Roshanna
New member
Any thoughts on this, or good resources?
I've found over the years that teachers will often remind students to breathe, and sometimes even include some breathing exercises at the beginning of classes or teach lateral thoracic breathing (i.e. breathing into the whole ribcage) whilst sitting/standing still, but that advice on how to actually *use* the breath and integrate it into dance has been thin on the ground. My experience of pilates (which always coordinates movement with breath) and my reading about general dance technique tells me that breath is important, but I don't have much solid idea of how to apply it well to this dance form specifically. Maybe because of the pilates experiences, I also get a bit anxious/confused if I'm instructed to breathe with something but not told how to actually time/coordinate my breath with the movement.
Alia Thabit has some interesting ideas about rhythmic breathing (i.e. breathing in time to the music), which I've found to be very helpful, but I'd also be interested to know of other methods and approaches that dancers could experiment with
I've found over the years that teachers will often remind students to breathe, and sometimes even include some breathing exercises at the beginning of classes or teach lateral thoracic breathing (i.e. breathing into the whole ribcage) whilst sitting/standing still, but that advice on how to actually *use* the breath and integrate it into dance has been thin on the ground. My experience of pilates (which always coordinates movement with breath) and my reading about general dance technique tells me that breath is important, but I don't have much solid idea of how to apply it well to this dance form specifically. Maybe because of the pilates experiences, I also get a bit anxious/confused if I'm instructed to breathe with something but not told how to actually time/coordinate my breath with the movement.
Alia Thabit has some interesting ideas about rhythmic breathing (i.e. breathing in time to the music), which I've found to be very helpful, but I'd also be interested to know of other methods and approaches that dancers could experiment with