with the focus. Vary the direction, shift the weight and use a soft plié. Allow the torso to accommodate and bend in different directions
3. Freeze and stay still.
4. Notice your position, sense where you are holding tension. Tell yourself to free the neck, and let it adjust forward and up. What do you notice in the rest of the body?
5. Repeat the exercise several times. Discuss the differences that you felt when you took a moment to think about freeing the neck.
6. Try the idea of head leading and body following. Use any of the following dance movements. Prior to performing the movement, visualize the head leading into the direction. Allow the body to follow.
· Piqué forward to arabesque from a tendu plié to the front
· Port de bras forward
· From a high arch backward, come up to vertical stance.
Primary control is best learned in private lessons with the use of a skilled teacher hands. These exercises allow the student to experience the subtle changes that occur in the use of the whole. When one thinks of allowing the neck to be free, and the head to lead the body into action. (2006:81)
Exploration
Observation while walking around: Heel to toe when I walk, followed by torso and head. There is an equal distribution of weight while walking.
Observation while walking around and changing direction: The body movement is initiated by the head, torso and then the feet.
Stillness: Shifting of weight between two feet. The body becomes centered on movement.
Repeat the exercises: The sequence of movement becomes easier with the leading of the head first and the body walking forward.
Apply primary control method: Less tension in the neck and shoulder. The movement of walking feels lighter and smoother.
Ballet technique exploration
Piqué forward to arabesque from a tendu plié to the front: Feel the elongation of the front arm leading into an arabesque. Feel the lengthening of the leg behind and a reaching sensation through the body.
Port de bras forward: Head leads, with the arm following into a port de bras forward bend. Better coordination of the movement.
From a high arch backward, come up to a vertical stance: Lengthening and more upright feeling when returning to a vertical position.
Application of primary control in my dance technique
As a dancer, I was unaware of this concept of head leading and body following. The primary control concept helps to relieve the tension in my neck, and this decreases the tension that held on my shoulders as I move. I was able to activate my pelvis more while walking and moving, and I could send the elongation of my spine, bringing attention and awareness in my alignment. My head felt less heavy, and I feel lighter with an ease of motion.
In ballet technique, when executing an arabesque, I was always told to lengthen the arm in front of me to create a beautiful line. When I allow my head to move forward and up while in an arabesque position, naturally my hand lengthens as well. It was quite a deliberating movement as I was able to use less effort to achieve a greater result. My back leg held in arabesque could extend further out, and I was more grounded on my supporting leg.
Reference:
Nettl-Fiol, R (2006) Alexander Technique and Dance Technique Applications in the Studio. Journal of Dance Education 6 (3) 78-85. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=3&sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&hid=4101 [Accessed 15 January 2015].
1. Take a walk around the room. Maintain an awareness of yourself and the environment. Walk in a straight path, and then decide to look in a different direction. Observe how you turn naturally to move into that direction. Whenever you want to change direction, look first. See how the body follows.
2. Speed up your walk and take it into an easy jog. Continue the thought of leading with the focus. Vary the direction, shift the weight and use a soft plié. Allow the torso to accommodate and bend in different directions
3. Freeze and stay still.
4. Notice your position, sense where you are holding tension. Tell yourself to free the neck, and let it adjust forward and up. What do you notice in the rest of the body?
5. Repeat the exercise several times. Discuss the differences that you felt when you took a moment to think about freeing the neck.
6. Try the idea of head leading and body following. Use any of the following dance movements. Prior to performing the movement, visualize the head leading into the direction. Allow the body to follow.
· Piqué forward to arabesque from a tendu plié to the front
· Port de bras forward
· From a high arch backward, come up to vertical stance.
Primary control is best learned in private lessons with the use of a skilled teacher hands. These exercises allow the student to experience the subtle changes that occur in the use of the whole. When one thinks of allowing the neck to be free, and the head to lead the body into action. (2006:81)
Exploration
Observation while walking around: Heel to toe when I walk, followed by torso and head. There is an equal distribution of weight while walking.
Observation while walking around and changing direction: The body movement is initiated by the head, torso and then the feet.
Stillness: Shifting of weight between two feet. The body becomes centered on movement.
Repeat the exercises: The sequence of movement becomes easier with the leading of the head first and the body walking forward.
Apply primary control method: Less tension in the neck and shoulder. The movement of walking feels lighter and smoother.
Ballet technique exploration
Piqué forward to arabesque from a tendu plié to the front: Feel the elongation of the front arm leading into an arabesque. Feel the lengthening of the leg behind and a reaching sensation through the body.
Port de bras forward: Head leads, with the arm following into a port de bras forward bend. Better coordination of the movement.
From a high arch backward, come up to a vertical stance: Lengthening and more upright feeling when returning to a vertical position.
Application of primary control in my dance technique
As a dancer, I was unaware of this concept of head leading and body following. The primary control concept helps to relieve the tension in my neck, and this decreases the tension that held on my shoulders as I move. I was able to activate my pelvis more while walking and moving, and I could send the elongation of my spine, bringing attention and awareness in my alignment. My head felt less heavy, and I feel lighter with an ease of motion.
In ballet technique, when executing an arabesque, I was always told to lengthen the arm in front of me to create a beautiful line. When I allow my head to move forward and up while in an arabesque position, naturally my hand lengthens as well. It was quite a deliberating movement as I was able to use less effort to achieve a greater result. My back leg held in arabesque could extend further out, and I was more grounded on my supporting leg.
Reference:
Nettl-Fiol, R (2006) Alexander Technique and Dance Technique Applications in the Studio. Journal of Dance Education 6 (3) 78-85. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=3&sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&hid=4101 [Accessed 15 January 2015].