When Your Wrists Say “No”
A few weeks ago I got an email from a dancer who used to enjoy playing zills but no longer could due to carpal tunnel issues. Following surgery she has limited hand mobility to play finger cymbals. She was looking for ideas on how she might still be able to use her zills in her dance given these new limitations. I thought this was an interesting question and one that certainly other dancers have had to deal with, so I thought I’d share a few alternative ideas with everyone here.
If the issue is only in one hand, consider using a small, light tambourine to participate in your music. A tambourine makes a wonderful, playful and exciting prop that really works with your movement. You can watch a nice example of this here. In this video, Amani is using a larger tambourine, but you get the idea of how versatile it can be, whether the music is slow or lively.
Think “2 Hands”
Striking your zills together in the usual way involves flexion and extension of the ring finger and thumb. The muscles that do this are actually in the forearm, but their tendons that connect to the finger bones run through the wrist, Instead of producing your sound by bringing together the 2 zills on one hand, use both hands. Here are a few examples of ways to make different sounds and accents without aggravating your wrists.
- Clap Accents: Bring your hands together and clap all 4 zills at one. Just as with a one-handed sound, you will get a lower, duller sound if you bring them together and keep them closed than if you strike them and open immediately so that they ring. Using these two tones together creatively you can have some fun. Try it!
- Open Ring: Position your zills as if they made a little box with one pair resting on the top and bottom, the other pair on two opposite side. Check out the picture at the top of this post to illustrate . Wag the hand with the “sides” so that they ring against the stable “top and bottom” zills. This can be done softly or exuberantly, depending on your music.
- Tap It Out: Holding your hands as you did for a regular clap, you can play many of the same rhythmic pattern you normally would on one hand without the stress of finger flexion and extension if those movements now cause you difficulty or pain. Instead of “right” and left”, substitute “ring fingers” and “thumbs”. If you use the old trick of having one zill in a different metal, you can have more than one pitch too.
The need to have your hands together to make sound will probably mean that playing will be more of an accent than a continual sonic layer in your dance. Explore different ways to position your arms that allow your movement to be seen and your body line to be balanced. For example, play overhead while doing larger hip or travelling movements. Position yourself with arms forward on a diagonal to the audience while doing movements that are best viewed in profile. Hold your hands coyly in front of one shoulder while doing movement on the opposite hip – then switch! Yes, there will be some adjustments, but with some effort and flexible thinking, a dancer does not have to mourn the loss of her zills if she’s willing to try some new approaches.