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Booty Pop and Body Roll Dance Workout - Fitness and Exercise Videos

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The art of subtle movement: "But it doesn't feel like I'm dancing!": zoukability — LiveJournal

The art of subtle movement: "But it doesn't feel like I'm dancing!"
Author: Laura Riva, Canada
Italic - remarks translator

When I started dancing, I really wanted to move a lot and actively. I watched how easily advanced dancers danced and tried to imitate them. nine0010

I did a lot of body movements during the lessons. She took giant steps. I tried to brush my hair as hard as possible. My arms were constantly sticking out to the sides. I went out of my way to keep my hips moving with every step. I danced.

Now I remember this, and I cringe. When I try to replicate what I thought was a "good dance", I feel how stupid and ineffective they are. They are clumsy, out of control and unbalanced.

What is the difference between me then and me now? nine0010

Amplitude and movement like "Dance"

I used to be convinced that dance requires huge, super expressive movements. If I did not do these excessive movements, it seemed to me that I was not dancing.

I had the idea that dancing should make you sweat. The dance must be difficult. The dance has to push my body to the limit for its full effect. Then I did not understand yet that social dance is rational and manageable; I didn’t understand that the best dancers don’t drive themselves on the dance floor, that all their body movements are built on efficiency and control. nine0010

It doesn't just happen to partners. You can often see partners who run around the dance floor with huge steps, even if their leading hand is inactive. You can see this when a partner drags a partner on giant or super complex movements and does not understand this.

For the sake of objectivity, it is worth noting that the problem of huge movements does not happen to all dancers. Some have the opposite: too small movements - this should not be the case either. In this article, we consider only large movements in terms of their inefficiency. nine0010

Want an example? Furious Zuk run for 3 minutes. Yes, this crooked marathon runner with an inappropriate headwork is me. My partner also runs a lot, but I surpassed him, he has to catch up with me! At the time of the video, I have been dancing zouk for a little over a year.

Amplitude and movement vs. Efficiency and control

After a while, many dancers have an Epiphany. Sometimes it is associated with only one specific movement. For some, this is a complete rethinking of how they dance. nine0010

At some point, the dancer suddenly realizes that the most effective movement does not have to be big. It is suddenly discovered that a weightless hand grip, weight transfer, small body movement can have a drastic positive effect on the quality of the dance.

Sometimes you may hear phrases like: "Really? Is that all?" or "But it's so easy!".

This is the epiphany when the dancer begins to understand that the dance does not have to be difficult if the movements are performed in an efficient manner. Sometimes it causes mixed feelings. nine0010

Mixed feelings: "I don't feel like dancing"

When dancers realize that there is a more efficient and easier way to achieve the same result, they are not always happy with this discovery. Sometimes it seems to them that a new way of performing a movement does not feel like a dance. As if they are standing still and doing nothing.

I can assure you that this sensation will pass. As you begin to understand efficiency better, you will soon get a deeper feel for the essence of this subtlety of movement. You will learn to feel every millimeter of movement from start to finish. You will begin to pass small movements through your entire body instead of rushing from point A to point B.

That's when you feel like you're dancing, even if the movements are small. When you learn to control every moment of the dance, you won't need much movement to feel the dance. Even shifting weight from one foot to the other is part of the dance. All this will improve your Connection, musicianship, stamina and ability to dance to fast music.

Dancing with a partner who skillfully uses small movements is bliss... This is the maximum attention to lead and relaxation at the same time. nine0008

On the physical side, compact movements help you keep your balance, help you focus on working the right muscles in your body. You will be able to feel how the movement originates in the tips of the fingers and ends in the toes. Or how it starts at the hip, rises up the lateral muscles to the chest, passes into the shoulders and fades away in the neck.

Compare dancing to writing at university: many students write long, 20-page essays that they think will best demonstrate what they know. They evaluate their knowledge by the number of words. But an experienced writer will state the same thing on 2 pages: this volume is enough for him to accurately express his thoughts. This is the level of proficiency in speech. nine0010

Dance is not about the number of movements, but their quality. Dance is the ability to control each small muscle in your body in isolation. The ability to be effective in its expression. The dance should be natural and effective.

When you understand this state of efficiency and feel comfortable in it, it will become unimaginably easier for you to express yourself in dance.

You can follow the announcements of new articles through the VK group:

How important is it to be flexible for dancers (and not only)

How important is it to be flexible for dancers (and not only)

How important is it to be flexible for dancers ( and not only for them)

Today, many people dream of a beautiful stretch, and especially splits, and not only those who practice dancing. The studios and online stretching courses that have appeared in a large number actively support this trend. nine0085

But how important is it to have a good stretch if you are dancing? Is it possible to start p ole dance if you are absolutely wooden, and will a good stretch help in social dancing? About this, and also about why everyone wants the cherished twine so much, what obstacles can be on the way to flexibility and how to prolong youth, "Plyas" talked with Anastasia Lan, a stretching teacher, and Artem Bagdanov, the founder of the largest publics about dancing and stretching in VKontakte and the founder of an online school for the development of flexibility. nine0085

August 31, 2020

Anastasia Lan

Artem Bogdanov

How important is it to be flexible when you start dancing?

Anastasia: It is not necessary to be flexible or start stretching first and only then do any dancing. Even if these are the areas in which flexibility is needed - aerial gymnastics, canvases, pylon. At the initial stage, you can not have flexibility and good stretching, but develop it gradually. nine0010

The question here is different. Before engaging in the development of amplitudes, it is important to restore the norms of movement, remove clamps and various compensations in the body. What is compensation? When we move in our daily life not as nature intended, but as we are used to, some of our muscles are activated more, others are not involved at all. We come to the hall, we start to move in the dance, our movement is unnatural due to the fact that our strong muscles are trying to compensate for the work of our weakened muscles. Efforts are distributed incorrectly and exorbitant loads may occur in different parts of the body. It is harmful. nine0010

I train and give students stretching through movement, active stretching, which helps to bring the body into natural ranges of motion, engage the right muscles, strengthen them, distribute the load throughout the body. That is why it is very important to combine dancing with stretching. To adjust your body to a healthy, harmonious mode of movement.

Artem: It doesn't matter at all to be flexible when you start dancing. Because when you start doing anything, your initial data at the time of the start practically does not matter much. What matters is what you learn along the way. nine0010

I have before my eyes a large number of examples of people who started dancing from scratch and were completely inflexible, non-plastic, non-rhythmic, non-musical, but gradually developed all these qualities.

And the topic “I'm inflexible, so I probably shouldn't start” is either a beautiful explanation not to do it, or a kind of unspoken request to the interlocutor to support, cheer, dispel doubts.

When you start doing anything, your background at the time of the start is of little importance. What matters is what you learn in process

How important is stretching for a particular style of dance?

Anastasia: In many directions, already mentioned aerial gymnastics, contemporary and even in ballroom dancing, stretching creates spectacle, opens ranges, expands the possibilities of movements. When you are not closed in any framework, you can impress the audience, the judges. Naturally, flexibility directly affects grace as well, and grace adds a lot to the scores. nine0010

When you stretch, you educate your whole body, straighten your posture, shape lines. And even in such directions where super-amplitudes are not needed - for example, vogue, or oriental dances, hand movements, body movements become completely different when you develop flexibility. Movements become qualitatively different, and absolutely everyone notices this. Greater body control, greater precision, isolation, expressiveness.

Different people come to your classes. Tell me, why do they need stretching, what does it give them? nine0003

Anastasia: There are two categories of students. The first is dancers, aerialists (pylon, canvases), who already know why they need flexibility, and then apply it in their dance styles.

The second category is people who start stretching just to be more flexible. They begin to work with their body, begin to feel it softer, more mobile, and already from this state they begin to think how to apply it. And they decide to go either to dance directions, or they want something more extreme, like a pole and canvases. When a person acquires flexibility, he wants to use it. nine0004

When a person gains flexibility, he wants to use it

Why do many today want to “sit on the splits”, and not just improve general flexibility? How did it become a fixed idea?

Anastasia: There is a general trend - we all want results. For example, when we do fitness, we immediately want a sculpted body. But we don’t want to sit down 500 times, do push-ups 300 times and work out for six months. nine0010

When people come for stretching, it is important for them to see the final goal: what do I want from stretching. General flexibility is a vague concept and difficult to imagine. It is easier to present goals in specifics. And in specifics, we consider certain composite figures as goals, which for us are a familiar demonstration of flexibility - these are twines, bridges, puffs.

I come to the stretch, I try to imagine the end goal and I imagine the splits. And the reason why they want twine so much is most likely this. We are so accustomed to: in order to develop, we must see the final goal, where we are going. nine0004

Artem: Twine is a spectacular element. And, probably not a fixed idea, but a challenge idea. Moreover, this challenge was thrown a long time ago and came from the idols of the modern adult generation, who showed the world that flexibility is possible not only among ballerinas and gymnasts.

It used to be that twine was a gift from God and natural gifts. But then it turned out that this is not so. The first non-professional media performer of the twine was the Wolf from "Well, just you wait!", Which in issue 15 of 19At the age of 84, he demonstrated a longitudinal ballet split and a stretch. After him was Van Damme "Bloodsport", "Kickboxer", then there were Chuck Norris and Jackie Chan. And so this idea appeared in the minds of the male part of humanity. Interest was fueled by martial artists, karateka, masters of kung fu and yoga.

For example, when I was at school, the splits were performed by a man, a biology teacher, he studied in the wushu section, it was 1987, that is, before Van Damme.

At the end of the 90s, it was the turn of women - and in the cinema the splits were performed by Mila Jovovich, Charlize Theron, Uma Thurman. In the same way, at the end of the 20th century, bodybuilding was fashionable as an idea of ​​developing the strength and image of a modern person, just as the idea of ​​twine as a standard of flexibility is now popular. nine0010

What is the twine challenge? The fact that, on the one hand, everyone can come to this if they apply enough patience, discipline and effort, and on the other hand, not everyone can come to this, because they are simply not ready to do anything for this. And this cannot be bought with money, but can be achieved only by one's own labor.

Today, twine is available to everyone, and I think that this is wonderful, because what used to be literally beyond the limits of human abilities, today has become possible and accessible to the most ordinary people thanks to the accumulated experience and modern knowledge about the human body. nine0004

It used to be that twine was a gift from God and natural gifts. But then it turned out that this is not so

Why is the idea of ​​developing general flexibility less popular than the idea of ​​twine?

Artem: I wouldn't say that. She is less specific. I would say that the split is an understandable, measurable and spectacular visualization. And an emotional reason to start improving yourself, your body, to improve. And when a student comes and plunges into the topic, then, as a rule, interest in twine is quickly replaced by other, more valuable interests and practical applications of these abilities, which are difficult to explain to an uninitiated person. Therefore, the twine remains the hallmark of the development of flexibility. nine0010

People more often come to the idea of ​​developing flexibility as such at an older age, after they lose their former flexibility. And we have about half of these students. They don't need twine. They want to fully move and enjoy life.

Is it possible for everyone to stretch, or are there any limitations in terms of physiology or age?

Anastasia: Everyone can sit on the longitudinal twine, the joints may not allow the transverse twine. But if we are talking about general flexibility, about the normal functioning of the body - this is available to everyone, and I would strongly recommend stretching for everyone. nine0010

Yes, maybe we have some kind of articular restrictions that will not allow us to “sit down” on the transverse or limit our limit in minus longitudinal ones, but it doesn’t matter. Because flexibility is not only splits right, left and transverse. Flexibility is a very multifaceted quality, and here you can develop in many directions. And there are even no contraindications for practicing reasonable stretching, especially stretching through the movement of the body, with the restoration of normal working amplitudes and norms of movement, which are absent due to the fact that we do not use our body as it is basically intended. nine0004

Everyone can sit on the longitudinal split

How important is flexibility in everyday life, outside of dance and sports?

Artem: Let's remember what flexibility is? This is the ability to make movements with maximum amplitude. We do not think about it when we are young, flexible, mobile and used to the fact that any movement is available to us by default. The child does not understand the importance of flexibility when he calmly takes his foot in his mouth or puts it behind his head, sits in Turkish or "bent over three deaths" at the desk. He has it by default from birth, and he does not know how to do it differently. nine0010

But due to various circumstances, flexibility fades over time. Sedentary lifestyle, generally low physical activity, injuries, illnesses, etc. And at some point, as they say, "bang - and you're a tree." Someone at 14, someone at 40, someone at 60. And a person often thinks about the importance of flexibility only after he loses it. For example, when he cannot raise his hand to turn off the light in the room, or raise his leg to put it in his pants.

Someone puts up with it, says at the age of 30 “old age is not a joy” and turns into a young old man or a young old woman. He continues to cherish his bad hypodynamic habits, endure pain, learns to live with pain, adapts to it, and by 50 he finally curls up into a bagel. nine0004

The child does not understand the importance of flexibility when he calmly puts his foot behind his head, sits in Turkish or “bent over three deaths” at a desk. He has it by default from birth, and he does not know how to do it differently

Before the invention of antibiotics, at 40-45 years old, a person was already considered an old man, and people lived 50-60 years. Now we are told the average duration is 80-90 years, and in the near future 100-120. And it's not science fiction. I visit my parents, they are already retired. And I say hello to their neighbors who are at least 15-20 years older and who were old when I went to school... 90 years is the reality of today.

And someone wants to remain young, active and mobile until old age. And the very idea is unacceptable to him that at 60-65 he will cease to be able to independently raise his hands up and then for 35 years he will ride in a wheelchair or walk with a walker.

Therefore, for example, WHO has long recommended that adults, in addition to daily activities and work, engage in physical activity of at least 75 minutes a week - aerobic exercise and strength exercises. For additional health benefits - up to 300 minutes per week. And after 65, be sure to add exercises to develop flexibility and coordination to your workouts. Look around. By the age of 60-65, many people in the cities are no longer capable of any exercise, they would have to walk to the store, groaning on painkillers. Not to mention the development of flexibility. nine0010

And among people who are dancing or active, I see a different picture - I see vigorous 80-year-old women dancing flamenco and doing yoga, I see 85-year-old men who ride scooters, go hiking, rafting on rafts.

Therefore, the issue of maintaining and developing flexibility as a healthy habit - the same as brushing your teeth - is a question of the quality of all life. And it is better to start doing it now, "so that later it would not be excruciatingly painful." Moreover, it is much more interesting than brushing your teeth. It's a matter of choice. The choice between pain and suffering, or happily ever after.

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