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The Phases of the Moon are perceived as Phrases in the moon’s cycle
Phrasing is key to movement – All movement is change. From simple to complex, changes in body position, location in space, muscle tension, focus (etcetera) create the patterns of our actions. Understanding movement is through the process of recognising and interpreting the patterns. Phrases are containers . They hold the content of intention. They allow a large whole to be organised into smaller increments (or units of change ) as illustrated in the above photo of the cycle of the moon. Unlike another Foundational Pattern – the pattern of Thematic Duality, Phrasing is temporal as it is a sequence through time. Phrasing is one of the ways that the phenomenon of Time is part of Movement Analysis and LBMS.
A series of linked actions, connected through sequences of time, create the phrases of our human movement. Phrases may be seen at different “levels”, from a more macro to a more micro perspective. For example: seasons of the year, to months, weeks, days, hours, is starting from a more macro way of phrasing time and becoming increasingly more micro in how we parse sequences of time.
Aspects of phrasing include duration or length of phrases as well as if the phrases are discrete or overlapping, where one phrase blends into another. In addition, if there is an emphasis in a part of the phrase, for example at the beginning or ending, this too can create a pattern or type of phrasing linked to its meaningfulness.
A phrase is often described as a “complete thought” in language. In this way a phrase , is both a whole in itself, as well as a part of a greater whole (Part/Whole theme).
Phrasing creates and supports meaning. Below are some language examples of this idea. * The words below, in example “A”, are somehow meaningless until the phrasing creates the containers for the content and intent in example “B”.
(A) That that is is that that is not is not
(B) That that is, is; that that is not, is not.
When we change the Phrasing, we change the meaning as illustrated in using the same sentence with 2 different phrasings (below)
Woman without her man, is a savage. – -or – – Woman: without her, man is a savage.
Examples
of phrasing can be found in phenomena of all kinds. Phrasing can be seen in
everything from functional structural designs (architecture and engineering
come to mind) to the expressive compositional phrasing of music, poetry and
dance. Language as it is sounded, spoken and written is phrased in its patterns.
Learning movement, teaching movement, re-patterning movement all are dependent
on the phrasing of movement.
Body Phrasing – In looking at the phrasing of human movement we can start from identifying the functional phrasing of body organisation. For example, kinetic chains, or the neuromuscular initiation and sequencing of actions are examples of Body level Phrasing. Does a sequence progress from the upper unit and sequence to the lower unit, for example? Or from the distal end of a limb to its proximal end, or vice versa?
Unsupported
or “disconnected” movement often is the result of breaks or interruptions in
the sequence of a body phrase and may be a key, both in identifying a
problematic pattern as well as finding a solution through re-patterning the
phrasing of the movement.
More BESS Phrasing – In addition to Body aspects of Phrasing, we can also look at spatial (Space Component) and dynamic (Effort Component) aspects of movement phrasing (Space Phrasing and Effort Phrasing) . Understanding the spatial and dynamic aspects of a phrase may assist in clarifying the intent of the mover.
A spatial phrase creates a pathway – or several pathways – through the mover’s space (the Kinesphere). Such a phrase might be seen in a linear progression in the Vertical Dimension from high to low, or a sweeping Planal arc, or in a more complex spiraling sequence through the 3 Dimensions of Space.
The dynamic Effort changes in action support both functional as well as expressive aspects of the phrasing of movement. Looking at the dynamics of a phrase we can see what changes, what is emphasized, or if there are accented moments. These Effort Dynamics including their phrasing reflect the mover’s attitude and intent underlying a sequence of actions.
Emphasis in some part of a phrase at the beginning, or in the middle, or at the end – creates an identifiable type of phrasing pattern. Emphasis may be observed in Space or Dynamics/Effort or Body or Shape Phrasing. In other words Phrasing can be observed and experienced in all the BESS Movement Components.
Rhythm and Phrasing are interconnected concepts. Patterns of duration, holding and emphasis create rhythm , thus rhythm is linked to the concept of phrasing. Rhythms are linked to repetition and patterns emerge from repetition.
Rhythmic patterns can be seen in space through movement ( as well as the rhythms seen in art and architecture of line, design proportion) . Rhythm divides or breaks up the ongoingness of Flow (here addressing Flow as baseline from which all patterns emerge). The rhythms of our flow become the phrasing patterns of our movement sequences.
Fundamental Rhythms – The nature and feeling of duple and triple ( 2’s and 3’s )
TWO (2) is a statement of a line, an ongoing progression. But also creates the simple clarity, of beginning and ending. And in this way it describes opposites. Two ends of a continuum creating an either/or polarity. This duality can describe a harmony of balance and symmetry.
Examples of duality in the LBMS organisation of perception and experience of the patterns of movement can be found in:
LBMS Themes – Inner/Outer, Exertion/Recuperation, Function/Expression Mobility/Stability as well as other themes often addressed including: Simple/Complex, Self/ Other, Beginning/End, Part/Whole, Macro/Micro
Effort – Condensing/Indulging creating the 2 Elements of each Factor ie. Light/Strong, Direct/Broad, Free/Bound, Quick/Sustained. Effort Phrasing which emphasises either the beginning (Impulsive) or the end ( Impactive) of a phrase
Space – the phrase of the progression of space which connects the two ends of each Dimension, the two ends of each Diagonal, the two ends of each Diameter.
Body – our bilateral symmetry and our organisation relative to our form for example in the rhythm and phrasing of our walking. And in a more macro phrase sense beginning (our birth)/ end (our death) And all the many duple rhythms of our biological existence – inhale/exhale, heartbeat, ingestion/excretion etc. etc.
Shape – The Concave/Convex Relationship, the Gathering/Scattering actions and in Shape Flow linked to the 3 dimensional of our form through lengthening /shortening, bulging/hollowing and widening /narrowing, The Spoke-like Directional mode in actions towards and away from self, which in turn is based in Self/Other duality. Other examples in the Shape category are the oppositional polarities of the Core Shape Qualities – Spreading/Enclosing, Advancing/Retreating, Rising/Sinking
THREE (3) is often curvilinear in its nature but can also create the form of a triangle Which in turn can create a loop or cyclic progression around the closed triangle. In a 3 rhythm there is more differentiation as the idea of the middle emerges. This suggests more complexity and a shift in emphasis to what happens between the beginning and the end. The process becomes even more important – the life between the birth and the death – the dash between the dates on a tomb stone depicting the date of birth and date of death which has always seemed such a reductionist way of recording the phrase of one’s life!
Rhythms
of 3 can also create Stable Triangular patterns and can be linked to aspects of
our Dynamic Alignment (Body Component ) through our bony architecture but also
to all the BESS components such as what we identify as a 3 ring as a Spatial
sequence.
Examples
of a tri-partite rhythmic patterns in the LBMS system of organization of
perception experience of the patterns of movement can be found in:
Body – our experience of the volume our 3D form, true spirals in gradated rotation of the whole body kinetic chains connecting flexion/extension, abduction/adduction & inward/outward rotation as well as in the progression from 1D to 2D to 3D.
Effort – Effort is constantly fluctuating as we move between and among the constellations of the States and Drives and the link to 3 can be seen in how each Drive combines 3 of the 4 Effort Factors and in addition how each Drive is supported by 3 “Cluster States” linked to the Drive.
Space – A phrase of 3 directions linked as 2 pathways in theTransversal progression of: Flat, Steep, Suspended in Icosahedral Scales including the Axis and A or B Scales. (These are Space Harmony Scales practices in LBMS Movement Analysis training programs)
Space Harmony – In the Harmonic structure of the rhythms of Space, in the Transverse A & B Scales of the Icosahedron, Rudolph Laban identifies the Steeple type phrasing as a “bipartite rhythm of diagonal directions” (The Language of Movement: A Guidebook to Choreutics p 154). He goes on to identify the Flat, Steep, Suspended phrasing as a type of tri-partite rhythm through which to experience the space harmony of patterns of human movement.
More about Phrasing and phrasing types
Please
read this. I see what you mean.
Please read this. I see what
you mean. or I see what you mean
Please
read this. I see what you mean. or I see what you mean
Please
read this. I see what you mean.
Try
clapping a simple 3 rhythm accenting the 1 over and over. Switch to the 2nd
beat. Switch the accent to the last beat. What is the nature, feeling or mood
in each case?
Impulsive Phrasing – the emphasis is at the
beginning of the phrase. It may be abrupt – as when happens when someone
interrupts. It may be aggressive or intrusive. It may also be excited – the
initiation of a big new idea – “I’ve
got it!”. Or
being impressed “Way to go!”. Impulsive Phrasing can
also be found in duple rhythms such the double pulsing often used in jump
rope.
Swing Phrasing – the emphasis is in the middle
of the phrase. It builds to a climax
then recedes. An example may be cracking a whip (preparation – snap – withdrawal). A wave
breaking on the shore, skipping rhythm. Although a Swing type phrase requires 3
parts – a beginning, middle and end – you will frequently find rhythms of 2’s
and 3’s layered. As in the common 6/8 meter which can also be experienced as
duple feel with emphasis on 1
2 3 4 5 6. In LBMS the interconnectedness of 2’s and 3’s
can be seen in the States associated with a Drive or the nature transverse
movement and more specifically the pathways of Transversals in space. Where the
2D nature of each individual plane is interwoven through a cycle (pattern) of
moving through all 3 Planes. In addition, the relationship of the (2 D) Planal
Diameters experienced as deflections of the 3D Diagonal
Impactive Phrasing – the emphasis is the conclusion.
This can be about being definite it builds up to a conclusion. It may be authoritative,
or absolutist used to show determination or resolve. “That’s It!”
Phrasing style is an important aspect of one’s baseline Personal Movement Signature.
So
far so good – but what exactly is a
Phrase? A phrase is often (to use a word
I heard CMA Carol Lynne Moore apply to the concept of the Dynamosphere) a
“fuzzy” concept in LBMS. It is fuzzy in that the edges are unclear. Although
perhaps unclear is a poor word choice as it is clear to the individual
observer. According to CMA and non-verbal communication researcher Martha
Davis, observers each seemed “to have an individually consistent approach to
delineating phrases. However, the observer’s recording very often differed from
each other. They do not appear to share concepts of phrase boundaries.” This
would seem to resonate with the idea that Phrasing can be viewed from both a
Macro as well as Micro perspective – something we do all the time as we shift
our attention to the phrasing of a day morning, noon and night, to seasons of a
year, or patterns of time into epochs. We do this as well in LBMS, looking both
at the BIG movement picture as perhaps revealed through the larger lens of a
particular theme, or in a small movement unit of a single action. Like fractals
larger patterns are composed of smaller patterns which, when magnified, become the larger pattern. Theme
of Part/Whole
*Thanks to my WM colleague Esther Geiger (CMA) and her husband Joel for reminding me about these examples from language
Post by KStudd – Updated Summer 2022 from earlier document of 2015
Space
– Space
can most simply be described as the environment, the totality of what surrounds
us – the medium we exist within.
Harmony – in understanding harmony looking at synonyms can enlighten us. Some examples of these include: balance, coherence, concinnity, consonance, orchestration, proportion, symmetry, symphony, unity.
Space
Harmony – thus,
I would define Space Harmony as patterns expressing concinnity of the universe.
These patterns explicate part/whole relationships which support
growth, life, continuity, development, life’s progression. These patterns are
frequently fractal in nature and often self-replicating or cyclic but also allow
for change (evolution). The image of the
spiraled nautilus shell is frequently used as an example of Space Harmony and
Sacred Geometry is rife with Space Harmony patterns and images.
Patterns
of Space Harmony also express dualistic patterns of universal balance in change
and constant, symmetry/asymmetry, building and destroying, development and decay.
All of which are expressions of order/chaos and the patterns of life and death
– whether it be of an individual organism or of a star.
Much
of Laban’s work is based in the Space Harmony expressed through the patterns of
human movement. His writings, both the
theoretical, more technical text, as
well as the more philosophical words confirm this. And Laban, as something of a
crystallographer, used the models of the spatially harmonic Platonic Solids in
his mapping the patterns of human movement of the mover’s personal space (or
what we define as the Kinesphere). Therefore, Space Harmony is a foundational
idea of the theory, practice and one could even say, philosophy of the
Laban/Bartenieff Movement System (LBMS) as based in Laban’s work.
In LBMS we can identify the essential Self/Other Theme with two foundational components of movement: Body (Self) and Space (Other). Juxtaposed with this Body/Space framing of Self/Other, is the Inner/Outer Theme, as we identify Space as existing on a continuum from inner to outer. We experience that we are containers of Space – perhaps most easily sensed in how our inner volume expands and condenses as we breathe (but also experienced in other inner body spaces). WholeMovement identifies/names the space contained within the Body as the Innersphere. In addition to experiencing the space within, we can also experience that we are contained by space i.e., that we exist within Space. In the system we identify the containers of this space outside, and which surrounds us, as our personal space of the Kinesphere, the General Space of our localized environment and continuing outward to the totality of the cosmic/universal space. I frequently use a picture in a class “handout” that illustrates this idea of the containers of space, in which the image of a series of Russian Nesting dolls represent the spatial continuum. It starts with the smallest doll representing the Innersphere, then the next in size representing the Kinesphere , and then the next representing the General Space and finally the largest doll representing the Universal Space.
I also use a handout that illustrates a modified model of the BESS frame that shows the Components in a slightly different relationship. Rather than a simple horizontal progression of 4 letters (B – E – S – S) I use a vertical progression that starts at at the top with Body/Space and under this is the Shape Component and under this is the Effort Component. Remember, systems and models, as well as all bodies of knowledge, are ways we use to conceptualize parts in relationship. In other words, how we organize our perceptions and frame the ideas that arise from the part/whole relationships of our lived experience. Remember too, that we humans are both pattern discerners as well as pattern makers in the experience and creation of our reality.
The Theme of Inner Outer Inner/Outer can also be linked to the ways in which we engage with the phenomenon of human movement in the theory and practice of LBMS. We do this primarily in two contexts: 1) from what we observe (outside ourselves) and 2) what we experience (part of our inner self). We should, of course, acknowledge that these 2 perspectives overlap in human experience but are also differentiated. In other words, LBMS attempts to understand human movement from the perspective of the mover and also from the perspective of the observer.
We
use these perspectives in describing, interpretating and finding the meaning in
our patterns of action, reaction and interaction. In other words, the analysis
and synthesis (part/whole relationship) in the practice of movement analysis.
The System (LBMS) itself continues to evolve due to practitioners’ applications, other bodies of knowledge and other systems for identifying and codifying human movement which overlap with LBMS.
NB –
this post is meant as a macro perspective and does not in any way
explicate the highly developed practice of Space Harmony as a movement
technique that explores the directions, pathways, forms, body support and
dynamospheric relationships of the Spatial Scale sequences developed and
codified by Laban.
Teaching online – specifically offering somatic experiences
for students that are intended primarily as somatic practice, is problematic on
multiple levels. This needs further discussion I believe.
In this discussion I am not addressing classes that are not
primarily focused on creating a somatic awareness and experience. For example, a dance class that has a different foregrounded intent (although clearly of course, can be framed as a somatic experience.) I also acknowledge that there are classes and courses that are very well suited to online education.
It is rather the plethora of online movement offerings and
the trend to switching from the embodied classroom experience to the virtual
environment due to the current situation that I want us to address more deeply
and reflect on. This is the purpose of this missive.
The somatic educational experience is generally focused on
awareness of an individual’s sensations and this in turn can often be a trigger
for feelings and thoughts. This process involves awakening or deepening
conscious awareness of emotions or thinking patterns. Indeed, this can be a fundamental goal of the experience – i.e. a deeper access to one’s Inner experience and bringing it into conscious awareness in order to better understand it or to find other possibilities etc.
In a real time /real space educational environment – what I
will call the embodied classroom – vs the virtual classroom, the teacher or facilitator of the experience can, and should, and generally does monitor the
situation. In other words, they “read the room”, or in LBMS parlance – read the
Dynamosphere. The teacher can go back and forth between Direct attention and
Indirect attention in the environment of the embodied classroom. This facilitates the Rhythm of Individual and Group and Self and Other that is dynamically in play. The teacher also has ways that they are self-monitoring (more about this later). In this way they monitor the whole – the group as well as individuals within the group and themselves.
This brings me to what has become (at least for me) a huge
concern regarding the efficacy and responsibility – and do I dare mention it – the ethics – of online teaching that need more attention than I have generally seen deeply discussed.
I will address this from a story of my own experience – so a
bit of heuristic research if you will in this subject matter.
I recently was a participant in an online somatic education
type of class. The instructor was working from the embodied metaphors of our organs to engage the participants inner experience (NB this was not a BMC class as the experience was framed as a Fundamental Principle of Core Support). Engaging through an embodiment of metaphor was how I understood the essence of the experience of what was being suggested that we participants explore. We were
directed to explore activating our movement from the heart. As soon as I began to engage with this experience, I immediately realized that my heart was frozen – immobile and I felt that I was a “heartless” person. I felt that the only movement available to mobilize from this place was in the action of Retreating and Enclosing. A sadness overwhelmed me, and tears streamed down my face… I hope you can appreciate the vulnerability that I choose to reveal here and why I think this is important to do here.
Now I am not a newbie in experiencing how my own activation
of the movement of self can be very revealing and take one to a very deep place. So, I had experience and understanding of this somatic emotional release/response. But what if I did not? What about those with a history of depression that such an experience triggers? Just as I am often disturbed when I see that someone leads a breathing exercise without any real recognition of what it can potentially trigger (yet another topic for further discussion) I find myself questioning what do we teachers need to articulate when we engage in leading these experiences. Particularly when we cannot actually be fully present, but only can be partially present such as in the context of online somatic experience classes.
The teacher of this class had no way to actually observe
that this was my response. And this reality made me reflect upon my own teaching experiences in the classroom when I have observed that a student was “being moved” in this way or had shut down or walked away or given some other sign
that I observed – such as leaving the room, stopping participation or crying, etc.
In such situations I make a decision about how or if to
connect to the individual. I may choose to simply be a witness and hold the space, or I may inquire if they need some support or assistance. Or I might ask someone else to check in with them. Or I may wait until a break and take them
aside or, or, or … The point is that I am in a much better place to make a decision as to what could be supportive of their experience and supportive of the goals of the class that I am leading.
Now just take a moment to reflect on the practice of “muting” the participants in Zoom sessions – a necessary evil? Hmmmm
So, let us be honest – this ability to adequately respond is
VERY LIMITED in the virtual classroom setting. Now I am not suggesting that we not have virtual online classes. We should. These they offer many possibilities for helping to connect us and to bridge our alone experience with others.
But let us also REALLY acknowledge the problems and
limitations in the online medium in somatic educational interaction. In
addition to the somatic emotional response aspect that I illustrated through
the example of my personal experience, there are many other aspects of this
virtual learning that also need to be addressed. This includes the lack of touch. Those of us who teach embodied practices often facilitate action and connect through intentional touch. This is NOT possible in the virtual classroom. Much more can and needs to be said about this. I am also very distressed at all the articles that I have recently seen as part of the practice of social distancing suggesting that we “do away with the handshake” and instead adopt the bow. Those writing these articles are well meaning but generally, in my estimation, have no real understanding of movement, including the action of touch and so they should not be opining about the significance of actions when they are not experts. We are – and we should make this clear – another topic for long discussion …
Then there is the interrupted phrasing that seems too often happen in the virtual environment of interaction. Sometimes this is due to the technology, but also it is due to a much more impaired ability of the participants to read the signals of interaction through the screen.
There are the aspects of technology that can be frustrating
of course – the tech itself can be problematic in poor connections impairing
seeing and hearing and the glitchy and unnerving aspects of time when there is
a lag or a freeze. These can be minor irritants, or they can be quite more and
contribute to stress and stress as we know, is often a process of accumulation.
Tech stress is something that cannot be simply dismissed – as it is another
“straw” on the proverbial back of the camel.
Many have spoken about Zoom fatigue and how exhausted this type of teaching is. We need to have a much more robust conversation about this phenomenon. Clearly the Exertion/Recuperation is out of balance – let’s use our considerable skills to name why and to share this with the world. I believe that in interacting through the screen there is much less ability to self-regulate by looking away, attending to self, shifting attention from group to individual – all this becomes “out of whack”. – This can be ameliorated perhaps to some extent by better practices. However, the medium itself is NOT conducive to the balance that is much more readily available in the environment of the embodied classroom. And this needs to be emphatically made clear.
I recognize the need and reality of online teaching, but I do think we need a more thoughtful and measured response and approach as I fear that this can become a panacea. Particularly when it is put into practice as an economic response to crisis and not foregrounding the intent of the educational training in somatic practice. There is certainly a great deal of – jumping on the band wagon of accessing band width in promoting education going on I see – and this bears reflection from this community.
Embodiment is a current buzz word (at least in English)
these days. And many workshops, programs and classes promise participants to become “embodied”. I believe I understand the sentiment however; we are all already embodied beings by the fact that we exist as human being-bodies. Our bodies are both the content and containers of each of us. We live in them and through them. We construct ourselves through our body-being, through sensing and moving. Our understanding of the world is fundamentally an embodied experience. Even our capacity for abstract thinking originates in our physical engagement with the world through the actions of our physical form.
We start our lives as an undifferentiated whole, a state of “being”. Then as we grow and develop, we differentiate our “self” from “other”. In this process we move from a state of “being”, into a state of “doing”. And we then begin the ongoing process of becoming ourselves as we negotiate the reality of our physical experience. This is the process of moving through the world as we both cope with and master our environment. Through this process we differentiate
ourselves and in essence create ourselves through the choices we make as we engage with the world. These choices are the choices of our physical embodiment – the expression of our presence in the world. Becoming aware of our moving selves allows choices that can best support us, as we act and interact in the life-journey we each are endowed with as embodied beings.