One day I did a very simple experiment: I got in the bathtub, filled it a fair bit, immersed myself completely except for my face, and took some nice deep breaths. This is therapeutic in itself, yes? Here’s the really exciting part: When I’d breathe in, the level of water in the tub would go up. When I’d breathe out, it’d go down. I was displacing water, and that’s because I get bigger and smaller when I breath. Try it yourself—it’s a pretty sure bet that you do too.

This volumetric shape change—getting bigger and smaller—has implications for every movement we make because it is our most basic phrasing of movement. Volumetric shape change supports our resilience—an ability to bounce back from external forces. If we stop breathing, our timescale for survival is short—or at least it doesn’t take long until we go unconscious and start breathing again. Yet, when we come under stress we tend to freeze, and therefore minimize the volumetric shape change that characterizes our basic survival. Today I was skiing through some difficult terrain on the back side of Bogus Basin, and I felt myself freeze up in fear. Of course this only made me slam down harder into the moguls and further lose my flow. Resilience, and even stability, are a product of movement! In order to better control my motion I imaged myself getting larger as I’d breath in at the initiation of a turn. Then, as I exhaled, I’d allow myself to compress and yield into a smaller shape while landing on my skis in the new direction.

I’ll write soon about biotensegrity—the structural nature of our connective tissues, and how that relates to expansion and condensation. In the meantime, perhaps imagine a spring that breathes; illustrated by my new mascot Springy the Squirrel.

 

Hopefully I’ve begun to illustrate why shape change is essential for adaptation. The shape of my offerings is getting ready for a change: My current class structure and timing has not proven itself to be effective. In place of these offerings I will start to produce specific workshops tailored to your needs.   In the coming weeks I have it in mind to offer: Stretch, Conditioning and Technique for Skiers, and Care for Dancers. If you would like to offer input on when one of these might be best timed for your participation, please let me know! Also, please suggest your needs!

 

This week at Range in Motion I’m offering Resilient, receptive on Monday at 9am and Men who move on Wednesday at 5:30pm. You must register for these classes to take place, at Sign up online. Even one hour notice will guarantee the class will take place.

 

I’m also teaching Dance, People, Dance!, a dance improvisation workshop this Sunday from 3:30-5:30 at YogaTree (www.yogatreeofboise.com). Even if you’ve missed the first two sessions you are welcome in this last class. Just show up if YogaTree’s signup isn’t working…it was down last week.

I am fascinated by the power of vision to pattern movement, and its prominence in my own embodied experience. So often in sessions with clients, classes, or in my own practice, I find myself cuing, choreographing, or simply bringing awareness to the eyes. More specifically, I’m acutely aware of the connections between the motions of the eyes and the motions of the spine.

This is easy to observe in posture. Posture is the position of the body in any moment in time, and generally refers to positions that are maintained over longer periods of time. When I spend a lot of time looking at my computer screen, or better yet the miniscule do-everything screen of my ‘smart’ phone, my eyes reach to the device and thereby pull my head forward. It’s as if my eyes are reaching for the light. Light moves really quickly, so it would seem unnecessary to do this—the light will get to me faster than I can even imagine, but I crank my head forward anyway.

Reaching from the eyes isn’t always a bad thing—there are times that genuine strength, excitement, and/or directness might be expressed by this reaching. If I’m giving a lecture I might reach my eyes out to the people I’m speaking to, or I might express love through the reach of my eyes to a friend. I can similarly reach my hand out to be direct with my intention. And what about the head? Is it useful to crank my head forward on my spine? In most situations I find that my head advances forward of my torso because I’m somewhat anxious: I’m not ready to bring my whole body forward, but I want more information and I am reaching out to it. On the one hand this is natural—I’m protecting myself by retreating my torso at the same time that I advance my skull. Yet, if I would prefer not to live in a state of panic (and I do), then another method is probably worth practicing. My suggestion, for myself and others, is to practice imagining and allowing that light will come to the back of the eye. Our lives move quickly, but not faster than the speed of light. When I allow myself to receive the light I can better meet it with my breath, my spine, and the support of the earth. Simply put, I’m more at ease.

I’m working with a graphic designer on a logo for Matthew Nelson Movement. We decided on a squirrel, because they’re so wonderfully bouncy, resilient, and easy in their movements. I was having trouble with the picture because I couldn’t figure out how the eye she had drawn related to the rest of the squirrel’s body. Eyes are so expressive! I erased the eye my designer had created and started making my own. When I connected the eye to the rest of the squirrel’s spine–a spring–suddenly it all made sense! Our eyes connect the space we inhabit all the way into our support at our feet.

Today I worked with a client experiencing pain deep in her hip.  I assisted her once in the past by taking five minutes to help her  soften her hip flexor at the front of the painful hip.  This worked for a few hours.  Today we had the chance to work more deeply, and something both surprising and quite common came up–the other hip is the tighter one.  What?

My last blog entry was about support.  We are always navigating a relationship between stability and mobility, and both are created by utilizing our connection to the earth through gravity.  If one hip joint is held more tightly than the other (and you can replace ‘hip joint’ with just about any body part), then it acts as a fulcrum by which the other side has to move more, and usually with less control over its own fate.  To simplify the situation, imagine a see-saw with its fulcrum, or support, in the middle.  Each side moves equally with two kiddos of equal weight.  Now imagine if the fulcrum is moved more toward one end of the see-saw.  Now we can put a kiddo on one end, and an adult on the other. This is great for a while, but eventually the adult moves too fast, or gets distracted by his/her iPhone, and the kiddo, way out on the end of a long lever, gets dropped or catapulted!  When one side is tighter than the other in our hips, shoulders, or even our organs, our connective tissue network automatically adjusts our support:  Our use of leverage and fulcrums inside our body compensates.  However, this puts undue stress on the most mobile parts of our bodies!  The hip that hurts, goes into spasm, and otherwise complains, is usually being abused by a silent, less willing, or less aware partner.  It’s a bit like internal whiplash!  Surprising in the moment, but absolutely the norm.

 

I worked with a client today for whom making meaning of life is primary.  We began with my hearing the story of where things are at in my client’s life–on many more levels than just body.  This led us to experiment with different ways of connecting to the support of the ground, and of finding how these different configurations were or weren’t effectively accomplished.  We did some difficult balances with resistance from a Pilates piece called the MOTR.

I almost always send my clients home with some sort of record of what we did.  Usually these are quite literal…like a movement prescription for practice.  This one was both simple and abstract, and speaks to how much movement and meaning were woven in this session.  This is what I wrote, with my client’s help, at the end of the session:

I connect my pelvis to support; I connect support through my heart.

One side supports, the other utilizes that support.  (This was in a body-half movement where this is exactly the situation)

I am strong, and I support myself.

The focus of this blog will be practices I create with and for my clients.  Without naming or deeply describing my clients, I will share the most interesting things that we do with the hope that we all learn from each other!


 

Permaculture Dance Project is the aesthetic result of investigating David Holmgren’s 12 principles of permaculture through movement.  The movements we as a culture find “beautiful,” and worth practicing in the studio are based in our value systems and constructs.  I often hear people claim that dancing bodies become broken down through the practice of dancing and performing.  I don’t think this needs to be the case–choosing movement that sustains and increases the capacity of the body is possible just as permaculture shows that farming the land can increase rather than decrease its health and capacitance.  The movement that results from such a goal has specific aesthetic properties, and relates to an emerging cultural value of sustainability.

Permaculture is a system of ecological design and engineering first defined by Bill Mollison and David Holmgren in the 1970’s. Most commonly applied to gardens and homesteads, the practices of permaculture are systems-oriented approaches to sustainably generating basic resources such a food and shelter. Permaculture systems often mimic naturally occurring ecologies to accomplish these intentional outcomes. Therefore, the study of ecology—a science examining the interrelationships between living systems—supports the practice of permaculture.

In Permaculture: Principles & pathways beyond sustainability (2002), David Holmgren posits 12 discreet principles for permaculture design. The principles weave together function and aesthetics, using the science of systems ecology as a basis for applied practice. Permaculture Dance Project is a dance film I created by investigating and presenting these principles in movement. The choreography of the film developed from examining how each principle could inform the functions and aesthetics of human movement. The presentation of the film draws similarly on the principles to define the relationships of bodies, environments, time, and space on screen. The aim of the film both as process and product was to explore permaculture through embodiment. Conversely, it has also been to learn about embodiment through the lens of permaculture.

Just as permaculture is supported by ecology, the embodiment of dance is supported by kinesiology. To study the embodiment of dance as a participant, however, is within the realm of somatics. A first-person phenomenology of dancing generates meaning from the objective body of kinesiology. Similarly, permaculture is an integrative system that weaves ecology with ethics, aesthetics, and practical intent to create a more subjective and interpretive framework. The overlay of somatics with permaculture offers an ecosomatic perspective. In defining ecosomatics, permaculture and somatics activist and scholar Nala Walla suggests that “The practice of ecosomatics heals the separation between mind, body, and earth by encouraging direct sensory perception of one’s body both in the natural environment and as the natural environment.” (Walla 2010,151) An ecosomatic perspective provides the basis for an embodied ecology: The experience of embodiment is about living systems, whether they be parts of oneself, relationships to others, or relationship to the world. From cells to cultures, each of these dynamics encompasses many living systems.

Applied to dancing, David Holmgren’s principles of permaculture frame an ecosomatic perspective. The below chart provides some links between the practices and operating principles of permaculture and somatics. For me, as a dancer and somatic practitioner, these principles have led me deeper into my embodied ecology, while also helping me connect aspects of self to others and my world. In total I seek practices and aesthetics that generate life, organizing resources to seek sustainable solutions for living in our world.

Principle

Permaculture

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Somatics

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Observe and interact

Spend a year in a place before making big changes.

Movement and sensation are continually interrelated.

Catch and store energy

Living systems gather resources from the environment, building capital.

Knowledge, connectivity, and muscle are strengthened through temporal practice.

Obtain a yield

Balance power and efficiency to get something for one’s work.

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Soften and bond with the supporting surface to allow joint movement.

Apply self-regulation and accept feedback

Positive feedback loops are useful, and can also get out of control.

Movement is an event that leads to consequences: How is/isn’t a particular pattern functional?

Use and value renewable resources and services

Invest non-renewables as catalysts to produce renewables.

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Muscle, sweat, and attention are renewable, while tendons, ligaments, and joint capsules are not.

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Produce no waste

Close loops: Wastes of one system become resources of another. Maintain systems.

Momentum and counterbalance are learnable skills. Maintain systems.

Design from patterns to details

Scale is the basis for perceiving patterns. Spirals are common in natural systems.

Time is an integrative function of the soma. Movement is phrased.

Integrate rather than segregate

Each element of a system has many functions, and each function has many elements.

Connectivity between parts and/or systems is what provides function (and expression).

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Use small and slow solutions

Use appropriate technologies and scale for tasks to minimize the effect of failures.

Change is facilitated by slowing automatic processes for observation.

Use and value diversity

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Alternate pathways for essential services increases resilience.

Specialized abilities develop based on structure and experience.

Use edges and value the marginal

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Action takes place at the edges where systems overlap

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Reaching into space mobilizes. Contact with environment supports.

Creatively use and respond to change

Successional patterns (like seasons) tend to repeat in predictable ways. Set up intentional change.

Stability and mobility interrelate in repeated patterns. Set up intentional change.

References:
Holmgren, David (2002), Permaculture: Principles and Pathways Beyond

Sustainability, Victoria, Australia: Holmgren Design Services.

Walla, Nala (2010), ‘Body as Place: A Somatic Guide to Re-indigenization’, in Hope Beneath Our Feet: Restoring Our Place in the Natural World, Keogh, Martin (ed.), Berkeley, CA: North Atlantic Books, pp. 150-157.