Thursday, November 17, 2011

Dear Fellow Dancers

Dear Fellow Dancers,

This Blog features, among other things, some narratives by those within our community who have taken action to transcend prior and current debilitating injuries and other physical challenges. We wanted to supplement these inspiring journeys you will read about with a brief preface on the rehabilitative nature of dance.

As we acquire and practice moves specific to our beloved dance form, our brain’s circuitry is being primed and reinforced for subsequent movement patterns, which we often describe as, “muscle memory.”

Dance affects not only our grace, coordination, fluidity, and those qualities we can observe and sense immediately while dancing, but the activity of dance also changes our brain’s circuitry in ways that leave neurologists in a conundrum with regard to truly understanding the complexity of dis-ease and the mechanism of action for any given course of therapy.

In the “Rhythm & Grace” dance series that we instruct for Parkinson’s patients at the Colorado Ballet studios, we are utterly astounded with the process by which certain physical symptoms indicative of this disease’s progression miraculously give way to the music and complex combinations of steps. Folks who struggle on a daily basis with walking, standing up from a seated position and initiating movement are granted a reprieve when such movements are rhythmically assigned and set to music. Somehow dancing temporarily suspends the intensity of many symptoms known to those with Parkinson’s and similar movement conditions.

Whether we dance for therapeutic reasons or simply because we enjoy the feeling of moving to music, we are positively impacting our brain’s mapping and neurochemistry.  Certain pathways within our brain’s circuitry are reinforced vis-à-vis the movements we execute

The next time you dance know that you are beneficially affecting your brain’s neurochemistry with the surge of dopamine and other chemical messengers that make voluntary movement possible.

Thank you for reading!
Happy & Healthy Dancing,

Lori and Staff

Pole Dance As Yoga

Pole dancing, as a healing dance form and modality to reconnect with ourselves holistically (i.e., mind-body-spirit) seems to be where yoga, perhaps, was a decade ago. When I was a graduate student, I remember only 2-3 studios and teachers who were practicing various forms (e.g., Bikram, Ashtanga) in the Denver area. I also remember inviting friends to the classes I was taking and their questions...which were along the lines of, "You mean, take a class where you are asked to "stand like a tree?"

I greatly appreciate the time you are taking to help raise awareness of the pole dance. You asked the question, "How is pole dancing my form of "yoga?" Is it true that the definition of yoga is, "to yoke" or tie together the body-mind...or unify the various aspects of our essence/being? As humans, we tend to perceive differences and make distinctions. This seems to happen at an early age (e.g., 2 years) when we differentiate ourselves from our mothers and parents. From this point on, perhaps we perceive the world along the lines of "me" and "not me." I am not sure if this is where our "separate-ness" begins, but it seems that the concept of "me" or "I" and, "who we think we are," to quote Ram Dass (spiritualist and translator of Eastern spirituality for the West) gets planted and from which we continue our separate, individualistic paths.

In our culture, we seem more and more separate from others, or a sense of greater community. Within ourselves, there seems to be an even greater divide that occurs as an extension of living according to "science, logic, and reason." In my days of counseling psychology, two things were apparent. First, a "split" between a person's thinking and feeling often served as the impetus for seeking counseling. We could analyze and try to understand why we made decisions that went against our heart's desires, but this often lead only to greater "reasons" for not taking the desired actions or making changes that brought ous into congruence or alignment with our hearts’ desires and bodies’ intuitions. Second, and most interesting, it seemed that when we could "get out of our minds’ explanations and stories," and consider the bigger, philosophical and often spiritual questions, this seemed to loosen our "grip" on a given “reality,” allowing for steps in a new direction and overall change.

Interestingly, it seemed that once an individual could align his or her actions and pursuits with his or her inner desires and feeling, fear lifted and problems associated with the experience of not "following one’s deepest sense of awareness" dissipated. It was at this point, an individual would depart from therapy. Hurray!

Dance teacher, Gabrielle Roth, states, "When we follow our soul's desires, life unfolds like a love story." I believe this to be true. When I dance, I connect to the essence of being human. Thus, the pole dance is my form of yoga, a profound spiritual practice that begins and ends with unifying spirit, body, and mind. My journey at the poles has All movement stems from the breath, and we often begin on the mats in yoga and with the rhythmic flow of dynamic moves prior to moving to the poles.  

In classes, I often mention that, "dance mirrors life." Life hardly works out the way our minds project. We can both fight and resist certain changes and situations that we are faced with, or we can embrace and roll up our sleeves and remain open to the possibility that something greater will be revealed to us through a given scenario (and often one we would not choose). The poses of yoga and the movements with this dance form teach us that we can "hang in there with moments of discomfort." When we want to retreat into "fight or flight" mode, we can sit still and breathe a little deeper and slower. Often this (new) place reveals that the sensations or things we are "fighting" or "flight-ing" drop away with time's passing. We are left questioning, "where they ever real?"

Yoga, like dance, begs a physical focus. Such concentration on muscles and our soma seems to allow the "chatter" to quiet. Our "souls" live in our bodies. When we can connect to ourselves through breath, movement, we can realize there is a greater rhythm to our lives...and a greater freedom of possibility...something beyond all of the restrictions and fears of the endless chatter of the mind's limited view.

Anything that reveals to an individual his/her true power - relating to the realm of possibility is amazing. It seems that yoga, dance, and other physical, creative activities create a window for "light" to shine in and for people to experience themselves as something greater than they initially thought, or think on a day-to-day basis.

At the pole, it is amazing to see women and men climb, pirouette, and achieve a sense of mastery with their bodies and entire beings. This is something that kids seek with excitement (and no second thoughts) just naturally. However, as adults, we have been conditioned to listen to our minds and "reasoning," and to not do things that could lead to us looking foolish, irrational, or childish.

In yoga, we return to "child's pose." In dance, we return to "playing with movement" and being creative, especially with the pole dance, since there are few rules on how we can connect certain maneuvers. Hopefully between all of the moves and various forms, we learn how to go within, feel our sense of inner truth, and listen to the wisdom of our soul’s expression that shines through our muscles, viscera, and cells. Through this process, hopefully we learn to see a different perspective – one that is based on “felt sensing.” In this way, we might be able to listen when our bodies are fatigued and respond accordingly (e.g., with kindness, allowing rest). 

In a culture that is forever focused on “moving forward,” “collecting or consuming experiences,” and “getting ahead,” it is an everyday challenge to be with stillness. There is a value in awareness and observing without having to engage in knee-jerk reactions. This was a concept that we tried to facilitate in the therapeutic milieu, as counselors. That is, to interrupt a habit, there has to be a gap in time and space. This is where, “returning to the breath” and “watching the breath” come in to play. Once we can create a little more time and space, we have the opportunity to be patient and wait things out or possibly attempt a new solution. Both of these offer something different than the usual, habitual, “knee-jerk” reaction.

Finally, there are certainly a myriad of rules, expectations, and social mores for how life is supposed to unfold. The series of events and experiences that contribute to this thing we call, “life,” rarely unfold as we hope or wish. I always say that, “nobody goes unscathed,” meaning that we all face adversity, disappointments, and heart-breaks. If we can find the “dance in it all,” and the “lightness that exists in the darkness,” perhaps we have the power to shift our experiences. This is the philosophy of yoga, and this is the practice of dance. In class, I constantly encourage students to, “find the dance in this dreadful and horribly hard exercise.” We might learn to do this on the yoga mat, or at the dance pole…but when we can take these lessons and practice to our “outside” world, applying them to a challenging job or a struggling relationship, the “trauma” of the difficult situation shifts.

A good friend of mine, John Schettler, who designed and maintains the website for TranZenDance Studio, shared the following wisdom with me years ago when I was struggling about the studio’s future location: We have three things to do in life. First, we have to show up. Next, we have to pay attention. And, finally, we have to tell the truth. On the last point, this is not the truth, as we know it, to tell to someone else. Instead, this is our own deepest sense of the truth, as we know it.

It is hard to live in accordance to what we know, and it is nearly impossible if we choose not even to “show up.” With the years that have passed since first hearing John’s words, I realize, “to show up, pay attention and tell the truth” takes practice. It requires stillness, which requires patience. It requires attending to “felt sensations” and internal rhythms. In the hectic world in which we live, this begins and ends on the yoga mat and at the dance poles.
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Stretching for the Splits

  • Identify which muscles are the tightest, also noting any differences between right and left sides of the body.
  • If there are significant imbalances in muscle flexibility, begin stretching your tighter side and also end stretching your tighter side.  Thus, stretch three times:  tighter side, more flexible side, and tighter side to try and equalize sides. Imbalances in strength and flexibility throughout the body can lead to injuries. Also note these same techniques can be applied to strength training.
  • "Dissect" and stretch each of the muscle groups that contribute to making the splits possible. For example, for the "front splits," this would include the hamstrings, quadriceps, glutes, hip flexors, and calves - if you find tightness in this area limits your hamstring flexibility.
  • Stretch prior to each gym, exercise, or dance session.  Consider this habit necessary for injury-free (hopefully), safe practice.  However, if your intention is to increase your flexibility significantly, a more concentrated stretching session of 10-15 minutes daily is necessary, especially following exercise or a warm bath when your muscles are most supple and pliable.
    • Muscles involved in the "side splits" include:  adductors (muscles of the inner thighs) and ligaments & tendons of the inner hip.
    • Two stretches that help lengthen these areas include the "frog stretch" and "splay stretch," - the latter can be executed at the wall while one reads, talks on the phone, or relaxes.
    • Research supports adding "active" stretching methods (e.g., agonist-antagonist stretching protocols) to otherwise passive stretches.  The splayed position can be made active by activating the glutes (an exercise we generally do in class with the therapy bands).

A Message to Our Students

Life can be pulled by goals just as surely as it can be pushed by drives."                                                 - Viktor Frankl
 
Dear Students,

When it comes to furthering our dance abilities the intrinsic fire that burns within called "desire" will take us quite far in our journey.

Well-known physiologist and body-worker, Feldenkrais, supports identifying and becoming aware of the smallest movements...especially when we feel stuck, weak, or immobile.

In terms of "problem-solving," psychologists and counselors discuss "chunking," or breaking down the various components and steps, which can be addressed one-by-one in order to attain a larger action-based goal.

Eastern philosophies and practices (e.g., meditation, Taoism, Zen Buddhism) challenge us to be still, to hear beyond the din of our mind's constant "chattering," and to possibly see the beauty in the "struggle," or psychic tension we look to dodge or overcome.

The advent of a New Year encourages us to re-focus and take inventory of the past, present, and the direction we wish for our futures. Often, we think about what we can add to our schedules (e.g., making it to the gym five times per week), and the activities we can do more and better. How about contemplating the opposite: What could we do less of to create a little more time for ourselves in the hectic world in which we live?

Just creating the space and time to intervene a well-rehearsed habit takes practice. Even if we do not necessarily change anything that we do, simply dropping back into "observer mode" creates a subtle shift in terms of our cognitive process. "Non-action" is also a behavioral activity, and its value should not be overlooked.

To quote a Buddhist teacher and friend:

"We have three things we must do in life. First, we must "show up." Next, "we must pay attention." Finally, "we must tell the truth, and this is not the truth as we know it told to someone else, but rather, the truth we tell to ourselves."

The first two tasks of "showing up" and "paying attention" are difficult enough. We show up with our five senses, but we "pay attention" by stepping back into the "Observer," and distancing ourselves from our judgment, attempting to watch the movie of our lives unfold in the present moment. Often our mind takes over at this point with the critiques, lists, and soap-operas, showing us how difficult it is just to stay present and fully experience the "now."

When it comes to the dance and our movement in the studio, we can set large goals for the moves we want to achieve and the combinations we want to master. When our personal frustration level takes hold, we must go back and take inventory of how and what we are doing...on a micro-level. Which habits, and motor movements, are we practicing over-and-over again that are not working? How can we break even the simplest moves down to further our body's awareness of our hand position, core/center, tension at the pole, etc.?

As we progress in level and abilities, the smallest movements and adjustments are often the most profound - both in terms of technical/strength gains and style. For example, lifting one "chest" from beneath the ribcage lends to opening the shoulder girdle, lengthening the spine to correct posture, and separating the intercostals to support deeper diaphragmatic breathing. "Lifting into our transitions," starting even on our mats, with the floor series, offers an "airy," "ephemeral" quality to our dancing.

Finally, I encourage us to reflect on everything we CAN do, that which we have achieved, and the moves (or activities) we do automatically. Often, with the journey at the pole, we are initially ecstatic and surprised by the freedom of moving and the first pirouettes we learn, and how we can literally take flight around the poles, that we are amazed at our abilities. However, somewhere, like walking or driving, our amazement gives way to perceiving all of the moves we cannot do (yet), and our new-found freedom becomes clouded by harsh self-criticisms and even self-imposed limitations/deficits.

When this familiar-human-habit occurs, try to drop back into asking yourself, "What is the smallest movement you can realize in the moment?" The most subtle of gestures offer some of the most profound learnings.

  
 Happy & Healthy Dancing this 2011 -  Lori & TZD Staff 

Conditioning/Strengthening for Pole Work

* Quality over quantity is important when it comes to repetitions
* Attend to muscles on a "micro-level"
* If you can approximate the precise exercise at the pole with your own body weight with whichever exercises you choose, this is always the most accurate way of training strength for the particular moves you want to be able to execute at the poles.
* Specific exercises/equipment at the gym that lend to strengthening key muscles for pole work:
  1. Roman Chair (pressing the shoulders down to engage the   Latissimum Dorsi and other back muscles), lifting the knees using the muscles of the pelvic floor and transverse abdominals (in lieu of hip flexors).  This is a very subtle difference. Please let us know if you have questions about this exercise, since we review this exercise in Level II and higher classes at the studio.
  2. Other abdominal exercises (especially targeting the lower abdominals)
  3. Pull ups or other equivalent exercise with "lat pull-down" machine
  4. Deltoids (especially front deltoids) for the "twisted grip" position we utilize on backward body spiral, swan, and level 6+ moves
  5. Military press for shoulders