8 questions about the Rhythmecality® concept

 

1. What am I to expect from RHYTHMECALITY®?

It is a book and CD series presenting the rhythms of the five different Latin American dances.

The purpose of the RHYTHMECALITY® learning method is to visualize a given musical rhythm in the body of the dancer. Different instruments create different sounds, which will in turn lead to changes in the body (what we feel and what others see). The musical rhythm is visualized by the dancer’s body rhythm.

2. What is the objective of RHYTHMECALITY®?

Its prime objective is to enable the dancer to move in time and to the beat as well as to the rhythm. It is almost impossible to be off beat with our unique method!

3. How did the RHYTHMECALITY® concept come about?

We wanted to create a method that would allow everyone becoming one with the music as well as with its rhythm. We were thinking as much of beginners as of the top dancers. Both are dancing to the same music, after all. This was our starting point.

It has been our experience that few dancers have ever systematically learnt to hear the rhythm in music, let alone to feel it. Instead they tend to count the rhythm.

However, we believe it is very important to start with teaching how to hear and understand as well as to experience rhythmic characteristics rather than simply teaching step patterns and how they are counted. In order to avoid this, we had professional musicians record a number of different, typical rhythms; you will find these tracks on the CDs that come with the books. The CD presents isolated sounds represented by typical instruments. In this way, the respective rhythmic patterns are presented in a clear and obvious way.

The most relevant basic rhythms of the individual dances are introduced by different, yet typically used instruments. Each instrument has a different sound; different sounds motivating different movements. Consequently, each instrument with its unique sound represents a particular body movement.

Intuitive interpretation can only happen when a fundamental and broad understanding of the music and its different rhythms exists and can be perceived.

Our method promotes the ability to understand and further develop musical rhythm and body rhythm in all its facets.

4. Can RHYTHMECALITY® be adapted to other sports?

Yes, it can! Indeed, it is our long-term goal to introduce RHYTHMECALITY® and all the possibilities and facets it has to offer to other sports.

We have gained first experience in skiing where we were able to combine Samba rhythms with deep snow skiing. Golf is another exciting sport in this respect. The player has to be able to adapt his rhythm to the conditions; all swings –drive, bunker shot or putting, have their own body rhythm. However, we have only just started, here. Still, we are ready for the challenge as we are convinced RHYTHMECALITY® has great potential in other sports, as well.

5. Which concept is applied by the RHYTHMECALITY® method?

The centrepiece of RHYTHMECALITY® is the Rhythm-Lights concept. The Rhythm-Lights in green, yellow, and red leads you from simple step patterns (green level) to changes in body tension (yellow level) to complex coordination (red level).

RHYTHMECALITY® has been designed for beginners and top dancers alike. Hobby dancers experience the rhythms of the individual dances with their partner. They are able to enjoy the music and each other without stress. Top dancers receive a tool to gain better control of the choreography in view of tempo, lifting their performance to a higher level.

RHYTHMECALITY® teaches the body how to think, and the head how to feel!

6. What was the greatest challenge of the RHYTHMECALITY® project?

From the outset, the greatest challenge was developing a system which would allow describing the music as well as the respective body movements. Excellent textbooks for the dance sport are available, but they are exclusively for the education of dance coaches and adjudicators, listing all the required technical skills for the individual dances. The relation between music and rhythm has no priority.

Likewise, fantastic music is available which, however, calls for a lot of experience and great musical understanding.

There was pioneering work to be done, developing a method that would do justice to both. We are very pleased with the result of 14 years of hard work. So far, RHYTHMECALITY® has met with great enthusiasm at the beginners’ level in dance schools and one in dance club. RHYTHMECALITY® is a wonderful introduction to feel and experience dancing with your partner. It is exactly what makes Salsa, Tango Argentine and the currently so favoured West Coast Swing so popular!

7. Which came first – chicken or egg?

We are convinced that the dancer is initially dominated by rhythm before he is able to dominate the rhythm in turn.

We are well aware that dancer and music each have their own rhythm. In our opinion, however, dancing is the concurrence/synchronisation of the two components. It is our goal for the dancer to become aware of the musical rhythm first in order to translate it into movement.

This is the clearly visible approach of RHYTHMECALITY® - to visualize music and movement. Based on this foundation, dancers may apply their own rhythm. However this is not a priority of the RHYTHMECALITY® method.

8. What’s the ME in RHYTHMECALITY®?

RHYTHMECALITY® is a neologism coined by us. The ME is central.

I don’t have a body.
         I AM THE BODY!

I’m not creating rhythm.
         I AM THE RHYTHM!

I AM RHYTHMECALITY®!

RHYTHMECALITY® is a method through which you –being the ME- gain knowledge. This leads to a better performance and experience of your dance.

This is RHYTHMECALITY® and what it stands for!