The aerial barre, positioned at the height of the dancer’s wrists in an upright position with their arms stretched upwards, have a distance of 60 cm from the wall to allow the exercises to be performed positioning themselves exactly under the barre which is suspended above the head, but reachable with the feet on the ground.
The training follows a fixed sequence that begins with the muscular activation and warming up of the scapulo-humeral girdle with two hands on the barre and feet on the ground.
Training in suspension or out of balance, forces the perception of allignment and stretching allowing the development of a correct musculature in discharge and the consciousness of movements helps to create a muscle memory and an awarness during the transitions.
In order to prepare the body for self-correction in dynamic actions, the exercises are proposed in out of balance with the help of accessories (fabric ropes) which, in addiction to constantly stimulating the proprioception of the dancer, allow him to work on the grip at the same time.
The perception of oneself and of one’s own body constantly stimulated from the soundtrack leads to the activation of all the stabilizing muscles that lead , during work, to a global strengthening without causing hypertrophy of the large muscular masses. Eccentric work ( active stretching phase) has the same purpose. Hence an efficient, powerful and at the same time agile body.
The exercise are progressively more difficult in parallel and in “en dehors”, until getting over time to virtuoso performances, as result of a calibrated and hard work at the aerial barre.
The KAB method favors studying without a mirror in order to concentrate only on one’s own body, thus learning to feel and memorize the right posture.
All the working protocol is performed with a specific musical accompaniment specially composed by Andrea Pozzoli, with sounds, frequencies and rhythms that take into account not only the dynamics of the action, but also the deep perception of them, thus training the body not only from the motory point of view but also vibratory and harmonious.
The structure designed for the KAB training is essential and practical in its semplicity.
It consists of a wall structure with a double horizontal iron barre that can be adjusted to the height of the dancers. For each module, about 2 m wide, 3 dancers can study the method at the same time.
The routine of the method is structured in such a way that the working group alternates exercises at the aerial barre and on the ground. Basic accessories for the complete study of KAB are bands of knotted ropes (1 per dancer) that are used specifically for the center control exercises on out of balance. A portable KAB structure is being defined.