PHASE 4: PRACTICE RESEARCH
Refined Movement Films and Explorations- Second Iterations
After creating the initial somatic processes for pain, it was imperative to engage with each principle from a deeper, more embodied perspective. These movement explorations directly built on the primary question: what specific somatic principles support pain and discomfort in practice? Research therefore emerged organically from self-exploration, providing the opportunity to investigate each somatic principle in more depth through movement.
Each refined principle was therefore an outcome of embodied movement explorations that relied on improvisatory methods of collecting data through the lived experience. The lived experience was therefore central to all methods and practice, offering further intentions for future research. For example, as a result of the initial movement films created at the beginning of the practical explorations, certain somatic principles: The Breath, The Skeleton, and Touch were carried over to explorations where the refined set of principles were developed. This was due to present bodily sensations in the moment whilst moving and post-moving. This invited a sense of ownership of the body, an improvement in overall wellbeing, and supported the physical sensations of pain and discomfort. These principles are:
1. The Breath
2. The Skeleton
3. Rotation and Flow
4. Movement Economy
5. Noticing and Addressing Habits
6. Embodied Rhythm
7. Dynamic and Light Self-Touch
8. Rest and Active Stillness
9. Stretch, Extension and Elongation
PHASE 4: REFINED MOVEMENT FILMS and EXPLORATIONS- REFLECTIONS
When engaging with the movement explorations, movement was encouraged through self-expressions, freedom, and choice, which in turn invited intrinsic exploration of my pain and discomfort in the moment. Particularly, this sense of enjoyment when moving promoted a sense of ease and fluidity that I drew upon for the final movement explorations that supported my body as a whole.
Particularly evident was the ways in which my body responded to each principle in the moment. As the second iterations of movement films focused on some different principles and some revised principles, I was able to engage with movement much more clearly and concisely. The movement intention therefore shifted from a sense of confusion or complexity to a more self-expressive, detailed movement exploration that further supported my body and my pain. This is showcased in this exposition, where movement is intricate in nature. For instance, in the movement film ‘Embodied Rhythm’, movement becomes expressive and explorative, engaging with minimal movement in some instances, and expressive, larger movement in others.
This play between movement intentions and types invited my body into a conversation where again I was consciously aware of where my body was moving in the space and questioned how I could dissolve discomfort through a variety of different movement pathways. This is similar to habitual movement patterning, where different movement habits are explored. The film ‘Noticing and Addressing Habits’ explores this idea. For example, evident at the start of the film, I engage with bouncing and swinging through the upper and lower body. The particular movement dynamic differs to my usual way of moving that encompasses fluidity and flow. Here, I begin to embody the music which contributes to the journey of self-exploration through movement. Certain moments of staccato, sharper dynamics and stronger movement is showcased throughout the film, with other moments of flowing movement that focuses on the upper body, torso, and head. At 6 minutes, it is evident that I engage with an exploration of minimal, pedestrianised movement that brings attention to smaller rhythms experienced within the body. This shifts in awareness throughout the experience kept my conscious awareness engaged at all times, where constant questioning was apparent. This is similar to habitual movement patterning, where different movement habits are explored. The film ‘Noticing and Addressing Habits’ explores this idea.
Credits: Refined Movement Films and Explorations- Second Iterations
Mover/performer: Maisie Beth James
Director: Maisie Beth James
Music:
- Calming Music for Reading, Health Therapies Music Academy
- Realaxing Calm Energy, Dharma Roihiri
- Stargazing, Luke Faulkner
- Meditation Music, Sound FX Mix
- Just for Today I Will Not Anger, Llewellyn
- Meditive Mind, Shanti
- Slow Flow, Buress
- Meditation Music for Mindfulness, Peace and Calm, Sound FX Mix
- Comptine d'un autre ete: I'Apres-midi, Jacob's Piano
Editing: Maisie Beth James
Camera Operator: Maisie Beth James