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This assessment show went excellent I learnt its much harder than just practising it in the studio and preforming contemporary is much harder than I thought. Its a nice feeling contemporary its like a constant momentum rut that you can't get out of its a beautiful feeling.

If I had to the dance again I would most probably use my breathe a little more because a beautiful sound of breathe when you listen to it on stage.

Maybe later In the future going to a contemporary school might be on the cards I've been wanting to go into musical theatre school since starting dance but now its more fun to do contemporary so this might be the changing to really invest on myself and progress my body and change the new to the priority.

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In this assessment week I really tried to get into the technique practise and really access that person thats in me. For example I was stretching around about twice a day to really get ready and especially the amount I was training I needed it.

A strength weakness and target that I need to keep a reminder of that I found out previously that you can only access as a human 10 percent of you flexibility in your body and as a late dancer now thats not going to differentiate now so I still need to try because I might open a body part, which I didnt know about.

I needed to relax my body and just listen to my body and breathe this week I held my core always but It was interesting as my body was tired this would allow me to change that thought and push through all the pain thats rushing through the body.

I run the hero song by foo fighters many times and one thing I can say and adapt to in this dance was my intention because it was a natural feeling and I could understand it just through the dance myself and I actually felt like a hero.

The problem I had in this dance though was the timing and that us the one thing I worked on because the music was faster than the counts so I would rush up when I would need to.

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Workshop 16
A target that I learnt in  todays lesson I found out about the exercise isn't always done at one pace it can be change dynamically and speed efficiency.

So by that the exercises can be changed a lot depending on the music and I thought of it as if the music slower the harder the exercise be because it takes more control and from that your testing you balance and muscles etc. And when your balance is a bit off make sure you get the balance first and then re try this will help and you won't be put off at the start.

A weakness of my turn out with the bison jumps today was better I feel like if I tuck my tail bone under when i take off and try holding it this will help my turn out on my legs and for this the technique and strength will help.

A strength in the lesson that I understand the use of kinesphere in the phrases we were being taught were very important as this allows us to show the different planes to really show off the contemporary ability because its 3D and shouldn't be anything less.

I put this link in here to really get the understand and better balance.

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Improve Your Balance - 7 Simple Exercises - Beginner to Advanced

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Workshop 15
My target in today’s in our lesson the warm up for me is only getting better for me it feels like I'm only improving and really getting an really good understanding about there crayon at the back of the head but should be thought about and used more often through the movement. This concept now and only going to improve.

My strength is had really good sense of how the suspended relationship through the body should feel. I haven't done it but i can understand what craig meant. when your suspended you need to think of bungeeand how the bottom of that you have that suspended bottom section, which is relatable and you can even see it just by watching videos. So this was interesting and made me really think about it and now I have that at the back of my head I really want it to be effective and progress and use this every time a suspended section of my dance is involved and thats only now going to strengthen my dancing.

My weakness that the foot exercise I really need to show and thouroully think about my technique and how I can drop my hip and keep that up no matter how much it hurts and if that is the case it hurts that much just take it easier on your body.
Its better to do it correct than push yourself.

I tagged this link because its important to invest in your body and the more you research on different ways and examples you'll be able to process it through your body much better.

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The First Hold & Release Bungee Jump | Damien Walters

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Workshop 13
In todays lesson we had our typical but effective warm up, which is essential and needed. My strength to know the contraction on the head coming to my feet is very important and thats why technique class are very important.

Dynamics was on my mind today really was allowing me to think about it during the warm up to get these different feels of the right appropriate dynamics where is needed. Rising isn't used enough I think so I thought of using it more to really for fill the dynamics that can be used.

My target this lesson I learnt was when moving on with the lesson I was explained on a really interesting concept, which is the we are standing or even dancing have that thought if that your tree and in your feet there are roots to really use the floor and this concept wont just be effective as your balance and you weight into the floor will be much better for a dancers mentality but also physicality.

My weakness is Projection in movement is essential because whether you have flair or not this will help dramatically to really use the full potential of your full performance skills and you'll see a difference because I feel like when I'm projecting right i get a sense of goose bumps and thats how I know it's a good feeling.

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Workshop 12

My weakness in today's lesson I worked out something that could of been so easy to realise and I was to blind to notice, which was when I do movement I need to brake it down instead of just trying to just go for it all at once the movement will be better and the understand of the movement will be more clear. The saying is how do you eat an elephant? you eat little amounts at a time, which makes a load of sense you shouldn't just go into a movement you should do it step by step.

A strength Is my breathe and connecting with the core has a huge potential as a dancer but should be essential but at the end its a hard thing to do you need to find the right time to breath and its a difficult thing to do to get the precise timing for that. Holding the core is important as well as you don't do it naturally to do it while your moving and thinking of the steps is a very good thing to work on and it will make you a better dancer.

My target is to evaluate movement before performing is so I’m not winging it and I have a better understand to perform my intention more clearly.

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Workshop 11

A target I have learnt on how to do plee and how they can be done at different speeds and this for me really does think about how they have to be done well as much as they done fast. I thought about when plee are being done make sure they are really deep because they look more effective and from that I was thinking about the placement and alighnment and make sure they are done well as much as they are done thrown away.

New floor work was shown this lesson on how to do different things during the floor and that was my strength to adapt to it,  which is a essential thing to do to be a good dancer. The first one we looked upon was to use the momentum on the floor of swings and anything you can get momentum etc. This really helped because your not just using pure strength and when your working back on the momentum as well it feels and looks really suspended. The floor is your bar and you should use it at all times and never leave or if you do try and do it as less as you can. A weakness that my feet should really be used by the floor and try it makes it feel so much better not just like a throw away move. looks like you are stuck to the floor.

I put this link it to show more information on where the floor work originally came from dancing and how effective it is now and how expanded its become through the years.

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In dance, floorwork refers to movements performed on the floor. Floorwork is used extensively in modern dance, particularly Graham technique and Hawkins technique, as well as in vernacular breakdancing. Some dance training practices, notably Floor-Barre, consist entirely of floorwork.

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Workshop 10

A target in todays lesson I learnt many things. First of all the jumping section in contemporary is a difficult exercise to get right in the way technique has to be spot on. So from one room to the other end you had to do bisen jumps which both legs are bent and turned out in the jump was difficult to do. The hardest part though was using the floor while your taking off and i found this difficult to brush the floor and get hight at the same time, that threw me off. So I know my target now and what i really need to improve on as that is key for a dancer to be able to brush the floor in any exercise.

My strength I thought I did well in the use of planes during dancing today as well as i really thought of extension through the arms as craig talked a lot about that this lesson was really used by me today as I really did try reaching out. This should be an impulse movement it shouldn't even be thought about but as a dancer thats studying this is an essential thing a dancer needs to be able to do. After a weakness while it will just get better and anyway and you'll know how to use it better but I need to keep it at the back of my mind to just remember what it takes to be a dancer and this is one of them and if I want to be a dancer on a live stage this is an important tool I need.

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Workshop 9

In this lesson I've found some correction i need to improve and develop on my body.
A weakness I've learnt I've got a funny leg thing that happens on a take off of a jump that i need to get rid of and this will help my balance and control of a jump for me. this will help with my technique as a male with big jumps I have to go through.

A strength with on the floor exercise today I learn't that you need to use the music in places I've got to and keep it moving with material and don't cause me to slow down the dance and process a new part of a dance or changed parts to throw me and take them and deal with them.

I've been struggling a lot with there use of planes so the target ishow I need to fill my kinosphere when I'm dancing. I found this that if i don't extend through my legs arms or core through a dance on a large stage it will look silly and I'll convey as a small dancer when really I need to be large.

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Workshop 8

In large amount today, we learnt plenty of new but technically right manoeuvres, which are very important to do stuff right for a dancer.

My target within dance you need to remember to brake down movement at all times to get a better and intelligent surrounding on all things you are doing because you yourself as a dancer will then become a better and more diverse dancer.

Another weakness that I forget, which is essential thing as well when dancing especially as a contemporary dancer is to engage your core and to feel the ground at all times. the thing that will connect you in better way is to breathe have that breath under complete
control within this your dancing will become more fluid and movement will have more control.

My strength this lesson I think personally that I've learnt this lesson the 'F' breath is the best way to engage your core and that for me is a massive thing because the dancing is stronger and much controlled if you can keep you belly button pushed to your spine

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Workshop 7
Within todays lesson we learnt about many different aspects and the first one was the technicality and the right way but also differently how plèa can be done. A strength first of all doing it probably we need top think about going into a toaster to not stick you tail bone back or allow your knees to come forward but to keep the turn out correct. A weakness so forth to do a right but technical plee is to keep that tail bone under and to keep your knees back.

A target I learnt in todays lesson how the floor is a contemporary dancer bar and how we need to use the momentum of the floor to keep moving and travelling when doing these exercises.

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Workshop 6

Within today lesson I've been had informed on how to improve and develop on the technique on a flat back. A target today, I got taught how important a flat back is because it ranges your movement in your back to get a larger but better alignment.

The imagery strengthened to do a better cartwheel today got Craig taught us to have the thought of have each hand on each side of a river and go up so you push your pelvis up this creates a much better thought process while preforming this now.

I had to practise on my 360 jumps because they are weak and to be honest its all coming from me not spotting I do the same when do turns so i need to desperately need to develop a better spotting technique as I'm falling off balance or getting dizzy while doing this so it needs to change.

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Workshop 5

Within this technique but also very physical lesson I learnt a lot about my body, which I didn't know about. Like every lesson we have a warm up, thats essential and we have to do this for our body to know we are able to preform and start dancing.

Target that I learnt today I went on to exercises then doing little phrases to practise our technique and we had to do a flat back and I felt comfortable doing this but obviously needed corrections and Craig came around and told me what to do. A weakness that I told me to hold my centre and make sure its straight and not arched to show more strength and control through my body so I’m not floppy. I do a flat back constantly now making sure this can be strong for me to be able to lengthen through my back and neck to get that great back alignment.

He told us in another phrase when you preform a hand stand imagine your going over a river this will help you to be more grounded. I feel very grounded in my cartwheels showing my strength so this was a great tip to improve these manoeuvres.

My target when I'm doing jumps is when I do a 360 jump then to spot when i was doing this I was falling over and I need them t be strong because males are known for doing jumps.

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Workshop 4

In todays lesson we went through a independant warm up. This warm up helped us get better control and to warm up the spine to allow them gaps in the spine with better movement helping our dancing.

firstly, we went through a phrase and i enjoyed this because it visiaually helped me imagine and expand on what he means In the wasy he described and made me think. He expanded on the way he made me think about the tail bone and how to stick it under while doing a plee. He made us think about how we were toast and and when we plee we should never stick our bum out because you'll burn yourself, which is a great way to think because it's important to keep that tail bone under. I'm very thankful for Craig showing us that imagery thought because it will help me in the long run to get a better understanding.

Secondly, another main part of the lesson I picked up on is, when I have parallel legs and I bend my knees I find it very hard to keep my legs straight. So I said this to Craig, he said everyone is built differently so them things of your body that don't have the natural technique you'll have to adapt to it. This helped me analyse my own body to adapt that part of my legs so that I bend them with ease to stop them turning away or in.

Finally, as a class we were doing jumps and It was a very diffcult exercise it showed of your technique if you had good technique. personally myself i don't have good technique so this was good for to to help my all round self. We had to face class mates during these jumps. This exercises was a team ability phrase so we all had to work with each other. I'm the only boy in the class, boys tend to jump higher than girls so i had to adapt that and adjust it so i was jumping the same high for the same timing as the girls.

I placed this little article to show the bio metrics between men and women dancers, which is really interesting to see.

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Comparison of landing biomechanics between male and female dancers and athletes, part 1: Influence of sex on risk of anterior cruciate ligament inj... - PubMed - NCBI

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Workshop 3
In today's lesson we did a warm up getting our backs warm and ready for today.  We were getting the febia warm to have a better movement and one of the better things about a warm and focused fabia is you body is more flexible. We closed our eyes had some background music on and followed Craig's instructions. We had to pretend there was a crayon on the back of our head went to the bottom of the back and several other body parts and we had to try varies other ways how the crayon can get used by our body parts.. I felt like my arms were my strength but my bottom of my back was lacking and should get that maybe a little bit more moveable so it will become a better and more effective movement.

We went through the floor phase we usually do, it's a couple of wingings a monkey jump a reverse to the opposite direction but today he changed it up quite a lot and instead we had to develop it and get the routine. We went in groups and we had to go in groups and no one picked up the changed material Craig gave us. I feel like as a strength I did well to pick up when Craig was saying how it's important instead of just trying memorise the material I just do it wheather it was right or wrong just do the phrase and where you went wrong correct it. The thing he said to me when he used to dance and he weren't sure if he knew the material good or bad he always go first and he said he'll do his best no matter what and that to me shows performance can always be done well no matter what if your confident about it.

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If you're kind of new in our community, you might be wondering why I say contemporary dance techniques, in plural, instead of simply naming one technique (just one, as it's supposed to be about just one type of dance).

Well, this is due to this unique attribute of our particular way of dancing: there are no established movement patterns.

What?????????

Oh, yes...

People tend to classify our movement trends, sometimes for administrative purposes, sometimes to feel that they finally know, understand or recognize contemporary dance.

The truth is however, that the SHAPE of movement is not necessarily what makes this dance be what it is... Read our definition of contemporary dance for better understanding.

So, as we don't have a unique group of defined movements to learn, a contemporary dance class is called rather a training class or a contemporary dance technique class. (You'd be surprised how completely different one lesson can be from another).

The goal of such a dancing class is to prepare the mind and body of the dancer for a wide range of movement possibilities: forms, qualities or dynamics. That's why you can find contemporary dancers assisting to different kinds of body-mind or dance trainings, from ballet to martial arts.

Nevertheless, our community has developed and followed some workout trends that are more commonly used. This is because even though we don't usually stick to movement forms, we tend to like particular movement qualities and states of body and mind. I'll name two of them that seem to be very popular:
RELAXATION and FREEDOM
WOW... sounds good, doesn't it?

Let's talk about the first one...

If there is something that makes a difference between the majority of the contemporary dance techniques and other types of dancing classes is our emphasis in adequate force distribution or 'relaxed moving'.

There are a wide variety of approaches related to this particular interest. The so called 'Release technique' is a known example of it. As its name illustrates, this dancing technique teaches to release the unnecessary tension used while moving. Believe me, once you learn this, moving becomes a pleasure that differs a lot from gym workouts...!

The Release dance technique is associated with therapeutic movement researches that come or make use of medical knowledge. This one, and other related practices like Pilates, The Feldenkrais method, Alexander, Cranio-Sacral Therapy, Ideokinesis or Eutony, are commonly called the group of the somatic paradigm.

In very general terms, these contemporary dance techniques care about an enhancing of the self awareness from which movement is executed. Rather than just following physical exercises, they propose a continuous reeducation of mind and body. This should allow the dancer to accomplish a healthy practice that promotes general well-being.

For a professional dancer, this means a much friendlier and pleasant work!

Another technique we could associate to this group, is the Bonnie Bainbridge Cohen's BMC (Body Mind Centering). One of the main differences between her work and the type of trainings we've already mentioned, is its proximity with the ancestral, India's doctrine of Yoga.

Just like her, a lot of contemporary dancers love the different basic yoga routines that are currently teached in the western world. Yoga has become one of the basic contemporary dance techniques as its emphasis in breath, body alignment, mental control or relaxation, as well, are of recognized value by our community.

And that brings us to one way of our understanding of FREEDOM. Learning to breath properly, adequate using of tension and conducting our minds while dancing, should liberate us from an exhausting, tedious or painful work. If you're a professional dancer, you know very well what I mean...

Another way of understanding the idea of FREEDOM is the one you can find in Contact Improvisation. This way of dancing is considered a technique, since the goals of its practice are acquired with repetition in time and it works over physical skills too. Yet it is a composition and performing method as well.

Contact Improvisation should liberate the dancer from the concern of the outward appearance of movement. Instead of giving importance to it's outside visual aspect, this practice focuses in sensing a partner while having a body dialogue with her/him. The result is an amusing game from which unexpected or interesting dance figures emerge as you go on... that's good, isn´t it? Meet some 'icontact' lovers through this link if you're curious...

You may hear the word 'antitechnique' when referring to all those kind of workouts. Strictly talking, they can be understood as dancing techniques, as they do teach new coordinations or moving skills. They are called like that though, because they oppose to 'classical' or 'popular' dance training methods which usually focus on force or big expenditure of energy to obtain better performing results.

Now, there's still another technique in which you'll find a very relaxed way of dancing. The so called Flying Low, developed by David Zambrano. This one seems to be the delight of so many contemporary dancers...

Why?

Well, everybody says: it feels good! It's fluid and releasing... and at the same time it expresses a great force. Visit his website through this link if you want to explore his contemporary dance technique.

I'll profit that I mentioned force and expression, to remind that even though contemporary dancers care so much about the subjective or inner experience while dancing, we are concerned about visual projection and audience impact as well.

Therefore and for choreographic concerns, we consider and practice recognized dancing techniques that develop force, body aesthetics or acrobatic skills too. That's why BALLET (great linking page with exercises coming soon!) may be regarded as one of the contemporary dance techniques as well.

Oh, yes... . Contemporary dancers practice ballet... and some of them do it a lot. But, this is not a rule. I've heard the "I hate ballet" or "I don't need it" phrase many times. Positions about it diverge between us. For those who value it, it's usually understood as a complement for all the needs of a versatile dancer. It confers a great domain over the legs, big extensions, turning skills, precision or many other useful abilities.

The practice of the so called modern dance techniques has a similar purpose. In that sense, if historians allow me, I'd say that these dancing techniques are kind of an extension of ballet. The difference lies in their exploration of trunk movements and their relationship to the floor. Their 'athletic' goals seem to be very much the same... but, at this point I'd keep in mind that we know it's possible to execute the shape of a movement with different effort qualities... (gets a little bit complicated...?). Here we have a good discussion topic. For the moment , I'll assume that there's a spread way of practicing this types of modern dance techniques (mainly in amateurs academies) which is like in a very 'balletic' way. Though, that's not the only way of executing those movements.

The names of those modern dance techniques may be known for you: Martha Graham's technique, José Limon's technique, Merce Cunningham's technique, Lester Horton's technique... and so on...

I believe that the point is that as contemporary dancers pretend to be versatile (kind of 'ready for everything an aesthetic project demands'), they'll accept a workout as a contemporary dance technique everywhere they find a new or complementary way to move (finding movement freedom maybe...?).

Some of them will color their dance with the Chinese Tai Chi Chuan's control of energy and lightness of arms; others will go on for the harmonious relationships of Japanese Aikido; various will look for the Brazilian Capoeira's acrobatics...

In that sense, a contemporary dance techniques repertory would be really endless. Let's say for now that this is a selected summary, that we could be enhancing, or discussing in time...
Dance training today Forum for dance questions about technique Free videos about contemporary dance technique Technical tips for Fouette turns What is weight sharing? The fall recovery and Limon technique Graham floor work

There are many other interesting threads in our Forum for dance questions about technique. Just visit it and browse!

Español. Técnicas de la danza contemporánea

Return from Contemporary Dance Techniques
to Contemporary Dance Home Page

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If you're kind of new in our community, you might be wondering why I say contemporary dance techniques, in plural, instead of simply naming one technique (just one, as it's supposed to be about just one type of dance). Well, this is due to this unique attribute of our particular way of dancing: there are no established movement patterns.

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Workshop 2
This lesson today the target was it consisted of the facial expression and how its very important in this type of industry to have the equipped and varied face to suit and develop varies parts, which you face need to prepare and continue to do the role of that part you are playing. We started off the lesson with a big warm up to get all the blood in the body flowing which is very important in dance but also in life. Ive noticed that Craigs warm ups are extremely difficult and for me that's amazing because he know the professional training and it will help us in the long run and for me its very good because I have tones of respect for my body and even Craig picked up on it in today's lesson. My strength is that I constantly take good care of my body, I learn this when Craig said He said 'kyle takes lots of care in his body' i had an applause from the class, which I was very proud and humble from it.

My weakness is the flexibility in my feet.
During the lesson today I picked up on how important and noticeable in the industry people pick up on or wanting to achieve this. Good feet are very consisted of in the industry and for me that's put me to one of my goals this year, which i never looked in to having. He said you can tell by a dancer by their feet, which is accurate. He was sharing with us that the feet allows you do do many things and the thing that made me want to better them more was the power you can develop over time by strengthening can get a high and more effective jump, which for a male is essential to have a good jump. well in my eyes i think so its very powerful if a male has a good jump with effective inlay to apply to that with also technique show lots of flare in their dancing.

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Mar 13, 2017 ... Having a high arch is beneficial for a dancer because it makes it possible to get to a high demi-pointe in soft ballet shoes, and over the box if she is dancing en pointe. Some dancers refer to perfect ballet feet as "banana feet," as the curved arch and instep somewhat resemble the shape of a banana.

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Workshop 1

Pelvic floor. How the pelvic floor can effect our dancing but also in every day life. This lesson we went through very different and technical phrases to practice on the target picking up but also improving our different dance expressions and maybe it's easy to keep the same intention during the different phrases so from this we changed the whole meaning an up side down.  A Strength was I did well to pick it up but I could definitely improve the intention. A weakness is to always engage and remember about the pelvic floor and the use of the body is when is needed.

I added this link into my log because because we had a talk off Craig today and how the pelvic floor is important and from this I searched up and looked more and further into it. This can seriously help it can make your core more strong and this pelvic floor improving and updating it can really help your dancing.

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Do you ever discuss incontinence with your clients?

If your client asked you about pelvic floor problems would you feel comfortable or knowledgeable enough to give advice?

The truth is that many women experience problems with their pelvic floor.

Statistics from the UK presented by Dr Chris Steele from The Family GP.com and the "This Morning" show a staggering percentage of women live with pelvic floor problems:

42% of women in the UK are sufferers

40% of women are too embarrassed to consult their doctor

33% of women suffer problems 5 years after childbirth

On average women wait 5 years before consulting their doctor

You may be wondering what are the symptoms of pelvic floor problems, or how would I know if my clients had a problem?

Common symptoms are not being able to fully control the bladder or sometimes the rectum resulting in partial leakage of their contents. The following questions provide a guide to determining pelvic floor problems.

Do you ever have embarrassing incidents when you laugh, cough or sneeze?

Are impact aerobics or trampolining a thing of the past?

Do you find yourself desperately crossing your legs on the way to the bathroom?

Do you always look for bathrooms wherever you go?

Does a long journey fill you with dread?

If your clients answer 'Yes' to these questions, they may have pelvic floor problems. As you can understand, many women are too embarrassed to talk about it and many think it is something they have to live with as a normal consequence of having kids and getting older.

Men can also have pelvic floor problems. They are often associated with prostate problems but can be caused by weak pelvic floor muscles.

As fitness professionals you often have the opportunity to discuss health issues with clients. If you know about pelvic floor issues you are in a valuable position to improve your client's quality of life by letting them know that they don't have to put up with it.

By understanding what and where the pelvic floor is and how it supports your internal organs you will be able to assist them in finding the most appropriate solution. In some cases you will need to refer out to get specialist advice, but at least you will have helped them with the 1 st step, awareness of the problem and that it can be fixed. In other cases you will be able to help with prescription and explanations of pelvic floor exercises and you will know which exercises to avoid to prevent making the condition worse.

Let's take a look now at where these muscles are. For both males and females the pelvic floor runs from the pubic bone to the tail bone forming a hammock shaped layer of muscle. It creates a floor at the base of the pelvis that supports the internal organs. In women it allows for three openings, the vagina, urethra and rectum while in men it allows for the urethra and rectum.
FEMALE

MALE

You can see that in women the uterus is supported by the pelvic floor whereas in men the prostate gland is supported.

When the pelvic floor is strong it supports the bladder and bowel. It helps to close them off to prevent leakage and relaxes to let them empty when we go to the toilet.
PELVIC PROLAPSE

If pelvic floor muscles are weakened the ability to hold a full bladder or hold wind is decreased, especially during exercise. When urine is leaked involuntarily in this way it is called Stress Incontinence.

In severe cases the ability to support the internal organs is decreased resulting in organs dropping down. This is known as a Prolapse. The prostate or uterus, vagina, bladder, and intestines can actually fall out. Not pretty and definitely not comfortable for anyone who has this condition.

Pelvic floor muscles can be are weakened for many reasons. Childbirth, surgery, heavy lifting, being overweight, constipation and lack of regular exercise are among some of the common causes.

Exercises can help to prevent pelvic floor problems and in most cases exercises can be performed to correct weaknesses. It is also important to realise which exercises should be avoided as things like sit ups will be detrimental to anyone with pelvic floor weakness.

Now that we know why the Pelvic Floor is important, the next article will look at exercises to safely strengthen the pelvic floor and how you will know if you can help or if your client needs to see a specialist.

To further your understanding of the muscles that make up the pelvic floor check out the following tutorial on you tube.

http://www.youtube.com/watch?v=K7w0R4O3ctg&feature=email

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The Pelvic Floor - do you know enough? [article]

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Pelvic floor is a term you may have heard of, but do you really understand what iT does and why it is important? This article will look at what the pelvic floor does and what happens when it isn't working.