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The "mechanics of dance"
We dancers are accustomed to understand the word "strength" as a synonym for strengthening the quality of ability and intensity of movement. I believe that "strength" as a comprehensive term, in addition to the above concepts, but also contains a deeper meaning.
First of all, strength is the manifestation of power and the measurement of power, which is viewed from a pure grasp. Secondly, when we take the human body as a mechanical object to study the formation of the strength of its movements, and can be felt in the human body and the force produced is called the internal force, and the interaction between the human body and the environment is called the force produced by the external force. External force is at a glance can be perceived and felt, while the internal force is often not perceived by people, and under certain conditions the dominant role of the internal force, can make the environment of the external force to adapt to the requirements of the action. Thus, by understanding the relationship between internal and external forces and their interactions, we can analyze and master the role of strength in the action of the law. Again, from a philosophical point of view, where forces cannot be scientifically specified and measured, this category should be called fantasy forces. As Susan Langer said, "The primary action of dance is to create an illusory world of force." I believe that the internal forces should be described as "illusory forces" or "charisma". Therefore, dancers can feel the different strengths of movements in this "world of force" in their performances, and the audience can feel the different strengths of movements in their viewings. So how do we look at the internal force of the body movements? Take an example: for example, when we see those reinforced concrete buildings, we can not see those steel bars hidden inside the concrete, if there is no steel bars to support these tall and magnificent buildings, and can not be established. The "force" of the steel reinforcement is the force inherent in the tall buildings. I think that's what the strength of the movement is all about.
The discipline of international standard dance has been established in China for only a few years. In the "dance mechanics" on this subject has not formed its own understanding of the law and development of the law. As an amateur lover of "international standard dance", from the process of their own dance experience, understanding, and follow its laws to find its source, fold and explore the reasons for the formation of its movement strength, which is the original intention of my article.
I think that "dance mechanics" is different from "sports mechanics" and other mechanics, but also lies in the sense of strength of dance movements is an aesthetic realm that can not be ignored, it is the "national standard dance" within the movement of the special rhythmic symbols, but also should be the body rhyme movement that is full of charm. The pursuit of a "tight and not short, Shu and not stagnant, change and not chaotic, smooth and not flat" artistic effect and aesthetic mood, from the whole, the movement, from the contradiction of the braid relationship, to taste the "national standard dance" body rhyme movement strength that the beauty of the artistic image.
The mechanics of dance (two) rotation - speed - mechanical analysis
On the National Standard Dance rotational skills, there have been many domestic and foreign topics discussed, we know a lot of dancers. But there are still problems and difficulties in daily practice. We envy the two dancers of Wentink-Beata that "the proprietary '極速ˊ, and a rhythm of three rotational speed" (wspjs comment), but it is difficult to realize their own speed of rotation on the breakthrough. In order to understand more rationally and clearly the power needed for rotational speed, Flying Star tries to do a little analysis of rotational mechanics. Please correct me if I am wrong.
The rotation of international standard dance is mainly based on the dance posture, and due to the diversification of dance posture, the power needed for its rotation is also diversified. Experience tells us that the two main factors that determine the speed, quantity, quality, success and failure of the rotation are the center of gravity of the human body and the power of rotation. This article focuses on the rotation of power to do an analysis.
There are many parts of the human body that can drive the body to rotate, but the spine is a critical part. The spine is the center axis of the human torso and the pillar, through which almost all parts of the body can be linked together. The spine is closed in the middle of the body, it is impossible for it to rotate alone, it is inevitable that other parts connected to it, such as the shoulders, the head, the pelvis, etc., must join in the rotation at the same time. In other words, as long as the spine rotates, it will inevitably lead to the rotation of other parts of the body. The rotation of the spine is mainly the rotation of the cervical and thoracic thrusters, which generates the rotation of the entire vertebral body. Through the rotation, the back muscle groups are the first to use the force. The force of the back muscles is used to drive the thoracic segments of the spine to rotate, and the spinal rotation is the main driving force of the rotation.
But spinal rotation is only an internal force. When internal forces do not interact with external forces, they are often not conducive to causing rotation of the entire body. In the movements of dance, almost all forms of rotation are based on pushing the ground. When the power foot pushes the ground, a certain amount of force is applied to the support point, and the support point "returns" a reaction force, which is directed in the direction of the intended rotation and acts on the supporting leg. In the process of pushing the ground, the center of gravity of the body is shifted to the main leg, so that the main leg can support the rotation, and at the same time, the shortness of rotation is transmitted to the spine, which constitutes a rotational movement around the axis of rotation. From the above analysis, it can be concluded that the reasonable power of rotation is mainly generated by the foot pushing the ground and the rotation of the spine.
In addition, the arm swing can also produce a certain amount of rotational power. The snug reverse arm swing is to swing the neck arm on the opposite side of the direction of rotation, such as turning to the left is to swing the right arm, turning to the right is to swing the left arm. Swinging the arm is actually the movement of the shoulder joint, outside the shoulder joint to do a rapid inward movement. Reverse arm swing is due to the two arms moving at different speeds, the swinging side of the positive and active in the front, the other side passive fall behind, which causes the two halves of the body asymmetrical form, which drives the body to rotate in the direction of rotation.
Forceful tossing of the head in the direction of rotation can also produce a certain rotational momentum. This is because the head-shaking motion is an internal force, and the rotation of the head is transmitted to the spine through the cervical vertebrae, and combined with the rotational energy of the spine is transmitted to the ground, thus increasing the rotational power. Spinning with a head flinging motion is faster and more numerous because this power is always available.
Using the principle of the ballet Fouette turn, the continuous rotation not only allows each 360° rotation to gain a torque generated by the thrust of the lead leg against the ground, but also increases rotational power and speed through the circular swing of the power leg.
The rotation of the national standard dance, although there are still problems and difficulties in practicing, but its status and role in the national standard dance cannot be underestimated.
The training of the quality of dance strength
We often say that strength is the quality of strength. Strength is a form of human movement, is the human body or a part of the body's muscle contraction diastole when the ability to overcome resistance.
According to the form of muscle contraction, can be divided into static force and power force two. Such as "sea", "sky run" and other skills, muscle contraction is isometric contraction, is a static force work; and "double flying swallow" and "forked jump
By the form of power performance, it can be divided into two kinds of speed power (explosive power) and power endurance. Such as "flying feet", "jump step" and other techniques, requiring muscle contraction program "explosive force" to complete the action, and complete the continuous "taut", "spinning
Factors affecting the improvement of the quality of strength and:
(1) the intensity and frequency of nerve impulses. The central nervous system outgoing nerve impulses intensity, high frequency, the muscle produced by the force will be large. Explosive force is good, his cerebral cortex of the corresponding center can quickly from inhibition to excitement, the center of the various nerve cells can be together to the innervated muscle fibers send nerve impulses, so that they complete the synchronization of contraction. At this time, the power is big. Therefore, when training strength, we should focus on improving the regulation of the nerve function, both focus on the coordination of the completion of the action, focus on the brain, more imagination to complete the whole process of the action, in order to accelerate the formation of "power stereotypes", and master the intensity of the load, so that you can achieve the "long power but not long block! "
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(2) The muscle's ability to reflect nerve impulses. Usually the training stimulus causes the muscle to reflect only about 30% of the muscle potential. Therefore using the same method or the same load for training can only lead to muscle adaptation training. Such as intensive training sessions often appear in a set of combinations or a classroom training group content, form a long time to practice, the lack of consideration of training intensity and load changes, resulting in dancers can not play the physical ability. Sometimes the skill level of dancers do not go, relying solely on repetitive practice is not enough, must take effective training means, constantly give the muscle new stimuli. The only effective way is to increase the intensity of the stimulus, especially when the training of greater intensity. Systematic training is to gradually improve the synchronization effect of nerve impulses, as well as the ability of the antagonist muscles to cooperate with the active completion of high-intensity exercise, so as to improve the strength.
(3) In addition to the above, the different morphology and organization of the muscles will also affect the improvement of the quality of strength. For example: red and white muscle fiber organization is different, the number and length of muscle fibers are also affected by genetic factors. And then: blood testosterone level and blood cortisol level, are factors that affect the improvement of strength quality.
From the strength training methods, can be on the dance teaching and those insights?
The strength of the practice of ---- dancers of the physical beauty is crucial, teaching is often very concerned about muscle thickening and affect the physical beauty. So, how can you maintain or form a beautiful body shape in training? The scientific application of the intensity method of training is the best choice. Studies have shown that training with larger loads (both: about 85% of the maximum muscle strength) results in a significant increase in strength and a poorer increase in muscle size. If you train with a medium level of load, the muscle volume increases significantly. If the issue of training intensity is ignored during training, the trained muscle will be significantly enlarged. The intensity training method ensures a high degree of concentration of neural exertion and the development of absolute muscle strength, which enables the dancer to improve relative strength significantly without any special increase in muscle volume. Strictly control the issue of training intensity, the application of intensity method of arranging classroom training, can completely solve the dancer's strength problem, by can maintain a beautiful body shape.
Muscle yielding exercise method ----- Chinese dance "jump" movement, mostly in the dynamic to complete a variety of jumps or continuous jumps, but also directly push the ground to jump. From the nature of the muscle work and the characteristics of the work can be divided into the support phase of the concessionary and restraining work phase, from the moment of jumping, can be divided into two phases of the buffer and the boarding and stretching. To jump high, the shorter the buffering time of the leg muscles, the greater the support reaction force. Therefore, improve the leg muscles' retreating resistance ability. Can greatly improve the bouncing force.
Retreating the exercise method is designed to improve the dancer's leg bouncing power and a very good method, the physiological basis of this method is: not only in the contraction of the muscle can be converted into chemical energy work, but also in the external force to lengthen the work, the muscle can also be in turn the work into chemical energy. Therefore, in addition to both effects (braking), concessionary force can also produce a cumulative effect. In addition, concessive exercises can be more than power exercises against greater resistance, can be more than restrained contraction of the intensity of training, and therefore can give the neuromuscular system a stronger stimulation, to achieve the effect of improving the strength of the "jumping deep" exercise is a kind of concessive exercise method. After jumping from a high place (50-110 centimeters), immediately jump up to the ground and cross a certain height of the obstacle, and can be so repeatedly practiced.
In addition, the retreat practice method can also be applied in the kicking exercise, the requirements of the upper kicking leg quickly and forcefully, when the drop intentionally control the slow drop leg. This can develop the concession function of the leg muscles, can grow muscle strength, especially the leg muscle control ability to improve significantly