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By means of lack of time, this short and narrow life often leads me to have to train my legs in balinese style while washing dishes or working on vocal melismas when vacuuming the house. Following this idea of multipurpose training, when I want to practice improvisation and physical techniques on piano,  sometimes I use the rythmical footwork sequences from a 12 beats bar soleá that I have to memorize for the next dance class. Just like rotary cultivation, in which the chickpeas placed in the empty spaces bring nitrogen supply to the soil on which the olive trees stand, dialogue between disciplines and traditions results in a more productive and effective learning and teaching. 


Rhythms and tunes in flamenco, jota or seguidillas give countless ideas to shape the phrasing, articulation and accents in the classical Spanish repertoire. On the mechanical side, movements of the hands and fingers, and coordination between parts of the body in dance, prove to help  improving technical skills while sitting on the piano. 


Working on body alignment and mobilizing shoulders, arms and fingers constitute one of the clues for avoiding problems related to, as in my case, pressing keys of a laptop or a piano for a long time, in a constrained position. Besides that, I try to keep training cognitive habilites such as sense of temporal structure and rhythm —in a dance where footwork is one more musical instrument—, while stretching muscles to find lines and angles. 


An artistic expression where drama, movement and music are always interrelated, doubtless offers a powerful training for dancers and actors in order to improving stage presence, and precision of movement, while understanding another conception of interaction with music. Exercises based on the balinese  postures and sequences of movements in order to work on fragmentation of the movement or the energy contention bring out countless ideas when creating or defining theatrical characters.

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