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 Labans 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, InnerOuter, 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. Bodyhalf 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 bodyhalf 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 males 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 bodyhalf 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 wasnt 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 shouldnt 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 weve 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 Ballrooms 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, Todays 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 openended 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/