Marissa Harris

Dance 363

11/24/14

Principles of Somatics - Observation Research Paper

“Laban Movement Analysis, originated by movement theorist Rudolf Laban,

is a framework of individual and universal principles developed by his students and

exponents as a way of observing, participating in and understanding movement.” (

With a language for describing human movement both quantitatively and

qualitatively, LMA offers an invaluable system for recognizing both the structure of

movement as well as its potential meaning within that structure. Additionally, by

exploring how we experience ourselves and others in movement, we discover

further potential for creating volume and flexibility in our experience of space, and

reveal our patterns of relating, communicating, and expressing ourselves nonverbally.

A similar set of principles, namely the Barenieff Fundamentals, consist of “a

set of concepts, philosophies and exercises developed by Irmgard Bartenieff in

applying Rudolf Laban’s movement theory to the physical/kinesiological functioning

of the human body.” Some the concepts studied are: Total Body Connectivity, Breath

Support, Grounding, Developmental Progression, Intent, Complexity, Inner-Outer,

Function-Expression, Stability-Mobility, Exertion-Recuperation, Phrasing, and

Personal Uniqueness. (“Laban/Bartenieff Institute”) Each has such depth to it, but

today I will be focusing on evident Patterns of Total Body Connectivity.

The cell is the basic structural, functional, and biological unit of all known

living organisms. Cells are the smallest unit of life that can replicate independently,

and are often called the "building blocks of life". Humans contain about 100 trillion

cells. Each cell in your body was made from an already existing cell. These cells are

what genetically make up our body. Our bodies are such fundamental instruments

in everything we do. They are tools that help us to progress in life and move

forward both physically and emotionally. From the day we were born our parents

helped us to get up and down, take that first step, open that first door, and eat that

first bite. Once our muscles learn the ropes of how to do those day-to-day activities,

it becomes second nature. When a movement is repeated over time, long-term

muscle memory is created for that task, eventually allowing it to be performed

without conscious effort.

As I took the time this last week to pay special attention to those simple but

daily tasks we all participate in, I noticed how even simple acts rely on the

Bartentieff Fundamentals. Although the people I observed were acting out of

muscle memory, I noticed different Patterns of Total Body Connectivity. When we

think of someone opening a door, we think it is a simple movement of the arm and

the hand. Watching person after person open the doors at the front of the Richards

Building, more than half were using body-half. The right and left sides of the body

each open and close in contrast to each other, or an entire side steps as a unit in

counterbalance with the entire other side. This pattern is usually seen in reptiles

and some mammals, which is often done at a slower traveling speed. For example

humans stroll with both hands in pockets. This is not a reaching pattern. Body-half

is pushing only; in locomotion with body-half the limbs traveling forward do so just

from the impulse of the push, rather than a full reaching out into space. The

Patterns seen are usually a push through the lower right and lower left as well as a

push through the upper. The first guy I saw open the door, grabbed it with his

right hand and stepped with his right foot creating that body-half notion. The same

pattern followed with the next guy who opened the door for a girl he was walking

with. Even though it was body-half I noticed a sustained swinging notion about it as

he swung that thing open for her. Other guy started opening the door using body-

half, but then suddenly shifted to cross-lateral as he pushed it all the way back. I

noticed the same effect with many others as well, pushing the door open in body-

half for a split second then straight into cross lateral. I also observed that most used

their dominant side to open the door. For the majority, the right side was the

prevailing side. I definitely saw spiraling action when the dominant hip pushed

open the door. The two girls I saw use their hips to push open the door were using

body half, but the one girl spiraled more and ended up in a cross lateral position. I

noted that those who used a body part other than their arms to open the door

usually were texting or holding something.

Even though most doors were opened starting with body half, a lot ended

cross laterally. The other portion of doors opened did however start with the cross

lateral connection. Cross lateral the action of connecting the body diagonally (top-

left to bottom-right, etc.) The oppositional locomotion of certain mammals

emerging when the limb moving forward reaches actively into space, thus

connecting back into the pushing leg. It can include but is not limited to twisting,

curving and spiral patterns. It expresses the most complex level of evolution and

integration of dualistic issues as well as simultaneous relationships in several

complex ways. The patterns seen in cross lateral are push through lower & reach

through upper (lower right to upper left and lower left to upper right.) Most cross

lateral users who opened the door were males. The each male’s torso was grained

proved that it was cross lateral. I saw many young BYU males opening the door, but

the one that caught my attention most was an older gentleman. He opened the door

cross laterally, but due to his age there was upper/lower movement taking place.

He had to lean into the handle to use more upper body strength, than was able to

return to a normal stance. Once I noticed this gentleman using a lot of upper/lower

power I started to look for it. I discovered more upper/lower users after that, just

not as exaggerated as the older gentleman. I found it interesting that most of my

cross lateral users were usually dominate on the left side. One girl pushed cross

lateral starting left arm, right leg on a right sided door and same as the guy right

after her. Most were body half users on a right-sided door. Also cross lateral users

leaned to the left side as they opened their doors.

Overall the dominant patterns used to open the door were body-half and

cross lateral. I did however see core-distal when some pushed from the core out

then back behind them. Most body halfers used the side of their body closest to the

hinge of the door to open it. I did see one guy do the opposite. He used the left side

of his body to open a door on right side hinges and then did a full 340-degree

rotation out of it. There were many times I saw tension present in the shoulder and

upper arm. With some it extended into the neck and forearm of the side opening the

door. Gravity in between the person against the door is what creates that tension. It

seemed as though the girls who pushed the door open with the hip had less tension.

The smaller people had the most tension. I think that if they were consciously using

core and different Patterns of Total Body Connectivity to help them open the door,

there would be less tension present.

I saw such a similar use of the body in the 180 Beginning Ballroom dance

class I observed. The two dominant Patterns of Total Body Connectivity were again

body half and cross lateral. They were dancing the Polka and. After connecting hip-

to-hip and arm-to-arm with a partner they began the basic step of Polka. It starts as

body half stepping onto their outside foot but then becomes cross lateral because

they step back on the opposite foot. Side together side, side together side

(appearing like a balance.) Most of the basic is done cross-laterally as if they were

walking, but body half is apparent. Many students in the class would do the basic

backwards, starting with cross lateral then into body half. It threw them off count

and balance.

The couples then took frame to closed position and rotated around each

other in the circle it became mostly body half. There was sway involved, being body

half, as they did the Polka in closed position. I also noted that they all looked down

line of dance but the sway always took place against line of dance. Since it was a

beginner class, there was a lot of tension while trying to learn these steps. It looked

as if they were clenching on with their hands for dear life while their feet were doing

who knows what down below. With a little bit of practice their muscle memory

clicked in and they were able to do the step with less tension. You could tell many

were holding their breath. I find it interesting that when I first started ballroom my

teachers would always tell me to breathe. It wasn’t until I started taking Modern

dance at BYU that I learned what that meant.

The cues the ballroom teacher gave for Polka were to “make it directional” as

well as “rotate close, rotate hop, and switch.” I noticed that it helped many students

travel and execute the steps better. At times they were travelling so well they were

crashing into one another. This affected their tension the next time around because

they were trying to be more cautious. Meanwhile there was slight upper lower

action when there shouldn’t have been. It goes to show they were relying too much

on their partners to get around. The last step they did was what I like to call

Ballroom leg swings. They are body half leg swings that you do with your partner in

which you look like little bells when danced. It was fun to watch another style to

apply the patterns and principles we’ve learned in Somatics. Bartenieff

Fundamentals would definitely help ballroom dancers if taught applied, especially in

this case with the students struggling with the Polka.

I became curious how Bartenieff Fundamentals could be applied in other

genres so I also took the time to observe a Folk dance and Modern dance class. As I

observed a beginning 170 folk dance class I noticed more of the Fundamentals being

applied than the ballroom class. In the ballroom class it was constrained to just

what movement you could do in frame and side by side. For Folk dancing there was

more upper and lower body movement. Of course it was very similar to Ballroom’s

Polka and opening a door because you have so many uses of body half and cross

lateral. I did however see the brief moments of core-distal too. The practice of all

Bartenieff Fundamentals was apparent in a Modern Dance class. Every concept was

noticeable from Breath, Head-Tail, Cross lateral, body half, and upper/lower.

The only difference between opening a door and dancing these principles is

the intent. One can be unaware how they are using their bodies pertaining to

opening the door or partner dancing, while you have those in a Modern dance class

who try and capitalize on the fundamental in their movement. The dancers I

observed in the Folk and Ballroom classes seemed more unlikely of the Patterns of

Total Body Connectivity they are using to execute their movement. Since these

fundamentals are truths, they will be operative whether these principles will enable

movers to enjoy moving more fully and reel more totally involved and embodied in

their movement. It takes place in our bodies whether the intent of using the

fundamentals is there or not.

As you can see, Bartenieff Fundamentals take place in the human body with

or without intent or knowledge of it taking place. It was evident that the Patterns of

Total Body Connectivity are more than likely to be used due to muscle memory.

Once we are taught to take those simple baby steps in life we fall into autopilot.

Using body half and cross lateral motion is very naturalistic to us. Through these

Bartenieff Fundamentals we can learn how to more fully use our range of motion.

Whether dancing or not, it helps to promote safety, awareness, less stress, and

simply connect better with the body so one can move more efficiently. As seen from

the observations, those who applied the principles of Bartenieff Fundamentals were

much more connected than those who did not.

As Regina Miranda stated, “Today’s dancers, even those immersed in more

traditional forms, must be proficient in a multitude of styles and possess the ability

to shift easily from one to another. As the formerly rigid lines between disciplines

become increasingly blurred, dancers are called upon to more actively participate in

the creative process, tapping into the idea that the body itself is an open-ended

process of actualization and self-innovation. Faced with these new demands,

dancers are rediscovering Bartenieff as a technique for the fundamental

embodiment of change.” Whether one is interested in improving athletic or dance

performance, reducing or rehabilitating injuries, managing weight, eliminating

tension, enhancing coordination and balance, decreasing stress, relieving pain,

increasing the effectiveness of your workout or simply caring for your body

holistically Bartenieff Fundamentals is for all. I know becuase I have felt a difference

in my life and dance classes by applying these principles. I recommend this way of

life for everyone!

Work Cited

Hackney, Peggy. “Making Connections: Total Body Integration Through

Bartenieff Fundamentals.” London. Gordon and Breach Publishers. 1998. Print

Kaylo, Janet. “Introduction to Laban Movement Analysis” Laban/Bartenieff &

Somatic Studies International. http://www.labaninternational.org/intpro.htm

Laban/Bartenieff Institute – “About Us” 138 S Oxford St Suite 2D Brooklyn, NY

Copyright 2009. www.limsonline.org

Miranda, Regina. “Irmgard Bartenieff.” Dance Teacher Magazine, 2008.

Laban/Bartenieff Institute of Movement Studies. NYC.

http://www.dance-teacher.com/2008/09/irmgard-bartinieff/