Hiroichi Tategata's Danceable LIFE Vol.3
A dancer's body is capital!
Hirokazu Tategata (Dancer/Choreographer)
"Stardust Pump", which opened in September, has been withdrawn due to an injury. We sincerely apologize for the concern and inconvenience caused to all of you.
Thanks to my dedication to rehabilitation, I am recovering well from my injury. I will do my best to stand in front of everyone in good health on the stage of THE CONVOY SHOW in December, so please look forward to it!
On this occasion, I looked back on how to build my body as a dancer.
I currently train with a personal trainer twice a week. However, it became a habit in my late 30s, and when I was younger, I didn't put much effort into it. I was very skinny, and even though I had a complex about it, I thought, ``I can't help it because I can't build muscle.'' I had a lot of injuries because I didn't have a lot of muscle mass for my height, but when I was in my 20s, even if I was tired, I would be fine with a night's sleep, and my injuries would heal quickly. It's a bad idea to say that a dancer's body is their capital, isn't it?
I met my current trainer when I was 37.
"Right now, the engine is too small, meaning there's not enough muscle mass to work, so it's not going to perform well."
I remember being told that. Just like a car, you can get a more delicate performance by increasing the engine and moving your body in a place with plenty of room. I was convinced by the idea, so I asked them to create a menu and started training.
However, the beginning was tough. It's hard to feel visible results and changes just by repeating plain training. About three months later, the situation began to change. I feel happy when my body changes visibly, and my life becomes easier because I am freed from the pain in my lower back and numbness in my fingers that I have been suffering from on a daily basis.
And most importantly, no more injuries. I felt keenly that this is what it means to train the body.
Since then, I always think about the muscle strength and physical strength that will be required for the next work, and perform a detailed training menu. What is required is different depending on whether you dance hard or focus on theatrical performances.
Also, when you get injured like this time, it is important to approach based on the schedule for your return. Surprisingly, this time I started rehab the day after the surgery. Of course, you won't be able to move your injured right leg right away, but by stimulating the muscles in your left leg, you can prevent the weakening of your right leg's muscles to some extent. They say it's because they instinctively try to keep their feet in balance, but the human body is strange, isn't it?
By understanding my own body and meeting a trainer that I can trust, I became more confident on stage and my performance improved. We often hear that the mind and body are connected, and it's true. For example, when I sprain my ankle, my trainer tells me, ``I'll tap it properly, so it's fine.''
My goal is to continue to stand on stage as an expressive performer with a strong presence, with a body and mind full of tension no matter how old I get. For that reason, I think that I have to face my body firmly without neglecting maintenance.
Photography cooperation: Don Giovanni
https://tabelog.com/tokyo/A1317/A131705/13154500/
