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Last Post: Nbowart
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Increasing/decreasing mus...
Forum: Tone, Flexibility
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06-10-2020, 12:30 PM
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Axis Syllabus Workshop Cy...
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Managing inertia
Forum: Comparisons - Weight, Volume, Length
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Axis Syllabus and Dance. ...
Last Post: Nbowart
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Stability, flexibility
Forum: Tone, Flexibility
Last Post: Manuela Martella
04-23-2020, 11:22 PM
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Joint hypermobility
Forum: Tone, Flexibility
Last Post: Manuela Martella
04-23-2020, 11:14 PM
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Warm-up and flexibility
Forum: Tone, Flexibility
Last Post: Manuela Martella
04-23-2020, 11:11 PM
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Physically disabled vs. D...
Forum: Physical Disabilities
Last Post: Manuela Martella
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Forum: Comparisons - Weight, Volume, Length
Last Post: Manuela Martella
04-15-2020, 08:04 PM
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  Managing inertia
Posted by: Manuela Martella - 05-24-2020, 12:43 PM - Forum: Comparisons - Weight, Volume, Length - No Replies

Some thoughts about different bodies, thus different variable, when managing inertia. Feel free to share yours.

"Inertia is the resistance an object has to change in its state of motion or stasis." (relative motion, relative stasis) I recommend reading the very interesting exchange between Frey and Jari in the forum chapter "simple definitions"

What increases resistance:
(what I could gather from the AS book and the forum)

- more mass  (weight, heavy/light, heavier/lighter)
- more speed  (fast, faster)
- more stillness  (slow, slower)
- more length  (dimension, volume)  
- more liquidity  (lower tone)
- more rigidity  (higher town)
- more friction (surfaces, air, water, materials, clothes, shoes)
- proximity of a force to the fulcrum  (radius, rotational inertia, rotational momentum)

Different bodies are characterized by different volumes and masses regarding single body parts. 

- a long light arm 
- a long heavy arm
- a short heavy arm
- a short light arm

Mass and dimension are not necessarily proportional.
Mass and dimension seem to be constant variables. 
Variations and combinations are probably infinite. As well as the proportions between the single body units. 

More liquidity or rigidity can be achieved by engaging more or less muscle unites in isometric muscle contraction or inhibition of contraction. That allows also to bind or unbind body parts into larger or smaller unites. Consequently, increasing or decreasing the dimension, mass and muscular "tone" of the body unite that is moving. 

A long body or body unit will tip over, fall, swing, rotate around a fulcrum and accelerate slower than a short body or body unit. It will also require more force to overcome inertial resistance. However, once it overcomes its initial resistance to stasis and gets going, the longer body or body unit will produce more kinetic energy, even if is has the same mass as a shorter object. Rotational kinetic energy is proportional to the radius. 

Shifting the fulcrum of rotation nearer towards the center of gravity of a body or a body unit, decreases inertial resistance. 

The body is a very complex example, as when we move we have to manage a multitude of combinations of rotational end translational momentum at the same time. 

Gradually accelerating. 
Anticipating deceleration. 
A small force applied for a long time can produce the same change in momentum as a large force applied briefly. 

Lowering the center of gravity can help gaining stability.

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  BAASE in PLACE 2020
Posted by: Nbowart - 05-14-2020, 02:42 AM - Forum: AXIS SYLLABUS EVENTS - Replies (1)


BAASE in PLACE is an online offering to the community of somatic learners who wish to dive into the evolving content of the Axis Syllabus, and develop their self practice while witnessing one another through the virtual medium.

  • This year we will be looking at the Nervous System and the Axis Syllabus, Fascia and Improvisation, and as always we will be dancing.

  • Our list of teachers is Kevin O’Connor, and Ruth Douthwright, Daniel Davis, Kristen Greco, Phoenicia Pettyjohn and Nuria Bowart.

  • This year at BAASE we have added a performance night: June 26th 5-7pm, all participants are invited to submit, 3 min. maximum length

  • Please check Axis Syllabus WEST for more details to come.

  • Please email axissyllabusca@gmail.com with any questions
BAASE in PLACE 2020 Online Schedule:
The structure is a morning session and an early evening session; all PST. Assignments and smaller groups will be created to support the learning as well. We will have an opening circle Monday, an anatomy potluck on Wednesday, and a performance offering on Friday (there is an invitation for all participants to contribute to the performance night, something up to 3min in length, video or live). 

Monday June 22nd
  • 9:30-11am Welcome circle and ALL teacher offering (all)

  • 5-6:30pm Improvising within Constraints (Kevin and Ruth)
Tuesday June 23rd
  • 10-11:30am Improvising with Constraints (Kevin and Ruth)

  • 5-6pm Future Feet (Phoenicia Pettyjohn)
Wednesday June 24th
  • 10-11:30am Improvising with Constraints (Kevin and Ruth)

  • 5-6:30pm Anatomy Potluck (Nuria Bowart)
Thursday June 25th
  • 10-11:30am Improvising with Constraints (Kevin and Ruth)

  • 5-6pm Future Feet (Phoenicia Pettyjohn)
Friday June 26th
  • 10-11:30am Improvising with Constraints (Kevin and Ruth)

  • 5-7pm Performance Salon (all)
Saturday June 27th
  • 10-11:30 Learning Curves: AS and the Nervous System (Kristen and Daniel)

  • 4:30-6pm Learning Curves: AS and the Nervous System(Kristen and Daniel)
Sunday June 28th
  • 10-11:30 Learning Curves: AS and the Nervous System (Kristen and Daniel)

  • 4:30-5:30 Learning Curves: AS and the Nervous System (Kristen and Daniel)

  • 5:30-6:30 Closing circle (all)
Prices are set on a sliding scale for full and partial participation. $250-110.

More Information Here
To Register Here: go to classpass option to select class packages
for questions email axissyllabusca@gmail.com

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Video Axis Syllabus and Dance. May Series.
Posted by: Nbowart - 05-05-2020, 11:09 PM - Forum: AXIS SYLLABUS EVENTS - No Replies

[Image: alt_ratio_16x9_2x_axissyllabusdance.jpg]

  • 4 Fridays in May: 8,15,22,29
  • 10-11:30am San Francisco, 1-2:30 NYC, 19-20:30 Berlin
The focus of this series is moving through our “shell". We will begin by looking at what serves as a “shell”. What are the biological shells, intellectual shells, and environmental shells we rely on? We have and create “shells” to differentiate ourselves: the within, from the without. Our dancing together will be focused on tending to our shells; inquiring, detailing, thickening through the fragility and lightening the load of resistance.

Class will include: study, games, writing, group warming up, improvisations and patterns of movements to play with.

Go here to sign up (deep discount available for those who need it)

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  Stability, flexibility
Posted by: Manuela Martella - 04-23-2020, 11:22 PM - Forum: Tone, Flexibility - No Replies

Strength and flexibility


Closed kinetic chain and resistance exercises for joint stabilization


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  Joint hypermobility
Posted by: Manuela Martella - 04-23-2020, 11:14 PM - Forum: Tone, Flexibility - No Replies

What is joint hypermobility 

Four factors may affect whether or not you have hypermobile joints:
Weak or stretched ligaments – Ligaments are made up of several types of protein fibre, including elastin (which gives stretchiness) and collagen (which gives strength). Small changes in the chemical processes in your body can result in weakened collagen fibres and more elasticity in the ligaments that help to hold the joints together. This is likely to cause hypermobility in many joints. There's fairly strong evidence that hypermobility caused by abnormal collagen can be inherited. If one parent has this type of hypermobility then half of their children are likely to inherit it, though members of the same family may be affected differently.
The shape of your bones – If the socket part of the hip or shoulder joint is particularly shallow, the range of movement in the joint will be greater than usual and there'll also be a greater chance of dislocation. This is likely to affect a single joint or a small number of joints. It isn't a common cause of hypermobility but is likely to be inherited.
Muscle tone – The tone (or stiffness) of your muscles is controlled by your nervous system. The more relaxed your muscles are, the more movement you’ll have in your joints.
Sense of joint movement (proprioception) – Some people find it difficult to sense the position of a joint without being able to see it.

When flexibility becomes a liability: The downside of being super bendy


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  Warm-up and flexibility
Posted by: Manuela Martella - 04-23-2020, 11:11 PM - Forum: Tone, Flexibility - No Replies

Warm-up and flexibility

Normal Static Flexibility
The wealth of research on static flexibility measurements provides a general picture of what is normal static flexibility for most joints and populations. Normal static flexibility is the typical joint movement allowed between two extremes (Fig. 9.4): ankylosis and hypermobility (85,93). Ankylosis is pathological loss of ROM, while hypermobility is excessive ROM. Static flexibility is not a wholebody characteristic but, like fitness, is specific to joints and directions of movement (33,39). People may tend to have low static flexibility in one part of the body and normal or high flexibility in another. It is also clear that females have greater static flexibility than males (33), and some of these differences are related to anthropometric differences (13). Fitness professionals can access data on normal ranges of static flexibility for most joints from several professional sources (4–6,27). Several recent reviews of flexibility have been published (1,23,42, 51,64,59) and provide more information on static flexibility. It is unclear however, whether an “optimal” level of static flexibility for muscle groups or areas of the body exists. If this is the case, it is likely that different sports would require different optimal levels of static flexibility. Future research studies should be designed to focus on determining “normative” static ranges of motion at joints in athletes participating in specific sports, as well as documenting anomalies in athletes and active people who are outside of this normative range. It is too early to make a definitive statement, but it is possible that an athlete or active person whose muscles are too tight is more prone to muscle injuries and that one whose muscles are too loose is more prone to joint injuries as well as decreased performance in strength and power activities. Common deviations from normal static flexibility are present in many joint(s). Some people lose ROM from physical inactivity. People may also lose static flexibility from workplace or sportspecific positions and/or repetitive movements. For example, the repetitive motion in several sports with overhead throwing patterns (baseball, tennis, etc.) without specific stretching intervention (47) can result in glenohumeral internal rotation deficit (GIRD). Persistent wearing of high heels can decrease ankle dorsiflexion ROM (Fig. 9.5).

Warming-up and stretching for improved physical performance and prevention of sports-related injuries.

Competitive and recreational athletes typically perform warm-up and stretching activities to prepare for more strenuous exercise. These preliminary activities are used to enhance physical performance and to prevent sports-related injuries. Warm-up techniques are primarily used to increase body temperature and are classified in 3 major categories: (a) passive warm-up - increases temperature by some external means; (b) general warm-up - increases temperature by nonspecific body movements; and © specific warm-up - increases temperature using similar body parts that will be used in the subsequent, more strenuous activity. The best of these appears to be specific warm-up because this method provides a rehearsal of the activity or event. The intensity and duration of warm-up must be individualised according to the athlete's physical capabilities and in consideration of environmental factors which may alter the temperature response. The majority of the benefits of warm-up are related to temperature-dependent physiological processes. An elevation in body temperature produces an increase in the dissociation of oxygen from haemoglobin and myoglobin, a lowering of the activation energy rates of metabolic chemical reactions, an increase in muscle blood flow, a reduction in muscle viscosity, an increase in the sensitivity of nerve receptors, and an increase in the speed of nervous impulses. Warm-up also appears to reduce the incidence and likelihood of sports-related musculoskeletal injuries. Improving flexibility through stretching is another important preparatory activity that has been advocated to improve physical performance. Maintaining good flexibility also aids in the prevention of injuries to the musculoskeletal system. Flexibility is defined as the range of motion possible around a specific joint or a series of articulations and is usually classified as either static or dynamic. Static flexibility refers to the degree to which a joint can be passively moved to the end-points in the range of motion. Dynamic flexibility refers to the degree which a joint can be moved as a result of a muscle contraction and may therefore not be a good indicator of stiffness or looseness of a joint. There are 3 basic categories of stretching techniques: (a) ballistic--which makes use of repetitive bouncing movements; (b) static--which stretches the muscle to the point of slight muscle discomfort and is held for an extended period; and © proprioceptive neuromuscular facilitation - which uses alternating contractions and stretching of the muscles. Each of these stretching methods is based on the neurophysiological phenomenon involving the stretch reflex.(ABSTRACT TRUNCATED AT 400 WORDS).

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  Physically disabled vs. Differently abled
Posted by: Manuela Martella - 04-16-2020, 05:49 PM - Forum: Physical Disabilities - No Replies

Thinking about the title of this forum "Physical Disabilities", as Sebastian G. suggested. 
It seems in some countries and languages there are efforts made to use other terms, like "differently abled". 
What do you think? Might this be more appropriate? 
Your thoughts...


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  Increasing/decreasing muscle tone
Posted by: Manuela Martella - 04-16-2020, 05:06 PM - Forum: Tone, Flexibility - Replies (4)

Hi everybody, 

I hope you will find interest in sharing your experiences and knowledge in this thread.
Below you will find a couple of definitions and introductions about muscle tone and ligamentous mobility, which might help access the topic.
Please, don’t hesitate to add what you know and what might be relevant.

Here my thoughts and questions:

According to my (or my students’) predisposition and the kind of activity I want to prepare for, I might want or need to raise or lower my (my students’) muscular tone.

A list of basic typical warm-up activities can be rubbing, tapping, shaking, massaging, light touch, mobilizing motion centers, running, bouncing, pushing, pulling, large range movements, small range movements, dynamic stretching, static stretching, mixed activities …

What type of (warm-up) activities increase or decrease muscle tone?

Has anyone rather low tone experienced that some of the activities listed above has helped increase the tone? Which ones? Other?
Has anyone rather high tone experienced that some of the activities listed above has helped decrease the tone? Which ones? Other?

I have heard that some activities can have both effects, like a rebalancing effect, lowering the muscle tone in high tone bodies and increasing it in low tone bodies. Is this true? How does it work?

Does the effect depend on what kind of awareness or score I chose to bring into the activity? If, when shaking for example, I emphasize muscular contraction by aggregating body parts, or train inhibition of contraction by isolating body parts (overall or selective)? 

How many of you assume to have a rather high or low overall muscle tone?

Having personally a rather high tone body and I think average tight ligaments, I have found myself in the dance world among many rather hyper flexible bodies.giv I have more often heard counsel about how to compensate for hyper flexibility, and less often about how to decrease muscular tonus. So, when I felt too rigid, I thought, well I just have to figure out how to relax. That in fact has been big part of my learning process, especially because it seemed a necessary premise towards developing more differentiated muscle control. From simple on/off to an infinite range of degrees of muscular contraction. Something I personally find fascinating. 
And then further towards different kinds of mio-fascial/fascial activities: concentric contraction, eccentric contr., isometric contr., inhibition of contr., stretch, elastic recoil, lead-lag. And finally the infinite playground of dosing what, how much, where and when in movement.

But taking a step back again, my impression has been that in order to access a conscious, differentiated, sometimes secure and efficient application of different kinds of muscular activities, it seems important to have a certain understanding of muscle tone, ligamentous laxity/tightness, (besides of course articular range of motion and alignment), as well as where and to what degree this applies to mine and other bodies. 

Still my experiences and impressions feel subjective. I have not quite understood yet what the variables are that determine the temporary (or long term) raising or lowering of muscular tone.

Thanks for reading this and looking forward to exchanging with you, 


Muscle tone
from AS forum  https://axisforums.org/showthread.php?tid=225
Even when a whole muscle is not contracting, a small number of its units are involuntarily activated to produce a sustained contraction of the muscle fibers. The process gives rise to muscle tone. To sustain muscle tone, small groups of motor unites are alternately active and inactive in a constantly shifting pattern. Muscle tone keeps skeletal muscles firm, but it does no result in a contraction strong enough to produce movement.


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Posted by: Manuela Martella - 04-13-2020, 02:00 PM - Forum: Comparisons - Weight, Volume, Length - Replies (2)

Hi everybody,

Different bodies, different strategies. This forum chapter was created to host an explicitly comparative investigation of practical implications and adaptations of movement principles to the specific parameters of different body types. 

Obviously, morphology is unique from person to person. Features, dimension, mass, proportion, density, tone, metabolism, habit. Some variations are visible, some are discreet. Although we are all subject to the same gravitational forces, mechanical and bio-mechanical principles, the variables might drastically change the outcome of a similar or identical action, irrespective of the context. The uniqueness of individual morphology is implicit to the way the ASIRN discusses, analyzes and and counsels strategies for improving movement abilities or recovering from or avoiding injury. However, often it is not until we share our strategies and sensations or move with others, that we become aware of the needed adaptations to our personal differences. And it is not until we are able to adapt universal movement principles to the specific parameters of our bodies that we can optimize our movement strategies, if needed or wanted.

A comparative analysis through concrete examples can be an opportunity for sharpening our awareness, developing deeper comprehension about contextualized problem solving, as well as acquiring skills and competence for differentiated feedback in class for those who teach or want to teach. 

In the future we would like to offer opportunities for topic related collective research and discussions in forms of workshops, teachers labs, performance work etc. 

At the moment, we are planning a teachers lab at the beginning of January 2021 in Italy. Stay tuned!!

Looking forward to hearing from you. Your questions, experiences, observations, propositions are welcome.

Thank you Frey Faust and Francesca Pedullà for supporting this initiative. 

Manuela Martella and Irina Hortin

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Wink Lab classes GAMBOA
Posted by: Candela.r - 04-13-2020, 12:16 PM - Forum: ASIRN LABORATORY SUMMARIES - No Replies

Here it is the feedback session of the lab classes in Gamboa/Brazil Feb-2020

Feedback session on Lab Classes In the meeting "Antenando ecologías corporais" 26/27/29-02 1-03 Gamboa, Brazil
Camila Seeger, Madeleine Shen Lopez, Ayelet Yekutiel, Poly caren Rodriguez, Wiliam Freiras, Candela Ramos.

The Proposal from the organisers was to offer a free space for candidates to share their own process on applying the AS in their own field, a space to expose their research and to use the space as candidates needed.
The classes were 

Pointed out the first question, What would the candidates like to receive feedback on and for what? what is valid?

His class on Hip- hop

He asks: - How did we feel on the class room? It is interesting every perspective.

He have used the space as an experimentation so in the class, he was insisting more on experiencing the movement rather than insisting on the fundaments.
He also chose anyways a way in which it will fit into an AS class, thou he clarifies that sometimes the trining of this vocabulary of movements differs or walks away form the principals.

He felt super welcome from the organisation of the event.

He felt he could have gave a bit more of info about principals but he actually have focussed more into how to keep and transmite the hip hop culture.
He had played with the principals but there was no time for development. 
He would continue with motor masses / articular alignment / Strategies to study an exploration of more consciousness and contention of not healthy places to not suffer / Different tones and Different textures.

Your body movement were very clear in order to discover the principals and this was an important graphic to help for the understanding. You could go to a place with a lot of precision and analice from there.

I finished the class willing to find principals on this language. The importance of the didactic.

I would love to know ways for preparing the body for Hip-hop, things to do before and after class as it is a class with physical demand. Specially for beginners.

You have a huge body ability and your coordinations are not the common ones in general. I have felt that my body and the rest of the bodies also were starting to move differently. It is great to explore within new movements, the challenge might be how much do I make the students noticing that they are moving in a new way or to make them realise the principals that are appearing because as they will then put attention on that they might enter in conflict or not.
How much of conscious awareness you decide to give?.

The body knows

Skilled, loved, achived.

One of your skills is the self confidence, and the celebration of what WIL IS was done in the class empowering and inviting the students to do the same.

What do you do to have tools for when you invite students to cross their limits.

(on the class will have putted external references of vectors in the space which then he transferred them into internal references for the movement) 
When you talked about external references of the planes how do you negotiate with the internal vectors of on part of the body…?I was busy trying to understand those external references with the inner ones that i needed.

I enjoyed a lot to dance with the rhythm, it is an aspect that unify us.

I opened many possibilities of vectors in your class. 

The references on the floor helped him to continue remembering the task.

A important aspect I observe is the articular alignment in the hip hop.

She learned about elasticity.

I came to the event in order to reencounter the AS and explore how do I feel with the group. It gave me inspiration to continue. I had a letter from Frey but he felt some resistance. For me the certification process is important but more important is the little interactions with each micro cell of this organism.

Poly's class was about heart and lungs form BMC perspective and it’s transition to AS

Poly Autofeedback:

I interpreted the proposal as a laboratory to research how other things could make a plus for the AS.

I chose the heart and lungs in order to relate them with the - cintura escapular - and the spine.

I gave time to establish an internal connection with the topic but I run out of time for it’s application.

(The stereo for the music didn’t work and maybe the music would have helped the work better)

It was revealing and very clear the study on the organs plus the examples that you were using.

Info enough for an hour of class and complete process.

Always is good to prioritise the group instead of your agenda. Sometimes less is more.

You gave an experience that letted the people - Ah!!( first with the experience of the apples ) and the the proposal was to continuing discovering. This was successfully achieved with the group that we had. In case they are not engaged enough to keep going on their on research, is good to know when to add more info.
(Ayelet ads : sometimes to keep on your agenda is useful).

You gave the class from the place of the topic that you gave, from the heart. A lot was transmitted from there successfully. (this is something in BMC they do a lot). Even the way you answered to questions or requirements of needing more time was made relaxed accepting there was no enough time for that and being relaxed with it.

Subjectively for me, there were too many things: talking about heart and then doing exercise about the lungs.

The way you brought us into AS without naming it was great.
A good example to refer to the topic could be: your heart is looking at your support to explain osculation.

The people understood that because the diaphragm’s insertion is on the last reaps the lungs arrives also till there. ( I observed that many people were locating the lungs father down by the touching  exercise) and indeed they are located much higher because the cupola of the diaphragm also is higher.

As a proposal: What kind of touch am I proposing?. Because the tissue of the lungs is very different than the heart one. Maybe also to clarify that as in BMC they reenforce the touch it is good to explain what kind of touch is and what kind of is not.

It is my obsession but if I am explaining the heart spirals I like to clarify that it is just the ventricles.

Candela’s class


My homework was to give a class on what I felt was needed regarding the whole event. The class of Camila in the morning was touching this aspects too but this topic was exposed more in general and I decided to go more in detail. 

2 focuses 
-motion centres
-Muscular tone

Different ways of exploration . Improvising . pattern . group exploration.

Pattern, maybe a bit difficult - challenged. I liked to surrender to the group confusion. I felt a dense atmosphere during this part of the class that on the next exercise gave a bigger “A-ha!”

Time at the limit: Maybe I could have taken material from the students improv and bring easier patterns for a short frase and to give up to my phrase. it would have being more useful.
Also this factor made me answer to appreciations of some students a bit in a rush. I felt I didn’t acknowledge enough their appreciation and i was a bit abrupt into continuing with next things.

Title: Channeling kinetic energy

How to continue?

  • elastic recoil to compliment explanation. (because we were already using it)
  • bringing those aspects into Tango by channelling kinetic energy to the lower limbs
I enjoyed to start talking from the AS vocabulary and then transitioning towards Tango and finishing with that group Tango which already showed the Tango principals and how they connect with the principals managed by AS.

I enjoyed a lot the class, wouldn’t be surprised if it ended with Tango. In fact it is an excellent way to explore the principal you chose.
The exercise to practice or recognise the explanation of tone, you simplified a lot, and it can be that you simplify in a more “coloquial “manner of talking but it could be not so precise because of the simplification. In a deeper context it might be better to not simplify so much.
To see the teacher moving with so much easiness, looks like the teacher is using less tone, but then the students imitate lowering the tone and it is not exactly that what gives that quality.

I have taken Tango classes before and the exercise with holding arms (whole group) showed me a concept about arms in connection to legs that didn’t come through other classes.

Deconstructing what tools are valid to study the AS.
At a certain point I felt your rush mixed with concern that people were not getting at and it manifested as movement coming from external shape and less from internal principales. The challenge of when/how/how much to simplify so that people can at least have tools and practice material to start descaling into the concepts. 

Coherent choice of principals.
Clever for the context of people - this particular group with less experience of AS
Revelatory to feel connection of the scapular complex - Tensegrity - 
Very poetic but also technically very clear.
Felt that relating different tones with different range of possibilities was useful
Maybe grades of tone was not as useful for this group.
Interesting points you in the pulsation of what they are feeling.

Asked cande about goal before class - she met them.
Align with the event
Feedback she received before about focusing on principals. Give a class were Tango serves to explain the AS vs de AS serves Tango.
Challenge to put goals for oneself and meet them
Being autodidact is a challenge - showed ability to be autodidact
good job choosing which concepts you give.
Name - explain, good job at choosing what words to put in space and explain clarifying and sometimes not naming things you will have to explain deeper if you do because it can bring up mis-info in people, on the last case you chose to show to explain.
Center topic:
Ref tonus - time/dir of transfer of KE through Kinetic chain with motion centers as a supportive topic which was used as a warm up.
Question: MC T2-T5 does not include lat flex - how many degrees of possible lat flex?
Can be a choice to stay general in definitions
choice of uncomfortablility
Complex phrase.
Complex coordination and timing for it to land.
Challenge to accept the time people need to incorporate concepts Ex: dropping arm
(release student's achievement)
Loved to see you trying your artistic self in a contextual way
Which other words to enhance tone…? ex: binding of soft tissues us tone. or specifying tone vs co-contraction (can have more tone and move a lot a joint)
Appreciates the community to come to teach dance with choreos as it lends other qualities and experience coping someone - delicious.
Recognised in your singularity. The research has a sense of individuality when you watch someone. Appreciation of their research. This singularity of knowing yourself is what you give to the exploration.

Here is the link to the video of most of the parts of Candela's class. Please keep it between the ASIRN and don't share outside.

What is tone?…. we wanted to know the definition of Kevin O’connor.

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