PHASE 2: PRACTICE RESEARCH
Initial Somatic Processes- First Iterations (video and audio)
Additionally, as a practice researcher actively embodying somatic principles in line with wellbeing, pain management, and the lived experience, another layer to the practical process was creating several somatic processes in reflection to the initial movement films and principles explored in phase 1. As these movement films were influenced by existing practitioners, professionals, and pioneers from the field, it was imperative to draw upon the practice of others to inform the somatic processes created as a response. The specific somatic principles explored were:
1. The Body Process
2. Cellular Awareness Process
3. Gravity Process
5. Habit Process
6. The Internal Process
7. Movement Initiation Process
8. The Skeleton Process
9. The Breath Process
10. The Fluid Body Process
11. Witnessing Process
12. Touch Process
PHASE 2: INITIAL SOMATIC PROCESSES- REFLECTIONS
The intentions behind each process I created was to dissolve pain and discomfort, promoting a positive relationship with the body, and allowing the self to become aware of the body from an explorative perspective. This is what my body needed in the moment, which further related to the body’s intelligence in being able to listen to the body in the moment. This also resonates with practice uncovering personal stories and emerging sensations, which directly aligns with somatic research and experiencing.
Although these somatic processes were mostly positive in arousing a deeper sense of self, calming down the body, and engaging with the body exploratively, some processes in particular required some further investigation and development. Especially in terms of the use of language and ensuring the processes were accessible, it was important to engage with these processes with others to receive feedback. Dr Polly Hudson and I worked in the studio together on a weekly basis, exploring my practice and discussing what needed to evolve. For example, we both took part in The Breath process in the studio and reflected on our own experience of the process. Once we had discussed simplicity, language, pace, and music for the process, I then developed and fine-tuned the process to reflect the feedback received.
Using The Breath process as a model for the other principles, I developed all nine somatic processes to ensure that each process was accessible, detailed, and was easy to follow. One of the key components of feedback was simplicity. Although the process may be detailed where the body is concerned, the intentions behind the process are simple: to invite a sense of body, movement, pain, and discomfort awareness that helps support the participant to navigate through their body’s sensations present.
When creating and engaging with the somatic movement processes within phase 2 of the practice research process, sensations and emotions emerged organically and was a reminder of how connected and integrated we are as human beings. Halprin (2000) writes extensively on self-connection, emotions, and sensation, highlighting that movement ‘is the motion of our cells, the pulse of our blood, the rhythm of our breath. It is, as well, the ocean waves rising and falling and the alternating patterns of night and day’ (Halprin, 2000: 23). Whether there is a connection to the space, our surroundings, our environment, or other people, an integrated approach to the body is always an approach within somatics. This was a profound experience when engaging with the somatic processes, where my body was given the time and space to unwind spontaneously whilst being guided through a process. The intentions behind each process I created was to dissolve pain and discomfort, promoting a positive relationship with the body, and allowing the self to become aware of the body from an explorative perspective. This is what my body needed in the moment, which further related to the body’s intelligence in being able to listen to the body in the moment. This also resonates with practice uncovering personal stories and emerging sensations, which directly aligns with somatic research and experiencing.
For example, we both took part in The Breath process in the studio and reflected on our own experience of the process. Once we had discussed simplicity, language, pace, and music for the process, I then developed and fine-tuned the process to reflect the feedback received. Using The Breath process as a model for the other principles, I developed all nine somatic processes to ensure that each process was accessible, detailed, and was easy to follow. One of the key components of feedback was simplicity. Although the process may be detailed where the body is concerned, the intentions behind the process are simple: to invite a sense of body, movement, pain, and discomfort awareness that helps support the participant to navigate through their body’s sensations present.