How to spin in country dancing


7 tips to master your Spins & Turns for Country Two Step

by West Coast Swing Online

Spins and Turns in Country Two Step can be very challenging. In this article we will take you through 7 different things you can do to improve your spins today! If you don’t know your basic two step patterns, you’ll want to learn them first!

TAKE ACTION> Download The #1 drill to improve your spins

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7 Tips to Master your Spins & Turns for Country Two Step

1. Spotting your spins

Spotting is the technique of snapping your eyes and neck on a focal point while you are turning to help with dizziness, focus, and speed. It is best to spot or focus on a point in space or a point on a wall, rather than a person or moving object. Spotting will always make your turns look sharp and focused. For ladies, it is helpful to have you hair pulled out of your face when practicing spotting. A loose ponytail makes turns feel sloppy. Read more about spotting here.

2. Drills for turns

Drills for turns are an excellent way to perfect your spins. We have many great resources to help you. Check out our #1 drill to improve your spins

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Repetition of drills is the key. One of my favorite ways to drill spins is to practice chaines spins in a straight line across the floor using different arm positions.

Another good tool is to use something called a spin board. It is a little tool that looks a mini skateboard for one foot. You stand on it, and can drill pirouettes.

3. Balance in your turns

The ability to balance in “releve” position, (the ballet term, meaning: on your toes) is a very important skill for turns in country two step. This requires strong calf muscles and legs.

Core strength and stability will help with balance during spins. It is important to do core exercises outside of your dance practice, like planks, side planks, and back extensions.

Good posture is also very important for spin technique. Check out our tutorial on dance posture. Or learn more about improving your balance. 

4. Learn the difference between different types of spins & turns for 2-Step

Pivots, chaines, spirals, forward walk turns, and hip twists are the different types of turns that you want to understand and execute.

Pivots are a step with a half rotation on each foot. Pivots can be danced solo or with a partner. Usually they involve a heal lead.

Chaines turns are half turns done on the toes. Chaine means chain in French. Check out this video explaining chaines turns.

Spirals and forward walk turns involve turning in the opposite direction of the standing leg, while hip twists turn in the same direction as the standing leg.

5. Take private lessons

Find a coach that can give you personalized advice about how to improve your spins. Private lessons may be costly, but they are definitely worth the money. It is an investment in yourself.

6. Enroll in our Spins and Turns Course

We have many online resources for country dancers, including blogs, videos, and online courses. Click here to register for our spins and turns course.

7. Practice

You can only spin so many times in one day. So try to practice a little bit everyday. Don’t push it past the point of dizziness because then you will start to feel you are going down hill. Keep up your practice on a consistent basis and you will feel confident about your spins in no time! Read more about practicing alone

What are your favorite tips for perfecting turns for country two step? Let us know in the comments below.

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Morgan

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Spin You Around - Morgan Wallen

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Breckyn ♠️🌵🃏

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Rayne ☆

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Chase Young

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'Til You Can't - Cody Johnson

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Jayselynnybo

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original sound - Shae

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original sound - charlotte

April 29 - Dance Day. What dances were like for our compatriots in the 19th-20th centuries

For the third year, "Motherland" has been collaborating with the amazing site "Prozhito" (PROZHITO. ORG), which contains more than 2300 diaries of Russians of the 19th-20th centuries. The next issue of "Live with the Motherland" is dedicated to the International Dance Day, which is celebrated on April 29.

The style and spelling of the authors have been preserved.

1807 YEAR

Stepan Zhikharev, writer, playwright, translator, senator, theater-goer and memoirist

January 26/February 7. [...] On the 3rd of February, a big ball was appointed at Count Orlov's, which is called a feast for the whole world. There are many dancers in mind, but there are almost no dancers at all. Some well-known ladies who knew each other briefly in the count's house were commissioned by the young countess to recruit good gentlemen. I do not know why Katerina Alexandrovna Muromtseva considers me among the good gentlemen and offered to take me along with her eldest son. "But I can't really dance," I said, "I'm shy and clumsy." - "Et pourtant vous avez danse chez les Werevkines et vous dansez souvent chez les Lobkoff, comme si je ne le savais pas" . ). - "It's true, but the Verevkins had a ball easily, and at the Lobkovs I dance pour rire (for laughter - fr.) in my mug, and I don’t dance, but jump like a goat." - "And at the Orlovs you will jump like a ram - that's the whole difference! Talk to yourself incessantly with your lady - and they won't notice how you dance."

I refused, but Katerina Aleksandrovna resolutely announced to me: "Vous irez, mon cher; je le veux absolument: a votre age on ne refuse pas un bal comme celui du comte Orloff, ni une femme qui vous a vu naitre.Сest ridicule "(You will go, my dear; I definitely want this. At your age, they don’t refuse either such a ball as Count Orlov’s, or such a woman who saw you in diapers. This is wild! - fr.).

There is nothing to do, I will equip my ball costume: a puce tailcoat and a white waistcoat with a Turkish shawl vest. I'll undress with my grip!

1808 YEAR

Adelaide Eleanor Sophia Hauswolf, Swedish prisoner during the Russo-Swedish War of 1808-1809.

October 30/November 11. In the morning dad decided to go to a masquerade. [...] The hall was large, but poorly lit. Music was Semevsky. Only a few of the townspeople were in fancy dress, but their costumes were so bad that they could be mistaken for commoners. Luckily, they weren't dancing, just running back and forth curiously. The governor opened the ball with a Polonaise with me. I was wearing a uniform dress with a wide ribbon, which caused a lot of questions.

It was said that there were not many people today, but there were 130 people. The ladies were dressed in beautiful fabrics and adorned with jewels, but without elegance or taste. They danced so badly that even our maids danced much better than them, and of all the men there was only one who could somehow lead his lady. From a good life and constant sitting, the women here are so extraordinarily full that during the polonaise and round dance they drag their feet; from a waltz or a quadrille they are lost for the whole evening. [...] I danced a lot and had a lot of fun, but dad was bored. At 12 o'clock we left.

1812 YEAR

Pavel Svinin, writer, historian, diplomat, editor and publisher of Otechestvennye Zapiski

11th [February]. [...] It is strange to believe that here (in New York - Rev. ) at the best balls only two violins squeak and a drum beats - and the American Cottillions somehow jump over them both in moderation and not in moderation - just to dance. Apart from the cotillion, nothing else is danced here. Fathers and mothers are against the waltz - considering it indecent for a girl.

Natasha Rostova's first ball. Frame from the film "War and Peace".

1829

Daria Fikelmon, granddaughter of M.I. Kutuzova, the mistress of the literary salon, where A.S. Pushkin

August 12/24. Saturday. A big reception at the Chief of Ceremonies Stanislav Pototsky. The ball was given in honor of Khozrev-Mirza. All Persians miraculously kept themselves in high society, so alien to their way of life and habits. It seems to me that they could easily be forgiven for looking at us with surprise and, probably, even with slight contempt, because the mazurka and waltz, it would seem, should shock people who are used to the fact that their women live as recluses and wear a veil. . But, on the contrary, they seem to like everything here, and they are friendly to everything.

N. Rusheva. N.N. Pushkin at the ball. 1967 Photo: RIA Novosti

1831

Alexander Nikitenko, journalist, literary historian, censor, official of the Ministry of Public Education

January 6/18. Attended a ball with General German, class inspector at the Catherine Institute in the Smolny Monastery. All of our ballroom meetings are the same. The difference is only in the decoration of the rooms and in the greater or lesser luxury of the treats. Three kinds of people are usually present at balls: dancers, Bostonists and spectators, who in turn are divided into spectators of the game and dances. The latter include obsolete ladies - the mothers of the heroines of the French quadrille and cotillion - or men invited to count. Dancing has always captivated me. I love to watch the play of faces of dancing couples.

Women especially provide grateful material for this; as for men's faces, they are very rarely expressive. At this ball I found no more than three or four; to them, undoubtedly, belongs the physiognomy of my friend, Ivan Karlovich Gebhardt. Two distinctive features of his character are surprisingly clearly imprinted on his face: light, graceful-sly subtlety of mind and nobility. His face boils with the play of life, blooming, beautiful. It is light, open, noble. But be afraid to meet his smile: subtle Attic irony will appear in it, like a thorn near a rose.

1833

Daria Fikelmon

February 14/26. The masquerade at Volkonsky's is the most beautiful of the festivities that one can only see. The Quadrille of the Empress from the opera "The Miraculous Lamp" was excellent and exceptionally rich. She herself looked charmingly beautiful in her costume. Having bypassed all the halls with a cortege, the Empress sat down on the throne, and the participants in her quadrille performed dances very gracefully, but still they could have been better arranged. Then our quadrille began and had a great effect. We danced the minuet and gavotte just fine, and everything, admittedly, turned out lovely.

1840 YEAR

Wilhelm Küchelbecker, poet and public figure, friend of Pushkin and Baratynsky, Pushkin's classmate at the Tsarskoye Selo Lyceum, collegiate assessor, Decembrist

October 7/19, . After a very, very unpleasant yesterday, I had fun today like a child. Istomin started for us un petit bal de famille et imaginez vous (a small family ball, and imagine - fr.) I, an old bastard, danced quadrilles, mazurkas, waltzes without rest, and God knows what else, of course, confused the figures as well as possible ; but, really, we had more fun than at other prim city real balls.

1864

Varvara Morozova, daughter of industrialist and collector A.I. Khludova, philanthropist

July 21/August 2. [...] I looked forward to yesterday, confident that I would see V. I was expecting his arrival with emotional excitement. Finally, I saw him, and he bowed to me for the first time. I was in awe and eagerly awaiting the dance. I told Lydia that I would hate him, unless he invited me to the first quadrille, with trepidation I expected his arrival, he was not there, finally, he came up and engaged me. I was overjoyed and even went so far as to kiss Lydia's hand. How cute she is! Now, I thought, I have confidence in you.

Finally, the quadrille began. God, what attentiveness, courtesy, he seems to want to charm her. From the first minute we began to talk, and then all my suspicions were justified, and I am glad that I can boast of foresight. He said a lot of pleasant things to me, and so the whole evening flew by.

Peter Kropotkin, scientist, anarchist

2 September. Steamboat "Konstantin". [...] On the "Konstantin" the wardroom is 27 feet long (the width of the ship) and 16 feet wide. Here they arranged dances; found 2 violinists, concocted a triangle - that's the orchestra. Of course, there were hunters, and even more so hunters for dancing: priests, the daughter of an ordinary officer, steamship ladies, one ardent food official, the printer Andreev, Kononovich, myself, even Babst. One cannot be satisfied with quadrilles - the tremblant polka, the unchanged mazurka polka, the roll (waltz. - Ed.). But the roll did not go smoothly: the musicians did not know any other way than in three steps, convenient for dancing with a pipe in their hands or, perhaps, with a mug of beer - you can be sure that with such slow movements it would not have spilled.

1882

Tatyana Sukhotina-Tolstaya, eldest daughter of L.N. Tolstoy, memoirist

May 29/June 10. [...] This evening papa was talking about what kind of person he would like to marry me to. He says, certainly for a person outstanding in something, but not a secular one. “Like, he says, if a mazurka dances well, it means that he is no good.” In my opinion, too. Are we being judged like this? And I tried so hard to learn how to dance the mazurka best of all, and when Misha Sukhotin told me that he was ashamed to dance with me, because I dance so well, and he is so disgusting, how proud I was!

September 29 (September 17). I just came from the staff room, where my mother is celebrating her name day. They bought harmony and treats, and they dance there. Their dance enthralled me. Arina the cowgirl dances wonderfully: she will pass so smoothly, then she will stop, she will move her shoulders and turn around quickly and start dancing again. I really wanted to go too, but it would be awkward, and they would feel it. No matter how beautiful the waltz and the mazurka are, it is incomparably and less and more beautiful, and goes straight from the heart, and most importantly, more original: everyone shows his character in his dance, and it’s good that this cannot be taught, everyone has his own special manner.

1892 YEAR

Maximilian Voloshin, poet, translator, landscape painter, art and literary critic

December 17/29. The whole evening passed remarkably cheerfully. After a while, almost everyone had already gathered, and the dancing began. Olga V dragged me to dance the polka. "Yes, I don't know how, I never danced!" - "Well, make up your mind, try it!" I made up my mind, and it turned out that I can dance the polka. "Well, now try the waltz!" - "Well, it's me, really, I can't do it at all. After all, I still learned to dance the polka, but never the waltz." - "Well, nonsense, let's go and learn this. After all, you didn't want to dance the polka either." I made up my mind, and it turned out that I could also dance a waltz. So in the end he went out and danced all the time and with all the ladies. I still can't believe that I could dance the polka and the waltz. Now, then, you can say that I'm dancing.

1896 YEAR

Vladimir Lamzdorf, Minister of Foreign Affairs of the Russian Empire

February 3/15. Gears tells me about yesterday's costume ball at Grand Duke Vladimir's. [...] Sovereign yesterday, pacing around the living rooms, entering into conversations; it seems to me that his majesty goes too far in his modesty. Girs invited Princess Yusupova to a French quadrille at the moment when the sovereign was approaching her with the same purpose. "Ah, you have already been invited, so let's dance the next quadrille," the sovereign seemed to say. Despite all the efforts of the princess and Girs to prove that no previous agreement could compare with the honor of the royal invitation, the sovereign confirmed his decision and gave Girs the first round of a quadrille with Princess Yusupova.

At a ballroom dance class at the Smolny Institute for Noble Maidens. Photo: Karl Bulla

1900

Vera Khludova, 11 years old

January 11/23. I'm starting to write a diary! [...] Today we went to a dance lesson with the Naydenovs (cousin), where we now dance: polka, waltz, minion, pas de quatre - we dance all this! I love to dance, but only to watch when they dance dances that we did not learn, new ones - then it's very boring! Look around, yawn!

Eugene Lansere, artist, member of the "World of Art" association

January 22-23/February 3-4. Saturday - Sunday. 3 am. I have just returned alone (that is, with Mile) from the very first ball at the Meisners. Mom, Cat, Manya and Kolya still remained. I only want (and only because I haven't written for a long time) to draw a small parallel with the ball at Uncle Lyulya's.

Some facts: then I wanted to be terribly, I was afraid and worried. Then there was some kind of fun dancing (polka, square dance), stayed until 5 in the morning and after that was quite pleased with the evening. Somehow I grew cold and lost my taste for balls (before that, I longed painfully to learn how to dance). Today, until the evening, I hardly thought, I went indifferently and almost confidently. And just as he felt embarrassed, proudly tormented by his boredom, and finally left.

And now it's just the opposite - again I painfully want to learn how to dance, again dances and balls seem to me something magical, a goal that I want to achieve, and I'm already thinking about the academic ball with thirst and I want to learn how to dance, well, at least a waltz!

1902 YEAR

Sergey Zimin, theatrical figure, philanthropist, founder of a private theater

January 18/31. U N.L. Zimin's blessing was a lot of fun. I even danced. To do this, they began to study with the ballet dancer Domashev, a wonderful dancer of the Bolshoi Theater. Small in stature, but surprisingly elegant, he fascinated us all, and we enjoyed studying with him.

1915 YEAR

Sergey Vavilov, physicist

April 30/May 13. Vysniki. I went out into the garden in front of the house. A charming bright May night, the old house is lit in some places and acts as an elegiac bright spot among the ancient chestnut trees. Fun in the yard, tambourines, harmonica. The polka and mazurka are famously beaten off, couples are spinning. It is somehow inexpressibly sad to look at this fun. 2-3 days will pass, there will be Schmidts, Mullers and all sorts of Haudegen. Something like "Feast in the Time of Plague".

Celebration at the collegiate registrar's house. Early 1900s.

1920 YEAR

Nikolai Golovin, professor of geodesy at the Moscow Land Survey and a number of other institutes

January 13/26. Yesterday was St. Tatyana, Alma Mater Day, Moscow University. The day before, the students of the Moscow Polytechnic [Institute and students of the Land Survey Institute] staged a concert-ball on Novaya Basmannaya in the house of the former Prince Kurakin. They invited me, they sent honorary tickets. But neither I nor Marusya could go there. Yesterday the students, and today the listeners reported that the evening was a success, there were teachers and professors with their wives. Many young people stayed until morning. Sofya Ivanovna Bocharnikova, our permanent clerk, stayed until 9hours of the morning. And after her departure, the hidden young people still danced until 11 o'clock in the morning. The artists were pleasantly surprised by the composition of the audience, it was "clean". They say that now it is the greatest rarity.

Nikita Okunev, employee of the shipping company

July 12/25. Oswald Spengler (German) wrote the book "Death of the West", which has an incredible success. It vividly proves that all civilized humanity is now in a period of collapse, an unprecedented catastrophe and on the eve of death. The mass seeks support in crude mysticism and ... in the foxtrot. It means "fox step", the so-called fashionable dance that came from America. This is the legacy of tango. In the tango, he says, there was the refinement of vice, and in the foxtrot there was only the rudeness of depravity.

Yu. Pimenov. NEP. At the restaurant. 1927

1921 YEAR

Nikolai Mendelson, philologist, teacher

5/I. Yesterday in the gymnasium there was a meeting of those who graduated from all the issues. 50-60 people gathered. E.I. Yermolova (Yermilova?) showed off her ballet studio. Ballet is now fashionable, as is poetry. As in the old days, very old, embroidering purses, the pianoforte and the French language were a necessary accessory for the upbringing of a girl, so now "poetry" - theoretical and practical - and ballet have become the same necessity. Girls and girls from the studio in most external data do not have: bad figures and ugly legs. Two or three, however, nothing. Dancing, in general, is very mediocre.

Ksenia Solovova, chemist

March 14th. I danced in the gymnasium with Kirill Focht, he is so sleepy, he does everything wrong. I didn’t even have much pleasure in dancing! Whether it's Styopa's business, it's nice to be with him, he's so dexterous. He is now quite firmly settled in my heart.

1927 YEAR

Irina Knorring, poet, memoirist, emigrant

February 2nd. For the first, and maybe the last time I saw dancing in Paris. There were many French women, and they gave the evening a peculiar Parisian flavor. Small figurines, cropped hair, raised shoulders, short dresses, lined eyes and bright lips - dolls, porcelain figurines. God ordered them to dance the foxtrot, it is stylish and even beautiful in its own way. And when our Russian aunt with breasts in three girths begins to bend, to stagnate, then this is ridiculous and ugly.

Feature of the new dances: they are not cheerful (not my idea). The French women dance seriously, they perform sacred rites. No flushed cheeks and sparkling eyes. There is no fun and no beauty, but dancing does not always serve fun and aesthetics, and such a touch of two bodies, so close that you feel every curve of the body, reaches its own. Sometimes it is enough to take the hand above the hand to feel the trembling "of the whole body along." Yes, Marina!

1930

Olga Radivilina, schoolgirl

January 3rd. After dinner, everyone began to dance the foxtrot, what a nasty dance it is: people press against each other with their whole bodies up to the head and then move in this position on the floor, making barely noticeable figures that in an ordinary position would be taken for indecent.

People dance the foxtrot to hug each other, why can't they hug without music if they want to? Why is it considered indecent? Why is it not indecent to make voluptuous movements to the music? I don't understand why there are such conventions. If you want to hug, then hug without music.

I really liked Rudzutak's behavior, emphasizing my thoughts. One young woman (one of the people I like in this company) invited him to dance the foxtrot (he doesn't dance at all). He took her, put his arms around her, pressed her to him. She struggled, but he was strong, holding her a little so he released her and said that it was better than a foxtrot. In fact, it's better than the foxtrot. But not everyone is allowed to do this, and not everyone dares to hug a woman, and not every woman will allow herself to be hugged without music.

1934

Boris Sushchenko, resident of Barnaul

December 17th. Left home at 8 yesterday, arrived at 1 1 / 2 at night; played with Oleg Vit. 3 hours in chess, (won), and from 11 am to 1 am - ... "and!" tango and foxtrot! Here are miracles in a sieve, I'm dancing... tango. For the time being, successes on the "bang", the sequence and "formulation" of movements do not fit in the head - the legs fail; summary, or what, start?

K. Korovin. Village dances. 1936 year.

1936 YEAR

Nina Kosterina, Komsomol member, daughter of the repressed writer and journalist A. Kosterin

I would like to start the diary from a date that for some reason stuck in my memory. It was April 8th. I was fifteen years old and celebrating my birthday. At the party I had Alik, Boris, Volodya, Volya, Lusya, Tonya and Vitya. I was worried before the evening and was afraid that it would be boring. However, the evening went well - not a single birthday of my life was so fun. And that evening, for the first time, I "risked" dancing with the boys - with Alik and Vitya. When Alik hugged me around the waist, and I put my hand on his shoulder, I involuntarily shuddered - it was such an exciting and joyful feeling. I have been dancing for a long time and love to dance, but never with such pleasure. Jokingly, Alik lifted me into the air: my heart sank, my breath caught and my cheeks burned with heat ...

In a holiday home. 1938

1937

Dmitry Mikhailov, high school student

November 23rd. For a long time I wondered: "Why don't our guys dance?" After all, the guys 2-3 years older than us already danced in the 8th-9th grades. They don't dance because they are embarrassed to learn. (And why don't I dance? Yes, that's why, too, perhaps).

Tonight there were a few guys and girls in the class for a play rehearsal. Well, they messed around, of course. I started talking about dancing. Galya Fursova told me: "Dimka, let's learn to dance!" And instead of the usual refusal, I said: "Come on." She looked a little embarrassed, but that's okay. For a few minutes she taught me to dance the foxtrot. Artemov V. (Pistik) immediately wanted to study. She taught him further and almost learned it.

And now I'm sure that all the "leading" guys in our class will start learning to dance. May 3 I celebrated the First of May in a way I couldn't even dream of. We went to the factory yard, where they had a dance. I didn't dance because my shoes fell apart in the winter. I was in my grandmother's leather slippers and therefore huddled on the sidelines. But it didn't spoil my holiday. And in the yard, the bosses, a little tipsy, were dancing so much that it was a pleasure to watch. The accordionist played everything that was asked: a Russian, a gypsy girl, a lady and even a quadrille.

At rest. 1943

1944 YEAR

Vladimir Tarasov, participant in the battles for the liberation of the Baltic States

Yesterday we were given warm footcloths and mittens. Suddenly the radio started playing tango. Kostya and I could not stand it and let's dance. How I would like to arrange a small evening, dance, have fun. But, alas, ah!!!

Grigory Kasyan, political instructor

December 19th. Hospital N 3336. Toropets. The other day I learned to dance to the button accordion and have already danced the Boston waltz, tango and foxtrot. All this can bring me closer to any circle of people. I attach special importance to dancing. These days of mine are quite interesting, but you will quickly forget about them.

Ion Degen, tank commander, poet

You won't go crazy at the front,

Without learning to forget right away.

We raked out of destroyed tanks

Everything that can be buried in the grave.

The brigade commander rested his chin on his tunic.

I hid my tears. Enough. Stop doing that.

And in the evening the driver taught me,

How to properly dance padespan.

Six o'clock in the evening after the war Photo: from the collection of Vladimir Sergeev

How dancing helps to get rid of dizziness and become smarter not for all. Especially often from our men you can hear: "Men don't dance!". And rightly so, the occupation is not serious!

musatovvadim

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But in fact, dance is not only exercise for your body. It is also a kind of brain trainer! We have already published articles that playing sports, and running in particular, spur a person's cognitive abilities. Now it's time for the dancing.

Dancing improves brain function at various levels. Two recent studies have shown how different types of dance enable dancers to achieve peak performance by blending cerebral and cognitive processes with muscle memory and proprioception.

Proprioception, proprioception (from Latin proprius - "own, special" and receptor - "receiving"; from Latin capio, cepi - "accept, perceive"), deep sensitivity - a sense of the position of parts of one's own body relative to each other.

Through aerobic exercise at least twice a week, which combines different types of dance, everyone can maximize their brain function. Of course, we are not talking about the convulsive impulses of the body, which many people try to pass off as a dance, but about a dance in which not only the body, but also the brain is included in the work.

Professional dancers never get dizzy. Why?

If you are prone to dizziness, then you need to learn how to dance! A new study has found that dancing can help manage dizziness and improve balance. In September 2013, researchers at Imperial College London reported that choreographers have a slightly different brain structure than non-dancers. And it is these specific differences that help them avoid dizziness during pirouettes.

Visualization of movements helps improve muscle memory

Another study published in an article on psychologicalscience.org showed that dancers are able to break down the dance into parts in their mind and mentally go through each movement, leaving a kind of "markers".

Findings published in Psychological Science suggest that this labeling may alleviate the conflict between the cognitive and physical aspects of dance. This is what allows the dancers to memorize the movements and perform them smoothly. They seem to be in a flow.

And at this time, their brain is working to its fullest, thinking through each step and connecting it with the next as smoothly as possible. So that from the outside it looks like one single, smooth movement, and not a set of separate intermittent ones.

How can this be applied?

How can the above research be applied to the daily life of the common man, not the professional dancer?

If you learn to control the part of the brain responsible for this, you can help many people who suffer from dizziness that is not related to other problems in the body. Scientists are just working on this problem.

Dr. Barry Simangle of the Imperial College Medical Department has worked with many patients for whom dizziness has become a real problem. Ballet dancers are able to train their brains so that they stop feeling dizzy. So doctors wondered if they could use the same principles to help their patients.

Visualization and synchronization are quite applicable, for example, in the study of foreign languages.


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