I was a ballet-only girl for 6 years. Then a year and change ago, another dance stole my heart-Cuban modern technique. But instead of drawing me away forever from my first love, I find that I am falling in love with ballet all over again, with a greater respect and deeper appreciation for it exactly because of the way it contrasts to modern, contemporary and other styles of dance. Moreover, Cuban modern technique has opened the way for me to actually understand how to dance ballet better. Partly by inspiring me to take interest in a myriad of other dance forms. And albeit sometimes I add too much flourish to my arabesque instead of staying true to square ballet form. I am reminded of those math problems where to solve a problem in the real-numbered world, sometimes you have to go through the complex (imaginary) realm to get to the real-numbered solution. I was also a math nerd in the past, before the dancing years.
There is a lot of that- going through an alternate path to get from simple A to B. For instance, quite often in the study of dance, you get the physical result you want by going through the imaginary channel; by visualizing and the use of imagery and metaphor, you make your body do what it is physically supposed to do (per your own will or intention). The mind and body are intimately linked. Just as how in language, metaphor and imagery are connective channels or tools used to generate cognitive understanding whether within oneself or between two or more people, in dance, too, they are tools used to generate understanding between the mind and the body. After all, dance is itself a language so it is reasonable that it would function under the same laws and patterns of behavior and evolution.
A somewhat related phenomenon is when you create a physical effect with your body by only giving the intention of doing the perceived effect, but not actually doing it fully. A holding back of energy of sorts, for the full energy would actually overburden and thus work against the result you want, toppling it over in a manner of speaking. In this type of situation, the mind's intention of an act generates the full physical act. Intention becomes a powerful tool in dance.
Sometimes you teach your body to access the intended physical result by going through the imagination, and then once the feel of it is achieved and experienced, you can go back and access the same feel or result by pure anatomical awareness and reasoning. Often to attempt to do the latter first fails to produce the desired result because well, simply the body is complex, and forces and energy are unseen but very much a part of human movement. Both knowledge of anatomy, physiology and physics, as well as the imagination are required to learn how to dance. Dance is very much like the world of complex numbers: one part real and one part imaginary, or as we say in the world of numbers: A+Bi.
The discovery and study of Cuban dance (Cuban modern, rumba, Orishas) has been akin to the discovery of non-Euclidean geometry, where the shortest distance between two points is no longer a straight line but a curve. Prior to the Cuban dances, dance for me was very linear and angular. What makes Cuban dance so mezmerizing and difficult to pinpoint is its basis in circular movement. Once this is understood, the origin of their movements and the movements themselves become clear (or clearer).
The goal in studying the minutiae of dance in all its variants, for me, has always been to get closer and closer to the truth- the way of moving with absolute ease and freedom; with minimal, targeted energy expended; with the least amount of pain or damage inflicted on the instrument; and with the ability to adapt to different styles. Ideal movement of the human body should supercede style.
...Going back to origin, ballet for me is...classic...romantic...lofty...In daily practice sans makeup and acting, but with all the rigors of repetition at the barre, it carries a sort of Spartan grace. Stoic and militant, but simultaneously expressive in an unearthly way. It is the opposite of earthy; it is not of this world. If you can move gracefully and expressively within such strict boundaries of squareness, uprightness, and centeredness, then you can most certainly move out of squareness, with a curved or bent spine, and out of center. As one of my teachers told me, you must know Center to move out of Center. Said another way, you must have control to lose control.
There is a lot of that- going through an alternate path to get from simple A to B. For instance, quite often in the study of dance, you get the physical result you want by going through the imaginary channel; by visualizing and the use of imagery and metaphor, you make your body do what it is physically supposed to do (per your own will or intention). The mind and body are intimately linked. Just as how in language, metaphor and imagery are connective channels or tools used to generate cognitive understanding whether within oneself or between two or more people, in dance, too, they are tools used to generate understanding between the mind and the body. After all, dance is itself a language so it is reasonable that it would function under the same laws and patterns of behavior and evolution.
A somewhat related phenomenon is when you create a physical effect with your body by only giving the intention of doing the perceived effect, but not actually doing it fully. A holding back of energy of sorts, for the full energy would actually overburden and thus work against the result you want, toppling it over in a manner of speaking. In this type of situation, the mind's intention of an act generates the full physical act. Intention becomes a powerful tool in dance.
Sometimes you teach your body to access the intended physical result by going through the imagination, and then once the feel of it is achieved and experienced, you can go back and access the same feel or result by pure anatomical awareness and reasoning. Often to attempt to do the latter first fails to produce the desired result because well, simply the body is complex, and forces and energy are unseen but very much a part of human movement. Both knowledge of anatomy, physiology and physics, as well as the imagination are required to learn how to dance. Dance is very much like the world of complex numbers: one part real and one part imaginary, or as we say in the world of numbers: A+Bi.
The discovery and study of Cuban dance (Cuban modern, rumba, Orishas) has been akin to the discovery of non-Euclidean geometry, where the shortest distance between two points is no longer a straight line but a curve. Prior to the Cuban dances, dance for me was very linear and angular. What makes Cuban dance so mezmerizing and difficult to pinpoint is its basis in circular movement. Once this is understood, the origin of their movements and the movements themselves become clear (or clearer).
The goal in studying the minutiae of dance in all its variants, for me, has always been to get closer and closer to the truth- the way of moving with absolute ease and freedom; with minimal, targeted energy expended; with the least amount of pain or damage inflicted on the instrument; and with the ability to adapt to different styles. Ideal movement of the human body should supercede style.
...Going back to origin, ballet for me is...classic...romantic...lofty...In daily practice sans makeup and acting, but with all the rigors of repetition at the barre, it carries a sort of Spartan grace. Stoic and militant, but simultaneously expressive in an unearthly way. It is the opposite of earthy; it is not of this world. If you can move gracefully and expressively within such strict boundaries of squareness, uprightness, and centeredness, then you can most certainly move out of squareness, with a curved or bent spine, and out of center. As one of my teachers told me, you must know Center to move out of Center. Said another way, you must have control to lose control.
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