Archive for the ‘52 Moves (of Nia)’ Category
Posted by terrepruitt on March 11, 2014
In other forms of exercise I learned the dead bug. Where you lie on your back and put your limbs up in the air as if you were a dead bug. In Nia one of our 52 moves is called Creepy Crawlers. I ALWAYS call it Creepy CrawlIES and sometimes I say, dead bugs. In Nia the move is part of the Upper Extremities in the Nia 52 moves, the hands to be exact. It is where we turn our hands to allow the palms to face up and we wiggle our fingers. Truly NOT a dead bug because dead bugs don’t wiggle there legs . . . in general. I will work on calling it by the correct name Creepy CrawLERS.
This is a simple, simple move that provides great benefits. I don’t know how often you are around the elderly if ever, but losing the use of their hands, losing the dexterity is a very common issue. So as the Nia Technique Book says, “Practicing Creepy Crawlers helps your fingers, hands, and forearms remain strong, flexible, and agile.” It is very important to move your hands. And not all of the things we do in everyday life allows for that type of flexibility and agility. So this move is so great.
To practice it according to the Nia Technique Book you just wiggle all of your fingers, including your thumb. Keep the elbow bent which helps keep the shoulders and next relaxed. Change palm directions.
This is one of those moves that is pretty much always teamed up with another move. Usually we have a foot pattern while we do the Creepy Crawlers. Or we are moving around the room. Usually, but not always. Sometimes it is nice to concentrate on the movement on the fingers. Really wiggle them with intent. Make certain ALL ten fingers are moving. Notice how it affects the tendons in your hands and arms. Watch the movement in your arms.
If you are constantly moving your fingers in a wiggly motion while doing choreography with your feet you are allowing that brain to work. Most people understand that the brain needs to stay active . . . just like the body . . . in order to function well, so we consider it fun to get our brains going as part of our movement, as part of our dance.
So as with all of the Nia 52 Moves that I have explained. Sometimes we do them a little different from perfect as described in the book. Doing Creepy Crawlers in a routine might have us straightening our arms. Or we might even be moving the hand all around while the fingers are wiggling. But the point is the fingers. Moving the fingers, wiggling the fingers. Bending each and every joint in the finger.
This is also a really fun move to do with kids. They love the idea of Creepy Crawlers, bug legs. You know kids? So many of them love anything to do with bugs.
So, I encourage you to do some Creepy Crawlers. Especially if you work at a computer or do repetitive motions with your hands. This will help keep them moving in different directions/ways.
So, did you try it? See how easy it is?
Posted in 52 Moves (of Nia), Nia | Tagged: Creepy Crawlers, Dead bugs, exercise, hand dexterity, Nia 52 moves, Nia Benefits, Nia class, Nia exercise, Nia Practice, Nia routine, repetitive motion, The Nia Technique book, the Upper Extremities | Leave a Comment »
Posted by terrepruitt on March 1, 2014
Here is where it is obvious that the moves we include in the 52 Moves of Nia are not unique to Nia. Kicks are part of many dances, martial arts, and movement forms. Kicks can be done in many different ways. They are great for many things. In Nia while we dance we often do kicks. We count each kick as a separate move so the Front Kick, the Side Kick, and the Back Kick are three of the 52 Moves of Nia moves.
I know that we did kicks in country line dancing and in West Coast Swing. They kick in ballet and jazz dance. We all know they kick in all types of martial arts such as karate, jujutsu, and kickboxing. Kicks are even a part of exercise routines and sports. I know they do kicks in Jazzercize and Zumba.
Each kick requires balance, and that is one of the things that kicks are good for. The act of kicking helps improve, helps challenge, and helps retain balance. One must be on one leg and/or foot in order to kick the other leg.
With a Front Kick, in Nia, we balance on one whole foot, we lift the other thigh so the foot is off the ground. We keep our alignment of our three body weights. We use our arms to help maintain the balance. The leg we are standing on is firmly rooting to the earth yet the knee is not locked. Then we extend the leg of the foot that is off the ground, allowing the shin and foot to move forward, away from the body. We look where we kick. We kick at our own level. It could be that you are able to lift your thigh so it parallel to the ground or possibly your knee is higher than your hip. Remember it is your kick so it is your balance practice.
The Side Kick starts as the front kick, on one leg, the we lift our thigh, but instead of sending the foot forward and away from the body we shift our hips so the one that has the leg lifted it higher than the other one and our knee crosses the midline of the body, the we push our foot out to the side of the body. The same side as the foot that is lifted.
The Back Kick has the same start as the front kick and side kick. Stand on one leg and lift the other thigh up. As with the front kick your body is in alignment. The we push the leg that is lifted, back, as if we are stepping on the wall behind us. For an additional challenge to balance you can look behind you.
Just like all the 52 Moves in Nia, while doing these kicks in our Nia routines we often modify them a bit. Sometimes the kicks are slow and powerful. Sometimes they are fast and done with a bit of ease. Sometimes the choreography allows for the foot to rest on the earth before rising again to kick, sometimes not. Sometimes the kicks are done in a fast repetitive fashion. Sometimes they are meant to be done low, sometimes they are meant to be done high. But all kicks are meant to be done in your own body’s way.
In addition to balance, kicks help with strength. Both legs, the standing and the kick leg get the benefit of that. Also kicking is good for exercising your coordination, especially when there is travel involved and/or arm movements. Kicks are a great addition to many dance modalities and exercise forms. I would bet you are familiar with kicks.
Do you do kicks in your cardio dance class? Do you include kicks in your workout routine?
Posted in 52 Moves (of Nia), Nia | Tagged: 52 Moves of Nia, back kick, ballet, cardio dance, cardio dance San Jose, country line dancing, dance exercise, dance kicks, exercise routines, front kick, improve balance, Jazz Dance, Jazzercize, Jujitsu, jujutsu, karate, kickboxing, martial arts, Nia, Nia routines, Nia San Jose, repetitive kicks, side kick, west coast swing, Zumba | 2 Comments »
Posted by terrepruitt on February 11, 2014
In Nia we have a base of 52 Moves. Not surprising they are called The 52 Moves of Nia. As I have stated before they are not unique to Nia. You have probably done some of them at one point in your life. If you have taken dance or you participate in a group exercise class that is dance oriented then you more than likely have done some of them. They are just gathered into a group for Nia because of their benefits and fun. So they are included in the Nia Routines. Not all of them are in every routine, but a good portion appear in each routine. Plus whenever there is Free Dance they might make an appearance. One of the base moves . . . . moves we do primarily with the base of our body . . . is Lateral Traveling.
Lateral Traveling is specific and different from Traveling In Directions. Traveling in Directions is a move done in all directions . . . . Lateral Traveling is done to the side. The Nia Technique (have you gotten your copy yet? Click here to go to Amazon to order your copy.) describes Lateral Travel as a step together step or a grapevine. The specifics are to start in a closed stance, then take one step to the side, then place your feet together (moving the other leg to the first leg that stepped), then take one step to the side, then move the leg toward the other one, but instead of placing it next to your leg cross it back.
A grapevine is where you step one leg to the side then the next step is BEHIND, then step to the side, where the next step goes depends. Sometimes you can land on the heel or behind or with the knee up. Grapevines are a nice replacement for four point turns. There are many reasons why people don’t turn so using this lateral move, the grapevine, is perfect.
With both methods the instructions say to use your hands to lead you. Have them out in the direction you are going. The instructions also say, “When you step behind, step onto the back ball of the foot and keep your knees spring loaded and your spine vertical.” For clarification, the “back ball of the foot” is the foot that is in the back or behind.
This is a “two side” move. To practice you do to one side then the other. To the left, then to the right. (Or to the right, then the left.)
So this is the specific Lateral Travel: Step together step or grapevine. I have found my self using the phrase “travel laterally” at times when I am leading my San Jose Nia class (or any Nia class for that matter) and I am not instructing them to do the specific Lateral Travel. But I guess that is the difference. There is “travel laterally” and do the “Lateral Travel” move.
Many moves in Nia are good for the coordination. This is one. Step together step is not necessarily a difficult move but depending on the speed and what comes before it and after it, it can call upon your coordination. Although, I would say this is one of the easier 52 Moves of Nia.
Varying the speed and adding some movement to the body can change it up a bit and perhaps add a some challenge to it.
So there you have it another move in Nia’s 52 Moves.
You probably find yourself doing this one often, huh? Even when you are not on the dance floor?
Posted in 52 Moves (of Nia), Nia | Tagged: 52 Moves of Nia, Amazon, Ball of foot, Classes in San Jose, closed stance, dance exercise, dance mehtod, exercise method, four point turn, Free Dance, grapevine, group exercise, Lateral Travel, Nia, Nia Practice, Nia routines, San Jose Nia, San Jose Nia Schedule, The Nia Technique, Travel in Directions, workout method | 2 Comments »
Posted by terrepruitt on December 5, 2013
In the Nia 52 Moves there are moves clumped into groups. There are moves of the base, which involve the feet, such as Heel Lead, Releve, Closed Stance, Bow Stance, Slow Clock, Fast Clock, front kicks, side kicks, etc. There are upper extremities which include moves such as blocks, punches, sticks, chops, finger flicks, Creepy Crawlers and Catching flies. Then there is a group called the core which involves Pelvis, Chest, and Head. Two of the moves that are pelvic moves are Pelvic Circles and Hip Bumps. Two relatively easy moves, I am confident most people have done them in their life time. As I said easy, but they pack a wallop!
The Pelvic circle begins in A Stance (feet a little wider than shoulder width apart) and you move the hips in a continuous circle as if you are using a hula hoop. Just around and around. Circling the hips. Don’t forget to circle the hips in the opposite direction. With this move the arms are free to move in any direction and any way they want. This particular show belongs to the hips.
Hip circles are a common move both in dance and other exercises. It is good for the waist and hips.
The other pelvic move is the hip bump. In Nia we bump our hips in all directions not just to the side. So for the hip bump stand in the A stance and move your hip to the side, then the other side, and the front and back. A quick bump. This is an agility move with the quick start and stop. The arms involved in this are also freedance . . . they can do what they want.
Again, this move is not unique to Nia at all.
As with all the 52 moves there are ways to do them correctly while in practice. Practicing them and getting them in the body’s muscle memory help when we incorporate them into a routine. While doing both the Pelvic Circle and the Hip Bumps the arms are free to move, but it could be the arms have specific choreography tied to the moves in a routine. Also the hip bump is in general done in all directions, but in a routine it could be part of the choreography that the hip just goes to one side then the other.
I am pretty confident that many, many, many people have done the hip bump. It is a familiar move.
In the routine I am doing right now there is a hip bump or two. My favorite is to assign a feeling to them. Sometimes we do sexy hip bumps . . .kinda goes without saying. But we also do angry hip bumps, silly hip bumps, and dramatic hip bumps. Each of those hip bumps brings out a different movement and with each individual it is different. It is so fun to see people interpret the feelings and emotions in a common move like the hip bump.
So these are two moves that are grouped into the Core moves in Nia’s 52 moves. I think that you should get up right now and do some pelvic circles and hip bumps. Your hips will thank you.
So are either of these moves movements you have done before? When is the last time you bumped your hip? How about a pelvic circle? What would your angry hip bump look like?
Posted in 52 Moves (of Nia), Nia | Tagged: Bow Stance, Catching flies, closed stance, core, Creepy Crawlers, fast clock, finger flicks, Heel lead, Hip bump, hip circles, Nia, Nia class, Nia Practice, Nia routines, Nia's 52 Moves, Pelvic, pelvic circles, slow clock, upper extremities | Leave a Comment »
Posted by terrepruitt on November 14, 2013
Nia is a cardio dance exercise that I teach. It is more than that, but that is one way to describe it. One of the ways it is more than that, is, it is a practice. If you chose to treat it like a practice, as one might treat yoga as a practice, one would become aware of Nia’s 52 Moves. There are 52 moves that get choreographed into the Nia Routines. One of the moves is Traveling in Directions. This is a great move for many reasons.
One reason Traveling in Directions is great is because it is very easy. Another reason it is great is because it is very adaptable and can be used in almost every song and in every routine. The main way to travel in a direction is to simply walk. Using the Heel Lead technique just walk forward, then change the direction you are walking, then change the direction, etc. With the simplest of forms you look where you want to go before you move in that direction. So before your feet actually start going a different direction — LOOK. There is a little bit of thinking involved because we look before we go. Allow your arms to move freely. Step confidently in whichever direction you choose to look. Move your body as a whole.
The Nia Technique book states: “Practicing Traveling in Directions keeps your body agile for moving through space in all directions, able to change direction with ease.”
When we use this move in our routines we have a lot of fun playing with it. The move really is as easy as stated, the fun comes when changing directions quickly. You can be the leader of your own movement or sometimes you are being directed by the teacher. This makes agility one of the Nia sensations we practice with this move. Moving one way then quickly stopping and going another way. Stopping, changing, starting. Varying the speed at times will allow for additional Nia sensations such as strength and stability to come into play.
When Traveling in Directions on your own you become aware of the direction you want to go, then you look, then you go. As I said, there are times when you might be listening to the direction of the teacher, which would still mean you would need to become aware of the direction you want to go, but when being told where to go your body’s reaction is quicker. There is a quick look then a move in that direction. Less thought is involved for you as the participant because someone else thought of the direction you were going to go.
Often when this move is done in a class, quick thinking, quick moving, and quick reacting are additional skills that receive attention because we are dancing with others on the floor so we might have to switch our trajectory quickly to avoid a dance floor collision.
Modifications of the traveling can be done by going backwards or sinking low or even rising high. So many ways to travel in directions. All of them are great opportunities to try out the Nia Sensations, the more you do, the more ways you move your body. If you want you can even skip. Skipping in different directions adds a new dimension to the move.
Sometimes this move is choreographed into the Nia routine with specifics and sometimes is allowed more of a Free Dance. However it is added to the Nia workout it is a wonderful way to dance.
How would you Traveling in Directions to your current favorite song?
Posted in 52 Moves (of Nia), Nia | Tagged: body agile, cardio dance exercise, dance class, dance floor, Free Dance, Heel lead, Nia, Nia choreography, Nia class, Nia participant, Nia routines, Nia sensations, Nia Teacher, Nia workout, Nia's 52 Moves, Practice, stability, strength, The Nia Technique book, Traveling in Directions, Yoga, yoga teacher | 2 Comments »
Posted by terrepruitt on September 28, 2013
We dance Palm Directions all the time in my Nia classes. It is an easy thing to do. Palm Directions is a great move to incorporate into freedance. It is also often one of the moves choreographed into a Nia routine. Palm Directions is one of Nia’s 52 Move.
It might not be something you think about, but the direction the palm is facing affects the shoulder joint. When the palm is facing down (or towards the body) the shoulder joint is closed and when the palm is facing up (or away from the body) the shoulder joint is open. When your arm is straight that is when the shoulder joint gets the open and closed action. Along with the shoulder joint, the entire arm is affected. The arm bones are twisted with the movement of the palm.
It really is as simple as facing your palms in one direction then another. Unlike Webbed Spaces – another move in Nia’s 52 Moves (you can read about it by clicking here) – in Palm Directions the fingers are kept together. If practicing to affect the shoulder joint, lengthen the arm straight out in front of your body or straight down next to your body, then turn the palms up/face them out away from the body to open the shoulder, then turn the palms down/turn them towards your body to close the shoulder joint. You can observe the radius untwisting as it switches places with the ulna. You can sense the movement of your humerus, the upper arm bone.
In addition to opening the shoulder joint, the Nia Technique book reminds us that, “Palm Directions also express emotion. Palms up, for example, is a universal body language indicator of openness.” So it can open things other than the shoulder joint. Changing palm directions also moves the energy around. In Nia classes we move the arms all around the space around us, changing the palm directions, pushing and pulling and mixing up the energy. Also, while we are dancing and our arms are moving around us with the palms facing different directions we vary the speed of our movement. When Varying the speed that are arms are moving and our palms are changing direction allows us to play with agility – one of Nia’s five sensations (click here for more information on that).
This type of movement helps us connect with the space around us. Palm Directions, the Nia Move, also helps with keep the shoulder joint mobile.
This move is also a great move with which Nia participant’s can practice their own body’s way. The body was designed so the humerus rotates in the glenoid fossa or shoulder socket. But life sometimes affects the body so that it cannot move the way it was designed, so all of us have different levels of how much we can move the arm. So while playing with Palm Directions and dancing the arm around the space each individual can do it in their own body’s way. This will allow them to get the work that their body is capable of and needs.
Ready? Straighten your arms then change the direction of the palms. Are you able to sense your arm bones twisting/untwisting? Are you able to sense the action in the shoulder joints? What do you sense when you move your arms around while playing with Palm Directions?
Posted in 52 Moves (of Nia), Nia | Tagged: choreographed dance, freedance, mobility in the shoulder joint, moving energy, Nia, Nia book, Nia Classes, Nia Dance, Nia routines, Nia Technique, Nia's 52 Moves, Nia's Five Sensations, Palm Directions, shoulder joint, the body's way, The Nia Technique book, ulna, Webbed Spaces | 6 Comments »
Posted by terrepruitt on September 24, 2013
I have stated in previous posts that we do moves in Nia that are not exclusive to Nia. Since Nia is three different arts; Martial Arts, Dances Arts, and Healing Arts, with three different movement forms in each art there is a large possibility that you have experienced the move before if you have participated in any of the movement forms. The nine basic Nia movement forms are T’ai chi, Tae Kwon Do, Aikido, Jazz Dance, Modern Dance, Duncan Dance, Feldenkrais, the Alexander Technique, and Yoga. Even if you have not practiced any of the movement forms you still might have found yourself doing the cha-cha, a jazz square, a side kick, or sitting cross legged. Nia does however have moves that are a part of Nia, say the core movements. We call them the 52 Moves of Nia or Nia’s 52 Moves. Two of the 52 moves are crosses. There is the Cross Front and the Cross Behind. The action of the cross is done with the feet.
The Cross Front is where you step across your body to the other side. Some what like taking a diagonal step forward. To practice this you can stand in an open stance and use one leg to step in a forward and diagonal direction. The ideal of the Cross Front is with a heel lead. Practice is done with arms and hands swinging freely.
The Nia Technique book states that benefits from this move is the strengthen of your inner thigh muscles.
This is a great practice in stability. Especially since often when we are doing the cross front it is combined with another move. We do not normally cross front continually from a standing still open position. So the cross front often takes on a personality of its own. Knowing how to do it in it simplest form allows for the energy and playfulness that it is normally supplied while dancing to come out. This is often a move used to play with agility because in the dance we are moving and there is a start and a stop as we cross front.
The Cross Behind, like all moves, even the one mentioned above, has its proper way to be done. To practice the cross behind start in an open stance then step with one foot back/behind on the diagonal so the moving foot comes behind and to the side of the stationary foot. The moving foot lands on “ball of foot“. The end result is the ankles look like an “x” is being made. With this further practice can be done to allow for you to sink into a lower position . . . just a little bend in the knees. But you keep the foot that crossed behind on the ball of foot. Further practice has you rising on BOTH feet onto the ball of your foot. This move helps with mobility and stability in the legs.
Again, that is the way to do it in practice. While moving, practicing, and playing with all the moves. There are routines that call for the movement to be done exactly like stated. We have our ankles crossed in the X and we are on ball of foot. That is a true cross behind. But in dancing it is often adjusted into looking a little different.
It could be that the ankles do not land that close together as we start to sense the music and dance it in our own bodies way. Could be we land on whole foot. There are many ways to dance and find this move adjusted. But as with many things, it is important to learn the base, the correct way to do it and then play from there.
So as you can tell we do a lot of moves in Nia that are familiar. I would not be surprised at all if you have done these on the dance floor at a club or a wedding reception. Maybe not exactly as we do in Nia when executing them with precision to allow us the flexibility, agility, mobility, strength, and stability available, but in a way that would make doing it in a Nia class familiar.
So where have you done the Cross Front? And the Cross Behind? Are you a grocery store dancer?
Posted in 52 Moves (of Nia), Nia | Tagged: Aikido, Ball of foot, core moves, Duncan Dance, Feldenkrais, Jazz Dance, modern dance, Nia, Nia class, Nia routine, Tae kwon do, Tai Chi, the Alexander Technique, Yoga | Leave a Comment »
Posted by terrepruitt on September 17, 2013
I am not certain “touching” is included in any other workout. I am not certain if it is included in any other cardio dance exercise. Now I am not talking about “putting your hands on your hips as you shake them” or “putting your hands behind your head as you advance forward” or “touch your elbow to your knee” or “putting your hands on your shoulders”. I am not talking about that type of touching. I am talking about touching. Touching for the sake of touching. Touching to gather sensation from your hands. Gathering information from the nerves in your fingers, palms, and the backs of your hands. In Nia we touch.
Touching gives us a lot of information. A Nia Routine might have us touching the air around us. We touch to sense the air. We touch the space around us. All around us. Above our heads, behind us, below us. We use our open palms and webbed spaces. We use the backs of our hands. We push and pull the energy. The Nia Technique book, by Debbie Rosas and Carlos Rosas, states “Practicing Touching is excellent training for increasing your Sensory IQ and for improving body awareness.” Touching the space that surrounds the body also moves the energy around — as mentioned the push and the pull. In addition to moving the energy you can draw energy in through the touch or send it out.
There is also the touching we do to things. We can touch things while we dance in a Nia class or throughout our day. In a dance class we can touch the floor, the walls, the mirror, the other things in the room. They give us information through touch.
We can also touch our skin and our own bodies to gather information. We can touch to create heat. We can touch to supply energy to a specific body part. We can touch to heal. We can touch to allow for sensation or attention. Touching brings awareness. If you are touching your elbow, as an example, with the touch you receive information from two sources. One is your hand that is doing the touching. It senses your elbow. It might feel dry skin, causing you to think you need lotion. The second source is your elbow. Your elbow senses the hand. You might think, your hand is soft/warm/moist. Exchange of information. Awareness. Attention. Touch is amazing.
No matter whether we are touching the space around us, the things around us, or our own bodies we can use fingers, palms, and back of hands. With different “touches” we are exchanging different information. Moving and/or releasing and/or gathering energy. Touch is a powerful tool in the Nia toy box.
Another way touch can be applied is in the common way of touching as measurement. In the beginning of class, say, before your body is warmed up, you can only touch as far as your shins. Then after was have moved warming the muscles all of the attachments you can easily bend all the way over to touch your toes. Touch. It is a great thing to use for many reasons. In Nia we use touch. Touching is one of Nia’s 52 Moves.
What sensations have you received today from things you have touched?
Posted in 52 Moves (of Nia), Nia | Tagged: cardio dance exercise, Carlos Rosas, Debbie Rosas, Nia, Nia Dance, Nia routine, Nia workout, Nia's 52 Moves, The Nia Technique | Leave a Comment »
Posted by terrepruitt on September 3, 2013
I was looking for something to post about today and I thought, “Hmmm . . . . let’s check out the Nia 52 Moves list on my site and see what I have yet to write about.” Much to my HUGE surprise, I have not posted about the shimmy. I am shocked. The shimmy is a very often used move in Nia Routines. . . heck, the shimmy is an often used dance move in many, many, many dances. So I am shocked I have not addressed this before. I think that the shimmy is somewhat misunderstood. I believe, from what I have experienced, that many people think of the shimmy as a chest move. I have sensed great hesitation in many people when it comes to executing the shimmy. It seems as if people might consider it a boob shake. Some women don’t want to do it and neither do some men. I mean, why would either want to shake their breasts in a cardio dance exercise class? To me, thinking it is a frontal shake is a misconception. While, yes, for many people the front DOES shake and move in a shimmy, that is NOT where the concentration of the movement is. The shimmy comes from the shoulder blades/back.
The Nia Technique Book* says: “Vibrate and shake your shoulders, standing upright or moving front and back, as if you are shaking water off.”**
I think that once the focus of the move is taken off of the chest, some people feel more comfortable with the move. It is not primarily moving your chest/breasts/boobs around. It is moving your shoulders and your back. Since our front is connected to the back, then, yes, our chest will move but the movement will be different than if you are purposefully just moving what is on the front side of your body. There are several ways to learn and/or practice the shimmy, here is one. First of all think: “BACK/SHOULDERS” not front of body.
With your thoughts and your intent shifted from the front to the back you can apply the correct motion. One way to start from scratch with this move is to lie down. Lie on your back, then lift one shoulder off the ground. Push your shoulder blade forward, jutting your collarbone out. Then bring that side back to the ground. Then do the other side. Push, jut, back down. Now push the first side again and as you allow the shoulder to come to the earth push the other shoulder forward. Continue to alternate. Only allow one shoulder up at a time. While you are pushing forward keep your shoulders down toward your hips (not down toward the ground). Keep the space between your ears and your shoulders open. So you are not shrugging your shoulders up to your ears, you are pushing them from the BACK to the sky. Do this until you feel you have the sensation in your body that when you sit up you will still have the correct motion. Vary the speed. Play with the size of the movement. Go for smooth and not jerky.
If you are not starting that far back, from scratch, then stand and concentrate on the shoulders going forward and back. Again, keep the shoulders down. This helps me with the forward back motion, otherwise they might start creeping up into that scrunching posture. Eventually you will be able to just move your shoulders forward and back with nice relaxed (down) shoulders. But in the beginning it might be something you have to think about in order to ensure the front back motion and not up and down.
This move is great for isolating the muscles that assist with good posture and balance. It is also a great stress reliever. It is fun to let out sound while you are shimmying. You don’t even have to waver your voice if you are shimmying vigorously enough, the movement causes the waver. FUN stuff!
As mentioned we do the shimmy a lot in our Nia Classes. Since we do it a lot we do it in many different ways . . . fast, slow, by itself, with other moves . . . it is just one of those great moves to throw into the mix.
I see many, many, many people who are challenged by this move. There are many reasons for that. I also see a lot of people’s movement change once they adjust the focus from the front to the back. I see those proverbial light bulbs come on! Shift the focus and let your body move!
When you shimmy, where is your movement focus? Did this post alter your movement focus? Can you shimmy so vigorously that your voice wavers with your movement?
*written by Debbie Rosas and Carlos Rosas / **page 138, The Core
Posted in 52 Moves (of Nia), Nia | Tagged: boob shake, cardio dance, Carlos Rosas, dance classes, dance exercise, dances moves, Debbie Rosas, exercise class, Nia, Nia 52 moves, Nia class, Nia dances, Nia routines, shimmy, shoulder shake, The Core, The Nia Technique book, www.HelpYouWell.com | 2 Comments »
Posted by terrepruitt on August 6, 2013
In Nia we use specific hand techniques. There are seven moves considered “Hand” moves in the Nia 52 Moves. There are eight moves that are “Finger” moves. So fifteen moves in all out of 52 that are specifically hand/finger moves. You can read about “Spear Finger” and “Balance Finger” in previous posts. The hands are such a large part of our lives. In addition to the many things they do they help us communicate. Whether we are using them to make gestures as we speak, using them in place of speaking (in the case of sign language or something as elementary as “the finger”), or using them to comfort by touching. They are very powerful. Nia does not neglect that hands. All fifteen of the 52 Nia moves that have to do with the hands/fingers assist in moving energy. It could be moving the energy within our bodies or outside of our bodies. Some of the hand/finger moves can be done both with positive tension or in a relaxed state. When done with tension the muscles in the hands and arms maybe felt more readily. While done with a relaxing flow they might allow us to sense the outside energy. One of the hand moves is called Webbed Spaces.
Webbed Spaces is where your open you hand spreading your fingers wide. I imagine it is called Webbed Spaces because it shows the “webs” between each finger. I have also thought it is called Webbed Spaces because I imagine my fingers being spider webs. I actually don’t know why it is called Webbed Spaces, but those are the things I think about when doing and talking about Webbed Spaces.
After you have already opened your hand and spread your fingers wide. The Nia Technique book says to practice extending each finger and creating even more space in them. Usually in a Nia Class we are moving our arms with our hands in Webbed Spaces. Sometimes we keep our fingers extended while moving our arms or we relax them and move into Webbed Spaces. Either way it is a great way to keep flexibility in the hands.
Do this: put one hand in the Webbed Spaces position, flex and extend your fingers. Put your arm out in a gesture of, “STOP!” Allow the flexing sensation to travel all the way up your arm. Take your other hand and feel the muscles. Then keeping the tension, point your fingers to the ground . . . feel the muscles in your forearm move. Then do the same stop motion and fingers-pointing-to-the-earth move while your hand is not in Webbed Spaces position. Feel the difference. In both cases with Webbed Spaces the muscles are working differently than doing the same wrist movement without Webbed Spaces.
Webbed Spaces is just another way that Nia engages the entire body. This move is also comparable to Jazz Hands so I think of it as showy and dramatic. It can be a great emotional move allowing you to express what you FEEL. It is another way to add fun and pizzazz into our cardio workout.
What do you feel when you do the little exercise stated above? What do you sense when you do this move?
Posted in 52 Moves (of Nia), Nia | Tagged: Balance Fingers hand gestures, cardio exercise, Jazz Hands, Nia, Nia 52 moves, Nia cardio workout, Nia class, sign language, Spear Finger, Webbed Spaces | Leave a Comment »
Terre Pruitt's Blog 