I can’t believe it. I was just agreeing with a Nia friend via Facebook that the time in our Nia training went really fast when we thought it would be a long training. Sixteen weeks. We started in June and we are approaching our last meeting. It just proves to me that time really is relative. I don’t know what the last meeting will be like because the most recent meeting we just had was the introduction to the 13th and LAST Nia White Belt Principle – 2020. So we have been through all 13 principles. The last one is Nia White Belt P13 – Living What You Sense, with a tagline of Crafting With Sensation. A Sensory Study of Somatic Leadership.
Live what you sense through your body. As a top level example: if you sense you are cold, put on a jacket. 🙂 Somewhat basically what we do daily. Listen to the body and express yourself accordingly. And, actually a lot of us don’t do that. Some of us can’t do that for many reasons. One could be something as necessary as a job. Sadly sometimes we have to ignore our bodies to do our jobs. A person may not be able to go to the bathroom because of their job . . . if you are out in the field or can’t leave your post. A person many not be able to eat when they are hungry because they can’t eat on the job. So sadly, in our society, sometimes we have to repress our body’s communications with us. But hopefully when we are able we can listen to it.
This principle has three triads, the main one: Listen, Sense, Express and two others. P13 (t1) is Wait, Receive, Act so a drill down of the way we can respond to a body’s message from “taste, touch, listen, look, smell”. And P13 (t2) which I think can be applied to life and students of Nia, but has a big impact on Nia teachers as it is Listen, Dance, and Share. In between the Dance and Share corners is a little insert triad of Ask, Wait, Receive. So a Nia teacher is taught to dance what s/he senses. So we listen to the music and really dance to it. We are taught that the choreography is important. We are told that everything is crafted with science in mind, with the BMES and the FAMSS in mind, and with the choreography in mind so it is very important, but it is not as important as DANCING to the music. And so we are taught to “ask” our bodies what we sense, then we wait allowing us to receive and answer and THEN we share. So while we are dancing we might ask for some information and then notice that our hip is tight so we invite our students to sense THEIR OWN HIPS, by saying, “Everybody sense your hips . . ” , or our shoulders seem tense, so we can say, “Everybody sense your scapulae or your wings” or that our feet are light with a sense of ease and we may say, “Everybody sense the energy in your feet” . . . . We invite everyBODY to sense any number of things to help everybody to bring awareness to their body.
Also included in this portion of the book aligned with this principle are the 7 Cycles of Nia.
This is one of the principles that has changed, the core of it is the same, but it has changed to be more of an”anyone and everyone type of principle” instead of just being geared towards people who want to teach. Keep in mind this belt, the Nia White Belt is what needs to be taken in order to teach Nia, but not everyone that takes it goes onto teach Nia. It is NOT just for those that want to teach. So the principles have been morphed over the years to be more broad. There is a specific belt that may be taken for those that want to teach or are teaching, but it is not required only the white belt is required to teach Nia.
I want to again remind you and invite you to look into Nia further. Maybe buy the book – keeping in mind it is from 2004. Definitely take Nia classes.
As always, I am sure that as I keep learning I will keep sharing, so stayed tuned.
So Nia has a few fundamental ideas, this post is a brief summary of the information that can be found in The Nia Technique book. The book is by Debbie Rosas and Carlos Rosas. It was first published in 2004. This information is on pages 16 through 19.
The Joy of Movement Is the Secret of Fitness. The idea is to not exercise. For many people exercising is not enjoyable. So stop, don’t exercise . . . MOVE. Move in a joyful way, not in a mechanical way that doesn’t bring any pleasure.
Fitness Must Address the Human Being, Not Just the Body. Exercise that is done just to exercise is not fun and will probably be put aside after a little while. But movement that is fun and engages the mind, emotions, and spirit in addition to the body is something that one might stick with for a long time. Your body will benefit from exercise, but if you like the movement you are doing and if it is created to affect more than just the physical you can get more benefit from it. If you walk away from the activity with a clearer head, a happier and/or satisfied disposition, and a lighter spirit it is something you will want to do. Your health will be better overall.
Movement Must Be Conscious, Not Habitual. Haven’t there been studies that prove thinking about what you are doing, focusing on the movement results in greater gains? Being aware of your movement and the sensations of the body makes for a more fulfilling workout. Just hopping on the treadmill and turning on the TV is less satisfying. You also don’t affect the BMES.
Use Your Body the Way It Was Designed to Be Used. Replace the linear exercise with full range of motion movement. Vary the speed and intensity of movements. Move to improve your FAMSS!
Take the Path of Least Resistance. Move the way your body is. Not to say you cannot improve in areas that you want to improve in, but recognize that everyone cannot be a contortionist or run a mile in three minutes.
The chart is from page 19. I redacted some of it so that you would be encouraged to read it for yourself and have the opportunity to get new/additional information. 🙂
Remember that this was written in 2004 and it is really great to see that this type of information and way of thinking is becoming much more common. Yay!
Saturday, April 2, 2016 there was a Nia Jam in the San Francisco Bay Area. It has been a long time since I have been to a Nia Jam. The last one I went to was in 2013! They are so fun. The energy at a jam is fantastic. I thought I was going to miss it because the event was being held at a studio in the Oshman Family JCC in Palo Alto. It is a HUGE complex and I parked in the garage and followed the first sign that said fitness center. It led me to a courtyard where every door was locked. There was a sign pointing up and to the left, but there was no way for me to go up and to the left. I asked someone walking around if he knew where it was and bless his heart, he had no idea but he made an attempt to help me. We looked at a map and I decided the best route was to go out to the street and go all the way around to where I thought the studio was. As I was making my way back to the garage, I made a few turns and ended up on the right track. I was supposed to be the first teacher and I was kinda bummed that I was late because I thought I missed it. But as I was walking in they were saying. “Where is Terre?” and I was able to say, HERE!” Yay! I made it. I was about 5 minutes late. I thought I was going to be early. I am so glad I made it. Nia Jams are soooo fun.
Often times there are microphone issues. It seems as if movement disrupted this one’s connection. But Nancy H. worked on it and got it fixed after the first few songs. And it was good to go. As we were making introductions one of the teachers told me she was going to be after me. It is important in a jam situation to know who is before you and after you. You need to know who is before you so you are paying attention and can be ready to switch off with the microphone. And also, it is nice to know who is after you so you can make eye-contact as you are ending your selection so the switch off can go as smooth as possible.
I don’t normally teach with a microphone so I always feel like I have to be quiet when I have one in my face. Otherwise it would blow people’s ears out.
The focus was the Nia Five Sensations, FAMSS, (Flexibility, Agility, Mobility, Strength, and Stability) And I did it again, I don’t know what the intent was. I always seem to miss the intent. We had a great playlist (as you can see)!
It was super fun. It is always so nice to see all the teachers. We are kind of spread out in so many different areas. It is even nicer to be able to dance with everyone. And the JCC was very kind to donate the space so between ticket sales and the raffle, I think the association did well.
Here are some pictures and a video. I will continue to encourage you to go to a Nia Jam. They are so fun. I know you will love it!
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?
Aaaahhhh! I did it again. I do it all the time. I see things on Facebook that I want to look at but I don’t have time or when I see it is it not the right time to look at it so I open it in another window. Then I can watch it, read it, do it (whatever) days later. But then I forget who posted it. This is a Nia video so I know that one of my Nia friends posted it. It took me days to get around to watching it. Then once I did watch it I was soooo disappointed. It is a video of Carlos Rosas (NKA Carlos Aya-Rosas) at a conference talking about the 5 Sensations of Nia. As he is talking I start looking at the time left and I keep thinking, he’s not going to make it. I kept HOPING he would, but I kept thinking, he is not going to make it. He didn’t. He was halfway through (or so it seemed) his talk about Mobility when the video stopped. Sad face. That is why I was disappointed. I was sad because we don’t get to hear all five sensations. But . . . watching the ones he did get through are well worth it. It is just a bummer that we didn’t get information on all five.
I am not sure what year it is, but you will see that they are being referred to as Debbie and Carlos Rosas. Which I always thought that eventually they were referred to as Debbie Rosas and Carlos Rosas. But that is not the point of this post or the video I was just trying to see if I could have an idea of what year it was, but again . . . not that important because the information is tremendous.
The information is very helpful no matter when it was recorded. Carlos first walks you through some things you can sense. He connects them to the 5 Sensations. If you’ve read a few of my posts about Nia you might be familiar with my belief that Nia takes everyday things you are familiar with and probably aware of and connects it to Nia ideas. If you watch this you can get an example of them doing that in the time from 2:45 to 7:00.
After the initial connection to the five sensations, the first sensation Carlos defines is Flexibility. He describes it as energy moving out. So not just stretching, but energy moving out. Then he talks about Agility. He describes that as a quick start stop. He uses the adjective “explode”. This is a very entertaining part of the video. Carlos is a very funny speaker. Then he gets a few minutes into a mobility. He describes that as continuous movement. He talks you through a bit of it, then the video stops.
Even though we only get to see two sensations and a portion of mobility it is still great information. I am not giving you too many details because I want you to watch it. It is so much better from the creator than from me just typing what he is saying.
This was posted by Nia, in addition to watching this video you can go to the Nia Channel on Youtube (click here) and see other videos they have posted. Also, you can go to NiaNow.com and watch recordings of classes. From the home page scroll through the pages and you will find videos of Nia classes. You can dance right along with Debbie and other trainers!
I invite you to watch the video and participate with his exercises to connect you with the sensation of Flexibility, Agility, Mobility, Stability, and Strength (this is the first portion I mentioned). Then stick with it for even more connection to Flexibility and Agility.
Maybe Jack practiced Nia. We do a lot of agility movements in a Nia class. From Wiki’s definition of agility:
“Agility or nimbleness is the ability to change the body’s position efficiently, and requires the integration of isolated movement skills using a combination of balance, coordination, speed, reflexes, strength, and endurance.”
When thinking of agility I tend to think of my entire body starting then stopping. My entire body moving one direction then changing quickly, like the definition states. But agility can be just in the fingers, in the hands, in the arms, or just in the legs. Our entire body does not have to move for it to be an agility movement—or at least that is how we call it in Nia. We do a lot of movements that require agility.
I just posted about Creeper Crawlers. That is an agility movement of the fingers. They are starting and stopping and going one direction then the other.
Drumming is a great example of agility. Your arms and/or hands are starting and stopping and changing direction. We drum in Nia. There are certain routines where it is part of the choreography. There are times when we do it in FreeDance. The music often calls for drumming. Sometimes we listen. Drumming is a fun way to connect to the sensation of agility. Without actual drums we can drum all around our space; up in the air above our heads . . . in one of our Nia routines they call this sky drumming. We can drum below our bodies, to the sides, behind our bodies, around in a circle, all over. Sometimes I invite the class to imagine they are in the middle of a HUGE drum set with drums all around them. They can’t even move without hitting a drum. That is some wild drumming.
Looking around and allowing the head to change direction is a form of agility. Look! Look! Look! As if you are watching a bug fly around. Hip bumps . . . keeping those hips juicy with that left right action. If you are really playful, hip bumps back and forth . . . it’s all about being agile.
Another great show of an agility move is kicking. Kicking like a swimmer’s kick. Fast feet, fast action action. One direction then the other. Back and forth. Of course this can be done with the action from the knee or even the hip. Whatever joint does the action, kicking is another great example of a movement that requires agility.
A number of Nia’s 52 Moves of the The Upper Extremities can be tied to agility. Blocks and punches can be done with a quick change of direction, along with webbed spaces and palm directions.
Agility is one of Nia’s Five Sensations that we practice and play with in our Nia classes. The other sensations are Flexibility, Mobility, Strength, and Stability. Like many groups and professions we have many acronyms, the one for Nia’s Five Sensations is FAMSS. The A is for Agility.
What do you do that can be considered an agility move?
In Nia we have the five sensations that we dance and move with. I always feel that one of them is a personal favorite of one of the co-founders of The Nia Technique. I think that Debbie Rosas really loves stability. I imagine she loves them all because she does a superb job of ensuring they are all included in a each Nia Routine, but sometimes I just get this feeling that practicing balance is her favorite. It could be because sometimes stability, being balanced, requires flexibility and/or agility and/or mobility and/or strength. So you can practice and play with all of the five sensations when practicing balance. In yoga there is at least three of the five sensations we experience in Nia. In yoga there is flexibility and/or strength and/or stability/balance. In the Gentle Yoga class I am teaching I really like to put a huge emphasis on balance. I think balance is very important and yoga is a great way to practice it. There are many poses in yoga that are balance poses. Not all of them are standing poses.
One pose I really like to use for enhancing balance is the Gate pose. This pose is a kneeling pose, somewhat.
In the gentle yoga class we start on our knees. Up off our calves, as in we are not sitting on our legs. Then we lean forward and over to one side, say the left. We lean forward to the left placing both our hands on the ground in front of the left knee. Then we swing our right leg out so it is pointed out to the side. The heel of the right foot is aligned with the left knee or slightly in front. The right foot is flat on the ground and the toes are pointed away from the body. We then lift up so we are kneeling on our left leg with our right leg posed out to the right of our body. Then the left arm comes up reaching straight over the head. Palm towards the right. The right hand is palm up resting on the right thigh. If stability and balance is achieved then those that are comfortable lean over to the right, allowing the right hand to rest lower on the leg, at the shin, not the knee. If comfortable we turn the head to gaze past our left arm. All the while the crown of the head is moving away from our body and the tail is moving in the opposite direction. We are lengthening our spine. The shoulders are being drawn back and down. Even though one arm is up we still keep the space between the ear and the shoulder open and large. The same with the side we are leaning towards.
Whether you are staying up right or leaning over to the side, keep your body from leaning forward. Stay in the pose for a few breaths. After you perform this pose on one side, do the other.
Parighasana, the Gate pose, is a nice way to pursue balance. The foot that is out can be adjusted to a parallel (to the body) position if that allows it to be more comfortable or stable. Or the foot can be lifted leaving just the heel on the ground. The depth of the side bend is always a point that can be adjusted for the individual’s needs at the moment.
I love all the poses in yoga that allow for balance practice. I think this is a great post with which to practice balance.
Are you familiar with the Gate pose? Do you like this pose?
One of Nia’s magic toys! Floorplay. This is where we actually get on the floor and play. The most common comment I receive from people about floorplay is, “I don’t like to get down on the floor because I can’t get up.” And sadly that is the most important reason one SHOULD get on the floor is so that they can LEARN to get up. Even though most often with Floorplay we stay ON the floor, there is a time when we do get up. Floorplay is both Nia Class Cycle #6 and the Nia Blue Belt Principle #10. The tagline or second part of the principle is Movement on the Floor.
Floorplay can bring up all kinds of fun stuff. It can bring up memories of infancy. With the scooting, the crawling, the getting up to walk, and the falling. It can bring up memories of childhood. Children often play on the floor. They do somersaults and gymnastic moves. They drive their cars around and roll and play. It is a fact of life that most adults lose their playful connection to the floor. Watch a group of children when they are told in a room to go play. The first thing most of them do is get down on the floor. They go to their knees and start to play. Most adults I know don’t ever think of the floor as a place to be.
Floorplay allows us to reconnect to the earth. It allows us to reconnect to the ground. It allows us to sense gravity and the strength and energy of the earth. There is a pull that we can play with. There is the sense of falling that we can use.
Floorplay is a way to explore. It is a safe place and a safe time to move and sense the body. Sometimes the floor can assist in a particular movement. The gravity can work to enable additional flexibility. It is truly a place of wonder to let go and move. Rolling around, letting limbs fall to the earth, pushing and pulling, stretching and yawning . . . . floorplay is a magical toy in the Nia toy box. It is a powerful time in the Nia workout for body, mind, and spirit.
Floorplay in a Nia class can be a choreographed cycle or a FreeDance. Either way it is an important time to explore both The Body’s Way and Your Body’s Way. It is an opportunity to play with movement and to progress to your ideal. Even when the routine being done in class has choreographed Floorplay participants are free to do their own FreeDance. I often encourage my Nia students to do a “body check” asking their body what desires attention. If they want they are free to do what they need in order to give their body what it needs.
Because most Nia routines include this cycle. It is recommended that Nia participants bring a mat to class in case they are more comfortable moving on a mat. A mat sometimes is exactly what is needed to ensure bone comfort and let the student move more freely on the floor. Most places I teach in San Jose have mats, sometimes there are just a few.
The Nia Blue Belt reminds us that being on the floor is not just about static postures and stretches, it is truly about movement on the floor. That is why this cycle is called Floorplay and with the Blue Belt lens, the way we look at things, we are reminded to play and have fun. We are encouraged to use all of Nia’s 5 Sensations along with gravity and the energy from the earth to connect to the vertical, horizontal, and spiral and to connect with our bodies in a dance on the floor that we call Floorplay.
So when is the last time you got on the floor and rolled around? When is the last time you got on the floor and played? What is stopping you?
I teach Nia. I have been teaching Nia for three and a half years. Not as many people who I talk to have heard of Nia as have heard of Zumba so I am constantly being asked the difference between Nia and Zumba. Since I am often asked I am often thinking about them and comparing them. First, they are actually the same in that music is played and participants dance to it. Second, in both the instructor leads the participants through the various dance moves. Third, participants of both claim they are both fun. One difference is Nia is an experience in five sensations, Zumba seems to concentrate on one.
The experience is such a big part of Nia we actually call them the five sensations of Nia. I have posted about them before (FAMSS). They are the sensation of flexibility, of agility, of mobility, of strength, and of stability. In a Nia class your body will move in a way that allows you to sense the energy moving out and away. You will bend and stretch to play with flexibility, either retaining what you have or improving upon it. There are moves in the routines that require the start and the stop. The movement that is agility could be done with our feet, our arms, our hands, our bodies, our heads or a combination of body parts but we sense the start and the stop. With every routine there is a lot of mobility, some routines have more than others, but all of them that I have experienced have a lot. With mobility it is just the same as agility in that it could be a body part that is moving or our whole body. Whatever the case there is a lot of movement from each joint that helps create a healthy joint by allowing the fluid to move to it and within it. Then we also play with strength. We might squeeze our muscles sensing the energy moving in as if the bones are being hugged by the muscles. We might do squats or sit-ups, punches and/or kicks, but there is time where we play with strength. I say Nia is very big on balance because we do many moves that requires us to be stable. Many of our moves are balancing on one leg, could be a kick, could be a stance, but it requires stability. Moving from one move to the next often requires us to call upon our stability. In a Nia routine we experience all of these sensations. I’ve reached the conclusion that Zumba is primarily agility.
In Zumba the moves are always fast. So it is a constant state of start and stop. The only sensation I sense while doing Zumba is agility. Fast start, fast stop . . . . even when there is a stretch where your muscles are yearning for a second to move to their fullest length, it is a fast stretch that does not allow for the muscle to be fully stretched. Doing a full hour of agility is not a bad thing at all. It can be fun and it can produce a lot of sweat. And many of us are programmed to think that sweat equals a good workout. I think that if you are adding Zumba to a stretching program that has some balance practice in it that is great.
I am also a believer that there are a lot of things that compliment Nia too. I actually think that if you like Nia and Zumba and you are able to do both that is a nice combination. You get two different types of cardio. One that is a workout in the sensation of agility and one that can move you through more use of the entire body to get that heart pumping.
I really believe that whatever gets you moving is GREAT. I think that you have to like what you do in order to make it a constant in your life. So Zumba, Nia, Jazzercise, U-Jam, yoga, kickboxing, bootcamp, weight training, whatever works for you is great. Do what you will do! That is the key!
It is that I am always asked about the difference between Zumba and Nia that I am always thinking about it and this was my latest thought after I did a Zumba class. I think I posted before about how I am left wanting to extend and finish my moves in Zumba and it dawned on me that it is the sensation of agility that is predominant in Zumba. Some Zumba classes I have attended do take a song to stretch at the end, but not all of them. So I guess it depends on the instructor. Nia instructors are encouraged to infuse their classes and the routines with their personalities, so I am sure that every Nia class has a few differences too.
Both Nia and Zumba are great cardio workouts. It just depends on what you want to do during your workout and what you want to get out of it. Do what you will do!
It is much, much cooler in San Jose today. I like it much better. But I did do my ten minutes first. And now I am going to spend a good portion of the afternoon with Nia. I can’t decide whether to work on learning a new Nia Routine or brush up on one. One of the cool things about Nia is that the more you do a routine the more you can play with it. You can use flexibility, agility, mobility, strength, or stability (FAMSS) to infuse the workout and make it different every time.
I have notice that I can do that a bit with the ten minute workout too, because every time I do it I am different. Today I really, really, really, really concentrated on taking LONG steps in the lunges and I was able to confirm why I chose this exercise for the workout to target a specific muscle. I have also been experimenting with the way I hold the band for the triceps kick backs and bent over lateral raise. So even though I have been doing the same exercises I have been doing them a little different to work it in different ways. What about you?
This principle has three triads, the main one: Listen, Sense, Express and two others. P13 (t1) is Wait, Receive, Act so a drill down of the way we can respond to a body’s message from “taste, touch, listen, look, smell”. And P13 (t2) which I think can be applied to life and students of Nia, but has a big impact on Nia teachers as it is Listen, Dance, and Share. In between the Dance and Share corners is a little insert triad of Ask, Wait, Receive. So a Nia teacher is taught to dance what s/he senses. So we listen to the music and really dance to it. We are taught that the choreography is important. We are told that everything is crafted with science in mind, with the BMES and the FAMSS in mind, and with the choreography in mind so it is very important, but it is not as important as DANCING to the music. And so we are taught to “ask” our bodies what we sense, then we wait allowing us to receive and answer and THEN we share. So while we are dancing we might ask for some information and then notice that our hip is tight so we invite our students to sense THEIR OWN HIPS, by saying, “Everybody sense your hips . . ” , or our shoulders seem tense, so we can say, “Everybody sense your scapulae or your wings” or that our feet are light with a sense of ease and we may say, “Everybody sense the energy in your feet” . . . . We invite everyBODY to sense any number of things to help everybody to bring awareness to their body.
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