Gindler (Johnson 1995) observed that when dancers are given external corrections for poor shoulder alignment, dancers tend to correct the position by clenching their muscles to hold themselves in the correct position. This ‘clenching’ is not aesthetically pleasing nor can it be carried forward to the next dance step. He encourages dancers to work blindfolded so that they become more familiar with the self. Dancers cancome up with strategies to use their self-awareness to correct the original problem. This is applicable to the entire body. Somatic innovators like Gindler and Franklin (2004) have introduced methods of reducing shoulder tension, resulting in improving alignment via imagery, touch, breath through first-person experience.
Frankin (2004) suggests that tension-free shoulders help to facilitate stamina and promote a more aesthetic line in dancers. The flexibility of shoulders and hips are extricable linked, and the tension in the shoulders can limit the range of movement available in the hips and legs. The existence of shoulder tension can affect the movement efficiency of the dancer. Improving in alignment also improves one’s breathing patterns. Self-correction without excessive muscle activation is a useful tool for performance enhancement and injury prevention.
The use of imagery can be easily integrated into the dance class and use to promote healthy movement patterns. It would interfere with the objective of a technique class, but it encourages imagery movement of a position or excise while breathing. Movements can become more economic, performed with less effort if breathing and movement are in sync.
I notice then when moving across the floor in a travelling dance sequence, I tend to hold my breath when the movements take a lot out of my body. I would be breathing heavily after the sequence is performed. After taking a Pilates class at Shenandoah University, there was a constant emphasis on breathing in and out at a regulate pace which I had difficulty getting used to. I took a modern dance class after the Pilates class and realized that I was able to breathe easily, without consciously thinking too hard about when to breathe when dancing. I started moving more freely with ease.
Farhi (1996) describes that breathing as a natural message to the entire body and stimulates the nervous system, acting as a pain reliever, releasing tension. Posture and spinal alignment are impossible without correcting respiratory mechanics. (Perri and Halford, 2004) Chronic stress is also a contributing factor to faulty breathing, causing muscular dysfunction and faulty posture. These factors may impair performance and reduce training effectiveness. Poorly executed breathing techniques can cause pain, and lead to problematic functions in the neck, shoulders and chest. (Gibert 1998). Emotions and thoughts can also have an impact and disturb breathing. Muscles, ligaments and tendons have a role to play in breathing which can in turn affect the injury. Breathing is a conscious act, and one can sense and feel one’s breathing, releasing unconscious blocks. (Cohen 1993). The importance of breathing has a tremendous impact on a dancer’s functionality, growth and performance. The human body will function efficiently when breathing mechanism is free and well adjusted.
Batson (2008) states ‘methods to improve kinaesthetic sense and promote self-awareness for the correction of faulty posture and movement patterns should be employed within dance without questions.’ Brodie and Lobel (2004) reports that somatic training can enhance dance performance. The implementation of breathing, sensing, correcting and initiating principles within the dance technique class further enhance the dancer’s body-mind integration. Currently, somatic practice are being used to encourage the reflective practice of a dancer’s movement pattern to help dancers improve their technique through kinaesthesic, rather than copying an image.
Dance institutions that have integrated somatic principles into their dance programs include Laban, UK, The Julliard School, USA, The Liverpool John Moores University, UK, Coventry University, UK. Independent somatic practitioner like Glenna Batson travels extensively to promote and offer insights into somatic education for dance students within higher education establishments.
Reference:
Hutt, K. (2010) Corrective alignment and injury prevention strategies: Science, somatic or both? Journal of Dance & Somatic Practices 2 (2) 251-263. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=c75361c7-32cb-4901-97fe-8859806adf58%40sessionmgr4005&vid=4&hid=4109. [Accessed 2 April 2015].