Originally posted by Irene on tribe.net.Going to do a little isolation workshop for my students, 1st one concentrating on arms and torso and second on hips. Anybody have some cool excercises or visualizations to help. Also any videos to recommend - may not address a particular ATS move, but might have some good ideas?br/Irene
Originally posted by Sandi on tribe.net.Bump. Anyone have ideas?br/br/I think each person is going to have individual hurdles to overcome with isolations. We usually refer to the posture as key to isolating parts of the body, especially the chest lift. That creates a big buffer zone between the upper and lower part of the body.br/br/For slow, such as the Torso Rotation, I use Carolenas visual on the legs being the roots and the hips being the tree trunk and the torso and upper body as being the branches and leaves. br/br/For fast, I like to use the visual of pretending youre talking to your neighbor over the fence and youre doing all kinds of shimmies, but your neighbor doesnt realize because the head and upper body are totally still.br/br/Much of the isolation game is just practice of the movements. You may find it helpful to insert stretches and other more abstract drills to feel isolations without the dance movements. It is mostly a mind game. The brain telling the body what parts to move and what parts to keep still.
Originally posted by Sandi on tribe.net.Also, I think of each part of the body having its own brain. One to move the head, one to move the shoulder, one to move the elbow, one to move the fingers, one to move the pinky, one to keep the chest lifted, one to keep the lower abdominal contraction, one to keep the knees soft, one to contract the right oblique,one to contract the left, etc. Brains all over the body!br/br/Each brain needs to get activated separately. ;}
Originally posted by Erika on tribe.net.Hi Irene, this is a visualization/exercise for isolating the arms I borrowed from my western martial art training: imagine you are a marionette and your strings are attached to the articulation of shoulders, elbows, wrists and tip of fingers. When the puppeteer pulls a string, gravity make so that the other articulation are kept down and relaxed. Start with one side of the body and imagine the string lifting up only the shoulder. Repeat with the elbow: can you feel a gentle stretch to the triceps? Do the palm of your hand face backward? Do a concious effort to keep any other part of the arm very limp. Lift from the wrist, from the tip of the fingers and observe what happen in your body. br/After having practived for a good while, instead of using a string at a time, start activating the elbow string while the shoulder strings acttion is fading out, and the wrist string as the elbow already started to go down, and so on. You might progressively add strings at each joint in your fingers as well.br/After a while, let go of the visualization and just do some deliberate, controlled arms undulations. Theyll probably feel much smoother than earlier.
Originally posted by Irene on tribe.net.Thank you everybody for responding. Carrie, I seem to remember you saying something a long time ago about writing yr name with your chest and something about a pencil and hips? (my brain is a little foggy on this!) Also any suggestions of good videos - doesnt have to be ATS, but simething with good concepts for isolation?br/Irene
Originally posted by Carrie on tribe.net.Irene, its the alphabet game. I dont pull it out in class, but will in a private lesson if people need something mindless to do at home. My first belly dance teacher taught it to me and it helped. You write the alphabet with horizontal chest movement, vertical chest movement, horizontal hips, vertical hips etc. using different planes of movement. There are 7 different ones you can do between hips and chest. br/Much of the movements arent used in ATS. Ill msg. you with the deets!
Originally posted by Nancy Young on tribe.net.For my classes I use a series of what I call "absorb" exercises to teach students to keep the head and shoulders still. br/br/Standing w. hands at hips, we first go up and down from flat feet to balls with straight knees, letting the motion carry our bodies and heads up and down. Then I say "absorb," and we absorb all that up and down motion by flexing our knees, so the head and torso remain perfectly quiet. While doing this we will "rest our arms on the bar and chat with the bartender, who has no clue theres a party going on down below." It also helps to have them look in the mirror and find an object behind their heads, and keep the head still relative to that object. br/br/Next, starting on both balls, we bring first the right foot flat, then back up and the left foot flat. First we let our torsos and heads move with the motion, then we absorb the motion into our knees (which flex alternately), and chat some more with the innkeeper.br/br/Then a third exercise I call "Arabic preparation," on both balls with right foot ahead of the left. First we rock back and forth, letting the torso and head move with the motion. Then "absorb" the motion into knees and the spine with a chest left, so the head remains quiet.br/br/It can be discouraging when the students perform the drills nicely, then go right back to their rocking and bouncing when we put on music and dance. But at least now I can shout "absorb" over the din of zils, and they know what I mean!