FELDENruIS JOTIRI\AL NO 3 L o a ELIZABETH trD[7TOR'S PAGtr BERINGER Dear Colleagues, Welcome to the third issue of the Feldenkrais ]ournal. The theme for this issue is working with homogeneous or special interest groups. ) As you can see only some of the articles fall into this category: Donna's regarding a research project with dancers; Russell and Linda's about working with children in India and ]ack's on skiing. In addition to these Mark Reese submitted the first case study and Carl has written a provocative article about Functional Integration. I now have an edito- rial advisory committee consisting of Larry Goldfarb, ]ack Heggie and Micheal Brickey. I would like to thank all of them for their help in this issue's publication. The next issue will be devoted to Feldenkrais and its relation to the emotions. We are interested in addressing such questions as: Is there a "Feldenkrais way" of dealing with emotional experience and expres- sion and if so what is it? When do we need special skills in addition to basic Feldenkrais training in order to deal with certain kinds of emo- tional occurences in the context of FI or ATM? What do we mean by emotions and how do they relate to movement and action? I expect this to be a particularly interesting issue. The deadline for submission of articles is May 15 as we are moving the publication date of the |ournal up from December to October. It would be useful for me to know ahead of time (if possible) that you are planning to submit an article. It is disappointing to have published three issues of the Feldenkrais ]ournal and to have received virtually no letters regarding the content from the community. Do you read the ]ournal? Do you have opinions about its contents? Is there something you liked, something you dis- agreed with, a suggestion you'd like to make? Lef s make this process a little more interactive. Please write me some letters with your opinions, comments, etc. that I can publish in order to get some dialogue going. Otherwise I may have to publish something really heretical just to get a response from someone! I hope that you enjoy this issue. Sincerely, The Editor Feldenkrais ]ournal Issue # 3 FtrLDENKRAIS /SSUE NUtunBtrR 1fHRtrE "IOURI\{AL CONTEA{Z"S Moving the Dance: The Feldenkrais Journal is published Awareness Through Movement For Dancers annually by the Feldenkrais Guild for Donna Blank. 1 its members. Material for publication can be sent to: The Feldenkrais GUild, Jitl: Notes Towards A Case Study P.O. Box 11145, San Francisco, CA Mark Reese 9 9410t USA. The Roots Of Functional Integration: Part I -- Biology and Feldenkrais CarlGinsburg... .....13 Additional Copies of the Journal are available through the Guild off,rce for ATM Game - Time Out $5.00 US each plus $1.ffi US for NancyDenenberg .....25 postage and handling. Buik rate fees are available on request. The India Project Linda Evans-Delman and Russell Delman. .26 Feldenkrais and Skiing Feldenkrais@, theFeldenlaais Guild@, JackHeggie.... .34 the Feldenkrais Method@, Functional Integration@ and Awareness Through Movement@ are all registered service- marks of the Feldenlaais Guild. Editor: Elizabeth Beringer Editorial Advisors: Micheal Brickey Larry Goldfarb Jack Heggie Design: Margery Cantor @ copyright 1987 by the Feldenkrais Guild. All righb revert to the authors on publication. Feldenkrais ]ournal Issue # 3 Page L DONNA MIOVrc{G THtr DAA{Ctr BLANK AWARENESS THROUGH MOVEMENT CLASSES FOR DANCERS My more mobile body does This sequence of connections has One can contrast this procenium indeed f eel diff er ent, lar ger, fullu, resulted in a process of looking at orientation of movement with "more there" and at alert. I no dancers' needs from a Feldenkrais Feldenkrais' definition of functional Method perspective, finding modes movement as a three-dimensional longu hold my stomnch in or of teaching and communicating that readiness to respond to the environ- pull up, ufuich l'm sure led to the they would find useful, then creating ment, and see that the seeds of rigidity (l used to haoe) in my a questionnaire for them that re- movement initiation come from spine. In some ways, l'm tflore sulted in a descriptive study, pre- differing orientations. Indeed, accepting of my body shape senting those results to dance re- Feldenkrais' definition of good instead of trying to change it.l'm searchers, and finally writing this posture being "an ability to move in article for other practitioners about any direction without preparation" pleased with getting it to work this experience. suggests an organismic responsive- better, hence feel better, both of ness to any event in the environment ashich hao e b een achiw ed thr ou gh Lo oking at D ancers' N ee ds : that contrasts with kaditional balletic the F eldenlcr ais method." training that is pre-planned and ProblematieThemes primarily frontal. "lhnoebecome aware of my inborn but lost instinctioe Modern dancers in general work One outcome of this frontal ori- behaoior. Freedom in all areas technically in a highly disciplined, entation is a great deal of chore- results from this. Spontaneity repetitive way, intended to achieve ography that leaves the head facing results-bits and pieces of myself certain technical goals that serve front (eyes often staring). This ori- their aesthetic. The technique and entationsomewhat disembodies the function as an organic rahole. aesthetic may vary to some degree, head from its basic functional I start to respond at an intuitipe depending on the modern dance connection with the tail, and keeps larcl<pen for learning and form (e.9., Cunningham technique, more focus on the audience. creatioe expression," Graham technique, Limon technique, etc.). But by and large certain Another aesthetic of western (Quotes from two performing general themes emerge, regardless of dance is that of creating the dancers, who are also teachers and the individual approaches. Many of illusion of oerticality, The vertical choreographers, after their study of these themes can be traced to the dimension is emphasized as dancers ATM.) balletic foundation of Western focus on overcoming gravity. Height performance dance. Indeed, many in many forms, emerges: jumping, When I moved to Washington, serious modern dancers take ballet leaping, going on point,leaving the D.C. five years ago, a letter was class daily. earth, and ascending upward, are waiting for me from the Dance Ex- favored. This is particularly empha- change School, asking me to teach The aesthetic, and therefore the sized through use of the legs. The Awareness through Movement. technique serving it, is based on look, the illusion, of legs extending After teaching two semesters at the performance on the procenium stage. and ascending, is built deeply into school, Liz Lerman, the Dance Western dance has afrontal the technique. In order to achieve Exchange Company Director, asked oientation intended primarily to be this "leggy'' verticality, specialized me to teach the company class for seen from one spatial orientation. movement is called into play. One two semesters. At the end of that Though a dancer uses 3-D space, the image intended to serve this aesthetic period AAPHRD* invited me to "look" of the movement is intended is that of "pulling up." Dancers are present a descriptive study of to be seen from the frontal orienta- encourage to"pull up" and "get out Feldenkrais work with dancers for a tion of the audience--dance move- of their hip joints." They are often Research in Dance Syposium. ment is most often created from that asked to "pull in" the belly as well. *American Association for Physical Education, spatial perspective. Pulling up and in as a chronic habit, Health, Recreation and Dance) Feldenkrais journal Issue # 3 Page2 tu[ovl^{G T[Htr DAr{e tr of course, inhibits breathing even as TElcmNc THE ATM Cussrs Trm Foxrvr or Tru ATM Crass: it stabilizes other parts of the body. (How the themes were addressed) On the lwrning and perception In order to achieve the articulation level, the first theme emphasized The form of these classes was of the legs three-dimensionally in the classes was tuming within to most often the form of any ATM while maintaining a frontal orienta- experience seasation. The classes class; that is, addressing a function tion and ability to relev6, or rise created an environment that sup- while attending to sensatiory up one leg while gesturing with the ported learning to pay attention to pattern, differentiation within the other, the notion of the"turn-out" is the subtle kinesthetic messages that whole pattern, using visualization, emphasized. Rotating the legs out- are continuously present from one's and clarifying inner intention. The ward on a relatively stabilized pelvis inner experience, and learning to use elements of the ATM format brought is often a means to achieve this end. these sensations as guides. up many new experiences and issues for the dancers. Problems arise for dancers when The classes continuously addres- these means, such as looking for- sed the notion of the integration of Several were not used to spending ward, turning out, pulling up and iry parts and whole. Dancers were asked so much time lying or sitting on the become habits and deeply ingrained to shift their attention between parts floor. So much of dance movement images of ways to attain functional and whole in whatever movement is expansive, covering space as well movement. they were doing. as time with verve. Dancers' per- sonal learning styles often corres- Another issue relates to the As in any ATM class, emphasis pond to their movement styles in training of modern dancers. Much was on an exploratory, discovery - dance. Thus, for many, lying on the training occurs through the teachels oriented process, rather than on a floor for 45 minutes, and particularly demonsdation. While there is repetition and imitation model. By paFng attention to small, subtle already an emphasis on the 'look" or going slowly; learning to move in movements done slowly, was at illusion of the movement, imitating small ways, not pushing, not attain- times fmstrating and often felt the teacher's movement can further ing, by palnng attention to sensation initially confusing. externalize the learnels experience. on progressively subtler levels, an There is often a resultant body image environment was created for lcarning Several dancers had difficulty experienced more as pieces, as arrns lnw to lam and for claifiying inner accepting the visualization process. and legs gesturing rather than intention. Classes always under- Some could not visualize easily conneCting fully through the head, scored the process of awareness, initially; others were surprised at the tail, and spine. The pieces are often leading to expanded choices and ease it gave their movement. focused on separately-head, armq moving toward optimal functioning. pelvis, feet, etc. The dancers were also taken out of On the body lnel, several specific their usual pattern of attending In addition, the teacher's rurnner- themes of differentiation andintegra- to the '1ook" of their movement. As isms can be imitated, and a general tion that were not necessarily part of the class focused on sensation, outward oientation to learning can re- the dancer/s body image were ex- and turning within, the dancers had sult. (How well I remember contin- plored to facilitate more efficient to develop feedback patterns that ran uously fluttering my fingerswhile functional movement: counter to much of their formal studying with Merce Cunninham, (1) The head-tail-spinal chain training. They were not being eval- imagining that those flutters might relationship uated externally for the appearance help me become airborne in the mag- (2) Eyes-head connection, and of their movement; instead they ical way that only he could achieve.) their relation to spine and tail relied on their intemal sensation to (3) Pelvisleg integration as well guide them from one movement to How does the dancer tap her in- as differentiation the next. This trusting of their inner ner resources for vital movement hnd (4) Shoulder girdle-rib cage kinesthetic guide was further pro- experience herself as a whole person (5) Pelvis-foot connections voked by their doing the movement moving with clear inner intention (5) Peripheral to central, and without knowing the goal, or out- and sensation? central to peripheral connection. come, of the movement. Feldenkrais Joumal Issue # 3 Page 3 fuTOVTNG 7[Htr DANCtr In general, these elements of an My dance experience and attune- "spoke" to them. Second, that they ATM class are designed to "shake ment certainly contributed to the suc- visualize the dance movement they up" and heighten awareness of cess of their learnings. However, the were going to perform, feeling the anyone's habitual patterns. For real beauty of the ATM process is whole self in as much detail and dancers, the shaking up exPerience discovering what one needs for ona- wholeness as they could picture. The often seemed more intense, in that elf,ona level perhaps no-one else can results were astonishing. Many they have developed and refined ever experience. Though my own members of the company dropped their body movement for dance experience helped me to facilitate most of their past ways of warming training far beyond the levels of most their learning each of the students up. When I went backstage before non-dancers. discovered, on a deeper level than I their next performance, instead of could articulate, what she/he needed seeing legs extended on tables, and There was a particular moment in for herself/himself as a dancer. Only chairs, stretching, etc.I found them the seventh or eighth week of the she/he ultimately made the on the floor, deeply involved in ATM company class when a "chill" connection. internal movement experience. They passed through the gorup. It was said they felt far better prepared to felt, not spoken. I-ater, the dancers I occasionally altered the form of dance "fullouf'having prepared in began to talk about a new level of the company class. At times, when this new way. realization of how this ATM Process they were rehearsing a particular differed from their past training and piece, we would work with a phrase We proceeded to question other assumptions. They experienced or a section of it. We work in an A, processes following this warm-up some fear in letting go of those then B, then A form ie. first working experience, particularly dance teach- assumptions. This letting go was with the dance movement, then ing and choreography. The results supported by the new level of trust doing an ATM session related to it, canbe seen in some of the dancers' they were developing in their own then doing the dance movement quotes and in the results of the feedback system. (NOTE: In gen- again, and feeling how it had study. eral, this was a sophisticated grouP changed. This was useful to the Tns SruDv of dancers in terms of body aware- dancers as individuals and also as a ness and openess to innovative group dancing together. In addition The purpose of the pilot study approaches to learning. Some had to using this ABA form for working was to survey the effect of studied Alexander, others Iaban. with sections of choreography,I Feldenkrais ATM class on the Many were involved with improvisa- utilized this approach for working dancers I had been working with tion and open to their own internal with the technical elements, such as fromtheir own point of view. The cues. The difficulties mentioned pli6s, preparation for jumping, arm study addresses the effects of the before might be far gteater for dan- gestures, etc. classes on the dancers'technique, cers without this orientation.) learning and perception, body After a semester of using the ATM image, performance, teaching, and While most of the classes were process with the company class, we choreography. The thirteen people typical ATM classes, they were also began to talk about the interface of participating in the study include colored by *y rrumy years of exper- this experience with many aspects of professional performing dancers, ience as a dancer, chormgrapher, their dancing lives. We looked at the dance teachers and choreographers, and dance teachaer. Through direct process of warming up. I asked several of them playrng all these and indirect means, I addressed dan- them to think about their ways of roles in their careers. These dancers cers' issues and beliefs. Since I was doing \ /arn-ups. What did they studied ATM on a weekly basis, attuned to them out of my own ex- believe they were doing? How roughly from ten weeks to one and a perience, I was able to tell stories, important was the ritual to them? half years. They were then given a share my own journey through questionnaire to be completed in one dance imagery and notions, and find I suggested that as an experi- month's time. The questionnaire the "teaching moment'' with the ment, they try warming up by doing asked for both quantifiable (yes or ATM lesson for these particular only two things: first that they chose no) and qualitative responses, people. aspects of any ATM lesson that written in paragraph form. Feldenkrais |ournal Issue # 3 Page4 ATOVruVG THtr DANCtr Rtsurrs or Trrs Sunvrv open and have more extension into "I've learned to pay attention, space." on a very fine and subtle level, to Since this process has at its root observe patterns of organization (and internal change, as it impacts on "It seems to me that subtlety is disorganization), and to begin to the dancers'movement, we will let often abandoned in favor of techni- choose (accept) more efficient paths." the dancers speak for themselves. callathletic virtuosity, especially in '"Io be aware of very small (The qualitative written responses the way dancers are taught 'techni- change and how the movement are in quotations throughout this que'-as isolated from the idea of might extend to the rest of my article.) After the following sample of quality or expressions. In the first body." their thoughts, there will be a discus- years of my modern dance training sion of the quantified results. Only a (7970-1975),I came to believe that "I become more in tune with condensed version of the full study is technique---efficient use of the body movement initiation." presented here. (Anyone who would a tool, a means for expression, -rvas like a complete copy of the survey and not an end in itself. Feldenkrais "l found organic sequencing, questionaire and students responses has clearly rein-forced that belief. I which made movements easier with analysis may obtain them by have not given up classical (or classi- to accomplish." contacting the author directly.) cal modern) techniques as old-fash- ioned, but have begun to be able to re-integrate the study of technique, b) Change in thinking about how you e. Tecrnnque qualities of movement and expres- organize your mor..rnent. sion." '1\,1y overall techniques has im- "Organization can come from proved considerably. I have in- "It is delightful to experience developing delicate internal move- creased my flexibility, strength, bal- rewards and results from leaming to ments reverberating out, rather than ance, range, etc. not through the do something'the easiest way a large movment being 'placed on building up of muscular strength but possible". my body' without having established through an increased consciousness a bodily core necesffiry to support of how the body works as a whole s. LEARNn{c auo Prncei,roN that part." and in its parts. The tension blocks that I have throughout my body a) Sensory awareness of your move- "I have learned not to copy are being recognized and eliminated. ment organization: dance movements or think of it pri- With this elimination a flow has been "Learning it from the inside marily from the limbs (which were established, thus making a freer out." my old ways), but to move more body. Many muscles seem to have from the center out to the limbs, so changed their habitual habits, thus "Before I would leave out parts that my whole body is involved." causing a wider range of movement of myself in feeling movement. I now and expression." sense more happening and let it '1 am more consciously and happen so that I can learn what the clearly aware of alternatives, and I "I found very profound and movement is about. Therefore, I'm am learning (gradually) to get out of different effects on the flexibility of non-judgemental and am becoming myown wayJ' most of my joints from the F.M. . . . It curious as to how I move." was also a "different" feeling of be- "I'm beginning to organizemy ing flefble in that it was a more sup "I have come to realize the dif- movement as opposed to just rush- ported flexibility and more useful." ference between the improved organ- ing along." ization and regular functioning." "Generally a sense of confi- "I permit as much as possible dence in technique has begun to "I feel that I am inhabiting my to enter into moving. My body is develop." body much more now thanl was. less divided into parts but more a The sessions have helped me to let complete picture. I perceive move- "I find dance technique classes my mind pipe down and let my body ment happening throughout my easier and more fun. I feel more speak up, which is a relief for both" body." Feldenkrais Journal Issue # 3 Page 5 DANCtr MIOVTNG 7THtr c) Learning things you did not static but as moving and d1mamic." "Feldenkrais has brought to my expect to learn: attention how the rnind and body "I have a feeling now of a are related (in performance)." "I didn't expect to learn any- 'body core'." thing that would so thoroughly infil- "My organic sequencing is trate my life." "My new version is much more easier, more efficient." considerate of individual differences, "Recognizing that a movement and flows more clearly from the "(The work) grves me more pattem includes the whole body and inside out." facility and range, so that I can can be affected by moving any one of express the movement clearer." the parts." "I am more comfortable and integrated, and have the notion of "I'mnot sure my performance "I have learned to lie on the centering, I move more from the is improving. Instead of pushing floor for a few minutes when I am center than from the limbs." my way through performance, I now tired and let many more things take work more efficienfly. care of themselves than I thought o. PrnronueNcs could lake care of themselves." "Expression is achieved not in a) Warm-ups: over-reaching, but in moving to "I have come to learn how the where I see and feel the movement "I used to give myself a ballet mind plays a vital role in the per- needs to be." barre and go on stage exhausted and formance of a movement." short of breath. With the Feldenkrais "I like to dance or move more movements, I do not feel fatigue or "To let go of what seems con- than before, and I never, or almost exhaustion but an increase of enerry, fusing and is making no sense and never, get achy from rehearsing the easy breathing, and a calm, serene then finding an easy solution." same dance over and over. This was feeling (but ready to move.)" something I was plagued with before "There are breakthroughs. The "[ often choose favorite (ATM) the Feldenkrais Method." ability to image allows me to cut lessons as a way to warm up, de- through a lot of fumbling around. "My performance has im- pending on how I feel." proved in that I look at the move- "My movements are becoming ment in terms of how the whole 'nlery different. Relying more more automatic and smoother." body is related to each separate on myinstincts. Warm-up has no movement, and also the initiation of set pattern." c. Boov luact each movement. . . I imagine the dance in my mind first before going "I use ATM itself for warming a) Posture and alignment: on stage. This preparation has up as a precursor for my vertical definitely helped." warrn-up/ and carry the awareness "I used to think posture was a of breathing into the vertical." static alignment, hips over ankles, u. Taecrmvc DaNc'r ribs over hips, shoulders in line with 'nVarm-ups: gentler. I some- ankles/hips, chin parallel to floor, "I use modified FM in my times do a Feldenkrais lesson if I am etc. but now I have come to realize warn-ups. When. . . I taught a mas- feeling particularly anxious or that good posture is always chang- ter class at the University in improvi- tense." ing. The body reorganizes itself sations,I gave two Feldenkrais differently at every given moment." wann-ups (each 7-10 minutes). The "I do several 'favorites' from session went wonderfully, and sev- Feldenkrais." "It is becoming more dynamic eral stated they felt more emotionally rather than static." ready to experiment than ever be- b) Performance per se: fore. I attribute this to the way they "The main difference is not "I'm performing better more felt on completing the warm-ups. (I feeling posture and alignment as consistently." explain that I am giving them mod- Feldenkrais |ournal Issue # 3 Page 6 fuIOVTA{G T[Htr DAA{Ctr ified Feldenkrais, not the real thing, r'. CgoxBocneprry "The FM has affected my chor- and tell them if they like it to find a eography. I am trying new ways to Feldenkrais practitioner. )" "I have new choreographic move. If there is a movement that ideas, which the company felt was causes discomfort, I try to figure out "The language I use in teaching due to my Feldenkrais work." another way to do it, rather than try- has become gentler and more precise. "My choreography was on a ing to stick to the traditional 'techni- In warm-up and technical excersises departure trip longbefore the FM cal' pnnciple, whether it hurts or not. the focus is on new ways of thinking helped it take a Big Leap. A good I am getting rid of certain move- about old ideas or, with beginners, on example is [a] dance. . . which was ments that don't organically work." warding off preconceptions and self- part of a longer sequence of dances consciousness." based on various ideas in human Quantified Results: movement. The dance was very "I am paying more attention to much about a ]rurney of self-discov- With an N of 13 (and sometimes the organization of mybody while ery, about the potential for locomo- less, given the category), we don't teaching." tion that is rarely explored, as well as know how significant the results are. the movement history that is part of However, they may point to trends "I am doing less demonstrating. our development as mobile beings. which \{,e can eventually test out on Students are concerned about imita- It would be a good work to look at in larger samples. ting the teacher and doing it right. terms of choreography that has been I'm now getting peopleto trust their influenced by the FM. It also embod- Civen this group of subjects, the ownbodies, rather than judging them- ies what I call the 'functional aes- study of Feldenkrais Awareness selves by the teacher's movement." thetic,'which is the way I find Through Movement (r) had signifi- beauty in movement." cant positive effects in all six areas "I found I was able to abandon addressed: Technique, Learning and the traditional methods of working on 'More movement possibilities Perception, Body Image Perform- the area in question and able to inte- are available to me because of this ance, Teaching, and Choreography. grate more subtle, less direct way(s) [FM] technique. . . I have found new The N in technique and Learning of working. So if I encountered stu- waysof working. Maybe oldhabits Perception is 13. dents with specific problems, they are beingbroken? I have also used The N in Body Image is 12 due to could eniry a full range of exploring these movements directly. The last a pregnancy. I movement without heavy concentra- dance choreographed incorporated The N in Performance is 10. tion on the problem area." Feldenkrais movements and theories. The N in Teaching is 9. Successive movements, one half of The N in Choreography is 7. "I have incorporated many ideas the body, then the other half, head- from the method into my teaching. . . tail relationship, looking under and Otterall Look at Results to imagine the movement first, to use over (a lot of focus was used),lots of focus and intention when moving. . . rolls and spirals." . 87Vo of all items in all categories ease and economy of movement is were reportedby 75Vo or more of the stressed, not so much strength and 'Normally,I move fast and big. group to have shown improvement. control. And they get stronger and P"yr.g attention to the small details . more controlled." gives new choreographic ideas." Seven items were reported by 90Va or more of the group to have "As a teacher I definitely use the "Certainly the FM affected my shown improvement: Balance, range ideas of Feldenkrais to try and help choreography in the context of my of movement, sensory awareness of students move with greater ease and pregnancy. (I haven't choregraphed organizing movement, ability to efficiency. I am constantly trying to since). It gave me a way of accom- image movement, change in how get them to use less rather than more plishing moving from the floor to you feel, change in warm-ups for and to try and understand the inten- standing. It gave me more access to performance and positive effects on tion and initiation of movement." transitions." teaching. Feldenkrais ]ournal Issue # 3