How the mind is expressed is shown through the movement qualities of the body at that moment. A change in movement quality would indicate that the mind has a shift in focus. When we direct our focus or attention to different areas of the body and initiate from there, we change the quality of the movement. Hence, movement is a way to observe the expression of the mind through the body and can also affect changes in the mind-body relationship.
One key aspect of BMC is to discover the relationship between the smallest level of activity within the body and the largest movement of the body. This involves aligning the inner cellular movement with the expression of movement through the space. This process would involve a series of steps such as identifying, articulating, differentiating and integrating various tissues within the body. One would need to discover the qualities that contribute to one’s movement; how they have evolved in the developmental process and the role they play in the expression of the mind.
Finding tune the alignment is not the end-goal but it is a continuous dialogue between awareness and action and becoming aware of the relationships that exist in the mind/body and acting on that awareness. Alignment creates a state of knowing. Some ways of achieving this alignment are touch, through movement, visualization, voice, art, music, meditation, verbal dialogue and open awareness.
One important aspect of BMC is the emphasis on the awareness and understanding of how and when to use techniques and principles of BMC or how to invent one’s own. In BMC, we are the materials; our bodies and minds are the medium of our exploration. The most important things if for each participant to learn how it is that they learn, to trust their intuition and be open to the unique styles of others.
General Principles of Body-Mind Centering
The principles of BMC draw on motor development, movement science, and somatic education
· Different physiological systems of the body provide different access routes to different qualities of “mind” and movement
· Support precedes movement
· Movement development proceeds from being supported to being more autonomous through levels of space: kneeling, standing, walking and aerial
· Movement can be initiated by any physiological system of the body
· Humans can pay attention to (and thereby balancing) their inner and outer functioning
Principles of BMC specific to various body systems
1. Skeletal: Counter-rotation at the joints clarifies action at the specific target, supporting increased range of motion at the joint
2. Organ: By finding the three-dimensional volume of organs, we can enhance our skeletal alignment. This is known as “the contents supporting the container”.
3. Fluids: Fluids support transformation, as they are mostly water but change substance and quality of the membranes by which they diffuse through.
4. Muscle: A bi-directional in nature with pairs of muscles; smaller deeper muscles “current” inward and more superficial and larger muscles “current” outward
5. Nervous: the nervous system is balanced by the endocrine system
6. Glandular: it is important to stimulate or claim its functioning by involving the glands above and below the body’s vertical axis
BMC and Dance
The theoretical components are often taught through a dance improvisations and visualization with applications frequently made to movement and dance. Dancers benefit from the precision and embodied practice of its experiential anatomy. Dance educators can strengthen their organizations of dance classes using the neuro-developmental foundations of Body-Mind Centering.
A major principle of BMC that has a profound effect on the practice of dance is the initiation of movement from the different body systems. In practice, this involves establishing clear intentions based on accurate anatomical, physiological, and kinesiological knowledge and choosing to express those intentions through movement.
BMC has its roots in Laban Movement Analysis contends that as one moves by varying either the movement dynamics or the locus of initiation within the body. One can change the mood and, therefore, touch different qualities of movement. This underlines various artistic and expressive statements. What is being differentiated is the state of the mind that calls upon a particular resource of the body that would influence the meaning and nature of the action. This will affect the intention of the movement and how the movement is portrayed.
BMC benefits to dancer
Lifting the head like a salamander is one of the exercises in “developmental movement”, a practiced pioneered by Bonnie Bainbridge Cohen. BMC seeks to re-pattern our movement toward efficiency and effortless by practicing developmental movement patterns. The practice involves the body’s internal systems and the bones, muscles and nerves.
One of BMC’s values is to help the dancer extend technical skills and creative options. A dancer can recognize movements the causes stress and find an alternative effortless way to execute it. BMC explore how, even in stillness, the body is moving internally. The dancer learns how that internal movement supports the movement through the space.
For dancers, the process of practicing BMC is transforming as it promotes a depth of mind-body understanding, that translates into ‘embodiment’ a quality of movement. Applying BMC’s principles can enable a dancer to find embodiment. Cohen (1993) states that in ‘Embodiment’, the cells are aware of themselves.
Pedagogical Outcomes
Application of BMC in a dance class, students gain
· A clearer and sophisticated anatomical awareness and alignment
· A better balanced use of the joints while moving
· A greater neuromotor coordination with possibility an improvement in cognitive functioning
· An understanding of the importance of a dynamic relationship with the floor (yielding, pushing, reaching, pulling through the space)
· Increased expressive range from accessing the use of different body systems
· Swifter recovery from injuries/ fewer injuries
Teachers using BMC principles in their classroom should provide a wide range of teaching material, activities and improvisational structure, improved observation skills for noting postural and movement habits in students and support community building among the students. Performing in class or on stage with somatic consciousness leads to a movement that is expressed accurately.
Roel Seeber, a dancer with the Limón Company, finds that when one allows physical instincts close to the surface, the range of movement become more dynamic, moving from larger and smaller and softer and slower. Company dancers from Trisha Brown, Liz Lerman, Bebe Miller and Doug Varone find that Body-Mind Centering is a useful method for exploring new qualities of movement and dimensionality. As evidenced, BMC calls for an integrated use of the moving body, study of the anatomical and physiological systems of the body, impacting awareness, alignment, movement quality and creativity in the dancer.
References:
Cohen. B (1993) Sensing, Feeling and Action The Experiential Anatomy of Body-Mind Centering. USA: Contact Editions.
Eddy, M (2006) The Practical Application of Body-Mind Centering (BMC) in Dance Pedagogy. Journal of Dance Education 6 (3) 86-91. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=7&sid=96c072e3-d8ce-4706-bca3-5401acbcf6e9%40sessionmgr4005&hid=4114 [Accessed 20 January 2015].
Kraus, L (2005) Centering Work: Integrating Movement. Dance Magazine 79 (9) 30. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=6&sid=96c072e3-d8ce-4706-bca3-5401acbcf6e9%40sessionmgr4005&hid=4114 [Accessed 22 January 2015].
One key aspect of BMC is to discover the relationship between the smallest level of activity within the body and the largest movement of the body. This involves aligning the inner cellular movement with the expression of movement through the space. This process would involve a series of steps such as identifying, articulating, differentiating and integrating various tissues within the body. One would need to discover the qualities that contribute to one’s movement; how they have evolved in the developmental process and the role they play in the expression of the mind.
Finding tune the alignment is not the end-goal but it is a continuous dialogue between awareness and action and becoming aware of the relationships that exist in the mind/body and acting on that awareness. Alignment creates a state of knowing. Some ways of achieving this alignment are touch, through movement, visualization, voice, art, music, meditation, verbal dialogue and open awareness.
One important aspect of BMC is the emphasis on the awareness and understanding of how and when to use techniques and principles of BMC or how to invent one’s own. In BMC, we are the materials; our bodies and minds are the medium of our exploration. The most important things if for each participant to learn how it is that they learn, to trust their intuition and be open to the unique styles of others.
General Principles of Body-Mind Centering
The principles of BMC draw on motor development, movement science, and somatic education
· Different physiological systems of the body provide different access routes to different qualities of “mind” and movement
· Support precedes movement
· Movement development proceeds from being supported to being more autonomous through levels of space: kneeling, standing, walking and aerial
· Movement can be initiated by any physiological system of the body
· Humans can pay attention to (and thereby balancing) their inner and outer functioning
Principles of BMC specific to various body systems
1. Skeletal: Counter-rotation at the joints clarifies action at the specific target, supporting increased range of motion at the joint
2. Organ: By finding the three-dimensional volume of organs, we can enhance our skeletal alignment. This is known as “the contents supporting the container”.
3. Fluids: Fluids support transformation, as they are mostly water but change substance and quality of the membranes by which they diffuse through.
4. Muscle: A bi-directional in nature with pairs of muscles; smaller deeper muscles “current” inward and more superficial and larger muscles “current” outward
5. Nervous: the nervous system is balanced by the endocrine system
6. Glandular: it is important to stimulate or claim its functioning by involving the glands above and below the body’s vertical axis
BMC and Dance
The theoretical components are often taught through a dance improvisations and visualization with applications frequently made to movement and dance. Dancers benefit from the precision and embodied practice of its experiential anatomy. Dance educators can strengthen their organizations of dance classes using the neuro-developmental foundations of Body-Mind Centering.
A major principle of BMC that has a profound effect on the practice of dance is the initiation of movement from the different body systems. In practice, this involves establishing clear intentions based on accurate anatomical, physiological, and kinesiological knowledge and choosing to express those intentions through movement.
BMC has its roots in Laban Movement Analysis contends that as one moves by varying either the movement dynamics or the locus of initiation within the body. One can change the mood and, therefore, touch different qualities of movement. This underlines various artistic and expressive statements. What is being differentiated is the state of the mind that calls upon a particular resource of the body that would influence the meaning and nature of the action. This will affect the intention of the movement and how the movement is portrayed.
BMC benefits to dancer
Lifting the head like a salamander is one of the exercises in “developmental movement”, a practiced pioneered by Bonnie Bainbridge Cohen. BMC seeks to re-pattern our movement toward efficiency and effortless by practicing developmental movement patterns. The practice involves the body’s internal systems and the bones, muscles and nerves.
One of BMC’s values is to help the dancer extend technical skills and creative options. A dancer can recognize movements the causes stress and find an alternative effortless way to execute it. BMC explore how, even in stillness, the body is moving internally. The dancer learns how that internal movement supports the movement through the space.
For dancers, the process of practicing BMC is transforming as it promotes a depth of mind-body understanding, that translates into ‘embodiment’ a quality of movement. Applying BMC’s principles can enable a dancer to find embodiment. Cohen (1993) states that in ‘Embodiment’, the cells are aware of themselves.
Pedagogical Outcomes
Application of BMC in a dance class, students gain
· A clearer and sophisticated anatomical awareness and alignment
· A better balanced use of the joints while moving
· A greater neuromotor coordination with possibility an improvement in cognitive functioning
· An understanding of the importance of a dynamic relationship with the floor (yielding, pushing, reaching, pulling through the space)
· Increased expressive range from accessing the use of different body systems
· Swifter recovery from injuries/ fewer injuries
Teachers using BMC principles in their classroom should provide a wide range of teaching material, activities and improvisational structure, improved observation skills for noting postural and movement habits in students and support community building among the students. Performing in class or on stage with somatic consciousness leads to a movement that is expressed accurately.
Roel Seeber, a dancer with the Limón Company, finds that when one allows physical instincts close to the surface, the range of movement become more dynamic, moving from larger and smaller and softer and slower. Company dancers from Trisha Brown, Liz Lerman, Bebe Miller and Doug Varone find that Body-Mind Centering is a useful method for exploring new qualities of movement and dimensionality. As evidenced, BMC calls for an integrated use of the moving body, study of the anatomical and physiological systems of the body, impacting awareness, alignment, movement quality and creativity in the dancer.
References:
Cohen. B (1993) Sensing, Feeling and Action The Experiential Anatomy of Body-Mind Centering. USA: Contact Editions.
Eddy, M (2006) The Practical Application of Body-Mind Centering (BMC) in Dance Pedagogy. Journal of Dance Education 6 (3) 86-91. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=7&sid=96c072e3-d8ce-4706-bca3-5401acbcf6e9%40sessionmgr4005&hid=4114 [Accessed 20 January 2015].
Kraus, L (2005) Centering Work: Integrating Movement. Dance Magazine 79 (9) 30. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=6&sid=96c072e3-d8ce-4706-bca3-5401acbcf6e9%40sessionmgr4005&hid=4114 [Accessed 22 January 2015].