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Texte AG EN

Enseignement > CID Congrès > CID AG 2019
Invitation to the 23rd General Assembly
of the International Dance Council CID
4 december 2019 - 10h
Palais de l’UNESCO in Paris
The subject of my intervention : Another Pedagogy - Video in French
Creation and writing of a new NATURAL pedagogy for the knowledge and practice of folk dances.
Prologue: I have come to talk to you about our common and diverse activity "Dance".
It is obvious to think of "dance" as a large family from the same house that contains as many pieces as dance forms. Aren't we locked in our differences? The CID brings us together and allows us to exchange ideas. Let's get to know each other.
The current teaching of all popular dances explains "where to place a leg to create dance points", the "body" follows.
Why complicate things? ... When you can make it simpler and more natural?
Today, with the knowledge brought by science, we can teach the movement of the "body" to "create dance drawings", the lower limbs follow and draw the desired drawing on the ground.
An obvious fact
For all of us, to practice all "dance forms", our body is unique. Aside from that, this applies regardless of the physical activity we want to do.
You can't talk about "Dance" without talking about the body.
The body is unique for all activities in a lifetime; let us help protect it. It is a magnificent tool, physically very generous, but beware, it wears out.
This body is originally endowed with an appropriate functioning.
This operation has a logical and hierarchical order.
- From our first moments, until around puberty, the brain makes all our connections and creates the ability to control the different components of our body.
- "The components of our trunk (separate or together) are at the origin of all the important actions to be carried out during our passage on this planet".
- For the brain to integrate the return to "natural walking", it is imperative to feel all the blocking, and therefore useless, energies to remove them and thus reactivate the entire sensory network. The brain will react quickly and accurately to immediately transmit the right answer to the right place.
Around our first birthday, we have the intuition to move the centre of our body (pelvis / centre of gravity). Our "safe" fall is received by one of our legs. We discovered the trip! A series of movements of our body, is called walking... natural, because intuitive.
A)     In practice, in dancing instructions, the word "step"*2 is associated with the word "foot" *3.
i)   The foot, in addition to its role as a direct informant to the brain for balance management, is also a supporting surface of lift. It is part of the "lower limb" group* on which it’s completely dependent. But its positioning depends on the imbalance initiated by:
1)     The order given to the thigh to put the leg out of the verticality of the pelvis.
2)     The order given to the pelvis to move, the "free" lower limb follows. Contrary to what is usually taught (Europe and the American continent).
I find it absurd to use a lower limb to create the imbalance (1) when this imbalance can be created, without energy and risk, by moving the pelvis (2).

    ii)  The teaching of all popular dances has the particularity of defining and explaining itself with "steps"? A "step" is the mark on the ground of the placement of one of our supporting surfaces after a movement of the associated lower limb, (walking action).
If they are obtained by moving the buttock, they represent the values of the displacements of the body's centre of gravity between the initial positions (verticality on one supporting surfaces) and the incoming positions (verticality on the other supporting surfaces).
The transition from one base to the other created an oscillation. It's a natural walk.
iii) Therefore, the various positions of our supporting surface are therefore the "ground marks (steps)" of the proposed dance drawings. according to the musical style or imposed when creating a choreography.
There are only two natural movements that require oscillation; movement on a front line, and movement on a side line.
There is a third natural movement, the verticality that allows our free leg to go back next to our useful support (supporting leg); Before going down, if we add an oscillation and the change of the base of sustentation, all the "stages" of the dance become possible with the exclusive use of these three movements;
The technique is created to perform ALL the movements of the dance drawings. Our memory, freed from the path of leg control, can remember the dance- drawings and play to modify them around the theme planned for each musical style.
Essential conditions for rapid progress,
Recognize and understand that the brain "likes" habits, good or bad. Nature is our true biological time.
Think about the verticality of the body "to stand up straight" after each exercise proposed and thus to reach the control of the sensations of the body.
The time of nature is also the shortest time to integrate another harmony of life towards the path of non-dependence
Knowledge is the shortest path to comfort
Man or Woman, for the "education of the brain" all actions are carried out very slowly and, as soon as possible, with eyes closed.
A)     To regain the lift of the body in its verticality: "stand up straight" after each action.
i) Feel the limits, before the fall is engaged with the displacement of the pelvis (centre of gravity), inside the surface of the support base.
ii) Lifting, in the "vertical axis", a lower limb = transfer on a support; it is an oscillation (base of any movement);  
The removal of unnecessary energies "relaxation", and the "tranquility" of the brain will ensure the feeling of this oscillation and the comfort of your new verticality with a single support as the basis of support.
A)     To dance, each part of the body has a specific function and is able to move regardless of age, except in the event of an accident in a life managed by medicine.
1)       The manhole ensures safety and the direction of movement,
2)       The chest and pelvis are two parts that can be used together or not
-      The chest that gives priority to the change of direction,
-      The pelvis that initiates the movement and helps in the circular movement. Life becomes flexible and comfortable.
The mobility of the chest and pelvis makes moving and other activities easier.
3)       The upper limbs ensure the reception and transmission of information; communication by mass opposition.
4)       The priority of the lower limbs is to receive our imbalances; in free time, to create or receive "embellishments".
The technique is created to perform ALL the movements of the dance drawings. Our memory becomes ready to "remember" the drawings of the dances and to "play" to modify them around the theme planned for each musical style.
But for this technique to be integrated and felt, it’s good for the Man or the Woman, for "brain education" to carry out all the actions very slowly and, if possible, with eyes closed
Bonus, it’s prettier and more comfortable when the couple moves, in natural walking on two lines of movement on the ground, with, as a bonus, the impossibility to land on the "foot" of his partner (physical laws) *1 and two, three or four lines of movement on the ground in the practice of Argentine Tango.
Science has shown that all humans are of the same origin, regardless of where they were born on this planet, this teaching philosophy can undoubtedly be used for all leisure dancing practices.
Last but not least, the achievements of this pedagogy...
- - Knowledge and choice of his energies which induces "relaxation, flexibility, relaxation ...",
- Self-knowledge,
- Freedom recovered through the feeling of all our sensations,
- Discovery of non-dependence,
                                                                                                             ... are necessarily felt in daily life.
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