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4Principle
FreeDanceStimulating Movement Creativity
“You were wild here once. Don’t let them tame you.”
Isadora Duncan
Principle 4 - FreeDance | 1
IntroductionFreeDance is one of the underlying foundations for
exploring the body and self through Nia. It ignites your
desire to learn more about who you are – and who you
can be – by encouraging you to move differently, listen
to music more intimately and deeply connect to your
emotions. The eight stages of FreeDance provide a safe
environment where you are encouraged to be yourself,
feeding your mind and body’s appetite for discovery,
expression, spontaneity and improvisation.
FreeDance develops an expanded movement
vocabulary for creative, body-centered choreography. It
provides the space to develop an intimate relationship
with music and your own authentic movement.
Witnessing yourself in FreeDance helps you break
through old habits by releasing limitations and fears.
FreeDance emerged spontaneously. Our bodies seemed
to move and dance all by themselves, seduced by the
sounds we heard and sensed. The music called us to
reach, shake, extend, and pause, inviting us to move
without controlling our expression. The experience of
dancing without manipulating or censoring our dance
gave us more energy. Our bodies felt lighter.
FreeDance helped us to move in ways we never had
before; it expanded our expression vocabulary to
include gesture, mime, stillness, shapes, attitudes,
personality, archetype, character, play, and more.
Principle 4 - FreeDance | 2
Voice ofBody
To your physical body, I offer the freedom to do exactly
what is spontaneous and authentic to you. Use me to free
up constraints so your movement includes every type of
gesture – dance, mime, walking, sitting, singing, playing
and exploring. I offer you a process to physically respond
and change from moment to moment. I am most easily
stimulated by sound and emotion. Through me, you learn to
move without thinking.
Mind
To your mental body, I offer a pathway to the creative
void of consciousness, to the place where your unlimited
potential resides, where all movements and gestures
become part of the dance of life. I am unbound, open
and playful. I give you free reign to explore and create, to
move without editing, to discover without thinking.
Emotions
To your emotional body, I offer the ability to be real, to
authentically and organically express yourself. With me,
all your desires, feelings and emotions, your light and dark
sides, are welcome and encouraged. Dance my dance and
discover the liberation of letting your emotions run freely.
Spirit
To your spiritual body, I guide you to new ways of
moving through play and exploration. I love to take you
to the playground of all playgrounds, into the river of the
unexpected, into a powerful journey of self-discovery that
turns the “old” into the “new.”
Principle 4 - FreeDance | 3
ScienceAdaptability is one of the best indicators of physical,
mental and emotional fitness. To limit yourself to specific
patterns and repetitive habits is to limit the conditioning
your body, mind, emotions and spirit can receive
from every choice and action you make. FreeDance
stimulates creativity and movement variety, which is key
to conditioning your body and nervous system to handle
the stresses you encounter throughout life (adaptability).
This is why FreeDance is such a powerful technique of
conditioning the whole self.
Each of the eight stages of FreeDance provides ways to
stimulate creativity, awareness and self-discovery. For
example, Stage 2 focuses on the Art of Listening. When
combined with Stage 1, these intimate listening skills
stimulate new kinds of authentic movement. Stage 8
asks you to incorporate the three intensity levels into
your movement, which naturally stimulates movement
exploration and the discovery of new boundaries.
The eight stages also stimulate the nervous system, as
each stage places specific demands on the body and
mind. For example, Stages 3 and 4 focus on using
emotional energy to stimulate movement variety,
conditioning your nervous system for emotional pliability.
Stage 5 conditions you to pay attention to multiple things
at the same time, e.g.: the music (the bars) and changing
your movements to activate new physical sensations.
One of the greatest gifts of FreeDance is the constant
opportunity to move in Your Body’s Way by always
seeking comfort and pleasure. This freedom taps you your
full potential, empowering you to dance through every
moment of your life in safe, personalized and deeply
expressive ways.
Principle 4 - FreeDance | 4
CraftNia choreography is created through sensory-based movement, dynamically blending form with freedom. By heightening
sensation awareness, FreeDance helps break rigidity and habits, expanding your movement choices and unleashing your
authentic dance. FreeDance integrates your body, mind, emotions and spirit and creates an intimate connection with music,
helping Nia teachers and students share the Nia promise.
Recall1. What is the triad for Principle #4?
2. List the 8 Stages of Principle #4 and the
catch phrase for each.
3. What is the purpose of Principle #4?
Freedance Stimulating Movement Creativity
Create
Move Explore
Principle 4 - FreeDance | 5
8 Stages of FreeDance
FreeDance is an eight-stage process designed to stimulate
movement creativity. Each stage provides a unique form of
stimulation.
Stage 1: Freedance
Stage 2: Being Seduced by the Music
Stage 3: Feelings and Emotions
Stage 4: The Creative Source
Stage 5: Authentic Movement
Stage 6: Witness
Stage 7: Choreography
Stage 8: Nia Class
Stage 1: FreeDance
Catch Phrase: Anything Goes, Movement-Wise
In Stage 1, attention is placed completely on body
sensation; no thinking is needed. You can follow the music
or not; just move and express yourself freely!
When we say “anything goes,” we mean it! Be
spontaneous and expressive. Expand beyond your
movement habits. Pay attention to your body. Allow the
organic nature of your movement to evolve. Move with
freedom and creativity and follow your whims. Stop all
inner dialogue and be in your body. It doesn’t have to look
good; you just have to feel it!
Do not confuse FreeDance with dance. FreeDance is not
about coming up with steps or moves; it is about personally
expressing what you sense. Be real. Expose yourself. Don’t
limit yourself to technique. All forms of body gestures fit
into the structure of FreeDance, even stillness. The primary
function of Anything Goes is to stay with the body and its
movements, whether they relate to the music or not. Invest
your total attention in the movement of your body.
Pearls: Expression, Playfulness, Gesture, Movement Theatre, Sensation
Stage 2: Being Seduced by the Music
Catch Phrase: Art of Listening
In Stage 2, attention is placed completely on the music.
To practice Being Seduced by the Music, stand or sit with
a vertical spine and listen. No movement is performed in
this stage. Notice the instruments. Name them you can;
if not, create a metaphor. For example: sounds like water,
or sounds like paper crumpling. Pay absolute attention to
the music. Use your entire body to listen to the music and
connect to sound on a kinesthetic level. Invest your total
attention. Appreciate the details of the song while you
sustain the practice of listening for the instruments.
Pearls: 100%Attention to the Instruments, Stillness, Upright Spine
The Art of Listening
Anything Goes Movement-Wise
The Real You
Pretend, Fake It, Act As If
Interfere...Judge...Not! Observe
Change!!
Levels 1, 2, 3
The Accidental “Click”
Principle 4 - FreeDance | 6
Stage 3: Feelings and EmotionsCatch Phrase: Pretend, Fake It, Act As If
In Stage 3, attention is placed on acting out feelings and
emotions to stimulate movement creativity. To practice
this stage, first choose an emotion to play with (see the list
of feelings and emotions at the end of this chapter). Then,
without dancing, begin to act out that emotion through
gestures, facial expressions, and sound. Continue acting the
emotion in an exaggerated, playful way in order to stimulate
new ways of moving. When you are ready, choose another
emotion and repeat the exercise.
Create emotional gestures. “Try on” all emotions,
from anger to joy, greed to love, jealousy to sadness.
Pretend you are an actor. Become comfortable with the
sensations of every emotion. Create a story in your mind
that supports the emotion you are acting out. This creates
flexibility, endurance, balance, and relaxation within
your emotional body.
Emotions are energetic responses to our experiences. We
must learn to deal with our emotions to keep ourselves
free and unblocked. When emotions are expressed in a
conscious, loving, and respectful way, fitness and healing
occur. The only “bad” emotion is one that eats away at you
or is expressed with the intent to hurt. In Nia, we teach you
to remain open to all feelings, to connect to all emotions
without judgment. All emotions are valuable. Each one is a
bundle of energy you can harness to express yourself.
The body becomes stronger through physical movement.
A strong emotional body is mature and expressive. You can
strengthen your emotional body, too. Playing with emotional
energy naturally triggers gesture and motion. When you
remain present and let emotions move through your body,
your body grows stronger and more pliable.
Explore any emotion as deeply as you desire. Be ready
to come out of the exploration as fast as you went
in. Emotional pliability is just like physical pliability;
it builds and helps you avoid injury. For this stage
of FreeDance, use emotion as the chemistry to fuel
organic and authentic movement. Experience embodied
emotion! Develop the ability to access every emotion.
Stay grounded and in your body.
Pearls: Exaggerate, Express, Activate Whole Body, No Dancing, Inner Talk, Mental Energy Creates the Gestures
Stage 4: The Creative SourceCatch Phrase: The Real You
In Stage 4, attention is placed on tapping into the actual
sensations of emotions for the purpose of stimulating
movement creativity. To practice this stage, first choose
an emotion to practice with (see the list of feelings and
emotions at the end of this chapter). Next, tell yourself a
story, real or fiction, in order to access your personal and
genuine expression of the emotion. Keep repeating the
story and allow it to stimulate your movement.
In this stage, rather than exaggerating an emotion, allow the
authentic subtleties of your emotion to arise. Be real with
your feelings. Nurture the feelings with the story. Allow
the emotion to guide your movement. Do not dance. The
Creative Source is a way to create choreography with new
energy, new expression and new movement. If you are
angry, allow yourself to be present and move with your
anger – you will move in entirely new ways. The Creative
Source is a deep well of expressive choreography. Allow
every emotion to fill your form and design your gestures.
As you practice expressing your emotion, don’t think or try
to ascertain the meaning of the emotion – just feel it! You
will tap into one of the most powerful resources you have:
emotional energy.
Pearls: Feelings and Emotions, Tell Yourself a Story, No Dancing, Cultivate, Emotional Energy Creates the Gestures
Principle 4 - FreeDance | 7
Stage 5: Authentic MovementCatch Phrase: Change!
To practice, Stage 5, Authentic Movement, move in one
way for two full bars. Focus your awareness on sensation
while simultaneously paying attention to the “one” count.
When the third bar begins, change your movement and
stay with it for another two full bars. The new movement
originates from your body, not from your thought or
imagination. You will know your movement has changed
by experiencing different sensations.
Be real and authentic. You don’t need to be brilliant;
being authentic is enough. Every two bars, change your
movement. Eventually, you will exhaust your movement
habits and tap into new movements. Make your movement
changes as radical as possible. Go where you’ve never
gone before.
In your White Belt Intensive, your Trainer used the phrase
“go shopping” as a metaphor for trying on new ways of
moving. As you practice at home, go shopping! There is still
one catch, however: You must try on unfamiliar clothes.
Usually our clothes all look the same. You know you are
out of your comfort zone when you try something on and
say, “I can’t wear this – what would people say, what will
my family think?” It is amazing what clothes can do to shift
our self-image! The same thing happens with movement:
we get stuck. The music begins and we move the same
old familiar way, regardless of the sound. The “store”
you are going to now is so big that it has every piece of
clothing ever made in the past ten years in your size. It
has accessories, shoes, hats, bracelets, and belts. Don’t
get stuck sticking to black. Change the colors, the size, the
shape, or the attitude. How authentic can you be?
Pearls: Sensation, Movement Tendency, Personality
Stage 6: WitnessCatch Phrase: Interfere...Judge...Not! Observe
In Stage 6, attention is placed on observing movement
tendencies without manipulation or judgment. Begin
by moving, and then ask your Witness to observe your
movement tendencies. Observe your own dance. Notice
but don’t change a thing. Do not censor your body! This
will strengthen your ability to sense, perceive, and see your
own body in motion. This practice will sharpen your self-
awareness while you dance.
Your Witness is here to recognize and remember the
movements of your body, to observe you and gather
information. Your Witness communicates from your higher
self. It is loving and non-judgmental and never interferes
with your authentic movement. It does not judge your
actions and movements; it merely observes and takes notes.
Your Witness has no opinion and does not tell you what
to do. With the information your Witness provides, you
may or may not choose to alter your tendencies in order
to explore new things. In Stages 5 and 6, we play with
three layers of change: sensation, movement tendency, and
personality.
When we move outside of our safety zone we feel
disoriented. The new move may not fit with who we think
we are. You might even feel threatened by the moves
you do. Change can be scary, especially when it triggers
emotions. The key to safe and effective change is to move
in ways that only gently disrupt your image and habits. As
you come to tolerate the sensation of change, you will be
able to take greater risks.
We all want to change and grow. Do you do what it takes
to really change? You must let go to change. You must leave
parts of yourself behind.
Pearls: Conscious Personal Training, Pay Attention, Notice, Watch, Manipulate Not, Self-Aware, Receive Information, Gratitude
Principle 4 - FreeDance | 8
Stage 7: ChoreographyCatch Phrase: The Accidental “Click”
In Stage 7, attention is placed on discovering the “clicks”
within Nia choreography. To practice this stage, practice
Art of Listening while dancing to a Nia routine. Pay close
attention to the details within both the music and the
movement. When the music and the movement come
together, recognize the match as a “click.”
Creative, body-centered choreography does not arise from
the mind, habit, or convenience. It arises from slipping
into sensation and waiting for the “click.” The click is a
sensation, a motion that blends your body with the music.
The click is your sensory voice saying, “This move fits. It
is aligned with the vibration of the music and my body.”
Sense when the movement and the music become one.
To find the click, move and stay connected to your senses.
Stay fascinated, seduced by the music and the sensations
you feel. Let your Witness observe the process. Wait for the
click; it may take some time. Then, ask yourself, “Does the
music come more alive as a result of the movement? Are
certain sounds more evident?” In Nia, we want to dance
to the music, not our personal preferences. Eventually, all
clicks fit together, creating a class routine.
Pearls: Spontaneous, Fits Music, A Match, Authentic, No Thinking, No Ideas, Music and Movement Click
Stage 8: Nia ClassCatch Phrase: Levels 1, 2, 3
In Stage 8, attention is placed on applying The Three
Intensity Levels (from Principle 7) to movement. To practice,
begin with a routine kata (series of movements). While
using the same muscles to perform the same movement,
play with range of motion and exertion to identify your
three different levels of intensity. The degree of change
from one level to the other can be slight, moderate, or
acute. If you want to add complexity to a move by adding
something new, this is called an option, not a level.
You must be able to refine all Nia moves into The Three
Intensity Levels (see Principle #7 for more information). If
a step is outrageous, you can still use it, just break it down
into three levels. Remember, all levels contain the same
aliveness and spirit of the original movement. One beautiful
aspect of Nia is its adaptability; each movement has three
levels of intensity. When translating a step into levels, be
sure to ask yourself, “Am I maintaining the integrity of the
original movement?”
Pearls: Increasing/Decreasing Intensity, Aliveness, Movement Integrity Remains
Recall1. What is the triad for Principle #4?
2. List the eight stages of Principle #4 and the catch
phrase for each.
3. What is the purpose of Principle #4?
Principle 4 - FreeDance | 9
EmbodimentExercise 1: FreeDance
Practice FreeDance Stage 1: FreeDance (Anything Goes
Movement-Wise). Play any song and begin to move your
body in a way that stimulates movement creativity. Place
your attention completely on sensation. Invite creativity
in just as you do when working with Universal Joy. You
can use the music you hear if you want to, but you don’t
have to in order to stimulate movement creativity. If you
find yourself “being with your mind” in this stage, allow
yourself to refocus and return to sensing your body. Repeat
with as many songs as you like.
Exercise 2: Being Seduced by the Music
Practice FreeDance Stage 2: Being Seduced by the Music
(Art of Listening). Play any song and while in stillness, listen
to the instruments that come and go. Stand or sit with a
vertical spine and place your attention completely on the
music. Name the instruments as they come in. If you do
not know the name, create a metaphor such as “sounds
like water.” Repeat with as many songs as you like.
Exercise 3: Feelings and Emotions
Practice FreeDance Stage 3: Feelings and Emotions
(Pretend, Fake It, Act as If). Choose any emotion from the
feelings and emotions chart in this chapter. Place your
attention on acting out the emotion. Fake it. Pretend.
Without dancing, act out the chosen emotion through
gestures, facial expressions, and sound. Continue in an
exaggerated, playful way in order to stimulate new ways
of moving. Stimulate movement variety by performing at
least three “takes” with each emotion, moving in three
very different ways. When ready, choose another emotion.
Repeat with a range of emotions.
Exercise 4: The Creative Source
Practice FreeDance Stage 4: The Creative Source (The Real
You). Choose any emotion from the feelings and emotions
chart in this chapter. Place your attention on tapping into
the real sensation of the emotion. Tell yourself a story, real
or fiction, to access your personal and genuine expression
of the chosen emotion. Keep repeating the story and
allow it to stimulate your movement. When ready, choose
another emotion. Repeat with a variety of emotions.
Exercise 5: Authentic Movement
Practice FreeDance Stage 5: Authentic Movement
(Change!). Play any song and begin to move your body
in one way for two full bars. Focus your awareness on
sensation while simultaneously paying attention to the
“one” count. When the third bar begins, change your
movement and stay with it for another two full bars. The
new movement originates from your body, not from your
thoughts or imagination. You will know your movement
has changed by experiencing different sensations. There
is no need for your movements to be on the beat. The
music is there to direct your changes (every two bars), but
your movement does not need to be limited to a specific
rhythm. Repeat with as many songs as you like. For more
information about what is meant by “two bars,” refer to
White Belt Principle 3.
Exercise 6: Witness
Practice FreeDance Stage 6: Witness (Interfere…Judge…
Not! Observe). Play any song and begin to move your
body. Place your attention on observing your movement
tendencies without manipulation or judgment; ask your
Witness to observe your movement tendencies. Your
Witness has no opinion and does not tell you what to do.
With the information your Witness provides, you may or
may not choose to alter your tendencies in order to explore
new things. Repeat with as many songs as you would like.
Principle 4 - FreeDance | 10
Exercise 7: Choreography
Practice FreeDance Stage 7: Choreography (The
Accidental “Click”). Using any Nia routine, dance
along with the DVD while paying attention to both the
choreography and the music. Notice the details within
both the music and the movement. When the music and
the movement come together, recognize the match as
a “click.” Repeat with as many songs and/or routines as
you like.
Exercise 8: Nia Class
Practice FreeDance Stage 8: Nia Class (Levels 1, 2, 3).
Using a series of movements from any Nia routine,
place your attention on applying The Three Intensity
Levels to your movement. Using the same muscles to
perform one movement, play with range of motion and
exertion to identify three different levels of intensity. The
degree of change from one level to the next can be slight,
moderate, or acute. If you add complexity to a move by
adding something new, this is called an option, not a level.
Repeat with as many movements from the routine as you
like. For more information about what is meant by The
Three Intensity Levels, refer to White Belt Principle 7.
Exercise 9: Blend Stages 1 and 2
Play any song and practice Stage 1 for approximately
60-90 seconds, then switch to Stage 2. Continue to
alternate. Eventually, after alternating for a while,
practice both Stage 1 and 2 at the same time. You may
want to begin with Stage 2 and focus your attention on
the instruments. Then, as you feel ready, sustain your
practice of listening to the instruments as you begin
to move your body to practice Stage 1. Or begin with
Stage 1, and as you sustain your FreeDance movement,
begin to integrate Stage 2 by placing your attention on
the instruments.
Exercise 10: Alternate Stages 3 and 4
Choose any emotion from the feelings and emotions
chart in this chapter. Then, practice Stages 3 and 4,
alternating between the two using the same emotion.
Pay attention to the differences between the movements
and sensations that arise when practicing each Stage.
Repeat with a variety of emotions.
Exercise 11: Blend Stages 5 and 6
Play any song and practice Stage 5 by changing your
movement every two bars. Now, blend in your practice
of Stage 6 by inviting your Witness to join you to observe
your movement tendencies.
RecapitulateRecapitulate, and then in your personal Nia
journal, describe what you experienced while
practicing FreeDance.
Principle 4 - FreeDance | 11
Art
•Play with stimulating movement creativity by
walking, sitting, cleaning, or standing in new ways.
•Be Seduced by the Music of life. Allow yourself
moments of stillness throughout the day, during
which time you can place your attention on the
“instruments” that arise, such as nearby traffic, water
running, dogs barking, or people talking.
• The Creative Source. Pay attention to moments
of your day in which emotions stimulate your
movement. How do you sit when you are tired?
How do you walk when you are angry? Notice the
real movements that arise from your real emotions.
•Witness. Without judging or interfering, simply
observe your movement tendencies. How do you
stand when stirring something on the stove? What
is your usual posture when at your computer? How
much do you allow your hips to move when you
walk down the street? Allow your Witness to observe
your tendencies and then, with the information
provided, you can choose to alter your tendencies
or not.
Throughout your day, allow yourself to play with any of the eight stages of FreeDance you are inspired to explore.
Here are a few ideas:
My StoryAs you read about, practice and embody Principle #4:
FreeDance, take some time to describe your personal
story. How has Principle #4 affected your life?
Principle 4 - FreeDance | 12
Teaching PreparationTeaching Nia requires managing parallel skills and abilities simultaneously. To do so, you must condition your nervous system to manage multiple things at once. Practicing the eight stages of FreeDance prepares your nervous system for techniques and principles of the Green Belt, Blue Belt, Brown Belt, and Black Belt.
Principle #12 guides you to practice FreeDance stages 1-6 every time you learn a new routine. Practicing FreeDance as you learn a new routine will help you to both connect personally to the music of a new routine as well as enhance your personal FreeDance practice, conditioning your nervous system and preparing you for future Nia Intensives.
Principle 4 - FreeDance | 13
Personal StoryLiving the Dream – Being a Dancer and Sharing PowerAs a child I knew I wanted to dance, but didn’t have
an opportunity to take dance classes because my family
lived in remote places overseas where lessons were not
available. Yet I had passion for dancing, so I spent my
growing up years playing records, dancing in my bedroom,
dancing in the living room, dancing everywhere I could. A
powerful dancer was in me and needed an outlet.
I did not get a chance to take a dance class until I was
in college. I majored in dance for two years at the
University of Texas, but my lack of earlier training kept
me from excelling. After two years, I quit.
In the early 1980s, to quench my thirst for movement,
I got into the fitness industry and became an aerobics
instructor. As an instructor, part of me was satisfied
because I was moving, yet I was not doing what my spirit
really wanted to do. It wasn’t until I experienced the
unique dance movement of Nia that I realized I’d let my
dream of being a dancer slip away. I became inspired to
fulfill my dream again.
Nia came to me in 1993, after 11 years of teaching
aerobics and leading a successful career in fitness. I
was in a transition period of my life where I was back
in school and pursuing a degree in kinesiology and
health education. I was heavily involved in running
the University of Texas Aerobics Club, where I taught
step-aerobics, hi/lo, and conditioning to both students
and faculty. I had acquired many credentials as a fitness
instructor and personal trainer. I was highly respected
by my students and peers, and my classes were well
attended. I was known as a “hard teacher who gets
results.” Even with all the success I was having, it was
clear to me something was missing. There was a sense
of emptiness in what I was doing and I had no idea how
to fill the void I felt. Then, I met Nia.
Principle 4 - FreeDance | 14
As a graduate student, I attended a professional health
promotion conference were Deborah Kern was giving
a lecture entitled, “The Motion in Emotion.” Deborah
spoke about The Nia Technique and discussed one of the
fundamental aspects of Nia, the Pleasure Principle – how
the human body can find Pleasure in movement. She
asked all of us in the lecture hall to stand up, move, and
flow with our spines. She asked us to open our arms up
to the sky and notice the smile on our faces. She asked
us to sense our bodies and notice places of comfort
and discomfort as we moved. There was little room to
move in that lecture hall, yet even the small amount of
movement I was able to do inspired me in the direction
I had been seeking. I watched Deborah move with a
quality and presence that I wanted. Without a doubt, I
knew I had found my way – and Nia was it.
I called the Nia HQ office the next day and arranged to
be at the next available White Belt Training. That training
launched me into teaching Nia classes. I quit teaching
aerobics classes and I never looked back. Now, 14 years
later, I have a rewarding and passion-filled career as a
Nia Teacher and Trainer.
There are so many ways Nia has touched my life.
Physically I have used Nia to self-heal from all the
overuse injuries I had acquired in my former life. The
repetitive movements of step aerobics and running
had eroded the cartilage in my knees. My feet, my low
back, my upper spine, my neck, and my shoulders
were all seized with tension from pushing so hard with
my body, always striving toward a particular heart rate
or a particular weight. As a professional in the field of
fitness, I was particularly prone to overdoing exercise.
With Nia, I have healed many parts of me and I am
continuing to experience healing.
Mentally, Nia has helped me recognize the power of my
mind. The Nia practice of noticing how I speak to my
body was the first step. Learning to listen to my thoughts
was the second. This mental clarity is directly responsible
for the life I lead now as a Nia Teacher and Trainer.
Emotionally I am more varied since beginning my
practice of Nia. The monotonous feeling of sadness that
I had when I began Nia has evaporated and has been
replaced with a rich emotional life. The practice of
FreeDance and the integration of sound and gesture in
Nia classes helped me expand my emotional expression.
I notice and trust my feelings now.
The practice of FreeDance and the integration of sound and gesture in Nia classes helped
me expand my emotional expression. I notice and trust my feelings now.
Spiritually, I now have an even deeper appreciation for this
life I have because of my Nia practice. I am continually
curious about the next unfolding and have been able to
exterminate the fear that kept me from acting before. Nia
taught me to trust my courage and Dance Through Life!
Most importantly, Nia has made it possible for me to
make a difference to the world. I have the great privilege
to work and play with many, many Nia Teachers and
students. Just as Deborah Kern opened the door to Nia
for me, I now open the door to Nia for many students
and trainees. As a Nia Trainer, I witness time after time
the power of the 13 Principles of the White Belt to heal
and empower body, mind, emotions, and spirit. I watch
people come awake as I did in my White Belt. I witness
and support people in their own dreams of being dancers
and helping the world. My reward is to see the Joy, the
insights, and the community that builds as the spirit of
Nia moves through me and out to others. And I have
reclaimed my dream: I am a dancer – and will be for life!
Holly Curtis, Santa Fe, New Mexico, United States
