Every type of group exercise in a class format has its own way of doing things. Some formats might be the type in which the instructor is actually shouting and yelling at the participants. Some might just have instructions posted around the area and people are to move along and follow the instructions. A Zumba class is a lead follow type of format where – at least when I earned my certification – the instructions are supposed to be more hand motions than verbal. The instructor is not supposed to talk as much as just point and gesture. Nia is also a lead follow format, but with verbal guiding/instructing. We have specific points in our music when we are supposed to guide the class into the next moves. We, also are to use what we call “pearls” to help people move their bodies. From what I understand and the training I received we are not supposed to talk the entire time. Nia is body centered, so the instructors are supposed to be silent at times to let the students dance in their own way to the moves and the music. I personally feel that I can use work on both my use of pearls AND of being silent. One thing about Nia, though, is it is about play, exploration, experimentation, and doing new things in order to stimulate the BMES (the body, mind, emotions, and spirit). One thing that I have always heard about is the silent class.
So, the silent class does not mean no music, it means no cueing. Or at least that is what I thought it meant . . . turns out – just like many things – there are many ways to do it. One of my students recently took the brown belt intensive and there she experienced a class with no cues. She requested we try it. Well, it so happened that I started on the path while she was gone so I asked a fellow Nia Teacher and Black Belt what she did in HER silent classes. I was wondering if there was no cueing and NO SOUNDING. I figured it would be a huge challenge for me not to cue, but I really was doubtful I could make it through a class without making a sound. Her response surprised me in that she said she claps to indicate a move change. Well, that just threw another wrench in the mix. So . . . that meant that there was SOME type of cueing. I mean cueing is alerting to a change. LOTS of cueing is telling people what the change is and when and . . . etc. But a clap is a cue. So . . . to me that would mean it is a class with no VERBAL cueing. She also mentioned that sounding would work depending upon the mood being sought for the class. With her class — I think she does a specific routine — she does not sound.
So there are different ways to have a silent class. There could be NO cueing at all. There could be a clap to indicate the next move is a different one. There could be pointing and indicating in some fashion something – either direction or side of body or body part or that something new is coming. I really think that any of those ways is good. Because all of them offer something different for the student. And all of them allow the participant to focus on different things.
So for the past four weeks we have been dancing a routine with the intent of doing it without cueing. I was going to dance it for three weeks, but I thought my student who requested this would be back for the fourth week (the planned silent class), but she wasn’t so I did it one more week so she could join the silent class.
We danced it without verbal cues today and it was very interesting . . . . .
Back in 2010, I posted a bit about X-Ray Anatomy, principle #10 of the Nia White Belt. It is what Nia Teachers, Yoga Teachers, Personal Trainers, and people in the profession of helping people move do to see how a body is moving. We all do it, but Nia calls it X-Ray Anatomy. We look at the posture of the body or the placement of the clothes to see the alignment of the bones or to see the movement of the muscle. If we look at someone’s waist band and one side is higher than the other we can then look closer to see, if they were in a hurry when they pulled on their pants, hiking one side higher, or if their hips are actually askew. We can look at shoulders, checking to see if one is tilted down. We might check to see if a muscle is really tight causing an imbalance. We look, then we go about guiding the person to adjustment, guiding them into ease. Now . . . that is what we do for our students and/or clients. But we wouldn’t do that to someone we just see on the street. Even if we take a pad of paper to the park or to the mall or use our DVDs to practice with “Zorro”.
In the Nia White Belt Intensive I took, one of the tools that the co-founder of Nia, Carlos Aya-Rosas, gave us was “Zorro”. Where you look at someone and with just a few strokes of the pen/pencil you draw their structure. It is supposed to be quick, not a lot of details, just the things you are x-raying. Just key bones or things (like a belt, pant legs, collars, etc.) to allow you to see posture and/or alignment.
Here are my “Zorros” from my White Belt in 2008. We had split up into two groups and we faced each other. Each group had a turn at making shapes and posturing and then “Zorroing”.
When I wrote my post back in 2010, I had said in a comment I was going to go out and do some X-Ray Anatomy Zorroing, but I hadn’t. When I came across the comment again, I decided to do it. Here is the result of me doing Zorro on a random video of people walking and of one of the Nia Routine DVDs.
This type of practice can help us see things quickly that might need adjustment while we are dancing. Then we can cue some guidance to help people move in a safe way. As an example, an easy thing to see is thigh bones, while we cannot actually SEE the thigh bone, if we look at the toe and it is pointed off in one direction we can conclude that the thigh bone is rotated . . . depending on what we are doing, that might not be the safest thing for the knee and hip. So we can keep an eye on toes and practice X-Ray Anatomy.
I have confidence in thinking that you get the idea of this. You can see how you can quickly look at someone and have an idea of the placement of the bones. You can glance at someones clothes and use them to determine their alignment. Is the clothing method 100% accurate? No, people’s clothes might be sitting off for a number of reasons, as I mentioned in the beginning of this post, perhaps someone just pulled their pants on crocked, but this is an idea. But using the clothes is a quick way to perhaps get an idea of what the body is doing. Sometimes a closer inspection or more attention is needed, but for just practicing clothes are great to help with Zorroing.
Can you see how “Zorroing” can help with X-Ray Anatomy? So might you us your X-Ray Anatomy the next time you are out?
Oh my! I bet you are relieved to hear that I only took a few pictures of the Nia event. I say that because I took so many of the last two events that I couldn’t decide which ones to post, so I posted a lot. In March Jason came to town and taught his Nia routine Frankie Say Nia and a Nia FreeDance Playshop. We had a great time. You can see pictures and videos on my posts What Did Frankie Say?, Dancing, Learning, Posting, Editing, The Nia FreeDance Playshop Was Awesome!, and What Do You Mean Nia FreeDance Tool?. This time Jason was driving through California again so I invited him back to do what he is calling Franking Say Redux. It is so fun. One of the things he said was that we were going to do things we had never done before. I teach Nia so I thought that was a tall order and I shared my skepticism. But I was also eager to see what that might be. Well, a song or two in he had us doing . . . . something I had never done before. And I said, “Alright, here it is!”
So even though he was here in March and we did the same routine he did it a little different. While he traveled throughout the United States he adjusted it. Plus sometimes part of what a Nia Teacher does while teaching is adjust moves or what we say to encourage different movement. The move was not only new to me but it was so funny I had to laugh while I was doing it. It was a Cat Stance Tail Wag with Jazz Hands. Now, if you know what that is get up and do it. It is hilarious. You don’t even need music to get a giggle out of it. I am sure part of my laughter came from the fact that we were doing other things leading up to or right after the move that doing it was almost a joke because there was just so much going on!
Some of you may need a reminder: a cat stance is balancing on one leg while the other leg is up, a tail wag is when you wag your tail (I like to do it with a release in my spine), and Jazz Hands are your fingers spread wide. Yeah. Ha, ha, ha. Try it!
Loved it. I can’t remember what was before or after, but I know the whole thing was very funny.
We had a small group, but we had a great time. My supportive husband even joined us. Jason is always fun and we always learn something. I think I will just have to keep inviting him back until you come and see for yourself.
Doing something new is such a great way to stimulate the brain and with that the nervous system. Doing something new and having it be physical is a way to stimilate the brain, nervous stystem, and the whole entire body. Jason had us doing all kinds of stimulating things. It was very fun.
Does your exercise class stimulate your brain? Do you do knew things?
I am venturing a declaration, that we have all heard that exercising the brain helps it. Whether it helps stave off memory loss, helps keep our memory sharp, or just helps keep our brain sharp, I bet we have all heard “exercising” it helps. I bet one of the “exercises” you’ve heard suggested is puzzles. Brain puzzles, as an example and as suggested in my last post. Well, as I was trying to come up with a picture for the post, I was thinking I wanted to have a Nia puzzle. I came across a cool website where you can create a word search puzzle. I quickly decided NOT to use the puzzle I made as a picture because I wanted to make it a blog post! I decided to make a picture for that last post, so I turned to another website that I have been using lately to create collages. So this post is like a “Three-fer”, a puzzle, the website where you can create your own puzzle, and the website where you can create collages.
And, yes, you can Google all of this for yourself, but you know me, I like to share. I know that I learn things from blogs I read. I learn things that are common knowledge to a lot of people, but are new to me, so I like to share because I have faith that sometimes I am sharing something new to someone!
So, here is the Nia Word Search Puzzle. The words all have to do with Nia:
Aikido – one of the nine movement forms Awareness – a goal of Nia, to bring awareness to your body, awareness to your movements Cardio – what Nia is, it is a cardio dance workout Chakras – energy points danced in Nia Crawling – one of the Nia 5 Stages, and something sometimes included in Floorplay Creeping – one of the Nia 5 Stages, and something sometimes included in Floorplay Dance – what Nia is Embryonic – one of the Nia 5 Stages, and something sometimes included in Floorplay Exercise – what Nia is Fitness – what Nia encourages Flexibility – one of the Nia 5 Sensations, something you will experience in a Nia class FreeDance – a technique/practice used in Nia Jazz – one of the nine movement forms Joyful – what Nia can help you feel Mindfulness – a goal of Nia, to bring mindfulness to your movements, mindfulness to your body Mobility – one of the Nia 5 Sensations, something you will experience in a Nia class Movement – something we do in a Nia class Nia – the Technique, the form of cardio dance RAW – a technique/practice used by Nia teachers when learning a Nia routine/music Stability – one of the Nia 5 Sensations, something you will experience in a Nia class Strength – one of the Nia 5 Sensations, something you will experience in a Nia class Technique – Nia Technique Workout – what Nia is, it is a cardio dance workout Yoga – one of the nine movement forms
The collages are super easy to make, you just drag the photos you want to your browser. You can pick a background if you want. You can turn the photos, you can resize them, you can bring them to the front or the back. All basic things. I have several of these types of applications on my iPhone, but I didn’t have anything, but MS Word on my computer. So this website is a great help to me. Easy, quick, and free. And I am not loading my photos onto their site. Website for the collages is: http://www.photocollage.net/
Today we had a workshop to talk about and discover the Nia Five Sensations. Just like a lot of things we do and use in Nia, the five sensations are not unique to Nia, but they are tools we use to enhance our dance exercise. In a Nia class we strive to be in sensation. Being aware of the sensations allows us to choose and dance what we need at the time of the class. We had a small turn out, but the number of attendants is never the measure of success. One of my Nia Students and fellow Nia Blue Belt’s helped me present the workshop. This workshop was held at the request of the Camden Community Center. Our participants shared that they felt they had a better understanding of the sensations and would be able to apply awareness to them either in a Nia class or just in everyday life.
First we started off moving right away. The participants walked in, we said hello then started dancing. We danced to two songs. Then we did a brief introduction of Nia then we shared the five sensations and how we experience them everyday. We shared how they could be helpful to know and be aware of in a Nia class. The 5 sensations are: Flexibility, Agility, Mobility, Strength, and Stability (FAMSS).
Then we moved to each sensation. As we talked we guided the students into the sensations. We shared that flexibility is sensed as energy moving outward. It is the opening your body, the lengthening and yawning. So we stretched and yawned our bodies open. We reached out to lengthen our limbs. We imagined our bones moving away from our center. We practiced sensing the sensation even as our bodies showed no outward movement.
We talked about how agility can be sensed in the quick start and stop of a movement. It is the physical feeling of pulling and pushing. We hopped and jumped. We chopped and slapped. We “played” soccer and tennis. We danced in a “strobe like” fashion. We even stood still and let our gaze bounce around as our eyes moved with agility.
When talking about mobility we said it is sensed as energy in constant motion. It is youthful freedom. (A description from the Nia Technique that I really like.) It is flowing movement, graceful, and easy. We twirled and whirled around the room. We let our bodies ebb and flow. We rolled like the ocean. We moved our arms. We moved our legs. We mobilized our spine. We allowed the energy of constant motion to energize us.
We used the ballet bar and wall to start us off understanding that strength is sensed as energy moving inward. With that first example it gives way to us sensing strength as a resisting, or a quality of weighted energy being moved in ways that allow you to sustain a movement or posture. It is the contraction of muscle. It is the muscle squeezing bone. We contracted and pushed. We squeezed and resisted. Allowing the effort to tire us a bit.
Then we experienced the calm of stability. Stability is sensed as balance and comfort. It is the physical feeling of harmony and peace combined with readiness for action.
After having practiced the sensations we then added them to the stances that are part of the 52 Moves of Nia. We moved through the stances in the 5 sensations. Then we put on the music and danced the stances in sensation. After two songs we reviewed the kicks that are part of the 52 Moves of Nia. We moved through the sensations doing the kicks. Then onto dancing again. We danced doing our kicks in sensation.
We finished off the workshop with two songs focusing on the sensations, but primarily using the Nia choreography and not so much sticking with the kicks and stances. This allowed us to practice dancing in the sensations to whatever moves that come as part of a Nia routine.
It was a great little taste of the Nia 5 Sensations. I can say that because no matter what I am teaching it is ALWAYS the students that make the class GREAT!
Are you aware of any of these sensations in your everyday life?
Recently I was visiting with a friend and she was sharing with me her experience in an exercise class that she had attended a few days earlier. She was sharing that the things they were doing in the class did not qualify as exercise. She was saying that shimmying and doing the hand-around-your-head-move was not exercise. She said she didn’t want to do that type of stuff in an exercise class. I think she forgot who she was talking to. I mean, she was talking to her friend who she was looking at to support her in the fact that neither the shimmy nor the hand-around-your-head-move was exercise. But I think she forgot what I do for a job. I made a comment about how if she didn’t want to use all her muscles, I could see why shimmying would not be something to do. But she said she DID want to use all of her muscles. I did not take the opportunity to elaborate on how the shimmy is a great exercise and uses — not all, but many, muscles. It really was HER moment to share so I just listened. It was obvious she didn’t want to use her muscles THAT WAY. It was not my time to defend my craft or dance as an exercise. It did make me laugh though. It also reminded me why some people don’t like Nia. Some people don’t want to dance as exercise. Some people do not feel that moving to music is exercise. There are many people who think that the only way to get exercise is to do something the same way — to move in the same way, to move in a linear way — over and over again. Some people have very specific ideas about what they want to do as exercise. And that is fine, I am not going to try to get them to a Nia class because they probably wouldn’t be able to participate enough to get a good workout. But I do get my knickers in a twist when people say it is not exercise.
I think it is more accurate to say, “It is not movement that I like or that I consider exercise.” But to say it is not exercise. Not fair. But, again, very much a common way of thinking. I have posted about exercise as dance before. I even mentioned how I liked Dancing with the Stars (even thought I don’t watch it) because I think it helped some people realize that you CAN get a good workout in while dancing. If nothing else, moving around for an hour is great cardio — if you are moving enough to get your heart rate up.
Some dance exercise classes use jumping movements to get the heart rate up. Some — like Nia use big movements, fast movements, low movements, high movements, all over body movements. As, I have said before, it is all there for the participant to use, it is up to each individual to do as much as they want.
Many people don’t care for the shimmying but it really is a great movement that uses upper body muscles. I have seen many of my regular Nia students go from not being able to do it — for whatever reason — to embracing it. I think I have mentioned before that there is one song in one of our routines where I like to keep them at doing the shimmy for a bit. I usually ask, “Are you feeling it?” I just like for people to experience that the shimmy can be an move that can qualify as “an exercise”. Their answer – by the way is usually a laugh with a “OHH yeah!”
Some people move differently once they understand that the shimmy is not shaking what is on the front, but moving from the back. I have a post on that, Shimmy From The Back.
I think there are a lot of dancers at there that would say dance is exercise. However if you don’t like to dance I understand you might not feel that way. But, if you ever want to see what I mean about the shimmy or Nia as a good workout, look for a class near you. There are classes all over the world. There are several in San Jose, California . . . . I know, because I teach ’em.
What do you consider exercise? Have you ever TRIED dance-as-exercise?
Some of you may be wondering what I mean when I say Nia FreeDance Tools. Recently I invited First Degree Black Belt Nia Teacher, Jason Alan Griffin, to present a playshop of his creation. The playshop was him sharing some Nia FreeDance Tools. I have talked about what Nia FreeDance is before, it is where there is no assigned choreography and we just dance to the music (or not). But it is not the type of dancing you would see in a club. It is not the type of dancing that has specific names for the dance moves . . . yeah a cha-cha, jazz square, or a pirouette might sneak its way in, but primarily it is not that type of dancing. So some of the tools we have to practice Nia FreeDance are the 8 Stages of Nia FreeDance. And within those stages can be additional tools.
First of all as a reminder we do FreeDance to allow our bodies to move in different ways. To move in ways that are not our normal ways of dancing . . . so if you ARE a ballerina, the idea is to let your body dance outside of the ballet mold. If you are tap dancer perhaps in FreeDance your feet don’t tap. It is a way to practice different moves to music and allow our bodies to experience something away from its regular patterns.
There are other reasons and ways a Nia Teacher uses Nia FreeDance, but I am just going to keep this post on the path of tools. So within the tool box are the 8 Stages as I mentioned.
Now, in the playshop Jason did not mention these tools in association with the stages, but a lot of the tools he shared were introduced to me in connection with the first 5 stages of Nia FreeDance.
So with Stage 1: FreeDance (Catch Phrase: Anything Goes, Movement-Wise) . . . almost all of the tools could be associated with this stage but one that sticks out for me is being silly, acting goofy. This is super fun and is pretty close to guaranteed to get you to move in a different way to music than you might be used to.
Tools I associate with Stage 2: Being Seduced by the Music (Catch Phrase: Art of Listening) are as it says, being seduced by the music. So just letting the music take you away. I imagine most of you have had a song play where you can just get carried off by it. You can just move without thinking and dance away.
There is also Tempo Change . . . this involves the art of listening because you are listening for the tempo and then dancing against it or with it or faster than it or slower than it or opposite of it. Just listening and moving to it — in your own way.
There is also a tool that we use called “Forget the music” where you just dance in your own way — period. People might look at you and wonder what you are hearing because it might look to them as if you are not dancing to the music. And you could not be. Perhaps you don’t like the song that is on or you like a different version that you know so your dance is not “to” the music.
Stage 3: Feelings and Emotions (Catch Phrase: Pretend, Fake It, Act As If ). This stage has a lot of tools that connect to it, if you are dancing the “Feelings and Emotions” you act “as if” you are ___________ (fill in the blank with an emotion). You could be ACTING “as if” you are angry so you stomp around the room. Or you are ACTING “as if” you are jealous or ACTING “as if” you are happy. Allowing your body to move in ways that it would move if you were feeling those emotions is a great way to move.
Or you could PRETEND you are playing an instrument. I always say that I have become the greatest musician since I started teaching Nia. Or you could act as if you are playing a sport or a child’s outdoor game. This type of pretending is not sticking strictly to the stage and catch phrase, but it can be connected to it because there is pretending, faking, and acting.
Stage 4: The Creative Source (Catch Phrase: The Real You). This is where there is no story or no acting “as if”, you are moving with your true emotions. The tool would be no choreography allowed, in fact the dance is suspended and you are moving in your own way as an emotional being.
Stage 5: Authentic Movement (Catch Phrase: Change!!). Here is where the tool of changing every two bars comes in. The movement is authentic. The real you, nothing fancy just the way your body goes, but changing it every two bars. Or the change could be applied to directions or levels. You could dance going one direction and quickly change to go another directions. Or you could be dancing in the high plane and switch to the low or the middle. The idea is to CHANGE!
So that is what we mean by “tools”. Basically ideas of how to move. There are a lot of tools that can be used, there are so many ways to move. One of the most fun things to experience is an individual actually practicing these tools and then coming up to me after class and saying what a great workout they received. Many say they didn’t realize that FreeDancing could be such a great workout. That is one reason why we FreeDance . . . it really is a GREAT workout! Having a lot of tools makes it fun!
Does this give you a better idea as to what the “tools” are? Does this give you ideas for your next dancing-in-your-living-room session? Or ideas on how to conduct your next car-dancing moment?
The current Nia routine I am trying to learn is taking me a long time. I have mentioned before that I feel it takes me a long time to learn a routine, but this one seems even longer. The first thing I do is listen to the music. I had been doing so for a couple of weeks, then I got busy for a couple of days and hadn’t turned it on. When I went to the album in my iTunes I was shocked to see I had never listened past the sixth song. In fact, at that point I had never made it through the entire sixth song (that is how annoying it is). So I realized I needed to watch the Nia Training DVD. Watching the choreography usually helps me get through a song that I don’t like because it gives me points of reference. But this workout is filmed where the teacher and class are FACING the camera. I don’t like this since I primarily teach with my back towards the class. Back to the class really helps people copy the moves because they don’t have the whole “mirroring” issue to resolve. When I am trying to learn a routine and the people on the DVD are facing me, I don’t care for it. I do it as mirror, they are using their left foot and I am using my right, so I go right when they say “Go left”. All trainers sometimes state the opposite side or direction, but when they are actually USING the left, but I am mirroring them, it confuses my brain. In addition to the camera angle challenge (for me) this particular song is said to be a different version than they thought they were getting. So the choreography appears to be being created as the routine is being filmed. So it is very loose. I often feel that Debbie Rosas, in her brilliance, has so many ideas about choreography for one song that she sometimes shares them all during the filming and there ends up being a lot of moves in one song. I am grateful that the belts I have taken thus far have emphasized “less is more” and we have permission to pick a couple of moves from the song on the DVD and do them to the song. So that is what I did with one of the songs. I picked a few of the moves she did and organized them into something I can learn.
I will work on learning it this way. Although I will need a lot of practice because the song tends to mesmerize me and I lose my place. Hopefully as I grow more familiar with the moves and music I can play with it as the Debbie did. Since I don’t watch the DVDs that are filmed with the class facing front as many times as I watch the other ones I need to have a map I can follow from the get go. That is also the case for me when the song is very long and repetitive. I need to have a pattern, even then I can get lost in a song like this. And as I mentioned — just listening to it, trying to learn the song itself is not something I have been able to do. Every time I turn it on to learn it, half way through I am so annoyed by it, I turn it off. But moving to it is another thing. That is why when I don’t like a song, I look to the choreography because often times when the choreography makes sense it allows me to get through the song. More often than not I end up liking the song. We will see what happens with this song. It is like a dripping faucet.
Except for the class and the trainer facing the camera and the song titles not being shown as each song begins, the Nia training material continues to be stellar. At the end of 2014, Nia HQ put out the new Routines. I had ordered three earlier in the year, I just received the fourth one. I am going to add the titles in with the AWESOME software I have on trial. I have to do it before my 30 days is up. Then I will continue learning the routine I am working on. I will debut it to my class soon.
When you take group exercise classes do you like the instructor to face you? Have you ever noticed how a lot of songs are very repetitive?
At the end of March (2015) there were two Special Nia Events in Campbell, California. They were special for a lot of reasons. One reason being is because a visiting teacher was going to be doing them. It is always special when someone who does not live in the area comes and shares their talents. Another reason is because the Nia Class is a one-of-a-kind-creation. The visiting teacher created the routine and was going to lead us through it. ANOTHER reason, they were special, was that one of the classes was a workshop or a playshop as we like to call them in Nia. And it was also, the creation of the visiting teacher and it was something that I think anyone that dances Nia can benefit from. Another reason they special was they were the first Nia Events that I produced. Produced meaning, when I heard that the Nia Teacher who created the Playshop was coming to my area I contacted him to invite him to do these events. I secured the location, I created marketing material, I promoted the events (as I am sure you have seen, I posted about them often), I worked to get participants to the events, and I worried about how it would all turn out. So, two special Nia Events. I have posted two separate posts (What Did Frankie Say? and Dancing, Learning, Posting, Editing) about the Nia Class that was held on Friday, March 27, 2015. This post is about the Playshop.
The Playshop on Saturday, March 28, 2015 was a playshop regarding Nia FreeDance. In a Nia class, there is normally choreography. Nia Headquarters and the training staff create Nia Routines. There are Nia Routine DVDs that Nia Teachers purchase. We learn the routines and lead our students through them. We have a lot of freedom with our classes. We can follow the routines “exactly” or we can play with them. We can create our own routines from a mix of Nia Routines or we can take the Nia choreography and add it to other music. Or we can create our own routines with other non-Nia music. But with almost every routine there is FreeDance.
FreeDance is where there is not specific choreography. You are not told exactly how to move. Now, I have heard the creators of Nia express very different opinions on FreeDance. I heard one of them say in the past that FreeDance should ALWAYS be guided and the other one say that FreeDance can just be free. So . . . there are different opinions on the matter. I think that in keeping with the Nia White Belt Principle #4, Nia FreeDance does not need to be guided because “Anything Goes . . . movement-wise”. But FreeDance in an exercise class is a challenge to many people. There are many reasons as to why people cannot or will not just move their bodies in their own way in an exercise class.
This playshop was brought here to help people with that. Many of the tools (ideas) Jason shared were covered in the Nia Intensives. So if you have not attended a Nia White Belt Intensive or Nia Blue Belt Intensive, they would be new to you. They are GREAT! And they were the reminder and push I needed to pull them out to use them. The most valuable things he shared with me though were not necessarily the guiding ideas, but more about how the individuals in class can be left to be.
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When I see people in my class not moving or seeming to struggle with FreeDance, I take responsibility and blame myself for not getting them to move with my suggestions and guidance. But he brought up some very good points that I will now take to class and practice just letting those people be where they are, at that moment, in class.
Although I will still strive for the “When Harry Met Sally Moment” of wanting people to look at us and say, “I’ll have what SHE’S having.” I will also take into consideration that they could very well be doing my suggestion, but it looks different to me than I would do it. Or that they are just not in a place to FreeDance. Could be a case of Natural Time.
I learned a lot. I had a lot of fun. I am excited for Jason to come back again! This video and the video on my website are the same song. As I only stopped participating one time to video. The videos are at different times so they are a little different. Also shown here are a few of the pictures I took during the Playshop. I took more pictures during the hour Frankie Say Nia class than I did during the 3.75 hours of the Nia FreeDance Playshop.
There might be one more blog post about this, but we will see. These are the extent of pictures and videos. Enjoy!
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Nia has been a cardio-dance workout since 1983. It is not as well known as some other cardio dance exercises. So when we have events, such as Nia Jams, Playshops, Plearns, Workshops, Intensives, Master Classes in addition to attending and enjoying these events I ALWAYS think of those things as opportunities to take pictures and videos. I always think that the pictures and videos can be posted on social media so that we can “get Nia out there” so it becomes more well known. The videos and pictures are meant to show people how fun it is. The pictures and videos are to show that it is a workout. The videos and pictures are meant to show people how anyone can do Nia. I was so caught up in getting people signed in and getting things ready to go for the Nia Class that I recently produced, I neglected to ask permission to take and post pictures and videos. But . . . I also had it in my head that it is well known that while we do our Nia events we want to have pictures of them to promote our Nia events. Well . . . . this is the result of me not doing due diligence and gaining permission BEFORE taking the pictures and the videos. These are some of the pictures and videos from the Nia Class on Friday, March 27, 2015. I have posted other pictures where I had to block someone out, but never videos. It takes a long time, so this is the end result of a non-professional video editor (me).
As I stated in my post, What Did Frankie Say?, on Saturday after the Nia Class, Jason Alan Griffin, a First Degree Nia Black Belt is travel the United States presenting his Nia routine he calls Frankie Say Nia. I didn’t do well, at all, with the dressing in the 80’s style, but I did think the animal print would work. My little head top pony-tail was supposed to be a tribute to the “BIG HAIR” of the 80’s. I didn’t bother actually doing my hair up in that BIG way because after the first song it would have just been flat.
Nia IS a cardio-dance WORKOUT and the routine followed the classic Nia style with all seven cycles of a Nia workout. And in keeping with the seven cycles this routine has a focus and an intent. The focus being the Creative Hand and Arm Expressions. The intent is to allow us to relax into personal power.
The routine is full of fun and familiar songs, except the last three. There were three songs in the Floorplay section and the first one just struck me as odd. I don’t mind dancing to odd music. Dancing to odd music is fun. And, in fact, part of the Nia White Belt Training gets us to dance to music that might be considered undanceable by many. I have yet to come across music that is undanceable, but that doesn’t mean that I don’t think some of it is odd. And it wasn’t so much that it was odd, it was that I couldn’t remember ever hearing it before. Jason, kindly reminded me again (because I asked him at least three times and couldn’t remember still) that it was Ghost Town by the Specials. I was also trying to follow the moves and allow myself to dance, so I didn’t even listen to all the words. It is a very varied song. I am listening to it now as I type and it is making me laugh!
Regardless of my error in not getting permission beforehand and regardless of the less-than-professional job of “editing”, I believe it is still obvious that fun was had by all. It was a great time. I still have the Playshop to post about. I will get to that eventually. So stay tuned! We can’t wait to have Jason back for more Nia. I will keep you posted so next time you can join us!
So, the silent class does not mean no music, it means no cueing. Or at least that is what I thought it meant . . . turns out – just like many things – there are many ways to do it. One of my students recently took the brown belt intensive and there she experienced a class with no cues. She requested we try it. Well, it so happened that I started on the path while she was gone so I asked a fellow Nia Teacher and Black Belt what she did in HER silent classes. I was wondering if there was no cueing and NO SOUNDING. I figured it would be a huge challenge for me not to cue, but I really was doubtful I could make it through a class without making a sound. Her response surprised me in that she said she claps to indicate a move change. Well, that just threw another wrench in the mix. So . . . that meant that there was SOME type of cueing. I mean cueing is alerting to a change. LOTS of cueing is telling people what the change is and when and . . . etc. But a clap is a cue. So . . . to me that would mean it is a class with no VERBAL cueing. She also mentioned that sounding would work depending upon the mood being sought for the class. With her class — I think she does a specific routine — she does not sound.
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