While Asimo is certainly an achievement in engineering , in terms of balance he's got nothing on the potential of the human body. Still, if you've seen Asimo's ability to balance, I'd ask you to consider challenging yourself.
Balance exercise #1
- Standing with both feet shoulder-width apart and arms outstretched, slowly and easily raise one leg forward, then lower without letting it touch the ground and then raise to extend the same leg backwards. Bring that leg back to standing and repeat with other leg.
- Close eyes and repeat the process, which for most students is much more difficult.
Thanks to Marcus Koch and Baerbl Kaufer for this exercise.
Balance exercise #2
- Standing with legs shoulder-width apart and arms outstretched, raise right foot to meet left knee, balancing on the left foot.
- Lift gaze to ceiling, or look upward.
- Point fingers and bring them easily to the tip of your nose.
Thanks to Emily Falcon for this exercise.
Lead/Follow exercise #1
- With a partner, join hands facing one another.
- Let the lead choose to walk either forward or backward, letting the follow find their ease in following. The lead may choose to switch directions, forward or backward only, with the follow working to become more sensitive to the physical sensations necessary to follow.
- As the follow becomes more comfortable, the lead may adjust their movement by shifting forward or backward and ending mid-step, with a foot in the air, challenging the follow to adjust to unexpected weight changes. While it is also difficult to make the follow move sideways, it is NOT a priority. Leads should work on getting a sense of how comfortable the follow is with the shifts in backwards/forwards movement.
- Repeat the exercise, with the follow closing their eyes.
- Repeat the exercise, but now with the lead closing their eyes.
Lead/Follow exercise #2
- With a partner, dance a few measures of Lindy Hop.
- Let the follow close their eyes, continuing the dance.
- Switch roles, letting the lead close their eyes while the follow re-opens theirs.
Thanks to Simon Selmon and Rusty Frank for the above two exercises.
Lead/Follow Exercise #3
Two partners bound at the wrists with a held cord or rope. Dance socially, but instead of using fingers and hands to lead, use only the cord and the lead's right arm/follow's back connection for leading.
Questions to ask: What modifications do I have to make in order to lead or follow under these circumstances? Which impulses are essential for leading and following and how can I access them?
- Face a partner in a two-handed closed position
- Choosing a partner to lead, slowly bend the knees as though sitting, noting the musculature that connects from one partner to the other. When a comfortable sit has been created, note the counterbalance used to keep both partners aloft. Viewed from the side, this would be called a V-shape.
- Let the lead pull the couple together, both coming to standing.
- Repeat and switch roles.
- Stand as in step 1, but place both palms against each other as though each partner were performing a push-up against a wall.
- Each partner should lean in toward the other, noting the work from their hands, arms and shoulders through to their cores. Viewed from the side, this would be described as an A-shape.
- Work the transition from the A-shape (compression) slowly and easily through to the V-shape (counterbalance), and back again, noting the work in the corresponding musculature.
Thanks to Melinda Comeau for this exercise.
Breathing Exercise #1
The breathing exercise can be very dangerous to describe in text, as it it often misunderstood by students. The most important consideration when working on the breathing is to release any unnecessary tension. The image of a full breath might be one of a four-sided box, being your chest and belly, your sides and your back, open at the top and the bottom. In a full breath, each of these sides should feel relaxed and easy.
This exercise works well with a partner leading the way, but once it has become familiar it can be done solo.
- Stand with your feet shoulder-width apart, imagining a golden thread from your scalp into the sky, lengthening you to your tallest, easiest height.
- Cut the thread, rolling the chin to the chest and continuing the roll down the spine to a relaxed fold at the waist as low as you can go without straining.
- The standing partner places their palms pressed lightly at the nape of the folded partner's neck, right at the top of their spine, requesting a breath; "take a deep breath into here... and then out." The standing partner should note when the folded partner has released tension in that area, adjusting their touch responsively to their partner's breath.
- When the musculature has opened up and released tension, the standing partner brings their hands somewhat lower and repeats the request.
- Repeat step 4 until the folded partner's breath has opened up at the near the lower lumbar region of the spine. Take a few breaths in and out here and then hold in, roll up the spine to standing, remember the golden thread, and then release.
It looks like I have some research ahead!
Thanks to my college movement and voice teachers for this exercise. I wish I could remember your names.