The NUMBER of “Centers” in one individual dancer seems
to be the biggest question on “Centering” today (March 2002). Logic tells us that any object has only one
“Center”. In my study of the “Psychology
of Learning”, I was fascinated with how the “rules” carried over into
dance. The idea that we “learn MUCH
faster if we have only one definition for one word” was one that I had always
subscribed to - even before my detailed study.
The study also confirmed my belief that simplicity is the key to
fundamental learning. Many times, I have
been asked to make a dance decision as to who was right and who was wrong. Fortunately, my mind usually cuts through the
fuzzy stuff and is able to observe that both parties are saying the same
thing - but each person is expressing it in a different way. I have a
favorite saying: “NOTHING is wrong - if you are doing what you set out to
do.” The flip side of that is that “what
you set out to do” might not be the highest level that you are capable of
performing.
When it comes to “Centering” - or any other concept -
my MAIN concern is that I want the student to LEARN. I spend many hours dissecting information and
rearranging that information in a way that will assist the recipient in
developing better dance habits. It is
important to me that the student be able to immediately apply each new
concept once that concept has been presented.
When it comes to “Centering”, The Universal Unit
System® maintains that there is only ONE center. However we DO acknowledge, and regularly
refer to, three separate “ZONES”:
Shoulder Zone: Encompasses the area from the top of the
shoulder, down to the bottom of
the rib cage.
Hip Zone: Starts at the top of the hip bone and goes
down
to where the leg connects
to the hip.
Center
Zone:
Covers the lower edge of the rib cage - down
to the upper edge of the
hips. The Center Zone
ties all three Zones
together.
Let’s pretend that you have a wide support belt that goes around your waist. (You can even purchase one at your local medical supply or drug store.) Place this support belt tightly around your waist, with the top of the belt barely covering the lower ribs - and the bottom of the belt - barely covering the top of the hipbones.
This center “support” has now pulled the body
all together into one dynamic dance machine.
Once the whole “Center Zone” gets controlled, you can narrow down the
concentration into the top of the Center Zone which is the “Center Point of
Balance.” When you concentrate on your
“CENTER” and move that center, you will feel the effect on all three zones of
the body. A feeling of power and control
starts to develop. You begin to experience
a cooperative effort among all of your body parts. It’s a very secure feeling. You can experience this feeling rather
quickly (with the aid of a support belt) or you can experience this feeling by
pulling all of your abdominal muscles up into your center. This process takes a little time and effort,
but I guarantee that it’s worth the effort.
This exercise has become known as: “squeezing the banana”. It feels like
someone squeezes all of your center area into your middle forcing your center
upward and your shoulders back and down.
LOCATING your own CENTER (CPB) - which
is short for “Center Point of Balance”. Unlike a center of mass
(used in martial arts for a lower base stance) or a center of gravity
(which seems to change location with every body type), our “Center Point of
Balance” is located in the same place on every person. It is located in the Solar Plexus - right in
the center - where the ribs come together.
If you stand with your feet together you will find that you can move
your “derriere” 4 inches forward, backward or sideways and still not lose your
balance or have to move your feet. You
can do the same with your head - shoulder - arm - foot - but NOW - move your “Center” four inches in ANY direction and you will have
to move a foot. Your “Center” has
changed the location of your body to a new location. That is the whole point of “Centering”.
Another way to identify the location of your center is to assume that your body is a mannequin. Place a fist into its Solar Plexus - that’s the area where the rib cage meets well above the waistline and well above the naval.
Placing a fist in the Solar Plexus area, we could lift a mannequin a few inches off the floor. The feet would fall directly under it’s “Center” and the head and shoulder area would stay upright. If we placed a fist in the lower abdomen of the mannequin, its top half would fall over. If we placed a fist in the shoulder area, it would immobilize the shoulders producing stiffness and a lack of flexibility and body flight. Dancers who use their hips or shoulders as their “Center” are easily identified by those who understand the concept. It is amazing to see the difference in the level of performance once they learn to tighten the zones and move from the “Center Point of Balance”.
Being “Centered” lines up the Power Point of the
foot, through the knee, through the “Center Point of Balance”, and up through
the chin, in one coordinated movement that allows the body to land precisely ON
the beat of the music. Correct,
individual “Centering”, produces great posture and a sense of body
dynamics. It creates a look of power and
a feeling of professional performance.
You can identify this look on specific dancers, but if I tried to list
the ones who have it, I would certainly miss someone and get myself in
trouble. The next time you are observing
social dancing where upper level dancers are simply enjoying the dance - look
around. You will be able to identify
that extra element of “centering” by the tingle it creates in your own spine.
In
evaluating the performance of a ballet dancer or a jazz dancer, the same degree
of professionalism exists. Movement is
classified by how well the dancer moves from the “Center” and not foot
first. They are not evaluated by how
fast or how complicated but how well the body moves from the center. “FOOT follows FRAME.”
The
center moves first. Once you can control
the center to move on the “&” count - prior to a weight change - moving
from the center becomes the focal point for all movement. That one act alone immediately adds an extra
“Dynamic” to your dancing. You will be
able to FEEL the difference. It takes a
little time before you can maintain the feeling, but just feeling it ONE
time, allows you to experience that the dynamic exists and is within your
grasp.
It is very difficult to perfect “Partner Centering” if the individuals involved are not “Centered” themselves. However, one partner that is well centered can have a positive influence on the centering and total performance of the other partner.
For the Man:
His “Flashlight” (Center Point of Balance) will be aimed either at his
partner or in the direction that he wants the partner to travel. This makes a strong connection without the
necessity for arm leading, and also maintains a sharper slot. (A wonderful feeling for
the follower.)
For the Lady:
Her
“Flashlight” will aim at her partner’s chin.
This tends to lengthen her upper torso which in turn develops better
posture and centers her whole body toward her partner’s center. As she rotates in various patterns, her
“Flashlight” will return to him as quickly as the tempo of the music allows.
This one technique alone will elevate any performance that was lacking proper
centering.
Competition Observation: “Centering” to the judges is not considered good
taste. There are times when centering to
the judges is part of the natural unfolding of the routine when both partners
are actually facing the judges. However,
there are times when either the leader or the follower seems to center their
“Flashlight” toward the judges instead of toward each other when it is not
appropriate. In judging circles, we
refer to that as “mugging the judges”.
It is particularly noticeable if the lady faces the judges on every
anchor instead of facing her partner. It
not only detracts from the performance but also loosens the “center” connection
of the partnership.
STAGE TWO of developing “Partner Centering” requires more
control of each partner’s individual “Center”.
More than having each partner simply face each other - a certain degree
of leverage (based on a tight control of the 3 zones and a lifted “Center”) -
develops a more professional “attitude” which is the hallmark of the upper
level dancer. When two partners are really
“Centered” to each other, an astute observer becomes aware of the
action/reaction that takes place in one split second. If you are part of the partnership, you
should be able to feel that action/reaction.
The leader’s “Center” moves on “&a” and the follower reacts to that
lead. This allows both partners to land
- at the same time - precisely on the beat of the music. Both partners may choose to dance different
rhythms - even different syncopations - and still be totally “Centered” because
they are connected from one partner’s “Center” to the other partner’s “Center”
- THROUGH the hands - but not only BY the hands.
As a teaching technique
I sometimes use slightly flexible ropes to show how the “Center” does the
leading rather than the arm. The rope is
wrapped around the man’s “Center” while the lady holds on to the rope. He finds out that his “Center” needs to move
in the direction that he wants the lady to go.
Their hands are not connected and yet she is able to follow his
lead. In the real world the lady
frequently has to compensate for an arm lead in order to make the move look
more fluid. However, the reverse is also
true. Many ladies strong-arm their
partners, believing they are doing a better job of following. It is sometimes impossible to determine who
did what to whom because “arm leading” leads to “arm following” and perpetuates
the problem from both sides. MOST patterns
are best led with body leads, directly from the “Center”.
Of special note: There have been enough requests for more material on the subject of Centering” - “Connection” - and “Critical Count” - that we are making a special video covering these three subjects in detail. If you are interested - let us know and you will be notified as soon as it is available.
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