Books
How does a dancer experience moving?
Journey with me in my personal exploration of movement with Floating Bones and unmask where you are in the spectrum of attending to your own moving body. As I chronicle my ability to activate the tensegrity of moving body in a step by step progression, you can follow along trying out each new idea for yourself. By exploring my journey activating tensegrity (a progressive new model for the moving human body) for greater ease and efficiency (I didn’t have one injury in my professional dancing career) you too may realize your body’s signals as your teacher as I did. I apply tensegrity further defining interpersonal relationships and beyond that into understanding social dynamics. After reading Floating Bones, you might just agree with me that tensegrity could be the next big thing.
Are you a dancer interested in having less pain? Dancing with less unwanted tension and force? Decrease injuries? Try my SPINE strategies!
SPINE Strategies are five strategies I developed to communicate to dancers the uncharted inner dimension of moving. Teaching my students what dance feels like on the inside I helped my students to use less force, decrease tension and diminish pain in their movements. Stretch roads maps dynamic elastic sensed connected lines of energy; pressing flair applies resistance to the floor and air to awaken the tensegretic response; interpreting connects movement technique to artistry; neutralizing joint points networks the joints of the moving body for enhanced support and control; economizing defines distal initiations to sharpen quick moves with ease.
A Curriculum for Contemporary Ballet
SPINE: Using the SPINE strategies in Contemporary Ballet outlines the fall and spring semesters in a week-by-week of how I taught contemporary ballet in the university. I break down each of the five SPINE strategies so students can gradually make the ideas come to life in their moves. Included are worksheets to help refocus personal perception as well as tips and tricks to speed up learning.
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Do you believe, as I do, that the dancer has a voice?
If you do, then you might want to check out Rhetorical Moves! My first book has been cited by many researchers who seek to inquire into the experience of dancing. Its importance is that I theorize the dancer as a rhetor or speaker giving agency back to the doer in a performance. Why is that so vital? For too long dance has been viewed from the observer. In Rhetorical Moves I define pathways into the experience of the doer explaining the dynamic nexus of the moment of moving. The ideas could provide you with a new way of understanding dance and dancers.