Centering:
Individual and Partner
Skippy Blair © Rev. 3-02, 8-03, 8-04, 7-07
The Number of Centers in an individual dancer seems to still be a BIG question. Logic tells us that any object has only one Center – and in my study of the “Psychology of Learning”, I was fascinated with how such Rules carried over into dance.
The idea that we learn MUCH faster if we have only “one definition for one word” is a thought I had always subscribed to – even before my detailed study. This same study confirmed my belief that simplicity is the key to fundamental learning. Many times, I have been asked to make a dance decision – deciding who was right and who was wrong. Fortunately, my mind cuts through the fuzzy stuff and is quickly able to observe that both parties are frequently saying the same thing – but expressing it in a different way. NOTHING is wrong if you are doing what you set out to do. The flip side is that “what you set out to do” might be less than the level that you are personally capable of achieving.
When it comes to Centering – or any other concept – My MAIN concern is seeing to it that we can SEE the progress. In identifying a new concept, it is important to me that the student is able to immediately apply that concept, once it has been presented and demonstrated.
Four separate Body Zones exist: The Universal Unit System® maintains that there is only ONE Center. However, we do acknowledge and regularly refer to, four separate Body Zones:
- Head Zone: Covers the head and the neck, down to the Centering Knob.
- Shoulder Zone: Covers the area from the top of the shoulder to the bottom of the rib cage.
- Hip Zone: Starts at the top of the hip bone and ends where the legs connect to the hip.
- Center Zone: Covers the lower edge of the rib cage down to the upper edge of the hips. The Center Zone provides stability by tying 3 of the Zones together.
Let’s pretend that you have a wide support belt around your waist. (or – You can actually purchase one at your local drug store). Place this support belt tightly around your waist, with the top of the belt barely covering the lower ribs – and the bottom of the belt barely covering the top of the hipbones. This Center Support has now pulled the body all together into one dynamic Dance Machine.
Once the whole Center Zone is under control, you can narrow down the concentration into the top of the Center Zone (Center Point of Balance – CPB – Core). Concentrating on your Center, you will be able to gain control and MOVE from that center. You will immediately be able to feel the effect in the three “tied together” Zones. This secure feeling is an amazing thing when you first experience it. It’s as if you have suddenly gained amazing power & control of your entire body.
With the aid of a support belt, you can experience this feeling rather quickly OR you can experience this same feeling (after some training) by simply pulling all of your abdominal muscles up into your Center. This process takes a little time and effort but I guarantee you – It is worth the effort. We call this exercise “squeezing the banana”. It feels like someone squeezes all of your Center area into your middle – forcing your center upward and your shoulders back and down.
Locating Your Own Center Point of Balance (CPB)
Unlike a Center of Mass (used in martial arts for a lower base stance) – or a Center of Gravity (which seems to change location with every body type) – our Center Point of Balance is located in the exact same place on every person. It is located in the Solar Plexus (Core). It is nestled in the soft area, just below where the ribs come together. Let’s do the exercise:
Stand with your feet together and you will find that you can move your “derriere” 4 inches forward – backward or sideways and still not lose your balance or have to move your feet. You can do the same with your head – shoulder – arm – foot. But NOW – Move your CENTER four inches in ANY direction – and you will find that you MUST move a foot. Moving your Center moves your entire body to a new location. You have moved your “Center Point of Balance.” That is the whole point of Centering.
Try this: Another way to identify the location of your Center is to assume that your body is a mannequin. Place a fist into it’s Solar Plexus – that’s the area just below where the rib cage meets – well above the waistline – and well above the naval. Placing a fist in the Solar Plexus area – we could lift the mannequin a few inches off the floor. The feet would fall directly under it’s Center and the head and shoulder area would stay upright. If we placed a fist in the lower abdomen of the mannequin, the top half would fall over. If we placed a fist in the shoulder area – it would immobilize the shoulders – producing stiffness and a lack of flexibility.
Dancers who use their hips or shoulders as their Center are easily identified by those who understand the concept. It is amazing to see the difference in the level of performance – once they learn to tighten the appropriate zones and move from the Center Point of Balance.
Individual Centering
Being Centered lines up the Power Point of the foot – through the knee – through the Center Point of Balance – and up through the chin – in one coordinated movement. That allows the body to land precisely ON the beat of the music. Individual Centering produces great posture and a sense of body dynamics. It creates a look of confidence and a feeling of professional performance. The next time you have the opportunity to observe social dancing, where upper level dancers are simply enjoying the dance, pay close attention. You will be able to identify that extra element of centering by the tingle it creates in your own spine.
In evaluating the performance of a Ballet Dancer – or a Jazz Dancer – the same degree of professionalism exists. Movement is classified by how well the dancer moves from their Center. They are not evaluated by how fast they dance – or how complicated the material. They are judged by how well the body moves from the center. FOOT follows FRAME. The center moves first. Once you control the center to move on the &-Count – prior to a weight change – moving from the Center becomes the focal point for all movement. That one act alone – immediately adds an extra “Dynamic” to your dancing. You will be able to FEEL the difference. It takes a little time before you can maintain the feeling – but just feeling it ONCE, allows you to know that the experience exists.
Partner Centering
It is very difficult to perfect Partner Centering – if the individuals involved are not Centered themselves. However. one partner that is well centered can have a positive influence on the centering and total performance of the other partner. This technique can be mastered by practicing in Stages.
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STAGE ONE in learning Partner Centering is what we call the Flashlight Technique – This simply teaches each partner to aim their center either toward each other – or toward a destination. This will help even basic dancers to start the centering process.
- LEAD: His “Flashlight” (Center Point of Balance) will be aimed either at his partner – or in the direction that he wants the partner to travel. This makes a strong connection – without the necessity for arm leading – and also maintains a sharper slot. (A wonderful feeling for the follower.)
- FOLLOW: Her “Flashlight” will aim at her partner’s chin. This tends to lengthen her upper torso – which in turn develops better posture and centers her whole body toward her partner’s center. As she rotates in various patterns, her “Flashlight” will return to him as quickly as the tempo of the music allows. This one technique alone can elevate any performance that lacks proper centering.
- STAGE TWO of Partner Centering requires more control of each partner’s individual Center. More than having each partner simply face each other – a certain degree of leverage (based on a tight control of the 3 Zones and a lifted Center) – develops a more professional attitude. This is the hallmark of the upper level dancer. When two partners are really Centered to each other, an astute observer becomes aware of the action/reaction that takes place in one split second. If you are part of the partnership – you should be able to feel that action/reaction. The leader’s Center moves on &a-Count and the follower Reacts to that lead. This allows both partners to land – at the same time -precisely on the beat of the music. Both partners may choose to dance different rhythms – even different syncopations – and still be totally Centered. They are connected from one partner’s Center to the other partner’s Center.
Competition Observation
Centering yourself toward the judges is not considered good taste. There are times when Centering to the judges is part of the natural unfolding of the routine (when both partners are actually facing the judges). However, there are times when either the Leader or the Follower seems to center their “Flashlight” toward the judges instead of toward each other when it is not appropriate. In judging circles, we refer to that as mugging the judges. It is particularly noticeable if the lady faces the judges on every anchor instead of facing her partner. It not only detracts from the performance – but also loosens the connection of the partnership.
Teaching Technique
I frequently use slightly flexible ropes to show how the Center, rather than the arm, does the leading. The lady holds on to the end of the rope while the rope is wrapped around the man’s Center. He soon learns that he can move the lady easily, simply by moving his Center in the direction that he wants her to go. Their hands are not connected and yet she is able to follow his lead.
Skippy Blair
Photo by Walter Ricks
May, 2007
In the real world, the lady frequently compensates for an arm lead just by knowing where she is expected to go. However, the fault is not always his. Many ladies strong-arm their partners. It is sometimes impossible to determine who did what to whom. Arm leading leads to arm following and perpetuates the problem from both sides. MOST patterns are best led with body leads, coming directly from the leader’s Center.
Of Special Note
There have been enough requests for more material on the subject of "Centering" – "Connection" – and "Critical Count" – that we are making special DVD's and videos on these three subjects. If you would like to be notified when they become available, please email us.
Biography
Biography: Skippy Blair has been teaching dance since 1940. She is one of the major innovators of the dance we now know as West Coast style of Swing. Ms. Blair is the innovator of the Universal Unit System, a tool for more effectively teaching dance. She is the author of “Disco to Tango and Back” one of the more exhaustive dance manuals written. She is still very active as a dance instructor, hosting several dance intensives each year in different parts of the country. For a more complete bio go to http://www.swingworld.com/Biography.htm She is a a prolific writer and had recently discovered the world of blogging. Her blogs and articles are available on her website, http://www.swingworld.com.
