“The last year has brought this really awesome feeling when doing the Opening Sequence, particularly the forward bend and reaching back. I’ve become aware of this really connected unit that my body has become. The shifting of my weight, and the placement of my limbs seems to happen seamlessly and effortlessly now. Not every single time but 95% of the time and when it doesn’t there is usually something going on that keeps it from happening whether in my body or in my mind. It’s a very comforting feeling. I often think of the lines in your book where you question if we, your students, feel what you feel and while I don’t necessarily know if it’s the exact same thing, it seems analogous. I feel my hair moving and the material of my clothes sliding over my skin and it all becomes much more prominent in my proprioception when I start my practice.”

First from Teresa Dunyati-Long, CDMT, and neruoscience PhD candidate, about moving with fascial awareness:
“I think you have got a dead eye bead on this! And its not only
the conditioning of the skeleto-muscular systems that is enhanced, but
also functioning of the entire nervous system. That is really the
thrust of my research — the somatic component of cognition, which
depends on the integrity of the cells that give rise to cognition.
It is so miraculous, Dunya! During Dancemeditation to an African-style
marimba band, I was able to see the links in the chain from the first
stirrings of matter out of a sea of golden and silver energy, how they
self-organize due to the interaction between the Void and the Energy
such that everything manifest occurs. It was a heady vision — I was doing Perpetual Motion fascia to the music. Massively powerful whole-brain vision induction technique combination.
Artists always get there first, Dunya, did you know that? I can show
you strong evidence even scientists would have to agree with….hence,
all our dance artists got to the right combination of techniques to
sustain mind and body in creative adaptability. You are definitely one
of the pioneers in this field.”

And this from Stephanie Rudloe, CDMT, about Dancemeditation practice with her new baby, Priscilla.
“The baby was quite remarkable yesterday; she joined me in Dancemeditation practice. I sat her on the floor in front of me & she did the first moves of the Opening Sequence – forward bend. Doing her own movement – mostly sitting up & with her own little shimmy rocking hand movement. Then it moved into some baby form of contact improv & then we both did our own thing rolling around on the carpet. She made it half way thru ‘Sufi Traveler’ (20 minutes) before wanting to nurse. Who would have thought Dancemeditation for babies?!”

Find your inner dancer in dancemeditation class
Posted by Chris Bynum, Health and fitness writer, The Times-Picayune August 08, 2008 5:00AM
Categories: Living: Health and Fitness
Matthew Hinton / The Times-Picayune”Dancemeditation is about getting in touch with your body…,” says Kryss Statho, class instructor and co-owner of Crescent Lotus Dance Studio.
“I think of it as moving yoga,” says Christian Trosclair, a computer specialist and one of 14 people gathered for a “dancemeditation” class.

“It’s not strenuous; it’s more about stretching,” says another student, Susan Leary, a designer. “I’m not a dancer. It’s so good for the non-dancer.”

“Dancemeditation is about getting in touch with your body, about feeling, understanding and listening rather than simply using your body as a vehicle to get around,” says Kryss Statho, class instructor and co-owner of Crescent Lotus Dance Studio, where dancemeditation is one of a variety of workout offerings.

Dancemeditation is a cross between Sufi-based dance in the spirit of whirling dervishes and American interpretive dance. It requires no previous dance training and is based more on movement than on technique. The words “dance” and “meditation” have been merged into one to emphasize the duality of the experience.

In many ways, it’s what you make of it. Even with the interaction of other students, dancemeditation becomes individualized expression.

“It falls into the New Age category, but it’s not filled with crystals and angels or shamans. I think dancemeditation can be a recreational thing for some, just some ‘me time’ to take for oneself and relax. It borders on a spiritual practice for some,” says Statho, who studied with dancemeditation teacher Dunya Dianne McPherson in New York City.

The workout goal here is more about building awareness than building muscle. In this, dancemeditation is part of a trend that includes Nia — a vigorous dance-oriented workout created in the early 1980s that incorporates tai chi and martial arts moves — and ecstatic dance, a kind of “trance dance,” in which music, movement and the breath are used to shift the brain from its cognitive state to a meditative state. All three practices are considered body-mind-spirit oriented.

Matthew Hinton / The Times-PicayuneKelly McCay takes part in a dance meditation, which is a cross between Sufi-based dance in the spirit of whirling dervishes and American interpretive dance. It requires no previous dance training and is based more on movement than on technique.
As the recent dancemeditation class begins, participants put their yoga mats on the floor and settle themselves on the mats. At this point it is best not to think ahead. Statho says the dance concept is about “absorption in the moment and annihilation of the ego.” Self-consciousness is not allowed.

The floor movement begins with a monkey-see, monkey-do choreography directed by Statho — exercises to get the body to move outside of habitual patterns. Students follow Statho’s moves, their hips rolling gently from side to side, legs tracing a slow cycling motion, arms swaying like tree limbs in a gentle breeze.

“Once you start moving, you are in a calmer state,” Statho says.

Students eventually stand. They sway, turn, slice the air with gentle moves of their arms and hands. They are simply moving to the rhythm of the music that emphasizes beat and pattern, rather than lyrics and emotional intensity.

“Choose a partner. One of you will be a witness, and the other will dance with her eyes closed until the music stops. Then the witness becomes the dancer, and the dancer the witness,” Statho instructs. The students pair off.

Time flies. Calories burn. Some dancers do their entire dance in a seated position, some turn and twirl on their toes. Some crouch and sway. The differences in style only add to the comfort zone in which there are no wrong moves.

Being a witness to your dance partner is a purposeful role, Statho says.

“You are being allowed to dance and express yourself and be in your body while someone is giving you their complete attention while not judging. It’s not like you are in a class being critiqued or being at a club on the verge of being picked up,” she says. As far as being the witness, says Statho, that is a lesson in observing and interacting with others and not losing oneself in the process.

When the dancing is done, partners plop down to discuss their experiences. Here, the contrasts in styles are fodder for insightful and sometimes humorous conversation.

Matthew Hinton / The Times-PicayuneTiffany Boveland takes part in a dance meditation at Crescent Lotus studio in New Orleans.
Statho instructs the students to form a circle. The music continues, and one by one Stathos calls each participant to the center of the circle to dance solo. Any shyness dissipated 10 minutes after class started.

As each person takes a turn, the people in the circle imitate the showcased dancer.

When the music stops, the dancers are relaxed, rejuvenated.

While the circle dance may seem like child’s play, there is a reason for ending the class with group interaction.

“This is to bring everyone out and allow them to be interactive again, rather than inwardly focused, before they leave class,” Statho says.

An hour and a half of dancemeditation is “a brief moment in the practice,” says Statho, who says 20 minutes of private practice a day can be beneficial. The dance ritual is expected to be just that — a practice. This isn’t about waiting to be asked to dance.