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Dance physiology [back to the Category]
Eyes and mouvement in dancing [read the french version]
Mr Pedrosa
Our starting point is the performance presence, after having observed while teaching dance that the gaze is usually aimed downward or stays in too fixed a point.
This is a problem which results in a great loss of expresivity on the part to the artist.
Visual information is fundamental for the postural system and in movement, esspecially in dance, where the demand for balance is primordial. A fine postural system manifests the notion of verticality from neurosensorial information received by the inner ear ( semicircular canals ), eyes ( sight and oculomotricity ) and the soles of the feet ( baroreceptors ), complementing the general "propioperception" ( muscular systems and articulations). Coordinating all these, we establish our corporal reference in the environment and it is as a function on that fundamental tripod there-formed that we adjust the tone of posture.
It is only after dominating the matter of the postural system, the artist will be able to express himself with total freedom of movement, offering the best of himself. This is what in dance is called correct placement: position and alignment as a stating point.
The shift from posture to movement is articulated in the regulation of what is called the tonic-expressive system. The head is raised as an inertial platform to guide movement and, beyond the matter of biomechanics, the expression allow for a fusion between the static and dynamic postural systems. A clear example in a dance academy class of academic dance would be to go from the bar to the center.
The analysis of danced movement finds in this simple tripod an effective tool, due to the pedagogic application that it allows, making the important work of prevention easier and enriching the reading of movement to different levels.
The practical application of the exercise of a classical pirouette can illustrate this, because it request a visual stabilization.
Developed applications:
1. the teacher as a communicator (learning through visual channel?)
2. space orientation (the use of eye focus)
3. how do we demonstrate the exercises (looking downwards)
4. invitation to the look (the dialogue with the spectators)
Working with the right specialists, we can complement ordinary treatments and the therapeutic applications are many. If we adapt this to each individual case, many people could take advantage of all that kinesiology and posturology have to offer. Thus, the practice of dance can be enriched and we see the creation of a concrete bridge or link to the filed of education in and for movement. This, in turn, can generate a rigorous interdisciplinary course.
Abstract from the XIth IADMS International Meeting.
Alcala de Henares, Madrid, Spain. November 2001
All rights reserved by the authors.
This is a problem which results in a great loss of expresivity on the part to the artist.
Visual information is fundamental for the postural system and in movement, esspecially in dance, where the demand for balance is primordial. A fine postural system manifests the notion of verticality from neurosensorial information received by the inner ear ( semicircular canals ), eyes ( sight and oculomotricity ) and the soles of the feet ( baroreceptors ), complementing the general "propioperception" ( muscular systems and articulations). Coordinating all these, we establish our corporal reference in the environment and it is as a function on that fundamental tripod there-formed that we adjust the tone of posture.
It is only after dominating the matter of the postural system, the artist will be able to express himself with total freedom of movement, offering the best of himself. This is what in dance is called correct placement: position and alignment as a stating point.
The shift from posture to movement is articulated in the regulation of what is called the tonic-expressive system. The head is raised as an inertial platform to guide movement and, beyond the matter of biomechanics, the expression allow for a fusion between the static and dynamic postural systems. A clear example in a dance academy class of academic dance would be to go from the bar to the center.
The analysis of danced movement finds in this simple tripod an effective tool, due to the pedagogic application that it allows, making the important work of prevention easier and enriching the reading of movement to different levels.
The practical application of the exercise of a classical pirouette can illustrate this, because it request a visual stabilization.
Developed applications:
1. the teacher as a communicator (learning through visual channel?)
2. space orientation (the use of eye focus)
3. how do we demonstrate the exercises (looking downwards)
4. invitation to the look (the dialogue with the spectators)
Working with the right specialists, we can complement ordinary treatments and the therapeutic applications are many. If we adapt this to each individual case, many people could take advantage of all that kinesiology and posturology have to offer. Thus, the practice of dance can be enriched and we see the creation of a concrete bridge or link to the filed of education in and for movement. This, in turn, can generate a rigorous interdisciplinary course.
Abstract from the XIth IADMS International Meeting.
Alcala de Henares, Madrid, Spain. November 2001
All rights reserved by the authors.
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