Well, Palo Alto seems to be as close to as to what I consider the South Bay as we have gotten since I have been attending Nia. I really want to have a Nia Jam in San Jose. I am going to work on that for 2013. The Nia Jam for San Francisco Bay Area Nia Association in the South Bay in 2012 was at a Jewish Community Center in Palo Alto. As I have described before, a Nia Jam is a Nia class only longer with multiple teachers. It is like a Nia class on steroids. A typical Nia class is 60 minutes, a Nia Jam is usually 90 minutes. In a Nia Jam there is a group of teachers who take turns teaching. As with all Nia classes the Nia Jam had a focus and an intent. The focus of this Nia Jam was Yin & Ying of Creative Play, with the intent of providing both a high energy experience and a quieter, more reflective experience as Nia can support either or both. I have to be honest, I didn’t get a quiet, reflective experience out of this jam. We were on fire! The energy was so high it was tangible. It was amazing!
I am so glad that the energy is always so high because I had taught my Saturday morning class in San Jose. Then I stayed at the studio and took a class, then I raced over to Palo Alto to teach at the Jam. The energy energized me!
There were six teachers who taught. It is so fun to dance and be led by a variety of teachers. It is a wonderful thing to be able to experience a song, a kata, that you know, in a different way. While usually the basics are there, there is often a little nuance that the teacher adds to the song. It could be just a sound that is not normally made, a word not usually spoken, or it could be the addition of a different step or the removal of a step, it could just be their way of cueing that makes it different. Whatever the difference it is so invigorating to do what you know a little differently. I also love doing the unknown. I don’t know all of the Nia routines and I love to get to dance katas I don’t know.
At the same time a Nia Jam is perfect for someone new to Nia because they get to dance with many different teachers and experience different styles. They also can witness the warmth of the Nia community. New participants can also enjoy the astronomical energy that is present at Nia Jams. They can also confirm that Nia students and Nia teachers do sweat as Nia is a moving grooving cardio dance exercise. They can corroborate what I have been sharing — a great workout does not have to be done extremely fast and hard it can be done with movements of the whole body.
Monday in class my students were still talking about the Nia Jam. It was THAT fun! It was THAT energizing. It was great! I know Nia is a great workout. I invite you to go to a class, one of mine (click for schedule) or one you find near you (click for worldwide listings), but I implore you to go to a Nia Jam. If there is one not far from you, go. You will enjoy it for all the reasons I mentioned above, for reasons I have not mentioned, and for reasons of your own. Nia Jams are always fun and the Nia Jam for the South Bay on the Peninsula did not disappoint!
I have a confession to make. It is one I might have even confessed before. I know I have done it before. It is easy for me to get caught up. I want to please people. I want the supervisor to know that I am working to keep the students IN the class. I want the students attending the class to like it and want to be there. When you are a substitute instructor leading a different format than is usually taught it is very different from when you are teaching a class of the expected format. Many people are taught that cardio – aerobic exercise – is extremely fast, high impact, and difficult so it is very hard to change that mindset. I was asked by someone who understands both the fact that cardio does not have to be extremely fast or high impact and that people are trained to think it is, if I could do Nia a little higher because people expect cardio to be a specific way. So caught up in wanting to give the students what they are accustomed to getting I put together a routine . . . kind of rushed . . . that didn’t have ALL the elements that a Nia class normally has. It was not good. It felt “off”. I was trying to make Nia something it is not. Nia is not Zumba. Nia is not Cardio-Sculpt. Nia is not extremely fast, rushed, and high impact. Nia is not Jazzercise. Nia is not UJAM. Nia is not all of or any of these other names that there are for classes that are fast, rushed, and high impact. Nia is an amazing practice. Nia is a great workout. Nia is a wonderful cardio dance exercise. And I need to stop trying to make it be something it is not just because people are used to cardio a specific way.
So I did a routine that didn’t feel right to me. I thought I would get up the next morning and do the same routine for the class I was asked at the last minute to sub, I was going to try to “bring it” to the students. As I was getting into bed a little agitated from the “not feeling right class”, it washed over me like a refreshing revelation . . . . DO NIA! Duh! Bring “IT”, and make that “IT” Nia. I got caught up and in my trying to bring the students what they are used to, I didn’t allow them the richness of something new. The richness of Nia.
Now, I want you to understand that the Nia Technique creates wonderful routines and all we teachers have to do is learn them and teach them. But we are also allowed to use other music, make up our own routines, mix and match the routines they have created, and make up our own katas. Of course, we need to follow the Nia class formula and the seven cycles which contain the traditional warm-up, move it, and cool-down. I also think when creating a routine/class – in general – it should be balanced; as an example not all songs/movements should be lateral ones or forward and back ones, there should be a mix of movement and the 52 Nia moves. I create routines from Nia routines all the time. So it was not the fact that I put songs together that created the not feeling right routine, it was ME. It was ME trying to make Nia something it is not.
I need to center myself. I need to stick to what I know and not try to give people the class they are used to. I KNOW Nia is amazing and awesome and does need to try to be anything it is not. I KNOW THAT. I just get caught up.
Another point I want to make is, I am not saying those other formats are bad. In fact, I like some of the other formats I have tried. One of these days I might even teach another cardio format. I am saying Nia is Nia, it is not any of the other formats and I need to remember that and let it stand on its own. I need to remember to trust Nia and allow it to touch the people it needs to touch and let the others attend the other dance classes. I need to remember that when I am asked to sub a class I am going to sub it with Nia and not try to make Nia be what that class usually is. I keep thinking to myself, “DUH!”
Thank you for letting me confess and do a public face-in-the-hand-plant!
Do you EVER do that in any section of your life – try to make something be something else even though what you have is just perfect the way it is?
As I mentioned in my last post about using the clock in Nia, we have a move called the Slow Clock. Using an imaginary face of a clock on the ground assists us in knowing where to step. The slow clock can be used to incorporate any “hour” on the clock into the dance. The move starts with the feet in the “center” of the imaginary clock. The “slow” is in reference to always returning the foot to center before allowing the foot to go to another number on the clock. To practice the slow clock move begin with a march in place. If you begin the march with your left foot touching the ground on the one count, then use it first to touch on 12:00, then return it to its original position in the center of the clock. Then place the left foot at 6:00, then return to center. Then use the other foot, touch to 12:00, then center, then 6:00, then center. Hour then center, that is the basis of the slow clock.
As with almost any move it can be done in slightly different manners and still be the same. The slow clock can be done with just a tap or a touch to an hour, with the foot returning to center. Or it can actually be a step, where the weight is put full upon the foot stepping to the hour. To keep it the slow clock the foot would return to center before any other move was made. So it can be a tap, a touch, a step. It can even be a slight shift in the weight. As long as the foot returns to center.
In some Nia routines we do sumos out to 3:00 then return to center, then we sumo to 9:00. Now if you were thinking about that you would know without me saying, “Move your right foot to 3:00, then to center, then your right foot to 9:00.” Remember? I mentioned how efficient it is to use the clock to help instruct with moves instead of saying directions and which foot to move every time. With the instruction of sumo 3:00, you know you are stepping your right foot out to the right so you land in a sumo or riding stance.
With the example above you see that the slow clock can be done with opposite feet. It does not have to be one foot stepping to an hour, then returning to center, and then that same foot stepping to another our. It can be — as example, the right foot to 12:00, center, left foot 6:00, center. Add some rhythm and a little bounce and you have the Charleston! Add some rhythm, a little bend at the knees, and some hips and you have a salsa!
In addition to improving precision and grace, moving with the slow clock does many things depending on how you move with it. For instance dancing the slow clock to a specific rhythm can also improve coordination because the tendency might be to just skip over returning to center. Also, sometimes it can be something to help keep your mind focused because sometimes when the mind wanders your foot can forget it needs to return to center unless it is focused.
So that is the slow clock, another one of the 52 Moves of Nia.
Using the tool of the imaginary clock are you able to move in Slow Clock?
Because I teach Nia I am not used to wearing shoes when I workout. Nia is a workout done in bare feet, so I don’t wear socks and shoes. Yoga, Pilates, even resistance training can be done without shoes. Recently I was in a training that required me to wear shoes. And it was an all day training, eight hours. Since my feet do not really like shoes AND my tennis shoes are kind of old, I decided to wear some additional cushion in my shoes to help my feet. My right foot is very sensitive because the middle toes no longer straighten fully so the middle of my foot does not lie flat on the ground. The ball of my right foot and the pinky edge get sore. They get more work than they should. So I decided to employ a method that I used when I was young, in addition to the extra cushion I had added relief later.
Maybe this method can help some females that wear those REALLY high-heeled shoes that are so popular now-a-days. When I was younger the style was to wear pumps. I have a wide foot and pumps were not always comfortable. What I would do was, I would put a gym sock on my foot but I would roll the sock down to around the ball of my foot, then I would shove my foot – with the sock on – into my shoe. Then I would get ready. And back then I was one of those girls who took a ridiculous amount of time to get ready. So I would end up wearing the gym sock-shoe combination for at least an hour and a half. This accomplished two things: 1) It somewhat stretched out my shoe and 2) (after walking around and standing while getting ready to go out with my foot squeezed into the shoe) ANYTHING felt better than that!
One time I was getting ready and I was walking around the house and after passing my dad three or four times he finally said, “You’re not going out like THAT right?”. And I laughed and I had to explain it to him. No rolled gym socks were not part of the outfit.
So while I did not wear rolled up gym socks in the training I wore these foot huggers that have a little gel in them. So I had extra cushion and I had something that felt nice when half way through the day I slipped them off. While they were not hurting me as my gym-sock-wrapped feet did they did feel more roomy and happy after I took them off.
I think this method could possibly be applied to many things. When you have to wear shoes all day if you wear something to help cushion your foot, but might take up a bit of room in your shoe, it will feel nice when you take the cushion off in the middle of the day. At least that is what happened to me, plus it helped when I was young and smooshing my feet into pumps.
You know everything is just easier to handle when your feet are comfortable. That is why they make those “gellin'” insoles. That is also why I don’t wear uncomfortable shoes any longer. I don’t think it looks nice when a female has on a pretty shoe, but you can tell she is in pain with every step she takes. I would rather walk with comfort. So sometimes using the stretch-y method might help. The “No Pain, No Gain” is just a play on that famous saying . . . although when I was young I did it just while I was getting ready, I did not do it recently. My feet were comfortable all day. It was just that halfway through when they were a little sweaty and tired, I took off the huggers, changed my socks and gave them more room. Ahhhh. I was very happy that I had thought to do that. It worked out very well for me.
Do you have shoes that you wear that you might benefit from if applying this method? C’mon we all have at one time in our lives.
So, you know what kind of day I had? I awoke to a kiss from my hubby. Then before I could get out of bed I had a sweet little cat rolling around on the floor meowing for attention. She was very affectionate and spent a lot of time visiting with me. My hubby said she spent a lot of time with him too, about twenty minutes. That is a long time, usually she wants to get her morning hugs in then rush off to a bed for her morning nap. Then my day proceeded with me teaching a Nia class. We had a great time. Afterwards my students and I chatted a bit. The conversation ended on a high – a compliment to me and Nia.
The weather was nice in the morning.
I stopped by the grocery store. I came home and made a really yummy sandwich using the panini press. I received a few e-mails from friends and family. I talked to a good friend. We had a nice phone visit. I even took a little nap.
So it was a very wonderful day. I am very blessed. See? I had one of THOSE kinds of days, the ones that I am grateful for, the ones that sometimes get lost in the mix. When I judge my day or talk about it, I don’t condemn the entire day just because there might be a few bad moments. If you ask me about my day, I will tell you it was good. I appreciated it. If you want to hear I will share about the other moments, but I won’t proclaim my whole day BAD or one of “THOSE DAYS”.
I won’t let the fact that when I got downstairs after visiting my cat I noticed that she threw up in four different places, dictate the whole day’s label. For those of you that have cats, I know you understand (Why do they do it in several places??). For those of you that don’t have cats, cats throw up. Sometimes a lot and sometimes not. Sometimes is it just a hairball and sometimes it is just them not feeling well. It seems that no matter WHY they are throwing up they have to do it in three (at least) different places.
I won’t claim it “one of those days” even after I went into the bathroom to get my vacuum cleaner hose out of the tub (yeah that is where I keep it) and noticed that the other stuff I had in there was damp. It wasn’t gonna get that label even after I came back from the garage with a basket to put the stuff in and the entire tub was full of water, then the toilet started to over flow as I was standing there. Yeah, it still wasn’t a bad DAY. I still can’t negate all the good of my day by calling the entire day bad when I realized we don’t have a mop. I use those disposable type of floor cleaners and our mop died a long time ago. So I had nothing to soak up the water with. I had to go to the store.
Even when my hubby didn’t get a call back from the plumber before 5:00 pm and we ended up getting one late at night. I still couldn’t and can’t condemn the entire day. And I hadn’t had a chance to take a shower all day and it was hot and I got really hot and sweaty bailing out the tub. We did eventually get water. It was 10:30 pm. So the laundry had piled up because there was the initial cat blankets and bedding, then the towels to ensure the leak did go past the bathroom, and all the stuff in the tub (I had clothes in the bottom of the tub, ya know the ones I am going to get around to donating? Geez.).
So even though all of that happened it could have been worse. I could have not discovered what the cat did behind the TV in her window seat until there was a stench and a trail of ants leading to it. It was really hot yesterday so it would have baked in the sun. (Gross I know, but think of how thankful I am!) I could have not been standing there when the water started coming in and it could have kept coming. We could have not had water all night. I would not have been able to make it through the night.
It could have been worse AND I had a lot of great points to the day so I don’t like to say I am having a bad day, or a day from hell, or any of those things. I had a day for which I am grateful, it had some moments that were kind of icky, but still those were just moments. The bad moments are not what make up our lives. We all have bad moments. We all have things to deal with and “crosses to bear”. But me, I don’t condemn a whole day for those moments. I fell asleep thinking about the beautiful moments of my day.
How about you? Do you have bad DAYS? Do you let the trying moments dictate the day?
I wrote a post about a four-point turn, that is what I call one of the turns we do while we are doing Nia. In Nia it is sometimes called an Aikido turn. But it is a turn that is done in many dance exercise classes, including Zumba. I realize that even if you are reading the post while trying to do it, it could be a bit confusing so . . . . . voila! A video.
The first clip is of me facing away and I start with a RIGHT turn, then alternate. Then the second clip is of me facing the camera.
As with my Aikido turn post maybe right and left indications will work better for you. In my other post I decribed the left turn, so here I will write out the right turn. And as stated, the right turn is the first turn I demonstrate. Turn your head/eyes to the right, allow your hand/arm to follow. Move your right foot to “toes out” turning your right thigh bone to the right. Then step on your RIGHT FOOT in a “toes out” position, put your weight on it 100%. As you are stepping all your weight on your RIGHT FOOT, allow your body to turn to the right, in the direction you want to go. Swing your LEFT LEG (free leg) around to what seems like in front of your RIGHT FOOT. Step onto your LEFT FOOT, toes pointing to the back of the room (or what started off as the back of the room), take the weight off the RIGHT FOOT (“toes out” foot). Swing your RIGHT FOOT (free leg) behind to land about in line with the heel of your LEFT FOOT (weighted foot). You will land standing on the RIGHT FOOT, and turn the LEFT FOOT to be parallel with the right foot. . . making that the fourth point or step.
Even though in the first clip on the right turn you can’t see my right foot “toes out”, I do the turn enough times in the video for you to see how the first step is a “toes out” move. Starting the turn with the “toes out” and already turning the direction you want to go will go a long way in enabling you to get all the way around. Even if it takes a lot of practice to get all the way around, starting that first step with the leg in outward rotation will help a lot. I also said in my last post that I think it is easier to do this move fast as opposed to slow. So it might be a good idea to not try it really slow at first because it is not easy slow. Just go. Right toes out, left, right, left. Or left toes out, right left right. Remember we do not spin on our feet. We need to pick the feet up off the ground to avoid blisters and strengthen the leg. Also you might notice that this turn is done on the balls of the feet. You put all your weight on the ball of the foot.
While my fourth “point” or step I am exaggerating and pointing my toe in that might not always be the case. When we are moving to the music the fourth “point” could end up being any number of things depending upon many number of things. The choreography sometimes calls for different things. Plus there is the individual body that is doing it to consider. Sometimes people can’t get all the way around, it could be that the music is really moving and there isn’t enough time to get around and settle into that fourth step or it could be that this is one of those moves that will take practice.
It’s a great move that allows us to use ALL five Nia Sensations. Flexibility on the “toes out” and as we place our feet, mobility in our joints, strength to get us around and stop, agility to stop, and stability to stay stopped. Cool, huh?
In Nia there are 52 Moves that run through the Nia Routines. One move that we do quite often is not on the list of 52 moves. I call it a four-point turn because we take four steps to do it. In one of the routines I recently learned the instructor calls it an Aikido turn. Since Nia borrows moves and ideas from Aikido and associates Aikido with circular, spiral, and spherical motion, it makes sense this turn would be called an Aikido turn. As with many dance exercises the moves can sometimes be done fast or slow depending upon the music. Sometimes in a Nia routine we can do the same move at different speeds. With the four-point – which is four step – or Aikido turn – the best way to accomplish it is by starting with the first step being a “toes out” type of step. Point the foot out, away from the body in the direction you want to turn. Allow the entire thigh to turn out. Whether you are going to do a fast or slow turn, this first step is key in making it all the way around. Another key is to LOOK! Look the direction you want to turn. Also helpful is hands and arms. Allow your hand to follow after the eyes. The order would be eyes/head, hand/arm, foot/leg. While this is one arrangement of the order, sometimes your arms might actually be doing something else and that is fine too. It could be that the hands and arms lead, but whatever the case your eyes can be a part of the turn. Nia is a dance workout so sometimes we might have our arms dancing in another way to the music.
For a beginner learning the turn, I would make the previously mentioned suggestion of the order. Eyes/head, hand/arm, foot/leg. The thigh bone/foot turned out. Then step on that “toes out” foot, weighting it 100%, as you step all your weight on it your body will turn in the direction you want to go. Your free leg can be swung around to what seems like in front of your “toes out” foot, but by the time you step onto it, it will end up being besides the toes out foot because you will put all your weight into your second step and take the weight off the “toes out” foot so for a moment they will be side-by-side. Then you will swing your free leg behind to land about in line with the heel of your weighted foot. You will weight the foot that just was swung, and turn the other foot to parallel . . . making that the fourth point or step.
Maybe left and right indications will work better for you: The order: Turn your head/eyes to the left , allow your hand/arm to follow. Move your LEFT FOOT to “toes out” turning your left thigh bone to the left. Then step on your LEFT FOOT in a “toes out” position, put your weight on it 100%. As you are stepping all your weight on your LEFT FOOT, allow your body to turn to the left, in the direction you want to go. Swing your RIGHT LEG (free leg) around to what seems like in front of your LEFT FOOT. Step onto your RIGHT FOOT, toes pointing to the back of the room (or what started off as the back of the room), take the weight off the LEFT FOOT (“toes out” foot). Swing your LEFT FOOT (free leg) behind to land about in line with the heel of your RIGHT FOOT (weighted foot). You will stand on the LEFT FOOT, and turn the RIGHT FOOT to parallel . . . making that the fourth point or step.
Right to left works the same but start with your right foot.
To me, it is actually easier to do it fast than slow. But either way the hips get great rotation in the sockets. I was taught that we do not slide on our feet or spin on our feet. We dance barefoot so it is very different than if you have dance shoes on. There is not a nice layer of material that allows for easy sliding and spinning. We pick up our feet so as not to get blisters and to better condition the feet and the legs. So when we turn we are not spinning on the balls of our feet. That is one reason why I call it a four-point turn because we are hitting “points” in our dance. Points, steps, either way it is not a spin on the foot. This is another reason why it is important to start the turn with the toes already turned out because we also always want to be gentle on our knees. Also in Nia we are always reminded to remember our own body’s way. It is more important to protect and love our knees than it is to make it all they way around when doing a turn!
This is a pretty common dance move in dance exercise classes, but it is not always easy and can present a challenge. I believe it becomes particularly challenging when the person doing it wants to keep their eyes on the instructor. The best way to do it is to allow the eyes to move with the turn.
This is also a very fun move because you never know what we are going to do at either end (after the 4th step). Now that you got the turn down come to a Nia class and see what could be waiting at the end! You got the turn down, right?
I often get e-mails and phone calls from people who say they have injured themselves and they ask if they can do Nia. Well, I am not a doctor and I don’t know the extent of their injuries, but I explain to them one of the core philosophies (if you will) of Nia. You do what YOUR body can do. EveryBODY is different. EveryBODY has something going on in their body and something going on in their life. EveryBODY will be different every day. So we encourage everyBODY to do what they can. Of course, depending upon the injury, people should check with their physician and be cleared for aerobic activity and movement and when they get to class how much they do is up to them.
It is important to remember that each individual is responsible for his/her own body. When someone has had a recent injury it is very important to remember to be their own Conscious Personal Trainer (CPT). It is up to you to move in a way that is healthful. You are the one that knows the extent of the injury and you are the one that has worked with a medical professional to be healed. So here is where you really get to be aware of your body and do only what it can do.
I’ve also posted before about the levels of intensity. In Nia we say that there are three levels of intensity and Nia teachers demonstrate three levels, but really there are many, many, many levels due to the fact that everyBODY is different. My level one (which is deemed the lowest level of intensity) might be someone else’s level two. My level three could be someone else’s level two AND in addition to that, it could change the very next day! EveryBODY has different levels of intensity. I might take BIG steps to the side, whereas the person right behind me might take little steps, and the person next to her medium steps, and the person behind him HUGE steps. We all move in our own way. It is up to each individual participant to do what works for them at that time. If there is an injury involved maybe the level that used to be intensity level one, has now changed to level three intensity. It could take some time for the body to adjust and heal and get back to its original levels of intensity.
Nia believes you do what your body can and by doing what you can you will feel good. And when you feel good you will realize that you can do a lot. So the next time you do it you might do more, then the next time more, then the next time—might be a rough day, you might do less—and Nia rejoices in that. It is important to do what you can at the moment you are doing it.
I always encourage Nia participants in my classes to play with different levels. I also encourage them to try new things, to not always do the same move they are comfortable with. This could be something that one is required to do if they have injured a body part. Any injury sometimes can be a chance to grow in other areas. It doesn’t have to be a stopping point. So I encourage people to keep moving – if they can – so, yes, people can do Nia if they have been injured. As long as they have been cleared to do so by a doctor. If they are fit to move Nia can easily be adapted to help them move in their new state and get them back to dancing with joy.
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!
I have posted before about the 13 Principles in the Nia White Belt. The fourth principle, FreeDance, has eight stages. I am working my way backwards posting about each stage. This post is about second stage: Being Seduced by the Music – The Art of Listening. In the second stage of Nia FreeDance the exercise we perform is stillness. We keep our bodies still while we listen to the music. We allow ourselves to be seduced by the music and practice the art of listening. When listening to a song that is not familiar or doesn’t have that “get-up-and-dance” beat it is not so difficult, but when the song is one that makes every part of your body want to move, when it is familiar, or one you love it is not easy sitting still. It is not easy to sit with a tall spine that does not gyrate to the beat. But when we do practice the art of listening with only our ears we might hear sounds we had not been aware of before. While we are listening the idea is to name instruments and sounds that you hear. Sometimes you might not know what you are hearing, either you don’t know the name of the instrument or it isn’t really an instrument at all, so you can give them their own names. For instance something might sound like rushing water or trash can lids. I know a Nia teacher whose husband is in a band and she is familiar with a lot of different instruments and the sounds they make. She is very good at naming them when she hears them. Me, if you look at my bars you will see a lot of spaceships. There is a sound that I think of as a spaceship so I use that symbol to signify that sound. I HEAR a spaceship.
This stage might sound a bit like RAW, where we are Relaxed, Alert, and Waiting while we listen to the music, but it is not. Our bodies might be in the same position, of a lengthened spine and a relaxed state but in RAW we are just listening without opinion or too much thought. We have no inner dialogue so there is no naming of sounds. In RAW we are just waiting to receive. With Being Seduced by the Music we are practicing the art of listening and naming what we hear. We are engaged in the music even though we are not moving.
For me this stage of FreeDance might even produce a few pearls. It could be that I don’t know the instrument so I think of what it sounds like which allows us to move “as if we are sloshing in mud”. Or it could be that the sound just makes me think of a certain movement such as “throwing your arms in the air with a burst of sound”. While I might not be purposefully trying to think of pearls with the seduction I just let my mind flow. If there is a dialog then there is, if not, that is fine. I just let the music flow and I listen giving names to this sound and that sound.
Listening to the music without giving it dance or without it allowing to move us in dance allows us a deep relationship with it. We are not imposing our own ideals onto it as we move or we are not interpreting it, we are just letting it in. We are just listening. With that we learn about it. We hear things we might have missed while floating about the space. It is nice to be able to have that connection with the music.
Stage two of FreeDance, Being Seduced by the Music – The Art of Listening is just another toy in our toy box that Nia has given us to play with to become better teachers and better dancers.
Have you ever been sitting still listening to a song you have heard many times before and heard something you hadn’t heard before?
I am so glad that the energy is always so high because I had taught my Saturday morning class in San Jose. Then I stayed at the studio and took a class, then I raced over to Palo Alto to teach at the Jam. The energy energized me!
Terre Pruitt's Blog 