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JANET ADLER: The 20th Marian Chace Foundation Lecture by Cathy Appel

Janet Adler's essay concerning her experience of her Mother's eight day fast into death is now published in an online magazine called Natural Transitions: Conscious, Holistic Approaches to End of Life Volume 3 Issue 3. It can be accessed through www.naturaltransitions.org The title of the essay is: "Witness to a Conscious Death". There is free access to this full volume if you provide your email and other contact information.  http://www.naturaltransitions.org/nt-magazine/


It was with eagerness that I waited for the 20th Annual Marian Chace Foundation Lecture, on Saturday morning, October 10, 2009, at the 44TH ANNUAL ADTA CONFERENCE in Portland, Oregon. The topic, “Witness to a Conscious Death,” had been described briefly in the catalogue:

Dr. Adler will offer her experience of mid-wifing her ninety-year-old mother’s nine-day fast into death. Witnessing this journey creates awe and unshakable commitment, visions and contained despair, and gratitude, indescribable gratitude for such a privilege.

It had been many years since my Authentic Movement training with Janet and ZoĆ« Avstreih in the mid-eighties, and, from the time I had sat alone in a film-viewing room at the Lincoln Center Performing Arts Library watching “Looking for Me.” However, the effects of my encounters with Janet and her work were formative and remain a vital part of who I am today. What is Janet going to say in this lecture? I am particularly interested since I had lost my own mother right before Thanksgiving in 2006, two years after spending a 23-day vigil sleeping on the floor of a small hospital hospice unit as I said good-bye to my father. The opportunity to hear Janet’s experience with the death of her mother, who also died during the Thanksgiving season of 2006, feels important to me, especially since I know of Janet’s hospice work.

Sitting in the ballroom of the Hilton Portland, waiting for the lecture, I feel excited and sad as I study the large projection of an old photograph of Janet and her mother to the left of the podium. I remember, as I look at the photo, how Janet’s mother’s name was Posy, and how, during my AM training, I had thought it was the loveliest name a mother could have. I pictured Posy as a radiant flower, an eternal blossom always in bloom for Janet, who had talked about how she and her mother were close. I was intrigued by their loving kinship, by Janet’s openness about her mother’s emotional support and love of dance. Someone must have pushed a “show slideshow button,” because, suddenly, there begins a flow of other photos of Janet, including one of Posy alone – looking not young but not terribly old – and it hits me that I am about to hear Janet speak about a relationship and a person I really know nothing about.

Janet begins her talk in a quiet but always audible voice, first thanking the Marian Chace Foundation and then several people, culminating with thanking her youngest son who is there as her escort. Emotions begin to well up inside me, but I feel compelled to hear what Janet has to say; so I make every effort to focus. It feels as if everyone around me is listening hard, too, as Janet sets out to describe an end-of-life decision that had been made by her mother many years ago. Janet takes a long time to outline the background for the path her mother had chosen. Her subdued voice conveys a complex story of her family’s journey to and through the fast that ended with her mother’s death, and never wavers. I feel Janet attend to every word. Listening is often painful. Tears burn in my eyes. It is work to follow Janet’s story, because questions keep competing with my emotions.

Even though much of the death process is recognizable to me, I soon realize this had been no ordinary decision and no ordinary ending to a ninety-year life. Not surprisingly, Janet does not hurry her talk, which is filled with exquisite details I want to savor the way they did the last morsels of their Thanksgiving leftovers: the beautiful table, the prayer reworked for the occasion by the Rabbi who was both son and grandson, the image of mother and daughter lying on their sides facing each other in bed, and of the neighbor approaching her 100th birthday, who would no longer have Posy across the street. My imagination stirs, my eyes burn, and I push away worries and questions.

I was seated between two friends. The friend on my right had lost her mother very young, and I worry that this talk about an end to life that was “chosen” might be troublesome for her. The friend on my left lives near her 86-year-old mother, with whom she is very close, and I also worry that she might find the talk difficult. Keeping my anxiety at bay, I remain focused on Janet. I notice this is not a clinical talk, and it is not about dance in the traditional sense. Nevertheless, I resist my questions and fight to listen and not become flooded by my personal experiences of death.

When Janet finishes, the room is silent and slowly everyone stands. We stand for what seems like a long time in silence. It does not escape my notice that this is unusual, but I have no impulse to clap or sit back down, or to say anything. I think about Posy being gone from Janet’s daily life, and I feel an excruciating love in Janet’s choice to honor her mother in this way. I also feel the presence of other conference attendees, standing in front, behind and on either side of me. It is as if we are treading water in the sea of the life of Posy and Janet together; as if we are underwater creatures come to the surface as witnesses to what happened after the moment we had seen captured in the projected black and white photo of Janet as a child: Janet wearing big sunglasses sitting in a boat with her legs spread wide apart and smiling at the camera; her mother, also in sunglasses, sitting with her legs toward the water, seeming to be holding a fishing rod.
I feel overcome with the wonder of being a witness, of being part of a community of witnesses, as we hold a deeply felt and complex rendering presented by Janet Adler, a woman whose life has been dedicated to the role of witness. My heart aches and tears fall not for Posy, or even for what Janet endured, but they spill in a wave that wishes for Janet to feel herself witnessed by all of us standing before her, who owe her so much, and, for her to have plenty of time to bask in the light of her own voyage knowing she is not alone.

© 2009 Cathy Appel

4 comments:

viktor-raykin said...
Deeply moving article. Thank you, Cathy.

Viktor.

yogidancer said...
Thank you, Cathy. I feel that it is possible to be a witness via the internet
Teri



Roberta said...
Thank you for the sharing. You brought me to my own witness with such beautiful relating of Janet's experience and your own...how many layers of witness are there, especially in these major turns of life? Funny it seems that we should ever think we are alone.

In me, I also felt deeply the connections, past and present between mother-daughter and student-teacher. May they be with you always.


AUTHENTIC MOVEMENT and HEALING By Aileen Crow and Mie Sato



AILEEN SAYS:-

This story of the healing through AM of a minor catastrophe begins in my kitchen. I’m home alone one evening, calmly sitting at the table sewing and watching TV. Suddenly the chair I’m sitting on breaks in half and falls apart. I am dumped down on top of it and my back is badly hurt. Shocked, and not moving for a few moments, I switch into my healing mode, which is mostly not pathologizing what is happening by going into “Victim”, with her familiar trauma-derived “catastrophic expectations”. I move gingerly --- is anything broken? No, I can move. I am humming as I put my healing hand on my back and lie there a while. Will I still be down here on the floor on top of the askew chair when my husband comes home? A funny picture.

It is interesting to me to see my beliefs about healing jump into action in emergency. What is healing, anyway? To quote neuroscientist, Antonio Damasio, “Joy is conducive to health.” And, in “the ultimate state of well being”, there are “sustained feelings of harmony, ease and joy.”

Although my back hurts and I have a huge dark purple bruise and I feel sick, two days later I have a scheduled session with my phenomenal Gyrotonic coach and Graham dancer, Jennifer DePalo. I know I won’t be able to do the usual strenuous and ecstatic movements she usually leads me into. I fantasize in advance that I will roll around carefully a la AM, with her knowledgeable and intuitive hands on my back. She does just that. Yes, it is certainly healing to me to get exactly what I want in a completely mutual interaction.

Two days later I fly to Maine for our annual Authentic Movement gathering at Carol Zahner’s great house. It’s a loose group that has been meeting for years to move, play, make art, dance and eat. We are six this year, only one of whom, Mie Sato, I don’t yet know well.

Feeling sick and hurting, I am treated lovingly. Carol gives me her bed and giant bathtub, and we all make and eat scrumptious food. I am given soft foot massages and Germaine Fraser gives me a beautiful aroma therapy massage in which I am more than happy to be completely receptive. Not just a massage, it was like being completely cared for by a perfect loving mother. Who could imagine more wonderful healing?

One afternoon between our AM sessions, I’m sitting on a bench at Carol’s dining table with my hand on my hurting back. Mie says, “Would you like me to put my hand there?” Yes. We are quiet for a while, then my body starts to do AM and Mie follows. After a while I think of saying, “Follow your intuition”. I say, “Move with me”, and she does both. Mie does not initiate, but follows, matching me. We are equally active, both of us following my AM impulses. We go on for a long time, as the leading/following gradually turns into mutually matching AM. Perfect. I open my eyes and see Germaine watching. I say to her, “Will you get a camera and catch this? It’s so good.” She does. Mie and I continue in our mutually matching AM. Perfect. An “ultimate state of well being, with harmony, ease and joy.”

Authentic Movement in real life, not just during official sessions within given forms. No designated external Witness, just two movers with Inner Witnesses in relationship. Being in one’s own AM while following another mover’s AM. Mutually matching AM. AM as healing without a program, protocol or system. Healing without solicitude. Love without sentimentality.

I am reminded of Shelley Tanenbaum’s intention in her “Intuitive Life Movement”, a form kindred to AM, to come to have one’s everyday open-eyed interactions enlivened by the continual presence of one’s spontaneous impulses. (See A Moving Journal, Summer, 2004.) And my AM buddy, and contact dancer, Lucy Mahler, tells me that mutual matching, a la AM, is not uncommon in Contact Improvisation.

My goals in AM are: (1) To use AM as my main resource in my on-going project to undo the trauma-induced patterns in my life. (2) To have my AM impulses and feelings present in my daily life and during my interactions with others. (3) To identify at least half the time with my understanding Witness/Listener, who helps me go into problems and projections without getting stuck in them. (4) To easily be able to choose to move out of my old trauma victim’s kyphosis and scoliosis, into the liberating high twisting chest arching that Jennifer and Gyrotonic and my spontaneous twistings in AM have taught me to love and trust. My twistings tell me, “You’re on the right track.”

I am fortunate. The main source sustaining my well being in life is living in love with my husband of nearly fifty years. Thank you, Bill.

My back still hurts and my bruise is still colorful, but it is talking to me. It wants me to be a loving mother to it. It wants me to call it, not ‘Hurt Back’, but ‘Honey Love’, (seriously, and without embarrassed joking) and give it all the time it needs. So I’d say that my (5) goal is: (as Germaine says), To be in love with myself. Harmony, love and joy: that’s healing.


MIE SAYS:

Initially, I responded to Aileen’s gesture of self care because I was in a better physical position to hold that spot on her back.

I was willing to be there and knew that my warm hand would be soothing on her sore back.

I was also willing to be there without doing anything, just witnessing and holding space.

When Aileen started to move I began by following her impulse.

When I surrendered to the dance of just flowing and following I felt my heart open to trust and caring.

There were times when we switched back and forth gently moving energy between us. It felt effortless and healing for me as well.

The other gift was I got to know Aileen intimately as well.

Comments...




Martha said...

Aileen and Mie,
Thank-you so much for this post! First of all, I could picture and follow you, Aileen, as you sat, fell, talked and un-talked to yourself, moved, opened yourself to caring, discovered, twisted in those yummy gyrotonic moves....

And then, what came up for me was the "choice" we have in witnessing ourselves, in choosing to heal, in choosing the form that healing takes in any given time, in particpating in others healing...

I hope your back continues to feel better and better...

Thanks again,
Martha Lask

Margaret Knight (by CZ) said...

Dear lovely ones, I just read the blog entry by aileen and mie. couldn't figure out how to comment so I'm commenting here. Thanks for writing that up. I also want to have AM be me, be authentic, be moving, be whatever is needed. When I was just camping in northern VT and the tent was covered with snow and I had to undress to get in my sleeping bag, I found myself making all kinds of sounds. They helped me deal with the cold. I think your spontaneous session at Carol's table could happen because we did authentic living while we were there. Love to you all, Margaret

Minsk Peer Group Rules by Alexey Konstantinov

The Blog editors asked Alexey if we could post on our Blog this policy from his web site in Belarus (alexey@authentic-movement.by) to stimulate discussion of the different ways peer groups practice and set up safety.

Here is his response: "Hello Elizabeth, I attach a file (copied below) with our peer group policy.
It is also posted at our web site:
http://www.authentic-movement.by/ilab/ilab-en/group/policy
I'm looking forward to an opportunity of discussion of peer groups policies.
Best regards, Alexey.

Minsk Peer Group Policy

Common Goal
Our common goal is to practice regularly and successfully the amazing and fine discipline of Authentic Movement in its classical form. We regard it successful when the practice becomes supportive, challenging and meaningful, letting us achieve our personal goals in this practice.

Vision
Sharing the value of a regular practice we group together to create and sustain necessary conditions and to facilitate each other’s personal practice within the discipline.

Policy
After seven months of weekly practice during the first season we came to an understanding of the necessary conditions for our AM peer group. We state them in the following rules. The rules cover safety, processes and organizational issues.

Organizational Issues
1. We have the common goal, vision and group policy. The facilitators have an executive privilege to ask you (a participant) to leave the group in the following cases: your participation does not help attaining the common goal; you don’t share a value of the classical form of AM; you permit
yourself to break these rules
2. The facilitators have an executive privilege to make a decision in case group discussion is deadly dragging on
3. We practice in a closed group.
4. A participant should be able to attend a major portion of sessions.
5. We meet only on a monthly prepaid basis.
6. Being late is not acceptable.
7. We use a mailing-list to discuss various issues. It is private and only for current participants.

Safety issues
1. Participants are responsible for their behavior with respect to themselves and others as well as for observing these rules. Those who are in witness position take additional responsibility for observing group and individual safety.
2. If a participant has any acute complicated experience (disease, trauma, mental stress) or abnormal sensations in the body it is important to let others (or just to the witness) know before session. Such particular personal information will provide more adequate and secure work of the witnesses.
3. We keep all the content of the sessions within the group. All personal and processes information is confidential and cannot be shared outside the group and session time.
4. It is prohibited to express aggression directly to another mover. If you are going to commit abrupt and vigorous movement, make sure you will not harm anybody.
5. It’s prohibited to express sexuality directly to another mover.
6. Experiencing severe affect or distress as a mover it may be proper to open eyes or become a witness.
7. It is possible to deviate from earlier agreed format of a process in case it is a matter of safety orand psychological ecology.

Processes issues
1. The ritual of beginning and completion. We open and close each process standing in a circle with our arms stretched aside.
2. A witness in order to become a mover enters the circle’s space and establishes an eye contact with one or several witnesses (‘I see you’). When a process is over a mover opens hisher eyes and again makes an eye contact.
3. We use a bell ring to indicate a completion of a session. It can be done by any witness, usually the nearest one, after previously agreed time is over or agreed event has happened.
4. When a witness is going to ring a bell, heshe should rise hisher hand up to signal to other witnesses about it. And heshe is waiting other witnesses to raise their hands in respond to indicate their movers are not experiencing a culmination and that ring will not cause explicitly unfinished process.
5. Witnesses are responsible to maintain a safe circle space. They change their positions along the perimeter behind others if possible.
6. A witness should have enough energy to sustain an act of witnessing. It is recommended to become a mover (even motionless) when a witness feels exhausted.
7. When a witness observes a scattering attention heshe may raise hisher hands up for other witnesses to give support by raising their hands in respond. It’s OK to do it as often as necessary.

The Second International Laboratory of Authentic Movement, Belarus

April 29 – May 3 2009 

Alexey Konstantinov

The second gathering took place in Minsk region of Belarus in April 29 – May 3 2009. There were 34 participants from five countries (Russia, Belarus, Ukraine, Lithuania and Netherlands). The laboratory was facilitated by Alexander Girshon and Alexey Kapterev.

A special visiting teacher and guest – Linda Hartley,  who was supposed to introduce  aspects of Body-Mind Centering work with the senses, organ system and developmental patterns, and integrate them with Authentic Movement,( focusing on witnessing movement, sensation, emotion and image) was not able to come due to unforeseen circumstances.  Vitaliy Kononov – a co-facilitator of the first gathering was also not able to come.

Nevertheless participants discussed, planned and shared experience of more than 20 AM processes. There was a variety of experimental formats, classical and related forms: AM and New Code NLP, AM and Systemic Constellations, AM and Meditation. A unique Long-distance format with a group in USA.  3-hour AM marathons. In total we moved through about 17 different formats.    

Overall conclusion: During the first laboratory in 2008 we focused mostly on processes’ content and experimented with contexts. At this laboratory our focus was upon the form itself, a spectrum of feedback formats, rituals, boundaries and rules.

 A significant influence on this focus was exerted by participation of Alexander Girshon, Denis Turpitka and Yulia Morozova from the Authentic Movement Gathering in Vienna in 2008. At that Gathering there was a high level of ritualization, “the taste” of the classical approach, and a great value placed on integration processes – all was practiced and discussed.

Among valuable findings we note a “contract witnessing” which enables a mover to choose a particular form of feedback before a process. A long-distance format  taught us about creating and maintaining the conditions to experience a collective body with its deep level of participation and pervasive ritual.  

A combination of AM and New Code of NLP again displayed its high effectiveness as a “body-storming” technique. Our attempt to combine AM and Systemic Constellations resulted in a number of serious questions necessary to solve in order to continue.  AM with a meditative preface is a very interesting format which creates a unique state and space. We repeated a 3-hour night marathon format to clarify the necessary terms, advantages and drawbacks of the format. AM and performance is as usual, a highly workable and inexhaustible theme.

Important issues of the laboratory were  – integration of AM into ordinary life, AM community

.

Preliminarily, we are planning the third laboratory in early May 2010 in Belarus.  A week-long event will consist of three days retreat with classical forms and four days of laboratory work.

Organizers:  Alexey Konstantinov and Yulya Korzunova

http://www.authentic-movement.by/ilab  

© 2009 Alexey Konstantinov 


                                                                  

Alton Wasson on Movement as Spiritual Practice

At the Contemplative Dance – Authentic Movement weekend workshop led by Alton Wasson, which we attended in NYC in March, 2009, the theme was Movement as Spiritual Practice. Alton invited us to be aware that we each have our own spiritual practices – that spiritual practices include more than the standard ones we usually think of, such as meditation, yoga, tai chi, etc.

Alton asked us to share the things we do in our daily lives which are spiritual practices for us. Alton set the tone by starting with a couple of examples from his own life. He does authentic movement in bed before getting up, for five or ten minutes; or in the bath: resting in the bath, letting movement happen, going under the water, etc. He rises to greet the sun, a Navaho and Hopi Indian practice, getting up at dawn and running to greet the dawn. We can all do this: go toward the rising light and introduce yourself (Indian names hold their ancestry and history) by saying, “Good morning, I am the son/daughter of …..” and list your ancestors as far back as you know.


After you have read the following practices participants in the workshop came up with, you are invited to respond to us via this Blog with any of your own practices you want to share.

* * * *


Doing a gratitude inventory: lying in bed at night before sleep and asking, what was my favorite thing today?

Riding my bicycle.

Doing the yoga Breath of Fire – doing it for 3 minutes (in a position lying with legs long and slightly off floor, head and shoulders off ground).

At any time: pausing, noticing my breath, coming back to my body.

Identifying myself as a spiritual being.

Gardening – watching the perennial flowers bloom again in Spring.

Writing and drawing in my journal is my practice in overcoming self-censorship and focusing on finding my most authentic words. I write dialogues between my different partial selves, draw them, and make clay figures of them.

Writing my morning pages (from The Artist’s Way). Upon waking each morning, I write three pages, free form, without stopping.

Sewing – getting lost in making a tactile thing purges things and puts love into each stitch.

Sounding, harmonizing, making harmonic overtones.

Doing a specific practice a yoga teacher taught me (in India), which takes half an hour: in the morning I start lying down. During the half hour, I move to standing up, in any way I can/wish. Then in the late afternoon or evening, I do it again in reverse, I move from the standing up position to lying down – also a half hour process.

Talking to my cats, feeling blessed to have them in my life.

Saying three Shabbats (blessings), every Friday, lighting the candle, following the tradition with grape juice and bread.

Integrating spiritual practices into my daily life, not split off from daily life or rarified.

Upon waking, watching the light come in through the window, watching it suffuse the room as it lights up the objects in the room.

Acknowledging and orienting to the directions of the medicine wheel.

Dance movement is my spiritual practice. Before performing, before stepping on stage, I pray to be a channel, to let something bigger than myself work through me. Dance is also physically grounding, and focuses me.

Embracing all of who I am, all that life is.

Parenting, especially the challenges.

Holding an overarching view, a big vision, so that everything in my daily life is part of it. It is sacred. Every mundane thing as I go through life is sacred.

Making images, collages, colors when I have fear, not “thinking” about it.

Practicing not pathologizing my experiences.

Bringing heart to all that I do, from washing dishes to going to work.

Checking in with myself: asking, ‘what sensory channel am I in?” or, like a chest of drawers, asking, ”which drawer?” (emotion, visual, sensation, story, ritual, archetypes, spiritual, etc.)

Or asking myself, “who do I think I am? Which part of myself am I identifying with now?”

* * *

Again, please do let us all know what your own spiritual practices are, via this Blog.

© 2009 Janet Charleston and Aileen Crow
Germaine said...

everyday spiritual practice... (perhaps not EVERY day, but I'm aware of the potential in it often engage as I can)

preparing a meal, sensing the life of the vegetable, herb and how it asks to be cut and used.

eating a meal-- aware of the colors, textures, smell and taste. spine very related.

dragging on a cigarette squatting on the step of the back porch the potted plants sharing the stillness while something grateful (grief? loneliness?) in the lungs meets the smoke churling downward.

facing a patient, awareness of my self standing there, the weight in my hips and feet, awareness of them. i breathe, they breathe. i see them, i see myself.

Annette Geiger, Zürich said....

This article is very inspiring. Thank you Aileen and Janet.

I practice Authentic Movement while I pray. The movement happens on a very subtle level.

Inner waves move through me like a constant adjustment into the now.

When I walk my dog I allow these „inner“ adjustments to happen – while I am aware of other people, children, other dogs and traffic. If there is too much happening „outside“ it is a constant going in and coming out and going back in.

In nature I sink into colors, shapes and smells of trees and plants and the air and move along getting a sense of the big Oneness – and sometimes I even succeed to say a prayer while exhaling. All at the same time. That is Heaven on Earth.

Playing music or listening to music is a great inspiration to be with the inner Movement and enables me to listen and to hear very differently than when I use my intellect. It sharpens the perception and appreciation.

When I do bodywork with people I connect with this inner Movement. While listening and watching my client I ask the Oneness in me to unfold and to transmit healing energy through me.

Spiritual practice can happen at any given moment and anywhere if I allow it to happen and step out of my way.

Annette Geiger, Zürich, Switzerland, June 15th 2009

Learning to be a Facilitator

By Elizabeth Reid, Averill Park, NY


For the past three years I have attended Alton Wasson's Facilitator workshop. This year Daphne Lowell joined him in leading us through a very rich three days.

Ann Mcginity said..."Once again I'm noticing those ripples that spill out into my life after our time together...confidence, contentment...Thank you all so much."

Here are some of my(Elizabeth) thoughts on what I learned from the weekend:

On the practical level I learned again that set up and sharing takes more time than I think it will. I learned to practice reading the poem I want to read a few times out loud so I don't stumble over the words quite so much. I learned that if I do stumble or loose my place or lose the poem to take a breath and slow down and just be kind to myself about my humanness and lack of perfection in the leading process. I learned that if I cry a bit it is just because I am touched and that is a special part of the process.

On a more reflective level I learned that my own ambivalence for being a facilitator has do with the leadership having a performance quality to it. So the more I can focus off of performance and onto presence the more deeply nurturing it is for me to be a facilitator. I learned that even when doing a simple leadership structure I will likely be nervous, but by the end of the time my nervousness has transformed to excitement about what has unfolded in the session together.

I learned that my own design of workshop time is likely to reflect who I am and what I need, so I want to be sure to give lots of room for other choices beyond my own design so other participants can find what they need. At the same time designing from my own authentic place of need and desire likely enhances what I have to offer. I learned I want to make room in my design for my own participation as a mover because of my own needs for that and because it reminds everyone that we are all in the end peers in this process.

© 2009 Elizabeth Reid

Hi Elizabeth,
I really enjoyed your blog entry. Thanks for sharing!

I wish I had more time to contribute to the blog, but I'm soooo happy to have this as a resource.

Thanks so much for all your efforts.

Be well,
~Mieke


Hi Elizabeth! It is lovely to read your thoughts about facilitation. So honest and resonant!

I hope to take another workshop soon....

Love,
Dawn


Germaine said...

Elizabeth, you write so practically and yet with a burgeoning wisdom. It is so good to hear your clarity. thank you.


Poem Inspired in Peer Group Meeting 2008

By Stig Hjelland, Norway


Gods Touching Everything Human

In the authentic movement much energy is moved,
in simple, godlike ways.

Nothing is wasted, every condition used-
contacting the furthest reaches of human beauty.

Every single gestalt is beauty,
never is anything off the track.

The crawling, the walking, the snake and the prey,
the shivering life of an innocent sinner-
unfinished gestalts, almost deepest of all.

A being tries to crawl, but cannot fully,
a spear is in its side:
We see gods, touching everything human
turning it to perfect beauty.

From this is all and every art derived,
every drama and poem, any dance or display-
are like stills, humbly pointing at the actual movie.
This illumination of souls,
this abundance of energy-
where God´s beauty emerges in human form,
in time will call forth
the willed love, in every witness.

© 2008 Stig Hjelland

Irina Muterperel said...

Seems like I hear your voice again and I see you reading your poem to us as a witnessing respond.

It's inspiring for me to hear it.

Germaine said...

we are so lucky, aren't we?! yow.



Query: AM and Creative Process

Hello,

I am a student at Marlboro College and I am doing part of my senior thesis on Authentic Movement. I was wondering if you know of any, or strongly remember, any articles that were published in A Moving Journal that have to do with Authentic Movement and the Creative Process. I'm researching how and if AM has been used by anyone as a place of harvest for the choreographic/dance making process.

Michaela Wood

5 comments:

Ann McNeal said...

Hi Michaela,
if you look in http://www.movingjournal.org/ you'll see the titles of back issues, one of which was on performance. You can order these or perhaps find in libraries.

Also, see the Authentic Movement Vol 2 edited by Patrizia Pallaro.

Have fun with your thesis.

Ann
Monday, April 13, 2009 6:47:00 PM EDT

Elizabeth Reid said...

There is a complete index of all the articles from AMJ at:

http://www.movingjournal.org/amjindex.htm

Amazing resource still available to all of us.
Wednesday, April 22, 2009 5:56:00 PM EDT


Kathryn Kollar said...

Thanks for listing those sites and making it easy for us to research other questions.
Though I have such limited time now to visit this site when I do it's like an old friend.I am always grateful to those of you who keep it alive and moving.

Kathryn Kollar
Saturday, May 2, 2009 10:36:00 AM EDT

Paula said...

Hi Michaela

I recommend the AMJ interview with Eva Karczag in the last issue Vol. 13 #2 also, Lauren Baldock in England did a dissertation called Finding A Voice about sourcing dance from AM. You might be able to reach her via LBALDOC1@ucc.ac.uk

Good luck with your research!

Paula
Saturday, May 2, 2009 11:15:00 AM EDT


Meg Cottam said...

Hi Michaela,
In addition to these other great ideas 'Contact Quarterly' also published an issue on Authentic Movement including a variety of articles relating to sourcing and how AM works with performance/choreographic interests. I believe it's CQ, Vol.27 #2
Best wishes,

Meg
Monday, May 4, 2009 12:57:00 PM EDT

From INGRID BAART, an Authentic Mover in Netherlands, a witness response to the recent election in the US.

Congratulations, American women!

Today, even in a small country such as the Netherlands, I was clustered to the television and followed with joy and passion Obama's inauguration. For you I imagine it is a time of celebration and change. But also for many others all over the world it feels like that, celebration and responsibility, so clear in Obama's speech.

I was 10 years old when Martin Luther King was shot. It was a traumatic event, I couldn't believe people were able to do such injustice to other people. Because of that, I wrote his speech "I have a dream" in a little notebook. I wanted to save his words. I can still picture myself sitting, carefully writing on those pages. I expressed my feelings of helplessness and of hope by copying his words.

"I have a dream" and "Yes, we can," are both expressing so much our dance of life, our life energy and life power. The dreams we express in our dances are the embodiment of our dreams and life energy. In the act of dancing, we express we can, and I am. While expressing our dreams and images, we share an universal mind and a common hope and faith.

To me, but not only to me, this is an important day, the little child in me is heard and thrilled with joy and new dreams!

With love,
Ingrid

New Developments on our Web site

We are close to 10,000 visits to this Blog.  Amazing. People visit from all over the world.

Currently 170 of us are listed in the Authentic Movement Community Directory:
http://authenticmovementcommunity.org/directory.htm

This month we have added the option of being listed in a Facilitator/Teacher Directory that is visible to all. You can check the Directory section of the Authentic Movement Web Site for more information about this new option.

Thank you so much to everyone who has contributed to the Web site and the Blog!

Elizabeth Reid and Ann McNeal editors@authenticmovementcommunity.org

Mary Starks Whitehouse Web Contributions

Janet Thompson is working with students of the Wellesley College community to create a website honoring Mary Starks Whitehouse as an alumna and as a pioneer in developing Authentic Movement. Janet seeks writings about how Whitehouse has inspired the work, creativity or growth of authentic movers throughout the world.  Do you have a poem, art piece, writing, word of thanks you would like to contribute? 

Please forward directly to Janet at: janetthompson@comcast.net or Roberta Whitney at: rhwhitney@earthlink.net. Although contributions will be taken as they come, students are especially interested in submissions on or before 30 NOV 2008. Thank you!

Roberta Whitney

"AM is about not Knowing"

This summer from 13th to 17th of August International Gathering on Authentic Movement took place in Vienna, Austria. People from different countries: Brazil, Norway, Russia, Austria, Ukraine, Holland, Germany, Switzerland got together to practice AM. Initiative of organizing an International peer group (without a leader) belonged to the wonderful and hospitable people- Isaias and Clarissa Costa who invited us all for the practice of Authentic Movement in the Therapeutic Center "Gersthof".

It was mutually enriching experience for the practice AM, for personal and professional development. We clearly felt the importance of this meeting, the process and the connectedness.

Every day meeting yourself and the others we received new experience, new embodied understanding, went through the stories of the present and created the stories for the future.

The peer group experience was quite new for the AM community in Russia and certainly it was interesting to observe and participate in a such process of the group without a leader. Attention to details, tolerance – these are the other lessons of this meeting.

"My trip to Austria was following the flow. Everything: deeply touching Meetings that were happening, the process of Authentic Movement itself, magic of Vienna and responsiveness and care of the space in the Center "Gersthof" nourished me and the process that led me further. After that I traveled around Austria, to its towns and Alps allowing the new impressions, awareness and people to come into my life and get close to myself". Irina Muterperel.

"For me Authentic Movement practice is a moment of bigger awareness of myself in life, in the relationships with myself and with the others. It was important for me: the experience of being, connection in the group, contact, following the flow of the present moment – authenticy which the space brought up. Vienna gave me the feelings of beginning, inspiration and trust in the process". Elena Starikova.

"The Meeting in Vienna became for me incredibly refreshing and inspiring event. It is the meeting with the old, tenderly loved friends and meetings with new interesting people. It is the comfort space of the Center "Gersthof" and supporting atmosphere allowing to deepen into the own process. It is a lot of movement and long midnight talks about Dance and Movement Therapy and more… And the most important was the feeling of connection to the community. As I told on the ending circle: "I feel as some part of me came back that was lost and which I missed a lot"." Julia Morozova.

The other wonderful event following from AM International Gathering was the workshop "Authentic Contact" led by Brazilian participants Guto Macedo and Soraya Jorge, where the object of research became Contact Improvisation and Authentic Movement. It seems that Contact Improvisation can be enriched with the practice of witnessing, the "present moment" meeting and safety that gives AM. Guto and Soraya are the pioneers in this field of Authentic Contact; we wish them further advancement in their research and ideas.

The experience that we received in International Group of AM can provide the base for the going on AM projects in Russia and SNG countries. The following Gathering 2009 is scheduled in Brazil and 2010 in Russia.

© 2008 Irina Muterperel, Elena Starikova, Julia Morozova 21.09.08
First published in Russian Dance/Movement Therapy Association Newsletter


germaine fraser said...

It's so great to hear international voices! Thanks for letting us know of your very interesting experiences and invite me next time! (I'll come!)

warm wishes from a safe-to-come-out, about to reclaim her country (finally) American. Germaine

PS. I think a book should be written on your title alone. It says it all. If you need contributors, let me know.

Saturday, November 8, 2008 8:12:00 PM EST



Thank you so much for your comment! So let the international AM community be strong and grounded in inspiring meetings, new understandings and books with meaningful titles!

Irina

Tuesday, December 16, 2008 9:45:00 AM EST

Second Year Anniversary

Elizabeth Reid

We are celebrating our second year anniversary of the Authentic Movement Community website this month, and the first year anniversary of the AMC Blog as of last month, and something new is happening. A number of people when they are updating their listing in the Authentic Movement Community Directory are asking to pay for a number of years ahead and including a contribution with their update. This is a very touching vote of confidence for our work as a group. I guess it seems to some that we might be around for a number of years.

If you look through the Directory many who are participating have over 20 years doing
the practice. Is their long term commitment influencing our web site. Everyone who signs up to be part of Directory or communicates with me in any way expresses so much gratefulness that our web site exists. I feel the same way... kind of amazed and grateful to have this easy way to be connected with others who
share the same practice.

The web site averages about 500 different visitors per month from all over the world and has consistently for the past year. The Blog has had over 8,000 visits in one year.

Do you wish we could do something more with the web site and blog? Once again I
want to apologize for the learning curve on the technical glitches that happen with
the web site. I try my best to avoid mistakes, but because the technology is always
changing, sometimes glitches will just happen. Last month the blog letter error
was something I had no idea could even happen, but I keep learning..... and learning.

But also because things are always changing, maybe you will see something on another
web site that you think we should have. Or maybe there is something that you are
dreaming about that you could let us know about. Maybe you have something to contribute
to the Blog. Maybe you will want to announce your next event through the web site.
We so appreciate everything that comes.

Thanks to all who read and add to the Blog, who participate in the Authentic Movement
Community Directory, who list on the Events and Resources pages, and who contribute.
Your energy keeps the web site a lively place.

Looking forward to our future!

Dear Elizabeth and community,

A Big Open Arm Open Heart Thank you for everything and for your good words and feeling in your recent posting.
Just before opening this email I opened one from Unity saying to pay attention to experience one has when someone apologizes to you. Then - bingo! - your apology for technical errors last month.
Thank you so much for your conscientiousness.

Happy Happy Anniversary!

In Gratitude,
Roxanna

the window



 2008 amanda judd

cornered



 2008 amanda judd

Living within the world of appreciation

Is it not wonderous that this growing desire to move into our authenticity, our original sense of ourselves, our given selves, is being so supported and reinforced on every possible level

That the invitation to embrace all that we are is being presented within our ordinary lives and appears to be perfectly tailored to honor our own uniqueness

That not only the possibility but also the actuality of this emerging awareness of our existence within a joined reality is upon us

That the truth of who we are is being shared in so many ways, is becoming visable and felt by so many, that there exists a true livable sense that something both natural and miraculous is occuring within and around us

And at every instant that we bring our willingness, wholeheartedness and choiceful participation to bear upon our own arc of unfoldment, our embodiment of wholeness, that all of existence is simultaneously and mutually enhanced

That our aliveness and awareness exists within the means of this accomplishment being so, to live fully and uniquely as the love that we are

 2008 Forrest Smithson

Your words sparkle like diamonds,
Teri V.

Psychological Gestures as sculptures by Aileen Crow


The Censor

Pathology / Catastrophic Expectations


Party Girl

Left/Right; Rebel/Delight


I got very excited reading Mark Coleman’s piece about his theatrical combination of Michael Chekhov’s Psychological Gesture and Focusing with his personal invention of Authentic Movement. It brought back to me my experiences as an actress when I was a member of an acting company that studied Chekhov’s work and did those exercises and psychological gestures. It’s also exciting to me to see how all that is still present in me in the form of the small sculptures that I make of the dream figures who come to me in my authentic movement. (And who speak to me via focusing.) I see that each of the figurines represents the essential movements of one of my many partial selves distilled into a psychological gesture.

Above are three photos and a drawing, only a few of the more than forty figurines I have made.


Martha said...

Aileen,
I totally love these! They add so much to the site and to the whole discussion. Thank-you!
Martha

Sunday, August 17, 2008 11:06:00 AM EDT


Mark said...

Aileen, I very often describe PGs to Chekhov novices in my workshops/rehearsals as "moving sculptures". I agree with Martha: these are truly extraordinary pieces of work, Aileen.

Monday, August 25, 2008 4:35:00 PM EDT

Michael Chekhov Psychological Gestures

by Mark Coleman


I am an actor/theatre director/drama teacher who recently stumbled across Authentic Movement through my interest in Eugene Gendlin's Focusing, after I recently came across some very illuminating articles about movement on the internet which drew parallels between the two methodologies. One was Barbara Chutroo’s Meet Your Body,
( http://www.focusing.org/bodywork.html )

I am new to the idea of AM, but I think I have been using it for a number of years without being aware of it, in my synthesis of Michael Chekhov's Psychological Gesture (PG) techniques with Focusing. I was immediately struck by the congruity of the creative/performance applications of Chekhov's PG & Focusing with the Authentic Movement process.

Chekhov taught actors what he called the Psychological Gesture: “the embodied essence of the character” which would condense the intricate psychology of a character into a powerful, clear and simple movement; an organic, moving metaphor.”

Of course, both Focusing and Chekhov’s exercises are psycho – physical processes and have much in common with Authentic Movement as I see it. All three connect the inner life to a communication with the body, which is really the essence of acting, it seems to me. All three techniques seek pathways by which the heart and soul can be fully em-bodied and in-corporated, the inner made outer, the invisible made visible.

I would love to know if anyone else out there has any experience of the extraordinary complementarity of these three techniques, particularly when applied to the actor’s creative process.

copyright 2008

Betina said...

I have just read Mark Coleman's text and also Aileen Crow's comments on acting as an experience of embodying for communication. I have worked as an actress for 20 years in a group with a deep commitment to investigation. I have been practising AM for 13 years. Now I teach in an acting studio in Spain and have been using AM as a powerful resource for investigating and deepening the actor's relationship with the material being worked (characters, text, author, period, space). Although I am familiar with M Chekov's technique and with Focusing, in my work with actors I have concentrated my interest in Authentic Movement and in other expressive movement techniques (www.rioabierto.org.ar). I feel very stimulated with the possibility of exchanging more about this! Thank you. Betina Waissman

Wednesday, August 20, 2008 2:03:00 PM EDT

Delete
Anonymous rebecca vernooy said...

Hi from Ohio University. Nice to say "hello" to my fellow movers, and touch base with this community. I have been doing Authentic Movement for over twenty years, and teaching Movement for Actors for over a decade.

Responding to Mark Colemen's discovery of aligning AM with Psychological Gesture....My currculum for Movement for Actors is based in AM, and incorporates several somatic methodologies. I have also seen the similarities between AM and Chekov's PG.

when working with text and character, I guide the acting students into a sesion of AM. They allow a movement/gesture to emerge that feels intuitively right for the person they are to embody. After refining the gesture, and making it specific, the movement becomes an anchor. It can be one in a series (ie: for a monologue or within a scene)or it can be a physical "emotional prepartation". The result from this way of working is the same as Psychological Gesture. It is the approach that might be different.

I have found that the initial, intuitive movement impulse that the actor uncovers connects that person to a "character" in a very visceral, raw and dynamic way. When they get lost or in "their head", they can immediately return to the body via the original gesture/movement anchor. It makes for very truthful and embodied acting.

I have written alot about AM and acting training, and will be writing about aligning AM and Chekov's work in the near future (my plans for an article on the subject had to be postponed since I am trying to balance life with my seven week old and my academic, creative life).

I can be contacted at vernooyr@aol.com, and welcome any inquiries.

Tuesday, September 2, 2008 3:09:00 PM EDT

Requesting a French connection

Catherine Drum Scherer (Spokane, Washington)

Dear Ones,

I will be visiting my daughter in Paris from Dec 13, 2008 -Jan 2, 2009, and would relish a connection with someone there who is practicing Authentic Movement...

Anyone?

Catharine
jashoda1@earthlink.net


© 2008 Catharine Drum Scherer

MYSTERY


By Germaine Fraser









"Thirty spokes meet at the wheel's hub.
It is the center hole that makes it useful.

Shape clay into a vessel.
It is the space within that makes it useful.

Cut doors and windows into a room.
It is the holes that make it useful.

Therefore, benefit comes from what is there,
Usefulness from what is not there."

—Lao Tsu, Tao Te Ching


Here I am in Beijing 's White Cloud Temple, one of the oldest temples in Beijing . An ancient walled-in refuge from the bright shiny new Beijing face the Olympics will be exhibiting shortly. I am in China with a group of Taoist Qigong practitioners, studying at various places in the ‘middle kingdom’, Beijing being our first stop. We will learn a shamanic form from a Female Immortal lineage holder, climb vertical mountains, explore and live in temple caves and search our individual practices in a place that has deeply cultivated these activities for over 4,000 years. Beijing is said to have the best fenshui of any city in this enormous country. The city planned 3,000 years ago, is very intentionally placed at the base of a ring of mountains. Even in the most hectic places in this hugely populated city and in its parks, there is a softness. Having walked through TianTan Park (their Central Park) and spent time watching and waiting there, I can tell you there are thousands of Cypress trees which aid and support this softness. I am intrigued, beguiled and charmed by them and how they diffuse energy.

My main intention coming here is to find a little corner to do some Authentic Movement (a spontaneous Qigong form which is very like AM). Since I woke up this morning, it has been very clear this is what I am needing to do today. The temple, like most temple compounds is maze-like. Composed of little houses juxtaposed and connected to each other, divided and related to narrow pathways that take you to yet other small squares of one-room clustered buildings, small gardens or temples. Fat sticks of incense burn in large cauldrons outside specific temples which house huge ceramic figurines bedecked in ornate silk clothing. I meander, mostly alone, happily getting lost in the maze. I find a temple dedicated to Kwan Yin. She is the bodhisattva goddess who refused to become immortal until all suffering was alleviated from the world and who is very present in all our travels on this trip. I credit the softness in the mountains and in the country at large at least in part to her radical spirit of selfless caring. Her spirit is very active. She's everywhere. So I try to keep her message of compassion close, to keep my heart open as I travel forward or sideways (or backwards!) in these alleyways. Her temple, not surprisingly, is very crowded; not the place to do moving so I keep wandering.

At the farthest backend of the compound I find a lovely open square pleasingly framed off on all 4 sides by open corridors and small gardens. Someone’s laundry hangs on a short line. There is a large square raised platform, off the uneven stone ground 10-15 feet. The side near the building’s wall has an exquisite painting; the other three sides are open but have a protective wood railing serving to contain the space. The floor is wide red-painted wood planks. Here I am. I’ve found my Authentic Movement space.

I am one of the more furtive seekers looking for a movement space from my group of 40, so I have reached this far end first and am quite alone. I go up to the space and walk around it a few times and take some time to look at the floor to ceiling painting. It’s one of these impossible epic odyssey paintings that has ten plots happening at once. It is depicted from the angle of an angel looking at the aerial side of a mountain. There are deities riding chariots through clouds, expressive humans and immortals creating peace and havoc at various landing spots, while different precipitations and weather patterns move through and flying dragons get ready to make their move. Beautiful. Overwhelming. I feel humbled before it. The rafters in this covered platform are brightly painted and gorgeous with little vignette paintings in the center of each beam. I am surrounded by nature and art, my favorite place to be.

I sit quietly for a bit, sinking into the depth of the space and the self. I am aware of the light white pollution soot that covers everything and which is everywhere. I feel it on my skin, in my mouth; my clothes are dusted with it. It’s impossible to escape. So, I take it along with me. Some of my qigong colleagues are beginning to filter in and out of the space below. I feel quite safe and unencumbered up on the platform. A couple of dour monks have walked by, hands behind their backs, scowling as they inspect today’s invasion. Some young assistant-initiate monks, their long black braids swinging, look curiously from one side to the other. And there is a nondescript old woman. She is sitting on one of the high thresholds of the corridors watching me. She is my Authentic Movement witness. The distance between us is considerable, but even from here I can see how centered she is in her own body and I can feel her female interest. I decide to have a relationship with her from 200 yards. I move into the space exactly when it feels right, rising to stand to face the painting.

One of the great things about being fifty years old is I’ve stopped caring who sees me do what anymore or how I look doing it. (Or maybe this is from doing AM for 20 years?) I feel very free, unrestrained, un-selfconscious, caution is to the wind. I am only interested in this Moment, Now, and how this body’s intelligence stays with that. And it’s a ride, alright. Perhaps the dragon, chariot and deity energies have jumped off the wall and entered this body. The movement starts off in large fast dynamic arcs, eating up huge quantities of space in short periods of time. There is leaping, arching and high legs, deep dips and extremely fast pivoting turns. The panting is surprisingly minimal. I am wearing a loose opaque rayon shirt over a silky camisole. I find myself enjoying the shirt lightly gather around my ears as my torso is thrust forward, or whipping around the back, sliding easily over the slippery camisole as the body torques left and right and legs/arms whip along with it. The raised wood floor makes its uneven heaving sounds as I pounce and flash about. I find myself running the circumference of it at fast speeds, the inner arm playing the sharp stabilizing point on a compass’ needle.
My witness has moved to a different viewing angle, but is still quite strongly attentive in her body. I think I see a small smile as she sits very still on a step under one of the corridor arches. There are a few still points in the session where I find myself facing her, these many yards away. There is something so liberating in just facing another person, a person you don’t know and they are facing you, and you are breathing together. For some reason, this is such an unlikely occurrence in this world we live in. But there we are, in the back of the temple compound, steeped in time, simply facing each other. Open. Don’t know each other. But do. She’s my grandmother, mother, my sister. She’s me. She is the cut door and window in Lao Tsu’s room. Maybe I am the spoke to her wheel hub. Or maybe I’m an eccentric Caucasian woman leaping around her temple’s compound. When I see her as I am standing there, I have a sense she is seeing something she never thought she’d see, something imagined or hoped for. I feel like I am making her day. God knows she is a part of making mine. Her gaze is very strong and steady and she is very planted in herself. I too am reflecting this. And I think maybe this raised platform was meant for a woman to move ecstatically on it and here I am answering some ageless bequest or perhaps, the prayers of masses of others, be they painted on a wall or delivered osmotically from ages past. Obviously, this movement is not my own; hugely influenced by antiquity, this place and a time. I am somehow embodying something someone in me understands, but damned if the rest of me knows what it is. Mystery. China exudes it. And it is the Authentic Movement form’s unspoken understanding.

This session is about 45 minutes long, during which time I occasionally slow up and look around to see my colleagues doing their slow, focused practice, sometimes watching each other, sometimes quietly moving out of the space. I feel supported here, whether I be sweating profusely, sooty whiteness sticking to wet flesh or crossing diagonals backwards in large swooping gestures. I finish by sitting quietly as I began, on the dusty ground. I feel released, that universal prayers have been answered, that wide red planks have felt a woman’s thunder. Upon rising to go, the air is clear and cool against my damp skin, my body is loose and grateful. I see my witness’ back enter a door into a small house beyond the corridor. I pause, face the maze back from where I came, transformed from when I entered.

ⓒ Germaine Fraser 2008

On doing and not doing AM

by Teri Viereck

When describing AM, I would prefer to use some verb other than "doing" AM. When I use the verb "doing" AM, it seems that I am not receptive enough to invite the witness or the messages from the unconscious.

We are not human doings, we are human beings. The same issue arises in yoga, tai chi, etc. And it sounds so much like a duty to say that I "do" my AM. Then I might feel guilty because I did not do it. How about "I practice my AM" or "I get in my yoga practice". Or "I explore AM".

Words make a difference in our bodies. Consider the difference between "Lift your arms" and "Allow your arms to come to lifting". Try it.


she who

laughs

lasts

Meet your body – Bringing Focusing to Authentic Movement

by Barbara Chutroo, bchutroo@earthlink.net

I first encountered Focusing as a dance/movement therapy student. I came to dance/movement therapy because of my conviction that the body is central to psychological healing. I could not imagine an effective therapy that didn’t include the body’s responses and stories. In that first encounter, I felt my body respond with that famous “felt shift” Focusers speak of that happens when an issue is understood on a new mind/body level.

It was natural for me to continue to work with the relationship between Focusing and movement and I studied Wholebody Focusing with Kevin McEvenue. For many years, I have also been involved with other internally directed movement practices including Authentic Movement, Contact Improvisation, Continuum Movement, and Body-Mind Centering®. These processes all invite us to explore inner sensation with curiosity and to follow subtle movements of our bodies, emotional responses, and energetic shifts as they unfold in action. They can be looked at as Focusing in movement

For the past two years, I have combined Focusing with Authentic Movement in a small group created with my friend and authentic movement practitioner, Aileen Crow and in a personal practice. These excerpts were drawn from a paper I wrote which grew out of this experience. The complete version can be downloaded on the Focusing website at http://www.focusing.org/bodywork.html . In it I look at the contributions of inner directed movement to growth and healing, the ways in which Focusing and Authentic Movement differ and support one another, and the role and experience of the listener or witness. The witness, in Authentic Movement, corresponds to the listener in Focusing and the mover corresponds to the Focuser.

As we know, in Authentic Movement, a person moves with eyes closed in the presence of at least one witness. Witnessing is based on the premise that there is value to being seen and value to the experience of seeing. In being seen without words, the mover senses his or her whole being as acknowledged by the witness. As the witness tunes into the mover’s presence, disguises and pretenses fall away in the simple attentive awareness of the physical, energetic being before her.

In Focusing, a Focuser usually sit quietly and waits for a sensation, image, emotion, or life situation to arise. She says hello to it internally with the same friendly and careful curiosity of the Authentic Mover and waits, again, for her body’s response. Focusers call the unclear, inchoate, sense that sometimes surrounds an issue or feeling a “felt sense”. The Focuser, then, describes her experience out loud to a listener paying special attention to the quality of this felt sense as it shifts and changes. The Focusing listener, unlike the Authentic Movement witness, reflects back the Focuser’s own words trying to precisely understand the Focuser’s meaning. The Focuser’s process goes from felt sense to verbalization and the listener accompanies her without leading or directing. This active listening helps the Focuser bring the felt sense into cognitive clarity and accurately verbalize an inner experience. Projections can jump out in the use and choice of words so the listener is careful to remain true to the Focuser’s meaning and experience. The listener’s intention is to support the Focuser’s process. There is no invitation for the listener to offer her own experience as is done in Authentic Movement. Instead, the Focuser, in touch with her felt sense, is helped by the listener to bring forth and illuminate her experience. This forward movement continues until the Focuser is satisfied.

A main difference between the Authentic Movement witness and the Focusing listener is the intent. In Authentic Movement the witness and mover each offer their experiences. Although enhanced awareness and a sense of connection may blossom from this exchange, the mover's inner process ends when she stops moving. In Focusing, the listener’s intention is to enable the Focuser’s process to continue. The listener’s verbal responses help the Focuser’s investigation sharpen and evolve. As the experience is heard and acknowledged, as well as seen, it gains dimension.

The role of the witness and listener can bring a sense of awe and humility. In not taking center stage yet being active, there can be profound pleasure. It is sometimes a humbling revelation to see how misguided we can be by our own identifications and projections. On the other hand, there is the excitement of being with what is revealed when our projections are put aside.

Moving helps us explore our bodies as the basis for our experience in several ways. It brings a fullness and authenticity to emotional expression that goes beyond words. It opens the door to enlarging our emotional vocabulary and to further investigation and understanding of the complex human drama we all embody. Emotions find their affective expression in the movement and neurology of the body. Anger, joy, and grief, for example, have gestural and affective components we all identify. Movement, also, has the power to awaken mythic images and connection to primordial life forms. The mover becomes wind, earth, snake, eagle, root, and water. These images carry a rich complexity. The felt sense around them can move us toward a deeper knowing of life's fullness.

Growth is a neuromuscular reorganization. Through movement and sensory explorations our bodies discover and develop their capabilities. Likewise, through active touch and movement we interact with, and bring the world into, ourselves. A Focusing awareness and an inwardly directed movement practice enables the reorganization of our cellular bodies - a formulation of new meanings that inform our personalities as well as our physical selves. In this way, the knowing of who we are is physical, emotional, and cognitive, as well as a living, breathing process.

Women's Peer Group

Roxanna (Larkspur/San Anselmo, CA)

I am interested in meeting with a small group of experienced witnesses/movers who would like to use the discipline of authentic movement as a vehicle for anchoring and amplifying one's vision & focus in the creative/expressive arts and teaching. Interested in once/month studio meeting in Marin area. I have access to a sweet, clear, clean studio in San Anselmo.

© 2008 Roxanna