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Adavu
Published in Mark Evans, Konstantinos Thomaidis, Libby Worth, Time and Performer Training, 2019
All hereditary Indian arts centre upon the guru shishya paramapara (the chain of oral transmission from teacher to student). In Confessions, Shane conveys the sense of custodial responsibility this confers upon bharatanatyam dancer. In one section, large images of hasta mudra (symbolic hand gestures) are projected on the backdrop while Shane simultaneously demonstrates them. He amplifies their complex forms by performing a distinct karana he has created for each one. Then, reciting the names and forming the shapes of mudras, he places his hand in those of audience members, as if making personal gifts. Mudra are rote learnt by bharatanatyam students who copy their teachers until each form can be shaped instantaneously when its name is called out. In Confessions, Shane describes his hands, and the mudra he forms with them, as being part of a chain of hands forming mudra that stretches back into antiquity; these shapes have been passed down – hand-to-hand – from one generation to the next, across the aeon (Figure 9.1).
Bioenergetic Medicine
Published in W. John Diamond, The Clinical Practice of Complementary, Alternative, and Western Medicine, 2017
Step 3 — Find the Mudra (hand mode) associated with the allergen. Place the allergen in the aluminum block, with the patient holding the brass electrode, and have the patient touch his or her thumb and index finger pad to pad. This represents Mudra 1 and relates to a structural problem (skeletal, muscular, etc.). If the patient goes weak with this hand mode, he or she may need manipulation and/or acupuncture before using allergy desensitization. The allergen is usually a contactant or chemical. Now have the patient touch the thumb pad to the middle finger and test. This represents Mudra 2 and relates to nutritional and metabolic problems with the allergen. The allergen is usually a food or a chemical that has entered the body by ingestion, injection, or inhalation. Next have the patient touch the thumb and ring finger and test. This represents Mudra 3 and relates to an emotional issue with the allergen. These allergens can vary and relate to the environment at the time of the emotional stress. Most often the allergens are foods such as milk products, sugar, or chocolate. Almost 80% of all allergies have an emotional component. Mudra 4, thumb to little finger, relates to vascular problems and is only used in desensitizing patients to cholesterol.
Feasibility and effects of a chair-based yoga program for adults with neurodisability
Published in Disability and Rehabilitation, 2022
David Suárez-Iglesias, Mabel García-Porro, Aisling Clardy, Carlos Ayán Pérez
The program took place in the same closed room in the CRE and lasted 10 weeks. Fifty-three 60-min chair-based yoga classes were taught by the same yoga instructor. The instructor was a certified Integral yoga teacher by Yoga Alliance Europe (1,100 h) with over 18 years of experience, including seven years teaching yoga to people with hearing impairments, people with mobility limitations and older adults. The instructor also had a bachelors degree in Physical Education and Sports Science and a master’s degree in Healthy Aging and Quality of Life. Classes were run from Monday to Friday in three free-choice class periods for the convenience of the participants, so they could keep their usual personal schedules and attend other CRE activities during morning hours. One additional class was scheduled at week 3, 7 and 10, respectively. Classes ranged from 4 to 12 participants. Integral yoga was used, a lively style, without dogma, whose main foundation is the achievement of personal autonomy and inner peace and relaxation [38]. Classes included physical postures (Asana), breathing exercises (Pranayama), mindfulness and concentration practices (Dharana), sounds to focus within (mantras) and hands gestures (mudras), guided visualization, relaxation and meditation exercises (Dhyana). At the end of each class, explanations were given on yoga philosophy (Yama and Niyama) and its benefits for general health.
Effects of Traditional Indian Dance on Motor Skills and Balance in Children with Down syndrome
Published in Journal of Motor Behavior, 2022
Manasa Kolibylu Raghupathy, Mohan Divya, Suruliraj Karthikbabu
Dance being a psychotherapeutic and aesthetic movement form of art shall influence the nonverbal intelligence and dual tasking of children with DS. Dance also engage the children in a positive frame of body awareness, enthusiasm and confidence in movement. Furthermore, the children express their creativity and emotions such as joy, fun and happiness while practising the dance (D’Souza & Wiseheart, 2018; Jobling et al., 2006). Burkhardt and Brennan (2012), in their systematic review, reported the impact of recreational dance on the general health and well-being of children. Dance also showed improvements in the psychosocial and daily functioning of children with cerebral palsy (Machado et al., 2017). The Ballet and Laban’s dance movements showed improvements in balance skills, rhythm, and voluntary control in children with DS (Albin, 2016; Jobling et al., 2006; Silveira de Faris & Machado, 2016). Traditional Indian dance is a vibrant historic art that originated from the classical forms of Bharatanatyam, Kuchupudi, and Kathak which combines the movement, emotion, and spiritual dimensions. The footwork (nritta), hand gestures (mudra), and facial expressions (abhinaya) incorporate the rhythmic coordinated movement patterns of feet, hands, torso, extremities, and eyes (Chatterjee, 2013). It was hypothesised that the traditional Indian dance might impact the motor skills proficiency and balance performance of children with DS. To the best of our knowledge, the benefits of traditional Indian dance in DS could not be retrieved in the published literature, therefore, the need for this study. The objective of the study is to examine the effect of Bharatanatyam, Kuchipudi and Kathak on motor skills and balance in children with DS compared to neuromuscular training.