Destined to become a classic text and reference, Dynamic Alignment Through Imagery shows you how to use imaging techniques to improve posture and alignment and release excess tension. The book's 195 illustrations will help you visualize the images and exercises and show you how to use them in a variety of contexts. Part I of Dynamic Alignment Through Imagery discusses the origins and uses of imagery and includes 36 exercises that demonstrate dynamic alignment in practice. You'll explore the importance of posture and dynamic alignment and discover how to use imagery to affect body movement. Part II explains the biomechanical and anatomical principles behind complex imagery and illustrates 52 exercises to bring these principles to life. You'll learn how to use basic physics to create a strong yet fluid balance in your muscles and joints. Part III provides 250 anatomical imagery exercises to help you fine-tune alignments and increase body awareness. The exercises focus on different regions of the body--the pelvis, hips, knees, lower legs, spine, shoulders, arms, hands, head, and neck--as well as on breathing. You can select specific images to address individual needs or follow the sequence presented in the book. And Part IV provides 23 holistic exercises to sculpt and improve alignment in various positions--standing, supine, and sitting. These exercises will help you establish a body image that facilitates dynamic alignment and releases excess tension. By practicing the techniques described in Dynamic Alignment Through Imagery, you'll tap into the power of imagery and create better movement. AUDIENCE Reference for dancers, teachers, performance artists, movement specialists, and students at all levels. Textbook for introductory dance and movement classes in colleges and universities. Self-study guide for dancers practicing without a teacher. CONTENTS Introduction: How I Came to Use Imagery
Reinforcing What You Want Purpose and Will Using Imagery for Alignment
Part I: Posture and Dynamic Alignment
Chapter 1. The Roots of Imagery for Alignment
Heinrich Kosnick and Mabel Todd Lulu Sweigard and Ideokinesis Barbara Clark Joan Skinner Somatic Disciplines Chapter 2. Postural Models and Dynamic Alignment
What Our Posture Reveals Postural Habits In Search of Ideal Posture
Chapter 3. Body-Mind Interactions
The Brain and Consciousness The Nervous System The Brain The Body's Navigators: The Senses The Developing Mind: The Role of Imagery Chapter 4. Individual Patterns of Habitual Movement
Wrong Habits That Feel Right Changing With the Help of Imagery Motivation and Change The Body Image in Alignment Chapter 5. Imagery Categorization
Sensory Imagery Direct and Indirect Imagery Abstract and Concrete Imagery Inner and Outer Imagery Chapter 6. General Guidelines Before Imaging
Concentration Positions for Anatomical Imagery Work Using Imagery When in Motion Inhibition Mental Practice With Imagery (MPI) Image Narrative, Image Bundles Training Your Ability to Image Imagery Checklist: Am I Ready to Image? Part II: Biomechanical and Anatomical Principles and Exercises
Chapter 7. Location and Direction in the Body
The Central Axis Body Geography Joint Movements
Chapter 8. Force, Gravity, and Mass
Force Vectors Matter and Mass
Chapter 9. The Laws of Motion and Force Systems
Newton's First Law of Motion: The Law of Inertia Newton's Second Law of Motion: The Law of Acceleration Newton's Third Law of Motion: The Law of Reaction Force Systems Lever Systems Energy Conservation The Ability of Materials to Resist Force Chapter 10. Joint and Muscle Function
Joint Types Bones Connective Tissue and Fascia Muscle
Part III: Anatomical Imagery Exercises
Chapter 11. The Pelvis, Hip Joint, and Company
The Pelvic Arches Pelvic Imbalances The Pelvic Powerhouse The Pelvic Floor The Sitz Bones The Hip Joint The Iliopsoas Chapter 12. The Knee and Lower Leg
The Knee The Tibia, Fibula, and Ankle The Foot
Chapter 13. The Spine
The Functioning Spine Pelvis and Spine The Vertebrae Intervertebral Disks Rib Cage and Spine The Sacrum The Coccyx Organ Support Musculature of the Abdomen and Back Chapter 14. The Shoulders, Arms, and Hands
Suspension of the Shoulder Girdle The Glenohumeral Joint The Scapulohumeral Rhythm The Elbow The Wrist and Hand Chapter 15. The Head and Neck
Atlas and Axis The Skull The Mandible The Hyoid and Tongue The Eyes The Nose and Mouth Chapter 16. The Lungs, Diaphragm, and Skin: Breathing
The Lungs Effortless Breath The Diaphragm Inhalation Exhalation The Skin Part IV: Returning to Holistic Alignment
Chapter 17. Alignment Revisited
The Biomechanics of Alignment Processing Dynamic Alignment
Chapter 18. Other Exercises to Create Dynamic Alignment
Alignment in Supine Positions Alignment in Sitting Positions Standing and Walking Alignment Releasing Excess Tension Other Dancers and Your Alignment Continuing Imaging Index
Literature
ABOUT THE AUTHOR Eric Franklin has more than 20 years' experience as a dancer and choreographer. In addition to earning a BFA from New York University's Tisch School of the Arts and a BS from the University of Zurich, he has studied and trained with some of the top movement imagery specialists around the world and used this training as a professional dancer in New York. Franklin has shared imaging techniques in his teaching since 1986. He is founder and director of the Institute for Movement Imagery Education in Lucerne, Switzerland, and professor of postgraduate studies at the Institute for Psychomotor Therapy in Zurich, Switzerland. He is a guest professor at the University of Vienna (Musikhochschule) and has been on the faculty of the American Dance Festival since 1991. Franklin teaches at universities, dance centers, and dance festivals in the United States and througout Europe. Franklin is coauthor of the bestselling book Breakdance, which received a New York City Public Library Prize in 1984, and author of 100 Ideen fr Beweglichkeit and Dance Imagery for Technique and Performance (both books about imagery in dance and movement). He is a member of the International Association of Dance Medicine and Science. Franklin lives near Zurich, Switzerland, with his wife, Gabriela, and their two children. WORDS OF PRAISE "The use of imagery to improve human alignment and movement has been practiced by relatively few adherents, most of them professionals. Now, with Eric Franklin's book Dynamic Alignment Through Imagery, the technique of using imagery is made clear for the general public as well for professionals. Franklin is to be commended for bringing this important work to a wider audience." Andre Bernard
Adjunct Assistant Professor Dance Education
New York University
This is a charming and humorous synthesis of ideas contained in the writings of Mabel Todd, Lulu Sweigard, Barbara Clark, and their students. Irene Dowd
Faculty, The Juilliard School
Guest Faculty, The National Ballet School of Canada
"The main purpose of body alignment in dance is to create efficient control of movement. Eric Franklin's book Dynamic Alignment Through Imagery equips readers with the basic knowledge and exercises to achieve a clear and useful alignment." Zvi Gotheiner
Choreographer and Teacher, New York City
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