Breathing Exercise
1. Lie on your back, palm up, legs extended. Bring your awareness to your breath. Notice areas of the body contacting the floor, how air enters and exist, where in the body the breath flows, the rhythm of your breathing, movement of the body with each breath. Try inhaling through the nose, exhaling through the mouth.
In Eastern philosophy, this is referred to as “in through the heavenly door, out through the earthly window.” Notice any sensations arising in the nose, mouth, chest, abdomen, and limbs.
2. Feel the path of air travelling from the nose, to the lungs, filling the abdomen. Reverse this path on the exhalation, emptying the abdomen, then the lungs, and allowing air to escape through the mouth.
3. Send the breath to any areas in which tension is sensed. At the end of the next exhalation, bend the knee and draw one foot up, so the heel is directly in line with the ischial tuberosity (sitz bone).
4. Attempt to marry the movement with the breath, engaging core connectivity.
5. Repeat with the other foot. Notice any difference in areas contacting the floor, perhaps changes in movement. Have you made any discoveries about the breath cycle? Is the exhalation full and complete? Is there a pause between the exhalation and the next inhalation? (2004:81)
Personal observation and exploration
There was no tension in any part of the body. The right leg was more turn out than the left leg. While lying down, sensing contact with the floor, I could most of the pressure on my head, lower lumbar spine, heels of my foot and the palm of both hands. The head experienced the most pressure of all.
Breathing is regulated with brief pauses in between inhaling and exhaling. Lungs and ribcage expanded slightly to allow the air to fill the body. There was slight tension in the facial muscles. Sending the breath to this area help to relax facial muscles. There was a greater contact with the stiz bones on the floor when the right heel is lifted. This was a similar feeling with the left leg. Breathing in (nose) and out (mouth) is longer and sustained. This has a calming and relaxing effect on the entire body. This applied to the exhalation as well. My body wanted to hold the leg position, engaging the thigh muscles. There is a slight pause between the exhalation and inhalation.
Fetal position: breathing
1. Roll to the fetal position and connect the hands to the floor to assist with coming up to a cross-legged position.
2. Bring awareness to the vertical energy of the breath: send breath up and down the spine with each inhalation.
3. Imagine it spiraling around the vertebra, up and out the back of the neck and down and out through the coccyx.
4. Allow yourself to inhibit the vertical dimension fully, feeling the length and space created as the breath expands the lungs and thorax.
5. Drop the chin slightly on the exhalation to increase the sense of length through the back of the neck. As the breath exists and the thorax empties, connect into the deep abdominals and experience the subtle lifting of the pelvic floor.
6. Keep these engagements with the next inhalation, but not with tension. (2004:81)
Personal observation and exploration
The most contact I had with the floor was the sensing through my sitz bones. When I imagine the spiraling of the vertebra up and out the back of the neck and down and out through the coccyx, I could sense the energy rising and spiraling through the spine. My spine felt alive and energized. There was an energy sending outwards from the top of the head. Dropping the chin slightly enable me to sense a greater lengthening of the back. I could feel the air filling into the spine, feeling centered and focused. Breathing while moving helps to relieve tensions in the shoulders.
Downward-facing dog breathing exercise
1. Place the hands on the belly and ribs: send attention to the motion in the sagittal plane.
2. Move the hands to the sides of the ribs: direct attention to the lateral motion in the frontal and vertical plane.
3. Round forward, placing the torso on the knees: pay attention to the expansion in the back.
4. Press downward-facing dog (weight on hands and feet, chest pressed through the shoulders, and coccyx reaching towards backward high).
5. Feel the softening of the external muscles and the hollowing into the center with each exhalation.
6. Walk back and hang.
7. Take a moment to experience the breath while standing. Sense the movement of the breath in all three dimensions. (2004:81)
Personal observation and exploration
When I place my hands on my belly and ribs, I could send attention to the motion in the sagittal plane. There was an expansion of air into the body, and the belly and ribs expanded when I breathe in. As I breathe out, there was a sensation of the belly followed by the ribs. I could feel the rising and falling sensation as I breathe in and out with hands on the side of both ribs. As I round forward, I could sense a slight tension in both shoulders. I could feel the lengthening and expansion of the back when I executed the rounding forward movement.
In the downward-facing dog position, my breathing interval change and it became shorter. As I walk back and roll up, the energy in a horizontal plane move to a vertical plane. I felt centered and focus. When I recovered back to an upright position, the energy was flowing in and out of my body. My body became more grounded.
Application to my dance practice
Applying these breathing exercises can increase my body’s intake of oxygen, expanding air into my body. It can be a means to relax and relieve tension. The rounding forward action allows the back to expand and lengthen in preparing to dance. The visual image of the spiraling of the vertebra, help to warm-up the spine and create space to enable movement. These exercises can benefit a dancer in a pre-performance preparation to warm the spine and back, focus the mind, regulate one’s breathing and feel more grounded before dancing.
Reference:
Brodie, J and Lobel, E (2004) Integrating Fundamental Principles Underlying Somatic Practices into the Dance Technique Class. Journal of Dance Education 4 (3) 80-87. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=10&sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&hid=4101 [Accessed 12 January 2015].
1. Lie on your back, palm up, legs extended. Bring your awareness to your breath. Notice areas of the body contacting the floor, how air enters and exist, where in the body the breath flows, the rhythm of your breathing, movement of the body with each breath. Try inhaling through the nose, exhaling through the mouth.
In Eastern philosophy, this is referred to as “in through the heavenly door, out through the earthly window.” Notice any sensations arising in the nose, mouth, chest, abdomen, and limbs.
2. Feel the path of air travelling from the nose, to the lungs, filling the abdomen. Reverse this path on the exhalation, emptying the abdomen, then the lungs, and allowing air to escape through the mouth.
3. Send the breath to any areas in which tension is sensed. At the end of the next exhalation, bend the knee and draw one foot up, so the heel is directly in line with the ischial tuberosity (sitz bone).
4. Attempt to marry the movement with the breath, engaging core connectivity.
5. Repeat with the other foot. Notice any difference in areas contacting the floor, perhaps changes in movement. Have you made any discoveries about the breath cycle? Is the exhalation full and complete? Is there a pause between the exhalation and the next inhalation? (2004:81)
Personal observation and exploration
There was no tension in any part of the body. The right leg was more turn out than the left leg. While lying down, sensing contact with the floor, I could most of the pressure on my head, lower lumbar spine, heels of my foot and the palm of both hands. The head experienced the most pressure of all.
Breathing is regulated with brief pauses in between inhaling and exhaling. Lungs and ribcage expanded slightly to allow the air to fill the body. There was slight tension in the facial muscles. Sending the breath to this area help to relax facial muscles. There was a greater contact with the stiz bones on the floor when the right heel is lifted. This was a similar feeling with the left leg. Breathing in (nose) and out (mouth) is longer and sustained. This has a calming and relaxing effect on the entire body. This applied to the exhalation as well. My body wanted to hold the leg position, engaging the thigh muscles. There is a slight pause between the exhalation and inhalation.
Fetal position: breathing
1. Roll to the fetal position and connect the hands to the floor to assist with coming up to a cross-legged position.
2. Bring awareness to the vertical energy of the breath: send breath up and down the spine with each inhalation.
3. Imagine it spiraling around the vertebra, up and out the back of the neck and down and out through the coccyx.
4. Allow yourself to inhibit the vertical dimension fully, feeling the length and space created as the breath expands the lungs and thorax.
5. Drop the chin slightly on the exhalation to increase the sense of length through the back of the neck. As the breath exists and the thorax empties, connect into the deep abdominals and experience the subtle lifting of the pelvic floor.
6. Keep these engagements with the next inhalation, but not with tension. (2004:81)
Personal observation and exploration
The most contact I had with the floor was the sensing through my sitz bones. When I imagine the spiraling of the vertebra up and out the back of the neck and down and out through the coccyx, I could sense the energy rising and spiraling through the spine. My spine felt alive and energized. There was an energy sending outwards from the top of the head. Dropping the chin slightly enable me to sense a greater lengthening of the back. I could feel the air filling into the spine, feeling centered and focused. Breathing while moving helps to relieve tensions in the shoulders.
Downward-facing dog breathing exercise
1. Place the hands on the belly and ribs: send attention to the motion in the sagittal plane.
2. Move the hands to the sides of the ribs: direct attention to the lateral motion in the frontal and vertical plane.
3. Round forward, placing the torso on the knees: pay attention to the expansion in the back.
4. Press downward-facing dog (weight on hands and feet, chest pressed through the shoulders, and coccyx reaching towards backward high).
5. Feel the softening of the external muscles and the hollowing into the center with each exhalation.
6. Walk back and hang.
7. Take a moment to experience the breath while standing. Sense the movement of the breath in all three dimensions. (2004:81)
Personal observation and exploration
When I place my hands on my belly and ribs, I could send attention to the motion in the sagittal plane. There was an expansion of air into the body, and the belly and ribs expanded when I breathe in. As I breathe out, there was a sensation of the belly followed by the ribs. I could feel the rising and falling sensation as I breathe in and out with hands on the side of both ribs. As I round forward, I could sense a slight tension in both shoulders. I could feel the lengthening and expansion of the back when I executed the rounding forward movement.
In the downward-facing dog position, my breathing interval change and it became shorter. As I walk back and roll up, the energy in a horizontal plane move to a vertical plane. I felt centered and focus. When I recovered back to an upright position, the energy was flowing in and out of my body. My body became more grounded.
Application to my dance practice
Applying these breathing exercises can increase my body’s intake of oxygen, expanding air into my body. It can be a means to relax and relieve tension. The rounding forward action allows the back to expand and lengthen in preparing to dance. The visual image of the spiraling of the vertebra, help to warm-up the spine and create space to enable movement. These exercises can benefit a dancer in a pre-performance preparation to warm the spine and back, focus the mind, regulate one’s breathing and feel more grounded before dancing.
Reference:
Brodie, J and Lobel, E (2004) Integrating Fundamental Principles Underlying Somatic Practices into the Dance Technique Class. Journal of Dance Education 4 (3) 80-87. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=10&sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&hid=4101 [Accessed 12 January 2015].