Laban Bartenieff Movement Analysis (LBMA) is a comprehensive system used in understanding multiple aspects of human movement patterns. Its methodology incorporates a theoretical framework and clearly delineated language of movement. The system is used to identify, record and interpret both macro and micro patterns of human movement. The system is also capable of identifying and differentiating what are universal patterns common to all humans, to group patterns including culturally relevant patterns and patterns that identify unique characteristics of an individual.
Laban Movement Analysis breaks down human movement into four primary components: Body, Effort, Shape and Space. These components are linked to the different aspects of movement:
What? – BODY – sensing
Where? - SPACE – thinking
How? – EFFORT - feeling
In relation to what? – SHAPE – connection
Each of these components can be individually identified but all are also understood to be contextually interwoven. The relational aspects of these components is critical to unpacking the meaningfulness of movement patterns.
The LBMA work is supportive of making connections between the body, mind, emotions and spirit. It is by nature a tool for reflection and understanding patterns of meaning. Its strength is in its self-reflective capacity by supporting our work as human beings, artists and other professionals by helping us to become more aware of our embodied processes as we work. LBMA isn’t giving us tools to ‘fix’ others, rather gives us a greater depth and insight into the issues that people bring to us, and how appropriately we might work with those people, in a way that facilitates growth and empowerment.
The Skinner Releasing Technique™ (SRT) is a somatic dance technique, a pioneering approach to dance training, developed by Joan Skinner. It has evolved from the simple principle that when we are releasing physical tension, we can move with greater freedom, power, and articulation. SRT has a process like nature, where one can practice letting go, allowing, and being ready to respond to any impulse. By letting go of habitual holding patterns in the body one can find ease and economy while moving, can experience being moved by a given image, and discover a possible state of being where the dance and the dancer can become one. The pedagogy involves image-guided floor work, hands-on partner studies, and movement studies to rediscover our natural alignment and improve strength and flexibility. The technique connects our physicality with our imagination and it integrates technical growth with the creative process.
The delicate progression of the classes, the sophistication of it is poetic language, the carefully build material, and the specific, rather broad yet deep work that has enough space for individual thoughts and feelings. Its practice can be a beneficial study for dancers, actors, musicians, and for all movers who wish to discover themselves as a whole and be ready to be born in the dance.
Contact Improvisation is an improvised movement form set in motion by American choreographer Steve Paxton in 1972. The dance is based on the communication between two moving bodies that are in physical contact and their combined relationship to the physical laws that govern their motion— gravity, momentum, inertia, friction, etc. To open to these sensations, the body learns to release excess muscular tension and abandon a certain quality of willfulness to experience the natural flow of movement. Practice includes rolling, falling, being upside down, following a physical point of contact, and supporting and giving weight. Alertness is developed to work in an energetic state of physical disorientation and to trust one's basic survival instincts. Contact improvisations are spontaneous physical dialogues that range from stillness to highly energetic exchanges.
During a CI dance the focus is on the physical sensation of touch, on leaning, giving and receiving support, off balance places, disorientation, on falling together and it is on the physical dialogue between the partners. Movement vocabulary is defined by giving and receiving weight, momentum, inertia, gravity and rolling, jumping, lifting and falling. The dances are reflecting the openness towards the inner focus and the continuum of movement.
Body-Mind Centering® is an integrative movement re-education approach of more than fifty years of history that explores the physical and mental components of movement as a unit. Various eastern and western movement studies, detailed scientific and traditional knowledge, therapeutic and artistic approaches that Bonnie Bainbridge Cohen the founder of the school has studied and practiced are integrated in the background of BMC theory and practice.
In a class or session we usually explore movement patterns and intend to get to a bodily based experience of anatomical structures or physiological processes utilizing movement, touch, voice, visualisation, verbal guidance and other tools beyond the cognitive information. This is like a journey in the vital, living body leading to a new and deeper understanding of body-mind relationship as a base to develop our responsibility and resiliency in the context of our environment.
We explore how our tissues and organs underlie our movement organization, affect its various qualities, how they participate in developmental movement sequences, how they contribute to communication and the expression of mind at any time. The uniqueness of BMC® lies in the use of detailed information of all tissues, fluids and organs as subjects to explore and as participants of movement expression and organization (usually limited to the skeletomuscular and nervous systems). BMC® opens the field of explorations to the micro level of the living body and extends its scope to earliest experiences of the developing person.
The ultimate goal of the work besides expanding our consciousness and knowledge by the refined, layered perceptions and experiences is to activate and modulate physical and mental patterns that help more fully embody ourselves and expand our potential to act and be ready for the challenges of the present moment.