In chapter 4 of Daniel Coyle’s The Talent Code: Greatness Isn’t Born. Its Grown. Here’s How, Coyle articulates a conversation he had with a teenager, John Crawford, about the concept of deep practice. Crawford described the moment that he truly began deep practicing as “clicking in.” (87). This explanation of the feeling of deep practice resonated with me because I felt that same “clicking in” feeling around mid-term of this semester. In my last paper, one of my goals was to be more conscious in my dancing; I wanted to be more of aware of the what, how and why of my dancing rather than just going through the motions and regurgitating what I’ve previously trained my muscles to do. Although I did not know it was called this, essentially, my
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The only way to fix bad habits and mistakes is to be aware of them. This awareness is precisely what the what Coyle means by learning to feel. More likely than not, bad habits are created if we practice without truly feeling and understanding what we are practicing. So we must practice with consciousness not only to prevent future mistakes, but also to correct old ones. All of my teachers, and especially Professor Comendador often critique me for appearing to have a lack of energy. This is happens when I’m not fully feeling what I’m doing. Feeling and understanding dance is what takes a dancer’s performance beyond simple execution of the movement. Feeling and understanding dance incorporates dynamics, musicality, and other internal and qualitative sensations that then translate into our external physical movement. Professor Comendador recently said that as dancers we each need to be a pop of color in our class; the way to do this is access our ability to play with dynamics and musicality. She suggested that many of us don’t access our full range of movement, which is what can cause our dancing to lack energy and seem bland. Therefore, we must challenge ourselves on the internal, qualitative aspects of our dancing as well as the external to truly
The only way to fix bad habits and mistakes is to be aware of them. This awareness is precisely what the what Coyle means by learning to feel. More likely than not, bad habits are created if we practice without truly feeling and understanding what we are practicing. So we must practice with consciousness not only to prevent future mistakes, but also to correct old ones. All of my teachers, and especially Professor Comendador often critique me for appearing to have a lack of energy. This is happens when I’m not fully feeling what I’m doing. Feeling and understanding dance is what takes a dancer’s performance beyond simple execution of the movement. Feeling and understanding dance incorporates dynamics, musicality, and other internal and qualitative sensations that then translate into our external physical movement. Professor Comendador recently said that as dancers we each need to be a pop of color in our class; the way to do this is access our ability to play with dynamics and musicality. She suggested that many of us don’t access our full range of movement, which is what can cause our dancing to lack energy and seem bland. Therefore, we must challenge ourselves on the internal, qualitative aspects of our dancing as well as the external to truly