Evolution to Standing

Today, we explored the theory of evolution from a cellular state to a full upright posture. We began in the water as a single cell, evolved through radial symmetry (starfish) to a central head/tail connection (fish). From there we played with idea of being thrust on the land and the change of relationship with gravity and inertia. It was a struggle to imagine being in a new environment with a body that was adapted for a different environment.

From there, we imagined that our limbs changed shapes. We imagined elbows, knees, and forearms with mobility at the wrist. We crawled like salamanders with our bellies on the floor and like lizards trying to lift our heads in order to see around. We explored being a four footed mammal that took to the trees to avoid predators then returned to earth with lengthened arms, legs and spines. Eventually the movement of swinging through the trees provided the contra-lateral movement necessary to balance and to walk.

After the exercise, we spoke about the connection to water and the concept that we are still evolving. Although there is plenty of evidence, most clearly in our bodies, evolution is a very probable theory. Scientifically, it is not fact.

What was your experience of this class?

Water Evolution

Click on the image to make it larger.

Today we begin exploration of the movement of evolution as it exists in the body.

• We begin in a cellular stage, moving in a fluid body. We explored the boundary of our physical selves, our skin and imagined a permeable membrane. In this part of class, we explored asymmetrical movement.
• Next, we explored radial symmetry with the starfish. We allowed the mind and mouth to exist in the center of the body and made connections between our limbs and our centers.
• From there, our ancestors mouths to migrated in one direction while elimination moved in the opposite direction. Exploring with our mouths and throats, we felt a hollowing within our inner channel.
• Finally, we explored our head/tail connection. We sat and swam upstream noticing the feeling of the wavelike fluidity of our spines.

What did you experience in this class? What images were most vibrant physically? What movement patterns were more difficult to access? How does this information change your relationship with your body if at all? Where was your mind during this class?

*As we work with these images, please remember to honor your body in whichever way it needs to move or not move.

Authentic Movement concluded...for now

"Animals, children, and all the elements are constantly responding to the forces of life moving through them. Imagine a horse full of excitement--prancing, whinnying, rearing its head, tossing its mane. Of all the life forms on this planet only humans have the option of not responding with such immediacy to thr forces of life. Through the twists of evolution, humans have the ability to shape, modify, and outwardly inhibit their organic responses to the world.



The British naturalist Charles Darwin (1809-1882) called the responses of animals complete expressions. Darwin believed that the full repertoire of animal movement that preceded us in evolution remains with us. Consider the toddler excited to see a friend. As they greet, he may resemble a horse described earlier, prancing about, squealing in delighted anticipation, unable to contain his spontaneous natural movement. Unfortunately, by the end of toddlerhood, around age three, many children in our culture have already begun to inhibit their natural movement." Susan Aposhyan from Natural Intelligence, (20-21).

What was your experience with Authentic Movement on this Thursday? Could you experience your earlier evolutionary self? Perhaps you had glimpses, what did it feel like in the body. What does it feel like in the mind? If this was purely a struggle for you, that is completely fine. Struggle is still learning. What learning can you take away from the struggle? How does this idea about inhibition change your understanding about you, your body and/or the human species?

Authentic Movement Continued...

The universe unfolds in the body, which is its mirror and its creature. (Octavio Paz)

"A group of people sit in a circle, witnessing eight people moving. The movers have their eyes closed. One woman is curled up very tight and still. Another is exploring with her hands, feeling tentatively the grooves on the floor. A man standing very tall makes cutting movements with his arms, rigid as they slice the air. Another man beats a rhythm, with his fingers against different parts of his body. A third man rolls on the floor, rolls into the woman who is feeling her environment. He stops, frozen. She feels his face delicately, sensitively tracing its outline. He begins to cry. Another woman has been swaying, her arms straining upward. She softens her movement, and begins to stroke her own arm. The drumming fingers find the floor, become clawing, scratching movements. Someone crawls towards him, starts clawing with him, at him. They hiss. Another woman is standing very still. After a while she sighs deeply, and begins to rotate her hips, letting out a long, deep cry...."

Read the rest of this article here.

As we continue with Authentic Movement, each repetition will allow the experience to continue to unfold. Fortunately, we have a new president. Unfortunately, we have yet to really delve deeply into this practice because of our abrieviated class on inauguration day. If did have something that you would like to share from this class, please post a comment below.

Authentic Movement

Waiting to be moved. Following the body's lead. Gathering with others to move and be still together. Making time and space for the unconscious to manifest in the movement and stillness of the body. Attending to impulse. Embodying the flow of the imagination in movement and stillness. - Daphne Lowell

Today we introduced Authentic Movement into the course. We will be revisiting this practice throughout the quarter. Unfortunately, we have a short amount of time in this class. This practice opens to deeper experiences with longer periods of practice.

To review, we spoke of the mover and the witness. The mover moves with eyes closed following any impulses and the witness simply observes making no judgements nor interpretations. After the period of moving, the mover shares her impressions first speaking in the present tense. Then, if the mover wishes, the witness speaks to what they observed, again speaking in the present tense.

If you have not already done so, please read Authentic Movement; An Introduction by Daphne Lowell. Please include some reference to this article in your comments this week. What were your initial responses to this practice? As a mover? As a witness?

Just a Reminder

I've made the settings on the comments section such as to allow you to post anonymously, which means you don't have to set up a profile if you don't wish to. In order for me to give you credit for the assignment, you will need to sign your posting. So, it's not really anonymous.

Tiny Dancer

Today we stood and brought our attention to the small dance. This is the dance of our proprioception keeping us from falling over. It consists of minor adjustments that normally remain unconscious. Once we bring our awareness to the small dance, we become aware of the ability of our bodies to right themselves. All this monitoring and assessing happens without our active participation. What did this small dance feel like? Was it a surprise?

Today we also walked with a friend. We lead partners around the space by the hands, shoulders and palms. What did it feel like to lead? What was the experience of being lead? What did it feel like in the body to be lead by an unseen stranger?

Today, (boy we did alot) we also had fun. We stood in the circle and ran and changed places. We said our names and made gestures. What does fun feel like in the body?

First Assignment

Please read syllabus below!

This first assignment is a longer than those that will follow. This assignment is taken from a fantastic book on experiential anatomy entitled BodyStories, by Andrea Olsen.

Write a personal bodystory. This story may include:

-the story or your birth (pre-birth if possible; the health and activities of your mother affect life in the womb)
-your earliest memory (earliest kinesthetic sensation you can remember. Examples: being rocked, learning to swim, bouncing on your parent's knee, falling from a tree, riding a bicycle)
-training techniques (sports, dance, gymnastics, musical instruments)
-environments where you lived (mountains, plains, forests, oceans all affect how you move, how you perceive)
-comments you heard about yourself which shaped your body image ("Oh, what a cute chubby child? Stand Up Straight! He's going to be tall like his dad. Children are seen and not heard.")
-attitudes towards sensuality, sexuality; gender images
-injuries, illnesses, operations
-nutrition, relationship to body weight, strength, flexibility
-anything else that interests you.

*in this public forum, please share only what you feel comfortable sharing.

Somatics Syllabus

Alternative Movement Studies: Somatics
Course Syllabus
Dance 230 (1 credit)
Winter 2009
Instructor: Louis Gervais
Meeting Times: TTH 8:30-9:20
Location: Meany Studio 267
Office: Meany 59J
Office Hours: Monday 3:30 - 4:30 or by appointment
E-mail: lgervais@u.washington.edu

Course Description

Somatics are the study of the interrelational process between awareness, biological function and environment, all three factors being understood as a synergistic whole.
This course offers instruction in the theory and practice of somatic practices. This class will include a holistic approach of exploring the body through a variety of somatic practices including applied anatomy, authentic movement, and the Alexander technique.

Objectives

At the successful completion of this course students will:

• Create a new relation with their physical selves by exploring a variety of somatic practices.
• Acquire a basic understanding of variety of techniques that may provide relaxation, centering and health.
• Improve awareness of body alignment, weight, mental and physical functioning.

Requirements and Grading

Studio Participation(65%)

Regular participation is absolutely crucial in this class. This is considered a lab class. Please try to limit your absences and save them for when you really need them. If you are more than ten minutes late, you may not take class (please don’t ask me) but are encouraged to observe. If I call your name and you are not in the room you are late. It is then your responsibility to check in with me at the end of class to make sure I have marked you present.

Participation grades reflect the following:

• Attending class on a consistent basis
• Arriving on time or early so that you have time to focus and prepare to participate fully in class
• Taking risks in improvisation and being fully invested in exercises.
• Demonstrate commitment, enthusiam, respect and support of fellow classmates.

Online Journal Responses (35%)

This blog has been set up for this course. Over the course of the semester, this blog will be the place where we as a class will share our thoughts and reactions to the course. Questions will be posted here and your responses will be submitted electronically. Post your responses to the blog in the comments link below each blog entry. You must post a response to each blog entry within a week. The URL is http://www.uwdance305.blogspot.com/. These postings should not be overly long, no more than a paragraph. Clicking on "follow this blog" leads you to creating a prompt that will deliver reminders in your email when new assignments have been posted.

Attire and Changing

Bare feet or cotton socks may be worn for class, no shoes. You will want to wear warm comfortable clothes like sweat pants or pajamas. No jeans/slacks or excessive jewelry. Long hair should not be a distraction to you as you move or lie on the floor. Bring elastic bands or clips that are easy to put in and remove. If you are not prepared to dance, you will not be allowed to take class. You may change your clothes in the dressing rooms on the Lower Level. Please do not change in the restrooms on the Upper Level. You may secure your belongings by bringing a lock each day for a locker in the hallway outside of the studios. Locks MUST be removed after each class. Locks may be purchased for $5 from the Dance Office. DO NOT bring personal belongings into the studio. Shoes, clothes, purses, cell phones, etc were stolen every week last quarter. Lock up your belongings!!

MISCELLANEOUS

For this class, you will also need to bring a journal and markers. You will also need a pillow or blanket that you can store in the studio for the duration of the course.

Studio Etiquette
• Demonstrate an understanding of the class structure by arriving in the studio, on time, prepared for class
• Be respectful of your peers and instructor at all times.
• Receive and apply corrections in a respectful manner
• Work safely and effectively in class and allow others to do so
• Contribute to the classroom by applying focus, concentration and enthusiasm
• If you are unable to dance or have any injuries, please inform the instructor before class begins
• No oils, creams or lotions on exposed body or hair––they make the floor slippery and dangerous
• No food, gum or beverages are allowed in the studio with the exception of water bottles
• No personal belongings in the studio––NONE

Miscellaneous

To request academic accommodations due to disability, please contact Disabled Student Services, 448 Schmitz, (206) 543-8924, indicating that you have a disability that requires academic accommodations. Please present the letter to your instructor so we can discuss the accommodations you require.