photos BRIDGES 1042-1052
The low bridge is formed by assuming a position on all fours, with the hands flat on the floor, fingers extended, placed directly under the shoulder joint. The knees are at a rectangle, directly under the hips and the feet are extended on the floor soles upwards and the toes NOT turned under. This last detail is cautioned in case the over dancer happens to move over the feet and strain the toes. The over dancer explores passing over the bridge and taking different positions and balancing on it and eventually without touching the floor. The stability of the bridge is important to maintain an effective support for the over-dancer, as well as ease in shifting with the weight to transition from the bridge to either going down to the floor or continuing from the bridge to further low level interactions.
Themes. Measuring the stability of the table as you assume the position, to offer the best support and to be mobile, alignment principles, using bones (stacking the bones). Moving in and out of the floor using the support of your partners’ body.
Caution. Working in pairs of equal size/stature as far as possible and take time to assume the correct table position for taking a partner’s wait and moving effectively down with the weight if needed.
One person assumes the table position, the partner takes the same position alongside, touching at the shoulder edge and side of the hip. The over dancer lifts themselves up turns to place their shoulder and hip on the bridge and turns to roll over the bridge, in alignment so they are back on back with the spines aligned. They roll over and off the other side reaching to the floor with the arm and leg closest to the side of the bridge.
The bridge holds their position, the over dancer places a hand on the bridge partner, one on top of the head and one on the sacrum. The bridge moves forward from the head and back from the sacrum into the supporting hands.
This establishes a sense of the spine and its alignment between the head and tail. Keeping their hands one between their partner’s shoulders, the other on the sacrum, the over-dancer places their centre (below their navel) onto their partner, so that they pivot, head and arms on one side, hips and legs on the other.
Caution. Watch that the over dancer doesn’t push themselves onto the bridge from the side but places their centre on their partners’.
The over-dancer lifts up all four limbs to balance in full extension over the bridge. There are different ways to come off the bridge. Once on the bridge the over dancer can explore gymnastic positions, such as a supported handstand, by placing both hands down to the floor and reaching up with the feet. To come down lower the legs gently going back onto the feet, so the head and arms come up, and come off on the feet side. More advanced options come as the under/over dancers start to change roles.
Starting as in bridge 2, across the back and at the base of the spine, the over dancer has hands and feet on the floor and does a crescent roll up the bridge towards the head. The bridge partner lifts their head up for the over dancer to know when to stop. This is about the over dancer modulating the weight given to the bridge using their hands and feet.
Three people side by side in a bridge position, make a wide bridge to support a person lying across them, floating them by making a wave like movement with their backs. The triple bridge transitions slowly lowering back onto their heels, into child’s pose, so that the over dancer can roll off onto the floor.