I started dancing at age 11 and have always been fascinated by movement. I went on to study dance at Texas Woman’s University earning a minor in Dance. It was at Texas Woman’s University that I was introduced to Pilates. It was actually a lab that all dancers had to take as part of the curriculum. I was videotaped performing center work and barre work before I began Pilates. Then one semester later, after about 5 months of Pilates, I was videotaped again executing the same center and barre work. It was amazing to see the difference. This is when I truly began to respect Pilates. Many times individuals make comparisons between Pilates and dance. Yes, they are both movements put together with flow and transitions, which require coordination, control, and precision. However, in my opinion, most dancers do not completely understand how to work from their centers and lack efficiency in their movement. Because dancers do not fully understand how to move correctly in their bodies they are often left to deal with pain and discomfort after years of dancing. In contrast, as Peter Fiasca stated in the August 2009 Pilates Style issue, “ ……students gain increasing physical benefit the longer they continue their (Pilates) training”. Pilates has stood the test of time and Fiasca’s statement has been proven to be true. The question now, is how can we share this with dancers and improve their performance and efficiency, and reduce the risk of injury?The following are some examples of how to apply Pilates to dance in order to teach efficiency, therefore reducing injury.Releve - Dancers need to learn how the upper / inner thighs, wrapping of the seat, and abdominal scoop are essential in controlling a releve. The common errors are locking knees and grabbing the low back. Cambre- Dancers need to understand that extension begins in the thoracic spine and not the lumbar. This can be learned through the Swan and the fundamentals Flight and Goal Post Arms. The common errors are grabbing the low back, not extending through the thoracic and collapsing the head to the back. Passé- Dancers need to recognize where turnout comes from and what their healthy range is. The common errors are that dancers strive for more turnout by torching the knees and not being mindful of the hip, knee, and foot alignment.Beats – Dancers must understand that beats of any variation come from the most superior part of the inner thigh and the seat. The common error is working from the knees or feet instead of upper inner thighs and seat.Here are some tips for teaching dancers:1. Work with props, such as the Power Circle or Triad Ball. I use this to help dancers find specific connections and then take the prop away and have them create the same connection imagining the prop is still there. 2. Many times I will work with a prop throughout an entire mat session. During their next session, I have the student/dancer find the same connections as the last session, this time without the prop.3. If you have dance experience, take the student into a short dance phrase or barre work. As I take them through the dance movements, I cue their bodies with the Pilates vocabulary. This is amazingly affective.4. Ask the student/dancer what movements in dance they are struggling with. Then determine what the fundamental issue at hand is. This then becomes a theme you can thread throughout their session. 5. Remember that dancers want to make movements big then find control, thus Joseph Pilates frustration in working with dancers. Teach them how to work in a smaller more controlled range of motion, encouraging healthy movement patterns. Once they find control and centering, go for bigger ranges.6. Work with the jump board on the reformer. This is a great way to teach and correct hip, knee, and foot alignment during jumps and hops. It also provides an opportunity for educating foot articulation and propulsion. 7. Don’t be fooled by a dancer’s gracefulness and ability to learn “choreography” quickly. You have to look closely and make sure that the movement is truly coming from their center and the right firing patterns are being performed. When first arriving at Texas Woman’s University, I had a lot of bad habits and already had some injuries. Therefore, I had a great deal of training to do. Remember it is more difficult to relearn something than to learn it correctly the first time. I wish I had had dance teachers, in my very early years, who understood and could communicate the biomechanics of dance movements. Today, there is a great opportunity out there for those of you who are working with young children and preteens. Teach them Pilates early and they will dance longer. Now with that being said, working with young dancers in Pilates does bring the challenge of discipline and mental focus. Therefore, you have to keep it fun and educational at the same time. Here are some tips when training children who are dancers:1. Use props to keep the session interesting and fun.2. Ask them what challenges they are having in dance class and then bring those to life during their session.3. Use imagery that they can relate to. 4. Get some books on creative dance. You will find tons of ideas. This same teaching approach can be used in Pilates. Teaching Pilates creatively will take some planning in order to be successful, however you will be rewarded with a positive and enjoyable teaching experience. In conclusion, whether teaching adults or children, the goals are the same. Pilates in my experience, is the best vehicle to enhance a dancer’s performance, educate a dancer’s mind, and strengthen and protect a dancer’s body. Good Luck!Break a leg,Sonia Rodriguez, Peak Pilates Master Trainer

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