http://web.uaccb.edu/AcademicDivisions/MathScience/Science/BWheeler/Ess/figs/05_14Figure-U.jpg (Assessed 19/10/11).
The spinal cord is a freely moveable column that contains 24 individual pieces of vertebral bone that moves in many directions and is split up into various sections. The cranium; most people see the head as not being connected to the body or spine. The Atlas and Axis are at the top of the spine attaching to the cranium, followed by 7 little bones called the cervical (Lordosis) which is beneath the atlas and axis helping to support it. Below them is a bigger section of bones that are referred to as Thoracic (Kyphosis) which contains 12 larger bones; these move more freely than others usually and also support the above systems. The thoracic also holds and supports the ribs which protects the organs, if this wasn't here most of the organs in the body could be damaged easily. The Lumbar (Lordosis) contains 5 larger bones that support the upper half of the body and connect the the pelvic girdle alongside the sacrum. The sacrum is said to be a solid bone made up of 5 smaller pieces that doesn't form until around the age of 20 years of age. Previous to this it can move. Attached to the end of this are the Coccyx which consist of 2-4 tiny bones, these aren't fixed and sometimes people go without their coccyx as they are not essential.
The spinal cord has attached to it nerves which help to send messages to the muscles to activate the movement. These then escape through gaps in the vertebrae. The spinal column has an important job of protecting the organs in the body and to help the support the bodily structure (alignment and posture).
We began the class by supporting each other's heads whilst lying down and feeling the weight of the cranium and how it feels when its controlled. This made my neck feel longer and it gave me a wierd sensation down my spinal cord. We then reversed it and supported the weight of our spine by holding onto the legs and lifting the sacrum, lumbar and thoracic off the floor and moving it to see how it feels. This opened the spine and helped to feel where movement occurs most in the vertibrate.
When I started to move from the top of the head or from the tail bone I began to think of each vertibral bone in the spine and the journey it could take. I began to explore the various positions the back can go through and I started to realise movements that would be useful for my choreography. This is a good choreographic strategy for me to use as I am interested in the way the spine moves and the way it effects the body.
When I was experimenting with this I began to feel uncomfortable in the lower Thoracic around T9 - T12. I think this may have been due to not stretching the whole spine out properly before class started, either that or it could have been because I was exploring places in the spine I hadn't explored in a long while. Stretching this out helped, but as I was eager to investigate various places in the spinal cord I just got on with it.http://advancedpt.patientsites.com/media/img/344073/3638_vertebrae.jpg (Assessed 19/10/11)
"There is also an immediate reaction to someone whose spine is overly rigid and locked into the vertical. Such a person may be perceived as 'uptight' or 'inflexible'." Hackney.P. (2002). Routledge, New York NY.
This shows that Hackney determines some dancers (possibly ballet dancers) as having a straight spine and not wanting to or being able to bend it or use it in a capacity that goes beyond "normal" for these kinds of people.
Due to my love for the spine and the many questions I have about the spine, I have decided to base my essay question on this to be able to investigate and answer my own queries. After this technique class especially I am more quizzical than normal about this topic.
Moving onto a sequence we performed in the last class, I incorporated as much as I could of my spine from the top to bottom and I tried to move it by expanding and curling the most I could. I felt like the use of breath reached the individual sections of the spine when I inhaled and when exhaling I felt that I grounded myself and released any tension that occured in my body. This made my movement more free and flowing which made it look connected and open to direction and dynamics.
Thinking of the spine as an instigator, I was thinking that my limbs were attached, but made their own individual pathways and routes through the space, in either following and supporting the spine or going opposite to the spine. When looking at my movements in the mirror I would began to think of ways that my bodily parts could go and the choreographic uses that could come from this to create a different movement pattern/motif.
Peggy Hackney says;
"I become indifferentiated
...I am an individual in my own spine
I ground myself in my own sphere through yelding and pushing
...I reach and pull, giving attention to my outer environment
...I follow my curiosity and my imagination
...enjoying my supportive, flexible, playful, sensuous spine.
...All these seem possible." Hackney,P. (2002)
This quote says a lot to me and I feel personally I can reflect on this in my dancing. Not every being/dancer are the same and we all have our own style, imagery and desire to dance. We all push ourselves differently and we have different emotions, motivations and determinations which are shown through our dancing. Not every person has the same body shape and bonal structure. Everyone has a different perception for dance in either movement emotions or performance emotions. We all have different levels of mobility, flexibility and strength and we either use this to our advantage or take it for granted. The opportunities that can arise in my dancing or with companies, workshops or events (people to get involved with) can either be a reach (not quite there yet; got a while to go) or a pull (taking it with both hands and going for it). If I have a question that I feel needs answering I will go and explore this through the body and let my imagination run wild to experiment until I recieve my answer. All in all enjoying what I do and the energy thats flies through me to keep me going, incorporating all of the muscles, bones, nerval systems and physical and mental awareness. To be a good dancer you just need to try and never give up!
This is what I think this statement is talking about, and how it relates to me in my dance.
This is what I think this statement is talking about, and how it relates to me in my dance.
Having fun in my dancing is very important and when you use Head-tail connectivity you feel like a child or animalistic. This starts a playful feel to the movement and makes you feel happy and energetic. Using fast movement makes me even more happy as I get a kinesthetic pulse that runs through me; some would say this is adrenaline but I think it is more excitement. When I feel this energy I feel like my body can move freely and I can incorporate every muscle and bone included in myself and let it loose; as if I have an itch and I'm trying to get rid of it or let an emotion out.
As soon as I stop using my breath and my body, I become more stiff and I feel that there is tension throughout my muscles and my mind. This puts a bad emotion on my dancing as I don't feel like I am connected to myself. This normally occurs if I have an injury or I am drained and then the energy and motivation isn't there.
Yeild and Push, Reach and Pull.
There are structures that make up the human body. When a larger force is applied to the structure, there is a decrease in stress-strain levels. This point of the structure is classed as 'yeild', but previous to this there is a moment of pressure in the body; classed as the 'elastic region'. For example, when I perform a balance my body has an increased pressure before it has to hold at an increased strengthing point.
This picture shows how my spinal column feels when performing an arabesque with a plie as I reach out of my spine and then pull back to the original spinal position. As you can see in this picture the left hand spine is the normal curvature of the bones, whereas on the right hand side, it illustrates the spine lengthened with little curvature which is normally classed as unhealthy, for an instant in dance this is applicable. http://www.worldtaichiday.org/photos/TCIMAGES.SpinalAlign.jpg (assessed 20/10/11).
When performing movement that can be classed as 'reach' and 'pull', you can extend and relax the muscles and bones in your body; going from fully extended limbs to complete relaxation. This is generally linked in with breath and the more I include my breathing in my movement the more I can feel my bones and muscles interacting with each other. This makes me feel inquisitive to what makes my muscles and bones do what they do.
http://comps.canstockphoto.com/can-stock-photo_csp3933207.jpg (assessed 20/10/11).
The words yeild and push, scare me a little as they are very strong words and they make me want to portray the strength behind them instead of thinking about how they aid each other. When I think about 'yeilding' in my performance I think about the bones interacting with each other and the way they work together to help improve my performing state. If the bones worked away from each other constantly, I would be either in a heap or separated as this is not normal for a healthy body.
We experimented with a small exercise that opened the spine through contact with the floor from weight. We started this in 'child's pose' by relaxing the body muscles and bones keeping everything grounded. Then we began to roll up through the spine from tail to head leaning forwards applying weight onto the cranium. This had a nice feeling to it as you could feel every bone in the spine moving piece by piece. We then reversed this.
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