Page 1 of 16

NAROPA UNIVERSITY
SOMATIC COUNSELING PSYCHOLOGY PROGRAM
MA Dance/Movement Therapy MA Body Psychotherapy
2130 Arapahoe Avenue Boulder CO 80302-9926
www.naropa.edu
- COURSE SYLLABUS Course Number and Section: PSYS 621; Section A
Department/Degree Program: MA Somatic Counseling Psychology Program
Course Title and Credit Hours:
Body/Movement Observation and Assessment I
3.0 Credit Hours / 3.0 Contact Hours per Week / 45.0 Total Contact Hours
Term and Year: Fall Semester 2014
Instructor Contact Information and Office Hours:
Michael A. Lythgoe, MA, Ph.D. Candidate (ABD) Office: 303-245-4866 Cell: 303-810-3636
Email: mlythgoe@naropa.edu,
Office Hours by Appointment through the MyNaropa Scheduler: Mondays: 10:30am-11:45am &
6pm-6:45pm; Tuesdays: 1pm-3pm & 5pm-6pm, Others Hours possible with student request
Day/Time/Location of Class:
Weekly classes for Section A is held on Wednesdays from 1:30 pm to 3:20 pm
(unless Make-Up days are needed).
All classes are held at Naropa University Paramita Campus in Virya Classroom. Classes begin and
end on time and students are expected to be punctual unless prior arrangements have been made.

EReserves Statement: You can now access your online sourcebook directly through the
ELearning platform of your class. Weekly downloadable readings are located in the Online

Page 2 of 16

Sourcebook Tab and links to internet sources are located in the Web Resources tab. It is
the expectation that students will check both tabs weekly to access assigned readings.
Additional Time/Expenses Required:
No additional time is required for this course.
No additional fees are required for this course.
Methods of Instruction:
25% Lecture / Presentation
35% Classroom Discussion
40% Experiential Exercises
Course Description:
In this course students look at how the mind is expressed through the body. The focus is placed
on gathering the basic terms and concepts necessary to cultivate the skill of seeing the body
descriptively both in stillness as well as in motion. A range of observation and assessment
models specific to Dance/Movement Therapy and Body Psychotherapy are introduced: including
morphological, developmental, energetic, segmented, process-oriented and archetypal
frameworks. The overarching context for encapsulating these concepts is through the lens of
Laban Movement Analysis (LMA).
Supplemental Course Description:
This is the first semester of a two semester series in which students will begin to look at how the
mind is expressed through the body. In the first semester greater focus will be placed on
gathering the basic kinesiological terms and concepts necessary to cultivate the skill of seeing the
body descriptively both in stillness as well as in motion. Though a range of observation and
assessment models specific to Dance/Movement Therapy and Body Psychotherapy will be
introduced; including kinesiological, morphological, developmental, energetic, segmented,
process-oriented, and archetypal frameworks; the overarching context for encapsulating these
concepts will be through the lens of Laban Movement Analysis (LMA). In the second part of this
series greater emphasis will be placed on deriving clinical meanings from these observations. In
both semesters the process of observing the body and its movement patterns will be approached
from the integrative vantage points of theoretical knowledge, practiced observation, and personal
embodiment.
Course Pre-Requisites and/or Co-Requisites:
Pre-Requisite(s): Somatic Counseling Psychology students only (Body Psychotherapy,
Dance/Movement Therapy and Dual Concentration only) or instructor's approval
Co-Requisite(s): None
Graduate School of Psychology Licensure Statement: Please note that the licensure
requirements of state boards and licensing agencies vary from state to state and change over time.
Consequently, successful completion of degree requirements does not guarantee that a state board
or licensing agency will accept a graduates application for licensure. It is important that learners

Page 3 of 16
are aware of their responsibilities regarding licensure and certification; advisors are available to
discuss professional and career matters with learners and graduates.
Student Learning Outcomes:
1. Program Goal #1 Theoretical Knowledge: Graduates will understand and articulate theories
central to psychotherapy and psychological inquiry, as well as theories and research specific to
Dance/Movement Therapy and Body Psychotherapy.
a. Learning Outcome #1: Students will learn the nine (9) Body/Movement
Organization Principles and how they are supported through an understanding of
anatomy and kinesiology as evidenced by classroom discussion, course exercises,
class presentations, and written assignments.
b. Learning Outcome #2: Students will learn the four (4) Effort Factors and begin to
see how patterns of energy expression and containment are described in other
systems as evidenced by classroom discussion, course exercises, class
presentations, and written assignments.
c. Learning Outcome #3: Students will learn the three (3) Modes of Shape Change
and begin to see how patterns of growing and shrinking manifest in the body
through other systems as evidenced by classroom discussion, course exercises,
class presentations, and written assignments.
d. Learning Outcome #4: Students will learn the three (3) planes of movement and
will begin to explore how the spatial matrix relates to body and movement
organization as evidenced by classroom discussion, course exercises, class
presentations, and written assignments.
e. Learning Outcome #5: Students will learn the five (5) fundamental actions and the
twelve (12) basic neurological actions (BNAs) of movement patterning as
evidenced by classroom discussion, course exercises, class presentations, and
written assignments.
2. Program Goal #2 Clinical Skill: Graduates will consistently demonstrate the necessary
clinical skills to pursue a career in counseling and Dance/Movement Therapy or Body
Psychotherapy.
a. Learning Outcome #1: Students will gain a fundamental understanding of the
basic palette of movement qualities such as posture, gesture, body organization,
energy, shape, and spatial positioning, and the importance of the relationships
among these elements in terms of phrasing as evidenced by classroom discussion,
course exercises, class presentations, and written assignments.
b. Learning Outcome #2: Students will learn how to apply these observations and
concepts to basic clinical interventions as evidenced by classroom discussion,
course exercises, class presentations, and written assignments.
c. Learning Outcome #3: Students will understand basic concepts of behavioral and
somatic observation and assessment; historical perspectives concerning the nature

Page 4 of 16
and meaning of assessment; and strategies for selecting, administering, and
interpreting assessment instruments and techniques in Body Psychotherapy and
Dance/Movement Therapy as evidenced by classroom discussion, course exercises,
class presentations, and written assignments.
3. Program Goal #3 Professional Identity: Graduates will learn and manifest the standards
of ethical and professional practice for the fields of counseling and either
Dance/Movement Therapy or Body Psychotherapy.
a. Learning Outcome #1: Students will actively explore particular areas of
professional growth related to body and movement observation and analysis as
evidenced by classroom discussion, course exercises, class presentations, and
written assignments.
b. Learning Outcome #2: Students will begin developing their own unique
relationship to body and movement observation and analysis as evidenced by
classroom discussion, course exercises, class presentations, and written
assignments.
4. Program Goal #4 Diversity and Service: Graduates will internalize and manifest
pluralism and multicultural competency as an integral part of clinical and professional
practice, and will be prepared to be of service to the under-served and disadvantaged
members of their community and society.
a. Learning Outcome #1: Students will explore cultural, ethnic, gender, and class
differences in peoples experiences of their bodies and movement patterns as
evidenced by classroom discussion, course exercises, class presentations, and
written assignments.
b. Learning Outcome #2: Students will become familiar with diversity, equity, and
power issues in observing and assessing somatic phenomena as evidenced by
classroom discussion, course exercises, class presentations, and written
assignments.
c. Learning Outcome #3: Students will be able to identify differences and
similarities in body expression and somatic phenomena across these diverse contexts as evidenced
by classroom discussion, course exercises, class presentations, and written assignments.

5. Program Goal #5 Contemplative Practice: Graduates will understand how to use

contemplative practices for personal and professional development and self-care, as well as be able
to imbed contemplative values and practices into their work as a Dance/Movement Therapist or
Body Psychotherapist.

Page 5 of 16
a. Learning Outcome #1: Students will be able to use movement and body observation and
analysis skills as a resource for exploring their own movement patterning and expressive choices as
evidenced by classroom discussion, course exercises, class presentations, and written assignments.
b. Learning Outcome #2: Students will be able to discuss the elements of their own
movement repertoires in ways that are reflective of subjective awareness, objective understanding,
and friendliness towards themselves as evidenced by classroom discussion, course exercises, class
presentations, and written assignments.
c. Learning Outcome #3: Students will be able to discuss how developing a greater
understanding of their own movement preferences and prejudices impacts their ability to be fully
present for others as evidenced by classroom discussion, course exercises, class presentations, and
written assignments.
Accommodations for Disabilities:
Naropa University will provide accommodations for qualified students with disabilities. To
request an accommodation, or to discuss any learning needs you may have, contact Jackie
Chavarria, Disability Resources Coordinator. Her office is located in the Student Affairs Department
in the Administration Building on the Arapahoe Campus. You may contact her at 303-245-4749 or
Email: jchavarria@naropa.edu.
Other Needs:
If you have any other needs that may require accommodations (special arrangements) or if you
will miss a class because of a religious holiday, please contact the instructor by the third week of
class.
Professional Decorum:
The Somatic Counseling Psychology Masters Program is a professional training program.
Therefore, not only do students need to demonstrate academic understanding of the course
material, they are also expected to demonstrate the maturity, decorum, and appropriate conduct
expected of practitioners in the field of professional helping. To this end, students are requested
to review the principles of professional behavior listed under General Policies: Professional
Decorum in the MASCP Student Handbook.
Required Text Books and Course Readings:
Aposhyan, S. (1999). Natural intelligence: Body-mind integration and human development.
Baltimore, MD: Williams and Wilkens.
Dell, C. (1970). A primer for movement description: Using Effort-Shape and supplementary
concepts (Rev. ed.). New York, NY: Dance Notation Bureau Press.
Dell, C., Crow, A., & Bartenieff, I. (1977). Space Harmony: Basic terms. New York, NY: Dance
Notation Bureau Press.
Gladwell, M. (2005). Blink: The power of thinking without thinking. New York, NY: Little,
Brown, and Company.

Page 6 of 16
Hackney, P. (2002). Making connections: Total body integration through Bartenieff
Fundamentals. New York, NY: Routledge.
Moore, C. L., & Yamamoto, K. (2012). Beyond words: Movement observation and analysis (2nd
ed.). New York, NY: Routledge. (For the companion videos please see:
http://www.routledge.com/cw/moore-9780415610025/p/video/)
Recommended Text Books and Course Readings:
Aposhyan, S. (2004). Body-Mind Psychotherapy: Principles, techniques, and practical
applications. New York, NY: W. W. Norton and Company.
Aston, J. (1998). Aston postural assessment workbook: Skills for observing and evaluating body
patterns. San Antonio, TX: Therapy Skill Builders.
Bainbridge Cohen, B. (1993). Sensing, feeling, and action: The experiential anatomy of BodyMind Centering. Northampton, MA: Contact Editions.
Barker, S. (1978). The Alexander Technique: The revolutionary way to use your body for total
energy. New York, NY: Bantam Books.
Bartenieff, I., & Lewis, D. (1980). Body movement: Coping with the environment. New York,
NY: Gordon and Breach Science Publishers.
Calais-Germain, B. (1993). Anatomy of movement. Seattle, WA: Eastland Press.
Calais-Germain, B., & Lamotte, A. (1996). Anatomy of movement exercises. Seattle, WA:
Eastland Press.
Caldwell, C. (1996). Getting our bodies back: Recovery, healing, and transformation through
body-centered psychotherapy. Boston, MA: Shambhala Publications, Inc.
Caldwell, C. (1997). Getting in touch: The guide to new body-centered psychotherapies.
Wheaton, IL: Quest Books.
Chodorow, J. (1991). Dance therapy and depth psychology: The moving imagination. New York,
NY: Routledge.
Ekman, P. (2003). Emotions revealed: Recognizing faces and feelings to improve communication
and emotional life. New York, NY: Owl Books/Henry Hold and Company.
Espenak, L. (1981). Dance therapy: Theory and application. Springfield, IL: Charles C. Thomas
Publisher.
Feldenkrais, M. (1972). Awareness through movement: Easy-to-do health exercises to improve
your posture, vision, imagination, and personal awareness. New York, NY: Harper and
Row.
Foster, M. A. (2004). Somatic patterning: How to improve posture and movement and ease pain.
Longmont, CO: Educational Movement Systems Press.
Hanna, T. (1970). Bodies in revolt: A primer in somatic thinking. Novato, CA, Freeperson Press.
Hannaford, C. (1995). Smart moves: Why learning is not all in your head. Salt Lake City, UT:
Great River Books.
Hartley, L. (1995). Wisdom of the body moving: An introduction to Body-Mind Centering.
Berkeley, CA: North Atlantic Books.
Heckler, R. (1984). The anatomy of change. Boston, MA: Shambhala Publications, Inc.
Hutchinson Guest, A. (1983). Your move: A new approach to the study of movement and dance
exercise sheets. New York, NY: Gordon and Breach Science Publishers.

Page 7 of 16
Johnson, D., & Grand, I. J. (Eds.). (1998) The body in psychotherapy: Inquiries in somatic
psychology. Berkeley, CA, North Atlantic Books.
Johnson, D. H. (Ed.). (1995). Bone, breath, and gesture: Practices of embodiment. Berkeley,
CA, North Atlantic Books.
Johnston, C. M. (1986). The creative imperative: Human growth and planetary evolution (Rev.
ed.). Berkeley, CA: Celestial Arts.
Johnston, C. M. (1991). Necessary wisdom: Meeting the challenge of a new cultural maturity.
Berkeley, CA: Celestial Arts.
Juhan, D. (2003). Job's body: A handbook for bodywork (3rd ed.). Barrytown, NY: Barrytown/
Station Hill Press.
Keleman, S. (1979). Somatic reality: Bodily experience and emotional truth. Berkeley, CA:
Center Press.
Keleman, S. (1985). Emotional anatomy. Berkeley, CA: Center Press.
Keleman, S. (1989). Patterns of distress: Emotional insults and human form. Berkeley, CA:
Center Press.
Keleman, S. (1999). Myth and the body: A colloquy with Joseph Campbell. Berkeley, CA:
Center Press.
Kestenberg Amighi, J., Loman, S., Lewis, P., & Sossin, K. M. (1999). The meaning of
movement: Developmental and clinical perspectives of the Kestenberg Movement Profile.
New York, NY: Gordon and Breach, Science Publishers, Inc.
Kurtz, R. (1990). Body-centered psychotherapy the Hakomi method: The integrated use of
mindfulness, nonviolence, and the body. Mendocino, CA: LifeRhythm.
Kurtz, R., & Prestera, H. (1976). The body reveals: What your body says about you. San
Francisco, CA: Harper and Row, Publishers.
La Barre, F. (2001). On moving and being moved: Nonverbal behavior in clinical practice.
Hillsdale, NJ: The Analytic Press.
Laban, R. (1960). The mastery of movement. Boston, MA: Plays, Inc.
Lamb, W., & Watson, E. (1979). Body code: The meaning of movement. London, England:
Routledge and Kegan Paul, LTD.
Levy, F. J. (1988). Dance movement therapy: A healing art. Reston, VA: The American Alliance
for Health, Physical Education, Recreation and Dance.
Lewis, P. (1979). Theoretical approaches in dance/movement therapy, Volume I. Dubuque, IA:
Kendall/Hunt Publishing Company.
Lewis, P. (1984). Theoretical approaches in dance/movement therapy, Volume II. Dubuque, IA:
Kendall/Hunt Publishing Company.
Lowen, A. (1972). Depression and the body. Baltimore MD: Penguin Books.
North, M. (1975). Personality assessment through movement. Boston, MA: Plays, Inc.
Pesso, A., & Crandell, J. (Eds.). (1991). Moving psychotherapy: Theory and application of Pesso
System/Psychomotor Therapy. Brookline, MA: Brookline Books.
Pierrakos, J. (1990). Core Energetics. Life Mendocino, CA: LifeRhythm Publication.
Reich, W. (1972). Character Analysis. New York, NY: The Noonday Press.
Reich, W. (1973). The function of the orgasm: Sex-economic problems of biological energy.
New York, NY: The Noonday Press.

Page 8 of 16
Rosen, M., & Brenner, S. (1991). The Rosen method of movement. Berkeley, CA: North Atlantic
Books.
Rosenberg, J., & Rand, M. (1985) Body, self, and soul: Sustaining integration. Atlanta, GA:
Humanics, Ltd.
Todd, M. (1937). The thinking body. Pennington, NJ: Princeton Book Company, Publishers.
Naropa University
Course Requirements:
1. Attendance (10% - 50 Points): More than one absence or consistent tardiness will lower
the final grade. An attendance sheet will be passed around at the beginning of each class.
Students are responsible for signing in on this attendance sheet. If a student is not signed
in on the attendance sheet, it will be counted as an absence. Tardiness and absences result
in the follow point deductions:
Tardy = Five or more minutes late. Ten points off for each occurrence. Every set of
three tardies equals one unexcused absence.
Unexcused Absence = Not approving an absence at least 24 hours in advance or
informing instructor of a legitimate emergency.
Excused Absence = Approving an absence with a minimum of 24 hours notice or as
soon as possible due to a serious medical, environmental, or family emergency.
More than one absence will reduce the final grade by fifty points (one full grade
level) for each absence thereafter unless other arrangements have been made.
2. Participation (20% - 100 Points): Evidenced by substantive involvement in experiential
exercises, engagement in class discussions, submission of informal writing assignments,
participation in discussions, and contribution of original thinking. Completion of reading
assignments will be evidenced by active participation in classroom; i.e. submitting
questions from readings, asking questions, drawing connections, agreeing, disagreeing,
etc. All relevant reading assignments must be read prior to coming to class. Informal
writing assignments consist of in-class exercises, outside assignments, and other activities. While
informal writing assignments are not given any specific point values, all informal writing
assignments must be completed with thoroughness and personal investment and submitted on
time for credit to be given.
***All informal writing assignments must include the student's name, date, and assignment name.
a. Body/Movement Observation Practice Sessions: See individual assignment
sheets. There are 2 practice session assignments.
3. Evaluative Feedback Session (20% - 100 Points): See "Evaluative Feedback Session"
section of syllabus for description.
4. Group Presentation (20% - 100 Points): See "Group Presentation" section of syllabus
for description. Students will have the opportunity to develop their Group Presentation
for the Somatic Arts Concert.

Page 9 of 16
5. Final Paper (30% - 150 Points): See "Final Paper" section of syllabus for description.
Grading Policy:
1. Graduate level writing, style, and thinking are expected in all individual, group, and
written work. Questions about what constitutes graduate level writing or style are to be
directed to either the Publication Manual of the American Psychological Association
(2010) or in A Writer's Reference by Diana Hacker (2006). Work that is not graduate
level will not be accepted and will be returned to the student for revisions. Revised work
will be considered late.
2. Assignments must be turned in by the beginning of class on the date due unless prior
written arrangements have been made with the instructor and a written plan has been
established to compensate for the delay. Exceptions to due dates are only granted in cases
of emergency. In general, however, late assignments will be routinely subject to a nonnegotiable
credit loss of 1% (of the total 500 Points) or five (5) points per day.
3. Assignments must be submitted on paper. Electronic or emailed versions of assignments
are not acceptable unless specifically indicated by the instructor or syllabus.
4. If turning in late assignments, it is the responsibility of the student to indicate the date on
which the assignment is submitted. If no submission date is available, the date the
assignment is received by the instructor will be used as the submission date.
5. Grades are determined in accordance with the grading rubrics and criteria as described in
the MASCP Student Handbook.
Attendance Policy:
Full attendance and participation are essential to the successful completion of this course and the
material being offered. With this in mind, students are permitted one absence either excused or
unexcused. When electing to be absent from class, either by design or by emergency, students
must make arrangements with the instructor prior to the class if at all possible. In case of an
emergency, students must notify the instructor as soon as possible once they know they will not
be attending. Special accommodations can be made for observance of spiritual or religious
holidays. If students have any special needs that may require accommodations or if they will
miss a class because of a religious holiday, they must contact the instructor by the third week of
class to make arrangements. As in other courses in the Somatic Counseling Psychology Program,
more than 5 minutes late is considered tardy and **three tardies are considered an absence. Two
absences will result in consultation with the instructor to determine the viability of a make-up
assignment. More than two absences may result in failing the course.
Missed Classes and Make-Up:

Page 10 of 16
Students are responsible for making up any material missed before the next class meeting time.
Step One of the Make-Up Procedure is to make sure the student has completed all the readings
and/or assignments designated for that class. Step Two is to call another student in the class to
make arrangements to procure missed lecture notes and handouts and to find out what was
presented during that class. When both of these steps have been followed and a student still has
questions, Step Three is to contact the instructor. Make-Up assignments must be arranged
and agreed upon ahead of time with the instructor.
- COURSE OUTLINE AND READING ASSIGNMENTS Please have readings completed by the date assigned.
Week 1: August 27, 2014
MINDFUL MOVEMENT AND DISCOVERY: Begin class by silently exploring your
movement repertoire. Write down, journal, draw, and/or otherwise capture your
movement discoveries in a special section of your notebook that you have reserved
specifically for documenting these experiences.
INTRODUCTION: Welcome; Review of Syllabus; Course Overview/Requirements;
Agreements; History and Role of Observation and Assessment, Theory, Observation, Personal
Embodiment
CLASS EXPERIENTIAL: Movement Experiential
ASSIGNMENT (Due Week Three): Movement History Sequence Assignment.
READINGS (For This Class): None
Week 2: September 3, 2014
MINDFUL MOVEMENT: Begin class by silently exploring your movement repertoire
and documenting your discoveries in your movement exploration journal.
TOPIC: Diversity Issues: Body/Movement Prejudice; Culture and Gender; Perception;
Early Memories; Repertoire and Signature., 3 parts to assessment whole/part/whole.
CLASS EXPERIENTIAL: Movement experiential, Body Representation Drawings
READINGS (For This Class):
o Moore & Yamamoto BW: Chapters 1: In Search of an Elusive Phenomenon
o Moore & Yamamoto BW: Chapters 2: The Perception of Human Movement
o Moore & Yamamoto BW: Chapters 3: Enhancing Movement Awareness
o Moore & Yamamoto BW: Chapters 4: Body Knowledge/Body Prejudice

Week 3: September 10, 2014

TOPIC: Experiential Anatomy, Essential Kinesiology Fundamentals of Biomechanics

Page 11 of 16
DUE: Body/Movement Observation Practice Session #1: Movement History Video /Reflection
Class Experiential: TBD
READINGS (For This Class): Natural Intelligence, Chapter 5
Week 4: September 17, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
Topic: Body Movement Organization, Fundamental Patterns
Class Experiential: Movement Experiential
ASSIGNMENT (Due Next Week): Body/Movement Observation Practice Session #2 (people
watching)
Discussion: Evaluative Feedback Session (Due Week #11)
READINGS (For This Class):
o Moore & Yamamoto BW: Chapters 10: Observation in Practice: Process/Structure
o Hackney Making Connections: Appendix B: Concepts Used in Fundamentals
o Hackney Making Connections: Chapter 2: What is Fundamental?
o Hackney Making Connections: Chapter 3: Why Return to Fundamental Patterns
o Dell Primer: Supplemental Concepts: Body Part Involvement in Movement
o Dell Primer: Supplemental Concepts: Body Attitude
Week 5: September 24, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: Body Movement Organization: Developmental Patterning Theories; Stability Precedes
Mobility; Satisfaction Cycle; Ontogeny and Phylogeny;
DUE: Body/Movement Observation Practice Session #2 (People Watching).
CLASS EXPERIENTIAL: Movement Experiential
READINGS (For This Class):
o Gladwell Blink: Chapter 5: Kennas Dilemma
o Gladwell Blink: Chapter 6: Seven Seconds in the Bronx
o Gladwell Blink: Conclusion: Listening with Your Eyes
o Hackney Making Connections: Chapter 4: What is Bartenieff Fundamentals?
o Hackney Making Connections: Chapter 5: What are Principles of BF?
Week 6: October 1, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
GUEST LECTURE: Lyra Mayfield, discussion of LMA: Intro to BESS, Body Concepts
Class Experiential: LMA experiential
DISCUSSION: Group Presentation & Sign Up
Readings TBD

Page 12 of 16

**Weekend Intensive: October 4th and 5th , Saturday and Sunday from 9am to 6pm
At Paramita Campus
Week 7: October 8, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
GUEST LECTURE: Layra Mayfield, discussion of LMA: Effort--Exploring Energy & Dynamics,
Energetic, Expression through the Body Systems
CLASS EXPERIENTIAL: LMA Experiential
READINGS (For This Class):
o Hackney Making Connections: Chapter 7: Core-Distal Connectivity
o Aposhyan Natural Intelligence: Chapter 3: Embodied Relationship
o Aposhyan Natural Intelligence: Chapter 4: Energetic Development
Week 8: October 15, 2014
Lyra Mayfield, discussion of LMA: Shape-- How Body Forms Itself; Patterns of Growing and
Shrinking; Shape Forms; Shape-Flow Support; Shape Qualities; Modes of Shape Change; Basic
Neurological Actions (BNAs).
CLASS EXPERIENTIAL: LMA Experiential
READINGS (For This Class):
o Hackney Making Connections: Chapter 6: Breath
o Aposhyan Natural Intelligence: Chapter 1: Concepts of Body/Mind Integration
o Aposhyan Natural Intelligence: Chapter 2: Natural Movement
o Dell Primer: Shape How the Body Forms itself in Space
Week 9: October 22, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
GUEST LECTURE: Lyra Mayfield, LMA discussion: Space
DUE: Body/Movement Observation Practice Session #3 (Animal Observation).
CLASS EXPERIENTIAL: LMA Experiential
READINGS (For This Class):
o Hackney Making Connections: Chapter 9: Upper-Lower Connectivity
o Aposhyan Natural Intelligence: Chapter 5: The Major Body Systems
o Dell Primer: Effort/Shape Diagram of Notation and Interrelationships
o Moore & Yamamoto BW: Chapters 11: Observation in Practice
o Moore & Yamamoto BW: Chapters 12: Challenges and Horizons

Page 13 of 16
Week 10: October 29, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: LMA Integration
DISCUSSION: Preparation for next week's Evaluative Feedback Session.
READINGS (For This Class):
o Moore & Yamamoto BW: Chapters 11: Observation in Practice: Experts
o Hackney Making Connections: Chapter 10: Body-Half Connectivity
o Aposhyan Natural Intelligence: Chapter 7: Integrating Our Bodies
o Aposhyan Natural Intelligence: Chapter 8: Awakening Natural Intelligence
o Bodynamic Asessment Please visit and read all of the links at the following
website: http://www.bodynamicusa.com/documents/links.html
Week 11: November 5, 2014- Evaluative Feedback Session
TOPIC: Evaluative Feedback Session.
DUE: Evaluative Feedback Session.
READINGS (For This Class):
o Hackney Making Connections: Chapter 8: Head-Tail Connectivity
o Aposhyan Natural Intelligence: Chapter 6: Cellular Existence
o Bartenieff Body Movement: Chapter 4: Inner Impulses to Move
o Dell Primer: Effort How the Body Concentrates its Exertion
Week 12: November 12, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: LMA Integration, Discussion of Evaluative Feedback.
Class Experiential: LMA integration experiential
READINGS (For This Class):
o Hackney Making Connections: Chapter 11: Cross-Lateral Connectivity
o Reichian Assessment Please visit and read all of the links at the following
website: http://orgonomictherapy.com/working-body-psychotherapy-reichianviewpoint/
Week 13: November 19, 2014
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: LMA Integration: Observation/Analysis Integration + Preview of Psychological
Applications; Applying Body/Movement Observation to Clinical Work.
CLASS EXPERIENTIAL: Integrative movement experiential
READINGS (For This Class):
o Hackney Making Connections: Chapter 12: Integration

Page 14 of 16
o Foster Somatic Patterning: Chapter 15: Body-Based Psychotherapy

** November 26, 2014 Thanksgiving Holiday (No Class)

Thanksgiving Holiday: No Class

Week 14: December 3, 2014 Group Presentations

FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: Group Presentations.
DUE: Group Presentations
Week 15: December 11, 2013
FLOW EXCHANGE: Begin class by silently exploring your movement repertoire and
documenting your discoveries in your movement exploration journal.
TOPIC: Integration, Evaluation, Wrap-Up, and Closure.
DUE: Final Paper
December 10th is a potential Make-up day if needed. Do not leave town before this date.
**NOTE: This course outline is flexible and may change as is deemed necessary or
appropriate by the instructor, or as other relevant information and opportunities arise.
- GROUP PRESENTATIONS: DUE December 3, 2014 The purpose of this project is to support students in developing a deeper understanding of one
general concept or approach associated with Body/Movement Observation and Analysis. Each
group will have the opportunity to choose whether they want to develop their Group Presentation
for the Somatic Arts Concert or not. Students who choose to develop their presentation for the
Somatic Arts Concert will be placed together.
1. The Group Presentation is worth 20% of the final grade or 100 Points.
2. Sign-up for a group on the "Group Presentation Sign-Up" sheet in class during Week Five.
3. The Group Presentations are due on Wednesday, December 4, 2013.
4. Make arrangements to meet with the others in your assigned group outside class time to plan
your presentation.
5. Incorporate the three elements of body/movement observation in your presentation; namely
theory, observation, and personal embodiment as they relate to the body/movement approach
or concept you have chosen.
6. BE CREATIVE! Your presentation can be experiential, didactic, dramatization, storytelling,
participatory, or myriad other kinds of possibilities. Note that each group will be
evaluated collectively as well as individually, so all members are encouraged to participate
fully.

Page 15 of 16
7. Presentations must include the following elements:
a. Giving the class the "essence" of the concept or approach
b. Giving the class a deeper understanding of how this concept or approach might be
useful to movement-based, body-oriented psychotherapists
c. Presenting any multicultural issues that might be related to, affected by, or ignored by
this concept or approach
d. NOTE: Your group must have your topic and basic approach approved by the instructor before
presenting it.
8. On the day of your presentation, your group will present to the class for no less than 15
minutes and a maximum of 20 minutes. Professional and/or contextual presentational style
and dress are expected.
9. Each group is responsible for writing up a concise, informal handout on their topic to be
distributed to the class at the end of their presentation for the class' future reference. This
paper is not graded, but must be included in order for the group to receive their grade. It must
also address both the psychological and multicultural components of the topic. Please include
all contributors' names, the date, and any references used.
- FINAL PAPERS DUE December 11, 2014 The Final Paper is an opportunity for students to confirm and integrate the theoretical,
observational, and experiential components of body/movement observation and assessment they
have been exploring throughout the semester. In answering each question, particular care should
be paid to being both succinct as well as accurate in the use of concepts and terms. Please
remember to CAPITALIZE all major LMA/BMC terms.
1. The Final Paper is worth 30% of the final grade or 150 Points.
2. The Final Paper is due by the beginning of class on Wednesday, December 11, 2014.
3. The Final Paper draws from the material presented in class, outside readings, and homework
assignments. It is to be no less than six (6) pages and no more than ten (10) pages in length,
not including the cover page or reference page(s).
4. At least three (3) professional journal references and two (2) professional book references
must be included in the Final Paper (more are acceptable). Accurate usage and citation of
references is expected.
5. Each question of the Final Paper must be written in APA Format using professional, graduate
level writing, grammar, and organization. This includes the use of the following: 1) a cover
page; 2) headings for each question; 3) an introduction, body, and conclusion; 4) accurately
referenced quotations; 5) substantiation of ideas with referencing; 6) a reference page; and 7)
appropriate margins and spacing. (HINT: If you don't know or are not sure about something,
look it up!)

Page 16 of 16

6. Answer or address each of the following five (5) questions:

I. What events or situations might have influenced your movement signature? How do your
race, ethnicity, gender, or other areas of difference influence your movement signature?
How did your family of origin influence or help shape your movement signature?
II. Using your movement history video and body/movement observation terminology
covered this semester discuss your movement repertoire: What are your more developed
movement characteristics? What are you able to express even if it is a little awkward or
uncomfortable? What movement characteristics are too awkward, difficult, or challenging for you
right now?
III. Share what you know about BESS (Body, Effort Shape and Space). Describe and discuss
each category within BESS.
IV. What are your observational preferences when analyzing movement? Do you tend to be
more drawn to qualities of Body, Effort/Energy, Shape Patterns, or Spatial elements?
What might have influenced those preferences? What are you planning to do to develop
greater skill and proficiency in movement observation?
V. How do you see movement observation and analysis supporting your professional goals?
In what specific ways could movement observation and analysis skills be useful?
Use the following as a guideline in constructing your Final Paper:
Section Header

Approx Pages

Points

General opening into content of paper

0.5

10 Points

Question A: Movement Signature

1.5

20 Points

Question B: Movement Repertoire

1.5

20 Points

Question C: BESS

1.5

20 Points

Question D: Observational Preferences

1.5

20 Points

Question E: Observation and Prof. Goals

1.5

20 Points

Conclusion

0.5

15 Points

Format (APA), grammar and spelling

Points
TOTAL

(N/A)
6 - 10

25
150 Points