This is a cross-post that I wrote for the Duello.TV and Academie Duello blogs. I have long heard that ballet has its origins in historical fencing. It’s a romantic idea and as someone who both teaches martial arts and dance (though not ballet) I certainly find tons of parallels in how they are both taught and practiced. The positions of Read More …
Some weeks you’re in the groove. Some weeks you’re not. Tonight I’m feeling decidedly disconnected from the music. I feel like I’m astral projecting above my body as it moves to the rhythm of its own synth. I’m syncopating out of sync. Usually I would feel verklempt about this. Swimming in a frustration of non-connection; with the music, my body, Read More …
I haven’t written about dancing in a while yet I’ve been quite inspired by it lately. A lot of my personal practice of late has been focused on following in partner dance. I find the act of following in dance to be quite beautiful from both a participatory and metaphorical sense. It is interesting to explore life concepts within the Read More …
In partner dance our physical connection with another dancer can be a point of support, of direction, of communication, and of energy transference. All of these connections have tone, they create a connection from our partner directly to our core. They receive the presence of our partner and give our physical presence in return. However a connection does not need Read More …
In the dance community many events have a ‘drop-in’ class that is aimed at teaching fundamentals for beginners to help introduce new people to the dance. The classes typically start with the fundamentals of posture and movement and then build in the basic structures of the dance, teach a move, etc. Though the class is often aimed in particular at Read More …
Anna’s arms extended out into the cut, the point of her sword wavering her body ever so slightly withdrawn, the extension of her arms slightly slack. The motion was essentially correct but every part of it was executed with doubt as if she were exacting over every detail and wondering if she was doing it right. I have often found Read More …
It’s easy in learning to live in a space that moves between the lesson and the performance and thus never truly explore and internalize technique. The dance floor is not the environment that is conducive to building foundational ownership of technique. You need somewhere that is open to active dialog with yourself and your partner. In a few weeks time Read More …
I am going to be in Europe in the month of May from the 1st to the 28th travelling and teaching swordplay at a few different schools and connecting with others as I travel. I’m also planning to connect with the dance scene while I’m on that side of the water. If you know anyone I should stop in on, Read More …
Anna’s arms extended out into the cut, the point of her sword wavering her body ever so slightly withdrawn, the extension of her arms slightly slack. The motion was essentially correct but every part of it was made with doubt as if she were exacting over every detail and wondering if she was doing it right. I have often found Read More …
What is your motivation for excelling and improving? Note this is not the question of “why you do this”. There are tons of good reason for that (fun, connection, fitness, etc) but why get better at it? Once you get to a certain level, why pursue greater mastery? One of the most compelling and long lasting reasons I have continued Read More …