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“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_3

Images can make us feel something, they can inspire us and they can help us understand things.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_5

Imagery is a process of creating a mental image or intention that you want to happen or want to feel.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_6

It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_7

It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_8

To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_9

Notice how much your friend can resist your effort.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_10

Now tell your friend to think of a river of energy flowing through their arm and out into space.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_11

They should keep this image of energy flowing going as you again try to bend their arm.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_14

Did your friend suddenly become stronger?

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_15

Of course not, but certain ways of thinking can influence the body’s force without changing the structure.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_16

(Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_18

This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_19

Now; try your 5 jumps again… What happened?

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_20

Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_22

As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

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en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_23

In addition to influencing performance, mental imagery can be used to aid recovery from injuries.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_24

Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_25

There are many different ways of categorising they types of imagery that dancers and athletes use.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_26

I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_27

This is where dancers see themselves performing the movements of their class or routine.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_28

The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_29

To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_30

With practice you will be able to imagine yourself dancing without needing the visual aid.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_31

Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_32

Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_33

If you can see yourself doing it first, then you can do it.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_34

According to research, imagery can be a powerful tool in rehabilitation.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_35

As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_36

For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette!

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_37

Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_38

All the senses can be used to stimulate vivid memories of prior successes.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_39

For example, have you ever smelt something that brings back a memory of childhood?

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_40

Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_41

Associating a sense to an image helps you create a more effective image.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_42

Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_43

Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_44

Healing imagery is an effective technique that can enhance recovery from injuries.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_45

Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_46

The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_47

Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together).

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_48

Utilising imagery allows the dancer to become stronger than they were before their injury.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_49

It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_50

The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>

CC-MAIN-2023-06

https://mdmdance.jp/visualisation/

s3://commoncrawl/crawl-data/CC-MAIN-2023-06/segments/1674764500904.44/warc/CC-MAIN-20230208191211-20230208221211-00556.warc.gz

en

<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_51

Learning to use imagery is like learning a new language it takes time and practice.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_52

You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_53

It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance.

“A picture is worth a thousand words.” Images are powerful. We see them everywhere – on T.V. advertising, in magazines, on the sides of buses, on social media. Images can make us feel something, they can inspire us and they can help us understand things. So what is Imagery? Imagery is a process of creating a mental image or intention that you want to happen or want to feel. It can be used to improve technique or performance quality, help decrease anxiety and stage fright and even aid in recovery from injury. It is widely accepted that the mind and body are an integrated system even though the mechanisms behind this connection are not fully understood. To see how quickly imagery can affect movement try this: Ask a friend to straighten on arm out to the side and tell them you are going to try to bend their arm. Notice how much your friend can resist your effort. Now tell your friend to think of a river of energy flowing through their arm and out into space. They should keep this image of energy flowing going as you again try to bend their arm. What happened? Was it harder to bend? Did your friend suddenly become stronger? Of course not, but certain ways of thinking can influence the body’s force without changing the structure. (Adapted from R Fritz 1984) Try this one on yourself: Do 5 sautés in 1st position. Think about how it felt. This time imagine your legs are made of lead or that you have a ball and chain attached to your ankles. Now; try your 5 jumps again… What happened? Finally, imagine your legs are springs, as you plié the springs compress and store energy, as you push off they release that energy. How did your jumps feel this time? As you would have just seen, imagery can be very powerful and can create a dramatic change in your quality movement even though you haven’t changed any physical structure. In addition to influencing performance, mental imagery can be used to aid recovery from injuries. Research has started looking into this phenomenon and has found that imagery can help people cope with pain, can speed the healing process, prevent the deterioration of physical skills due to injury and immobility and increase adherence to rehabilitation programs. There are many different ways of categorising they types of imagery that dancers and athletes use. I have chosen 3 to describe here as I felt that they could be easily related to dancers who are recovering from injury. This is where dancers see themselves performing the movements of their class or routine. The ability to see yourself successfully performing a particular step or routine by use of imagery helps to create a sense of motivation. To help you start this process, use past videos of you dancing (before your injury) to help you recall movements vividly. With practice you will be able to imagine yourself dancing without needing the visual aid. Positive visual imagery has been shown to enhance the coping skills of injured athletes, and encouraged them to follow to their rehabilitation program. Utilising visual imagery as a practice technique helps injured dancers maintain their fundamental skills and technique. If you can see yourself doing it first, then you can do it. According to research, imagery can be a powerful tool in rehabilitation. As the human brain interprets the images created during imagery process the neural pathways that are recruited are identical to those used when physically performing the task. For example: if you imagine yourself performing a perfect double pirouette: the preparation, the relevé, finishing facing the front, on balance; the parts of your brain that light up are the same as if you had actually performed the pirouette! Imagery is poly-sensory, meaning that it utilises different senses to create a stronger image. All the senses can be used to stimulate vivid memories of prior successes. For example, have you ever smelt something that brings back a memory of childhood? Maybe it is a perfume that reminds you of an overseas holiday or the smell of cut grass that take you back to a great time you had with your family on a picnic. Associating a sense to an image helps you create a more effective image. Maybe you have a particular song that you listen to before any competition or exam that gets you “hyped up” or “calms your nerves”, maybe you do the same warm up before every performance because you performed really well after doing it once before. Emotive imagery is a great tool to help create a sense of self-efficacy and find senses that help the rehabilitation process. Healing imagery is an effective technique that can enhance recovery from injuries. Those who receive detailed information about the healing process, including pictures of the injured area are better able to understand what is happening, visualise the healing process and are more likely to follow their rehabilitation program. The better your understanding of what is happening within your body as it recovers the better you are able to visualise the healing process. Healing imagery guides the injured dancer to “see” the healing occurring in the injured are (e.g., seeing the blood stream take damaged tissues away from the injury reducing swelling, and seeing the new cells coming in to repair the injured area) and to “feel” tissues getting stronger (e.g., visualising ligaments feeling as strong as steel, or as many fibres linking together). Utilising imagery allows the dancer to become stronger than they were before their injury. It is an effective, positive tool that can help dancers develop a positive self-image and encourages self-efficacy and a sense of control. The process of empowering dancers with imagery skills could translate positively to benefits such as a shorter recovery time and a more positive experience during rehabilitation. Learning to use imagery is like learning a new language it takes time and practice. You wouldn’t expect to be able to read a whole French novel after 2 or 3 weeks of French lessons would you. It is different for everybody but with practice and persistence you will find that images can change the way you move, recover and dance. Article written by Haydee Ferguson. Physiotherapist with a dance history spanning more than 25 years.

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<urn:uuid:7149eb5c-7703-4215-a13c-d97e3fad6ae7>_55

Physiotherapist with a dance history spanning more than 25 years.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_1

It is also one of the two parakeets found in Kerala.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_2

The other is Malabar Parakeet, which is endemic to the Western Ghats.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_3

Jungle Bush Quail is a small bird which prefers mainly forest habitats.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_4

It belongs to the Phasianidae family and is found across the Indian subcontinent.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_5

Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_6

Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_7

Indian Paradise Flycatcher is a bird from the Monarchidae family.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_8

Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_9

Velvet-fronted Nuthatch is one of the two nuthatches of southern India.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_10

The other one is Chestnut-bellied Nuthatch, which is less common.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_11

Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_12

It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_13

Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_14

The males are bigger and colorful making it distinct from the female.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>

CC-MAIN-2023-06

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_15

Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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CC-MAIN-2023-06

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_16

It is mainly found in the green grasslands of this mountain range in south India.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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CC-MAIN-2023-06

https://photovaliant.com/category/biodiversity/

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_17

Black-hooded Oriole is a common bird from the Oriolidae family.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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CC-MAIN-2023-06

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_18

The bird has a black hood as its common name indicates.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_19

Oriental White-eye is a small bird from the Zosteropidae family.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_20

This species has also various subspecies depend on the region.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_21

Heart-spotted Woodpecker is a small woodpecker with black and white colors.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_23

Its distribution is fairly wide in Asia.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_24

In India, the Himalayas and the Western Ghats are the main regions.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_25

Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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en

<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_26

It looks very much like other flycatchers in shape and size.

Plum-headed Parakeet is a species of Parrot found in the Indian subcontinent, towards the south of Himalayas. It is also one of the two parakeets found in Kerala. The other is Malabar Parakeet, which is endemic to the Western Ghats. Jungle Bush Quail is a small bird which prefers mainly forest habitats. It belongs to the Phasianidae family and is found across the Indian subcontinent. Black-chinned Laughingthrush is a highly endemic and globally threatened bird of the Nilgiri hills of the Western Ghats. Just like the Kerala Laughingthrush found in the south, its distribution is confined to a very small place. Indian Paradise Flycatcher is a bird from the Monarchidae family. Until 2015, it was also known as Asian Paradise Flycatcher when it got divided into three different species. Velvet-fronted Nuthatch is one of the two nuthatches of southern India. The other one is Chestnut-bellied Nuthatch, which is less common. Like all nuthatches, it is an interesting bird because of its ability to climb trees downwards with head also… Crimson-backed Sunbird is a small nectar-feeding bird endemic to the Western Ghats mountain ranges of India. It is also the smallest bird found in south India along with the Pale-billed Flowerpecker, which also has a similar size. Know more about… Grey Junglefowl is a large bird from the Phasianidae family found mainly in the south Indian peninsula. The males are bigger and colorful making it distinct from the female. Nilgiri Pipit is a globally threatened bird endemic to the Western Ghats. It is mainly found in the green grasslands of this mountain range in south India. Black-hooded Oriole is a common bird from the Oriolidae family. The bird has a black hood as its common name indicates. Oriental White-eye is a small bird from the Zosteropidae family. This species has also various subspecies depend on the region. Heart-spotted Woodpecker is a small woodpecker with black and white colors. The bird is not uncommon in Kerala. Its distribution is fairly wide in Asia. In India, the Himalayas and the Western Ghats are the main regions. Grey-headed Canary-flycatcher is a small bird with grey-colored head and light yellow feathers elsewhere. It looks very much like other flycatchers in shape and size. It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

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<urn:uuid:6a51619e-6cab-4b45-80fd-8a5ef0274d34>_27

It is placed in the Stenostiridae family, which is slightly different from Muscicapidae.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_0

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_1

An evergreen groundcover, it will spread where it’s happy.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_3

Plant in shade to part-shade locations in an area where it can spread, and water moderately.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_4

Once it’s established it is quite drought tolerant.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

https://recommended.tips/growing-creeping-phlox/

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_5

Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_12

Once the plant is naturalized to a bright area of your landscape, it does even better with low water.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_13

As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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en

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_14

In good, well-lit growing conditions, the plant self-seeds to spread and maintain density.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_15

To help it maintain density, cut back stems by about half after the flowering season is over.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

https://recommended.tips/growing-creeping-phlox/

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_16

This may even promote a second flowering, though it will be lighter and less showy than the first.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_17

Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_18

Full sun conditions lead to the greatest profusion of flowers.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_19

Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_20

About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_21

These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_22

Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

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CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_23

These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_24

In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_25

Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple.

Growing Creeping Phlox A woodland favorite, originally found along the streams and wooded areas of Appalachia, Creeping Phlox ‘Sherwood Purple’ lights up the May garden with a burst of fragrant, violet-purple flowers held high on 8-inch stems. An evergreen groundcover, it will spread where it’s happy. Growing Creeping Phlox! Plant in shade to part-shade locations in an area where it can spread, and water moderately. Once it’s established it is quite drought tolerant. Plant ‘Sherwood Purple’ with other spring blooming woodland bulbs for a cascade of color. Beautiful with ferns, Hellebore, Columbine, and Bleeding Heart. It is also an important source of spring nectar for our pollinators, including butterflies and hummingbirds Phlox stolonifera, along with most other varieties of Creeping Phlox are perennial in USDA Hardiness Zones: 4, 5, 6, 7, 8 Although creeping phlox is tolerant of a range of temperatures, the plant require lots of sun. It should therefore be planted somewhere it can get a range of sunlight, both morning and afternoon, especially if you are growing it for its prolific blooms in March to May. In the hottest conditions, however, creeping phlox does well with a bit of dappled sunlight in the afternoon, though nothing too shady. Mature Size of Creeping Phlox - Height: 3-6 inches (7-15 cm) - Width: 6-12 inches (15-30 cm) Water and Soil Creeping phlox appreciates moist, well-draining soil, and though it likes rich humus, it also does well in sandy or gravelly soils in drier environments. Because it is so drought tolerant, its requirements for a medium water supply can be foregone at the height of a sun-filled summer or anytime water is scarce, but you should pick up the watering schedule again when you can. Once the plant is naturalized to a bright area of your landscape, it does even better with low water. As suggested by the name, creeping phlox grows low to the ground and forms dense mats that become woodier with age. In good, well-lit growing conditions, the plant self-seeds to spread and maintain density. To help it maintain density, cut back stems by about half after the flowering season is over. This may even promote a second flowering, though it will be lighter and less showy than the first. Creeping phlox not only produces a profusion of springtime flowers in a range of colors but also can be used to attract butterflies to your garden or to control soil erosion with its tough roots. Full sun conditions lead to the greatest profusion of flowers. Though a pretty ground cover, creeping phlox doesn’t grow that quickly, so if you want to use it to fill space, make sure to get several plants or be prepared to wait. About Creeping Phlox A perennial nature and semi-evergreen habit are important facts about creeping phlox. These plants have needle-like foliage with small starry, five-pointed flowers in red, lavender, pink, white or bluish-purple. Creeping phlox blooms in spring and produces long, spreading stems, which become woody with age. These thicker growths cease to produce flowers over time and may be cut out of the plant to encourage the newer, softer stems that do bloom. In addition, the plant has a moderate growth rate and can get 4 to 6 inches high with a 2 foot spread. Creeping Phlox Planting Instructions Learning how to plant and care for creeping phlox is quite simple. The plant has an easy going nature and thrives in a variety of conditions. Almost any soil is suitable for growing creeping phlox as long as it is in full sun to partial shade. For best results, however, plant it in a sunny location where soils are moist but well drained. Dig in some organic soil amendments to enrich the soil and water the plant until it is established. Plant creeping phlox at soil level and avoid burying the stem in the earth. Follow these easy creeping phlox planting instructions for years of early spring color. Care of Creeping Phlox Little special care or maintenance is necessary when growing creeping phlox. The plant benefits from an early spring application of fertilizer to encourage new growth and flowering. Even established plants should have supplemental watering in hot summer periods and plants along rockeries may show signs of scorching due to the hot surroundings. The stems can be cut back after flowering to promote a second bloom. Care of creeping phlox may also include cutting the plant back in late winter to allow for rejuvenation and to produce young, more compact stems. Watching for mites and other pests and dealing with these infestations as soon as they are spotted using an organic insecticidal soap is also important for the plant’s care. Creeping Phlox Propagation The plant can also be divided to provide more growing creeping phlox plants. Simply dig the plant up, preserving the root ball. Cut through the center of the plant and through the roots with a sharp soil knife or even a spade. Replant one-half of the phlox in the original hole and plant the other anywhere you want more of the colorful ground cover. The process can be done every few years to create healthier plants. You can also take stem cuttings for rooting in summer or fall. Dip these in a plant hormone and plant in a soil-less medium to take root. Get more stuff like this Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Thank you for subscribing. Something went wrong.

<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>

CC-MAIN-2023-06

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<urn:uuid:352f515b-c69f-4b22-8852-1f06bd94f5b2>_26

The plant has an easy going nature and thrives in a variety of conditions.