On 9 April 2011 21:52, Lee Fuell <email@example.com> wrote:
> ...snip... > > ...and add to that the fact that "by the book" Scottish country dancing > technique is bio-mechanically unsound. For stylistic reasons, we force our > feet, calves, knees, hips, etc. to do things in ways they are not > designed/evolved (pick your preference) to do. Our legs are built for > walking with parallel feet; dancing with good turnout puts a lot of stress > on the joints they aren't constructed to take. You can develop the > musculature to adapt to turnout, but the bones, tendons and ligaments are > what they are. > > Our feet are designed for heel-to-toe walking, yet we dance with our heels > off the floor. This inordinately stresses the arch of the foot, and > requires constant contraction of the calf muscles to hold the heels up ... >
> > Lee > > Beavercreek, OH, USA >
I am a (pretty much) former dancer, who finds any form of technique, let
alone good technique, increasingly difficult by reason of age and health. I
have tried walking, but this removes all the zest in a dance and is
unsatisfactory for both the 'dancer' and the rest of the set.
Therefore, I wonder if it might be possible to devise some set of steps and
movements that -are- bio-mechanically sound, and yet maintain the style and
spirit of SCD. Without the unnatural muscle and joint stresses of today's
SCD, the four minutes to dance a reel or jig, or the eight minutes for a
strathspey, would be much less of a physical challenge. This might be a way
of prolonging a person's dancing life. More controversially, it might also
be a way to ease the learning curve for new dancers, and hence help to
preserve SCD for the future.
I have often wondered how much the more balletic aspects of SCD really have
to do with social dancing; surely the essence of it is the moving
interaction with the other dancers and the music?