Dance Better Now

Overcoming self-doubt in dance

 

Many of us have worries that we do not dance well. This is despite the fact that logically we know we can dance. We have gone to dance classes, we have practiced and we have received feedback on our progression. But still, we have this self-doubt.

This makes it hard to enjoy dance. If we always doubt our abilities no matter how well we can actually dance, then we will never enjoy dance as much we could or should. And this is what makes self-doubt so insidious. When we should be dancing and enjoying ourselves, we are actually worried that we’re not dancing well, and upsetting the person we are dancing with or that others think less of us. Not only that, but it can also make us think about giving up or not putting as much effort in as we would really like.

Clearly, none of this is ideal. Therefore, overcoming self-doubt will let us enjoy dance more and put more effort into improving our ability.

There are two methods that you can use to overcome self-doubt in dance. One is a bit strange and the other will seem a little familiar. I have found the first one to be easier, but it needs and open mind. The second takes time, but it makes a little more sense.

Tapping

Tapping is based on acupressure points. Point that cause us to take on a more positive attitude toward anything we choose. From experience this works incredibly well.

You can learn more here.

However, let’s cover the basics now.

First, remember these points:

• The side of your hand –the karate chop part
• Just above the eye brows
• The cheekbone just below the eyes
• The upper lip
• The chin
• The collar bone
• The middle ribs on the side – just above where the elbow touches you sides when your arms are down
• The top of your head

Now take one of your greatest concerns about dance. Say not looking good, losing time or forgetting a step. Imagine it happening and notice how you feel.

Now in your head repeat this concern. Say something like ‘I will dance terribly because I will lose timing’ or ‘I just know I’ll do something wrong when dancing tonight’.

While repeating this statement spend around 5 – 10 seconds tapping each of the parts of your body listed above.

Once you have gone through the list, stop and think about your dancing again. You should notice that you feel better about it now.

Next, come up with a more positive statement. Say something like ‘I have been getting better at dancing and my timing since I have started. As long as I work at it I know I will get better’ or ‘Given my level, I am dancing well and everyone will know that’

Now repeat this statement while tapping each of your body parts on the above list for 5-10 seconds at a time.

Once that is done stop again and see how you feel. You will be feeling much better now.

Anytime you’re feeling stressed or in self-doubt about dance, go through the tapping procedure again.

If you want to find out more about tapping, then check out the link to the right and sign up to the email list. Margaret is excellent and really wants to help you.

Removing the fear of choking

Self-doubt can get right into our heads and make us choke when we need to perform at our best. There has been a lot of research into why we choke. The book shown to the right summarises a lot of this research. The author Sian Beilock has done a good job of explaining what we can do to reduce choking and in the process remove a lot of self-doubt.

If you take a look at it, then you will likely find something that you can use.

However, there are two techniques that are simple, make sense and have been tested to see that they work.

Get used to it.

The more you do something the less doubt you have about it. How many tive have you have had a doubt about your ability to walk?

If you think you can push through it, then this is a method worth trying. It will be difficult, but it will work. The other advantage is that it makes your practice as well so you get a double benefit. Before you take this path you need to be clear of one thing – you are going to intentionally put yourself in uncomfortable situations so that you can become stronger and no longer worry about them. Being clear about this in your head will help you apply yourself more and take the edge off the fear.

Once you have committed to this approach all you need do is find as many situations where you will need to dance. Ideally, situations that trigger your self-doubt. This could simply be group classes somewhere else, small comp’s within your dance school or social events. If you feel too stressed then just remember, that the purpose is to get over the stress.

Exorcise the concerns and enhance the positives

Have you ever noticed that when you talk about something that is troubling you that it no longer seems like such a big deal?

Often when we start to worry about something is gets locked up in our brain and we just keep focusing on it. It hangs around and ties us up in knots inside, and then fills us with self-doubt. However, if we get it out, then we feel a lot better.

Once of the easiest ways to get it out is to write it down. Writing it down sends a signal to the brain that the information has been stored, and no longer needs to be worried about. This then means it will no longer be the focus of our brain.

Side note – telling people about plans to exercise, lose weight, start a business etc. can be detrimental. By talking about it, the brain thinks the job is done and focus is lost. If you do talk about it, then make a promise or a prediction that compels you to follow through.

Once you have exorcised the doubt, it’s a good time to build confidence. Start to think about the things you can do. You have been practicing for a while so you have improved in numerous ways. We need to be reminded of this at times. With some conscious effort we can make our brain focus on the positives, and really reduce that self-doubt.

Combat and dance – get some fight in yourself for better dance

For some time now I have been noticing the similarities between martial arts and dance. If you have read my free e-book, then you will have heard me talk about this. However, I have not until now shared my observations on how these similarities can be used to help you dance better. In this blog I am going to highlight a few similarities that I have noticed so that you can see what I mean. Then I will talk about how being aware of the similarities can help make you dance better.

The similarities

The first time I noticed a similarity between dance and martial arts was when I was learning the waltz spin turn. It is a bit like a spin back elbow in Muay Thai. Take a look at the video below.

Notice how you step to the side and then turn. When I was thought that move, there was an extra step with the turn to get extra force. Also notice ion the video how much of the instruction juts feels like that in a dance lesson.

Now notice how in the video below of a waltz spin turn that the 2^nd and 3^rd steps of the turn (at around the 6 second point) have a similarity to the foot work of the spin back below.

The next time I noticed that similarity was when learning the cross body lead in salsa. Take a look at the video below.

It is a lot like the side step used when you need to evade a charging opponent and get at an angle where it is easier to attach them. See the video below and notice the similarity with the foot work. The guy in the red uses a similar side step to evade his opponent. It is effective, but I think the salsa dancer does it more gracefully.

However, it is not all about foot work. Simply leading has a lot of similarities with much of grappling. Take a look at the Krav Maga video below at 4:04. Notice how the person on the receiving end is given such a clear lead that they have no choice, but to move in the desired direction.

 

This is a very clear lead.

Another similarity was a little less obvious. However, it almost seems that the Latin hips used in the related dances is designed to help with the isolation that a good fighter needs to be able to deliver a powerful blow. Take a look at the video below and notice the way each part of the body moves differently to manage the flow of force.

I notice the similarity most when doing samba and the isolated hip movement that is needed. See the video below and notice the need for this ability to move the hip separately from the body, but still in conjunction.

View How to Dance the Samba on Howcast

Perhaps the best example of similarity between dancing and combat is Capoeira a combat style from Brazil that includes dance moves and partner dance like interaction with others. See the video below for an example.

What does this mean?

Mostly, the parallels between dance and combat are interesting. Despite the similarities, I know few who regularly engage in both. It could be because we live in a time poor society, and we can only have so many pass times. However, I suspect that people interested in one are likely to have an aversion to the other. Therefore, few of us will really get a chance to experience the similarities first hand.

It might also be of interest to consider if this contributes to the sexist nature of dance that some argue about. Typically, men lead in partner dance and many of the similarities with combat are congruent with the lead subduing the follow. I don’t contend that this means that dance is sexist, but this comparison does show that if one exaggerates the lead follow relationship, then there would be misogyny within one’s dance. This is something to be aware of.

However, the real advantage of considering this similarity is that it can provide you with a new perspective on dance that can help with learning. If you think of your partner has a combat opponent, then:

• You will be more likely to lead so that their direction of movement is only as desired. If you have the mindset that the follow is an opponent, then you might think more about leading them to where you would need them to be.
• You will understand the need to be out of you dance partner’s way when needed. If you think of your dance partner as an opponent, then you will ensure that you make space for them to move into (so that can’t attack you) – this can help with both leads and follows.
• You will better appreciate the need to be aware of where your “opponent” is, what they are doing and how you should respond. The heightened sense of awareness that can come from pretending you’re in combat could help either a lead or a follow.
• You can express greater character in your dance if it is one that needs extra aggression in its performance. Some dances are about conflict, and expressing that can help. This is especially so if you are exhibiting.

Certainly do not expect fisticuffs next time you dance, but taking this perspective might help at times.

How to move faster in dance

Do you feel sometimes that you just can’t move as fast as you need to when dancing?

You have the timing right, you know what the figure is, but you just do not seem to be able to physically move yourself fast enough to do the figure and keep in time. This has been an issue that a few people have contacted me about in the past. Cha cha seems to get a mention so that might be a dance that you too find tests your speed.

In this post I am going to go over 3 things you can use to increase your speed when dancing

1 - Make sure you are doing the figures right

I have heard a saying in the dance sport community: move slow to be fast and fast to be slow. This clearly makes little sense – moving slow will not make you fast. However, the saying refers to the look of speed and the proper preparation. Sometimes moving slow at the start allows for proper preparation and then the required release of energy to give the desired speed. Sometimes you need to move fast so that you then have time to be slow. At other times, moving slow allows movement to continue steadily so that speed is what is perceived by all who watch.

This might seem to be telling you little, but I am about to make a point.

There is a way to do figures that will allow you to have the speed required. If you are unable to perform a figure fast enough, then first make sure that you are doing it correctly.

Dance is meant to be something that people can dance to. Jazz was/is one exception where speed was key to dancing. However, most dance should not really test your speed. Therefore, it is well worth exhausting this avenue first. Then, if you are doing it correctly and you’re still not able to move fast enough, then look to increasing your speed.

2 - Imagine moving fast

This might sound a bit like the Muppet babies (if you’re of that generation), and I am suggestion that the “power of imagination” can solve all your problems. However, sometimes the issue is the speed we think we should or can move at.

Some runners will use rubber bands to help them run faster when training. This form of assistance does not build strength; if anything it would make them work less, and reduce their abilities. However, the reason for this training method is to help the runner feel what it is to move faster. The body needs to know what it is to move at this speed so that it can.

It’s not really possible to use rubber bands to help you with many dance figures – that would be quite the contraption. We need to find other ways.

If you have read much of my writing on dance, then you have likely picked up on how often I mention imaging. This is probably one of my favourite things about dance. Many activities use imaging, but dance seems to use it in the most sophisticated way. It is amazing what you can make your body do with imaging. Ever since discovering it in dance, I have used imaging in other physical activities.

So if you are moving slow, then try imagining bands pulling your legs or hips, or other body parts, into position. Imagine parts of your body are well lubricated bearings. Perhaps imagine parts of your body are steel springs – you can then move as fast as a leopard (for those who saw the movie Gallipoli).

This simple use of imaging will likely be enough. As I said above, dance is not a test of speed, and you are most likely able to move as fast as you need to for any figure. You just need to know that you can and expect that of your body.

However, let’s consider the case where you’re not.

3 - Work on speed

Now it’s time to build some power into those muscles so that you can move fast enough.

It shouldn’t take much; you’re unlikely to be that far behind the norm.

The key here is working against resistance. However, it is resistance under speed that you want. Being strong is not always enough. You need to work on your ability to apply that strength quickly for fast movement.

Get some body weights – weights that you wear.

• If your legs aren’t fast enough, then get ankle weights
• If it is your arms, then get wrist weights
• If it’s your hips, then get a belt
• If it is your lateral movement (your whole body), then get some for all over

The key to body weights is that your body still remembers what speed it should be able to move at – like I mentioned above. When you try these dance moves with the weights on, your body will work to apply force faster so that the speed it is accustomed to can be maintained. Then when you take the weights off – after a few practice sessions – your body will have this enhanced strength based speed that you can use to move faster.

You need not buy body weights. Holding bottles of water can be good for the arms and bodily movement. Sand bags can also be held in your hand, tucked into socks (or tied to ankles) and strapped under a belt. You can also use a good sized heat back. You most likely have something at home that will do the trick, and need not buy body weights if you do not want to.

You can of course buy weights too. I always find that buying good equipment makes it easier to use and motivates me because I spent money on it.

 

How to lose that serious face when dancing, and have one that matches

A question from a reader:

Hi Clint

 Hope you are well. Its me again with a query I have.

Was just re-reading the idea of the Self 1 and Self 2. For me, I am a very analytical person (accountant haha) so for me, I need to know the routine 101% first along with the the footwork. Self 1 is definitely operating here and if I screw up I get a bit frustrated (esp with the Paso, given it’s such a fast dance for instance). How do I apply Self 2 so I don't "worry" about doing a mistake in terms of my footwork. I have medals in a couple of weeks’ time and I just want to dance naturally and not have that "thinking face" on whilst I go through it. Does this make sense?

Cheers

M

 

My answer:

This is not an uncommon issue. We want so hard to do well that we cannot trust our instinctual side. Even though that’s where we really need our dance to be and we know it too.

For those who can’t recall, the notion of Self 1 and Self 2 come from Tim Gallwey who made these notions famous along with the idea of the inner game when he wrote about tennis. The idea is that our conscious self is Self 1. It is analytical and ideal for when we need to reason. Self 2 is the part of us that just does things naturally – it’s the doing part. Think about those times when you made a mistake because you were concentrating so hard – that’s Self 1 taking too much control.

The key to letting Self 2 take over in a routine is to distract Self 1. Self 1 can really only do one thing at a time. If you distract it from a task, then Self 2 needs to take over. You can think about any thing while walking – it’s so natural that Self 2 does it.

So what are some ways of distracting Self 1?

One easy way is to simply talk. If you have an amenable dance partner, then talk to them about anything so that Self 1 is distracted. If you do this during practice, then you get better at handing control over to Self 2.

This is not ideal for a competition or exhibition.

Another technique is to give each figure a name (not the standard one) and then link the names into a story that uses those names. This will also help you remember the routine – it’s not something you can do quickly (we don’t all have the story telling ability of Stephen King), but it will likely mean you will never forget the routine. If you can also make the story fit the mood of the dance and music, then as you recall the story while doing the routine, then you will be more likely to have a congruent facial expression.

 

This is just an example set of 2. You can come up with others. The key is to keep your conscious mind (Self 1) distracted so that you rely on your automatic Self 2, which is better at this kind of stuff, to take over.

Dance like an animal

This is just a quick concept that I want to share.

I am sure that you are familiar with imaging, where you imagine something is being done to your body or that something has happened to your body so that it moves the way you would like it too. The best example of this I can recall is imagining that someone has a rope connected to your hips and they pull on it to bring your hips out when you’re doing Samba Bota Fogos.

However, sometimes it’s not a specific body movement that you’re trying to achieve. Instead, you want to achieve an overall feel, look or vibe in the way you move. It would be near impossible to imagine all the many various things that someone would need to be pulling on you to bring about this effect.

A solution I have come across is a slight variation on the idea of imaging. It has been around for a long time and predates imagining in dance, but you can see the similarities.

Many peoples in history have believed that they can call upon the spirits of animals to help them through physical challenges. I am not sure what your religious beliefs are, but I view this phenomenon from the same perspective that I view imaging in general. By imaging an animal, you also imagine the qualities of the animal that you associate with it and keep your conscious mind occupied. This then sends a message to your unconscious mind what you want achieved and lets it take care of the rest. I talk more about the power of the unconscious mind to bring about better dancing in my e-book – take a read if you haven’t yet.

Next time you’re trying to be more “Something” on the dance floor, think of an animal that displays the qualities you’re after. We all have slightly different takes on what different animals are like – I recall in China talking to a woman who told me tortoises were deemed cowardly and ignorant because they pulled their heads in a lot after I told her in the west they were viewed as wise, determined and patient because they took their time – so I want talk about which animals should be used for which characteristics.

However, still try the method. It’s worked for me and a few others so it should work for you.

Holism for better dance

Holism versus Reductionism

In the last post I spoke about how you can use reductionism to be a better dance. The key was to look at each aspect of your dance ability separately and then improve each in turn. You improve each part of your dance so that your dance automatically becomes better.

This will work for everyone. However, it doesn’t mean it will work every time.

One of the defining features of social dance is how it brings a diversity of things together. It is because you need to bring body control, musicality, memory, leading/following and social awareness together at the same time that dance is one of the best ways to exercise your brain - http://socialdance.stanford.edu/syllabi/smarter.htm.

This integration into a single entity that is more than just its parts is called holism.

If you have mastered all the aspects of dance, but still feel that something is not right, then it is likely that you need to use a holistic approach.

How to use holism in dance

Reductionism often relies first on your logical brain to work out what needs to be improved and then how to improve it. Paradoxically though, the goal is to improve things like your musicality and leading so that you no longer need to think about it. It should be like walking or speaking or reaching into your pocket. You think about the goal and your body just does it. Think about how much more effort is needed when you choose your words carefully or when you walk in a particular way. It’s a little like watching yourself talk or walk. You give some instructions on the specifics (words or foot placement), but your body still does its own thing.

That’s what you want to do when you try to use holism in dance. Let your body take care of the specifics while you just set the standard for the style.

For example, you might be in time, you might have the right foot placement for each figure and you might have the right posture. But people say that you lack ‘flow’.

Now really: what is ‘flow’?

It’s not something that you can really work on with reductionism. It’s an issue with how you dance as an individual – maybe you’re a stepwise person who like to take things one step at a time and this carries over to each aspect of your dance and your dance as a whole. In such a case you now just need to think about flow. Get the notion into your mind so that your whole brain knows that’s what you want. And you will start to dance with flow.

You can of course use this for any type of characteristic that you might like to imbue your dance with. If you have read much about the inner game in general or how the brain divides work up, then you will be familiar with how this method works. Another technique used by some people is to think of an animal that possesses the qualities that you want to display. Another way of consciously sending a message to those unconscious parts of your brain that are responsible for the other aspects of your dance.

The basic idea is to think about what your want your dance to be more like and focus on that goal or notion as you do dance - then let your well trained body follow that lead.

When to use Holism or Reductionism

You might have picked up on it, but the basic rule that is good to follow is:

Use reductionism is that you have a suite of capabilities that you can call on holistically to have the dance style that you want

This of course is about holism within you – there is also holism between you and your partner and sometimes holism among everyone on the dance floor, but those are other stories.

Imagining your way to better dance

A few posts back I talked about how you can use hypnosis to improve your dance ability. If you didn’t read it, then take a look here. The reason why I put this post up was that I had used hypnosis myself and found that it worked really well. From this experience, I have come across another easy way to quickly and increase your dance ability.

But first, back to the hypnosis.

I think that one of the major reasons for my positive experience was that the hypnotist that, Dustin, I used was also a social dancer. After the session, Dustin told me about a really good book that was related to how we see ourselves and how this affects our success in all aspects of life. The book was called The New Psycho-Cybernetics.

 

I planned on reading the book at some stage, but I wasn’t sure when. However, Chrtismas was coming up and my sister was asking what I wanted. I remembered the book and she got me that. Good timing too – I was able to start reading it over the Christmas break.

There were a few key things in the book that really struck me. Things like how it was written by a plastic surgeon who was trying to understand why some people had near miraculous life changes after facial surgery and some people actually felt they looked no different despite the clear fact that a part of their face had been changed.

However, there was one key part that really resonated with me as a dancer.

In chapter 3 the authors report on research into improving basketball skills with imagination. The researchers took 3 groups. Each was asked to take some shots at the hoop and their average score was taken. One group was then send away to do nothing for 20 days. Another group practiced taking shots daily for 20 days. The final group spent 20 minutes each day imagining that they were taking shots. After 20 days, each group was tested again for their shot taking ability. The first group sore no improvement (as one would expect), the second group improved by 24% and the third group improved by 23%!

That alone is interesting, but what does it mean for you as a dancer?

I mention a few times in both part one and part 2 of the e-book Dance Better Now that visualisation and imaging techniques can help with dance. I imagine that you probably also imagine going through dance routines in your head before you go to sleep at night too. What this research means is that not only is imagining yourself dancing something that everyone does, but that it is probably far more useful than you realise.

Practice is always good, but if you don’t have time to practice physically, then at least take time to really imagine yourself dancing well. You might do this before sleep. You might want to actually meditate when you do this to make the imaging clearer. Or, you might want to use hypnosis recording like Dustin’s.

Regardless of what you do, do it and don’t forget how much it can help.