Monday, October 15, 2012

Who are the people in your neighbourhood? Who was Rudolf Laban

Laban Movement Analysis (LMA)or Laban/Bartenieff Movement Analysis is a method and language for describing, visualizing, interpreting, and documenting all varieties of human movement. It is one type of Laban Movement Study, originating from the work of Rudolf Laban and having been developed and extended by Lisa Ullmann, Irmgard Bartenieff, Warren Lamb, and many others. In addition many derived practices have developed with great emphasis on LMA methods.

Bartenieff Fundamentals (sm) are an extension of LMA originally developed by Irmgard Bartenieff, the Founder of the Laban/Bartenieff Institute of Movement Studies - LIMS NYC, who trained with Laban before moving to the USA and becoming a physiotherapist and one of the founding members of the American Dance Therapy Association.

Laban Movement Analysis is generally divided into these categories:

Body (Bartenieff Fundamentals sm, total-body connectivity),

Space (Choreutics, Space Harmony)

Effort (Energetic dynamics),

Shape

Phrasing

Relationships

Then there are the following combinations:

Effort Factor Effort element (Fighting polarity)

Effort element (Indulging polarity)

Space Direct Indirect (Flexible)

Weight Strong Light

Time Sudden (quick) Sustained

Flow Bound Free

Laban named the combination of (Space, Weight, and Time) the Effort Actions, or Action Drive.

Movement combinations are descriptively named 1) Float, 2) Punch(Thrust), 3) Glide, 4) Slash, 5) Dab,6) Wring, 7) Flick, and 8) Press.

The Action Efforts have been used extensively in some acting schools, including ALRA, to train the ability to change quickly between physical manifestations of emotion.

Flow, on the other hand, is responsible for the continuousness or ongoingness of motions. Without any Flow Effort, movement must be contained in a single initiation and action, which is why there are specific names for the Flow-less Action configurations of Effort. In general it is very difficult to remove Flow from much movement, and so a full analysis of Effort will typically need to go beyond the Effort Actions.

One of Laban's primary contributions to Laban Movement Analysis (LMA) are his theories of Space. This category involves motion in connection with the environment, and with spatial patterns, pathways, and lines of spatial tension.

Laban described a complex system of geometry based on crystalline forms, Platonic solids, and the structure of the human body. He felt that there were ways of organizing and moving in space that were specifically harmonious, in the same sense as music can be harmonious. Some combinations and organizations were more theoretically and aesthetically pleasing. As with music, Space Harmony sometimes takes the form of set 'scales' of movement within geometric forms. These scales can be practiced in order to refine the range of movement and reveal individual movement preferences. The abstract and theoretical depth of this part of the system is often considered to be much greater than the rest of the system. In practical terms, there is much of the Space category that does not specifically contribute to the ideas of Space Harmony.

This category also describes and notates choices which refer specifically to space, paying attention to: Kinesphere: the area that the body is moving within and how the mover is paying attention to it. Spatial Intention: the directions or points in space that the mover is identifying or using.

I wonder how Laban's work applies to the Martial Arts and Katas (型 or 形 literally: "form") as well. I am not sure however, if these things should be considered along side each other. There were developed differently and are taught differently.

Other Readings, Resources http://www.labanguild.f9.co.uk/aboutUs.html Laban, R. (1975). Laban’s Principles of Dance and Movement Notation. 2nd edition edited and annotated by R. Lange. London: MacDonald and Evans. (First published 1956.) Laban, R. (1980). The Mastery of Movement. 4th edition revised and enlarged by L. Ullmann. London: MacDonald and Evans. (First published as The Mastery of Movement on the Stage, 1950.) Laban, R. (1984). A Vision of Dynamic Space. Compiled by L. Ullmann. London: The Falmer Press. Laban, R., and Lawrence, F. C. (1947) Effort. London: MacDonald and Evans. (4th reprint 1967). L

Sunday, October 14, 2012

a little look at Maurice Merleau-Ponty

What I am trying to convey to you is more mysterious; it is entwined in the very roots of being, in the impalpable source of sensations. J. Gasquet, Cézanne


Maurice Merleau-Ponty (14 March 1908 – 3 May 1961) was a French phenomenological philosopher, strongly influenced by Karl Marx, Edmund Husserl, and Martin Heidegger in addition to being closely associated with Jean-Paul Sartre and Simone de Beauvoir.

Merleau-Ponty emphasized the body as the primary site of knowing the world, a corrective to the long philosophical tradition of placing consciousness as the source of knowledge, and his insight that the body and that which it perceived could not be disentangled from each other.

Merleau-Ponty believed that science (through too much abstraction) resulted in a philosophical tendency to reduce every phenomena, object, and person to nothing more than collected data. Philosophers had a duty to relate things as they were viewed, not as science described them.

This approach requires a return to The World as Lived. We can only know ourselves based upon the input of others. We are defined by all our actions, thoughts, and statements.

According to Merleau-Ponty, humans and our world are interconnected - neither causes the other, instead we shape and are shaped by our environment. We have both a natural (predefined) existence and the ability to change that nature via conscious choice.

His statement that I am my body could be interpreted as advocating a materialist, behaviorist type position. However, he does not deny those aspects of our life which are commonly called the 'mental' but suggests that the use of this 'mind' is inseparable from our body and physical nature.

http://en.wikipedia.org/wiki/Maurice_Merleau-Ponty

Thursday, October 20, 2011

Sunday, July 18, 2010

YOU ME and NEUROLOGY



Developmental Trauma and The Developing Brain in Relation to Attachment Theory, Regulation Theory and The Neuroscience of Psychotherapy AKA Why People Need a Holistic, Integrative Dance-Forme Class

Please note these are the studies of the writer and need not be related to everyone. Find out what resonates with you, in your own way. Let me know! The ideas on the table, not necessarily right or wrong. So, let's find a place in-between so we can safely explore and discover in thought and deed. Moreover, studies change and theories change, so some ideas will become better articulated in the future.

PART ONE:
Why does Miriam think We Need a Movement-Based Home-Base?

Let's start by looking at how our brain and bodies develop. When I say BODY, I mean, our nervous sytem that runs to every muscle in our body. I mean, our ability through an 'embodied-mind' to interpret information, and act or behave in gesture or deed with authenticity and reciprocity of care.

From birth (and before birth)our brain and body is shaped and nurtured - individually, interpersonally, and in space within natural time. We (brain-body) can also be shaped by neglect or abuse. Or a combination of both. Everyone has a story. Sometimes it hard to figure out, not what DID happen, but what DID NOT happen. As adults, as we see what the other options are, we bump into those places where a feeling or cognitive connection was not taught or maintained.

In infants we know the following "Limbic areas of the human cerebral cortex show anatomical maturation in the middle of 2nd year, suggesting that corticolimbic functional activity expressed in ‘emotional activities and mechanisms of memory are operating at this specific time.’ (Rabinowicz, 1979) This maturation reflects not only growth of connections but also a pruning [cutting off of] or parcellation [how we store info] (Ebbisson, 1980)

So, How we get treated and touched, from a 'sensory perspective', creates the nervous system and brain connections. We all get 'pruned' or 'parceled and packed' differently which affects all behavours and all thought processes. When I say, a sensory perspective, i mean, if we are taught to use our sense to gather information about ourselves, others and our environments. When our senses get ignored or over-rided or neglected, we don't develop our own senses or empathic perceptions well. We can become, senseless... in the true meaning.

I suggest that holistic fitness and DANCE CLASSES, movement classes and compassionate body practices can assist in experiencing a new 'home-base" for adults. I suggest that for people with a 'secure-base' already, movement programs push our creativity and authenticity - body-up - to places that benefit many, including ourselves. So come out, come out where-ever you are, and dance!
As children, if our families were open to exploration, our movement in the family in word, in deed, in motion, and in thought) essentially flows within and without. We learn to feedback and witness in authenticity of self, collective care-taking, and emotional love. When this 'home-base' is secure, our life can expand in safety. It’s like having a good place to run to when we fall, or being able to call “time out.” In J. Holmes’s chapter on Bowlby’s work titled, Attachment, Anxiety, Internal Working Models , “all of us, from the cradle to the gave, are happiest when life is organized as a series of excursions, long or short, from the secure base provided by our attachment figures.” (Holmes, p. 61, 1993).

I suggest that connective and integrative dance-fitness classes provide fun space for adults, seniors, and youth to a) connect to new senses b) explore visual and physical feedback c) share in a positive community environment d) integrate feeling, thought and speech d)practice self agency and self-other-care e) self regulate mood changes or electro-chemical systems f) practice spacial temporal cuing g)practice healthy relationships replacing abusive... and continue to be creative beings.

So, in class, over time, everyone gets to experience a new place to start from with physical consistency, care of community, collective movement, mutually understood gestures and embodied meanings, empathy, exploration, motivation, energy shifts, and the sense of being able moving through good times and bad times.

From a therapeutic perspective, the following can be said. In my experience with integrative dance, movement and martial art forms we find paths to foster neural growth and integration; This is expecially important for mental and nervous-system health on inter-personal and intra-psychic levels. In our aim for feelings of integration, movement, restoration, unity and peace, we can try...

1] The establishment of safe and trusting relationships
2] Gaining new information and experiences across the domains of cognition, emotion, sensation, and behaviours
3] The simultaneous or alternating activation of neural networks that are not integrated or dissociated.
4] Moderate levels of stress or emotional arousal alternating with periods of calm and safety
5] The integration of conceptual knowledge with emotional and bodily experience through narratives that are co-constructed with others
6] Developing a method of processing and organizing new experiences so as to continue ongoing growth and integration outside of therapy or counseling.
(Cozolino, p. 27, 2002)

In summary of the above, like Zen, one cannot dictate a set of rules to follow in relation to neural integration, emotional homeostasis via tolerance and regulation, body-based balance, or traumatic transcendence. But, in my experience, how we approach our own disconnection in ourselves and with others depends on what tools we have to listen, learn, and respond to the chance of trying new ways. If it is safe enough to try a new way...often, we do.

PART TWO:
Let's Look at the Brain a Bit More!

If you don't know about the brain, and how that develops, here is an beginners into. Everybody has two cerebral hemispheres that make up one brain. People tend to talk about the LEFT and RIGTH brain, but we need both working together. Dance teaches us to use form and flow, structure and creativity together.

The simple summary is this... The LEFT part is where speech comes from. It also controls the right side of your body. In general...Our logic and reasoning skills come from the LEFT half as do number skills. The RIGHT side of your brain is, simply said, your creative and movement part - this is where we find flow, Zen, compassion, universality and so on. This is how we get the perfect soccer goal. The RIGHT is also known as the visual side. The RIGHT side is where spatial imagery comes from. This is where the feeling or open-ness of the dance studio has a meaning, where the sound of the teachers voice or music- in tonal density - carries significance.

It is the RIGHT brain that mediates dialogues of empathic cognition, sense-reception and relational/communicative gesture. If the emotional and sense-based development of an infant or child is stressed through 'misattunement' - that is, a lack of the ability to communicate in sound, gesture, and deed with our caregivers, to reconcile with our caregivers, to survive basic neglect and so on we lose a lot in the development of our emotional and personal word-body-gesture development. We lose a lot in our self concept and self construct. More over, we can get wounded on the level of how we work with others and what we should expect from others.

If we get the chance cross trained our brains and bodies....we tend to fair a bit better. When we train both sides the two halves connect more strongly by a bundle of nerves called the corpus callosum.


PART THREE:
But, Why is it so Hard to Change?


When we rely on our upbring only as a mean for the development of our "embodied' mind, we can suffer behaviourally, cognitively and electro-chemically. Our fears, anxieties and defensiveness learned by a developing child, often continues into behaviours of avoidance, watchfulness, waryness, ambivalence, clinging... and also anger, numbness, apathy... It's not our fault. (Holmes, Figure 3.1 Developmental Pathways from Maternal Deprivation, p. 52, and Figure 4.1, The Attachment Behavioral System, p. 77)

It has been suggested from a neurology perspective, (and stated in similar ways in Darwin’s and in Freud’s work in relation to the drive instinct or theory), that the brain conserves earlier primitive structures which account for “some of the contradictions and discontinuities of human consciousness and behaviour.” (Cozolino, p. 8, 2002) In Cozolino’s research, summarized in The Neuroscience of Psychotherapy, he refers to Maclean’s description of the human brain as “a three-part phylogenetic system reflecting our evolutionary connection with both reptiles and mammals.” Maclean’s description of the non-verbal reptilian and paleomammalian brain runs parallel with Freud’s articulations of the conscious and unconscious mind.

At the center or core of this 3-brain construct is the Reptilian Brain [activation, arousal, homeostasis and reproductive drives]. The Paleomammalian Brain/limbic system grows around the reptilian brain [leaning, memory, and emotion], and the highest layer, the Neomammalian Brain, develops within the areas of the cerebral cortex and corpus callosum [conscious thought and self-awareness]. It is important to note that, according to Cozolino, “what Charcot and Freud called dissociation and 'hysteria' could be the result of inadequate problematic linkups between these different, cohabitating brains.” (Cozolino, p. 9, 2002)

According to 'triune brain' idea, we can consider the notion that we are not secure in our illusion of the sophistication of the verbally-centered human animal – able to rationalize, intellectualize and defend our actions in logical ways. Our brain-stem or reptilian brain (areas of low plasticity) are relevant to understanding ourselves and our nature. So as we change in our ways, we can think about what part of our thinking needs to help us change? Are we in survival? Can we take care of ourselves and others better. I do feel that learning how to take care of our bodies in health and compassion personally, allows us to practice this same care and love with others. I find that we can grow all parts of our thinking mechanisms by really watching our behaviours, gestures and feelings. A conscious movement or dance class is a really great place to practice in safety. It's kind of like asking not WHO AM I, but, HOW AM I? We can expand that to HOW AM I in my world..how do I observe my "doings" and reflect and learn. 

If you are a theology, symbolism, or mythology student... this is a good place to track what characters in mythology were created who only danced, who only flew or could not speak. The non-verbal world in mythology and in religion is so relevant to current studies on brain and sensory-motor development.

So, back the the triune brain. It is hard to change when we live in fear. Even ragers, as frightening as they are, are usually covering up for fear-emotions that can't get connected. They can be violent and it's best to know...it's just not about you. You may have to get out and get safe. It's not just an emotional thing, is a kinda of physical thing. The fast brain processing system, with the amygdala at its core, makes rapid reflexive and unconscious decisions to provide for immediate survival. It is responsible for the acquisition of skills and rules and the conditioning of stimulus-response connections. This system develops first and organizes learning related to attachment and affect-regulation. It involves sensory-motor and affective memories of early life and later traumatic memories.

Living in survival, not knowing what's going on, not being able to use our senses for information (aka Developmental Trauma) just feels bad! According to Cozolino, we can think of trauma as overwhelming the defenses, as in intense activation of subcortical networks inhibiting the participation of the hippocampus and cortex in the memory process. “Trauma is a state of high arousal that impairs integration across many domains of learning and memory.” (Cozolino, p. 270, 2002). Thus, damage to neural structures through trauma affect the development, interpretation, translation, and articulation of coherent narratives about the self. Trauma is much more complicated than people think. Try a restorative yoga or martial arts class or a Nia tech. class and see how you begin to feel.

PART FOUR:

For those of you who get hit by a shame response...again, it is not your fault! it is interesting how many people are afraid to dance, and they want to so badly! How many people are afraid to get it wrong?

From the perspective of “the neuron”, in a shamed state, the infant’s neuron’s, are receiving chemical signals from hundreds of other neurons and thousands of synapses, influencing the rate of, and the firing of nerve impulses within that state. We know that a decision to produce nerve impulses is made through the summation of all of the inhibitory and excitatory potentials impinging on a neuron. “Once critical threshold voltage is reached by this summation, nerve impulses will be generated. The more the excitation, the higher will be the frequency of the impulse train.” (O’Shea, p. 29, 2005). We can follow this basic summary of neuron-to-neuron communication to understand how negative neuro-pathways can be forged, long before we are even conscious of being able to make choices for our own health care! Recalling that cells that fire together, wire together, we can follow that forged neuronal pathways of disregulation and disorganization continues to survive, feedbacking into our thoughts, our meaning in relation, our motivations, intentions, actions, behaviours and overall life choices. Keep trying in health small steps, keep it real... keep firing, keep wiring...  let's try to understand why your body is moving into shame...and still get you to class!

Miriam - Torontomoves@gmail.com

Monday, July 12, 2010

The Connective World of Fascia - One Love



Every muscle in your body is enclosed in a bag of tough connective tissue known as fascia. Fascia is very important for holding your muscles in their proper place in your body. Rich in collagen fibers, it can be a tough, gristly covering, that surrounds every muscle. It forms a vast network throughout the body, surrounding every other cell and continuous from head to toe. It is the white tissue in the pictures shown above. [notice the outstanding form in this disco pose, doesn't even have skin and this cat's look'n great!]

Fascia also includes the tendons that join the muscle to the bone, as well as the joint capsules and the ligaments. Fascia contains numerous nerve fibers and sensory receptors and is better termed, 'neuromyofascia' [not to be confused with leggo-my-eggo] The superficial fascia, directly under the skin, contains adipose tissue and collagenous fibers and is also rich in nerve fibers. This layer is part of holding the twists in the deeper tissues and the counterrotations in our joints. Hence, fascia, is a big part of dancing and full range of motion ih our changing bodies. [does that mean...i am a fasciast?]

Fascia tends to stiffen as we age becoming tight and dried out. If your muscles or bodie is inflamed [feels hot ie: rheumatoid conditions], the body's lubricative material can become glue-like; Once less viscus, the chemistry attracts more inflammatory cells to the area and adheres various layers together.

In general, we can feel "sore" in our fascia, but we may think it's muscle. Or, we may be unable to release all that connective tissue from it's seeminly 'forever-tensed' hold. When healthy, this tight embrace is what we need. When fascia is blocking us from our motion, we have to take slightly more managing steps to help it out.

When your muscles are fully being used, they are pressing against the fascia. When we stretch in class after weight training or dancing, we increase the pressure on the fascia greatly, which can lead to expansion of the fascia.... which give space for your muscles to grow.

When we stretch enough to cause the fascia to expand, we really feel it! When you are stretching the fascia, you feel a powerful pulling sensation and pressure as the muscle works against the fascia to expand it. We rapidly learn to distinguish the difference between a good stretch and a bad stretch. You should not feel sharp pain, just a steady pull. It's sometimes "FIRE-Y" with all those nerves pulling in the tissue. It can feel like we don't even want to breath.

When you stretch sincerely after working the muscle, give your fascia - feedback, or, a reason to expand and release if too small, or tight, or "contracted-tense". It's nice to know that emotional tension, from life, trauma or developmental trauma can really be helped by doing deep fascial and breath work with a good practitioner. My friend and RMT will be dropping a line in here about his work with fascia and helping us work with this amazing part of our bodies.

In general, to expand the fascia, stretches should be 20 to 30 seconds after we have worked them and they are pumped large with blood. However, stretching our bodies is not just about stretching our muscles or flexibility of range of motion. Breathing into every stretch changes our body in shape, in detoxification, in oxigen uptake, and our relationship to our connective nature.

Don't by shy to admit to yourself, that you dont' like stretching or that it's painful. let's just do it slowly, carefully, together.

I am currently teaching private/public Acuball Release classes at the Miles Nadel JCC at Bloor and Spadina in Toronto. You can find out my schedule by looking up www.dancefitschedule.blogspot.com (yes a website will be created soon)

My Friend Marla Gold, who also teaches Acuball classes says "releasing tension in the body on a regular basis is so important to keep us mobile, happy beings" she adds, "it's important for people to practice self-agency in this process." Marla and I both advise that while receiving asstance for fascial release is healthy, and active stretching works, options like the ball offers deep tissue accessibility that you sense actively - feedbacking into the very same body you need to heal. As movement and health practicionners, if we don't understand restoration and feedback systems, we just don't have, not just the language, but the teachings to help ourselves, and help others. For me, the acuball is part of our heal-theyself personal program done alone or in community groups. Special thanks to Canadian chiro Michael Cohen for creating this wonderful tool, affordable, heatable and accessible. Its used by the NHL, Olympians, and soon .... by many of us in living embodied and in motion.

*Body facts+Source - Nick Nilsson
* http://www.rolfingseattle.com/aboutfascia.html
* http://www.body-rhythms.com
* http://www.acuball.com

Friday, December 18, 2009

Centre for Movement Disorders



Pssst have you heard? Registration for Dancing with Parkinson's @ the Centre for Movement Disorders in Markham Ontario is taking place now.

www.movementdisorders.com
www.dancingwithparkinsons.com

Sunday, June 28, 2009

Responses to Dancing with Parkinsons (Tor Star)



"Transformation - A celebration of movement"
End of Year Show - Baycrest June 18th, 2009 Tor Ont Canada

It is a pleasure to be a dance teacher with this team (lead by Sarah Robichaud, the 6 teachers, the students, our pianist, volunteers and the board)


***************************************

"Dancing with Parkinsons"
DIANE FLACKS

Choreographer Sarah Robichaud says teaching Parkinson’s patients has changed her life. “I have dancers who may come in using a walker and later on in the class will gracefully waltz across the floor. I am surprised and amazed every single class. Nothing short of miracles.” In spring 2007, Robichaud started working with CBC radio broadcaster Andy Barrie as a personal trainer to help him manage his Parkinson’s disease symptoms. She explains in an email why she expanded her efforts, starting Dancing with Parkinson’s classes: “In researching the disease, I learned that dance was a great therapy for PD sufferers. I decided that I could give back to the community by starting a dance program for those with PD.It was my mission to get (clients’) bodies moving, uplift their spirits and, most important, give them a sense of control and dignity back in their movement.”