How This Dancer with Cerebral Palsy Stays Performance-Ready
As a dancer with hemiplegia cerebral palsy, Jerron Herman has never been far from the physical therapy room—or an occupational therapist or some kind of medical interventionist. "I'm almost always in deep conversation with that kind of practitioner," says Herman, who performs with Heidi Latsky Dance.
It's part of keeping his body ready to dance—and to move throughout his daily life. Herman shared his routine with Dance Magazine.
What his cross-training looks like:
Hemiplegia cerebral palsy affects motor control and muscle tone on one side of the body. For Herman, it's his left side. Much of his conditioning practice includes one-sided or one-legged activities to strengthen that side.
"I'll really focus on alignment, making sure that I'm tall and long in my torso and in my back," he says. "I'll do a lot of planks, a lot of lifting through my pelvis. It's always a conversation with my left side." Swimming—freestyle and butterfly—is an occasional part of his routine, too. "That loosens up my joints," he says.
How he integrates breath:
He is also a big fan of breathing techniques, which he first learned about from Latsky. "Breathing correctly is essential to executing her movement," says Herman.
While working out, he likes to practice box breathing. In this technique, you hold and release breath for extended periods of time, says Herman. For example, you might inhale for five seconds, hold that breath for five seconds, and then release it over five seconds. The interval lengths increase over time.
While warming up, he'll practice sipping breath. Breath is drawn up into the body with what Herman calls "extreme intention." With eyes closed, imagine that air is filling up your body through a straw. Take long, deep breaths, tightening the back of the throat to send air to the head cavity and the belly. Exhale audibly, restraining the air as it exits. "It's so intense," Herman says. "I could levitate."
Why dancing is integral to his daily life:
Herman's cerebral palsy hasn't stopped his dancing by any means—in fact, it's fostered a constant interplay between his professional and daily life. "Dance is integral," he says. "There isn't a sense of boundary or separation from my personal physical life and my professional life. The physicality that I employ as a regular person is because of dance. I'm preparing for the next performance, and I also need to buy groceries and walk to appointments."
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Capezio, Bloch, So Dança, Gaynor Minden.
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"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
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While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.