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"ONE HOUR WITH BILLY SIEGENFELD AND JUMP RHYTHM WILL NOT ONLY CHANGE THE WAY YOU VIEW THE WORLD, IT WILL CHANGE THE WAY YOU SEE YOURSELF. BILLY CAN GET A STONE TO DANCE WITH A FULL SPIRIT."

JEANNE HERRICK, SENIOR LECTURER, NORTHWESTERN UNIVERSITY

before-wedgeSix Action Ideas to Full-bodied Rhythm Making: Idea 3

Six Action Ideas to Full-bodied Rhythm Making: Idea 3

First things first, Happy New Year!! Jump Rhythm had a monumental year in 2012 – most notably, the highest ever enrollment at our Summer Intensive, launching our new logo and website, self-producing our fall season of shows at Stage 773, and ending the year with a bang at the Kennedy Center! As if that didn’t keep us busy, we also had many other exciting opportunities, including my eight-week residency teaching JRT to the students at Stephens College in Columbia, MO, a two-week choreographic residency at Southern Methodist University in Dallas, TX, our summer performances at the Louis Theater at Northwestern University in Evanston, IL, and establishing our new relationship with Chicago’s Grace House. And, it goes without saying, we were only able to accomplish these amazing things because of you, our fans, friends, family and supporters. We are so excited to begin 2013 with you!

For the first blog of 2013, I’d like to continue the exploration of Jump Rhythm® Technique’s Six Action Ideas, written by Billy. Below is idea #3:

Using the voice rhythmically.  Vocalizing rhythm, or scat-singing, clarifies body-rhythm in two ways. First, resonating vocal sound through the body automatically engages the diaphragm; engaging the diaphragm signals the pelvis to drop into its anatomically correct position; and dropping the pelvis allows the body to ground itself – a necessary pre-condition of full-bodied rhythm-making. Second, because the voice is a carrier of emotion, and because vocal sound is felt inside the body, vocalization reinforces the expressive goal of “moving from the inside out,” to use Doris Humphrey’s famous description of expression-based dancing.

This particular action idea is one of my favorites in that it really gets to the guts of what we do in Jump Rhythm. Using the voice, in conjunction with the movement, is often the hardest concept to grasp, yet oftentimes the most rewarding. Without the voice, the rhythms that we physically play with our bodies would lack the emotional impact that they carry when integrating the voice.

I will leave you with this for now. Next week, I’ll continue with my own thoughts, experiences and challenges associated with using the voice rhythmically.

Looking forward to a brand new year of rhythm-making!

Thanks for reading,

~Brandi

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