SECOND EDITION

DANCERS GALLERY

“AS A PROFESSIONAL DANCER, I’M FOREVER SEEKING WAYS TO FINE TUNE MY INSTRUMENT - MY BODY - AND INCREASE ITS CAPACITY FOR PHYSICAL EXPRESSION. THROUGH THE GARUDA METHOD, I’VE BEEN ABLE TO AWAKEN A NEW AWARENESS OF MY PHYSICALITY THAT I BELIEVE IS ONLY POSSIBLE THROUGH THIS UNIQUE METHOD. AIMEE IS A VERY ATTENTIVE TEACHER WITH A FANTASTIC UNDERSTANDING AND NOT AFRAID OF A CHALLENGE, WHICH IS SUPER IMPORTANT FOR ME. ”

— Juliet Burnett, Professional Dancer / Australian Ballet & Ballet Vlaanderen

READY TO BEGIN?

MONDAY

ALL ABOUT THE RIBS (19mins)

We often think about moving our arms / our Port de Bras from our shoulders, our shoulders blades, our wings. But. What if we looked further down the kinetic chain and considered how our arms move from our thorax? The mobility and breadth of the ribs? Instead of thinking about how we need to contain the anterior ribcage, we mobilized its full 3D structure, so that the ribs are incidentally, well placed and organised? Often we appreciate how dancers move, because their arms and back are so expansive and expressive.

BALLET LUNGES (11mins) *for those with equipment

Here we move through the positions; Retiré devant and derrière, attitude, arabesque, arabesque with plié. Encouraging a sensation of elongation in second arabesque; allowing you to reach out of your lower back and ribs. Feeling into the spiral from the foot, to the top of your head.

TUESDAY

BARRE BAND (23mins)

Strategically utilising the band at the barre, to integrate the upper body. It facilitates a widening of the scapulae with greater scapular placement and stability. Later it is used to effectively isolate the musculature around the hip, cultivating the important hinge movement for healthy femoral pelvic rhythm. Imperative to dancers, to avoid tail tucking/arching; to build awareness moving with the natural curvatures of our spine.

MOVEMENT INQUIRY (40mins) *for those with equipment

Here we use the sling to feel specifically where the ribcage and the bony landmarks of the back, are. A great reference point for feeling the back of the ribcage, therefore organising the ribs without gripping the diaphragm and losing the ease and breadth of the ribs. It can be hard to feel the back, when we can’t see it! And here it offers us tangible feedback, with wonderful opportunities to connect the abdominals functionally.

WEDNESDAY

THORACIC FREEDOM (15mins)

The expression, ease and enjoyment of dance, often goes hand in hand with the mobility and freedom of the upper body and spine. Here we explore many ways to mobilise the thoracic and ribcage.

STRONG & FLEXIBLE (33mins) *for those with kettlebells

You can be flexible AND strong! They don’t negate each other. Hypermobile bodies thrive when they are strong. It’s about honoring our architecture (not trying to change it) with the integrity of strength and proprioception. The load of the kettlebells command us to cultivate strength through ROM. Including into end range movements, that dance often demand from us. Learning how to exit end range positions with strength, balance and control.

THURSDAY

BARRE WITH BALL (40mins)

Using the ball to fix the angle at the knee and encourage full range of motion in the hip joint. Thus, encouraging more range with more control and greater awareness of the pelvis and torso organisation. Especially with the addition of pulling on the barre. Pulling to create spinal traction and elongation. But, also to provide a strengthening input for the shoulders and mid back. With more additional variations to challenge and strengthen the adductors.

WARRIOR II SEQUENCE (8mins) *for those with equipment

The apparatus/reformer creates a great opportunity to build adductor strength and control. The light spring demands us to active in our positions (especially end range), whilst sustaining the ability to return! Thus ‘hammocking’ the joints and preventing any sitting/collapsing/sinking into positions.

FRIDAY

BLOCK WITH EXTENSION (24mins)

Creating awareness of our thoracic extension and building strength through our midback. Avoiding the - often common - hinge from the thoraco-lumbar junction. Nurturing a healthy, strong, articulate spine.

HAMSTRING CURL (17mins) *for those with equipment

Balancing on one leg is a great challenge. Then you add a spring (an external force) and it amplifies the challenge! Especially when requested to access (the often hard to reach) hamstrings! As dancers have to perform multi-integrated patterns, here we add spinal elements and variations.

QUESTIONS / NEED HELP?