PROPER CARRIAGE.

Otago Witness, Issue 4033, 30 June 1931, Page 57

PROPER CARRIAGE.

There is much more in poise than merely carrying the body erect. We have false standards of many things, among which is proper carriage. A real poise, one that delights the beholders, and gives the possessor a perfect assurance, is not found in the tense and rigid, or the soft and flabby, or the affected or careless, or the audacious, or in the ponderous, or the lazy, the over-worked, or musclebound. It comes only with more or less conscious attention to carriage, and with the possession of sound health. And health comes only with living, in such a way, as to keep every part of the physical mechanism in the best tone. It gives evidence of strength, without massiveness, or litheness, without starved slenderness. The strong, lithe body is well balanced and poised, the spine erect, yet free from tension. The woman who has physical poise also possesses a greater degree of menal poise than if she were without the physical quality. During its develop-

went physically, there must be a certain nnd not insignificant degree of self mastery, than which there is no greater conquest or genuine poise-promoter. The poiseful woman is restful to others, and there is a wholesomeness about her that gives encouragement and is contagious. Usually, one may say that she has cultivated physical poise, has found the secret of health and happiness, for the mind has been cultivated,’ together with the body. The processes necessary to acquire the equipoise, have increased the health, and they maintain the higher degree of health, by their effect upon all tissue change, circulation, digestion, and all other vital processes.

I believe, that as a rarely broken rule, dancers are the most poiseful of all classes of women—classed according to vocation only, for dancers are very like other women in 'other respects. The reason for their superiority in this regard, is the nature of the exercise they do regularly. Actresses and kinema stars, also as a rule, possess considerable poise, but with them, it is a studied thing, and not free and spontaneous, as it is with dancers. Actresses are not inclined to exercise over-much, nor do they develop a high degree of muscular and nervous tone. It is only by constant attention to poise, that they are enabled to simulate the real thing. With dancers, it is quite different. There is no muscle of the body, chiefly those of the trunk, arms, and legs — those concerned with posture, carriage, poise—that is not brought into activity in their dancing, and in particularly graceful movements. The girl who is clumsy or awkward or ungainly in movement, either has this trained out, or gives up her hopes of making dancing her profession. A dancer’s movements develop or maintain a flexible and elastic spine and freely movable hip-joints and shoulders. No only are the muscles and joints called into action, but specific movements have for their purpose the removal of all restraint and limitation of movement, and motions are easeful and graceful.

Almost anyone can develop poise. Perhaps it would be incorrect to say that everyone can do so. But there are comparatively few persons who cannot. Every woman, however, does not feel inclined to take up dancing, either as a profession, or in such a serious manner that it entails many hours per day of practice and labour. Dancing is not at all necessary. In attempting to develop proper poise it is advisable to practise certain corrective exercises before a mirror, preferably one. large enough for the entire body to be seen. Do the movements without stiffness. Cultivate ease of motion as well as proper posture. Study grace of movement. Frequently “ shake out ” the fingers, with the hands held over head horizontally outward, and downward. Vibrate the entire lower extremities by holding one leg at a time slightly outward and moving it swiftly over a distance of an inch or two —the entire extremity rigid. Then relax it thoroughly before doing the same with the other.

Bend forward at the hips, letting arms hang limply down. Elevat* ■the chest frequently, with a deep breath. Sway from side to side and from front to rear, beginning with slight motions, and gradually increasing the extent of the swings, but keeping the body more or less limp, at least free from rigidity. These exercises bring into action the most important muscles of the body. And in movements, not unlike dance movements.

Their chief aim is the development of a spine free from rigidity and joints that work as if they were oiled, and not like rusty hinges. If these exercises are followed systematically, and if care is taken to perform them properly, the carriage will be improved appreciably where there is not already developed what these exercises are designed to do.

Proper carriage is possible only with the body supported chiefly on the balls of the feet with a slightly forward leaning. This does not mean standing on the balls of the feet in shoes with stilts for heels. The body actually leans backwards in ■such shoes, and it is.impossible to maintain, or even secure, a proper posture in such footwear. Commonsense as to heels and shoes is essential for a proper carriage.

Have your garments comfortable and free from restrictions. Exercise all you can—swim, dance, row, play tennis or golf; do any wholesome open-air exercise you can. If done properly, these will help in the development of poise. Avoid nervous irritations and restlessness. Develop calmness mentally (mental poise), or what physical poise you obtain will appear to be affected.—An Australian exchange.