feldenkrais research journal​ • ​volume 6​ (2018-2019) introduction and acknowledgements it is my pleasure to say a few words of welcome to this volume of the ​feldenkrais research journal​ – and give thanks to all who contributed. while this volume took quite some time to produce, it represents a significant achievement – bringing forth this important field of practice, thought, and research of the life of the feldenkrais method​®​ in the world. taken along with the special volume of ‘journal of theatre, dance, and performance training’ (volume 6, number 2), from july 2015, it establishes the feldenkrais method as a significant contributor to teaching and practice in the contemporary performing arts. in this introduction i wish to thank the many people who made this volume of the ​feldenkrais research journal​ possible. this volume would not have been produced without the tireless work of our guest editor, thomas kampe, feldenkrais teacher, dancer, and senior lecturer for movement/acting at the bath spa university. when i was busy with completing my own dissertation, thomas kept the journal moving forward, and brought all his organizational, communication, reflective and writing skills to bear on what is a substantial piece of work: this volume of the ​frj​. in addition, he has contributed an ‘editorial’ that is a significant piece of scholarship itself, describing the emerging field of arts research, locating the history of moshe feldenkrais’ encounter with early somatic arts practices, as well as introducing the articles you will find here. he also provided for this volume a lively review of victoria worsley’s milestone book, ‘feldenkrais for actors’. i thank him personally for all his skill and support, and he deserves the thanks of our readers and the feldenkrais community. thomas also recruited three extra special guest editors for this volume: ● dr sara reed, principal lecturer in dance, school of media and performing arts, faculty of arts & humanities, coventry university ● prof. robert sholl, royal academy of music and university of west london ● dr libby worth, senior lecturer in theatre practice, director ma programmes, department of drama, theatre and dance, royal holloway, university of london. they were key members of our team of reviewers and advisors for this volume. our special thanks for your special role as guest editors sara, robert, and libby. in addition, we drew on several members of our editorial team for the various rounds of reviewing of initial and edited submissions who have also earned our thanks: ● zoran kovich, dancer, dance educator, and trainer in the feldenkrais method published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ ● cornelia berens, consultant and organizer of cultural activities, writer on art, theatre, and cultural studies, and editor of the german ‘feldenkraisforum’, ● dianne hancock, feldenkrais practitioner and theatre teacher. proofreading was done by dancer and feldenkrais teacher brandee selk, and joanne page. joanne, with a background in dance, a phd in linguistics, and history of work in academia has come on board also as our harvard formatting expert, and has done much already to improve the precision and consistency of our formatting and references. this year the ​frj​ moved to a new site and we are making use of a new open journal systems (ojs) format. this new platform will make it easier to edit and present the journal. the international feldenkrais federation’s web designer, jessica taylor in portland, oregon, did this extra work and created this handsome format, as well as preparing this volume for publication. many thanks are also due to the board of the international feldenkrais federation, and the iff’s member organizations – the feldenkrais guilds and associations around the world, who continue to provide the organizational and financial underpinnings of this valuable part of our field. finally, the authors. as i have said before, our authors are also volunteers – who do a lot of work not just to draft their papers and then find the courage to submit them, but also find the openness to receive feedback, and undertake the sometimes-difficult task of revising and editing their own words. thanks to you. also thanks to those whose papers were not accepted for this volume – there are several which i am hoping we will be able to publish in the future. the cliché is that it ‘takes a village’ to do a whole range of things. i have discovered that despite being clichéd, this actually does apply to a research journal as well. in a professional community the publishing of a next volume of a journal represents not just a collection of papers, but a step in the development of that professional community and its field of impact as well. warmest regards, cliff smyth, phd, feldenkrais teacher general editor introduction and acknowledgements • ​feldenkrais research journal, volume 6​ (2018-2019) 2 feldenkrais research journal​ • ​volume 5​ (2016) feldenkrais research news flow in feldenkrais’ theory and practice: an example of emersiology of the living body adjoa domelevo feldenkrais practitioner; physical education teacher; doctoral student, university paris-descartes, at ea (équipe d'accueil (laboratory)) 3625 ‘techniques et enjeux du corps’ (body technics and issues) bernard andrieu phd, professor university paris-descartes. director, ea 3625 groupement de recherche international (international research group) 836, centre national de recherche scientifique (national research center of france) keywords feldenkrais method, stress, didactic, flow, body ecology copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/domelevo-andrieu http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/domelevo-andrieu feldenkrais research news flow in feldenkrais’ theory and practice: an example of emersiology of the living body adjoa domelevo md, feldenkrais practitioner; physical education teacher; doctoral student, university paris-descartes, at ea (équipe d'accueil (laboratory) 3625 ‘techniques et enjeux du corps (body technics and issues)’ bernard andrieu phd, professor university paris-descartes, director. ea 3625& groupement de recherche international (international research group) 836, centre national de recherche scientifique (national research center of france) this article introduces two research projects pursued by adjoa domelevo in france. one was a masters degree, and the other is a in phd study in preparation. her masters degree research, presented on the 29​th​ september, 2014 at bordeaux university, was titled: ‘coping with stress in adolescence: impact of a school form of practicing ‘feldenkrais​®​’’ (in french: ‘​composer avec le stress à l'adolescence: impact d'une forme scolaire de pratique du "feldenkrais​ ®"’​ ). this research has two main aims : (a) to propose a school form of practicing feldenkrais method​® (b) to locate the effects of the activity feldenkrais method on stress and coping after a training program for pupils in a class of troisième (grade 9 or third form of high school). this work drew on several theoretical areas in order to follow a multidisciplinary method. the research methodology was based on a mixed methods approach: qualitative research – because the feldenkrais method is a process-improvement model, and quantitative methods. data was collected from five types of sources: a documentary analysis, a quasi-experimentation process, questionnaires, semi-structured interviews, grounded observations. the quasi-experimentation took place with students from a third class of a secondary school (13-15 years of age). the study size is n=20, with a control group (n=10) and an experimental group (n=10). the experimental group is trained over a period of 5 weeks: (a) at school for 40-45 minutes, once per week, with the technique awareness through movement​®​ (atm​®​) lesson domelevo and andrieu • ​feldenkrais research journal, volume 5​ ​(​ 2016) 2 (b) at home, between one and three times per week, with an atm lesson of 10 minutes (an audio recording by the experimenter). the pre-test and the post-test measures are based on the «mesure du stress psychologique (msp)», the adolescent coping orientation for problem experiences (a-cope), the questionnaire image du corps (qic). our results indicate that the stress level decreases after feldenkrais method training. but results were more nuanced in relation to body image and coping strategies. some of our results confirmed our hypotheses and others tended to refute them. the main contributions of the research are : ● a better knowledge of the feldenkrais method​ ​ of the somatic education; ● a better knowledge of health education; ● a didactic innovatory proposal: teaching a body awareness method in scholarly context; ● a new tool to cope with stress, for the adolescents. this work opens paths to exploring a self-care approach to health, transdisciplinarity, and the exploration of well-being bodily techniques in schools in relation to the idea of body ecology. ‘body ecology’ is not just an interesting phrase, but a practice that engages our daily responsibility and it also connects to a body awareness through reflection on our actions and it’s consequences. ‘body ecology is a practice of self-care that is responsible for the care of others through lifestyle choices’ (andrieu 2011:12). without knowing the ecology of our own bodies, we are looking in nature a harmony that is within us: our microcosm no longer corresponds with the macrocosm. in order to further her research into the domain of body ecology, since october 2014 adjoa domelevo has been pursuing doctoral research, at university paris-descartes, with bernard andrieu. the dissertation title is: ​body in feldenkrais method: from awareness to flow​ . there are three contexts from which this scientific investigations was born: the researcher’s interest in ‘the body question’, her professional bivalence (teaching first physical education, and second the feldenkrais method of somatic education), and her passion for an ecologically situated sport (surfing). there has been little research about feldenkrais method in the french scientific context, and this can be improved by these studies about ​flow​ experience (csikszentmihalyi 1975, 1990). the research will benefit from the partnership with the cetaps laboratory, which focuses on its work the themes being explored in this study. the importance of this work work can be seen as situated on three levels: on world level (in relation to ideas of the ‘fluid society’) (de rosnay 2012), on european level (in relation to health well-being objective for horizon 2020: eu framework programme for research and innovation), on domelevo and andrieu • ​feldenkrais research journal, volume 5​ ​(​ 2016) 3 national level with inpes (national institute of prevention and education for health) recommendations about health prevention and education. the research problem is expressed as follows: awareness through movement, one of the two feldenkrais method modalities, promotes emergence and persistence of ​flow experience​ and its returning into flow (csikszentmihalyi 1975, 1990). the aim of this research is to create new knowledge about the body, feldenkrais method, and flow. it is intended also to test and verify the feldenkrais method’s impact on the experience of flow. her epistemological posture will be rooted in body ecology (andrieu 2011) and positive psychology (seligman and csikszentmihalyi 2000). the research methodology will adopt a qualitative approach. the results of of this study will be relevant to three social spheres: the scientific community, educational sphere, and the sports world. references andrieu, b. (2011) ​l'écologie corporelle​ . paris: atlantica andrieu, b. (2015) ‘​from phenomenology to emersiology: the birth of living body in the philosophical research in france among 1990’. ​study on arts and principles of body-mind transformation​ ​4,​ trans. by okui h. (title in japanese : '身心変容技法研究') csikszentmihalyi, m. (1975/2000) ​beyond boredom and anxiety: experiencing flow in work and play.​ san francisco: jossey-bass publishers csikszentmihalyi, m. (1990) ​flow: the psychology of optimal experience​ . new york: harperperennial modern classics de rosnay, j. (2012) ​surfer la vie. comment sur-vivre dans la société fluide​ . paris: éditions les liens qui libèrent feldenkrais, m. (1972/1990) ​awareness through movement: easy-to-do health exercises to improve your posture, vision, imagination, and personal awareness.​ new york: harper collins seligman, m. e. p., & csikszentmihalyi, m. (2000) ‘positive psychology: an introduction.’ american psychologist 55​ (1), 5-14 domelevo and andrieu • ​feldenkrais research journal, volume 5​ ​(​ 2016) 4 biographies bernard andrieu bernard andrieu has been professor in ea 3832 cetaps (​http://staps.univ-rouen.fr/le-laboratoire-cetaps-191625.kjsp​) since september 2014. he was educated in the 1980’s at bordeaux in phenomenology, psychoanalysis, primatology and neuroscience, and did his doctorate on the topic of neurophilosophy. from 1999 to 2004, bernard was professor of epistemology at lorraine iufm and a researcher at the archives poincaré cnrs (centre national de la recherche scientifique)/nancy-ii university. from 2005 to 2014, he was professor for body epistemology and bodily practices in the sport faculty of lorraine university. he was director of the master staps (sciences and techniques of sports and physical activities) at nancy-metz and of the program disabled persons empowerment through adapted physical activities. in that institution, he lead the team accorps (2005-2011) and has been a member from 1999 to 2011 in the history of sciences and philosophy laboratory, archives poincaré umr 7117 cnrs (centre national de la recherche scientifique)/nancy university. he is associate member of umr cnrs 6578 ades biocultural anthropology on the topic of body and health anthropology. he founded the archives alfred binet (​http://alfredbinet.univ-lorraine.fr/​)>, blogducorps <​http://leblogducorps.over-blog.com​> and collections "écologie corporelle" (body epistemology) at lorraine university press and "mouvements des savoirs" (knowledge movement) at l'harmattan editions. since 2014 he has co-directed the collection at rouen le havre university press of "ecologie corporelle et environnements sports" (body ecology and sports environment). he is co-director of the interdisciplinary revue corps (cnrs ed.) and of the revue ‘recherches et éducation’ available from the website :​ ​http://rechercheseducations.revues.org/616​. he is a founding member of francophone association of sport philosophy (société francophone de philosophie du sport). correspondence: staps-université de rouen, boulevard andré siegfried, f.76821 mont saint aignan cedex, france. e-mail : ​bandrieu59@orange.fr adjoa domelevo adjoa domelevo has worked as a physical education teacher in secondary schools since 1993. since 2010, she also gives feldenkrais method​®​ lessons to physical practioners in various institutions (schools, creps center of resources, expertise, and sport performances (centre de ressources, d’expertise et de performance sportives) bordeaux-aquitaine, and associations) and offers professional trainings. her professional website is at <​http://www.somatikeduc.com/​>. in 2014, she received a master’s research degree for a study about application of the feldenkrais method​®​ in education and its impact on adolescent stress. this master’s thesis is available, in full, at​ http://dumas.ccsd.cnrs.fr/dumas-01083692/document​. adjoa is now a first year phd student in the cetaps (center of studies of physical and sport activities domelevo and andrieu • ​feldenkrais research journal, volume 5​ ​(​ 2016) 5 http://staps.univ-rouen.fr/le-laboratoire-cetaps-191625.kjsp http://alfredbinet.univ-lorraine.fr/ http://leblogducorps.over-blog.com/ http://rechercheseducations.revues.org/616 http://rechercheseducations.revues.org/616 mailto:bandrieu59@orange.fr http://www.somatikeduc.com/ http://dumas.ccsd.cnrs.fr/dumas-01083692/document transformations (centre d'études des transformations des activités physiques et sportives) laboratory at rouen university. she also writes a blog <​http://somatikeduc.blogspot.fr/​> about somatic education and is a founding member of francophone association of sport philosophy (société francophone de philosophie du sport). correspondence: staps-université de rouen, boulevard andré siegfried, f.76821 mont saint aignan cedex, france. e-mail : ​adjoa.domelevo@somatikeduc.com domelevo and andrieu • ​feldenkrais research journal, volume 5​ ​(​ 2016) 6 http://somatikeduc.blogspot.fr/ mailto:adjoa.domelevo@somatikeduc.com feldenkrais research journal • volume 1 (2004) article der aufrechte gang: hinweis auf moshé feldenkrais friedhelm kemp professor of general and comparative literature, munich keywords feldenkrais, self-image, consciousness, awareness, movement, observation copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author der aufrechte gang hinweis auf moshé feldenkrais friedhelm kemp wie man zum richtigen denken und tun, zum rechten leben gelange durch geistliche exerzitien, betrachtungen, versenkungen, durch allerlei rhythmische techniken, durch weniges eher als durch vieles, durch beharrliches fortschreiten in der einmal eingeschlagenen richtung jedenfalls , darüber sind seit je traktate und anweisungen geschrieben worden. manche haben weit über ihren ursprungsbereich hinaus bedeutung gewonnen; fast alle halten, was sie versprechen: wenn der initiand eingestimmt ist und aus ihrem geiste zu handeln versteht. alle aber enttäuschen den, der ein objektives verfahren, ein unfehlbares rezept zu finden hofft. das wichtigste bleibt meist außer acht: dass, wer den erfolg meint, das heil verfehlt, weil es kein anderes ziel gibt als das in jedem einzelnen schritt des weges sich verwirklichende. die welt sei absurd, sinnlos, heillos. wir lesen’s, wir lassen’s uns sagen. aber hören wir darum auf zu atmen, zu gehen, zu springen bisweilen? meine freiheit ist seit langem nur noch eine vorgespiegelte, versichert man mir. aber ich kann mich doch bücken, wieder aufrichten, den kopf drehen. kann ich es aber wirklich? es geschieht oft ungeschickt, anmutslos, unter anstrengungen und schmerzen. offensichtlich benehme ich mich falsch. wie es ändern? wie sich bewegen, dass die welt nicht zusammenfiele, wenn ich ihre mitte wäre? oder bescheidener: wie sich selber, und damit andern, erfreulicher werden? dazu bietet ein handliches, fassliches und jedem nützliches buch einen leitfaden: „der aufrechte gang“ von moshé feldenkrais (von franz wurm aus dem englischen übersetzt). ein buch nicht für fachleute, nicht für gebildete, nicht für sektierer, sondern für uns alle, die laien und brotesser. „wir handeln dem bilde nach, das wir uns von uns machen.“ mit diesem satz beginnt das buch. davon wird hier ausgegangen: dass unser tun eine imitatio, ein nachvollzug ist. voraus geht ein bild. dieses bild aber, und das ist das entscheidende, machen wir selbst uns von uns selbst, von diesem unserem sich bewegenden, empfindenden, fühlenden und denkenden wesen. freilich, wenn wir das buch nehmen und lesen, haben wir dieses bild uns bereits seit langem gemacht, es so fix und fertig ausgebildet und auf seinen thron über uns gesetzt, dass es wie ein usurpator über uns vergessliche herrscht. da dieses bild jedoch nicht aufhört veränderbar zu sein, so können wir, meint feldenkrais, unseren herrscher belehren; wie kinder ihre eltern, der dichter seine muse. er ist ja nicht wir selbst, auch keine fremde unbeeinflussbare macht, er ist bild von unseren gnaden. und lenkt uns nach unserem willen. genauer: nach unserer willigkeit. es gibt zwar beliebig viele willkürliche bilder, die wir uns von uns machen können, aber nur ein einziges richtiges, mehr oder minder auf unsere beschaffenheit zutreffendes, mit unserer lage übereinstimmendes. wir sind kein fisch, kein vogel, kein engel; jeder nur ein mensch, auf zwei beinen, das haupt gen himmel gerichtet. und wir kennen auch größtenteils die gesetze, denen unsere physis unterworfen ist; wir kennen sie, doch wir spüren sie nicht, wir sind ihrer nicht so inne, daß wir mit ihnen im einklang lebten. in kleists berühmtem und vielzitiertem aufsatz „über das marionettentheater“ ist davon die rede, welche unordnungen das bewußtsein in der natürlichen grazie des menschen anrichte und daß nur, „wenn die erkenntnis gleichsam durch ein unendliches gegangen ist diese verlorene anmut sich wieder einstelle”, so daß sie, „zu gleicher zeit, in demjenigen menschlichen körperbau am reinsten erscheint, der entweder gar keins, oder ein unendliches bewußtsein hat, so bei kleist in dem gliedermann, oder in dem gott“. zwischen diesen beiden utopien, der vorgeschichtlichen des unerwachten und der endzeitlichen des totalen bewusstseins, sucht feldenkrais die menschliche methode, indem er den gliedermann, der wir durch unser knochengerüst, unsere muskeln und bänder sind, ganz in die vorstellung zu bekommen und von dieser her seine bewegungen zu regieren unternimmt. „l’imagination au pouvoir“ las man im mai 1968 an einer mauer der sorbonne. ob die hier beschworene imagination den sozialkörper zu lenken verstünde, mag dahingestellt sein. (wessen f.kemp/feldenkrais research journal 1 (2004) 2 imagination? möchte man vor allem fragen.) das aber ist nicht länger zu bezweifeln: in mir ist sie die „reine des facultés“ wie baudelaire sie genannt hat, wenn man unter einbildungskraft nicht nur erfindende phantasie, sondern auch beobachtungsgabe, aufmerksamkeit einfühlungsvermögen versteht und bedenkt, dass man selber ihr nächster gegenstand, ihr stoff und wirkungsfeld ist. die gesellschaft ist eine abstraktion, ein mythologem manchmal, jedenfalls nicht wie die menschliche person ein von sich selbst aus durchorganisiertes ganzes; sie ist unübersichtlich, und eben aus ihrer unübersichtlichkeit bezieht sie einen teil ihrer götzenmacht. ich aber, jeder von uns, wir sind uns selber unsere einrichtung, unser funktionieren und können uns darüber licht verschaffen; wir sind uns in die hand gegeben: als ein gliedermann, dessen wir uns nur deutlicher bewußt zu werden brauchen, auf dass er sich leichter, zweckmäßiger und anmutiger bewegen lerne. „innewerden“ nennt das buch diese art von bewußtsein, das nicht im kopf sitzt, sondern jeweils an der stelle, wo wir uns bewegen (oder bewegen könnten). und was sind das meist für bewegungen, die hier in zwölf exemplarischen lektionen zur übung empfohlen werden? die mühelosesten, geringsten, geschmeidigsten, die in der folge das erstaunliche bewirken. rollen, drehen, kreisen, schaukeln, wiegen, wippen, schwingen, schwenken; leichtes strecken, heben, senken; einmal fließend, dann bis an einen vorgewählten punkt gelenkt, mit anderen bewegungen gleichgerichtet oder ihnen gegenlaufend; jetzt hinhorchend ausgeführt, dann wieder nach dem vorbild der ausgeführten bewegung nur vorgestellt (und desto wirkungsvoller). alles ist einfach und freilich für den ungeübten wie jedes einfache schwer; aber man erfährt etwas und kann jede erfahrung im augenblick kontrollieren. man erfährt sich als eine wundermaschine aus lauter (fürs erste materiellen, körperlichen) hebeln, die unablässig einer auf den anderen wirken, darüber hinaus jedoch die nerven, das gehirn und so zuletzt unser fühlen und denken belehren. sind wir ein bild? wir sehen es nicht. sind wir ein wort? wir vernehmen es nicht. sind wir lust? wir fühlen sie nicht. wir geben uns mit der routine zufrieden, wo wir virtuosen sein könnten. wir verlangen das außergewöhnliche, das in der zukunft, hinter dem monde liegt. es heißt wohl in hugo von hofmannsthals „traum von großer magie“: „cherub und hoher herr ist unser geist wohnt nicht in uns, und in die obern sterne setzt er den stuhl und läßt uns viel verwaist.” zuletzt aber heißt es ebendort von diesem geist, er lebe in mir „wie ich in meiner hand“. doch wer lebt schon in seiner hand, in seinem linken dritten zeh, seinem rechten ohrläppchen? „die entfaltung der menschlichen wesenskräfte“, lautet ein allerjüngstes evangelium, „wird nur dann möglich, wenn die ganze welt aus den angeln gehoben wird.” feldenkrais will nicht mehr als uns die angeln merken lassen, um die unsere wirklichen, nicht unsere eingebildeten kräfte schwingen; aus denen heraus türen sich auftun könnten in unsere eigene, jetzt beginnende zukunft. es sind nicht die angeln der ganzen welt, zu denen keiner einen hebel besitzt; es sind unsere knochen, muskeln, nerven; unser durchaus herrlich gestalteter staub. neue züricher zeitung, 19. januar 1969 brief von moshé feldenkrais an friedhelm kemp tel-aviv, den 28. januar 1969 lieber dr. kemp, soeben las ich ihre besprechung meines buches „der aufrechte gang”. der erste gedanke, der mir bei der lektüre kam, war der, daß ich sie persönlich kennenlernen möchte. es gibt nur wenige menschen, die mich wirklich verstehen; außer ihnen nur professor hugo bergmann, leiter der philosophischen faktultät der universität jerusalem, der sich mit dem wesentlichen gehalt des in meinem buch behandelten themas beschäftigt und diesem einen platz auf der stufenleiter des wachsenden menschengeistes anweist. wenn ich ihnen darüberhinaus sage, daß ich die scharfsinnigen nuancen und die elegante leichtigkeit liebe, mit der sie das thema behandeln, das sich nicht mit kurzen worten beschreiben läßt, so werden sie verstehen, warum es mich drängt, ihnen meine schrankenlose bewunderung auszudrücken. ich hätte ihren artikel gerne selber geschrieben . in der hoffnung, das vergnügen zu haben, ihnen die hand zu drücken. f.kemp/feldenkrais research journal 1 (2004) 3 m. feldenkrais warum nicht das richtige? friedhelm kemp gibt es eine methode, sein körperliches, seelisches, geistiges befinden und verhalten ohne anstrengungen, allein durch aufmerksamkeit, zu verändern? und zwar auf die dauer, und dies auch noch im hohen alter? wie gesagt: durch aufmerksamkeit; und freilich durch ein wenig geduld mit sich, mit seinem körper und dessen eingewöhnten neigungen, sich unbeholfen, sich verkehrt zu benehmen. wie verändert wie verbessert man sein meist, außer bei schmerzen, nur obenhin wahrgenommenes allgemeinbefinden zu einem durch leichtigkeit, wendigkeit, mühelosigkeit gesteigerten wohlgefühl? wie gewahrt man, was als lust auch, und recht eigentlich, erfahren werden könnte, wenn man sie nicht im krampf, im tempo, im taumel, in der „ekstase“ sucht? wie verwandelt man sich durch lernen, durch umlernen, nachholend, doch niemals zu spät, in einen für sich selber wie für andere erfreulicheren zeitgenossen, mit dem begleiteffekt, dadurch vielleicht auf bescheidene, unansehnliche weise zur verbesserung der „verhältnisse“ beizutragen? ja, es gibt sie diese methode; und eben nicht als geheimlehre für eingeweihte in teuren dauerkursen am fuß heiliger berge, sondern jedermann in schrift und wort zugänglich. um sie sich zunutze zu machen, genügt eine einzige voraussetzung: daß man sich längere zeit hindurch unterwirft; oder besser: daß man ihr folgt, daß man, indem man sich, was sie lehrt, bewusst macht, seiner selbst “inne wird” und bleibt. das beginnt mit so wenigem, daß man geneigt sein könnte, solchen unerheblichkeiten keine bedeutung beizumessen; bis man merkt, und zwar sehr rasch schon, am eigenen körper, welche unerwarteten veränderungen kleine schritte, einer nach dem andern, mehrfach und immer wieder wiederholt, bewirken; wie diese veränderungen als verbesserungen wahrgenommen und zu hilfreichen gewohnheiten entwickelt werden können. „jede wahrnehmung eines dinges, jede bewegung auf ein ziel ist ein einzelner festgefügter akt, und in jedem akt sind wahrnehmen und bewegen fest verschränkt.” (viktor von weizäcker) dieses „fest” ist jedoch modifizierbar, die wahrnehmung kann intensiviert, die verschränkung durch wiederholung zugleich gelockert und gesteigert werden. dadurch aber verändert sich zugleich die qualität, der tonus der wahrnehmung. und dies alles gewinnt eine erhöhte bedeutung, wenn das wahrgenommene „ding” der eigene leib ist, den man gesteuerten wiederholten und durch die wiederholung veränderten bewegungen unterwirft. dabei richtet die aufmerksamkeit sich zuvörderst auf minimale veränderungen. am wenigen verfeinert sich die wahrnehmung. jede verfeinerte wahrnehmung, wenn sie den eigenen körper betrifft, verändert dessen verhalten, und durch das verhalten schließlich ihn selber. habe ich meinen leib? bin ich mein leib? beide fragen sind falsch gestellt. wir sind uns immer auch als leib gegeben, biologisch, physiologisch, physikalisch, chemisch; zugleich aber influieren, trainieren, schädigen wir diesen leib. wir traktieren, wir behandeln diese gegebenheit, die uns ja nicht unabhängig von welt, umwelt gegeben ist und nicht ohne beständigen austausch mit dieser. leben heißt demnach leibhaft in der welt sein, sich leibhaft in dieser welt bewegen. diese welt können wir verändern, das tun wir unaufhörlich. auch uns können wir verändern, durch aufmerksamkeit, durch übung, bei der kein ende abzusehen ist; kein ende der korrektur, der verbesserung; nicht auf vollendung, auf vollkommenheit, auf höhere leistung, auf rekorde hin, sondern auch genauigkeit, verfeinerung, differenzierung. die notwendigerweise auch zur verlangsamung, zum verweilen führen. nur wenn ich nicht bereits anderswo bin, gelingt es mir vielleicht, bei mir zu sein. bin ich derart – unangestrengt, gelassen – bei mir, so entsteht eine empfindung der genüge, des sich-selbst-genügens, in die alles geltenwollen hineinverschwindet. das konstituiert sich als selbstwahrnehmung, selbst-empfinden, selbst-bewegung: leben in und durch sich selbst, als ein höchstes. als könnte einem nichts mehr zustoßen; als müsse man zu leuchten, zu klingen beginnen. alles ist, wie es immer war, und ist doch durch diese „innewerdung” anders; für die dauer dieses veränderten zustandes. der wieder abklingen wird; und der, doch, erfahrungsgemäß, wiederholbar ist; in dieser wiederholung wiedererkennbar, und jeweils zugleich neu. das gesteigerte neue, die f.kemp/feldenkrais research journal 1 (2004) 4 überraschende frische entspringen der wiederholten, zugleich geschärfteren und gelasseneren aufmerksamkeit; auf das unmerkliche als vielleicht das wichtigste. vielleicht stellt sich dabei unter der hand auch so etwas wie ein verlangen nach entwöhnungen ein. diese müßten nicht durch askese eingeübt werden. wer des richtigen an sich gewahr wird, in dem erwacht, fast wie von selber, die neigung, dies oder jenes unzuträgliche zu unterlassen; es entfällt. die aufmerksamkeit – eine gelassene, unangestrengte, ja gelegentlich leicht zerstreute aufmerksamkeit – ist anderswo lustvoller beschäftigt. womit? nun, eben mit lernen, in einem unaufhörlichen, zuletzt fast unbewußten lernprozess, der mit dem leben selber eins wird. manches würde sich ändern, manches sich erübrigen, wenn dieses lernen und dadurch sichverändern allgemeine praxis würde; wenn wir beholfenere würden – statt, nun ja, als unverbrüchlich auf eine einzige ansicht und lösung eingeschworene mit verbissenem eifer „leistungen erbringen” zu wollen, die uns rasch erfolg, mehr geld, mehr geltung gewährleisten sollen und bei denen es oft auf leere zeitvergeudung, auf virilios „rasenden stillstand” hinausläuft: wie viele stunden vor dem fernseher täglich? wie viele übers wochenende unterwegs nach salzburg, nach prag, nach paris? um was dort zu tun? sehenswürdigkeiten mit erschöpften blicken abzulaufen, bei kulinarischen zauberkünstlern sich den magen zu überladen... während man bei der erwähnten methode kostenlos, mühelos, wie es dem körper, dem gemüt bekömmlich ist, sich beständig in bewegung befindet. in einer bewegung, die durch achtsamkeit sich ändert, sich verbessert, sich genießt und, je gekonnter, je bewußter, schließlich unbewußt normales verhalten wird. ist man der förderung, die wir in befolgung dieses „du mußt dein leben ändern!“ an uns erfahren, erst einmal inne geworden, dann freilich bemächtigen sich unser andere kümmernisse, wenn man zusehen muß, wie unsere kinder zur „bewältigung des lernstoffes”, wie die studenten unserer hochschulen zum dauerlauf durch die sekundärliteratur angehalten werden; wie mehr oder minder alle bei einem ziel und zweck anzulangen hoffen, ehe sie bei sich selber angekommen sind. im „kulturleben” wie im sport: leistungen, resultate, rekorde bitte! rasch, frech, ordinär, absurd! und diese greuel dann, zu unserer beschwichtigung, mit besinnlichkeit, mit esoterik garniert. statt daß die aufmerksamkeit darauf gerichtet wäre: wie werde ich nicht alltäglich, grau, stumpf, abgemattet; sondern frisch, munter, bunt; „zum erstaunen da”. dem vernehmen nach steuern wir auf eine multimediale informationsgesellschaft zu; eine weltdatenbank wird in aussicht gestellt; alles wißbare liegt dort jederzeit bereit und kann, nach bedürfnis oder laune, jederzeit von jedem abgerufen werden. potentiell dürfen wir uns allwissend und allmächtig vorkommen. wir vergessen darüber, daß daten und fakten nur für den von wert sind, der sie zu benützen und anzuwenden weiß. ihr wert liegt nicht in ihnen selbst, sondern in dem, was wir damit anfangen, wie wir damit umgehen. fahren wir fort, uns selber unbekannt zu bleiben, werden wir insgesamt dümmer über uns selbst, so könnte diese makrowelt der information uns leicht über den kopf wachsen und uns in katastrophen stürzen, nach denen wir, ohne unsere apparaturen und angesichts fortschwelender atommeiler, hilfloser dastünden als ein vorzeitlicher höhlenbewohner. wer sich umgetan hat, weiß schon, wovon hier die rede ist. von der methode “bewußtheit durch bewegung”, die der 1984 verstorbene moshé feldenkrais in jahrzehnten entwickelt und durch mehrere weitverbreitete bücher zugänglich gemacht hat. ein wohltäter der menschheit – durch eine lehre, die keinen glauben fordert, die jeder „mystik“ abhold ist, die uns nichts lehren will als allein das, was wir lernend selber an uns, und über uns an der welt, erfahren können. die neuen, unsere späten lehrer wollen uns nicht durch offenbarungen blenden und überwältigen; sie verhelfen uns zu uns selbst, jedem zu dem selbst, das er – und er allein – werden könnte; wenn wir uns nicht so fahrlässig dahinleben ließen. wir alle mehr oder minder, jeder tag für tag; liebelos, ein schädling seiner selbst und den anderen. 1995/1999 friedhelm kemp, professor für allgemeine und vergleichende literaturwissenschaft, geb. 1914 in köln, lebt als schriftsteller, übersetzer und komparatist in münchen. please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 1 (2004) ® 2004 by the author finding our own language scientists meet feldenkrais teachers. thinking about a necessary dialogue by werner schacker in december 2002 leading scientists and feldenkrais teachers met in paris for a dialogue.i in an atmosphere that was both pleasantly relaxed and stimulating, a group of feldenkrais teachers from all over the world listened to lectures with great interest. these four days were a beginning but not as yet a proper dialogue. the lectures and conversations with colleagues prompted me to write down a few thoughts about the relationship between feldenkrais and science. this is a personal response, founded on my individual and professional background as much as on what i experienced in paris – and what i felt to be missing there. others would respond differently; and thus a dialogue might ensue which could take us further. my thoughts are associative and fragmentary rather than systematic. they are intended to encourage discussion rather than trying to prove or justify something. science and feldenkrais during their training feldenkrais teachers acquire “knowledge” which they rely on in their practice and continuously develop further as they engage in a mutual learning process with clients. it is obvious that this knowledge differs from what “science” traditionally considers to be such.ii that makes a dialogue both difficult and interesting the feldenkrais method is first and foremost an experimental practice guided by certain fundamental assumptions both explicit and implicit. these assumptions have been influenced by a variety of experiences/concepts/theories.....iii up to the present such practice proceeds largely unsystematically with personal preferences and chance happenings playing a major part. as petzold critically remarked, “there exists relative stagnation with regard to research, development of theoretical models, and clinical tests.” (petzold 2001, p.233) at the same time a degree of pressure towards achieving scientific legitimacy is to be felt coupled with the hope that this may lead to greater social recognition; and there is also the wish (at least as far as i am concerned) that the feldenkrais method might be underpinned by a theoretically plausible concept which is both up-to-date and capable of consolidating and enriching our practice. i am not talking here about efficiency assessments which are surely of value and even necessary if the feldenkrais method is to become an integral part of the health system. however, such studies do not contribute much to the development of a scientifically founded concept capable of stimulating dialogue. after all, demonstrating our work’s effectiveness does not necessarily mean that we have understood the mechanism involved. in “the case of nora – body awareness as healing therapy (originally subtitled: adventures in the jungle of the brain) feldenkrais wrote that the working hypothesis for this case study “is somewhere between intuition and future scientific gospel.” (feldenkrais 1977) as yet we are still far from achieving this future science, but the conditions for its emergence have improved. such science can only be developed through dialogue. i am interested here in a number of possibilities and preconditions for such dialogue with different sciences. what feldenkrais teachers and scientists can learn from one another is another important issue. first i will focus on feldenkrais practice and then sketch out how this practice could give rise to a language of its own. different forms of practice, experience, and knowledge the feldenkrais method is a practice, a practical skill (art)iv, using movement to set in motion a fundamental learning process. time and again it is emphasized that this involves greater self awareness and more mature behaviourv, alongside improved mobility (in terms of physiotherapy). it goes without saying that this practice is informed by scientific insights/findings/knowledge. however, any decision whether to do this or that in taking the next step does not depend on external laws, outer knowledge, and particular techniques; instead it emerges out of the living experience through contact between practitioner and client. this is an experimental situation. however, here it is not a question of coming up with data which can be objectified, as is the case in a scientific 2 w.schacker/feldenkrais research journal 1 (2004) experiment. what is really at issue is the next appropriate step in a process of continuous learning and growth. the knowledge evolving in this context derives to a considerable extent from (both participants’) precision of perception and level of awareness.vi it is intimately related to the existential processes which give rise to this knowledge. whatever we take over from other sciences would need to be capable of both integration into this knowledge and anchoring within these very processes. in terms of directly experienced life of a phenomenology of sensing and experiencing all conceptual orders are secondary systems of differentiation.vii in attempting to create order by way of concepts, we organize and systematize the experiences we live from moment to moment. whatever is transposed from an experiential to a conceptual framework is in principle poorer than lived experience. the conceptual systems within the natural sciences are rather far removed from the experiences accessible to us. for instance, there is an unbridgeable gulf viii between the experience of fear and its expression in words and scientific description of what is happening in the amygdala gland involved.ix the conceptual structures of the natural sciences are thus not so easily incorporated in the practice of a feldenkrais teacher. every word, every sentence, every description we come up with for representing and embodying an experience makes this experience both poorer and at the same time clearer. that is why concepts/conceptions and language need to be continuously reconnected with what is being lived and experienced.....with actual processes in order to keep evolving further. that would entail developing a specific language which originates in our practice, is systematic, methodical, exact, and empirical,....., and yet differs from the language used in a “third-person” science. i am convinced that among feldenkrais practitioners there exists a rich store of experiences, knowledge, and perceptual skills still waiting to be discovered and discussed. this will also be of interest for scientists. digression: body/embodied life/soma during the past two hundred years the natural sciences have owed their success to isolating and taking apart everything that became an object of observation and study in order to examine and measure this precisely and in great detail. the whole is then supposed to be reconstituted by putting its separate parts together again. the natural sciences treat the body accordingly – as a machine whose parts can be studied in isolation and then somehow reassembled. this has been a highly successful model in human history. the living body as we experience it from inside has no place in this approach. systems theory, which focuses attention on coherence and interrelationships within a given whole, has subjected this successful model to fundamental criticism. the systems approach has thus become a second successful model and today’s science would be inconceivable without it. since this new model offers opportunities for studying things that were previously completely ignored, it exerts great fascination even among feldenkrais teachers. however, i believe that we need a third modelx since the first two models, each in their particular way, have no place for our living and lived body.....as sensed from within. each of these models contributes something to our understanding. it is not therefore a question of choosing between them, but rather of bringing all three jointly into play. the beginnings of such a third model and possible connections with the other models already exist. xi with that in mind i would like to propose a few ideas with regard to the living and experienced body in order to foster understanding why the feldenkrais method requires a broader concept of the human body xiithan is customary in the natural sciences. the living experienced body is a transitional form. in this body the history of evolution, of our species, and the particular history of the culture in which we exist are interwoven with our own individually lived history in a very special way which is as yet hardly understood. the body is memory. it preserves recollections of this history. memory exists at all levels of evolution without being tied to a particular consciousness. our lived body has greater depth than our consciousness. it is embodied history reaching into the very fibres of its physiology. that is not found in the body as object. 3 w.schacker/feldenkrais research journal 1 (2004) living “systems” are continuously moving patterns of connections which exist and develop only within relationships. any observable behaviour and any observable structure embodies ..... the history of relationships lived and experienced up to that point in time.xiii that also applies to the nervous system, the brain, and all other organs. hüther, for instance, calls the brain a social organ. (hüther 2001, p. 18)xiv when we work with such a “system”, i.e. the living and lived body, the answer to what we do/say..... will originate in this history; and such a response will either further or impede a particular process. every step is a continuation of a certain history. this therefore calls for perceiving the living and lived body as an ever-changing pattern of relationships and also taking it seriously as such on a theoretical and conceptual level. of course, new potentialities of life, new patterns in life and movement, always have a corresponding neuro-physiological foundation, but this does not explain/justify/cause..... these fresh possibilities.. in his conceptual reflections moshe feldenkrais took an important step away from the model of the human body as a machine. “he put the human brain in the organism” (wildman, p.9). feldenkrais already tended to talk about human beings as if they were (nervous) systems.xv in his theory, therefore, feldenkrais remained subject to the dualism of his time, even though he overcame this in his practice. finding our own language if we wish to enter into dialogue with others, we must be able to say what is important to us in our work, what experiences we have, and what insights we gain. this requires that we develop and practise using a language of our own. that can only be achieved through dialogue. we are not alone in this, nor at the very beginning of such a process. other methods/approaches/sciences.....are or were faced with similar problems. for instance, petzold’s integrated movement therapy and moegling’s holistic movement sciencexvi represent attempts at developing a distinct language through dialogue with different disciplines. moshe feldenkrais also developed his method through dialogue with various partners. today we need to go a step further and try to overcome the gulf which continues to exist between the knowledge embedded in our practice and how we talk about and express this knowledge. how can we find a language which is capable of expressing the full subtlety of our experiences? a vital first step surely entails writing case studies, presenting written documentation of our work.xvii the practice of video recordings, which has spread in inflationary manner, has completely superseded verbal documentation of the work or prevented its emergence. just imagine what would have happened if moshe feldenkrais had written many more case studies like “nora” instead of entrusting documentation of his work to videos. talking and writing are decisive in any serious examination of subjective experience. however, it is necessary to learn first of all how to remain as faithful as possible to lived experience and particularly not to lose patience, constantly guarding against precipitate formulations. this will make it possible to develop sensitivity to the subtle nuances between actual experience and verbalization. a language could thus evolve which originates in experience and always returns to it, instead of merely commenting on such experience. also that always entails a further step towards greater awareness. however, language is not merely able to express what we already know. we can also use it to gain access to all that is implicit in our practice, all that may be sensed only vaguely but cannot as yet be expressed in words or even said at all. in this way new “data” and concepts may arise which can then be brought into contact with familiar ideas. in the realm of psychotherapy philosopher and psychotherapist eugene gendlin has developed a very interesting method which he calls focusing. this is based on an everyday observation which every human being makes again and again – often without becoming conscious of what is involved. at present i am, for instance, writing a sentence and suddenly i get stuck. i have a vague feeling that somehow the sentence isn't quite right yet. i am trying out various words which i also reject. they still don’t quite express what i wish to say. this indistinct feeling gendlin speaks of a “felt sense” – is obviously more precise than what i can write down at present, and contains more than what i have been able to put into words until now. so how do i know that i have found the appropriate sentence? i sense it in my body! focusing is the methodically guided process of turning towards this “felt sense”, taking further what it implicitly contains. xviiiwhat has 4 w.schacker/feldenkrais research journal 1 (2004) been said about the interplay of bodily sensations and language can of course also be applied to movement. there therefore exists an implicit feeling for good movement, for the inherent rightness of a particular movement in relation to a specific situation. gendlin also applies this model originating in psychotherapy to the development of theoretical concepts.xix dialogue dialogue flourishes on differences, mutual recognition, and respect. it presupposes readiness on both sides to learn, call oneself in question, and let go of cherished habits. are we ready for that? if we take the essence of our work seriously, we will be able to contribute something important to this dialogue. in order to do that we must, as already mentioned, be able to find adequate words for what we have to say. in recent years different disciplines have rediscovered the body, movement, and subjective experience. however, such discoveries often happen in a purely academic setting, i.e.without corresponding bodily experience. feldenkrais teachers could become self assured dialogue partners here, contributing an abundance of relevant experience from the field of awareness and movement. dialogue is many-voiced reality is many-voiced. every method, every concept, every theory contributes something different and specific. the many-voiced chorus which thus arises expresses much more than an individual voice. for us there are many possible dialogue partners. we should not only favour the natural sciences. our practice is to some extent already interdisciplinary and many-voiced because we are always dealing with living human beings who cannot be fitted into the limitations and fragmentations of separate disciplines. that is our strength. our credibility in this dialogue as feldenkrais teachers will also depend to some extent on our capacity both to express how we experience ourselves and the world and also to live what we proclaim by being always ready to learn from our experience. literature feldenkrais, moshe. (1993/1st 1977): the case of nora body-awareness as healing therapy (former subtitle: adventures in the jungle of the brain), frog ltd “ “ (1981): the elusive obvious, meta publications “ “ (1985): the potent self: a guide to spontaneity, harper collins gendlin, eugene t.: the wider role of bodily sense in thought and language. in (1992): maxine sheets-johnston (ed.): giving the body its due. p. 192-207. state university of new york press “ “ (2003/1st 1978): focusing – how to gain direct access to your body’s knowledge, rider “ “ (1999): focusing in der praxis. eine schulübergreifende methode für psychotherapie und alltag. leben lernen 131. stuttgart: pfeifer bei klett-cotta (this book exists only in german) hüther, gerald. (1997): biologie der angst. wie aus stress gefühle werden. göttingen: vandenhoeck & ruprecht. “ “ & bonney, helmut. (2002):neues vom zappelphilipp. ads: verstehen, vorbeugen und behandeln. düsseldorf/zürich: walter. johnson, don hanlon ed. (1997): groundworks. narratives of embodiment. berkeley, north atlantic books. le doux, joseph. (1998): das netz der gefühle. wie emotionen entstehen. münchen, wien: hanser. moegling, klaus (ed.) (2001, 2002): integrative bewegungslehre i-iii. kassel: prolog verlag. petzold, hilarion. (1988): integrative bewegungsund leibtherapie bd. i/1 und i/2. paderborn: junfermann. “ “ (2001): überlegungen zu praxeologien – körperund bewegungsorientierte 5 w.schacker/feldenkrais research journal 1 (2004) arbeit mit menschen aus integrativer perspektive. in: steinmüller, w. / schaefer, k. / fortwängler (ed.) (2001): gesundheit – lernen – kreativität. alexander-technik, eutonie gerda alexander und feldenkrais als methoden zur gestaltung somatopsychischer lernprozesse. bern: hans huber. wildman, frank: emotional learning: developing emotional intelligence. feldenkrais journal issue # 4 notes i learning, brain, and movement: a dialogue between leading scientists and feldenkrais teachers. 12-15 december 2002, paris. participating scientists: prof. esther thelen, prof. beatrix vereijken, prof. blandine bril, prof. klaus schneider, prof. alain berthoz. ii i am putting science in inverted commas here because i cannot go into the differences between the various sciences in this article. science as such does not exist. instead even within the “exact” sciences there is competition between concepts and theories which often involve different interpretations and evaluations despite being based on the same data. this applies particularly to new disciplines such as cognitive science and brain research. anybody who is looking to the sciences for orientation and certainty will be quickly disappointed. that is another reason why we need to search for something of our own which is really appropriate for the feldenkrais method. iii following gendlin’s teaching, i frequently use a series of words instead of a single one in order to avoid limitation by a particular formulation, and also to emphasise open-endedness, probing, and incompleteness. the five dots.....indicate that there is space for other possible terms – including the reader’s own words, ideas, and associations in this way something new can emerge. (for the most important articles by eugene gendlin see: www.focusing.org.) iv every skill (“art”) creates its own predominantly practical canon of knowledge. this needs to be experienced for oneself and is therefore acquired in direct practice. such knowledge cannot be learned from books. take the art of cooking as an example. it is possible to be an excellent cook without knowing anything about food chemistry and chemical reactions as taught by the exact natural sciences. otherwise food chemists would be the better cooks. the art of cooking is older than food chemistry and undoubtedly capable of making much more elaborately differentiated and subtle distinctions. quality essentially depends, as in every practical skill (art), on the perceptual capacity to differentiate, on refinement, cultivation, and education of the senses. of course a good cook will be interested in learning something about chemical processes as well and will integrate this knowledge into his work. v see moshe feldenkrais (1981,1985) vi that is precisely what feldenkrais trainings are about. the process of professional socialization differs very much from that of scientists. of course highly differentiated forms of perception can also be found among scientists from whose power of discernment feldenkrais teachers can learn something too. vii see kersting, h.j.: “you only see what you see.” (humberto maturana) in: second degree observations about the “feldenkrais zeit”. (issue no. 4) viii this problem concerns both ourselves and other disciplines such as consciousness research. for instance: how can first person data be combined with third person data? ix the amygdala gland belongs to the limbic system and plays an important part in the development of emotions. see, for instance, hüther (1997), ledoux (1998) x see gendlin xi see, for instance, gendlin’s and varela’s works, to some extent on the internet. xii the same applies of course to other concepts that are of importance in feldenkrais work, such as movement. how do we have to understand movement if awareness through movement is to make demonstrable sense? defining movement as locomotion is not enough. xiii if you know maturana’s work you will probably notice that these formulations are re-translations of his reflections on autopoetic systems. xiv “i am still fascinated by all that can be taken apart, measured, and studied in such a brain. however, i no longer believe that this approach will ever allow us to understand how a brain – and especially the human brain – functions. on the contrary: this kind of research into the working of the brain is a temptation to attribute special significance to anything that happens to be particularly easy to take apart, measure, and study. “ (hüther 2001, p.9) xv interestingly it was esther thelen, a renowned scientist, who had to remind feldenkrais teachers during the congress in paris that they work with persons and not nervous systems. 6 w.schacker/feldenkrais research journal 1 (2004) xvi moegling, k. (ed 2001 and 2002), petzold (1988) xvii see, for instance, “groundworks. narratives of embodiment”, a project by don hanlon johnson et al. (johnson 1997) xviii this is of course a very brief account. a good introduction to gendlin’s thinking is to be found in focusing – how to gain access to your body’s knowledge ( gendlin 2003) the book also contains detailed references. with regard to the body as it is lived and experienced in relation to language he writes: (a) the body is (has, feels, lives....) an implying of further events. (b) the body has intentionality, that is to say, it has (feels, knows, is, implies....) situations. (c) the body has language implicit in it. (situation and language are furthermore implicit in each other.) (d) words to speak come to us in a bodily way, sometimes smoothly, sometimes after a..... if the words to speak don’t come, we are stuck, and must wait for them.” (gendlin, 1993, p.702) xix “we don’t only need the felt sense and the concepts which are already implicit in it. we also need the systematic concepts and conceptual relationships. many of us believe that there is an either/ or, as if one would immediately loose the experienced situation through terms/concepts. however, it is the other way round: the sharper the terms/concepts, the more they are able to continue and take the experienced situation further. but one can only know whether they do this if one retains both, terms/concepts and experiencing. we need new systematic terms/concepts, which retain experiencing (...).” (gendlin, 1999, p.129) werner schacker dip. ed. trained in the feldenkrais method with mia segal. further training in gestalt therapy, hypnotherapy (meg), and energy psychology. has his own practice in darmstadt (and has taught the feldenkrais method since 1989). feldenkrais research journal​ • ​volume 5​ (2016) original research effects of a 12-week series of feldenkrais​®​ awareness through movement​®​ classes on functional ability, quality of life, and kinesiophobia on retirement age adults madeleine edgar dip. phty., feldenkrais practitioner​®​, private practice, gold coast, queensland, australia greg anderson be, graduate student, school of allied health sciences, griffith university, queensland, australia neil tuttle phd, senior lecturer, school of allied health sciences, griffith university; menzies health institute queensland, queensland, australia abstract aim:​ this investigation examined the impact of a 12-week series of feldenkrais awareness through movement (atm​®​) classes on the functional ability, quality of life and kinesiophobia of a group of active retirees. method:​ twenty-seven participants completed three questionnaires, the patient specific functional scale (psfs), whoqol-bref, and the tampa kinesiophobia scale before and after the program. paired t tests were used to evaluate the differences between the time points. results:​ there was a significant change in the psfs after the twelve-week program (1.4 out of ten point (p < .001) improvement). there were no statistically significant differences in the other measures, though the mean for the group moved from what is considered a “high” level of kinesiophobia to a “normal” level. conclusion:​ functional limitations were improved following a 12-week period of feldenkrais atm classes. the results are consistent with previous studies that suggest that the best way of evaluating the impact of the feldenkrais method may be using items that the individual selects as occurs with the psfs rather than scales where the items being evaluated are fixed and/or standardised. keywords feldenkrais method, somatics, phenomenology, embodiment, health copyright ©:​ the copyright for this paper remains with the author(s). correspondence: ​neil tuttle: ​n.tuttle@griffith.edu.au please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/tuttle-et-al mailto:n.tuttle@griffith.edu.au http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/tuttle-et-al service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 2 original research effects of a 12-week series of feldenkrais​®​ awareness through movement​®​ classes on functional ability, quality of life, and kinesiophobia on retirement age adults madeleine edgar dip. phty., feldenkrais practitioner​®​, private practice, gold coast, queensland, australia greg anderson be, graduate student, school of allied health sciences, griffith university, queensland, australia neil tuttle phd, senior lecturer, school of allied health sciences, griffith university; menzies health institute queensland, queensland, australia background the feldenkrais method​®​ was developed by moshe feldenkrais as a means to assist individuals to learn more efficient movement patterns and thereby increase their ease of and ability to function. it has been described as an exploration into the relationship between movement, physical experience and development (feldenkrais 1972) and consists of two components; a hands-on approach called functional integration and a group approach as used in the program being evaluated in this paper called awareness through movement (atm​®​). an analysis of the structure of atm classes by (connors ​et al.​ 2011) found that the classes utilise principles described in current theories of learning and skill acquisition. there is some evidence of the effectiveness of atm classes from both qualitative and quantitative studies. qualitatively, improvement has been found in body image and self-efficacy (öhman ​et al.​ 2011). quantitatively, a systematic review by ernst and canter found ‘encouraging’, but ‘not compelling’ evidence for the effectiveness of the feldenkrais method (2005). a more recent systematic review of the effects on balance concluded that the feldenkrais method resulted in improved static, but not necessarily dynamic balance (gomez ​et al.​ 2013). one difficulty in evaluating the feldenkrais method is that it does not target specific factors such as strength, flexibility or balance, but rather aims to improve an individual’s ability to function in their daily life. it is hardly surprising, therefore that a study by connors investigating which outcome measures were most useful in evaluating the impact of the feldenkrais method found the patient specific functional scale (psfs) to be the most useful and sensitive to change edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 3 (connors ​et al.​ 2010). the current study therefore included the psfs as a means to evaluate the effectiveness of the program. most previous investigations into the feldenkrais method have considered the physical outcomes of feldenkrais (hillier and worley 2015), but there is little evidence relating to the psychological and even less related to social impacts (connors ​et al.​ 2011). the whoqol-bref was developed by the world health organisation (who) and is the second outcome measure used in the current study. the measure recognises that quality of life includes physical health, psychological health and social relations (skevington ​et al.​ 2004). an individual’s interpretation of pain or catastrophizing in relation to pain or injury can lead to the development of kinesiophobia (fear of movement) which in turn increases both the pain and disability of an injury (vlaeyen ​et al.​ 1995). it has also been suggested that measures of kinesiophobia are more responsive to change in patients with the low levels of disability such as the participants in the current study (hall ​et al.​ 2011). the eleven point tampa scale of kinesiophobia (walton and elliott 2013) was therefore chosen as the third outcome measure for the current study. the aim of this study was to evaluate the effect of a 12 week feldenkrais atm program on the functional abilities, quality of life and kinesiophobia of a group of participants from two retirement villages as indicated by the psfs, whoqol-bref, and the tampa kinesiophobia scale. method participants undertook a series of weekly one-hour atm classes over a period of twelve weeks. the classes were conducted at two retirement villages. following an introduction and signing of informed consent, the participants filled out three outcome measures; the psfs, whoqol-bref, and the tampa kinesiophobia scale. an investigator was present to assist as needed. the participants filled out the outcome measures again at their twelfth and final class. participants a series of feldenkrais atm classes were offered at two retirement villages. to participate in the classes, participants needed to be able to get up and down off of the floor and be able to read and write in english. all 27 individuals (mean age 73.8, range 59-88 years) undertaking the classes were asked if they wished to participate in a research project evaluating the effectiveness of the classes and all agreed to participate. all participants were independent in daily living except one individual who had suffered a stroke and lived with his wife-carer. most had minor limitations of their activities of daily living. participants who were absent from more than 3 sessions would be excluded from the analysis. edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 4 intervention the atm classes were conducted by a feldenkrais practitioner with over 20 years’ experience (author me) and were offered without charge to the participants as part of a project funded by a gold coast (australia) medicare local innovation grant. the main focus on the series of lessons was on getting down and up from the floor and moving more efficiently in daily activities. the functions and primary orientations of the body during the lessons were as follows: 1. diagonal reaching – supine 2. differentiation/coordination of bilateral movements for walking – sidelying 3. differentiate hips, pelvis and spine – supine and sitting 4. sit to stand – sitting and standing from a chair 5. rolling and getting off the floor in a spiral – lying and standing 6. connecting breathing with pelvis and spine – supine 7. spinal extension – supine 8. differentiating and connecting rotational movements of the shoulder, spine, ribs and pelvis – supine 9. circling the foot and connecting with rotation of the hips, spine and ribs – prone 10. turning in sitting – sitting 11. balance in standing – standing 12. connecting eye movements to the rest of the body – supine the patient specific function scale (psfs) the patient specific function scale (psfs) involves the participants choosing three to five activities that they find difficult or are unable to perform due to their pain or disability (jolles ​et al.​ 2005). the scale uses an eleven point likert scale with zero indicating they were unable to perform the activity at all due to pain or disability and 10 indicating they were able to achieve the task normally without difficulty. the mean activity scores for each individual were used in further analysis. in other words, if they selected three items the total was divided by three, and if they selected five the total was divided by five. only items where the participant included the scores for the same activities in the before and after surveys, were included in the analysis. world health organisation quality of life scale the whoqol-bref consists of 26 questions divided into four domains: physical health, psychological health, social relationships and environment (skevington et​ al.​ 2004). each question is answered on 5 point scale ranging from strongly disagree to strongly agree with a middle option of a neutral response. higher scores indicated a higher quality of life. analysis edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 5 was only undertaken on surveys from those participants who completed each item in both the before and after surveys. tampa kinesiophobia scale the eleven point tampa kinesiophobia scale (walton and elliott 2013) was used to assess an individual’s level of fear in regards to causing injury or damage with movement. the scale involved 17 questions answered using a four-point scale again ranging from strongly disagree to strongly agree, without the option of a neutral response. a higher score indicates a higher level of kinesiophobia. again, responses were only included in the analysis if the participant responded to all questions in the before and after surveys. data analysis descriptive statistics and effect sizes were calculated for each outcome measure. one-tailed t tests were used to determine whether participants improved after the 12-week program for each of the three outcome measures. a significance level of 0.05 was used for all tests. results out of the initial 27 participants, 24 attended nine or more classes. the reasons for non-attendance were not recorded. twenty-four of the participants completed psfs correctly both before and after the program, 18 the whoqol-bref, and 15 the tampa kinesiophobia scale. the researcher checked the psfs for completeness and answered questions while the measures were being completed because this was considered to be the most likely to cause difficulties, but the other measures were not monitored as closely. table 1 shows that the only significant difference following the program was an improvement in the psfs. there was an improvement in the mean that did not reach statistical significance (p=.08) in the physical health domain of whoqol-bref. the tampa kinesiophobia scale was above the cut-off of 37 indicating high levels of kinesiophobia before the program, but below the cut-off level after the program. edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 6 table 1: results initial and post n initial (sd) post (sd) difference (effect size) p value (single tail) patient specific functional scale 24 4.6 (1.9) 6.0 (1.7) 1.4 (0.78) <0.001* whoqol-bref 18 domain 1 physical health 108.4 (12.2) 111.7 (12.1) 3.3 (0.27) 0.08 domain 2 mental health 94.9 (8.6) 94.7 (9.1) -0.2 (0.02) 0.44 domain 3 social relationships 45.8 (8.2) 45.8 (5.5) 0 (0) 0.52 domain 4 physical environment 140.7 (11.9) 141.3 (13.2) 0.6 (0.05) 0.36 tampa kinesiophobia scale 15 38.1 (6.0) 36.6 (5.4) -1.5 (0.26) 0.21 *p​<​ 0.05 discussion this investigation examined the impact of a 12-week feldenkrais program on functional ability, quality of life and kinesiophobia on a group of active retirees. of the three outcome measures, there was a significant improvement in the psfs. the psfs assesses the self-perceived functional limitations in completing activities that are specific to and selected by the individual participants. as distinct from most other outcome measure, it is therefore able to consider a broad spectrum of functional ability while being easy to administer and record (westaway ​et al. 1998). the statistically significant improvement seen in (table 1) is consistent with, but smaller than the 3.8 point improvement observed in connors, investigating changes following feldenkrais atm programs (connors ​et al​ . 2010) investigation reduced the ceiling effect by excluding potential participants if they had no movement limitations and ensured that participants selected activities where they had some difficulty. in this investigation 8 out of the 24 participants that completed the (psfs) at least had one task that was rated above 7/10. for the purpose of measuring improvements in level of function, it would have been useful to discourage selection of activities that can already be performed with minimal pain or difficulty. improvement in psfs was also found by hillier following an atm program for an aging population, but the improvements were not significantly different from a control group receiving a traditional balance exercise program (hiller ​et al​ 2010). edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 7 if changes were to be detected by the whoqol-bref, it would be expected to be most likely in domain 1 (physical health) as the questions mostly related to activities of daily living, dependence on medical aids, mobility, pain/discomfort and work capacity. in this investigation, domain 1 was the only domain that approached demonstrating a significant improvement. a previous investigation by o’carroll observed that whoqol-bref was not as sensitive as whoqol-100 in detecting changes in domain 3 (social relationships) (o’carroll 2000). a change was not expected in domain 4 (environment), as the investigation was not aimed at improving the surroundings of the participants. an alternative scale that could be used as it has shown to have equal validity is the whoqol-old. the whoqol-old has the addition of a fifth domain that has questions regarding: sensory abilities, autonomy, past/present/future activities, death/dying and intimacy (carrasco ​et al.​ 2011). in this investigation, the tampa kinesiophobia scale was used to assess whether the feldenkrais program reduced participants’ fear avoidance beliefs. although the change in the tampa scale was not statistically significant, it is interesting to note the decrease from 38.1 to 36.6 moves the score from a category of high to low levels of kinesiophobia (vlaeyen ​et al. 1995). jørgensen observed decreased levels of kinesiophobia in an exercise program that appears to have had some similarities to atm classes as it involved problem solving skills for working around limitations and creating a better understanding of how pain is caused (jørgensen et al. 2011). it could be suggested that some of the statements on the tampa scale were non-applicable to the participants in this investigation, as they did not have a specific injury or pathology. therefore, similar investigations in the future should use a scale that has questions that are applicable to the participants of the study. for example, houben used a modified tampa scale that had questions directed towards lower back pain (houben ​et al​ . 2005). in addition, as 1 in 3 adults aged 65 and over will experience a fall once a year (tinetti ​et al.​ 1994) it may also be appropriate to use a scale that has questions relating to fear of falling or loss of independence. there are several limitations of this investigation. most importantly the fact that this was an evaluation of a project precluded the possibility of including a control group. therefore any positive effects cannot necessarily be attributed to the classes because time alone, or the impact of being in a study could have resulted in a change. a number of participants either dropped out of the program or did not complete all three surveys before and after. only eight out of all the participants involved in the study completed each scale correctly, which limits the strength of the findings. a major issue that contributed to the production of incomplete questionnaires for whoqol-bref and tampa’s scale was participants believing the questions were not applicable to them. future investigations should ensure participants understand the instructions for the questionnaires or include scales that are more applicable to the participants of the investigation. edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 8 conclusion in summary, there was a significant improvement in the psfs for the participants following a 12-week feldenkrais atm program. this suggests that a series of feldenkrais atm exercises may be effective in improving functional limitations in active retirees, but a clear cause and effect relationship cannot be established due to the absence of a control group in the current study. careful selection of outcome measures is important in evaluating change in an older or retired population. references carrasco, r., laidlaw, k., & power, m. j. (2011) ‘suitability of the whoqol-bref and whoqol-old for spanish older adults’. ​aging & mental health​ ​15 ​ (5), 595-604 connors, k. a., galea, m. p., said, c. m., & remedios, l. j. (2010). ‘feldenkrais method balance classes are based on principles of motor learning and postural control retraining: a qualitative research study’. ​physiotherapy​ , ​96​ (4) 324-336 connors, k. a., pile, c., & nichols, m. e. (2011) ‘does the feldenkrais method make a difference? an investigation into the use of outcome measurement tools for evaluating changes in clients’. ​journal of bodywork and movement therapies 15​ ​(4) 446-452 ernst, e., & canter, p. h. (2005) ‘the feldenkrais method: a systematic review of randomised clinical trials’. ​physikalische medizin, rehabilitationsmedizin, kurortmedizin​ , ​15 (​ 03), 151-156 feldenkrais, m. (1972) ​awareness through movement​ . new york: harper and row gauchard, g. c., jeandel, c., tessier, a., & perrin, p. p. (1999) ‘beneficial effect of proprioceptive physical activities on balance control in elderly human subjects.’ neuroscience letters​ ​273​ ​(2), 81-84 gomes, lara elena, & vieira, adriane. (2013) ‘método feldenkrais e o equilíbrio de idosos: uma revisão sistemática’. ​revista da educação física​ / uem ​24​ (3), 465-473 hall, a. m., maher, c. g., latimer, j., ferreira, m. l., & costa, l. o. (2011) ‘the patient-specific functional scale is more responsive than the roland morris disability questionnaire when activity limitation is low’. ​european spine journal​ ​20 ​ (1) 79-86 hillier, s., porter, l., jackson, k., & petkov, j. (2010) ‘the effects of feldenkrais classes on the health and function of an ageing australian sample: a pilot study’. ​the open rehabilitation journal 3​ (1) 62-66 hillier, s. & worley, a. (2015) the effectiveness of the feldenkrais method: a systematic edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 9 review of the evidence. ​evidence-based complementary and alternative medicine 2015​ , ​12​ . doi: 10.1155/2015/752160 houben, r. m., leeuw, m., vlaeyen, j. w., goubert, l., & picavet, h. s. j. (2005). ‘fear of movement/injury in the general population: factor structure and psychometric properties of an adapted version of the tampa scale for kinesiophobia’. ​journal of behavioural medicine​ ​28​ ​ (5), 415-424 jolles, b. m., buchbinder, r., & beaton, d. e. (2005) ‘a study compared nine patient-specific indices for musculoskeletal disorders’. ​journal of clinical epidemiology​ ​58 ​ (8), 791-801 jørgensen, m. b., ektor-andersen, j., sjøgaard, g., holtermann, a., & søgaard, k. (2011) ‘a randomised controlled trial among cleaners: effects on strength, balance and kinesiophobia’. ​bmc public health​ ​11 ​ (1) 776 o’carroll, r. e., smith, k., couston, m., cossar, j. a., & hayes, p. c. (2000) ‘a comparison of the whoqol-100 and the whoqol-bref in detecting change in quality of life following liver transplantation’. ​quality of life research 9 ​ (1), 121-124 öhman, a., åström, l., & malmgren-olsson, e. b. (2011). ‘feldenkrais therapy as group treatment for chronic pain: a qualitative evaluation’. ​journal of bodywork and movement therapies​ ​15​ (2), 153-161 skevington, s. m., lotfy, m., & o’connell, k. a. (2004). ‘the world health organization’s whoqol-bref quality of life assessment: psychometric properties and results of the international field trial. a report from the whoqol group’. ​quality of life research​ ​13 ​ (2) 299-310 tinetti me, baker di, mcavay, g. (1994) ‘a multifactorial intervention to reduce the risk of falling among elderly people living in the community’. ​the new england journal of medicine​ 331, 821–827 vlaeyen jw, kole-snijders am, boeren rg, van eh (1995) ‘fear of movement/(re)injury in chronic low back pain and its relation to behavioural performance’​.​ ​pain​ ​62​ , ​363-372 walton, d., & elliott, j. m. (2013) ‘a higher-order analysis supports use of the 11-item version of the tampa scale for kinesiophobia in people with neck pain’. ​physical therapy​ ​93 (1), 60-68 westaway, m. d., stratford, p. w., & binkley, j. m. (1998). ‘the patient-specific functional scale: validation of its use in persons with neck dysfunction’​. journal of orthopaedic & sports physical therapy​ ​27 ​ (5), 331-338 edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 10 biographies madeleine edgar​ (diploma in physiotherapy, 1959). madeline received her dip. phty. (as it was in 1959) from melbourne university and was certified as a feldenkrais practitioner in brisbane in 1993. she worked as a physiotherapist for 33 years in geriatric care and in her private practice as a feldenkrais practitioner for the last 23 years giving fi lessons and running atm classes. she has given many presentations and feldenkrais lessons to different organisations and on the radio – in the gold coast region of australia. she also published two marvellous movement workbooks on the feldenkrais method and 50 atms on cds. madeleine is an emeritus fellow of the australian feldenkrais guild. she is now retired, but still continues to promote the feldenkrais method whenever possible. gregory anderson​ (bachelor of exercise science, 2013). gregory was born in southport, australia, in 1991. he received the b.e. degree in exercise science from griffith university 2013. greg is currently studying a post-graduate certificate in public health with a view to continue post-graduate studies. he is currently interested in health and fitness in urban populations in both developed and developing countries. neil tuttle​ (bsc, grad. dip. adv. manip, ther., mphil, phd). neil is a physiotherapist and academic. he is particularly interested in improving methods of teaching both physical and reasoning skills. his areas of research include individual treatment responses, manual therapy for neck pain, simulated learning environments in health professional education he is interested in palpation skills in the assessment of neck pain, lymphoedema, and the prevention of bruising in avocados. edgar ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​ 2016) 11 feldenkrais research journal • volume 1 (2004) article the feldenkrais method in the treatment of chronic pain: a study of efficacy and cost effectiveness david bearman md; santa barbara regional health authority, goleta, california steven shafarman founder and ceo, flexaware abstract a preliminary study was undertaken to determine both the efficacy and cost effectiveness of the feldenkrais method for treatment of medicaid recipients with chronic pain at the santa barbara regional health authority (sbrha). sbrha staff wished to offer treatment for chronic pain patients beyond what is provided for in the medicaid scope of benefits. conventional intensive chronic pain treatment programs costs range from $7,000 to $30,000 and are not covered by regular medicaid benefits. patients with chronic headaches and/or musculoskeletal problems were enrolled in the study. seven patients began the program; all completed it. patient satisfaction, function and perception of pain were evaluated by using the national pain data bank (npdb) protocol of the american academy of pain management. participants reported more mobility and decreased perception of pain, both immediately after the program and in a one-year follow-up questionnaire. results compared quite favorably with npdb comparison groups. cost effectiveness calculations were based on medicaid costs for one-year periods preand post-intervention. patient costs dropped from an average of $141 per month to $82 per month. this represents a 40% savings. keywords alternative medicine, chronic pain, complementary medicine, cost effectiveness, feldenkrais copyright ©: the copyright for this paper remains with the author(s). first published: american journal of pain management, vol. 9 no. 1 january 1999, p. 22-27. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author the feldenkrais method in the treatment of chronic pain: a study of efficacy and cost effectiveness american journal of pain management ajpm vol. no. 1 january 1999 by david bearman, md, and steven shafarman abstract. a preliminary study was undertaken to determine both the efficacy and cost effectiveness of the feldenkrais method for treatment of medicaid recipients with chronic pain at the santa barbara regional health authority (sbrha). sbrha staff wished to offer treatment for chronic pain patients beyond what is provided for in the medicaid scope of benefits. conventional intensive chronic pain treatment programs costs range from $ 7,000 to $ 30,000 and are not covered by regular medicaid benefits. patients with chronic headaches and/or musculoskeletal problems were enrolled in the study. seven patients began the program; all completed it. patient satisfaction, function and perception of pain were evaluated by using the national pain data bank (npdb) protocol of the american academy of pain management. participants reported more mobility and decreased perception of pain, both immediately after the program and in a one-year follow-up questionnaire. results compared quite favourably with npdb comparison groups. cost effectiveness calculations were based on medicaid costs for one-year periods preand post-intervention. patient costs dropped from an average of $ 141 per month to$82 per month. this represents a 40 % savings. descriptors. alternative medicine, chronic pain, complementary medicine, cost effectiveness, feldenkrais ajpm 1999; 9:22-27. received: 10-16-98: accepted: 12-10-98 introduction the santa barbara regional health authority (sbrha) serves 41,000 medi-cal (california medicaid) patients in santa barbara county. it has operated since 1983.sbrha, created by a special act of the california state legislature, has much more flexibility in its scope of benefits that the state-administered medi-cal program. the sbrha board of directors has used that flexibility to approve experimental trials of various new modalities. dr. david bearman is deputy director of health policy and grant development for the santa barbara regional health authority, sbrha. for the previous 14 years he was medical director and director of medical services. mr. shafarman is a certified feldenkrais practitioner in private practice in santa barbara. he studied with dr. moshé feldenkrais from 1976 –1984 and is the author of awareness heals: the feldenkrais method for dynamic health. address reprint requests to: dr. david bearman, santa barbara health authority, 110 castilian drive, goleta, ca93117. traditionally, patients with chronic pain have been demanding of their primary care providers and generally unhappy with their health care. health care professionals have been frustrated with the inability to provide adequate relief and lack of resources for patients who were unresponsive to conventional pain treatment methods. to address these concerns, sbrha decided, in 1995, to use its flexibility to provide, on a trial basis, services beyond the medi-cal scope of benefits. our focus is on patients who have limited or no response to conventional treatments for chronic physical pain from injuries, surgeries or chronic conditions. many of these members also have coexisting mental health problems, such as depression and anxiety. several have exhausted conventional medical options. for most of these patients, pain relief typically consists of prescription medications or self-medication with alcohol or illicit drugs. 2 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) these patients are both difficult to manage and costly. most exhibit a variety of difficulties that characterize pain-related immobility, including physical degeneration and other pathologic conditions. like most chronic pain patients, members in our target population have been prone to depression, hopelessness, the loss of supportive relationships, and the breakdown of meaningful social contacts. in light of the patient population, sbrha sought a treatment intervention that would both help the patient and assist the primary care provider with patient management. the treatment needed to be justified on grounds of both therapeutic efficacy and cost effectiveness. this article entails a discussion of a chronic pain program that used the feldenkrais method exclusively. the program was evaluated by using data processed by the national pain data bank (npdb) of the american academy of pain management. cost effectiveness was assessed by comparing medicaid costs for one-year periods pre-and post-intervention. rationale the basic rationale for investigating complementary/alternative medicine was one of economics and patient and conventional practitioner acceptance. simply stated, traditional pain management programs are costly. annual health care costs for chronic pain medicaid patients in our area are $ 1,000 to $ 7,000. second, a 1990 study demonstrated that, in 1990 alone, one-third of americans visited alternative health practitioners, often without telling their primary care physicians (1), and more recent literature shows that number to be even higher (2). as has been noted, “numerous practices that are termed alternative, unconventional, or integrative medicine have become increasingly popular and prevalent” (3). alternative/complementary therapies are gaining credibility with providers. berman et al., reported that over half of family physicians surveyed considered alternative medicine interventions (including diet and exercise, biofeedback, hypnotherapy, and massage therapy) legitimate medical practices (4). the nih office of alternative medicine (newly named the national center for complementary and alternative medicine) estimates that over 50 % of traditionally trained physicians in the us use or refer patients to non-traditional treatment practitioners/modalities (5). economics. pelletier et.al. interviewed 18 insurers and found that a majority offered some coverage for nutrition counselling, biofeedback, psychotherapy, acupuncture, preventive medicine, chiropractic, osteopathy, and physical therapy (6). the authors concluded that consumer demand for complementary and alternative medicine (cam) is motivating more insurers and hospitals to assess the benefits of cam and suggested that “outcome studies for both allopathic and cam therapies are needed to help create a health system based on treatments that work, whether they are mainstream, complementary, or alternative” (6). the feldenkrais method sbrha learned of the feldenkrais method through an independent case manager for workers’ compensation who described the good results she had been seeing with her patients who had not responded to conventional treatments. she reported that the feldenkrais method had been paid for by workers’ compensation and other third-party payers. and she introduced sbrha to a local feldenkrais practitioner who studied with dr. feldenkrais. dr. moshé feldenkrais earned his doctorate in science at the sorbonne in electrical and mechanical engineering and mathematics. in the 1930s, he was principal assistant to frédéric joliot-curie in the research that led to joliot-curie’s being awarded the 1935 nobel prize in 3 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) chemistry. from 1950 until his death in 1984, feldenkrais lived in tel aviv and devoted himself to research on biomechanics and neurophysiology – and to developing the method. as a teenager, feldenkrais had severely torn the ligaments and cartilage in his left knee. he reinjured his knee while in england. at that time, numerous surgeons told him that an operation was necessary and that there was only a 50 % chance that he would be able to walk without a cane. his wife was a paediatrician, which provided him with opportunities to observe many infants and how they move and learn. instead of surgery, he began to study himself and how he was moving, using his scientific training, experience, and insights into how babies learn to crawl and walk. he learned to walk freely without the benefits of surgery. the feldenkrais method has two forms – group and individual. group lessons, awareness through movement, systematically refine the process through which toddlers learn to walk. the practitioner uses verbal directions to guide people through specific sequences of relatively simple, comfortable movements. most lessons take 45-60 minutes and are done while lying or sitting. unlike yoga, chi kung, or other practices or exercises, people move at their own pace, in accordance with their unique needs and conditions, neither imitating anyone nor trying to achieve any particular goal. the emphasis is on awareness, on learning to sense changes or differences. in this way, one learns to eliminate excess effort or other inefficient habits, while simultaneously discovering more comfortable and effective alternatives. individual feldenkrais lessons typically last 30-60 minutes. they are usually done with the student sitting or lying on a low, padded table. the practitioner gently and precisely moves the student, turning the head, for example, or pushing or lifting a leg or arm. practitioners are carefully trained to be sure that movements are relatively comfortable; movements are often quite small, although sometimes they can be rather large and playful. students remain fully clothed. a fundamental precept of the feldenkrais method is that awareness and attitude are more important than any specific act. with back pain, for example, regardless of how it may be described or diagnosed, one only experiences pain when somehow straining, stiffening, or moving inefficiently. people typically assume that pain causes movement difficulties, yet the converse is equally true. as patients become more aware and learn to move more skilfully, both pain and ineffective movements resolve, improve, or are relieved. feldenkrais lessons, with their educational emphasis, are compatible with all appropriate medical treatments, conventional or alternative. each lesson, group or individual, is designed to enhance activities of daily living. pilot study the sbrha administrative and medical staff was concerned about the lack of research substantiating the benefits of the feldenkrais method. the sbrha administrative staff participated in an awareness through movement demonstration. this exposure to the feldenkrais method was a factor that helped convince sbrha management to recommend the pilot program to the sbrha board of directors. the board then approved the pilot project. feldenkrais was offered as a special sbrha benefit for selected members. the sbrha program was designed and taught by a certified feldenkrais practitioner and a nurse. patient selection. at that time that sbrha was considering the feldenkrais method, it was also evaluating acupuncture for chronic pain patients. sbrha decided to conduct programs in both modalities and to select patients based on categories of chronic pain that had previously been shown to respond well to acupuncture treatment: musculoskeletal pain of the neck, shoulder, arm, and/or back; tension and migraine headaches; and pain following injury. anxiety was a co morbid condition for most patients. patients excluded from the study 4 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) population included those whose pain had significant structural causes and also patients with cancer, over age 70, or those whose total annual health care costs were less than $ 1,000. methodology after identifying members who might benefit from this program, the sbrha medical staff communicated with the members’ primary care physicians to see if they concurred with the intervention and would work with sbrha members on this pilot. seven participants were selected. all completed the program. the goals of the treatment were to reduce complaints of pain, improve mobility and skill functioning, reduce use of licit and illicit analgesics, and reduce demand for health care services during the one-year follow-up period. the program began with a 2-week intensive phase, 4 to 5 hours each day, 4 days each week. this design was based on the immersion characteristic of conventional pain management programs. a secondary phase involved 6 more weeks with one meeting each week, 4 hours for the first two meetings, 2 hours for two meetings, and then just one hour for each of the final meetings. the participants met at santa barbara cottage hospital during august and september of 1995. the program consisted of primarily of awareness through movement lessons. lessons were chosen and designed to emphasize ways to sit and walk comfortably and to breathe easily and efficiently. some individualized feldenkrais was done with most of the participants, but only for about 5 minutes at a time within the group setting. at each meeting, participants were encouraged to describe any benefits they were experiencing and to reflect on how they were integrating new ideas and movement possibilities into their everyday activities. group discussions were intentionally oriented toward positive issues and away from reports of pains or problems. a recurrent theme in the discussions was that toddlers learn to walk, and while doing so they outgrow crawling. participants were encouraged to consider how the feldenkrais method was providing them with ways to “outgrow” their pains or problems. evaluation efficacy. therapeutic efficacy and cost effectiveness were evaluated by considering patient mobility, patient perception of pain, and total health care costs and pharmacy costs. the american academy of pain management’s national pain data bank (npdb) test instrument was administered before the program, immediately post-treatment, and (by telephone) at oneyear post-treatment. this evaluation involved participant self-assessment of functional status. the npdb classifies and analyses the benchmarks and quality of pain treatment programs, and compares programs throughout the us. the npdb compared the feldenkrais program with 12 other programs with 365 chronic pain patients in the category of “small multidisciplinary, outpatient.” these programs are evaluated with regard to quality of life, functional status, patient satisfaction, and rates of return-to-work. the npdb collects data on patients’ social history, history of treatment, and their quality of life. from the information collected at discharge and one-year after discharge, the level of patient satisfaction and the improvement in their quality of life can be assessed. the one-year follow-up survey was administered over the telephone in september of1996. six of the original 7 participants were located and completed the follow-up survey. cost. sbrha maintained historical cost data for all participants in the study. medicaid costs were compared for the year preceding the feldenkrais intervention and for one year following the end of the intervention. costs were compared both before and after the intervention. 5 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) results demographics. with regard to age, sex, race, marital status, and level of education, there were no significant differences between participants in the feldenkrais program and those in the 12 comparison programs. ages were widely distributed; there were slightly more females than males; more than half were divorced. sbrha members were slightly more likely to live alone. more sbrha patients were unemployed and had been unemployed for longer periods of time. they had lower incomes, predominantly derived from disability payments. about threefourths of participants in both the sbrha program and the comparison groups were involved in legal actions relating to their conditions. there were substantial differences between the sbrha population and the comparison group in terms of the number of patients who suffered abuse as children or adults (table i). pain history. sbrha patients reported having pain in more areas than in the comparison programs, suggesting that the pain experienced was also more severe. in addition, sbrha members had been experiencing pain for longer periods of time. one hundred percent of participating patients experienced pain for over 24 months, compared to 47.2 percent in the comparison group. fewer of the sbrha patients were injured at work, yet sbrha patients had a greater rate of unemployment. table i. patient background information. ‘category sbrha comparison patients patients (n = 7) (n = 365) sexually abused as children sexually abused as adults physically abused as children spousal/partner abuse childhood rated as unhappy 43 % 57 % 71 % 57 % 29 % 9 % 6 % 9.5 % 13 % 13.5 % prior to the program, sbrha patients had received more treatment for their pain than patients in comparison groups. sbrha patients also had a greater number of hospitalisations and prior surgeries for their current pain problems. also interesting was the fact that sbrha patients included fewer current smokers but alcohol drinkers. perception of pain. prior to the feldenkrais program, 28 % of sbrha patients reported excruciating pain. some of the methods they had tried to ease their pain were acupuncture, heat, manipulation, counselling, exercises, and medication. at the conclusion of the treatment phase, no participating sbrha study patients reported excruciating pain. functional status. patients treated in both the feldenkrais program and in comparison groups reported an increase in their ability to walk, bathe, dress, use the bathroom, drive a car, end engage in sex without the interference of pain. prior to the program, 14.2 % of the 7 feldenkrais program patients spent 9 or more hours each day lying down, and none posttreatment. pre-treatment, 74.2 % of the sbrha patients were experiencing pain all the time when they walked. at the conclusion, that number had decreased to 16.6 %. at the start of the program, 71.2 % experienced pain while driving, decreasing to zero at the conclusion. 6 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) patient satisfaction. at the end of the feldenkrais program, 100 % of the patients reported some level of improvement. this compares favourably with data of the npdb which lists the general expectation of comparable improvement to be 55.5 %. feldenkrais clinician-perceived patient satisfaction was nearly 80 % in the sbrha group; in the comparison group, only 33.7 % of patients were perceived by clinicians as satisfied. in both sbrha and npdb comparison groups, high percentages reported feeling less depressed, suffering less anxiety, and also being able to relax more. a higher percentage of patients in the sbrha group reported that they were able to return to some of the activities they had participated in prior to their pain. in almost all areas related to quality of life and functional status, sbrha participants showed significant improvements immediately following the program. summary. generally, the feldenkrais participants showed dramatic improvements by the end of the program, with 80 % stating that they were completely or almost completely satisfied with the overall treatment. participants’ health care visits decreased, and the cost of pain care was reduced. furthermore, the cost of the study program to sbrha was a small fraction of the cost of most standard pain treatment programs. additionally, medication costs were reduced post-treatment (table ii). table ii. patients using five or more medications. group pre-treatment post-treatment feldenkrais program npdb comparison groups 14 % 3.2 % 0 6 % an area of clear importance is the number of health care visits each patient had in a 12-month period. in the year prior to the feldenkrais program, 71.4 % had more than 20 appointments with a health care professional, and the rest had 8-10 appointments. in the year following the program, 100 % had between 11-15 visits. cost analysis of the feldenkrais program documented pharmaceutical and outpatient medical costs of $ 141 per member per month (pmpm) during the 13 months prior to the intervention. for the 14 months following the program, costs were just $ 82 pmpm: this represents a 40 % decrease. the $ 54 pmpm savings shows that with this group, the sbrha recovered its direct cost of $ 700 per member within 13 months. at the one-year follow-up, while participants lost ground in most areas of pain control, function, and quality of life, they were judged generally healthier than at intake. conclusions while this preliminary inquiry represents an uncontrolled, unblended investigation, the results were very promising. whether they were due to a placebo effect or to some more specific scientific explanation is largely irrelevant. physicians are often frustrated by chronic pain patients’ unresponsiveness to conventional approaches. such patients often feel neglected and become angry and resentful. this program provided sbrha and its physicians with an opportunity to affirm to our patients that we recognize that their perception of pain is real. it demonstrated to them that the clinic is willing to go beyond the normal scope of medicaidcovered benefits to intervene positively. the afflicted patients gained from both the treatment modality and the opportunity to be exposed to therapeutic touch with providers who are reassuring and positive about the modality’s ability to diminish pain and facilitate healing. it should be noted that although this is a medicaid study population, pain problems are ubiquitous in today’s society. a july 1993 report on the cost of migraines notes that over 11 7 d.bearman & s.shaffarman/feldenkrais research journal 1 (2004) million americans have migraines, which cause moderate to severe disability (7). the annual lost productivity costs due to migraines are estimated at $ 6,864 per employed male and $ 3,600 per employed female (8). a study of migraine sufferers showed 48 % had one or more er visits, with 15 % having five or more er visits in one year (9). our study suggests that the feldenkrais method may favourably influence these numbers since two patients in our study group had migraines. acknowledgement. the authors gratefully acknowledge the efforts of shelley tregembo and susan horne, m.ed. who prepared the initial report that analysed program results and npdb data; carlos hernandez who organized and analysed cost data; laurie wilson, rn for her assistance in planning and implementing the project; marisol alvarado and jeannine arthur for proof-reading; and bernard unterman, lac, and roger jahnke, omd, for editorial comment. references 1. eisenberg dm, kessler rc, foster c, norlock fe, calkins dr, delbanco tl. unconventional medicine in the united states: prevalence, costs and patterns use. n eng j med 1993; 323:246-252. 2. eisenberg dm, davis r, ettner si, apple s, wilkey s, van rompay m, kessler r. alternative medicine use in the united states, 1990-1997. jama 1998; 28(18):1569-1579. 3. fontanarosa pb, lundberg gd. complementary, alternative and integrated medicine. jama 1997; 178(23):2111-2112. 4. berman gm, singh bk, lao l, singh bb, ferentz ks, hartnoll sm. physician attitudes toward complementary or alternative medicine: a regional study. j amer board fam prac 1995; 8:361-366. 5. cimon m. new life for old remedies. la times 1996 feb 1, selection: part a, column one. 6. peletier k, marie a, krasner m. haskell w. current trends in the integration and reimbursement of complementary and alternative medicine by managed care, insurance carriers, and hospital providers. amer j health promotion 1997; 12(2): 112-122. 7. migraine. glaxo welcome 1993. 8. prevalence of chronic migraine headaches – united states 1980-1989. morbidity and mortalityweekly report, may 1991; 40:331,337-338. 9. steward wf, lipton rb, celentano dd, reed ml. prevalence of migraine headaches in the united states: relation to age, income, race and other socio-economic factors. jama 1992; 267:64-69. feldenkrais research journal​ • ​volume 6​ (2018-2019) hypothesis and theory understanding understanding! katja münker artistic director dance & somatic research, director of environmental somatics training program, co-director of emerge training program – somatics in dance, choreography & performance and of somatic training 1000 at somatic academy berlin correspondence: ​muenker@somatische-akademie.de abstract the word ​understanding​ indicates a bodily connection to being upright. the prefix here ​under​ does not have the common meaning of ​beneath​ but derives from the old english meaning ​between​ or ​among​. the old english word ​understandan​ could be transcribed as ​standing in the midst of​ and shows enactive relationality: how we are and how we bring ourselves in relation to our environment creates our understanding and forms our experiences and conceptions of the world. it is an active, sensory-motor-process borrowed in the act of understanding that carries action-potentialities. from the encounters of many individual action-potentialities rises a cultural and political potentiality in which we form our social reality. this potentiality makes it necessary for us to be able to practice conscious, published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:muenker@somatische-akademie.de https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ responsible decision-making. the range and the freedom of choices demand to take responsibility for actions and their consequences, which means that where we have the choice we have to make a choice. in social spaces we are making our choices always in collective structures which involve us and others. within these collective structures our choices show impact in many directions. to build conductive conditions for individual and collective unfolding, the social space requires a compassionate, appreciative way of understanding which leads beyond the cognitive aspect of understanding. compassion creates a wider space which not only depends on cognitive understanding. the awareness for the always already shared space allows to develop self-care into community-care. keywords embodied understanding, kinaesthetic orientation, sensory-based question-action-observation-processes, political potentiality copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. münker • ​feldenkrais research journal, volume 6​ (2018-2019) 2 hypothesis and theory understanding understanding! katja münker artistic director dance & somatic research, director of environmental somatics training program, co-director of emerge training program – somatics in dance, choreography & performance and of somatic training 1000 at somatic academy berlin the framing this article is a compositional and experience-informed exploration within language which allows an exploration of a new understanding of understanding while relating the ideas and practices of the feldenkrais method​®​ (feldenkrais 2010) with improvisation theory (dell 2002), philosophy (ahrendt 1968), artistic philosophy (cage 1961) and biological philosophy (maturana and varela 1987; and varela 1990). the text is based on a transcription of a lecture-performance and the article ‘verstehen verstehen’ (münker 2016) which both 1 investigated embodied and inter-bodily understanding from the perspective of the feldenkrais method and improvisation. this lecture-performance unfolded a field for experiential, cognitive and poetic understanding of understanding. blending the spoken essay on understanding with movement, improvisation/instant composition-strategies and quotes of hannah ahrendt, john cage, christopher dell, moshe feldenkrais, humberto maturana and francisco varela suggested possibilities how somatic practices can support multi-layered and actively applied ways of understanding. with a participatory approach the lecture-performance encouraged the audience to: ● feel ​free to move​ and to change perspective in any moment according to own ​needs and ​interests​. ● move​ particularly when one does ​not understand​. ● play​ with a specific-movement-practice called ​multi-circular circles​: imagining the over 200 bones hanging in, swimming in and expanding the elastic material, and trying to circle these over 200 bones simultaneously in multi directions. ● interact​ with provided papers and rearrange the pattern according to their own understanding and sense-making: highlighted terms and quotes printed on papers were put out on the ground in the order of their appearance creating a huge spatial pattern. 1 lecture-performance ​understanding understanding​, september 2017 at symposium ​bodily undoing – somatic activism and performance cultures as practices of critique​ at bath spa university münker • ​feldenkrais research journal, volume 6​ (2018-2019) 3 the audience was invited to constantly interact with these papers. the lecture-performance it started with an excerpt from the lecture on nothing by john cage (1961: 123): […] more and more i have the feeling that we are getting nowhere. slowly , as the talk goes on , we are getting nowhere and that is a pleasure . it is not irritating to be where one is . it is only irritating to think one would like to be somewhere else. […] more and more we have the feeling that i am getting nowhere . slowly , as the talk goes on , slowly , we have the feeling we are getting nowhere. that is a pleasure which will continue . if we are irritated , it is not a pleasure . nothing is not a münker • ​feldenkrais research journal, volume 6​ (2018-2019) 4 pleasure if one is irritated, but suddenly , it is a pleasure , and then, more and more it is not irritating (and then more and more and slowly ). originally , we were nowhere ; and now, again we are having the pleasure of being slowly nowhere. […] the contact with the ground and/or with something constitutes our felt relationship within the environment​ and takes place within ​space​ and ​gravity​. this is the space in which we exist, function, learn and generate an ​image​ of ourselves and of the world. and it is the space in which we consider something possible or impossible. in this sense it is simultaneously as much a ​physical​ as an ​imaginary space​, in which ​internal​ and ​external separate​, and ​unite​. from the perspective of the ​feldenkrais method​ and of contemporary approaches of philosophy, biology and neuroand cognitive science​ the ​body​ cannot be understood separately from the whole ​person​ within his or her ​environment​. moshe feldenkrais assumed an ​inseparability​ and mutual ​interdependency​ of ​body, self, self-image, environment and awareness​ as an entire system. the human ability to develop consciousness, to differentiate sensitivity and to organize conscious actions through sensory feedback is understood as the basis for learning, understanding and knowledge. münker • ​feldenkrais research journal, volume 6​ (2018-2019) 5 moshe feldenkrais named ​space, time, gravity, culture​ and ​society​ as relevant within the environment​, though he recognized ​gravity​ as a ​universal condition​ on earth of particular importance. in the body he named ​the skeleton, the muscles and the nervous system​ as particularly relevant for learning and self-organization. exposed to gravity our ​nervous system differentiates between our ​own body​ and the ​environment​. […] a living nervous system introduces order into the random, constantly changing stimuli arriving through the senses and impinging on the system. moreover, the living organism itself is moving incessantly, and the nervous system has to bring order to the mobile, changing world as well as to its own mobility, to make some sense from that whirling turmoil. […] the most efficient means for achieving this […] is movement. movement of the living organism is essential for the formation of stationary events in the changing, moving environment and the constantly moving organism itself. ​(feldenkrais 2010: 60) while we go through life we ​linger​ here or we ​accelerate​ there. thereby we ​deepen​ one thing and we ​omit​ something else. in consequence this creates a ​conditionality​: the freedom to learn is a great liability. […] the ability to learn is synonymous with free choice and free will. but once learned the choice is made […] and the tabula rasa is no more. herein lie the liabilities as well as the restriction. (feldenkrais 2010: 49) münker • ​feldenkrais research journal, volume 6​ (2018-2019) 6 in this process our basic capacity to ​understand​ unfolds, our ​self-conception​ and our conception of the world​ and by that our full ​intelligence​. the basic idea is that our cognitive capacities are intrinsically tied to our life story; like a path which doesn’t exist as such but only originates through the process of walking. ​(varela 1990: 110) within the ​process​ of continuously ​practicing​, ​testing​ and ​sensing​ in the search for ​deeper understanding​ and for the development of ​skillfulness​ we need ​orientation​ to ​navigate within that process. ​simultaneously​ orientation as a differentiation is a ​result​ from the same process​. this is why orientation is a crucial support and challenge in the development of self-care​ and ​self-responsibility​. […] to become conscious of our body’s spatial orientation is to come to know ourselves in depth and in clarity. in this way, we take charge again of our personal evolution […] ​(feldenkrais 2010: 25) our ​movements​ create impulses which stimulate ​sensory​ areas of our nervous system. within this whirl of multi-sensory stimuli, co-created by self-movement, ​preferences​ and ​patterns​ can emerge. changes in the ​spatial position​ and in ​the push​ and ​pull​ of ​gravity​, which we sense in the ​kinaesthetic integration​ of ​proprioception​, ​equilibrium​ and ​touch​, are complemented through what we hear, see, smell and taste to build our synaesthetic wholeness-experience of the moment. these physical aspects inform us about where and how we are oriented in space. the ​physical orientation​ then is the basis for an ​orientation​ as a whole ​person​ including the cognitive​, ​emotional​ and ​cultural​ aspects of our being: the term ‘orientation‘ is used here in its widest sense, including the distinction between ‘i‘ and ‘not i‘ in the social field, with all its ramifications. ​(feldenkrais 2010: 33) münker • ​feldenkrais research journal, volume 6​ (2018-2019) 7 as ​orientation​ is ​means​ for and ​consequence​ of our ​self-organization​ we can ask what kind of ​acting​ needs to underlie this ​interconnectedness​ to allow ​development​? in the feldenkrais method​ it is an ​active, sensory questioning​ of what we do which is used as methodology for action organization. leading questions in this are: ​what​ do i do? what do i sense? ​how​ do i do and how do i sense? and ​what…if​…? how…if…? these questions conduct towards more detailed ​differentiation​ and allow us to recognize connections and relations​. assuming that our actions are motivated by ​conscious​ and ​unconscious intentions​ we could use this sensory questioning to recognize hidden and maybe even contradictory intentions. with this ​awareness​ we can use the ​observations​ of what we ​actually do and sense​ to ​filter​ out the ways of action which enable us to experience greater ​adequateness​, conduciveness, and pleasure to satisfy our intentions. we can distinguish if we are acting inappropriately without matching our intentions or even if we would have to change our intentions because even these intentions appear to be inappropriate. with the practice of such ​sensory-based question-action-observation-processes​ we train our brains and bodies to ​act​ in ​complex space-relation-configurations. as part of complex organization feldenkrais (2010: 17) described reversibility​: with the ability to reverse a movement we develop the ​freedom​ of ​choice between ​doing​ or ​not doing​ which opens a new range of possibilities. our ​body​ houses our ​senses​ which inform the system simultaneously about itself and about the world. the way in which we ​use​ our body and our senses creates our ​reality​, ‘our’ ​world and how we make sense from all of that. our ​understanding​ of the world and of ourselves is thereby based in our ​self-usage​. this interrelatedness yield not just our complete ​epistemic ability​ but also our ​(organizational) blindness​: münker • ​feldenkrais research journal, volume 6​ (2018-2019) 8 since we are learner and judge at the same time, our judgement depends on, and is limited to, our learning achievements. obviously, to improve, we individuals have to better our judgement. but judgement is the result of learning already completed. to break this vicious circle, we must use the basic quality of the […] part of our brain, which is able to sense and to abstract and often even to express in words what is happening in our bodies. ​(feldenkrais 2010: 71-72) to take ​responsibility​ for this blindness, feldenkrais suggests to constantly create a ​sensory actualization​ (cited in pippin 2013: 104) within our being. this actuality then forms a continuous source of variations which again and again have to be related to already made experiences. thereby we constantly develop our personal ​criteria​ and systems of ​order and orientation​. simultaneously we can use this process of actualization in our sensing, acting and evaluating​ to verify these systems concerning their functionality. we are actualizing in this not just our physical body-movement strategies but our whole ​value systems​ on a general level for all our encounters within society when we are challenged to ​synchronize​ and ​adapt​ with others. body​ in this context is ​not relevant​ as a purely physical body but it is ​relevant​ how we ​use ourselves as bodily, intelligent and self-aware beings as a whole. and our ​movements​ become relevant​ for how we ​relate with​ ourselves and how we open ourselves for a complex understanding of ourselves, of the world and of others. if movement forms the basis for ​successful​ behavior the question is if all movement is appropriate, or which ​criteria​ might be more or less ​conducive​. movements can ​stabilize​ or ​destabilize​ a situation. these two options find their resonance in the two basic human motivations of ​structure preservation​ and ​curiosity​. both impulses are equally important necessities for life and development which means that we need to develop acting and evaluation strategies which allows us to relate to both qualities. in the ​oscillation​ between the fundamental impulses ​of preservation and curiosity or change we sometimes ​exaggerate​ one or other option so that an ​inhibiting stagnation or fluctuation might be the consequence which would, in a long-term perspective, ​undermine development​. a conducive field​ needs enough ​trust, stimulation, comparison​, but also ​leisure, stability and ​openness​: a variety of ​rhythms​, ​directions​, ​intensities​, ​surprises​ and ​unforeseen​ to develop the ability to act in complexity. understanding therefore needs ​tolerance​ for ​change​, for ​decay​ as well as for ​stillness​ or sameness​. it needs tolerance for ​not-knowing​ or for the ​unknown​ and for ​failure​, as we never can get full ​certainty​ as to which way of acting might be finally conducive. it remains as a practicing and testing process even if we achieved some understanding and skillfulness. münker • ​feldenkrais research journal, volume 6​ (2018-2019) 9 finally, within this field for understanding, movement can just become meaningful with and through ​awareness​ and ​perception​ of our own action. understanding obviously emerges in in-between-spaces; in creative leeway. to support understanding we need to create a space for creative leeway. in this sense understanding is a creative act​: learning how to create and to handle this field is part of the process of sense-making. while the ​feldenkrais method​ provides strategies to use the human ​potential on a ​movement-awareness​-related level, ​improvisation​ and instant ​composition​ can provide strategies for ​navigation​ in ​space, time and relationship​ in broader ways. possibilities offered by improvisation strategies are for example: playful change in the relations in space and with others, creative ​conversion​, process-oriented​ acting in opposition to solution-oriented action, variation​ of ​rhythms, durations, positioning, perspectives​ and ​pathways​, augmentation, miniaturization, compression, expansion​… inclusion of ​chance​ as conductive parameter, acceptance of ​irritation​, perception of ​space​ and ​interspaces​, consciously ​listening​, active and flexible shifting of the own ​focus​, creation of ​unconventional combinations​, münker • ​feldenkrais research journal, volume 6​ (2018-2019) 10 perception of ​center​ and ​periphery and ​staying connected​ even in irritation, not-knowing or not-understanding improvisation exists within a non-linear causality-network. within its apparent disorder it subtly undermines prevalent behavioural pattern and creates complex, open systems.​ (dell 2002: 17-18) these open systems can become malleable when the ​questioning-analyzing-perception process​ from feldenkrais practice finds into ​cooperation​ with above described ​improvisation strategies​. acting based on that emerges from sensory connectedness without being lost. and understanding based on this acting becomes a ​creative process​. we can say of improvisation that it incessantly operates within the mode of decision-making, in the mode of permanent crisis. … judging is the coordination point within our permanent process of decision-making. it allows us to identify the tendency of a situation and to use it, as much out of ourselves as from being part of the group. that means that in the process of improvisational judging the subject is not alienated to position itself independently outside of process or the community, but decides inside the intersubjective space. ​(dell 2002: 175-176) from what i have said until now suggests that a sense-making ​field​ for ​understanding​ is necessarily also a ​communicative field​ – ​intrapersonal​ within one person and ​interpersonal between two or more people. communication is a necessary ​corrective​ within the field of possibilities – not just in improvisation but generally in life: the communicative aspect prevents the playing participants to lapse into just external and superficial aspects of reality or in pure inner self-reflection. the undetermined openness of the system ‘improvisation’ creates and demands an alertness, a presence concerning past, now and future. […] non-verbal communication-systems open new coordinates for the orientation in space.​ (dell 2002: 21-22) in ​communicative systems​, ​subjectivity​ is a ​resource​ as long as it stays ​inter-subjectively related. experience and understanding of ​individuals​ then become a ​source​ for enrichment of the ​social​ interactions and is necessary information for the ​collective​. change​ is a reality in individual and collective understanding. the state of improvisation integrates this reality and uses ​fluidity​ and ​flux​ instead of ​absoluteness​. relating to fluidity and flux enables collectives to identify ​temporary agreements​ in ​common understanding​, and to reconfirm or actualize this when necessary. this state of improvisation finds resonance in the state of mind as well as in the body-state and can be described as ​constructive fluctuation​. it is the same state as the ​unconscious reflex activity​ in our standing münker • ​feldenkrais research journal, volume 6​ (2018-2019) 11 deconstructing and reorganizing our balance, which keeps our ability alive to position ourselves newly in any moment. the aware practice and coordination of sensory actualization​, the ​active creation​ of ​field for understanding​, fluidity​ in patterning, the ability to ​reverse or pause​ in any moment, and the development of ​tolerance​, is my ​interpretation​ of ​bodily undoing​ which opens a complexity of ​action-perception potentialities​. when many individuals get together with many individual ​action-perception-potentialities, a cultural​ and even ​political potentiality​ emerges that holds a strong social relevance from which we ​negotiate​ and ​form​ our ​social reality​. this potentiality challenges us, as hannah ahrendt emphasizes, to take conscious responsibility for decisions, which ‘way of action’ to choose in the world and how the world should look like: culture and politics, then, belong together because it is not knowledge or truth which is at stake, but rather judgment and decision, the judicious exchange of opinion about the sphere of public life and the common world, and the decision what manner of action is to be taken in it, as well as to how it is to look henceforth, what kind of things are to appear in it.​ (ahrendt 1968: 223) within the open space of ​freedom of choices​ we are meeting our ​responsibility​ for the consequences​ of our actions. where we have the choice we really have to make a choice. münker • ​feldenkrais research journal, volume 6​ (2018-2019) 12 in ​social spaces​ where we are inseparably connected, we always make our choices within a bigger structure which includes ourselves and others. in these collective structures our choices always show ​effects​ into ​multi-directions​ which go ​beyond​ our understanding. in collectives therefore we need to also develop ​sympathy​ to create supportive conditions to unfold for both, the individual and the community. (the german word ​verständnis/sympathy​ has the same root as the word ​verstehen/understanding​, but ​verständnis​ includes the aspect of empathy.) sympathy creates a wider ​co-sensing and co-feeling​ space that is not necessarily depending on understanding or that is even ​transcending understanding​. biology shows us that we can expand our cognitive sphere. this happens … through the encounter with a stranger on an equal level, or, even more immediately, through the experience of interpersonal congruence, which allows us to ‘see’ the other and to open a space for being next to us for him or her. this we call ‘love’, or, if we prefer a less strong expression, the acceptance of the other next to us within our daily life. ​(maturana and varela 1987: 265-266) the ​awareness​ for the already ​shared space​ allows the possibility to expand the ​self-care towards ​community-care​: a society of men and women with greater awareness of themselves will, i believe, be one that will work for the human dignity of its members rather than primarily for the abstract, collective notion of human society. ​(feldenkrais 2010: 68) münker • ​feldenkrais research journal, volume 6​ (2018-2019) 13 references ahrendt, h. (1968) ‘the crisis in culture: its social and its political significance’. in ​between past and future: eight exercises in political thought​. new york: viking compass edition cage, j. (1961) ​silence​. middletown, connecticut: wesleyan university press dell, c. (2002) ​prinzip improvisation​. köln: verlag der buchhandlung walther könig feldenkrais, m. (2010) ​embodied wisdom: the collected papers of moshe feldenkrais​. ed. by beringer, e. berkeley: north atlantic books maturana, h. and varela, f. (1987) ​der baum der erkenntnis (the tree of knowledge)​. bern/münchen: scherz verlag münker, k. (2016) ‘verstehen verstehen‘. in eberlein, u. (ed.) (2016) ​zwischenleiblichkeit und bewegtes verstehen (intercorporeity, movement and tacit knowledge)​. bielefeld: transcript verlag pippin, r. b. (2013) ‘what is conceptual activity?’ in ​mind, reason, and being-in-the-world / the mcdowell-dreyfus-debate​. ed. by schear, j. k. london/new york: routledge varela, f. (1990) ​kognitionswissenschaft, kognitionstechnik: eine skizze aktueller perspektiven [cognitive science, cognitive engineering: a sketch of current perspectives]​. frankfurt/m.: suhrkamp verlag ag biography katja münker ​(berlin/d) dancer/choreographer/researcher/feldenkrais practitioner trained as physiotherapist, studies and practice of contemporary dance, (contact-) improvisation and instant composition. long-term experience in several somatic practices, professionally trained in feldenkrais method and somatic yoga. artistic works and research with the focus on the connection between somatic and choreographic practices as well as on walking and environmental relatedness. regular national (​inter alia​ free university berlin, university of arts berlin, inter-university centre for dance berlin, hafencity university hamburg) and international teaching, lecturing and contributions for congresses, publications, co-direction of ​take us for a walk​-symposium (2014) and ​body iq festival​ (2015-2017). münker • ​feldenkrais research journal, volume 6​ (2018-2019) 14 collaborations ​inter alia​ with ​areal_artistic research lab​ berlin and artistic director for dance and somatic research and co-director of somatic training programs at somatic academy berlin. www.movement-muenker.de​ // ​www.kunst-im-gehen.de indoor photos during lecture-performance ​understanding understanding​ at symposium ​bodily undoing – somatic activism and performance cultures as practices of critique​ at bath spa university, september 2017. credits: thomas kampe outdoor photos during environmental somatics workshop led by k. münker in berlin, april 2019. credits: katja münker editor’s note: in order to preserve some of the author’s preferred formatting, we note that some of the text is not presented in standard harvard format. münker • ​feldenkrais research journal, volume 6​ (2018-2019) 15 http://www.movement-muenker.de/ http://www.kunst-im-gehen.de/ feldenkrais research journal​ • ​volume 6​ (2018-2019) reviews gaga, give me more: the spectrum of human movement in two dances by ohad naharin helen singh-miller visiting lecturer, massachusetts college of art and design; fellow, film study center, harvard university. feldenkrais practitioner and artist, cambridge, massachusetts; director, storefront for somatic practice contact: ​hsingh-miller@massart.edu introduction through a comparative account of the feldenkrais method​®​ and gaga, movement language and pedagogy developed by israeli choreographer ohad naharin, helen singh-miller explores the spectrum of human movement presented in two of naharin's dances, both performed by the batsheva dance company in the last year. keywords freedom in collaboration, the role of rest in dance pedagogy and performance, the overlap of the feldenkrais method and gaga movement language copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:hsingh-miller@massart.edu https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ reviews gaga, give me more: the spectrum of human movement in two dances by ohad naharin helen singh-miller visiting lecturer, massachusetts college of art and design; fellow, film study center, harvard university. feldenkrais practitioner and artist, cambridge, massachusetts; director, storefront for somatic practice naharin’s virus following a performance of ​naharin’s virus​ (2002) at jacob’s pillow dance festival in western massachusetts this past august, 2018, choreographer ohad naharin talked about the importance of convincing people of your ideas rather than making demands. over the course of his 28-year tenure as artistic director of the batsheva dance company, a position from which he was just stepping down, his collaborators—dancers, costume designers and government agencies—had taught him this much. admittedly, naharin confessed with a cheshire cat smile, the lesson had been hard-earned. while naharin clearly valued the learning, it was difficult to perceive how his piece, ​naharin’s virus​, performed by batsheva’s young ensemble just before the question and answer session, could be seen to illustrate the art of persuasion. the dance adapts peter handke’s ​offending the audience​ (1966), a play without a plot, an exercise in provocation, at least when it first came out. the narrator of the piece, here played by dancer evyatar omessy, is overbearing, to say the least. from an elevated platform above and just behind a seven-foot blackboard spanning the stage, omessy oversees a good part of the dance. at one point, he steps out of his starched suit—revealed, in the process, to be a standalone prop—and onto the dance floor below. both on and off the platform, he hurls (more or less) creative insults at the audience—“you overworked gravediggers”, “you perfect sons of bitches”, “you wrong numbers”—until concluding, “you are welcome here. good night”. 1 if the tone is obnoxious by design, the intention behind other aspects of the dance is less clear. for example, the two-tone body-stocking worn by each dancer, including omessy—beige from neck and fingertip to buttocks and black from there down to the tips of the toes—is minimalist. ‘adorkable’, one could argue, in its resemblance to early 20th century exercise outfits, but awkward nonetheless. the dancers look, and often move, like so many anthropomorphized viruses, which is to say, mindless copies of themselves. refeket levy’s costumes, which, on 1 list of insults from macaulay 2018. singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 2 closer inspection, are actually leotards (with long sleeves and fingers) and tights, feel inhibiting; the text, if occasionally provocative, is mostly abrasive; the use of chalk, contrived, and who doesn’t love chalk! one way of interpreting this inhibition is through the art direction and choreography. from this perspective, avant-garde costumes, sentences and set design could be seen to serve an overarching masochism, in that they never let up or provide room for the dancers to breathe. even the incorporation of drawing, immediate and ephemeral with a great capacity for nuance—an obvious dance partner—lacks spontaneity. the contortions into which full-bodied tracing leads the dancers’ stockinged limbs is characterized by the same numbing tension as every other aspect of the piece. it’s intense, as they say. when you start at this level of intensity, where do you go? how do your dancers experience and communicate the significance of a climax, or, for that matter, the relative significance of any note? near the opening of ​naharin’s virus​, dancer shir levy takes a prolonged step onto the empty stage and, hugging the blackboard, begins to draw. the painstaking, overwrought manner of the movement is already apparent in these first few moments and with each steadfast inch of the clenched chalk our curiosity wanes. other solos follow, some less rigid than others. periodically, the dancers pair up or all 16 line up at the edge of the stage, “taunting” more than “offending” the people that have paid to watch. the tension carries on, against some invisible resistance, spines extending and contracting impossibly, little appearing to give. some of the relentlessness can be attributed to handke’s play, certainly. although it’s not entirely clear how an outdated assault on an austrian audience is to be taken in the berkshires in 2018, or in tel aviv in 2002, when the piece was first presented. in the 60s, handke was attempting to awaken what he perceived to be a complacent theater-going public by drawing their attention to their own experience—of watching a play, before a stage, in seats. his effort was part of a movement in theater, film and art more generally to highlight the theatrics of artistic production and reception. the movement was more or less political, a commentary on the disengagement of the leisure class. the primary audience naharin conceives in ​naharin’s virus​ may be conservative israel, an audience naharin is not afraid to offend, and who he perhaps aims to alert not only to their own position but to what he sees as the avoidable effects of their actions, or inaction. naharin’s long-standing support of palestinian-israeli reconciliation is no secret and his use of israeli-arab composer habib alla jamal’s rhythmical crescendos to punctuate his dance is not without resonance. at the same time, the ambiguity of the subject matter in ​naharin’s virus​ could be intended to cast a wider net, implicating us all. such provocation may no longer be effective considering what “the audience” has been through in the intervening years—tv, twitter, current events mediated to greater and lesser degree. still, it’s exhausting, and not only for the audience. the dancers themselves appear to suffer from the ceaseless direction. as alastair macaulay wrote for the new york times after seeing naharin’s virus​ at the joyce theater in manhattan, also last summer: singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 3 the climate onstage... is never one of freedom. there’s always a sense that big brother is watching. the company performs gaga, a movement style developed by mr. naharin to heighten sensation and imagination and to go beyond familiar limits. but even when the 16 dancers are at their wildest, they look driven rather than driving. (macaulay 2018) gaga and feldenkrais method​® i caught a ride from boston to the berkshires last august fully expecting to enjoy a performance of ​naharin’s virus​. several dancers and fellow feldenkrais practitioners had recommended the work, and the classes i had attended at the harvard dance center with mario zambrano, batsheva dancer and acclaimed writer, were consistently invigorating. i had heard from israeli friends that naharin’s mother was a feldenkrais practitioner. the potential resonance between the feldenkrais method and gaga, naharin’s beloved movement pedagogy, was intriguing in many respects. indeed, naharin’s mother, sofia naharin, studied with moshe feldenkrais in the 1960s and then trained as a practitioner in tel aviv in the 80s. although naharin talks little about the connection or influence himself, gaga can certainly be considered in terms of feldenkrais method practice and principles. some of what naharin himself has said about gaga could be said about the feldenkrais method. in ​mr. gaga​ (2015), a documentary film by tomer heyman, naharin explains, ‘what is unique about gaga is the demand to listen to our body before we tell it what to do’. speaking more personally, he says, ‘the idea of physical pleasure from physical activity was totally part of how i conceive myself as being alive’ (heyman 2015). so what is gaga, exactly? i was fortunate to hear naharin tell the story of gaga during the ‘q&a’ session at jacob’s pillow. originally intended to break open the movement capacity of his dancers, by 1998 naharin was offering classes for people in other creative and administrative roles at his company, and, soon enough, for the general public. whether working with dancers, arts administrators, or lay-people, naharin stressed that he is pursuing an alternative to mainstream exercise and dance education, one that welcomes and awakens the mental, physical and emotional dimensions of our shared humanity. the overlap of gaga and the feldenkrais method is notable in other regards as well. gaga, named for the nonsense sound that babies make, proposes an organic functional base—from rolling around and crawling to walking—for the development of highly differentiated technique (in particular, the use of sequential movement in the torso). gaga and the feldenkrais method alike use repetition and variation to help participants shed unhelpful habits and realize more appropriate, efficient self-use. both methods favor verbal instruction and shun mirrors. something naharin is perhaps still figuring out how best to facilitate—the creative agency of the individual—is a central concern for gaga and the feldenkrais method. the hour long lessons typical of gaga and the feldenkrais method are communicated in large part through spoken language. in feldenkrais lessons, the words employed are intentionally singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 4 neutral, commonplace and concrete, where in gaga, adjectives, adverbs, made-up words and metaphors fill the studio and buoy each person’s discovery of “flow”, one of the more colloquial terms used by gaga teachers (although naharin-esque flow can be quite distinct, displaying a recognizable consistent activation from head to toe). over two decades, gaga has developed 2 somewhat of a specialized, if flexible, language, and while one could argue that the feldenkrais method has done the same (over a much longer interval), i think the difference is in both degree and kind. in feldenkrais lessons, “constraint”, “differentiation” and even “possibility” mean more than they might in everyday conversation, and that can take some explaining. “bell hands”, “dead bird” and “spine like a chain” are popular lessons with vivid pictures for titles. but while the use of imagery to help illuminate particular actions is not uncommon in the feldenkrais method, gaga employs imagery more freely, and the images are not usually tied to specific sequences of movement. in gaga, “marionette threads hold you”, “helium balloons lift the knees”, your “spine like seaweed”, “pulling the bone out of the flesh (hogstad 2015: 27-28)”. other gaga words or instructions, like “float”, “quake”, “shake”, “be silly”, “give into sensation”, “don’t be shy of the effort”, “smile to each other”, “fall into movement” and “enjoy the burning sensation”, can mean quite different things, in terms of body mechanics, to different people (hogstad 2015: 27-28). i wonder how these instructions get underneath our ideas of things, the way a feldenkrais lesson can upend and reintroduce us to the gesture of a smile, for example. i wonder how these gaga phrases lead to increased differentiation, or to what extent they do. there is a core overlap in the gaga and feldenkrais method lexicons: attention to internal sensation. but while feldenkrais practitioners usually suggest doing less as a means of detaching from what you normally do and allowing other things to happen, gaga teachers beseech their dancers, multiple times over the course of an hour, to give as much as they possibly can. at least, this was my experience of gaga here in cambridge, and the use of insistence seems to be a mandate for gaga instructors. as one instructor described the guiding principles of a gaga class to a researcher—“effort has to be there, speed”, and then, “letting go, countdowns, sensitivity and layers” (hogstad 2018: 27-28). letting go in gaga is an activity, a direct result of the intention to do so if not a result of quaking and shaking, where feldenkrais method sets up the circumstances in which letting go can occur more quietly, as more efficient pathways make themselves known. it might seem like a minor distinction or mere semantics; not to a feldenkrais practitioner. while neither gaga nor feldenkrais method rely on mirrors for feedback, and naharin was adamant about having them removed from his company’s studio in tel aviv, gaga instructors insist that participants keep their eyes open for the duration of each class. people are periodically told to watch the teacher in order to better understand the action or movement quality being taught. in other words, participants are expected and reminded to pay attention, at all times, whether to themselves, to the teacher or to their fellow dancers (as the movements 2 increasingly, it appears that a distinction is being made in the language used to teach gaga/dancers and gaga/people, as can be observed on the recently revamped gaga website: <​http://gagapeople.com/en/​> singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 5 http://gagapeople.com/en/ grow increasingly mobile). maybe these layers of activity, this complexity, becomes the context, or constraint, in which a person can do nothing but let go…. compelled to keep moving, delving deeper and deeper into the gaga experience, participants report accelerated learning and healing (hogstad 2015). it may be a skill worth developing, the ability to internalize external direction, and build stamina, especially important for performers, and especially for those tasked with demanding choreography such as naharin’s. continuous movement means that gaga is a workout, which probably adds to the experience for ordinary people as well as dancers, especially those accustomed to always doing something. as mentioned, naharin developed a version of his gaga class for the non-dancers on his staff, at their request, and “gaga/people” has a following the world over, not unlike “gaga/dancers”. as feldenkrais method demonstrates, however, individuals who have felt compelled to do this or be that could also use a context in which to become more familiar with their own desires, motivations and intentions, not only their sensations, imagination and strength, but their inclination to move more or less. one’s relationship to instruction, to paying attention, to attention itself, one’s habits of mind, are also something to learn, observe and coax rather than corral or make demands of. where an awareness through movement lesson regularly “takes gravity away, a gaga class removes the option to rest, at least for a solid, chock full hour. and the more i learn about gaga, the more i reflect that rest might have been the missing element or touchstone in ​naharin’s virus​. real rest—the letting go of letting go—unconscious or partially conscious, eyes-closed or eyes-rolling-back-in-the-head recuperation, and the movement that can grow out of these states—more rest, sleep, inspiration, animation, slow motion—seem like they might constitute a foundational reference for a dancer, and for the rhythm of a dance. venezuela the elegant gang of dancers making their way to the back of the stage when the lights go up at the boch center schubert theatre in boston on april 6, 2019, for ohad naharin’s ​venezuela (2017) have their backs to the audience. and what backs they are! skin glimpsed in the half-light of a bar; slinky black dresses and t-shirts selected by costume designer eri nakamura. add gregorian chants and stripped down, confident choreography not afraid to pull equally from high art and popular culture, and everything appears to have loosened and grown up. dancers and audience members alike are free to imagine and remember in the mysterious landscape of ​venezuela​, as much universal underworld as south american country suffering an extreme, unthinkable economic downturn. naharin, in notoriously coy fashion, claims to have selected the location with a spin of the globe and tap-down of his finger. well, the results of the exercise clearly resonated for the choreographer. how could they not? singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 6 not far into the piece, after swaying their way to the back of the stage and breaking off one-by-one into tango poses, and then partnering, the dancers throw themselves into skipping. at the height of each momentous upswing, they appear to freeze—we know the feeling. it’s not unlike the pause, “after the exhalation and before the inhalation”, as feldenkrais trainer jeff haller describes the moment in a cherished bootleg recording of ‘global breathing’ (a once lost awareness through movement lesson) (personal communication, haller, august 3, 2015). 3 skipping, that exceptional pastime, becomes an occasion to witness gaga and feldenkrais method in sync. heading in any and all directions, the dancers never lose their composure, and yet they really let themselves go. this is “acture”, as feldenkrais famously renamed posture. these gaga trained dancers can and do go forward or backward at any point, a sign of self-possession in feldenkrais method and martial arts, whenever another dancer is to be avoided. tossing and catching themselves, they rely on feedback from their own bodies in motion to inform their next effort or retreat. this is reversibility, and range. there is a lot of strength on display but also a lightness i don’t recall in ​naharin’s virus​; you can hear the dancers’ footsteps but you can also hear the stilly after the breath. the contagious thrill builds and more and more dancers seamlessly, seemingly from out of nowhere, crisscross the stage, skipping up a storm out of thin air. it looks something like the height of a gaga lesson, or, as amber adams writes in ​broadway world review​: a profound skipping sequence ensued. as more dancers joined the stage momentum and awareness of one another increased like in life's hustle and bustle. the coming and going of relationships, the back and forth nature of monotony, a constant buzz. (adams 2019) venezuela​ is filled with this kind of repetition and variation, this powerful minimalism and potential for metaphor. the main, overarching use of repetition comes midway through the dance, when the entire first half replays. of course, you don’t know what’s happening, at first. and this is part of the seduction, as in feldenkrais method. the second half is different, and yet familiar. the 14 dancers, at least some of them, have swapped roles; the music, designed and edited by maxim waratt (naharin’s pseudonym), is louder if no more somber—rage against the machine, for example, in place of gregorian chants; the lighting by avi yona bueno (bambi) is also louder, even a bit harsh—like the lights in a dark room at a dark hour. the choreography is pretty much the same. or is it? did i just see that 40 minutes ago? is that another dancer (most 3 as jeff haller wrote about the awareness through movement lesson 'global breathing' in an email: “moshe taught a series of lessons in berkeley. i think there were 48 lessons. this was number 1. the tape recorder was broken and it recorded too fast to understand. i used an old sony handheld recorder that had a speed control on it and slowed it down to the point i could understand it. a number of years ago i taught the lesson in mexico. a guy came up to me afterward and asked me where i got the lesson… because he was the guy who recorded it and his tape recorder was broken. wanted to know how i got it. pretty sure you can get the lesson from feldenkrais resources. berkeley with the 48 lessons. see if they have it.” (personal communication august 13, 2015) singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 7 likely it is) striking another ballroom dance pose? same pose, different pose? at every level, venezuela​ enacts reversals and inversions, playing at the limits of our memory and recognition. don’t i know that song (​dead wrong​ by the notorious b.i.g., initially delivered at a stage whisper and then, in the second half, over the loud speakers [with shouting over the top].)? what animal is that? that almost mythical gait…. in his new york times review of ​last work​ (2017), another recent dance by naharin, brian seibert characterizes the popular choreographer’s style: ‘it doesn’t seduce so much as assume rapt attention’ (seibert 2017). in ​virus​, i think the assumption verged on presumption, but venezuela​ takes its time drawing you in, and then takes its time again, and again. many passages were performed and then performed in reverse, others were danced in slow motion. maybe this is the 360-degree seduction that naharin was talking about, almost longingly, in the berkshires, when he held up freedom in collaboration. this kind of choreography pulls people in; takes its time and changes; comes in waves. about a quarter of the way into the performance, and then again three-quarters of the way, across the horizon of the stage, three women sit astride three men. the men take on the posture of four-legged beasts, carrying the women on their backs towards the back of the stage, their toes tucked under and dragging along the ground like a gown. the men’s bowed progression is reflected in the women’s seesawing torsos. a side-bending movement we know so well from side-lying awareness through movement lessons appears here with powerful associations. it is at once a majestic, regal, imperialist gender-bending scene. film is the other art in ​venezuela​, along with music (which functions as a contemporary soundtrack in terms of its emotional, sometimes abstract, atmospheric relationship to the primary action of the dance). the widescreen of the stage the animals cross, the liturgical score, old world over new world, and vice versa, the slow motion, the activation of foreground and background, dancers viewed in the round that they create in turning, and over the shoulders of other dancers. the weakest element remains the incorporation of analog media—in this case naked canvas banners and then, in the second half, identifiable flags from around the world. not unlike the chalk and blackboard in the earlier dance, the flags seem fussy. the piece could have managed without this material, as when the dancers’ bodies themselves transform into horse and rider. worth mentioning again—this epic scene of three women slowly riding three men to the back of the stage, where the men pivot and begin the crawl back, is breathtaking, more symbolic of border-crossing, territorial disputes, and the ways in which the world has been divided and conquered, than any piece of cloth. in ​naharin’s virus​, exaggerated solos and in-your-face collective thrusting never add up or cohere, but the movement spectrum explored in ​venezuela​ offers a sublime, moving picture of humanity making its mysterious way around the globe. last summer, i was left wondering how to connect ohad naharin’s inspiring ideals and endearing expression to his choreography. this spring, his most recent dance has illuminated a singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 8 range of movement i cannot wait to inhabit in my own practice of the feldenkrais method and the live form of gaga language and pedagogy at the studio down the street. references adams, a. (2019) ‘bww review: what will they do next? batsheva dance company's 'venezuela' at royce hall at ucla’. ​broadwayworld.com​ [online] 19 march. available from <​www.broadwayworld.com/los-angeles/article/bww-review-what-will-they-do-nex t-batsheva-dance-companys-venezuela-at-royce-hall-at-ucla-20190318​> heyman, t. (2015) ​mr. gaga​. [film] [online] available from <​https://www.mrgagathefilm.com/​> hogstad, i. t. (2015) ​finding layers in the gaga movement language. a study of lived experience of the gaga movement language in the dancing community gaga/people at the suzanne dellal centre, tel aviv​. unpublished master’s thesis. norwegian university of science and technology faculty of humanities, department of music, dance studies: ntnu open, 27-28. available from <​https://ntnuopen.ntnu.no/ntnu-xmlui/bitstream/handle/11250/2491198/hogstad_masterop pgave_digitalversjon.pdf?sequence=1&isallowed=y​> macaulay, a. (2018) ‘review: with batsheva, politics inside and outside the joyce theater’. the new york times​ [online] 11 july. available from <​www.nytimes.com/2018/07/11/arts/dance/batsheva-oharins-virus.html​> naharin, o. (2017) ​venezuela​. [dance] boch center schubert theatre, boston, 6 april 2019. naharin, o. (2002) ​naharin’s virus​. [dance] jacob’s pillow dance festival, western massachusetts, august 2018. seibert, b. (2017) ‘review: ohad naharin's 'last work' isn't’. ​the new york times​ [online] 5 february. available from <​www.nytimes.com/2017/02/05/arts/dance/ohad-naharin-last-work-review.html​> author biography helen singh-miller is an artist and feldenkrais practitioner living and working in cambridge, ma. drawing on somatic education and contemporary dance, her still and moving-image work explores the relationship between visual representation and embodied experience. ​grand union (2018), her recent film incorporating elements of family life and postmodern dance, was installed singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 9 http://www.broadwayworld.com/los-angeles/article/bww-review-what-will-they-do-next-batsheva-dance-companys-venezuela-at-royce-hall-at-ucla-20190318 http://www.broadwayworld.com/los-angeles/article/bww-review-what-will-they-do-next-batsheva-dance-companys-venezuela-at-royce-hall-at-ucla-20190318 https://www.mrgagathefilm.com/ https://ntnuopen.ntnu.no/ntnu-xmlui/bitstream/handle/11250/2491198/hogstad_masteroppgave_digitalversjon.pdf?sequence=1&isallowed=y https://ntnuopen.ntnu.no/ntnu-xmlui/bitstream/handle/11250/2491198/hogstad_masteroppgave_digitalversjon.pdf?sequence=1&isallowed=y http://www.nytimes.com/2018/07/11/arts/dance/batsheva-oharins-virus.html http://www.nytimes.com/2017/02/05/arts/dance/ohad-naharin-last-work-review.html at the 33rd bienal de são paulo. in 2016-17, she was awarded a harvard film study center fellowship for ​and after these things​, a portrait of caregiving across community and class. editor of ​the feldenkrais journal​, singh-miller writes regularly on the aesthetic dimensions of everyday activity. she has written for the drawing center, the orion society, mozarteum salzburg, trade school, estar(ser), comet books, and ​feldenkrais zeit​. she contributes material inspired by somatics to exhibitions and performances internationally and teaches time in studio foundation at the massachusetts college of art and design. email: ​hsingh-miller@massart.edu singh-miller • ​feldenkrais research journal, volume 6​ (2018-2019) 10 mailto:hsingh-miller@massart.edu feldenkrais research journal​ • ​volume 6​ (2018-2019) original research from posture to acture: developing awareness in movement and performer training in uk higher education using the feldenkrais method​® kene igweonu phd; deputy dean (research & knowledge exchange), faculty of arts & creative industries, middlesex university, london contact: ​k.igweonu@mdx.ac.uk abstract the last three decades has seen the feldenkrais method continuing to gain acceptance within uk higher education as a pedagogical tool which offers dynamic approaches to performer training that complements, and often challenges, established modes of learning and teaching that are body-centred and somatic. this article draws on a longitudinal study that i started in 2010, and which has been sustained through my teaching and practice research work. it discusses the growing practice of incorporating the feldenkrais method in movement and performance training within the uk higher education context and explores some of the strategies and approaches adopted by practitioners of the feldenkrais method in their work with performing arts students. the article emphasises that this growing interest in the use of the feldenkrais method in movement and performer training programmes have meant that practitioners often adapt their approaches to teaching the feldenkrais method in its ‘pure form’ and instead introduce a range of ‘scaffolding’ techniques in order to cultivate and sustain students’ engagement with the learning process. furthermore, it contends that the feldenkrais method does not function as a performer training technique in itself, but as a viable foundation for underpinning the learning and teaching of technique. the article concludes by iterating the case for foregrounding the feldenkrais method in movement and performer training within uk higher education due to its effectiveness for facilitating experiential learning, heightened psycho-physical awareness and efficient self-use among performing arts students. keywords feldenkrais method, awareness, movement, performer training, higher education, somatic, reflexive practitioners copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:k.igweonu@mdx.ac.uk https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 2 original research from posture to acture: developing awareness in movement and performer training in uk higher education using the feldenkrais method​® kene igweonu phd; deputy dean (research & knowledge exchange), faculty of arts & creative industries, middlesex university, london introduction the use of the feldenkrais method in performance training dates to the work of moshe feldenkrais in the 1970s when he first taught actors and dancers in the united states and israel. it was also during this period that the renowned theatre director peter brook invited him to teach the method to actors at ​théàtre des bouffes du nord​ in paris. following feldenkrais’ work in paris, monika pagneux who, at that time, was movement director for peter brook's company went on to propagate the feldenkrais method through her own work. even though pagneux is not a practitioner of the feldenkrais method, her approach to movement training drew extensively on the feldenkrais method. as one of the foremost teachers of movement in europe, pagneux’s influence in performance training is quite profound and far reaching. through her former students, pagneux continues to play a key role in the recognition and acceptance of the feldenkrais method as a somatic discipline and practice that is suitable for training in the performing arts. within the past three decades in the united kingdom, the feldenkrais method has continued to gain significance within the performing arts community through events like the international workshop festival. the international workshop festival started in 1988 as an annual festival of workshops and demonstrations by established practitioners from a variety of performing arts disciplines and backgrounds. focusing on themes such as “the performers energy” in 1995 “...and movement” in 1996, the international workshop festival provided a platform for garet newell, educational director of the first uk feldenkrais method training programme to teach the method to professional performers in the uk. however, the inclusion of the feldenkrais method in uk higher education (he) curriculum is traceable to the pioneering work of richard cave, emeritus professor of drama and theatre at royal holloway, university of london. on qualifying as a practitioner of the feldenkrais method in 1998, cave went on to design and institute what is arguably the first uk higher education course in physical theatre that embeds the feldenkrais method as a distinct part of the curriculum at royal holloway’s department of drama and theatre. following cave’s retirement in 2009, libby worth has continued to deliver igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 3 the feldenkrais method provision at royal holloway. like royal holloway, london metropolitan university, university centre doncaster and university of wales trinity saint david (swansea metropolitan) had the benefit of academic staff who are practitioners of the feldenkrais method who had also been successful at embedding the feldenkrais method in their respective performing arts programmes. to this extent the works of thomas kampe, former coordinator for dance and movement at london metropolitan university and now at baths spa university, dianne hancock, course leader for theatre and applied practice at the university centre doncaster, as well as my previous work within the performing arts programme at university of wales trinity saint david (swansea metropolitan) and later at canterbury christ church university, have sustained and helped to facilitate a greater recognition and acceptance of the feldenkrais method as a practice that is suitable for training in performing arts within the uk higher education. many other universities have also gone ahead to integrate the feldenkrais method into their performing arts programmes as a result of working with academic staff members or visiting lecturers who are qualified practitioners of the feldenkrais method. more recently, this increase in number of qualified practitioners who are teaching in higher education has been boosted by the introduction of the second uk feldenkrais method professional training programme in london. a notable feature of the london training, which graduated its first set of qualified practitioners in august 2015, is that scott clark who introduced and leads the training programme under the educational directorship of elizabeth beringer, was a founding member of the siobhan davies dance company. as former dancer and someone who has trained a lot of dancers and taught functional anatomy at roehampton university, clark’s london professional training programme continues to attract a lot of performing artists. key to the adoption of the feldenkrais method in uk higher education is its perceived usefulness for developing pedagogical ideas as a pedagogical tool and offering dynamic approaches to learning that complements and often challenge established modes of teaching and learning that are body-centred and somatic. however, the pace of this adoption has been rather slow, since it relies on the presence of a feldenkrais practitioner on the teaching team, who is involved in curriculum design as a programme leader or one who is sufficiently empowered to introduce new ideas and materials to students. therefore, to investigate and document the use of the feldenkrais method as a performer training methodology within uk higher education, i initiated a longitudinal research project in 2010, with funding from the higher education academy (now advance he). in addition to identifying uk universities teaching the feldenkrais method as part of their movement and performance training programmes, my longitudinal study aimed to consider how movement and performance training pedagogies at other institutions could be expanded to include training in the feldenkrais method, as well as to generate interest in feldenkrais method as a useful performer training methodology. since the commencement of the longitudinal study in 2010, there has been the publication of a special edition of the ​theatre, dance and performance training​ journal (2015), which was dedicated to the feldenkrais method and performer training, as well as a seminal book titled ​feldenkrais igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 4 method for actors​ by victoria worsley (2016). these developments have both continued to influence my feldenkrais work with students. more significantly, they point to the growing acceptance of the feldenkrais method within uk higher education, as a viable tool for performer training. the feldenkrais method the feldenkrais method was developed by moshe feldenkrais (1904-1984) as a method of somatic education which draws on his vast knowledge and expertise in physics, engineering and judo to help the individual discover new possibilities and choices in movement. the feldenkrais method is a somatic discipline that is based on sound mechanical and neurological principles which are easily accessible through unforced physical movement based on simple re/organization and re/alignment of the body in time and space. kampe defines it as “an investigative practice focusing on self-awareness, reflective practice and analysis through modes of embodiment, self and peer observation” (2010a). in essence, the feldenkrais method is a pedagogical method which emphasizes experiential learning by helping the individual to gain a heightened psycho-physical awareness, providing more options and enabling the individual to make intelligent choices about everyday movement and action. this idea is equally identified by alan questel as being central to the practice of the feldenkrais method: one of the basic tenets of the feldenkrais method is to increase our options and create more choices about how we do things. rather than teaching the right way of doing something we evoke more possibilities. (questel 2002: 14) the feldenkrais method employs awareness through movement​®​ (atm​®​) and functional integration​®​ (fi​®​) as means of enabling the individual to experience the transformative miracle of efficient, integrated and aesthetically pleasing movement. this is because the feldenkrais method lessons are structured in such a way that enables individuals to develop in their self-awareness, and consequently discover and choose new patterns of movement which enables them to let go of old habits and patterns of movement for more efficient ones. functional integration is a hands-on approach that enables the practitioner to use his physical organisation and experience to guide the student to discoveries. in functional integration, lessons are bespoke and are selected by the practitioner to address the individual’s movement habits and physical organisation. awareness through movement, on the other hand, is usually experienced through group lessons that involve verbal instructions in that exploratory journey to a more efficient and functional use of the whole self in movement. in awareness through movement the practitioner uses verbal prompts and instructions to lead a group of students through a sequence of movements which are explored using gentle movement and repetition. at the heart of the teaching and practice of the feldenkrais method is the concept of “awareness” which it addresses using movement as a vehicle. simply put, ‘movement is the basis of awareness’ (feldenkrais 1990: 36). awareness, according to moshe feldenkrais, is ‘consciousness together igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 5 with a realization of what is happening within it or of what is going on within ourselves while we are conscious’ (feldenkrais 1990: 50). this awareness using the art of “questioning” is central to the teaching and practice of the feldenkrais method – as an inquiry-based system of learning and unlearning movement habits. the feldenkrais method is quite useful to the performer in that it not only provides the vehicle of enquiry but, more importantly, it presents the performer with the clear indications as to “what to question” and “how to question”. the feldenkrais method offers the performer a space in which to listen to himself and to enquire about his physical organisation and relationship to the world around him. this space equally provides the performer with the unique opportunity to notice, to be uncertain and to change long held habits that will in turn lead to greater ease, sophistication and creativity in movement, play and action. writing on this moshe feldenkrais notes that ‘the lessons are designed to improve ability, that is, to expand the boundaries of the possible, to turn the impossible into the possible, the difficult into the easy, and the easy into the pleasant’ (feldenkrais 1990: 57). for some, uncertainty and puzzlement can often manifest at the early stages of a feldenkrais method lesson. however, as the enquiry deepens, and students begin to attain a greater sense of awareness, they will start to gain much better clarity about their subject of enquiry – their physical organisation and relationship to the world around them. in turn, they will achieve greater efficiency and fluency in movement, as well as the confidence that comes with the possibilities that this growing awareness presents. for the performer, this will most often lead to their being able to make better judgements about how they apply themselves in training and performance situations. in this system of enquiry, the answers are often not as important as the process of arriving at them. this is because, by emphasizing “awareness” of the process instead of finding the “right” answers, the feldenkrais method places the performer in the strong position to be an efficient and creative mover. research design and pilot project this paper draws on a longitudinal study that started in 2010 with a higher education academy teaching development funding, and which has been sustained through my practice research work with drama and performing arts students, first at university of wales trinity saint david (swansea metropolitan) and more recently at canterbury christ church university. the research project that underpins this essay has as one of its key aims, the exploration and documentation of the growing practice of incorporating the feldenkrais method in movement and performance training within the uk higher education context. the project also looked at some of the strategies and approaches adopted by feldenkrais practitioners in their work with actors, dancers, musicians and performers in general. the project employed qualitative research methodology in the form of teaching observation and interviews with fifteen feldenkrais practitioners i had identified through the feldenkrais guild uk as being involved in performance training at higher education level. the teaching observation and semi-structured igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 6 interviews for this longitudinal project were carried out at the onset, between january and march 2010, and have continued to feed into ongoing practical explorations with different cohorts of drama students at my institution. in addition to the teaching observation and interviews, the initial phase of the project also featured a demonstration workshop led by richard cave and garet newell, which provided a unique opportunity for students and colleagues from other higher education institutions to further explore the feldenkrais method in its application to performance training under the guidance of these two respected teachers and practitioners. when examined in relation to the other areas of the performing arts, dance practitioners have the longest tradition of using the feldenkrais method, possibly due to the fact that many dancers come to it as a result of injury. the composition of the interview sample of practitioners of the feldenkrais method was fairly evenly distributed among the subject discipline areas even though, as i anticipated from the start, dance and physical theatre practitioners using the feldenkrais method were better represented than those involved in drama and acting programmes. for each interview, i travelled to the interviewees’ institutions or practice locations to conduct a face-to-face interview with them. the focus of each interview was on their processes and experiences of working with, or training, performers within the higher education environment. interviews were semi-structured, and after going over the participant information sheet and the project aims, interviewees signed consent forms allowing me to make audio recordings of the interviews. each interview lasted an average of one hour. interviews generally began with the interviewees giving a brief background to their feldenkrais practise and their thoughts on using the feldenkrais method in performer training. the interviews focused specifically on the tutor led approach of “awareness through movement” as opposed to the hands-on, one-to-one approach of “functional integration”. the rest of the interview was structured loosely around a number of questions which explored perceived value of the feldenkrais method in performer training, the level of institutional support available for developing this work with students, and whether the practitioners adapted the feldenkrais lessons to suit the specific training needs of the students they are teaching, and how students received or responded to the lessons. the interviewees were also encouraged to, where necessary, digress and talk about other aspects of their feldenkrais work with students that were not directly addressed by my questions. this approach resulted in interviewees identifying a number of concerns about the practicality of assessing the feldenkrais input on performer training programmes. given that assessments are vital in appraising students learning and achievement of set module or programme outcomes, the practitioners were encouraged to share their views on how best to measure and assess the impact of feldenkrais lessons on students. some of the practitioners work as guest lecturers at institutions where they are often called upon to teach students on courses with set assessments which address specific module outcomes. consequently, they were not required to assess any aspect of the feldenkrais method work undertaken with the students. one such practitioner, maggy burrowes, reported that she sees her teaching of feldenkrais as an opportunity to engage the students’ curiosity: igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 7 i have often found myself teaching students in a format that is not overseen by other members of the teaching community and not assessed as part of the students’ qualification. i always approach these situations as an opportunity to stimulate the curiosity of the student and encourage their confidence in their capacity for self-development. (burrowes 2010) on the other hand, there are other practitioners who were interviewed as part of this project who teach modules that have the feldenkrais method written into it in ways that mean they could be assessed. this latter group hold the view that “reflective journals” by students have proven an effective means of assessing the feldenkrais method within a performer training context as individual students learn and experience the lessons differently. this is primarily because a key benefit of the feldenkrais method is its ability to transform the way students’ approach training and performing as they develop a heightened awareness of their physicality. focusing assessment on students’ reflexive accounts of their embodied learning and engagement with the process, provides them the freedom to build on the awareness of their habitual patterns to move in ways that are most useful for the creative tasks they want to achieve. this is observed by questel who notes that ‘to be able to fulfil one’s intention in action is essential to the ability to create a role and to tell a story’ (questel 2002: 13). when it is taught effectively, the feldenkrais method can enable students and performers to develop a heightened awareness of themselves in stillness and in action. in other words, students are encouraged to take advantage of their increased somatic awareness in ways that enables them to sense how they are organised, moment by moment, in performance and everyday life and to eliminate “parasitic efforts” that are not necessary for the specific actions or movements they are trying to accomplish. the general view among the practitioners interviewed was that any assessment framework for articulating benefit to students should not be performance based but should consider the students’ developing awareness of habitual patterns of stress associated with particular movements and actions. the feldenkrais method develop students’ capacity as reflexive practitioners by creating a safe space for students to be curious, experiment with ideas and potentially “fail” without repercussion. this reflects questel’s position that ‘the quality of the environment created by the feldenkrais practitioner is one of safety, where people are free to make mistakes and to explore without having to succeed’ (questel 2002: 13). creating a supportive environment is essential for learning in general, and this is also true for teaching a feldenkrais lesson. the support structure can take many forms including the use of small groups, with students observing and offering feedback to each other. this helps to create a community of enquiry as a supportive framework in which learning can take place. it creates a “scaffolding effect” around the learners by providing individual, tailor-made support, utilizing small group work and feedback as a mechanism to support and encourage enquiry and focus the students on the process instead of the outcome. regarding the value of experience and collaboration in the learning process, moshe feldenkrais argued that ‘not everybody is capable of identifying himself easily, and one may be greatly helped by the experience of others’ (1990: igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 8 23). such collaborative or “assisted” enquiry encourages curiosity and experimentation within a framework that is both supportive and mutual. this process of assisted enquiry is possible because, as libby worth observes, the ‘non-judgemental approach that the method supports encourages creative response and personal exploration/ discovery’ (2010). kampe further argues that ‘as a non-corrective, and thus inclusive open-ended system focusing on the facilitation of learning through experience, questioning, and problem solving, it [the feldenkrais method] has had a tremendously empowering impact on my students in all areas of practical study movement for actors, dance education and training, choreographic and performance making syllabi’ (2010). adopting this approach to teaching the feldenkrais method encourages students to build on peer and tutor feedback to ask further questions about their physical organisation and relationship to the world around them. in this way, students working in small groups, act as co-enquirers by asking similar questions about their own physical organisation and relationship to the world around them as they work with each other. this relationship as co-enquirers also operates when a student is working directly with a practitioner of the feldenkrais method. both of them function as “learners” in the sense that the practitioner can gain new and useful insight from the enquiry process of the student. however, in this relationship, the practitioner retains his primary role as a guide, helping the student to make sense of their experience of the enquiry. recent developments: encouraging curiosity and experimentation movement is an integral part to the actor’s ability to tell the story. this is true not only in terms of what is to be expressed and communicated, but also in terms of tuning, refining, and developing the instrument. the feldenkrais method presents a unique opportunity for the actor to create a role, as well as gain a deeper understanding of the creative process. (questel 2002: 11) a key issue that emerged from the pilot study is that the feldenkrais method must not be construed as a technique that students have to learn and adopt to be good performers. instead, it must be seen as helping to develop a viable foundation of awareness on which different techniques can then be built. seen from this perspective, one can argue that the feldenkrais method is most useful for underpinning the teaching and learning of technique primarily because it does not function as a technique in and of itself. since the pilot, i have continued to implement this approach and some of the strategies it fosters in my work with undergraduate drama and performing arts students. the strategies are useful as they operate in such ways as to encourage curiosity and experimentation in performer training. principally, strategies for teaching the feldenkrais method in my work with students focus around its more generic use for developing embodied awareness or physical control, which can have a significant impact on their learning of techniques with regards to aspects such as balance, stability, range of movement, comfort and ease. igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 9 a second approach has to do with its more nuanced usage as material for creating performances, which draws on the students’ experiential knowledge of the feldenkrais method and the heightened psycho-physical awareness it engenders to uncover new possibilities and choices in movement. it is however worth noting that both approaches are not mutually exclusive and can indeed be applied alongside each other. writing about her work in introducing the feldenkrais method within the undergraduate theatre programme at university centre doncaster (ucd), dianne hancock notes that: the feldenkrais method was introduced into the curriculum at ucd as an extension of the teaching in voice and movement. the application of feldenkrais method within an actual performance is left to the interpretation of the student and the challenge of bringing feldenkrais method into theatre performance has had varying interpretations. while feldenkrais method teachers such as richard cave and libby worth at royal holloway encouraged students to integrate fm lessons into their performances, students at ucd have opted to use the work as an underpinning skill for physicality on stage. (2015: 169) even though hancock’s approach to teaching feldenkrais to her students seems to focus on what i have described as its more generic use for developing embodied awareness or physical control, students were also given the opportunity to experiment with integrating and applying it to performance making. however, from hancock’s account, it is evident that colleagues at royal holloway encouraged this approach outright. this approach can also be found in the work of thomas kampe who further explores ‘the possible applications and resonances of the feldenkrais method within the context of performance making rather than performer training’ (2010b: 38). while my approach, like hancock, has mainly centred on the generic use of the feldenkrais method for developing embodied awareness or physical control, i have nevertheless retained a keen interest in exploring its potential for inspiring curiosity as students experiment and push the boundaries of possibility in performance making. in this respect, i would often introduce a creative task as a starting point for the awareness through movement enquiry, which may take the form of an improvisation or characterisation task. i would often start by asking the students to walk around and explore the studio space. while walking, students feel how they shift their weight around the pelvis, how they carry their heads and hold their shoulder. i ask them to explore the sounds they make as they walk around the room, both vocal sounds, their breathing and the sound of their feet against the floor. i encourage them to pay attention to these sounds as they continue to move and explore when they feel or sound the strongest/ clearest or weakest/ faintest. after some minutes of self-observation, i ask the students to lie down on the floor and take them through a mini awareness through movement of an adapted “pelvic clock” lesson lasting about 15 minutes. this use of mini awareness through movement’s emerged from the pilot study, which found that students, particularly those new to the method, often found it difficult to remain engaged for the 45-60 minutes it usually takes to complete a full awareness through movement lesson. igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 10 however, ‘spending an average of 15-20 minutes on each lesson when working with students at undergraduate level is recommended in order to retain their attention. the time spent on lessons can then be extended as the students develop in their training’ (igweonu 2010: 21-22). after 15 minutes of exploring the “pelvic clock” while lying on the floor, students stand and continue to explore the lesson in standing. this is where the characterisation work begins. drawing on their curiosity and sense of fun, the students move around the space once more while continuing to shift the weight of their pelvises in different cardinal directions and to experiment with sensations, postural shifts and changing sounds that each variation of pelvis conjures. finally, i ask the students to reflect on their experiences of developing characterisation from this exercise and to share feedback with the group. generally, i find that it is crucial, in working with undergraduate students, to introduce feldenkrais lessons using appropriate ”scaffolding” techniques such as peer observation and feedback. at this point it is helpful to clarify that throughout this article, indeed throughout the research project that underpins it, i have directed my attention to undergraduate students studying at universities as opposed to those training at conservatories. traditionally, conservatories have a much stronger vocationally-oriented training focus than universities, which have a more broad-based educational remit. due to this emphasis on vocational training, conservatories are more highly selective than universities, and instead of a limited number of contact hours per week that university students would receive for practical training, conservatory students receive substantially more contact hours often encompassing a 09:00 to 17:00 daily routine, which is entirely training-oriented. so, while a scaffolding approach is beneficial in working with students in general, it has a crucial role to play in a university context where the contact hours devoted to practical training are limited. as part of the scaffolding approach, it is important not to underestimate the usefulness of allowing ample time for peer feedback after each lesson. in my practice, this includes encouraging students to use the time to record their experiences in their journals and logbooks as part of their reflexive practice. comments from feedback sessions with students point to the effectiveness of scaffolding approaches that privilege group reflection and feedback. for instance, reflecting on the group feedback after a lesson in 2015, one student recounted how ‘two other participants in today’s session commented that after the session, they felt as if they could ‘float’ home. they also agreed that they have experienced a positive release in their mind and body […] they both observed that they felt grounded to the floor in today’s feldenkrais lesson, and also that their chests felt open with their shoulders loose and pushed back’ (personal communication, 2 october 2015). reflecting on another lesson in the same year, a second student observed that ‘at the end of the session, when we were asked to walk around the room, i and others commented that we all felt taller; upright. our horizons were directed up towards the top of the wall ahead rather than tilted down. the neck felt light and flexible in movement when looking over the shoulder both left and right. i felt a sense of confidence and igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 11 alertness, which could be connected to walking upright and straight.” (personal communication, 2 october 2015). conclusion: looking to the future there is a growing amount of work being done within uk higher education performer training programmes, which recognises the immense benefit of the feldenkrais method to students. there is also considerable enthusiasm among the practitioner community to continue to explore creative ways of embedding the feldenkrais method within higher education performer training. it remains the case that only few performing arts programmes at uk higher education institutions have a feldenkrais method component as a distinct part of their curriculum, mainly due to the influence of individual practitioners employed at these institutions who are in positions that allow them to influence curriculum development. even though many of the practitioners that took part in the pilot study contribute to courses that do not have the feldenkrais method fully embedded in them, they all expressed enthusiasm about some of the positive changes that are beginning to take place as more performing arts academics train to qualify as feldenkrais practitioners. nonetheless, there is still much work to be done in exploring the application of the feldenkrais method to performer training and performance making processes and embedding it more firmly within the performing arts curricula in the uk. the feldenkrais method supports many other techniques and training methods by facilitating efficient self-use and bodily awareness which can be applied to all other physical activities required by the actor. this is because at the heart of the feldenkrais method is the development of a heightened awareness of the self in stillness and in action. this need to awaken and develop awareness and self-reflection in students is key to the adoption of the feldenkrais method in performer training. the feldenkrais method has much to offer performing arts students as a heightened psycho-physical awareness and the ability to make intelligent movement choices can contribute immensely to their success as creative practitioners. what my work, and that of many other practitioners working in higher education, has shown is that the feldenkrais method is essential as a foundation in physical training and should be placed at the forefront of performer training in uk higher education. references feldenkrais, m. (1990) ​awareness through movement​. new york: harper collins hancock, d. (2015) ‘teaching the feldenkrais method® in uk higher education performer training’. ​theatre, dance and performance training 6 (2)​, 159-173, doi: 10.1080/19443927.2015.1043468 igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 12 igweonu, k. (2010) ​feldenkrais method in performer training: encouraging curiosity and experimentation​. project report. swansea: centre for innovative performance practice and research kampe, t. (2010) ‘weave: the feldenkrais method as choreographic process’. ​perfformio​ 1 (2), 34-52 questel, a. s. (2002) ‘the feldenkrais method: application for the actor’. ​feldenkrais journal (14), 11-16 worsley, v. (2016) ​feldenkrais for actors: how to do less and discover more​. london: nick hern books interviews burrows, m., interviewed by igwenou, k., february 15, 2010 kampe, t., interviewed by igwenou, k., february 26, 2010 worth, l., interviewed by igwenou, k., february 2, 2010 biography dr kene igweonu is deputy dean (research and knowledge exchange) for the faculty of arts and creative industries at middlesex university london. his research and publication interests are in actor and performance training, directing, black british theatre, theatre and performance in africa and its diasporas, as well as the feldenkrais method in health, wellbeing and performance training. igweonu • ​feldenkrais research journal, volume 6​ (2018-2019) 13 feldenkrais research journal • volume 1 (2004) editorial foreword: science, research and our professional field cliff smyth iff president; feldenkrais center for movement education, san francisco keywords feldenkrais, learning, brain, movement, embodiment, scientific method, phenomenology copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author foreword: science, research and our professional field by cliff smyth i am delighted to be able to write a few words of introduction to this new international feldenkrais federation journal. it is published at a very important time. there is clearly an upsurge of interest in science and research in our professional field. in december 2002 almost 200 feldenkrais practitioners and other professionals gathered in paris for the "learning, brain and movement" meeting – "a dialogue between leading scientists and feldenkrais teachers". 1 coming later this year is the symposium on research and the feldenkrais method on "movement and development of sense of self" 2 – to be held in seattle in august. we can all benefit from the development of the thinking and dialogue in our community about research and our developing relationship with the world of science. what is research for? i believe that for us, as practitioners, and for most of our clients and students, we don't 'need' scientific research to 'prove' the feldenkrais method 'works'. we experience its effectiveness for improving our action in the world. ours is a sophisticated practice. one of the scientists at the paris meeting suggested that it might take 500 years to conduct research into all the aspects of the feldenkrais method! there is an enormous amount to be understood about our method – just for ourselves. research is a particular way of asking questions – sometimes hard questions. useful understandings can flow. implicit in our work are many aspects of the scientific method as it is actually practiced in the lab. there are new bodies of scientific knowledge – from cognitive psychology, neuroscience, and many other fields – we can draw on to reflect on our practice. increasing our scientific literacy can improve our ability to think about our work. at the same time, the rest of the world is increasingly seeking to understand us and wondering how to value what we do. we live in a world that continues to privilege scientific paradigms. the nature of modern society means that institutions seek proof of the efficacy when adopting or including new approaches. they look for at least some research into outcomes to justify their decisions – especially financial ones. how to go about researching our rich practice? in many ways we are at a similar stage of development that the natural sciences were hundreds of years ago before the development of strong theories and sophisticated tools of measurement. one possible approach is to pursue phenomenological concepts: finding ways to create the kinds of 'thick description' of what we do that the anthropologists utilise in their fieldwork. we have made a good start with a strong tradition of writing and publishing case studies in our journals. we need to continue to improve upon our ability to reflect on what we are doing as we are doing it – this is essential for practicing professionals. this will not only inform our 1 the “learning, brain and movement” meeting in paris, december 2002 was initiated and made possible through the united work of sabine pfeffer and accord mobile, carl ginsburg and roger russell. 2 “movement and development of sense of self” in seattle, august 2004, was initiated by esther thelen, roger russell and ulla schläfke and is supported by the fgna. 2 c.smyth/feldenkrais research journal 1 (2004) practice, but help us "...to find ways of articulation what we are actually doing, moving it closer to the possibility of empirical studies that would in turn illuminate our work".* there are many challenges. one is non-specificity of the 'outcomes' of what we are doing. what should we be observing, measuring and asking questions about? what constitutes improvement? when is an improvement in one part of a complex system meaningful in the dynamics of the whole system? should we be asking about movement, pain, creativity, quality of life? many of us, thinking about the feldenkrais method, find an affinity for ideas falling under the heading of 'dynamic systems approaches'. yet these conceptual approaches present significant difficulties in designing research – identifying suitable questions, identifying and capturing the complexity of the interactions between large numbers of variables, etc. empirical research presents its own unique challenges: what should we be measuring? what tools are appropriate? what is a meaningful result in terms of our practice? despite – or because of – these constraints, embracing the question of research has much to offer us. to better understand what we think we are doing. to better understand some of the phenomena we observe in practice. clarifying our language. and the possible social acknowledgement. for these benefits we need to engage in a dialogue within our professional field about research – and a dialogue with science and scientists about their practice. this journal will be part of that process. i am very pleased that this is the first of step of a continuing project of the iff academy to publish an ongoing iff research journal. very special thanks go to dr werner kraus, former iff board member and holder of the research portfolio, who has worked for a long time to see this journal come to fruition. also the iff's new academy co-ordinator, carolin theuring, who has worked to pull this journal together in the last months. cliff smyth, iff president, march 2004. * don hanlon johnson (ed). groundworks: narratives of embodiment, north atlantic books, berkeley, 1997, p. 4. feldenkrais research journal​ • ​volume 5​ (2016) hypothesis and theory / history teaching through movement: a detective story sondra fraleigh ma, feldenkrais practitioner; professor emeritus of dance of the state university of new york; director eastwest somatics for yoga, dance, and movement studies keywords movement, teaching, phenomenology, feldenkrais method copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/fraleigh http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/fraleigh hypothesis and theory / history teaching through movement: a detective story sondra fraleigh ma, feldenkrais practitioner; professor emeritus of dance of the state university of new york; director eastwest somatics for yoga, dance, and movement studies 1. first approximation: introduction i began my studies of the feldenkrais method​®​ in my early fifties, and it has blessed my life and teaching ever since. some special teachers i remember are larry goldfarb for his humor, frank wildman for his thoughtful objectivity, and elizabeth berringer for her enthusiasm and clarity. i had one class with ruthy alon, appreciating her rich grasp of movement and ability to connect with students. i appreciated the ease of mark reese’s classes and the joy of donna ray. i was hoping to study with martin weiner and was about to go to a home-stay workshop with him when i learned of his death. i feel i missed something very special, and i especially appreciate that ‘the feldenkrais journal’ on “improvisation” reprinted his article on ‘functional integration as improvisational art.’ ​ it appeals to me as a dancer-improviser. 1 here i want to explore what the feldenkrais method has taught me about teaching, if that isn’t too redundant. i employ phenomenology as a method in this attempt to unpack my evolution as a teacher over a period of about fifty-two years. i began teaching dance in university dance programs when i was twenty-three years old, and i’m now seventy-five. i continue to teach, but in a more expansive somatic context. i love teaching; it brings me gladness and peace. i’m probably at my best right now, even though i am not the adroit mover i once was, or perhaps it depends on the circumstances. i can no longer leap through space as i did when i danced on stage and taught high-level performers. but my present performances are more nuanced, and i have more expressive potential. as a teacher, i can pay attention better. the students’ understanding of the movement at hand is what matters to me in the moment. i’m not distracted, and i’m not afraid. i connect to students through what we are doing in a way that wouldn’t have been possible for me early on. i pay attention to them and lose myself in the processes we experience together. i channel my spontaneous self. how did all of this happen? to answer this, i need to research my teaching history somewhat like a detective, which is to say, a phenomenologist. thus, i’m open to discovery. i understand 1 first published in the “performing arts” issue of the ​feldenkrais journal​ ​14​ , (spring 2002), and reprinted in the ​feldenkrais journal 27​ on “improvisation” (2014). fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 2 from the outset that the feldenkrais method has been important in my growth as a teacher. feldenkrais entered late into my university teaching, and still later is informing my ​eastwest somatics institute for yoga, dance, and movement studies​ . phenomenology as a philosophy and method has been equally influential in my teaching and writing for many years. i hope in this short article to identify some common threads between phenomenology and the feldenkrais work, including matters of perception and intention, which are important to both. throughout this article, i expand a view of teaching relative to phenomenology and somatic education. at the end, i summarize my discoveries on a detective storyboard. what does it mean to research a topic or even one’s own experience through phenomenology? the first paragraph of this essay might qualify as a self-evidential phenomenological description, or a “first approximation” (as i learned this expression through the feldenkrais work), but it is more narrative than phenomenological. for the latter i will need to go more deeply into the topic of teaching—more specifically, teaching through movement, and still more specifically, engaging people in learning through movement. this will require me to bracket “movement” as a phenomenon, to set it aside as undefined, not assuming i know what it is, but letting its essences emerge as i consider it in context of teaching and learning. detectives do this also, when they are working on “hunches,” well at least they do in the movies. they question as they learn, and learn as they question. a phenomenon is simply “a thing”, anything that appears to consciousness. through its origins in husserl, phenomenology holds that consciousness is directed toward its contents, the things or objects of awareness (spiegelberg 1971). contemporary phenomenology describes and analyzes structures of conscious experience from the first-person point of view, including influential contexts of experience. since husserl’s first work on phenomenology, published in 1900, we continue to study the central structure of an experience as its ​intentionality​ , the way it is directed through its content (husserl 1970). the content would be, in reductive terms of phenomenology, ​the thing itself​ . it can be great fun to pursue such essences like a detective story unfolding, where one doesn’t know the ending in advance. on the face of it, one might say that movement is ​the​ ​thing​ we are pursuing, but i think not. 2. second approximation: the phenomenon teaching through movement​ is the phenomenon of the present study. for me, teaching through movement entails knowing how to visualize and make movement patterns come to life for students, contextualizing movement in curious configured sequences, in dance forms, through touch, and in yoga. context births content in movement: shape, line, design, and factors of time emerge in terms of the movement mode employed. the “what” of it comes into play. human movement is just an idea until someone actually, well, ​moves. ​ someone makes a change, a shift, a repositioning, or transfers weight from one foot to another to move through space. movers might scoot along the floor also, or walk on their hands. when people move, they make a change of location, or a change relative to their own body space. but there is of course much fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 3 more involved in movement than change, since movement cannot be separated from the mover. as a detective, i am already making discoveries regarding oneness, and as a phenomenologist, i’m defining a nondualist perspective on movement and mover. people are involved in educational interactions, teachers and students who move; thus, i need to include ​ways in which people experience movement​ and how teachers and students relate. the thing itself​ , or the phenomenon we study, also indicates relationships and ​intentionality​ , the intentions of both the teacher and the learner. without students, the teacher ceases to exist at least in her function of teaching. teaching and learning are related processes of education. i try to remember that ​educare, ​ the greek root of education, means to draw forth what the student already knows, as plato taught. 2 teaching is a process of ​facilitation​ in this view and not of “stuffing” information or “training” through exercise. learning is a process of transformation (positive change) and recognition of growth. as part of our story, the detective (researcher) might identify ​core existentials​ (experiential qualities and meanings) of teaching through movement, bringing to the fore the hermeneutic phase of phenomenology, or meanings derived from the search. we seek meaning in the form of pedagogical insight, and hope to summarize this on the storyboard. phenomenology is not simply personal, even if it respects intuition; its trajectory is toward shared meanings and values. neither is it simply a study of experience. rather phenomenology studies ​consciousness of experience​ . phenomenology shares this with the feldenkrais method, which emphasizes awareness​ of movement experience as primary in changing patterns of action. in this study, i draw upon ​my consciousness of teaching through movement​ . thus, it strikes me that i will need to say how movement can become a medium for learning. as a detective, i have a hunch that i should consider the content, processes, and methods of movement to make my study more concrete. i may be able to come to this through matters of consciousness, capturing a fresh view, which is the job of phenomenology. we have already mentioned the centrality of ​intention​ in teaching and learning. intentionality develops and deepens through active direction of perception, which as this study reveals at several junctures, is a matter of method or approach. a phenomenologist accepts that perception is an activity; perception is not passive, even if it has passive phases. we are not passive recipients of an outside world. we are in the world and part of the world, which is in us. perception, world, self, and intention all implicate each other. perception might be activated through intentions of care, fear, or apathy, for instance, which result in very different existential meanings. we shape experience through intention and interpretation. in this, we are all directors of our own lives. 2 class notes, john caton’s class on plato at brockport state college in new york, 1980. fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 4 i learned much about how such agency develops through body consciousness and in the person via the feldenkrais method. this method underscores perception in actual movement processes. more to the point, moshe feldenkrais finally named his method for teaching movement to groups – “awareness through movement​®​.” he believed people could improve their lives through movement. this was not a completely new concept for me in my teaching of dance, but i didn’t know how to put such an idea into practice. eventually, i learned, and am still learning as i expand my teaching repertory, stepping from one movement paradigm to another in a full day of teaching: from butoh (an original dance form that grew first in post ww ii japan) 3 into feldenkrais awareness through movement, exploring depth-movement dance (as i presently develop this in relation to improvised art), and maybe ending with somatic yoga. as a detective, i’m not satisfied to rest on one way alone; in the end, i find relationships that surprise me. students seem to enjoy the journey, as they find their own touchstones along the way. a large part of the journey for me as a teacher has been learning how to include everyone and anyone who wants to experience movement for personal growth. before i engaged the feldenkrais work, i had only taught select and talented dancers. what an evolution it has been for me to work with anyone who wants to come to my classes, workshops, and retreats. i continue to get better at teaching a wide-ranging population. my vision of what it means to teach has become more elastic. now i frame potentials through movement rather than insisting on a certain product or result. what a relief! as part of my present work, i’m teaching two very large classes of seniors in somatic yoga. it doesn’t look like feldenkrais work, and yet my vision of somatically inspired yoga wouldn’t be possible without my study of feldenkrais perspectives and other somatic modalities. of the several i have studied, including the alexander technique, craniosacral therapy, rosen breathwork, and integral yoga, feldenkrais has taught me the most about teaching. the framework of study in feldenkrais is about discovery. one doesn’t memorize patterns; one explores them, like a good detective or phenomenologist would. 3. third approximation: some things in movement one of the starting points of phenomenology through husserl is that consciousness has contents, and that contents structure consciousness, as we noted in the first approximation. in other words, to be conscious is to be conscious of “something.” the content, “the thing”, might be an idea, a form, a smell, a touch, a self-moving, a dance, or movement observation. if we are teaching something through movement, we assume that there is something to learn in the process of moving. we also suppose that movement has content that can be conveyed through processes and methodologies. the latter, we hope, will draw consciousness toward greater understanding or improvement. 3 for more on butoh, see sondra fraleigh, ​butoh: metamorphic dance and global alchemy, ​ 2010,​ ​ champaign: university of illinois press. fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 5 http://www.eastwestsomatics.com/ http://www.eastwestsomatics.com/ it is sometimes difficult to discern content in movement, unless one has a context for it. movement exhibits content in shape, time, design, and overall form, to name some of its discernable parameters, or elements. expressivity is also important as movement content, inseparable from the person in motion. expression is a “thing” as soon as we notice some expressive quality and name it. expressive content is individual and elusive, and thus a matter of subjective interpretation. in the eye of an aesthetician, movement has abstract shapes, expressive and communicative content, and all movement has style: rigid, flowing, sharp, closely held, thrown, clear or jumbled, etc. style is part of content, which might develop in a dance form like ballet, or in more personally emergent forms, like my dance improvisations or yours. repetition is part of content (also style, process, and method), as is apparent in atm patterns. we learn movement partly through repetition, but most effectively through approximations of these, and not through insistence. babies learn through trial and error, through explorative repetition, and quite naturally through the emergence of their innate potentials. adults can emulate infant ways of learning toward recovery of innocent effectiveness and joy. movement can be conceived and taught in patterns. pattern is readily apparent in spatial and temporal aspects of movement and a visible part of content. there could be several ways to define a movement pattern. i’ll just say for the sake of brevity that movement patterns are configurations of movement that can be repeated, maybe not exactly, but in the sense that they can be felt, seen, known, and replicated. somatic movement patterns often indicate (or intend) developmental aspects that go back to infancy, like pushing or pulling, or radiating from the center. stylistic parameters of patterns might be described in many ways, as simple or complex for instance, symmetrical or asymmetrical—or as a matter of style in terms of process: done gently and slowly, curling inward, reaching, falling, etc. the reader (as detective) might notice that structural categories of content and process begin to overlap at certain points, as movement itself does. we have not yet bracketed “method,” which is a term encompassing content and process. it appears immediately that methodology is a very large topic, so for our purposes here, we can state quite simply that a method is ​a way, a way of moving, working, and thinking. ​ one might also call it an overall approach. method will likely be an important element on the storyboard. a method is also one of the “things” of movement, as entering into and modifying the entire movement milieu of the student and consciousness of the teacher. “there is method in my madness,” i sometimes think as i teach. the madness is in the fun, surprise, and tears of it all. movement takes on personality qua method. it lives by way of it in matters of teaching and learning. 4. related methods: feldenkrais and phenomenology in light of method, i have experienced that ​ways of moving and learning ​ characterize feldenkrais, and these can lead to change in the person. ​ways of looking, describing, and fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 6 discerning meaning​ characterize phenomenology, and these can also lead toward change and developmental transformation. the operative verb here is “can” as in “able to.” together, teachers and students are able to realize the possibilities of learning through movement. key concepts shared by feldenkrais and phenomenology facilitate the possibilities, as below we view these methods side by side. we start with the study of experience, or consciousness of experience, since this guides the rest. the study of experience related studies in perception, volition, and bodily awareness are of particular interest to both phenomenology and the feldenkrais method, as ways of investigating any embodied action. philosophies of existentialism inform phenomenology, holding that experiences don’t occur in a vacuum. they root in contexts of place, time, and culture, and they have felt, affective registers as well as individual and interpersonal features. similarly, in feldenkrais studies, each person’s movement is considered to be experientially individual, not part of a type or pathology. husserl’s phenomenological view of consciousness did not include psychological conceptions, whereas martin heidegger and other existentialists offered ways to conceptualize experience (nathanson 1973, safranski 1998). existentialism extends phenomenology to the study of experience as embedded in consciousness of world, body, and psyche – in memory, imagination, emotion, and desire. feldenkrais implies these connections, but takes them in an oblique direction. mark reese explains that feldenkrais created a method of teaching through bodily awareness to ‘bypass learned ​inabilities. ‘​ like a great detective, he invented ‘surprise-ending lessons that bypass expectations’ (1999: 22). my phenomenology accepts that potentially fruitful experiential descriptions of teaching and learning through movement are almost limitless. as a phenomenon, human movement is existentially textured, and its many contexts are ripe for learning and reflection. people move their felt world into being and experience emotional qualities directly through movement, as both feldenkrais and phenomenology teach. phenomenological works of merleau-ponty and others put forward the concept of the “lived-body.” currently we also speak of the “living-body.” in both senses, we “are” our body. we are a “feeling” body and at the same time a “moving” body. for phenomenologists, affective life is indivisible from embodied movement. moshe feldenkrais expresses a similar view in ​body and mature behavior​ (1949: 173). less is more, habit, and hidden assumptions the feldenkrais method teaches that “less can be more”, offering the opportunity for deeper awareness. phenomenology teaches one how to hesitate in considering taken-for-granted appearances. martin heidegger liked to write about “hidden” ground. phenomenologists believe that human life and movement are pervaded with habitual perceptions (1998). this is also the perspective of feldenkrais. taking apart movement forms to see “how they tick” is useful to fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 7 learning. “let us see how this works, and what we can do with it,” i like to ask. “what is available that isn’t yet apparent to you”? phenomenology has become popular as a research method that employs first person experience and description, but descriptive narrative and story telling, interesting and useful in many ways, are not necessarily phenomenological. phenomenology is a descriptive analytical method that wipes the slate clean, so to speak, not depending on conventions of “the natural attitude,” the taken-for-granted, or on established theory. i like phenomenology because i can start fresh, somewhat the way i choreograph, zeroing myself to invent anew, as also in the feldenkrais approach to individuality. phenomenology is active: it should teach you something new or change your life in some way. the feldenkrais method is also an activity that proffers change in positive directions. it has taught me that movement can be conceived in many creative and interesting ways, and that however we appreciate top level performers, we can also encourage movement as the legacy of all who want to claim it. i disrupted my habits of teaching dance and movement when i took on the perspective of teaching “everyone.” i had to zero myself, and start all over again. i summarize the phenomenology of tabula rasa thinking on the storyboard – specifically in relation to habit and the feldenkrais method. in themselves, habits may be neither bad nor good, but they remain unquestioned, which is part of why they are habits. good detectives question their habits of thought, as they seek new solutions, untried paths and novel information. they pay attention to small details. when we move and pay attention to our movements, we encounter soma and psyche as our active and ongoing body of life. we study ourselves in living dynamic processes of becoming, which are sometimes confusing and never quite finished in time. as merleau-ponty suggests, ‘i know myself only insofar as i am inherent in time and in the world, that is, i know myself only in my ambiguity’ (1962: 345). as in an atm class, one can let go of expectations of being “right” in order to be whole in the movement of the moment. connectivity and change through functional integration and phenomenology our detective work has unraveled that ​teaching ​ is ultimately about ​learning​ . now we consider this in terms of connectivity. as phenomenology has taught through its many proponents from husserl to the existentialists, we cannot separate ourselves from the world. we are implicated from the start, as part of the otherness we perceive to be separate. we are not alone; separateness is an illusion, as i have also learned in studying eastern traditions, including yoga and buddhism. we might feel alone, however, as a matter of experience. surely many people feel isolated, depressed, and empty sometimes. feldenkrais functional integration​®​ seems to me predicated on appreciation of the underlying wholeness of human life and the understanding that through gentle movement reminders, people can access more of their oneness with the world and with others as they feel more fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 8 integrated: stable, peaceful, cohesive, included, and able to move easily and elegantly. a “reminder” in this case might be a movement cue, a prompt or response-producing stimulation occurring in the embodied partnership of student and teacher. i learned how to use my hands to listen in the feldenkrais method, and this created the conditions for relating to the other nonverbally. i also learned that fixed behavior can be unsettled toward choice, and that this is at once physical and emotional in its implications. i summarize this view of functional integration in several related points on the storyboard. consciousness with kinaesthetic self-knowing is available to us in resolving emotional habits through bodily means of movement. as moshe feldenkrais wrote: ‘when an emotional complex has been resolved, a specifically individual body habit is resolved simultaneously’ (1949: 173). movement, awareness, and responsibility as an evolving detective, i see a thread of ​bodily becoming​ in the story leading forward. we humans do experience separations and pain, as also oneness, ease, and happiness. the world of feeling is a shifting one. such shifts arise phenomenologically – as ways in which the world appears to us and is experienced. as a matter of experience, we can feel splits of attention, and we can even feel alien to ourselves. we can experience dualisms to be sure, but these are not metaphysical separations of body and mind. rather, lived dualisms are phenomenological (or experiential), as i consider extensively in an early work and revisit in a later one (fraleigh 1987: 13/15, fraleigh 2004, ch. 1). subjectivity is nameless until it coalesces an object of awareness. for instance, we can be aware of the movement of others, as also our own movement. in this sense, movement can be an object of awareness. in becoming more conscious of ourselves and self-reflective through movement, we can grow in awareness and agency. the feldenkrais work develops such conscious awareness – through movement. existential phenomenology stands in contrast to metaphysical essentialism, holding that the person plays an active role in shaping the objects of perception. at the root of feminism and existential phenomenology, simone de beauvoir put it famously in her benchmark work, ​the second sex:​ ‘one is not born, but becomes a woman’ (1972: ch. 12). sartre put the existential position succinctly: ‘existence precedes essence.’ ‘what we can become is not given in essence; thus are humans in a constant state of becoming as they create new knowledge and meaning. the views of existentialism refute notions of determinism, asserting the necessity of self-responsibility and choice in the unfolding of experience’ (1947). nonjudgment our detective work has already revealed that the teacher needs to understand the position of the student. moving and learning in positive supportive contexts builds confidence. this single fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 9 realization has done more to improve my teaching and relationships with students than any other thing. it broaches the topic of nonjudgment, which is a core existential value of both phenomenology and the feldenkrais method. as teachers, we can create conditions for the learner to feel supported and not judged. this means everything. when i first began teaching dance in my twenties, the university environments for learning how to dance had mostly to do with how movement “looked.” was it impressive? were students improving in their ability to “project” movement expressions to an audience? these and many other matters of theatrical objectivity were important, and so i learned how to teach movement in this atmosphere of calculation. it never seemed right to me however. i was aware of what students were experiencing and not just how they were performing. along comes the feldenkrais method in my fifties. (i’m a slow starter.) it gave me a framework for what i understood intrinsically. it taught me how to teach without judgment, a lesson i have never forgotten and employ daily. nonjudgment is embedded in the method, even if feldenkrais teachers have varying abilities to employ it. the storyboard speaks further to the importance of nonjudgment in teaching. nonjudgment in phenomenology broaches the topic of prejudice. letting go of one’s favored notions of how things are in order to get out of one’s own way. description in my evolution as a student of the feldenkrais work, i learned how to describe movement and accept many possible versions, as the storyboard takes up. in practicing non-judgment relative to description, i became fascinated with the variety, and lost my reliance on imitation as a mode of teaching movement and my insistence on how movement should look and be. i learned how to accept versions that altered my understanding of my own seemingly correct one. i loved being in the process of movement, the morphing of it, even as i understood that patterned forms could guide me. students began to see me as an unusual dance teacher. i have remained so, accepting movement on the verge as much as in its finished container. in the beginning of my teaching transformation, some dance students wondered out loud if i wasn’t just “lax.” then they began to see the value of self-forgiveness in their lives and careers. things don’t always just fall into line the way we think they will. students tell me often how much they appreciate having a model for letting go in bodily terms of movement and in teaching. some have revolutionized their own teaching, which they tell me about, since i have taught many dancers who have gone on to university teaching careers. teaching through description without judging emerging forms doesn’t mean one has no standards; rather, process trumps perfection. being whole in the dance, trumps being nervous about failing. description is a verbal methodological aspect of both phenomenology and feldenkrais. description aids discovery in both. i provide some specifics about describing movement on the storyboard. fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 10 discovery being open to surprise and discovery is a core value of both feldenkrais and phenomenology. it is also important in choreography (at least in my book). i bring this up because choreographers are also teachers, as they teach the dancers how to perform their choreography. somatic methods open new possibilities for originality in choreography. i modeled a dance work called meditations​ on my involvement in zen and my feldenkrais studies. i walked slowly and carried a stone in this dance. the active dancers could use my stillness. this work is described briefly at the end of the storyboard. my evolution as a teacher of yoga has also been inspired by feldenkrais openness to discovery. i have created a form of yoga called “land to water yoga,”​ (​ 2009) that is respectful of hatha yoga, but which takes it in an entirely new direction, more somatic and more western, envisioning the chakra energy centers of the body in terms of infant movement development. ​ ​ i gained the courage to go my own way through phenomenology, which i call “tabula rasa thinking,” and the feldenkrais method of making choices, resting, envisioning options, not forcing, and waiting for new kinesthetic pathways to emerge. i know my choices have consequences, and have become more aware of these over the years. i make mistakes in my teaching, but have learned how to rescue myself, and not get too serious. my ideas of what it means to teach have evolved. i also see myself more broadly as part of the evolution of teaching in movement education and in professional dance and theater. i seek the wider implications of dance and movement practices in community building and for personal and human development. eco-somatics is important to me. i take my students into the environment to move and dance, or often to bond, with the soft red sandstone here in southwest utah. i conceive this beautiful place as a world navel. my teaching has taken a somatic turn, because i have. i hope the turn i take helps spur a mentality of participation and nonjudgment in teaching and learning. detective storyboard 1. we noticed at the outset that teaching is not unidirectional, that the teacher is a learner who always keeps the learner in mind. teaching and learning occur in relation. 2. humans can improve through consciously undertaken movement. movement improves with patience, practice, and especially through direction of awareness in supportive learning environments. 3. somatically undertaken movement processes are not simply for the benefit of talented movers, but for everyone. 4. movement can be conceived and taught in patterns. dance forms, yoga, and possibly many sports can be conceived and taught through patterns, moving from the simple to the complex. fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 11 patterns, in order to be useful, need to be malleable and adaptable to individuality in people and particular situations. 5. movement can be deconstructed according to patterned parts. i do this often, taking apart complex yoga asanas and making them accessible in their “parts.” the whole may emerge at a certain point, and if not, people benefit from being able to perform the parts that they can perform well, or well enough. 6. teaching through movement involves knowing the content, processes, and approaches or methods of the movement mode at hand. being able to comprehend movement patterning also helps. 7. patterns point to both content and style. they are mediated by method. 8. why learn how to move better? why does it matter? these would be basic phenomenological questions. my answer is three-fold. skills acquisition can be important to people in their careers, as it has been to me. more importantly, we involve ourselves in the teaching and learning of movement toward the development of our human potentials. lastly, moving better helps us feel better, a matter of health and wellbeing. humans have the opportunity to change, and don’t need to be fixed in character. 9. emotional life and movement are related aspects of character. when we shift movement to a higher organization through awareness, character also shifts. character as expressed in movement is malleable; however fixed through habit, it is not fixed of necessity. humans do not need to be prisoners of the past. 10. making choices is a matter of ongoing awareness and progressive embodiment of new possibilities in movement, signaling changes in character, posture, and expression. 11. teaching movement through description turns the responsibility of learning over to the student. the teacher, however, needs to be ready to accept many versions of her movement descriptions. when i show movement to students, i am usually engaged with them in a descriptive process already. teaching through description is modeled in the feldenkrais method. experiential description is modeled in in phenomenology. 12. when it comes to kinesthetically ingrained movement habits, zeroing ourselves is quite a challenge. the feldenkrais method does this in the way it directs intention in simple movement patterns that lead to an awareness of the naturalized attitudes we have embodied as habits. similarly, husserl also spoke of habits (of thought) as “the natural attitude,” as we saw early in our investigation. 13. learning through movement in nonjudgmental contexts creates conditions for improving lives. this one principle can transform classrooms. how does one grade performance then? well if you have to, as in schools and academic institutions, there are ways that take the “sting” fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 12 out of it. creating win/win situations is a challenge. we can avoid judging a person’s movement as in how well it seems to be performed, and look for other markers. do students show up, for instance, and do they fulfill assignments? how do students themselves feel about their progress? have them write a short story or essay on this. then you will be looking at their ability to self-reflect, and you can assist them from there. if they can’t write, send them to a tutor. schools have these. human movement cannot be separated from the person. this points to the importance of not judging movement and the person thereby. 14. describing movement is a teaching technique i learned in feldenkrais studies. for instance, instead of showing someone how to lift their arm overhead, and thus providing a model, i could say: “lift your arm up in front of you, somewhere you can see it if you are looking forward. is it out to the side a bit, or directly in front of you? experiment to see how high you need to lift until you no longer see your arm. keep your gaze forward.” i could go on with the description, making adjustments in what i say until the student is doing more or less what i have in mind, right down to the orientation of the fingers. or i could leave the plan more open, and accept differing versions of lifting the arm. another option would be to shift between a more defined lift and a more experimental lift. some instances could call for more definition, and others less. it depends on my overall strategy, the full pattern i’m teaching, and how adaptable i can be. some people i teach, the older ones especially, have difficulty lifting their arms high overhead. i would never insist that they do. there is always a pathway of movement that they can have success with, and improve upon, surprisingly. this adaptable way of teaching translates to dance also. no two people have the very same capacities. so we adapt to dance optimally, and we don’t get fastened on goals of mastery. rather do we shine the moments with beautiful movement. it doesn’t have to be “right.” 15. functional integration, when it is successful, encourages connectivity within the person and in perceptual wholeness. it can serve as a model for teaching through listening and finding paths of least resistance. it models offering support, and waiting for changes to occur without the need to know results immediately. the teacher doesn’t have to be right. she makes people laugh and listens to them. uncertainty and curiosity are useful in finding new kinesthetic pathways in learning. 16. movement is lived; we know it through experience. when we move with awareness, our awareness increases, and when we share movement with others in a group, individual awareness of self in community increases. 17. moving with awareness increases connectivity and agency—it increases personal freedom to make decisions, to be an actor and not a victim. this has implications for teachers and students. 18. allow me a personal point on the storyboard in terms of self-evidence and in respect to the agency we just mentioned: teaching gives me unique access and responsibilities in exercise of agency. if i don’t want to be a victim, i understand this in my students also. teachers should fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 13 never embarrass students: we ought to lift them up. not everyone would agree with me, but i don’t believe negative reinforcement works. enforcement doesn’t work. listening works. laughter works. control is an illusion. 19. on the feldenkrais principle of reversal: my ensemble dance, ​meditations, ​ was performed in 1990 by eight american dancers in tokyo through an invitation from japan’s women’s university. it was qualitatively detailed and mindfully directed, connected with smooth transfers of weight—and riding, i hoped, on one whispered breath. i provided the still point of the dance, carrying a heavy rock: moving slowly, gently, softly, with the potential to reverse and return, as often in the feldenkrais work. as i stepped forward, i thought of going backward. this helped me to find center in the twenty minutes of snail-slow walking. references beauvoir, s. (1972) [1949]​ ​ the second sex​ , trans. by parshley, h. m. london: penguin books feldenkrais, m. (1949) ​body and mature behavior: a study of anxiety, sex, gravitation, & learning​ . berkeley: north atlantic books fraleigh, s. (1987) ​dance and the lived body: a descriptive aesthetics. ​ pennsylvania: university of pittsburgh press fraleigh, s. (2004), ​dancing identity: metaphysics in motion. ​ urbana: university of illinois press fraleigh, s. (2009) ​land to water yoga. ​ new york: universe press husserl, e. (1970) [1900-1] ​logical investigations. ​ london: routledge merleau-ponty, m. 1962, ​phenomenology of perception​ , trans. by smith, c. london: routledge and kegan paul natanson, m. 1973, ​edmund husserl: philosopher of infinite tasks.​ evanston: northwestern university press reese, m. (1999) ‘a dynamic systems view of the feldenkrais method​®’​, ​somatics: magazine-journal of the mind/body arts and sciences 12​ (3)​ ​(fall winter). 18-26 safranski, r. (1998) ​martin heidegger: between good and evil. ​ cambridge: harvard university press sartre, j-p. (1947) ​existentialism​ . new york: philosophical library spiegelberg, h. (1971) ​the phenomenological movement: a historical introduction​ , 2​nd​ ed. the hague: martinus nijhoff fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 14 biography sondra fraleigh, feldenkrais practitioner and professor emeritus of dance at the state university of new york at brockport, is the author of ​butoh: metamorphic dance and global alchemy​ (2010), published by the university of illinois press. her other books include ​dancing identity: metaphysics in motion​ (2004); ​dancing into darkness: butoh, zen, and japan​ (1999); researching dance: evolving modes of inquiry​ (1998); and ​dance and the lived body​ (1987). she has published a book on the founders of japanese butoh, ​hijikata tatsumi and ohno kazuo​ (2006), and a book on somatic yoga and infant movement development, ​land to water yoga​ (2009).​ ​ fraleigh was chair of the department of dance at state university of new york at brockport for nine years, and later head of graduate dance studies there. she was also selected as a faculty exchange scholar for the state university of new york. her innovative choreography has been presented internationally. fraleigh is the founding director of ​eastwest somatics institute​ ​for yoga, dance and movement studies.​ for more information on fraleigh and her work see her website: ​www.eastwestsomatics.com fraleigh • ​feldenkrais research journal, volume 5​ ​(​ 2016) 15 http://www.eastwestsomatics.com/ feldenkrais research journal • volume 1 (2004) article the experience of being embodied: qualitative research and somatic education a perspective based on the feldenkrais method® yvan joly ma; feldenkrais institute for somatic education inc., québec, canada abstract somatic education is the name of a new disciplinary field which focuses on the living body, on the biological basis of consciousness and awareness, and on movement as experienced in space. the feldenkrais method and all other methods for somatic education share the need for qualitative research: to formulate their theories and define the scientific basis of their concepts; to measure the effects of their practices; to understand and improve the training process for practitioners and teachers. the paradoxical nature of verbally conducted research dealing with a non-verbal research object such as the body also needs to be clarified. any researcher concerned with the quality of somatic education must bring to the research process an awareness of her/his own body. this is both a characteristic feature and an undeniable necessity for such research. keywords somatic education, feldenkrais, consciousness, awareness, qualitative research copyright ©: the copyright for this paper remains with the author(s). first published: revue de l'association pour la recherche qualitative (1995), vol. 12, pp. 87-99. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author the experience of being embodied qualitative research and somatic education a perspective based on the feldenkrais method® by yvan joly, m.a. (psychology), feldenkrais institute for somatic education inc. 107 avenue de touraine, st-lambert, québec j4s 1h3 tél. fax. : 1-450-671-0638 e-mail: yvanjoly@compuserve.com introduction – a personal point of view the perspective i would like to present here springs from my experience as practitioner, instructor, and researcher in the sphere of somatic education, and more particularly as a feldenkrais® (note 1) or “awareness through movement” teacher. i would like to share some ideas, relate certain “adventures”, and above all outline a few questions which have been uppermost in my mind during more than twenty years of researching issues of special interest in the context of my practical work – and specifically in the field of somatic education. please note that this introduction does not aim at being strictly academic in either style or pretension. if “the body has its reasons”, body-centred work and a practitioner’s reflections about the practices constituting such work also have their proper reasons. my thanks go to the association for qualitative research and the committee charged with organising the congress on “le corps de la recherche” (“research into embodiment”) for letting me represent the perspective of professional somatic educators. this theme offers an excellent opportunity for building bridges between the worlds of university and professional practice, and especially between researchers, practitioners, and those who are involved in researching issues arising within the context of actual practice. in the following sections i will deal with four points: athe sphere of somatic education and the feldenkrais method brelevant research requirements in that field cthe limitations of verbally conducted research into the experience of “being embodied” dresearch into embodiment and the researcher’s body 2 y.joly/feldenkrais research journal 1 (2004) i will try to show that the methods of somatic education offer a vast range of possibilities for anyone interested in qualitative research. this field itself is in need of research and a coherent language. the somatic process needs to be properly spelled out. finally, somatic practitioners and educators need to come up with an appropriate language which matches the somatic experience. that task in itself constitutes an interesting paradox and exceptional research challenge since somatic experience essentially defies verbal description. in addition, the methods of somatic education offer qualitative research a unique opportunity for immersion in the phenomenological experience of being alive in a body – i.e. a concrete setting for researching embodiment where the body of the researcher is also taken into account. “nonreductionist researchers in the cognitive sciences see conscience and experience as irreducibly real phenomena. we therefore need to equip ourselves with a method for exploring these phenomena.” (varela 1993a: 54) in his book the embodied mind varela turns to buddhism and meditation in order to underpin his research into enactment and the phenomenology of mind. i myself believe that somatic education offers research a wide range of methods for exploring the phenomenology of the body and should therefore occupy an important place in qualitative research – in terms of realisation of actual projects and also in education and training. i hope that what i have said so far will facilitate exchanges between the fields of qualitative research and somatic education. athe domain of somatic education with special reference to the feldenkrais method somatic education is in process of emerging as a new discipline. it could be defined as: the disciplinary field embracing a variety of methods concerned with learning processes whereby the sensitive body (the ‘soma’) acquires awareness through movement within its environment. this discipline is interested in the living body’s subjectively experienced capacity for selfeducation. the field it covers lies at the intersection of arts and sciences focusing on the living body, and is of relevance for many different spheres: health care (rehabilitation, psychology, physical activity), sports performance (training and competitive achievements), the creative arts (interpretation and creation), philosophy (embodiment of mind, “constructivism”), education and teaching in general (concrete physical and experiential foundations of learning); and also more specialized fields such as phenomenology, bio-mechanics, meditation , biology and “systemics”, cognitive sciences, and movement sciences. this 3 y.joly/feldenkrais research journal 1 (2004) impressive list of tangentially related disciplines well demonstrates the complexity of this newly emerging domain without even mentioning the thirty or so specific methods embraced by practitioners all over the western world in the name of somatic education (note 2). “beyond their special features the different methods share a fundamentally similar aim: learning to refine one’s kinaesthetic and proprioceptive sense in order to act with greater efficiency, pleasure, and power of expression, but also with less pain” (quebec association for somatic education, 1994). in the expression “somatic education” the word soma is of special importance. its intended meaning differs from current usage, opposing somatic and psychological. here we are in fact rehabilitating the concept of soma implied by the greek word which since the time of hesiod has stood for “the living body”. hence what we are thinking of is the body in its totality, i.e. subjectively experienced as an integral part of its environment. the recent trend of articulating and valuing the experience of being thus embodied goes back to thomas hanna, the founder of the american magazine somatics (note 3). he suggested the following definition of somatics: “ the art and science of the interrelational process between awareness, biological function, and the environment” (hanna, 1989: 1). apart from hanna several other authors and researchers took an interest in the body experienced as a living entity (note 4), in embodiment (varela, 1993a, 1993b, 1994), in the self-regulation of living systems (maturana and varela, 1990), and in the anatomy of consciousness (rosenfield, 1992, 1993). the vast field of somatics includes practices of oriental origin, biofeedback, mental imagery, reichian approaches, psycho-neuro-immunology, and everything related to the body-mind. a well-defined sub-division of that field consists of methods whose common perspective is somatic education (johnson, 1995). somatic education distinguishes itself from the majority of psychophysical approaches which bring to light repressed emotions and unfinished relationships by way of the body. such approaches could be called “somatic psychology” (johnson 1997) or “soma-therapy” as indicated by the title of a french journal. does not the word therapy etymologically signify the treatment of dysfunction and illness? however, the art and science of somatic educators does not focus on pathology and symptoms, aetiology and healing, but rather on the sensorymotor learning process, the development of kinaesthetic potential, and the discovery of better strategic options in movement (joly, 1994:14). 4 y.joly/feldenkrais research journal 1 (2004) let’s take a concrete example and talk a little about the feldenkrais method which i have been practicing and teaching for more than twenty years. this method was created by moshe feldenkrais (1904-1984), a physicist and engineer who once worked at the joliot-curie laboratory for nuclear physics. feldenkrais was also a judo expert and first european black belt, and a follower of gurdjieff’s teachings. his method offers improved awareness of the living body as it moves within the gravitational field. feldenkrais was interested in human movement and its role in the development of our skills and the implementation of our actions. this method is practiced both within a group and individually, i.e. under the verbal or manual direction of a teacher. this teacher will have undergone extensive training aimed at acquiring “objective” knowledge of the moving body, as perceived in third person mode (anatomy of movement, physiology, biomechanics, bodily functions). at the same time, if not primarily, such a teacher will have submitted to a rigorous process of subjective movement exploration as experienced in first person mode. this rehabilitation of educated subjectivity in professional practice constitutes the unique characteristic of somatic education as a discipline. in order to gain professional competence the teacher-practitioner has to rely on her or his own experience or personal understanding and knowledge, acquired through actual experimentation. in this respect each of the main methods of somatic education employs its own educational strategies for training future teachers. but let’s look at a concrete example by providing you with an experience here and now. first experiential proposal stay as you are right now, sitting or reclining, and pay attention to your position and the sensations you are experiencing in your body at this moment. you can close your eyes or keep them open as you please. you’ll find that one of these two possibilities will make the exploration easier. direct attention to your breathing and observe the rhythm. how much time is taken up by breathing in, breathing out, and the pauses in between? where does the respiration make itself felt in your trunk? now let your attention go to the parts of yourself that contact the floor and the seat (maybe also the back) of the chair. notice if these areas of contact and support are similar on the left and right side of yourself. notice if the head seems to be inclined, vertical, or turned. don’t change anything of what you are observing. you may actually find it difficult to sense something without moving immediately. 5 y.joly/feldenkrais research journal 1 (2004) to continue the concrete description of a somatic educator’s daily work, i can say that during a single week i may encounter the following people in my private practice: a child suffering from cerebral palsy, a construction worker recovering from back injury, a singer in search of vocal flexibility, a musician suffering from chronic pain when he plays the violin, a painter whose creative inspiration has hit rock-bottom, a professional golfer looking for a teaching method that might help beginners to learn with greater ease, a teacher suffering from anxiety and burn-out, a “full-time” mother who is trying to reorient herself after her children have left home, a dancer who finds his technical training too exhausting, a dyslexic child, or even a horse with behaviour problems whenever it has to get into a horse-box for transportation. what all these client-pupils have in common are certainly not symptoms! all these people encounter themselves in somatic education because of the approach, which allows selfexperience as an embodied being and self-awareness in and through movement. the practice of somatic education relies on the practitioner’s capacity to sense her/his own self in movement; and also on the ability to perceive by way of observation, touch, and imaginative projection what is going on in the other person’s subjective experience. it is as if one could tune one’s own inner experience into that of another living system and on that basis set in motion an educational process by employing the particular strategies which characterize each method. a major part of this educational work relies therefore on the practitioner’s intuitive capacity. by that i mean the capacity to think without words in that pre-verbal universe of the sensory-motor realm, in the intimate awareness of embodied life. this makes the approach what it is. this also causes all the difficulties both in the practice as such and in the training of future practitioners. and what about the difficulty of doing research in that universe beyond the reach of words? and isn’t it paradoxical to be speaking about all that now? bthe practice of somatic education and requirements for appropriate research in somatic education, as in any new discipline, there is a great need of appropriate research. i am going to highlight a number of requirements, not necessarily in order of priority. 1somatic education needs to define itself as a discipline, spell out what it involves. its theoretical models are still relatively little developed. its language lacks precision and practitioners of various allegiances are using the same words. anyone who reads a little 6 y.joly/feldenkrais research journal 1 (2004) about this field will quickly realize that their vocabulary is nearly interchangeable, while they employ very different strategies in their practical, concrete, educational work. hence the first great requirement is to clarify language, concepts, methods, and theoretical framework. a research project should be mentioned in this connection. in her doctoral thesis odette guimond (1987) presents important analysis of the meaning and crucial role played by movement in theatre performance and the training of actors, but also more generally in somatic education. such research helps enormously to stimulate conceptualisation. undoubtedly, behind the linguistic frameworks (“languaging”) in which each such method is couched, there resides a hidden substratum common to them all, constituting the domain to be defined. furthermore, anyone who is familiar with more than one of them is aware of enormous differences between the various methods both in terms of theory and concrete educational practice. “one will be more directive, or rather corrective, another more exploratory; one will put the emphasis on the use of space, another on interiorisation of movement; one will prefer movement on the floor, another in the vertical. different somatic educators will be more or less interested in language, imagination, interaction among the participants, communication by touch, emotional or artistic expression” (joly, 1994:12). in terms of set theory one could say: what is common to this great variety of methods will define the discipline of somatic education as such. however, the features characteristic of each method on the conceptual and educational level have still to be made explicit; and in that respect research is still in its infancy. rigorous research is crucial in order to establish the boundaries and appropriate signposts for this disciplinary field. 2effectiveness of somatic education still has to be underpinned by rigorous, i was going to say scientific, research, provided that subjective real-life experience is included in the researcher’s idea of science. of course one could apply traditional double-blind procedures to measure the effectiveness of an intervention in somatic education; for instance among patients suffering from multiple sclerosis or athletes willing to submit themselves to a variety of interventions, randomly assigning subjects to experimental or control group and also taking into account the placebo effect. such research could be 7 y.joly/feldenkrais research journal 1 (2004) pertinent; and when all methodological and ethical difficulties have been overcome, certain objectifying and quantifying projects of this type would undoubtedly be useful, if not absolutely necessary, so as to assure the credibility of the discipline – at least in certain circles. however, and for all sorts of reasons, this type of research has never been very popular in the somatic domain. my personal experience and initial training in scientific methodology could have taken me in that direction, but i have resisted such research mainly because the research methods don’t seem to derive from the same source as the process which they intend to examine. it took me years to get in touch with my own sense of being really alive in my body and give this sense its due in my personal practice and existence. so all purely objectifying and quantifying research became something i wished to resist because it simply does not do justice to the importance of the process under investigation. can the effectiveness of the process in somatic education be evaluated as such? in other words can it be measured by way of external, objectifying criteria, without taking into account the specifics of the particular methods being used? undoubtedly it can, but that is not the only way. we simply need to recognize that any intervention involving another person is unique. somatic education or method f, a, b, or c does not function for “multiple sclerosis” or “back pain”, but for individual people, and it “works” more or less regardless of the symptoms presented. the most important factor in efficient intervention is the communication established between practitioner and pupil. this at least is what the practitioner believes, because s/he is unlikely to use the same strategies for people with the same symptoms. what would therefore be the point of evaluating a method of treating an illness or improving a sportsman’s performance when the mediating factors are left out of account? although i am not familiar with the entire realm of methodology, i ask myself if one should not simply recognize that qualitative – and more specifically phenomenological methods are better able to shed light on the domain of somatic education, including assessment of its effectiveness. research projects such as the one undertaken by sylvie fortin (1994) at the university of quebec dance department exemplify how qualitative methods can be applied to the study of somatic education and its impact within a particular discipline, in this case dance. 3the “real life experience” of those actively involved in the process of somatic education is an area that has scarcely been studied and documented. a few pioneers, such as charlotte beaudoin (1994) of the department of physical education at the university of laval, are interested in this aspect. obviously, that type of phenomenological research is 8 y.joly/feldenkrais research journal 1 (2004) extremely relevant to everybody in this field and very rich for those who accompany students’ professional development. in addition, participation in such a research project must enrich the experience of anybody involved in discussing what is at issue. however, that kind of research presents a major methodological challenge, consisting in having to explain in words what is somatically experienced during a course of action. doesn’t the value of this type of research mainly depend on the subjects’ capacity to verbalize their experience? this question will be taken up later since it crops up in connection with both study of process and procedure, and also research into other aspects. i believe that the relationship between lived experience and language lies at the very centre of what needs to be clarified in somatic education. 4the verbal and especially the non-verbal communication process unfolding between two people during a somatic education session might strike an uninitiated observer as quite mysterious and give rise to questions such as: what impels the practitioner to say this or that, touch here or there, make a pause, start again, and finally stop? students in training programmes are always curious to know what their teachers are thinking of when they give a demonstration. what objective do they have in mind, what principles guide the teachers’ actions? the answers to all these questions are part of a complex cognitive process, which belongs essentially to the immediacy of direct experience in the present moment, but is ultimately supported by past experience. the practitioner may see images, hear words, feel some sensation or emotion, receive inspiration from an idea, direct attention to her/his own comfort or sensations. by the way, how does the practitioner know that the source of those sensations lies either within the self or in the interaction with the other because they originate in the other person? an important breakthrough in research into this kind of question was made in quebec by yves st arnaud at the psychology department of sherbrooke university and yvan joly of the feldenkrais institute for somatic education in montreal (st arnaud, 1993, st arnaud et joly, 1992). aiming at developing appropriate concepts for somatic practice, they applied a methodological model inspired by “action-science”. sufficiently general in scope and therefore not restricted to somatic practices, this model essentially consists of an exchange based on a questionnaire which was drawn up with a specific idea of practice in mind. this questionnaire also offered an opportunity to review video-recorded interventions which the practitioner is then asked to explain, make explicit, and describe, in terms of what s/he subjectively experienced during the professional moves made during the 9 y.joly/feldenkrais research journal 1 (2004) session. as a result her/his educational strategies begin to stand out more clearly. these are then reflected back to the practitioner by the researcher who devised the methodological model. the effort of trying to verbalize one’s actions and subsequent reflections on this action are enormously stimulating. since i have myself submitted to such a process i can testify to its value. as a result comprehension of my interventions improved tremendously and my capacity to find adequate words and explain myself to others also made big strides. the influence on my personal practice could be felt during the long months of research. (it is more difficult to maintain that is still the case after several months have passed). my teaching activities in training programmes have greatly benefited as well. in my view, this type of research deserves to be repeated and maybe pursued more methodically for the different practices involved in the domain of somatic education. of course, here too much remains to be done if research is to include all of somatic experience, i.e. not only what can be put into words. is there a way of accounting for the entire complexity of the interactive process experienced in somatic education without succumbing to the reductionism of language? 5the last research requirement i would like to mention relates to training programmes and the effectiveness of the teaching and learning process they offer. analysis of the training process of future somatic educators itself has hardly begun. however, some schools have already trained several hundred new practitioners. training models could be more precise, and better validated as well. what kind of competency profile (since this expression is fashionable at present) are we looking for and would ultimately like to come up with? how do we establish the criteria indicating successful completion of the training course? how do the trainers determine whether a student is in a position to practise without supervision? how does the subject acting as a trainer establish an educational rapport with the subject in the role of trainee? what objective factors have to be taken into account in the training programme? how can one evaluate the achievement of objectives on the level of the subjective learning process for which the student himor herself needs to be responsible? what kind of self-examination is expected of the students? we have to remember that in somatic education one has to be able to touch a person’s head and sense what the subject experiences while being touched! the model that all the different schools of somatic education rely on to a certain degree in their training programmes is based on the master-disciple relationship. is that the most appropriate model? if somatic education as a discipline begins to penetrate into the academic sphere what conditions will the institution have to respect in order to safeguard the subject’s living experience at the heart 10 y.joly/feldenkrais research journal 1 (2004) of the process? how does it become apparent that the students’ personal development requires immersion in somatic experience and how is that aspect to be incorporated in curriculum and evaluation? several questions about education and training with regard to professional practice have been raised by grapp (groupe de réflexion et d’action sur les pratiques professionnelles) (note 5). between 1987 and 1997 this association brought together in quebec trainers, practitioners, and teachers from different academic institutions as well as some practitioners and trainers from the private sphere. this group scrutinized the relationship between action and reflection, academic and practical knowledge, theory and practice, and all aspects concerning the training of future practitioners in education, psychology, sociology, counselling, and also in somatic education. after all it has to be realized that somatic education is not only of relevance in connection with the training of professional practitioners. discussions at grapp showed that somatic education could contribute a great deal towards devising exploratory and learning models for all aspects of subjective experience as an integral part of action. at grapp we could, for instance, add to reflection about intuition and the workings of non-verbal thought. in turn the influence of our colleagues in university education and training and at more practically oriented levels led to a considerable expansion of our understanding with regard to methods and problems in the relationship between action and reflection. hence that type of research proved to be very useful for us. cthe experience of being embodied the limits of verbally conducted research let’s now move straight to the heart of what preoccupies me most, namely how we experience ourselves as living bodies and how we speak about that experience. to begin with i would like to remind you with korzybski (1966:25), the originator of general semantics that: 1) the map is not the territory (words are not the thing they represent). 2) a map does not cover the entire territory (words cannot convey everything they represent). according to my personal mythology i would say that the sense of being embodied is like the flag on the highest point of an iceberg. the greatest part of the iceberg of consciousness is below the waterline. then there is the visible part of the iceberg, which – one might say – can be “felt”. on the very top of the iceberg there is a tiny little symbol for communication and identification. what is the relationship between these “levels” of embodied life? i am using 11 y.joly/feldenkrais research journal 1 (2004) the word “levels” on purpose, implying at the same time that we need to ask about the hierarchy of these levels. the answer from the point of view of somatic education is that the highest, most important level is that of experience, and experience cannot be reduced to what one can say about it. in my opinion we would get thoroughly trapped if we were now to begin a sophisticated and intellectually demanding discussion about semantics, semiology, and the role of the senses. don’t worry; i have neither competence for, nor any present interest in, such a discussion. i simply want to draw attention to the feeling of unease that frequently crops up when the question of research into the living body is raised. this often leads to endless verbiage and the experience itself gets lost. of course we use words for certain kinds of communication such as i am involved in here. but how many books, how many articles devoted to the phenomenology of the body and lived experience, consist of a continuous flood of abstractions that have nothing to do with the living experience of the researcher and hardly anything with that of the subject under investigation. please don’t misunderstand me: it is not a matter of dismissing language, and the oral or written symbol, altogether. i too belong to those who sometimes defend, occasionally with brio, the view that “an unspoken experience does not exist”! it is more a matter of making sure that right proportions and links are maintained between the flag on the iceberg and the iceberg itself, including the part submerged under water. maybe, however, it is simply a question of revising the use of language? well, no, that won’t do, if you ask me. of course, after seeing a film one can talk about it in different ways and on different levels. certain forms of language, certain styles of expression, are more or less detached from what the viewers experienced during the film, or more or less in tune with it. for research in somatic education it would be more appropriate to stay close to the experience, even if one’s objective is to elaborate a theory of somatic education. but my intention is to go even further in this debate, since asking one’s subjects to speak about their somatic experience already demands a degree of dissociation from them, especially if one asks them to speak during the process of experimentation (“experienciation”). talking about a somatic experience in retrospect means relying on memory and the evocation of the particular experience; in other words the subject no longer talks about what s/he really experienced but about something else. 12 y.joly/feldenkrais research journal 1 (2004) allow me to distinguish three aspects of somatic experience and its expression, and to make what i have in mind more concrete by asking you to consider for a few moments how it would be to subject yourself to the following experiential exposition: second experiential proposal please take a minute or so to make yourself really comfortable on or in your chair. make any change that you feel necessary. do this now before reading further. good, thanks. you can read on. observe what kind of adjustments you made in response to my invitation/ suggestion. if, so far as you know, you didn’t make any changes, simply go on reading. how long did it take you to decide what you should change in your posture and relation to the chair; and how much time did the adjustments themselves take? did you talk to yourself internally before, during, or after changing something? what did you actually change? could you go back to the starting position, which would obviously have seemed less comfortable to you? does that position appear different as you re-consider it now? if you did change your position, does that mean that you were not sitting comfortably before? return to the second position, in other words the one you chose in order to be more comfortable. which criteria did you take into account in your decision to change or not to change your position? were these sensations, interior images, emotions, tastes, smells, tactile or cutaneous perceptions, words you heard or said to yourself, an impression of being tired or tense, or whatever else? if you are more at ease in your present position, what tells you so? finally, consider for a moment the following two possibilities: either you have already answered all these questions and are now free, or you now have to write down your answers for an interviewer who will soon ring you up in order to carry out his research into somatic education. 13 y.joly/feldenkrais research journal 1 (2004) the distinctions i would like to present after this practical experiment will throw light on different modes of experience. first of all let’s be clear: from the standpoint of somatic education, the primary objective of this little exploration might have been to discover the concrete notion of comfort in sitting, and through that bring about an improvement of the person’s capacity for self-regulation as s/he interacts with her/his environment. this is what the teacher hopes to achieve. we also have to take into account what impact the teacher exerts through his presence, vocal intonation, the pauses s/he makes, the choice of words. then we have to ask what the pupil experiences and learns; and also what the pupil thinks s/he is experiencing and learning, what he or she is actually conscious of. finally, there is the question of what the pupil can or wants to say about her or his experience. that is just a brief overview of some of the distinctions we have to make in somatic education as a scientific discipline. what is important for me in the practice of somatic education as a teacher is that my pupils develop the skill to organize themselves during movement and action. this would include being able to change position regularly in order to maintain the experience of comfort while sitting during a conference or lecture, even, or particularly, if that lecture or conference is as captivating as this one. during this somatic learning process i can give my students a sense of direction by employing an approach of verbally guided discovery such as the one above. more often than not the answers to my questions which the pupils come up with benefit only themselves, without being communicated to the teacher. i could also guide my pupil’s somatic learning process with my hands, i.e. through touch, sensing the nature of the pupil’s experience of comfort by way of an extension of what i myself experience, and directing her or his somatic exploration and learning through touching the person with my hands. in both cases there is no need for the pupil’s verbal expression; in fact it often cuts the pupil off from her/his sensations, especially in moments of intensely novel and complex discovery. in some cases i might myself disconnect my discourse from what the pupils are somatically experiencing at that moment (by talking about the weather or the most recent game in my favourite sport). in this instance it is as if i took charge of verbalising a certain dissociated level in order to allow the pupil to associate more successfully on a somatic level. of course both the pupil and myself could also confirm a particular somatic experience by some comment, indeed amplify such an experience by talking about it. but to repeat once again, most of the time such verbalisation is not essential to the process of somatic learning. and 14 y.joly/feldenkrais research journal 1 (2004) here we are back with the question with which we started: what about research into the process that is taking place during somatic education? dresearch into embodiment and the researcher’s body before readers get the impression that they have been taken on a voyage towards squaring a circle, let me describe in the following paragraphs what the nature of the relation between “somatic life and language” might be. in fact i believe that we need to develop research methods which include the researcher’s consciousness in their methodology. in the 70’s a number of research workers yielded to the incontestable need for consciousnessdependent research (scientific studies that take the researcher’s state of consciousness into account). this proved to be necessary, for instance, in studying states of altered consciousness induced by psychotropic drugs. how far was it possible to go in understanding these phenomena of modification of consciousness if, in order to be objective, the researchers remained outside the experience under investigation, “coldly” measuring physiological changes, taking note of modifications in observable behaviour, and recording the sounds their subjects were making and their often disconnected words? i must admit that i lost track of that methodological breakthrough and some of you are probably better informed about recent developments in that line of research. in any event one could say that this research strategy has at least justified some rather beautiful hallucinatory experiences on the part of a few courageous researchers. but i don’t intend to talk about that. may it be sufficient to underline that, in my opinion, elaboration of a perspective which includes the researcher’s state of consciousness and as a result mobilizes his subjectivity could be highly productive for somatic education. but let’s have another experience before going any further. third experiential proposal please try to understand the meaning of the following text, but don’t do any of the movements suggested in it. or better still, read the text aloud to a colleague who will do the movements while you observe what he or she does as you read. once again find a comfortable sitting position. now fix a point on the horizon. 15 y.joly/feldenkrais research journal 1 (2004) close your eyes, lift the head towards the ceiling. then open your eyes and notice that, with the head in this position, the eyes are looking at another point above the first one. return to the starting position. keep your eyes on the first point straight in front on the horizon and with the tip of your nose begin drawing circles in space. start with tiny circles, slowly increasing their size in a gradually expanding spiral which you then reduce again to return to the very first circle. three or four times, slowly, first in one direction, then in the other. now close your eyes and lift the head once again towards the ceiling. as you open your eyes decide if the higher reference point has remained the same or if you have gone beyond that first limit. come forward on your chair so that your body is no longer in contact with the back of the chair. in this position place your interlaced hands on the top of your head. the elbows are open and point to the side. keep your head and elbows fixed in space as you begin to roll your pelvis on the seat, forward and back (some people would say: rock your pelvis on the ischia, the two sitbones of the pelvis). do this pelvic rocking motion several times, slowly 7 or 8 times, while keeping the head and elbows fixed in space. if you can feel them, notice the movements of the trunk, the spinal column, the ribcage, the back, and the stomach. place your hands on the thighs, close your eyes, lift your head as if you wanted to look at the ceiling, and now open your eyes and observe where the higher of your two reference points is now situated. in other words are you still looking at the same point as before or somewhere higher up on the wall, maybe even on the ceiling? sit back comfortably and rest a little. what was your experience, if you took part in the preceding exploration without actually doing the suggested movements? how could you study this kind of movement process with the objectives of collecting one or two pupils’ impressions, understanding the method and logic of the sequence, measuring and also assessing its effectiveness, and comprehending why the movement became more free for some participants while there was no change for others? how could practitioners who devise such movement-explorations be helped to improve them? by way of a conclusion 16 y.joly/feldenkrais research journal 1 (2004) the qualitative perspective characteristic of somatic education is founded on a state of absorption in sensory-motor and kinesthetic experience. the major part of what happens in experience belongs to the pre-verbal realm where somatic education offers opportunities for the most interesting and most difficult research. this would demand that the researcher plunges into a universe of subjectivity where language and reflection offer only occasional signposts. in this universe, the primary line of enquiry for any research has to be somatic experience as it is lived by a person. however, the researcher is going to run the risk of loosing the security of boundaries: between research and practice, between experience and reflection, between what is being lived and what is reported in an analytical frame of mind and conveyed in a reasonable and articulate way. “humanity has to learn how to live in a fluid world without either fixed landmarks or ultimate foundations” (varela, 1993b: p.132). then one has to consider what kind of research and what methodology is appropriate. at issue is qualitative research into consciousness that needs to be pursued primarily within the maze of everybody’s “i”. beyond that i would also wish that qualitative research in somatic education should rely more and more on that shared broad experiential base involving immersion in immediate and constant renewal of lived embodiment. from that vantage point we might be able to devise qualitative research methods which include the real life experience of breathing and everything else happening within the autonomic nervous system; of sensory perception mediated by the skin and muscles; of all aspects of posture and movement, including the vestibular aspect, and all the dimensions of body consciousness in relation to space which are the very foundations of our sense of individuality. i would like to close with the following words by israel rosenfield: “a brain does not function independently of the body it exists in.” (rosenfield, 1992:139) “the pattern of acquisition of body image and, with it, of knowledge of objects suggests how central body image is to our understanding of the world. notions of space, objects, and self reference depend on body image and they cannot be separated” (rosenfield, 1992:62). “the unconscious body image is the system of reference for our subjectivity” (rosenfield, 1993:148). “continuity of the sense of being alive is created by movement” (rosenfield, 1993:147). reading this author and a number of others quoted here and elsewhere, one really has the impression that we are only at the beginning of an important trend involving re-appropriation of the living body in cutting edge scientific research. somatic education offers an exceptional 17 y.joly/feldenkrais research journal 1 (2004) way of plunging into the very heart of experiencing the nature of consciousness. that is where research is waiting for us. see you there – with or without signposts. october 28, 1994 (translation by ilana nevill) notes 1) the feldenkrais method ® is the registered trade mark of the north american feldenkrais guild. 2) from 1992 the quebec association for somatic education was involved in creation of a network embracing many specific approaches with the aim of establishing somatic education as a domain in its own right. six approaches are represented (as of 1994) in the association: the alexander technique, holistic gymnastics (louise ehrenfried), “antigymnastics” (thérèse bertherat’s approach to kinetic awareness), body-mind centering, laban-bartenieff fundamentals, the feldenkrais method. 3) the american magazine somatics constitutes a unique source of reference for somatic education as a discipline. since 1976 somatics has been published twice a year by the novato institute, 1516 grant avenue, suite 212, novato, ca 94945. 4) see the newsletter of the study project in phenomenology of the body, elisabeth a. behnke, p.o. box 0-2, felton ca 950 18 u.s.a. 5) sadly one of the co-founders of the group, my dear friend roger tessier died last year. the group itself no longer exists. (this note dates from august 2002) bibliography beaudoin, c. (1994). l’expérience d’intégration des apprentissages en éducation somatique selon une perspective phénoménologique. mimeographed. university laval. department for physical education. feldenkrais, m. (1972). awareness through movement. ny: harper & row fortin, s. (1994). ‘when dance science and somatics enter the dance technique class’. kinesiology and medecine for dance, (15)2, 88-197. hanna,t. (1889). la somatique. paris: interéditions. joly, y. (1994). “l’éducation somatique: au delà du discours des méthodes”. association française des praticiens de la méthode feldenkrais, bulletin d’accueil, 12-19. johnson, d.h. (1995), bone, breath and gesture: practices of embodiment, berkeley, california: north atlantic. 18 y.joly/feldenkrais research journal 1 (2004) johnson, d.h. (1997), the body in psychotherapy: inquiries in somatic psychology, berkeley, california: north atlantic. korzybski, a. (1966). le rôle du langage dans les processus perceptuels. new york: the international nonaristotelian library. maturana, h., varela, f. (1987). the tree of knowledge: the biological roots of human understanding. boston: new science library. regroupement québécois pour l’éducation somatique (1994). brochure presenting the affiliated approaches. rosenfield, i. (1992). the strange, the familiar, and the forgotten. an anatomy of consciousness. new york: alfred k. knopf. rosenfield, i. (1993). “pourquoi le cerveau n’est pas un ordinateur”. science et vie, no. 184: les secrets du vivant. st. arnaud, y. (1993). “ guide méthodologique pour conceptualiser un modèle d’intervention”. f. serre (ed.). recherche, formation et pratiques en éducation des adultes. editions du crp, sherbrooke university, chap. 8. st. arnaud, y., joly, y. (1992). agir consciemment: conceptualisation du modèle d’une pratique en éducation somatique. mimeographed. department of psychology, sherbrooke university. varela, f., thompson, e., rosch, e. (1993). l’inscription corporelle de l’esprit: sciences cognitives et expérience humaine. paris: seuil “ “ “ the embodied mind: cognitive science and human experience. (1993, 3rd printing). the mit press, cambridge, massachusetts; london, england. varela, f. (1993 a) “rencontre avec francisco varela”. sciences humaines, no. 31 varela, f. (1993 b) “varela chauffe la tête”. actuel, no. 31-32 yvan joly, m.a. (psy.) is a psychologist and trainer-practitioner in the feldenkrais method® . a fter studying cognitive science at the university of montréal, he devoted himself from 1971 to 1980 to applied social science and management consultation. since 1980 yvan joly has a private practice in somatic education at montréal and is now in charge of the feldenkrais institute of somatic education there. he gave courses in many university departments in québec and has been teaching in professional feldenkrais 19 y.joly/feldenkrais research journal 1 (2004) training programmes in fourteen countries over four continents. yvan joly is the author of numerous study reports and articles. abstract somatic education is the name of a new disciplinary field which focuses on the living body, on the biological basis of consciousness and awareness, and on movement as experienced in space. the feldenkrais method and all other methods for somatic education share the need for qualitative research: to formulate their theories and define the scientific basis of their concepts; to measure the effects of their practices; to understand and improve the training process for practitioners and teachers. the paradoxical nature of verbally conducted research dealing with a non-verbal research object such as the body also needs to be clarified. any researcher concerned with the quality of somatic education must bring to the research process an awareness of her/his own body. this is both a characteristic feature and an undeniable necessity for such research. feldenkrais research journal​ • ​volume 6​ (2018-2019) reflections on practice ‘from the coal face’: teaching feldenkrais​®​ on uk vocational drama trainings victoria worsley ma; feldenkrais practitioner, uk correspondence: ​vicmworsley@gmail.com introduction a version of the talk presented at (re)storing performance symposium at bath university in june 2015. the symposium was for performers (performance artists, actors and dancers), students and teachers of performance and somatic practitioners (especially feldenkrais teachers) in the field. there was a wide variety of presentations, from formal academic papers to performances, as well as less formal presentations about teaching and practice like this one. keywords feldenkrais method, acting, drama schools, vocational drama training copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​;​ ​2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:vicmworsley@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ reflections on practice ‘from the coal face’: teaching feldenkrais​®​ on uk vocational drama trainings victoria worsley ma; feldenkrais practitioner, uk my intention in this article is to offer some insight into the practicalities and exigencies of teaching feldenkrais for student actors within a vocational training in the uk and how it differs from teaching the public or even university students. this is based on my own experience of teaching for ten years in uk drama schools and also draws on my twenty years as an actor and theatre maker. there is a growing number of articles, chapters and even books (including my own recent publication ‘feldenkrais for actors’ (worsley 2016)) for academics, teachers and actors about the various relationships between acting and feldenkrais, but this article seeks to address the very specific demands vocational courses put on a feldenkrais teacher and to offer some thoughts about ways to work within those constraints. until recently, only a very few of us were teaching in vocational drama schools in the uk as opposed to teaching on university drama courses, dance courses or performance courses with a broader artistic remit. all these situations are different to teaching the public, but i also believe that while there are inevitable cross-overs, the aims and intended outcomes of all these kinds of courses are also different to each other, so i am keeping this discussion to what i have found specific to vocational drama schools in the uk. over the last few years, more of these schools have begun to include the feldenkrais method​®​ in different ways, and there appears to be a hunger amongst practitioners to discuss the issues this brings up. given this article is based on my experience, it cannot be a complete picture, but my hope is that it might be, nevertheless, a useful contribution. particular demands of vocational drama schools students in vocational drama schools have a fairly singular goal in mind, which is to be able to make a career as a professional actor, and the schools claim their courses will prepare them to do just that. in fact, many of the students will end up writing, running theatre companies, teaching or exploring a bigger canvas in some way, but at this point in their lives they are usually very focused on training as a professional actor for a future in the business. that is why these young people are in drama school and not in a university or anywhere else. the students will therefore judge my feldenkrais class mostly by how much it enables them to become good and potentially successful actors. secondly, unlike the public, students in a drama school have not chosen to come to my class. worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 2 they are there because it is part of their curriculum, and in most cases, they have to stay in my class whether they like it or not. some of them may know something about the feldenkrais method, but most have never heard of it and have no idea why they should be doing it, how it might benefit them or what it has to do with making them better actors. in addition, some students arrive at drama school with an instinctive understanding of acting as a physical process, but many of them are surprised by the idea that acting involves so much movement training, let alone something as profound as the feldenkrais method. they may come expecting to do acting classes pretty much all of the time. they may come expecting to dance, get fit, get in shape and work out. indeed, they may be disappointed that they are not doing as much hard physical graft as they expected. regardless, their expectations probably do not include lying on the floor and feeling what happens in their pelvis when they roll one leg or noticing where their hip joint is. that mostly comes as a surprise. a big part of the job, then, is to help students bridge that gap so they can be available enough to even start to learn. it also has to be borne in mind that we now live in an age where people pay for the tuition themselves or find funding for their higher education, so they are classed as consumers as much as they are students. my class is assessed by the students and its relevance marked and commented on through feedback forms. of course, it is right that the students should have a say in their own education (and it often works very strongly in the teacher’s favour) but the consumer culture brings assumptions with it – which can easily tip into “they pay and you deliver”. of course, as teachers we have to create the conditions for learning and that requires great skill, but finding how the students can think of themselves as learners becomes another big part of the job. it can become a vicious circle where a student is struggling with the work, so does not engage with it. then, having had little result from the lesson, the student decides it is just not useful rather than looking at what is hard in it for them and how they can learn from it. of course, this can be a difficulty with any kind of learning, but the consumer culture seems to legitimise it. again, it does mean that as a feldenkrais teacher, finding how to create a learning culture in the room and how to make the lessons accessible to those who find it opaque becomes very important. given that the primary purpose of a vocational course is to equip its students for a career as an actor, academic work, including essay writing and written exams, has not been a major part of the course in any of the schools i have taught in. there is certainly an importance given to understanding play texts, their historical contexts and a variety of vocal and acting methods, and to developing the kind of creative intelligence an actor needs. it is also true that all the main uk drama schools now offer degrees, which require some written work. however academic attainment is either not relevant or can be waived on the basis of a good audition for entry into most vocational schools. it is not of primary importance within the school either, and even when it is stressed for the purpose of gaining their degree, every acting student knows in their heart that, any exam result or theoretical knowledge that does not contribute to performance skill, is mostly irrelevant to their future as an actor. so, in a vocational school, however intelligent and worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 3 interested the students are, the theoretical aspects of the feldenkrais method will not count as useful learning for their own sake. the lessons need to translate into an experience that they can appreciate as useful in a fairly immediate and very practical way. in my experience, to justify my continued place in a packed school curriculum, i need to be able reach the students who have the most difficulty with the feldenkrais method and help them to find its relevance, not just the handful of natural ‘feldy’ types who will fall in love with it and ‘get it’ immediately. sometimes a whole class can fall into the ‘feldy groove’ as the doubters get swept up in the enthusiasm of the rest. however, as a teacher, it is also easy to be seduced by the voices of those who love it and not really acknowledge the ones who are lost and seek to disappear, disengage – or simply fall asleep. finally, every school is different depending on the governing body, staff, ethos, history and the kinds of students it attracts. in addition, the situation of a feldenkrais teacher within each school will differ, which may account for some very different experiences amongst teachers. one feldenkrais teacher may be a respected movement teacher in the school already, so their students will trust them implicitly when they introduce feldenkrais lessons. another may be brought into a school where the feldenkrais method is a natural fit with the values and processes the school nurtures. however, another teacher may find they have been brought in as a novel idea by the head in a school that does not really know what the feldenkrais method is, and who has decided it is a more dynamic version of the alexander technique that can be done in bigger groups (so will be cheaper and/or less time-consuming). or perhaps movement teaching is on a very different track at the school, so the teacher finds themselves struggling to make the work understood at all. sometimes it is only the voice department that welcomes the feldenkrais method, which can leave the students very confused as the lessons are named ‘awareness through movement’​®​. the feldenkrais teacher may be welcomed and integrated into a department where the tutors readily include them as part of a team that works together, or they may be brought in as an outside extra along with yoga or pilates and find themselves isolated and with little idea of what else is going on. i have been in or around all these situations. this means there is no one answer to how you teach feldenkrais lessons within the constraints of a drama school context. rather, as feldenkrais teachers are wont to say in many situations: “it depends”. what do i do? firstly, i try to address all the things i have just laid out. while i do not always achieve all of it, i try a variety of strategies which i outline here, some of which i will go on to discuss in more depth. ● i always seek to contextualise the work and relate it to acting so that the students can, as far as possible, appreciate why it is a useful basis for their acting studies. ● i frame it in as many different ways as i can so that if they don’t understand it one way they have a chance to connect to it in another way. worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 4 ● i look for ways to intrigue the students, engage their curiosity and give them strong experiences they are less likely to forget. ● i try to validate any kind of experience the students have, even – or especially – if it is an experience they don’t like or find ‘weird’. in fact, i try and get them to understand that this is as much about experiencing themselves in different ways, of tuning themselves to notice those differences and developing a sense of nuance, as it is about becoming good at movement, standing nicely or improving their voice. ● i keep shifting the focus of the process away from teaching and towards learning as much as i can by asking the students a lot of questions, getting them to pick out themes from what we are doing and giving them time to tell me why they think it is relevant or how it is affecting their work or life. ● i try to reach the students where they are by acknowledging their concerns and interests and seeking to address, re-frame and gradually re-direct rather than ignore, belittle or tell them they are wrong. ● i try to never give up on someone but also accept that i am not going to reach or enable everyone all of the time. ● i try not to teach in schools where i am unlikely to be able to do the above. for example, when the class is too large to make a connection with each student; the class time is too short to contextualise a lesson; or one or more departments do not welcome the feldenkrais method or teach in a way that is very difficult to bridge to or support (such as forceful stretching or strict rules about “alignment” that must be adhered to), leaving students confused as to why they are doing feldenkrais lessons and how it relates to their other learning. there are a great number of ways i use to contextualise and frame the work for them. most of these form the chapters in my book, ‘feldenkrais for actors’ (worsley, 2016) i explore a few of the major approaches here. for example, we could pick something obvious like posture or alignment – terms that are referred to in so many of their other classes. these are often specifically focussed on in the first year as ‘preparatory’ work and are likely to become an obsession for many students for years to come. contextualising the feldenkrais method for acting students posture the feldenkrais method has very useful ways of thinking about posture in a less prescriptive and more dynamic way than is sometimes taught or than students might expect (feldenkrais 1980, 2002, 2011). the method steers away from prescribing a ‘correct’ posture and instead enables the learner to explore how they organise and support themselves in a wide variety of different movements (often on the floor) and then to notice what new way of standing simply emerges at the end. having only one ‘correct’ way to stand is particularly unhelpful when actors have to play characters who don’t stand with whatever ‘correct alignment’ they have been worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 5 taught. the idea that posture involves being sensitive to the relationships between many parts of themselves and that those relationships can shift according to what they are doing, the situation or the environment rather than imposing a universally correct order, is something an actor will find very helpful for the variety of possibility they will need. therefore, i link posture to other terms and ideas they will be encountering in the school such as ‘grounding’ and ‘centre of gravity’ as they do feldenkrais lessons that give them a clearer experience of what these terms actually ​feel​ like. i use fairly simply structured awareness through movement lessons until students are better able to trust the process. i also offer them a few different ways to notice changes because not everyone can feel what has happened in themselves. for example, i invite them to see changes in each other by observing something relevant to the lesson in pairs or groups before and after. i invite them to hear the differences in their voices too. in fact, i often use voice during the lesson so they can feel where they do something that interferes and help establish the link between voice and movement, and because, for some, the difference in their voice will be the clearest outcome. presence from here it is easy to move away from posture for its own sake to what it means for an actor’s presence on stage – that elusive quality. i try to bring out how this more dynamic idea of posture involves the ability to go in any direction at any time and to reverse easily. i help the students begin to see how that translates into a readiness and an ability to listen, respond and play, and how an audience responds to that simple openness and availability. so, i might frame a feldenkrais lesson with an exercise where all the student has to do is come into the space, introduce themselves to the ‘audience’ (their other classmates) as simply as possible and keep contact with the audience until they feel the moment that they should leave. the audience considers each student’s ability to do less and be simple, and compares their presence and how open and available to the audience they seem to be before and then after the lesson. the results are often striking. it usually enables the students to understand why seeking to use only the effort that is needed and no more within the small movements of an awareness through movement lesson is directly relevant to this important aspect of performance. awareness the fundamental factor in all of this is developing the ability to notice differences – the “awareness” in awareness through movement. once they have seen something change in any of these lessons (anything, however fine or gross) i can bring that to their attention and point out that this is what they are actually engaged in and the importance that it has for learning and for creating different characters, dynamics, emotions and situations when they are on stage or camera. feldenkrais is very often quoted as saying: “when you know what you are doing, you worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 6 can do what you want” (1994-2004: 3649) . that will in turn help to explain why it is useful for 1 them to be on the floor noticing small differences in movement during a feldenkrais lesson. working in pairs and groups, observing each other, making drawings and just developing a sensitivity to difference through the scans and lessons over time all help. however, despite everything, some students will still not put it together: they will have real difficulties with feeling what they do, noticing differences at all or appreciating why they should be interested. this is where giving them some strong experiences comes in. strong experiences at the moment one kind of tactic i often use is to start with bigger, more dynamic lessons. these are not only fun, but also tend to elicit more obvious changes that students can feel. for example, i might spend some lessons with a variety of ways of getting up and down from the floor so that the students can have a clear experience of how much more easily and fluidly they can do it at the end of each lesson. they can then notice how the lessons affect their posture and breath, and voice as well. once they have made that kind of connection i can often begin to move the class towards noticing some of the finer details, and then start on lessons that involve smaller movements which require closer attention and more patience. another game i have started playing recently to help the students feel – very graphically – how differently people hold themselves, involves a box of sand. when someone leaves their prints in sand, the depth of the print reveals where the person’s weight goes, as well as how the feet are angled. someone else trying to match their feet to those prints will have a very strong experience of how differently that other person supports their weight and of how strange and difficult it can be to accommodate that organisation in themselves. jaws drop. this may be the first time the students really get what you mean by different patterns of being upright. the shock is not forgotten in a hurry. the realisation of how different we all are in these fundamental ways can begin to lead the class towards what is involved in developing different characters, which is something that always interests them. there are many ways, of course, but one route they can usually connect with easily is via an examination of walking. again, there are many possibilities here, but one way i have found to take apart how we walk is through planes of movement: rounding/arching, side bending and twisting. i use simple feldenkrais lessons to get into the detail of how the movement of the legs (and arms) connects to the back in these planes , then, at the end of the 2 1 feldenkrais said this many times in different ways. one example is in the alexander yanai materials (feldenkrais 1994–2004) lesson #536 “fingers interlaced on the chest”: “you begin to distinguish and if you distinguish, you know what you are doing. if you know what you are doing, you can do what you want. if you do not know what you are doing, you cannot do what you want. it is done in the way the limbs learned how to do it” (1994-2004: 11, 3649). 2 just a few examples: from feldenkrais (1980): differentiation of pelvic movements (begins page 115); co-ordination of flexor muscles and extensors (begins page 109); and some fundamental properties of movement (lifting arms and legs) (begins page 91). from feldenkrais (1976): tilting legs on stomach (begins page 40); using knees like drumsticks (begins page 90). from early in the first year of my worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 7 lesson, i ask the students to walk again and feel what kind of person they are now, what the world feels like, how they feel about other people and so on. bringing in these kinds of differences are likely to catch their attention. to help the students really appreciate how this is useful, i will often accompany these kinds of lessons with a project in which they observe a person outside school and then copy that person’s walk for the class. this is not an original idea – they may do this kind of copying in other classes too. but the awareness through movement lessons usually encourage a different level of detail in what they are feeling in themselves and so in what they can observe and at least attempt to then re-create. this allows them to work at a greater level of subtlety and precision. in fact, this is an example of why the feldenkrais method can be so valuable in a drama school. the specificity and level of detail that the students get from the lessons can support everything else so well. as part of this exercise, the class discusses who they think each person being presented is from what they have seen: male/female, age, background, emotional life, place in society, interests and so on. they may or may not be right in their guesses; it doesn’t matter. the point is for the students to notice that they get a story from ​how​ they see the person walk. students often disagree with each other and have very interesting discussions based on small but very specific elements of how the person walked, once again bringing home the understanding that small differences make all the difference, and that how we are and who we are is not separate. this can be a very big step for students who wish to simply act out some image they have in their head rather than engage with their sensations and physicality. interestingly, one or two of the young struggling professional actors who come to me for private sessions have realised that this is exactly the piece of learning they have managed to miss despite three or four years of training. they wrote movement lessons off as ‘wanky’ or just didn’t take enough of an interest, never really appreciating that movement is fundamental to who we are. this is the enormous insight we can offer as feldenkrais teachers in a way students can usually understand. clarifying the link to emotion once the students have seen the link between who they think a person is and how they move, and have argued about whether the person walking round the room in front of them is sad or just tired, introverted or busy, arrogant or enthusiastic, they are also on the road to understanding that emotional responses and physicality are not separate. it becomes easier to accept that an emotional shift involves changes in muscular tonus, breath, heart rate and that being in touch with this enables an actor to find different emotional responses and move in and training, which followed the amherst training, 1980–1981 (feldenkrais 2007–2017): circling the arms, rolling fists, rolling side or front to back, and four points. from dr. moshe feldenkrais at alexander yanai (feldenkrais 1994–2004): elbows and knees touching, lesson #27 (1 (2) , 165-170); on the back; twisting the spine with the head fixed, lesson #110 (3 (1), 721-726); and twisting the pelvis with a long arm, lesson #240 (5 (2), 1655-1660). worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 8 out and through them more fluidly. it is beyond the scope of this article to explore all the facets of this complex topic, but i explore ways of working with the links between movement and emotion in my recent book (worsley 2016: 161-177). the central idea is to enable the students to notice their sensations as they encounter different emotional responses and to recognise how noticing can help them re-find the emotional journey of their character every night of the show or every take of the scene. for example, how the sadness evoked in that scene feels in their breathing, heart rate, muscular tonus and so on, as opposed to a moment of fear, anger, pleasure or hope. in relation to this, i wrote ...it can form a background awareness against which you can navigate through a play or find the moment in front of a camera…. it is not a self-consciousness, but a connectedness to what is going on inside you. it also enables you to sense the ebb and flow of the ‘currents’ of feelings and emotions within you: once you have a sense of the shape of those currents in a scene or even a whole play, something in you will seek it, shape it from within as you go through the performance. (2016: 172-173). there are similarities here with ideas articulated by other acting teachers, notably michael checkhov’s) ‘psychological gesture’ (2003: 63). before i knew his work, i developed an exercise which is similar and which i call ‘moulding to a character from within’. this exercise invites the actor to simply bring a character to mind (possibly at some particular point in the film or play, as what comes out of this will vary depending on that) and notice what changes in their sense of themselves just by doing that and – before they make any kind of conscious movement what changes in their muscular tonus, heart rate, breathing, where they have their weight and so on. from there they can very gradually let those sensations increase and feel, for example, what emerges in how they hold themselves and how it takes them into a little movement. the full exercise can be found in my book (worsley 2016: 193-195). it helps the students to know that the connectedness and sensitivity they are developing in feldenkrais lessons can open up these kind possibilities in their acting. it is also possible to relate the feldenkrais principle of reversibility (that all well-organised movement is reversible) to emotion (feldenkrais 2002: 113-114) as it is easier to find how to reverse something that occurs via changes in breathing and muscular tonus than something that is considered to be purely ‘mental’. this article can only serve as an introduction to this very large topic, but i believe i have shown some of the ways that student actors can begin to understand the relevance of small movement, doing less and noticing differences to emotional fluidity. in this last section, i would like to share some ways in which i address the question of meeting students where they are and enabling them to re-frame or vary their ideas and practice. worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 9 meeting the students where they are: fitness and agility recently i have started consciously meeting students where they are in terms of their desire to be fit, strong and look good. i am very aware that those are words which carry assumptions that the feldenkrais method often, very usefully, calls into question. but this is a place where a number of students are or will be pushed by the pressure of the business, and while you cannot always serve everyone, the more people you can reach where they are and then take somewhere more useful, the better. also, fit and strong is not a bad thing to want to be per se. we feldenkrais teachers sometimes forget that the feldenkrais method’s founder was very strong himself: an aggressive football player, very skilled in street fighting from his days as a member of the hagannah in palestine in the 1930s, and a martial artist. our method clearly has roots in what feldenkrais learnt from jiu jitsu and judo. so actually, we have first-class lessons to help students approach strong physical training so much better. in fact, these days gym training is not all lycra and inflated muscles. there is a popular move towards functional training and integrated strength training that does not rely on machines to train isolated muscle groups, but uses body weight, whole body movement training, gymnastics, athletics or martial arts-based skills work and a variety of free weights. many of the students know at least something about this kind of training already because it is considered sexy – parkour is part of that style of training for example – and the feldenkrais method 3 actually contains the foundation work for much of that kind of training. i have found relating to these kinds of students a great deal easier since i did a study of barefoot running, and even more so now that i train regularly and have successfully gained my first black belt in a pretty tough form of traditional okinawan karate. i now really appreciate what drives people to train and what it means to take that away from them, allowing me to build better bridges to somatic work. also, i suspect that a few of my students can relate to my teachings more easily if they know i train as hard or harder than they do – and yet the feldenkrais method is what i teach and credit with enabling me to do the training i do. extreme sport or martial art is not every feldenkrais teacher’s area of expertise, but it does not matter. the lessons are there for all of us to teach and, if you do not stand in silent judgement of students who train which will only alienate them – you can enable them to approach their training in a more varied, nuanced and useful way, and to consider more carefully what strength and power might involve for an actor. obviously, every lesson will help students feel the support of their skeleton and the ground, which are very significant for strength and power. i also use many of the awareness through movement lessons that are drawn from developmental movement, which is now becoming very 3 also known as ‘free running’, parkour involves developing ways to move in and over the environment by climbing, jumping, sliding, rolling and more. it developed in urban spaces, and while its more daredevil aspects of jumping between buildings caught public attention, its fundamental principles of efficient movement in, over and through any environment can also be more widely applied. worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 10 popular in functional training methods too. i use any of the reaching, pushing, pulling, kicking kinds of lessons, lessons that prepare for jumping and even lessons that help with squatting, which is the basis for weight lifting, amongst other things. there are many, many more you can use; it just depends how you frame them and what you bring out of the lesson. for example, i use one of jeff haller’s (2010) breathing lessons to help students push more effectively, and i have even used one of the ‘basis of hopping’ lessons (feldenkrais, 1994-2004) to help teach 4 the relationship of the head and neck for voice. many of the developmental lessons (crawling and locomoting in different ways) also contain the fundamentals for animal work that most acting schools do, and clearly help with their fight and dance classes. these sorts of lessons are never just for those who like to train though; they are wonderful lessons for everyone in a myriad of ways, just as every awareness through movement lesson is. the class spends time noticing the difference in the clarity and power of their presence in their voice, in their ability to be simpler, and more efficient in their use of self. and how they can experience themselves in a different way. integration for acting i would like to conclude with a quote which i often read to the students. it captures something of what the feldenkrais method can do very well, and may be why peter brooks may have chosen to work with moshe feldenkrais. john heilpern talks about peter brooks’ famous journey through africa with his theatre company, centre international de recherche théâtrale (cirt): brooks told me that if you watch any cat, it isn’t just that his body is so relaxed and expressive. it’s something more important than that. a cat actually thinks visibly. if you watch him jump on a shelf, the wish to jump and the action of jumping are one and the same thing. there’s no division. a thought animates his whole body. it’s in exactly the same way that all brooks’ exercises try to train the actor. the actor is trained to become so organically related within himself, he thinks completely with his body. he becomes one sensitive responding whole, like the cat (heilpern 1999: 146). the image of the cat is a strong one that the students can understand at a visceral level as well as intellectually. it is often an inspiring image and has credence because it comes from such a legendary theatre director. it is possible to point out that this quality of the cat is exactly what the feldenkrais method enables in so many ways: that while the method does indeed help students be more relaxed and expressive, it also contains the other qualities described in the quote. for example: ● becoming clear enough in what they are doing in any movement in an awareness through movement lesson, however small, and developing choice at a very fine level, enables the actor to execute their intention – or to tell their story – precisely, clearly and immediately. they are not stuck in one blind compulsive choice that may not always fit 4 feldenkrais (1994–2004), lessons #281, #282, #283 (6 (2): 1917-1940), and #298 (6 (2): 2043-2050). worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 11 the moment or chime well with the audience. ● responding as an integrated whole in the moment like the cat (not according to a thought they had in the bath last night and are now trying to somehow impose with part of themselves) is something an actor is consistently asked to look for in every moment of a feldenkrais lesson. once a student can appreciate that these kinds of essential skills are the territory of the feldenkrais method, the very special relevance of these strange lessons to what they came to learn can become clear – and so its importance to the curriculum too. references chekhov, m. ([1953] 2003) ​to the actor.​ london: routledge feldenkrais, m. (1976) ​san francisco evening class notes 1976​. berkeley: feldenkrais resources feldenkrais, m. (1980) ​awareness through movement​. 3rd edn. london: arkana, penguin feldenkrais, m. (1994-2004) ​dr. moshe feldenkrais at alexander yanai (vols. 1–11)​. ed by e. solway. trans. a. baniel and j. krauss. paris: international feldenkrais federation feldenkrais, m. (2002). ​the potent self​. 2nd edn. berkeley: frog limited feldenkrais, m. (2007–2017) ​professional training transcripts: amherst, massachusetts, 1980 –1981​. ed. by b. r. humiston. paris: international feldenkrais federation feldenkrais, m. (2011) ​higher judo​. 2nd edn. berkeley: blue snake heilpern, j. (1999) ​conference of the birds​. 3rd edn. london: routledge haller, j. (2010) ​discovering the roots of integral strength​. [video recording] berkeley: inside moves worsley, v. (2016) ​feldenkrais for actors​. london: nick hern books biography victoria worsley, ma, member of the feldenkrais guild (uk), studied movement and performance with monika pagneux and philippe gaulier in paris 1984-87 while she also gained her degree in literae humaniores from oxford university. from 1986-2006 she worked as an actor straddling the worlds of physical theatre, new writing, traditional text plays and tv and worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 12 film. she also created or wrote a number of plays with her theatre companies tattycoram and jade and worked as a movement director. having already discovered the feldenkrais method while studying with monika pagneux, she finally trained as professional practitioner in lewes 2003-2007. since then she has built a busy general practice in north london and taught feldenkrais and movement in a number of drama schools including mountview and oxford school of drama. she teaches workshops and seminars for organisations including the actors centre, the royal ballet school and shapes in motion at sadlers wells and coaches individual actors. her book ‘feldenkrais for actors, how to do less and discover more’ was published by nick hern in november 2016. victoria is also training for her black belt in traditional okinawan karate (goju ryu) and teaches barefoot running. worsley • ​feldenkrais research journal, volume 6​ (2018-2019) 13 feldenkrais research journal • volume 1 (2004) article walking upright: on moshe feldenkrais friedhelm kemp professor of general and comparative literature, munich abstract tracts and directives on how to attain sound thinking and doing – right living – have been written since time immemorial. they all advocate some form of spiritual discipline, reflection, contemplation, or rhythmic technique, and suggest doing less rather than more, while persisting on the chosen path without wavering. a number of these teachings have exerted an impact far beyond their places of origin. nearly all of them fulfill their promise – provided the initiate is really tuned in and has learnt how to act in their spirit. however, anyone who hopes to find an objective procedure, an infallible prescription, will be disappointed, usually failing to take into account what is most important: striving for success blocks salvation, because there is no other aim than the living reality implemented at every step along the way. i am assured that my freedom has long been an illusion. it is a fact though that i can bend down, straighten up again, turn my head. but can i really? such actions are often clumsy and ungainly, involving effort and pain. obviously i must be doing something wrong. the question is how to change that. or more modestly: how to become more pleasing to myself and thereby to others. a comprehensible little book provides instruction. moshe feldenkraise’s “walking upright” [tr: as franz wurm’s german translation of “awareness through movement” was originally called] could be of use for everyone. this book is not intended for specialists, the “educated”, or cultists, but for all of us lay-people who simply go about our daily lives. keywords feldenkrais, self-image, consciousness, awareness, movement, observation copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author walking upright on moshe feldenkrais friedhelm kemp tracts and directives on how to attain sound thinking and doing right living – have been written since time immemorial. they all advocate some form of spiritual discipline, reflection, contemplation, or rhythmic technique, and suggest doing less rather than more, while persisting on the chosen path without wavering. a number of these teachings have exerted an impact far beyond their places of origin. nearly all of them fulfil their promise provided the initiate is really tuned in and has learnt how to act in their spirit. however, anyone who hopes to find an objective procedure, an infallible prescription, will be disappointed, usually failing to take into account what is most important: striving for success blocks salvation, because there is no other aim than the living reality implemented at every step along the way. people say the world is absurd, meaningless, hopelessly lost. we often read and hear such statements. but does that prevent us from breathing, walking, sometimes even bouncing along? i am assured that my freedom has long been an illusion. it is a fact though that i can bend down, straighten up again, turn my head. but can i really? such actions are often clumsy and ungainly, involving effort and pain. obviously i must be doing something wrong. the question is how to change that. how to move so that the world would not collapse if i were its pivot. or more modestly: how to become more pleasing to myself and thereby to others. a comprehensible little book provides instruction. moshe feldenkrais’s “walking upright” [tr: as franz wurm’s german translation of “awareness through movement” was originally called] could be of use for everyone. this book is not intended for specialists, the “educated”, or cultists, but for all of us lay-people who simply go about our daily lives. “we act in accordance with our self-image”. that is how the book begins. it is based on the premise that our actions are an imitatio, replicas of an already existing mental picture. however, the decisive factor is that we are the originators of this picture or image of ourselves as a moving, sensing, feeling and thinking being. of course by the time we pick up this book and begin to read, this picture has long been established in elaborate detail and placed on its elevated throne, from where it rules like an usurper over our forgetful self. but since this picture always remains malleable, we can – says feldenkrais teach our lord and master, as children teach their parents, or the poet his muse. after all this ruler is neither identical with our self nor an uninfluenceable alien power. it exists as an image of our own making and dominates in accordance with our own free will. or to be more precise: in accordance with our willingness to submit. we may create all kinds of random images of ourselves, but only one will be really accurate, more or less true to our nature, matching our situation. we are not a fish, bird, or angel; each of us is just a human being, with two feet on the ground and a head pointing skywards. we are also more or less familiar with the laws governing our physical body; we know about them, but we don’t sense these laws and lack the awareness to live in harmony with them. kleist’s famous and much cited essay “on the marionette theatre” describes what confusion consciousness brings to man’s natural gracefulness. only “if knowledge has passed through an infinity as-it-were” can this lost elegance reappear “in its purest form f.kemp/feldenkrais research journal 1 (2004) 2 in a human physical frame which either lacks all consciousness or is endowed with infinite consciousness, is therefore either marionette or god”. in his search for a human method located somewhere between those two utopias, between a prehistoric state of unawakened awareness and an ultimate state of total awareness, feldenkrais attempts to obtain a complete picture of the jointed puppet – which we are in terms of our skeleton, muscles, and tendons – and to govern its movements by way of that image. “l’imagination au pouvoir” (“the imagination to power”) was a wall slogan at the sorbonne in may 1968. whether the imagination evoked here would be capable of governing the social body may be somewhat questionable. (one would particularly like to ask: whose imagination?) however, there is no longer the least doubt that within me the imagination is the “reine des facultés” (the queen of our faculties), as baudelaire called it, provided the faculty of imagination is understood to mean more than inventiveness, and also to include such aspects as keen observation, attentiveness and empathy, and provided the fact that we ourselves are its nearest object, subject matter, and field of activity is taken into consideration. society is an abstraction, or occasionally a mythological entity. instead of being a completely self-organized whole like a human being, it is too complex to be easily grasped, and precisely that fact explains some of its capacity to instil idolization. but i and each single one of us we are our own equipment and our functioning, and can shed light on them and thus gain understanding. we are able to gain mastery over ourselves as a jointed marionette. we only need become more conscious of that puppet if we want it to learn how to move with greater ease, effectiveness, and elegance. in this book, this kind of consciousness, which is not located in the head but always in the place where we move (or could move), is called “becoming aware”. and what kind of movements is recommended in the book’s twelve exemplary lessons? the most effortless, smallest and softest, leading to unexpectedly amazing results. rolling, turning, circling, swinging, rocking, seesawing, swaying; gentle stretching, lifting, lowering; sometimes freely and fluidly, sometimes towards a previously determined point going in the same direction as other movements or in opposition to them; movements that are observed while being carried out and then implemented merely in the imagination (which considerably enhances their effectiveness). everything is simple, and of course difficult as is any simple action for those who lack practice; but there is something to be discovered, and all experience can be checked on the spot. you begin to appreciate yourself as a miraculous machine consisting of levers (initially material and bodily). while those levers continually act on one another, they also teach our nervous system and brain, and thus ultimately our feeling and thinking. are we an image? we don’t see it. are we a word? we don’t hear it. are we pleasure? we don’t feel it. we are content with dull routine where we could be virtuosi. we demand the extraordinary and expect to find it in the future, on the other side of the moon. hugo von hofmannsthal’s poem “dream of great magic” declares: “cherub and noble master is our spirit, does not abide in us, and in the highest stars he places his throne and often leaves us orphaned.” however, the same poem finishes by saying that this spirit lives within me, “as i live in my own hand”. but who really has a living experience of their own hand, the third toe on the left, or the right earlobe? “unfolding the powers inherent in human nature will only become possible when the whole world is unhinged” proclaims the most recent gospel. feldenkrais does not want to do more than help us become aware of the hinges around which our real powers – not our imaginary ones pivot, powers that might open some doors into our own future, beginning right now. it is not the hinges of the whole world, f.kemp/feldenkrais research journal 1 (2004) 3 which nobody can manipulate, that are at issue here; but our bones, muscles, nerves the rather splendidly fashioned dust we are made of. neue zürcher zeitung, january 19, 1969 letter (originally in french) by moshe feldenkrais to friedhelm kemp tel-aviv, january 28, 1969 dear dr. kemp i have just read your review of my book “walking upright”. the first thought that came to me while reading was a wish to meet you in person. not many people really understand me; apart from you there is only professor hugo bergmann, head of the philosophical faculty at jerusalem university, who is interested in the essence of this subject matter and sees it as a rung on the evolutionary ladder of the human mind. if i also tell you that i like your subtlety of nuances and elegant ease in dealing with the subject, which can hardly be described in a few words, you will understand why i feel impelled to write to express my unreserved admiration. i would like to have written your article myself. hoping to have the pleasure of shaking your hand. m. feldenkrais let’s get things right! friedhelm kemp is there a method for changing one’s bodily, mental, and spiritual state and behaviour without effort, simply through attention? to lasting effect, and even to be achieved at a ripe old age? let me repeat: by means of attention; and of course also a little patience with oneself, one’s body and its habitual inclination to behave awkwardly, or even inappropriately. how can one’s general state – usually more or less unperceived except when there is pain – be improved and transformed into a feeling of well-being, heightened by effortless ease and flexibility? how can a sense of a truly living experience of joy and pleasure be attained without having to look for that in pushiness, speed, frenzy, or “ecstasy”? how do you transform yourself – through learning, relearning, making up for missed opportunities (without ever being too late) into a more likeable fellow citizen both for yourself and others, with the possible spinoff of making a modest and inconspicuous contribution towards improving “the state of the world”? that method does indeed exist: not as a secret doctrine for initiates who can afford long and expensive courses at the foot of holy mountains, but accessible to all in word and print. there is only one condition involved in benefiting from this method: you have to submit to it for a certain time; or rather let yourself be guided towards consciously experiencing what the method has to teach in order to become and remain “aware of yourself”. this process begins with so very little that you might be inclined to attach no importance to such irrelevancies, but very soon you begin to notice in your own body how such tiny little steps can lead to the most unexpected changes step by step, repeated several times, and then again and again; how these changes can be experienced as improvements and ultimately developed into helpful habits. “every perception of an object, every movement toward a goal, is a single, stably structured act; and in every act perception and movement are firmly linked” (viktor von weizäcker). however, the degree of “linkage” can be modified: perception can be intensified; repetition can both ease and f.kemp/feldenkrais research journal 1 (2004) 4 increase the connection. this process is accompanied by a change in the quality and degree of awareness. and all this takes on heightened meaning when the perceived “object” is your own body submitted to intentional, repeated movements, which are themselves continuously being altered through controlled repetition. attention is primarily focused on minimal changes. perception becomes more refined through focusing on small details. if your own body is its object, every refined act of perception will transform the body’s behaviour, and by way of behavioural changes ultimately the body itself. do i possess my body? am i my body? both of these questions are wrongly posed. we are always a body in terms of biology, physiology, physics, and chemistry. however, at the same time we keep on influencing, training, or harming this body. we handle and maltreat this given datum, which is of course dependent on – and experiences constant interchange with the world and our specific environment. living thus means to be embodied within the world, to move and have our being in this world as an incarnated creature. we can change this world, and are doing so all the time. but we can also change ourselves by means of attention and unceasing practice; and there is no end to correction and improvement. the goal is not completion or perfection, higher achievement or a new record, but instead greater precision, refinement and differentiation. that also involves the need to slow down and stay awhile without rushing off to the next experience. provided we are not already somewhere else, we may even succeed in being at home in ourselves. if i am thus at home within myself – without effort and agitation – a sense of deep satisfaction may arise, a sense of being sufficient unto myself, and that will extinguish all need for admiration. now i begin to be aware of myself, to sense and feel myself, to move consciously and with intention: living in and through myself as a highest good; as if nothing could happen to me any more; as if i should begin to radiate light, to give voice to my individual sound. while this state of transformation lasts, everything is as it has always been, and yet different thanks to that sense of “homecoming”. although that state will gradually fade, i now know from experience that it can be repeated, can be recognized when it is re-experienced – though always as something quite fresh and new. intensified newness and surprising freshness are the outcome of repeated attention, increasingly acute and tranquil, when this attention is focused on the imperceptible, as possibly what is most important. this process may be accompanied by a surreptitious desire to give up old habits. that does not require ascetic discipline. those who begin to observe something more “right” about themselves will experience a more or less spontaneous awakening of the inclination to let go of this or that unwholesome habit. the habitual pattern simply drops away. attention – an imperturbable, effortless, indeed occasionally slightly distracted mindfulness is simply otherwise and more pleasurably engaged. with what? well, simply with learning, as part of a continuous, ultimately hardly conscious learning process that gradually becomes one with life itself. a number of things would change, a lot turn out to be superfluous, if this learning and consequent transformation were to become general practice, if we were to become more skilful instead of sticking unswervingly to one particular opinion and solution, and insisting with grim determination on having to “achieve results”, which are intended to guarantee instantaneous success, more money and status, but often add up to nothing but a waste of time, what virilio calls “headlong standstill”: how many hours are spent in front of the tv set every day? how many hours in transit on the way to a weekend in salzburg, prague, or paris? for what purpose? to cast a tired glance at the sights there, to visit culinary magicians in f.kemp/feldenkrais research journal 1 (2004) 5 order to overload your stomach with their delights … in contrast, the method i am talking about here keeps you constantly on the move and benefits body and mind – free of charge, requiring no particular effort on your part. the kind of movement you learn keeps changing and improving through mindfulness, turning into pure enjoyment; the more skilful and conscious this gets, the more it becomes normal behaviour – of its own accord. of course once we begin to notice the positive effect on ourselves as we follow the decree “you must change your life!”, other worries start assailing us, for instance when we have to stand by and witness how our children are pushed to “get through the curriculum”– just as the students at our universities are forced to engage in a marathon through masses of secondary literature; how virtually all of them hope to reach a goal and purpose before they have found themselves. in “cultural life” as in sport, there is one and the same maxim: achievements, results, records please! speedily, insolently, vulgarly absurd! these abominations are dished up with “contemplative” and esoteric garnish in order to tranquillize us, when our attention should be focused on one burning issue: how can i avoid becoming ordinary, drab, insensitive, and worn out? how can i be bright, lively, multicolored: “living to marvel and wonder”? people say we are heading towards a multimedia information society; we are promised a world data bank where all knowledge is stored, ready to be retrieved at any time by anybody as needed or fancied. potentially we could deem ourselves omniscient and omnipotent. however, we forget that data and facts are of value only to those who know how to use them. data has no inherent value as such. its worth lies in what we do with it, how we deal with it. if we continue to remain strangers to ourselves, if dumb ignorance of ourselves keeps increasing, that informational macro world could easily get out of hand, plunging us all into catastrophes; and this would leave us even more helpless than prehistoric cave-dwellers when our technology has packed up and we are faced with the smoldering remains of nuclear power stations. if you have looked around a bit, you will know what i am talking about. “awareness through movement” was developed over many decades by moshe feldenkrais (d.1984), who also made the method accessible through a number of well-known books. his teaching, which does not demand faith and is averse to all “mysticism”, shows him to be a benefactor of humanity, who intends to teach us nothing but what we can discover about ourselves and thus also about the world by way of autonomous learning. teachers of a new kind, who are also the teachers of our adulthood, do not wish to overpower us with blinding revelations; they assist us on our path to self-knowledge, helping each of us to become the person we and we alone – could become if we did not allow ourselves to simply drift negligently through life: more or less all of us; everybody day in day out; lacking loving kindness, a blight for ourselves and others. 1995/1999 friedhelm kemp, professor of general and comparative literature, born 1914 at cologne, lives in munich as a writer, translator and expert in his field. translations by ilana nevill frj 2 introduction 121822 feldenkrais research journal • volume 2 (2005) editorial introduction: choosing the path of least resistance carolin theuring ma; editor in chief keywords feldenkrais method, research copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org editorial introduction: choosing the path of least resistance carolin theuring ma; editor in chief dear reader, “choosing the path of least resistance”. does this sound like a familiar strategy to you? well, i decided to choose the path of least resistance as the motto for this new volume. that is of course not very ambitious. that is not very scientific either, i know very well, but it was an option that made it possible to do this work with a low budget and little manpower, in reasonable time. this project was put into physical existence one year ago and it is still at its very beginning. for a second or so, i fancied about a ‘real’ research journal, with peer review and a research network and…, but after this second my pragmatism quickly took over, i decided to start small, use these first volumes for experimenting with possibilities and not try to forcefully drag a high-end-goal out of nothing. and anyways, what would i have done with an editorial board but nothing to feed them? so the first realistic goal was to get material anyhow. one way to receive material is that people submit articles. after vol 1 was published, i received five submissions over the time of a few months – coming to my big pleasure from all over the world. four of them are included here. jim stephens (usa), rose eisenberg (mexico), odette guimond (quebec/can) and robert webb (aus), are included, one more from argentina i unfortunately couldn’t include (but still: thank you!), because it was, not related enough to scientific exploration – well that is one serious criterion after all. then, cruising through the research lists of ryan nagy ((http://www.psych.utah.edu/feldenkrais/research.html) and werner kraus (http://feldenkrais-method.org/en/node/860) i had a second idea: aren’t there a lot of thesises and dissertations about the feldenkrais work lingering out there, waiting to be read, but hard to find? after sending a lot of emails to every country with a feldenkrais guild office, i ended up with four more pieces (let’s not get into the issue of dragging answers out of the world wide web here…), patiently waiting for publication: grit gürlich & volker neubeck (germany), warwick long (new introduction • feldenkrais research journal, volume 2 (2005) 2 zealand), staffan elgelid (usa/sweden) and larry goldfarb (usa) spent their scientific „masterpieces“ on diverse aspects of the feldenkrais method and were happy to provide it for publication online here. my secret wish was to find more material in different languages. one in spanish, one in swedish, one in italian… i tried, but was not successful this time. still, this is one of the advantages of publishing this research journal on the internet. we have endless space to place publications in any language here, just remember this, when you are about to complain about the medium we chose for this enterprise! what else do you need to know about this volume? i drew from werner kraus concerning the selection of material: “the selecting criteria for the articles of this edition are not arranged along the line of “good” or “bad” research.” no, it is available research at this point, i have to add. the order in which they are presented is simply alphabetical after last name of first author. no bigger secret to this, honestly. shorter articles are presented as full text and as a pdf which you can download on your computer and print easier. longer articles and theses are available only as pdf-download. for articles that were published elsewhere before and where we had problems receiving permission for reprint, we provide a link to the respective journal, so that you can find and purchase it easily yourself, if you want to. well, that’s about it, i don’t want to add more here but send a big thank you to kathrin achenbach and neil schill, the web designers, lynette reid, my contact to the iff board, as well as the iff board members themselves, in making this project possible. welcome to volume 2 of the iff academy feldenkrais research journal, give us feedback, submit material and, come on guys, participate, end this few-women-show! sincerely, carolin theuring introduction • feldenkrais research journal, volume 2 (2005) 3 feldenkrais research journal​ • ​volume 6​ (2018-2019) hypothesis and theory co-constructing movement in mathematics and dance: an interdisciplinary pedagogical dialogue on subjectivity and awareness dor abrahamson phd; professor, graduate school of education, university of california berkeley ami shulman rehearsal director at the göteborgsoperans danskompani, sweden. choreographer, educator, movement artist, and feldenkrais method practitioner. contact: ​dor abrahamson: ​dor@berkeley.edu abstract a physical movement can be construed in many ways. for some researchers of mathematics education informed by embodiment theories this is important, as they perceive a mathematical concept as a polysemous structure grounded in multiple interrelated sensorimotor constructions. in this dance is no different. similarly in both disciplines, the more ways one has of thinking about a movement and the more connections one builds across these different constructions, the deeper and richer one’s understanding and proficiency in enacting the movement and the greater one’s capacity to transpose the learning to new contexts. in both mathematics and dance, instructors thus seek to create conditions for students to develop diverse subjective constructions of the movements they are learning to enact and to explore relations across these different constructions. any pedagogical discussion of movement, whether in dance or mathematics, must be a discussion of the individual’s subjective phenomenology and increasing awareness. in reflection, the very possibility of the authors’ interdisciplinary dialogue is testimony to the cohesive potential in systemic conceptualizations of human movement. keywords dance, design, educational technology, enactivism, feldenkrais method, mathematics education, movement, phenomenology, ratio and proportion copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:dor@berkeley.edu https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 2 hypothesis and theory co-constructing movement in mathematics and dance: an interdisciplinary pedagogical dialogue on subjectivity and awareness dor abrahamson phd; professor, graduate school of education, university of california berkeley ami shulman rehearsal director at the göteborgsoperans danskompani, sweden. choreographer, educator, movement artist, and feldenkrais method practitioner. 1. introduction: invitation to an interdisciplinary pas de deux learning is the developing of new skills for responding effectively to situations relevant to survival and the accomplishment of natural and cultural objectives. yet no two situations are ever quite the same. for skills to be useful, they should therefore embrace variation across situations. thus for a cognitive architecture to be adaptive, it should allow for embracing variation. it follows that learning is modifying what we know to do so as to cope with new situations; in so doing, we expand what we perceive as familiar situations. the perceived novelty of a situation, which is a subjective perception, can be anywhere from minor to major, with minor novelty going unnoticed but greater novelty requiring exploring the problem space in search of effective adaptation. the process is iterative, leading to growth in the individual’s adaptiveness to its manifold ecology. this generic description of learning is pervasive in psychology theory and discourse. the swiss cognitive development psychologist jean piaget (1968) used the terms ​assimilation​ to describe the individual’s adaptive endorsement of a novel situation as a variant on a familiar situation; and ​accommodation​ to describe the corresponding change in the individual’s capacity to interact in this situation which thus effects its assimilation. in his systemic theory of genetic epistemology, piaget conceptualized situations as subjective, action-oriented perceptual constructions. similarly, the movement scholar, therapist, and methodologist moshe feldenkrais underscored the importance of diversity in knowledge (beringer 2010; buchanan and ulrich 2001; feldenkrais 1981). in order for someone to know to do something, feldenkrais is reported to have said, they must be able to do it in a hundred different ways. feldenkrais further argued for the pivotal role of awareness and reflection in individuals changing how they move: without conscious attention to what one is feeling during an action and without applying the attention directly to the entire movement resulting from these actions, no abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 3 development will occur—simple mechanical repetition will never make this come about (feldenkrais 1988, reprinted in berigner 2010: 15). this essay draws on piaget and feldenkrais to argue that theorizing and working with diversity in students’ subjective constructions of movement is important for teaching and learning in both dance and mathematics and that bringing these subjective constructions to students’ conscious awareness and reflection is instrumental in achieving these pedagogical objectives. building on this foundational interdisciplinary consensus respecting the ontology and epistemology of movement, we—a mathematics-education researcher inspired by embodiment theory (abrahamson) and a dance educator, movement director, and feldenkrais method​® practitioner (shulman)—will explore in search of common grounds through which educational scholars and practitioners of mathematics and dance may benefit through conversation. that is, we will present results of our collaborative search for phenomena of common interest across our respective realms of inquiry, and we will demonstrate how our shared philosophical and theoretical perspectives on these phenomena enable a lingua franca for discussing human movement—its nature and pedagogy. we therefore assume that these shared perspectives on learning could offer productive views on teaching, and in fact we will argue for a systemic view on teaching and learning as irreducibly collaborative. whereas this essay in and of itself may not offer either of our fields any new insight on their scholarship or practice, it is our hope that the essay will encourage and enable scholars from our own and other fields to enter in interdisciplinary dialogue on the phenomenology and pedagogy of human movement. at the very least, preparing this manuscript has compelled the two of us to share, debate, and refine central constructs pertaining to individual construction of movement and its potential affordances for instruction in our own disciplines and possibly beyond. in a theoretical text below (section 2), abrahamson will present intellectual foundations for an enactivist conceptualization of mathematical activity as profoundly sensorimotor. these ideas are then anchored and contextualized through a brief description of an experimental application to mathematics pedagogy in the form of an interactive technological device, the mathematics imagery trainer. the device was designed so as to foster students’ sensorimotor micro-movements prior to engaging in quantitative re-modeling of these movements in mathematical forms per the concept they are studying. next, shulman will respond by characterizing aspects of this proposed mathematics pedagogy as resonating with ideas and principles from movement direction inspired by both feldenkrais method and phenomenological philosophy. therein, shulman will focus on: (1) ​subjectivity​ in the individual’s orientation to, and experience of, movement; and (2) ​awareness​ as a bridge from movement to reflection and utility (section 3). we conclude with a summary of our argument as well as an invitation to expand the dialogue between scholars of dance and mathematics pedagogy (section 4). we wish to note that we are not the first scholars to point to a connection between the feldenkrais method and mathematics. cole (2004) relates a personal growth story, in which a quest to rehabilitate his injured hands through the method led him to new capacity for abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 4 mathematical reasoning: as i gained in my ability to become aware of myself as a whole body, following the gesture of the movement instead of trying to keep track of the component parts, something in my mind specific to mathematics was changing…. the pieces i had lacked in my mathematical understanding i had lacked in my physical vocabulary as well. by improving my ability to experience and move within space i had discovered for myself a more accessible way to navigate among abstract mathematical concepts (17). we, too, will be speaking about movement in space. our focus will be on students’ subjective discovery and cultivation of tacit schemes that mediate the enactment of the movements they are to perform; schemes that, once rising to consciousness, at times through attentive instructional intervention, lend personal meanings for these movements and empower us to move better, think better. 2. theoretical foundations: learning as adaptive interaction 2.1 embodiment theory of mathematics learning per piaget (1968, 1971), the nature of a situation—what it is—is necessarily its contextual, ​ad hoc​, ​in situ​, and subjective meaning for the specific individual engaged in some goal-oriented activity; the situation is constructed, in the sense that the individual attends to certain perceptual assemblies relevant to managing potential goal-oriented actions while ignoring other, irrelevant assemblies. regularities in perceptually guided action give rise to sensorimotor schemes, whereupon the fragile assemblies coalesce into figures, ​bona fide​ things in the world, new phenomenal categories. it is these schemes that adapt to perceived variations in situations. thus all learning, at least pre-conceptual learning, consists of developing sensorimotor schemes, where the “sensori-” captures how the individual is organizing perception for action (what the figures are in the situation), and the “-motor” captures how the individual is organizing perceptually-oriented motor action (neuromuscular coordinations). for example, if you drive an unfamiliar motor vehicle, initially its size and shape requires for you to pay attention in a particular way to include the new bounds of this object so that you can maneuver it around safely. after several days, it becomes very easy and fluent to drive this vehicle, navigating around the streets and parking effortlessly, as this object has now become integrated into your self-image​ (see below). you are now able to make choices from an embodied perspective—from an internal sense of knowing. this marks an accommodation of your sensorimotor scheme so as to assimilate this and prospective cases of driving vehicles of different magnitudes. as piaget (1971) writes, ‘knowing does not really imply making a copy of reality but, rather, reacting to it and transforming it (either apparently or effectively) in such a way as to include it functionally in the transformation systems with which these acts are linked’ (6). abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 5 although his views of cognitive development have been cashiered over the past few decades, recent literature has been reviving piaget’s theory, vindicating it from misreadings and bringing it back to the proscenium of research discourse (abrahamson, shayan, bakker, and van der schaaf 2016; allen and bickhard 2013; arsalidou and pascual-leone 2016). these publications are generally motivated by the disposition that cognitive science by and large is not treating human phenomenology of self-movement as constitutive of development and learning (as emphatically argued in sheets-johnstone 2015). the field’s enduring preference for investigating visual perception of static images rather than multimodal experience of dynamical enactment could in part be attributed also to historical limitations of technology and methodology for documenting, representing, and analyzing individuals’ phenomenology of movement (abrahamson, lee, negrete, and gutiérrez 2014); limitations that are now being overcome (worsley and blikstein 2014; worsley ​et al​. 2016). theoretical models of movement learning resonant with piagetian views abound. we find them in dynamical systems theory (thelen and smith 1994), enactivism (varela, thompson, and rosch 1991), coordination dynamics (kelso 1995, 2000), and various kinesiological theories derived from the work of bernstein (1996) on dexterity and/or gibson (1977) on ecological psychology, such as constraints-based models (newell 1986, 1996; newell and ranganathan 2010) and ecological dynamics (araújo ​et al​. 2009; chow ​et al​. 2016). whereas these publications emanate from distinct academic circles and often employ different constructs and methodologies, across the board one can discern in all these lines of work an adoption of post-cartesian systemic conceptualizations of human activity: subjective competence emerges through the individual’s adaptive goal-oriented interactions within the natural and cultural ecology; awareness, either through experience of breakdown or possibly through feedback from more experienced cultural agents, occasions opportunities to reflectively reorganize one’s functional relations with the ecology and thus improve the effectiveness of one’s movement. our objective is not to differentiate among these bodies of work as much as to build on their common grounds and draw innovative implications for the dance-mathematical interdisciplinary pedagogical dialogue. whereas these latter explications of learning have treated motor rather than conceptual learning, there is a growing sense among cognitive scientists that conceptual activity, too, is embodied in the sense that it is grounded in sensorimotor action that is either tacit, consciously simulated, or even externally manifest and materially engaged through various representational machinery and its manipulation routines (anderson 2003; barsalou, 2010; kirsh 2013; wilson 2002). as varela (1999) explains: [t]here are strong indications that within the loose federation of sciences dealing with knowledge and cognition—the cognitive sciences—the conviction is slowly growing that this [rationalist/cartesian/objectivist] picture is upside down and that a radical paradigm shift is imminent. at the very center of this emerging view is the conviction that the proper units of knowledge are primarily concrete, embodied, incorporated, lived; that abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 6 knowledge is about situatedness; and that the uniqueness of knowledge, its historicity and context, is not a “noise” concealing an abstract configuration in its true essence. the concrete is not a step toward something else: it is both where we are and how we get to where we will be (7). in fact, certain readings of piaget, too, or, for that matter, the belarus cultural-historical psychologist lev vygotsky, implicate the sensorimotor quality of cognitive activity in conceptual and specifically mathematical reasoning. piaget writes that ’mathematics uses operations and transformations (‘groups,’ ‘operators’) which are still actions although they are carried out mentally’ (1971: 6). vygotsky maintains that ‘even the most abstract thoughts of relations that are difficult to convey in the language of movement, like various mathematical formulas, philosophical maxims, or abstract logical laws, even they are related ultimately to particular residues of former movements now reproduced anew’ (1997: 162). this evolving assertion that what we call the human mind is ecologically situated dynamical activity has been named variably as embodiment theory or the corporeal turn in the cognitive sciences, with certain important distinctions and nuances labeled as grounded, embodied, embedded, and extended cognition (kiverstein and clark 2009). inspired by embodiment theories, our views on how people learn dance (shulman) and mathematics (abrahamson) generally agree with piagetian constructivism even as we hold complementary vygotskian perspectives on the social mediation of cultural forms (see abrahamson and trninic 2015). in particular, enactivist theory has informed abrahamson’s research program to implicate and leverage the action roots of mathematical reasoning. this research program is vested in educational design practice. specifically, abrahamson’s design-research laboratory conceives, engineers, implements, and evaluates interactive environments where students learn mathematical concepts through: (a) first solving movement problems; and only then (b) reflecting on and representing those solutions, initially ​qualitatively in natural multimodal discourse and later, by way of appropriating and utilizing mathematical frames of references, ​quantitatively​ then ​symbolically​ (abrahamson 2014). abrahamson’s research team is treating phenomena of movement learning also from the perspectives of phenomenology (merleau-ponty 1964) and feldenkrais method (beringer 2010; feldenkrais, 1981) so as to foreground the primary and constitutive role of individual movement experience in considerations of learning and, therefore, teaching. importantly for this essay, abrahamson’s research team differentiates between movements as observable dynamical phenomena—where physical movements are labeled “proximal” and their technologically mediated effects on the world are labeled “distal”—and the underlying subjective sensorimotor schemes by which individuals generate these movements (abrahamson and bakker 2016). as we will soon elaborate, below, these latter views share essential precepts with the corporeal turn. 2.2 open questions for the pedagogy of dance and mathematics as educators as well as scholars of education, our questions around learning ​ipso facto​ carry questions about teaching. and certainly the question of learning cultural skills such as the abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 7 choreography of movement in dance or mathematics compels us to inquire into the role and technique of instructors. yet what might be the implications of all these theories of learning, which we have cited, for the practice of teaching? teaching is not the sheer communication of procedures. teachers can teach neither movement nor mathematical concepts directly. rather, they can create conditions for students to learn. these conditions may include a setting, a task, and means of accomplishing the task; in the course of attempting to accomplish the task, students bring to bear their skills. along the way, the teacher influences how students perceive the situation and plan prospective action. vygotsky (2001) has argued that when a teacher and student enter in joint pedagogical activity, they converge into a single and irreducibly collaborative sensorimotor system. the teacher, by attending to the world as the student does yet also bearing in mind ideal orientations, occasions opportunity for the student to adjust their perceptions and actions. it is thus that the student grows in the zone of proximal development (for an elaboration, see shvarts and abrahamson 2018). it follows that teachers need somehow to engage with each student’s current orientation toward the enactment of movement and intervene so as to modify this orientation, rendering it better aligned with the desired performance. but how exactly do teachers do this? as we view movement teaching and learning within the cultural practices of dance and mathematics, we perceive strong convergence between pedagogical routines across these two domains, at least per the corporeal turn in the cognitive sciences, and in particular from the perspectives of phenomenology and the feldenkrais method. from these mutual grounds we argue for the potential of dialogue between scholars and educators across the disciplines of dance and mathematics as informing theories of teaching and learning more generally. in order to contextualize this dialogue, we will now demonstrate a case of learning a mathematical concept by learning to move in new ways. this case study will hopefully clarify why we think of mathematics pedagogy as designing and directing movement structures. 2.3 case study of embodied mathematics pedagogy: the mathematics imagery trainer abrahamson has developed an instructional methodology in which students learn to move in new ways prior to signifying these movements mathematically (howison ​et al​. 2011). students work with a technological device called the mathematics imagery trainer (see figure 1) that senses and responds to the position of their hands in space. students are tasked to discover a particular two-hand movement scheme that will effect the external state of making a screen turn green. in the particular case of the mathematics imagery trainer for proportion, the device has been programmed so that the screen will be green only as long as the hands’ respective heights above the monitor base relate by a specific ratio, for example 1:2. as the hands move in the case of the 1:2 ratio, keeping the screen consistently green, the right hand must at all times be double as high up along the monitor as compared to the left hand. this means that as the two hands rise simultaneously, the vertical interval between them increases (and vice versa for descent). abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 8 figure 1.​ the mathematics imagery trainer for proportion: schematic activity sequence. the trainer is here set at a 1:2 ratio, so that the favorable sensory feedback (a green background) is activated only when the right hand is twice as high along the monitor as the left hand. glossing over idiosyncratic variability, this figure sketches out our grade 4 – 6 study participants’ paradigmatic interaction sequence toward discovering one effective operatory scheme: (a) while exploring, the student first positions the hands incorrectly (red feedback); (b) stumbles upon a correct position (green); (c) raises hands maintaining a fixed interval between them (red); and (d) corrects position (green). compare 1b and 1d, the two green configurations, to note the different vertical intervals between the cursors. the child might conclude that, “the higher my hands go, the bigger the interval.” she learns to move in a new way centered on a new object. (abrahamson and bakker 2016: 8) legend:​ lc (left-hand cursor); rc (right-hand cursor); ∆ (vertical & diagonal magnitude of interval between cursors); v (velocity). figure 2.​ student-generated solution strategies for the make-the-screen-green problem (the case of a 1:2 ratio): (i) fixed interval–maintaining ∆ constant regardless of rc-and-lc elevation (incorrect solution); (ii) changing interval—modifying ∆ correlative to rc-and-lc elevation (correct if proportion is preserved); with the introduction of the grid–additive, either (iii) co-iterated composite units—both lc and rc either ascend or descend at respective constant values a and b (a-per-b), or (iv) lc rises by a (usually 1), rc by 1 box more than the previous ∆; (v) multiplicative—relocating to a next “green” position as a function of the height of only one of the cursors (given lc at x and rc at y, 2x = y; x = ½ y), e.g., determining lc y-axis value, then doubling to find rc, or determining rc value, then halving for lc; and (vi) speeds—lc and rc ascend/descend at different constant velocities (v1 < v2) or more specifically, rc velocity is double lc velocity (2v1 = v2; v1 = ½ v2) (abrahamson ​et al​. 2014: 85) abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 9 research has revealed multiple and diverse ways that individual students discovered for orienting productively toward the task of moving the hands while keeping the screen green. for example, students raise their hands ensuring that: (a) the interval between them keeps increasing; (b) one hand is always double as high as the other; (c) one hand moves faster than the other; (d) one hand rises in quotas that are double as large as the other hand (see figure 2 for a technical elaboration of these and other strategies). each of these orientations captures one essence of the mathematical notion of proportionality. moreover, reflecting ​across​ these ways of moving appears to create opportunities conducive to deep conceptual understanding (abrahamson ​et al​. 2014). for example, switching between perceiving the movement as focused on the varying interval and as focused on relative heights supports students’ conceptual transition from additive to multiplicative conceptual structures. teachers play critical roles in steering students to reflect on the movement they enact and adopt mathematical framings on this movement. we have now introduced the intellectual grounds of embodied mathematics pedagogy as well as the instructional activity that constituted the empirical context for abrahamson’s investigations of embodied mathematics learning. next we turn to shulman’s response from the scholarship and practice of dance pedagogy, as contextualized by the above case of the mathematics imagery trainer for proportion. 3. movement pedagogy: embracing diversity, fostering awareness organized movement is an expression of intention through time and space. the enactment of movement is a subjective experience; awareness of this experience may lead to greater skill. learning through the body provides not just the understanding of the movement itself—it offers direct insight into other possibilities implicit within the movement. often, understanding movement requires deconstructing it into smaller increments, where each is not just a fragment of the whole but contains within it new potentials. through awareness, the dancer can use those elements in infinite combinations and situations. these and other principles of dance pedagogy, it turns out, are applicable also to mathematics pedagogy, or at least to enactivist mathematics pedagogy (abrahamson and trninic 2015; reid and mgombelo 2015). children who study mathematics in abrahamson’s approach learn through movement to incorporate, spatialize, and conjure objects in the environment. by applying these skills across a range of situations bearing parametric variations, discussing their orientation to the movements, comparing and contrasting different orientations, and signifying the movement using formal frames of reference, vocabulary, and symbolic notation, the children come to understand how to transpose these concepts into new situations. in this section some key parallels between mathematics and dance pedagogy will be highlighted as they pertain to the mathematics trainer for proportion. the assertions and analyses offered in this section draw on shulman’s experience as a dancer and movement director whose pedagogical approach is inspired by the principles of the abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 10 feldenkrais method. this method offers a systemic approach for individuals to differentiate, integrate, and diversify their motor coordination patterns, which in turn creates new possibilities in human functioning through awareness and movement. 3.1 movement enactment as subjective composition: implications for instruction virtuosity in movement and dance is often thought of as the performer’s acts that transcend our perceptions of human capability. yet the human body is capable of an expression that is far more intricate, far more expressive and as unique to each person as their fingerprint. here, we are regarding the individual pathways of movement that pass through the body—the movement within the movement. there is not just one way to do a movement or to think of a movement, no matter how precise the movement is. a pedagogical approach inclusive of integrating this knowledge and understanding of the body asks not ​whether​ a dancer has replicated a ‘step’ but rather ​how​ the dancer was moving between point a and point b. this notion of how to move between two points retains the integrity of each unique system in movement, even as task specificities keep the movement material visually similar across a diverse group of dancers. the dancer’s constant negotiation in making choices for every given movement between the two points give them a sense of agency, embodying their movement with a sense of knowing and choice. dancers who learn these principles of movement within one context can generalize them to a variety of contexts. in like vein, abrahamson’s study participants arrive at a broad set of diverse sensorimotor solutions to the rather rudimentary movement of raising two hands at different speeds. (even this expression, “raising two hands at different speeds,” is not an objective description but itself is one of numerous particular ways of orienting toward the movement.) none of these solutions is better than another. rather, the solution expresses a student’s corporeal composition as implicated within a particular task at that moment. eliciting an individual response bears advantages for teaching. in a sense, telling a student what to do but not how to do it creates for that student an opportunity to tailor the movement to tacit nuances of their personal characteristics and particular aptitudes; to their own way of knowing and relating. this approach is a form of implicit instruction (see also chow ​et al​. 2016; newell 1986, 1996; newell and ranganathan 2010). implicit instruction allows each student to learn through a process of self-discovery. feldenkrais spoke of the potency of a learning that comes from this type of discovery and claimed that it is the only way to ‘know’ something. he also said that to know something you need to be able to do it in many different ways, which promotes an integrated sense of self-use (feldenkrais 1984). in turn, multifarious knowing is conducive to prospective appropriation of the new knowledge in diverse settings. only when a student understands a movement idea through action will you see it appearing in other contexts. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 11 3.2 sensitivity to change / differences as opportunity for infinite discovery our habitual ways of being, thinking, and moving are often so ingrained in us that sometimes we are able to detect differences only when encountering a completely new situation. the work of feldenkrais magnifies our sensitivity to change, enabling us to experience these incremental differences, which he demonstrated were not arbitrary but exponential in their outcome, much as in abrahamson’s work incremental deviation of motion along two parallel lines at the base of the screen engenders significant difference higher up. feldenkrais lessons typically introduce a new task by bringing attention to a familiar pattern while introducing new movement possibilities. in feldenkrais work, we create the conditions for students to diversify their habitual patterning without imposing a particular outcome. immersed in a movement pattern, the goal is not to achieve the movement structure itself, but to expand beyond the student’s current realm of functioning by sensing incremental differences, similar to how the mathematics students have to detect the incremental moment where the screen is no longer green. this state of heightened awareness facilitates an integration of the information potentials, which are by design latent to the situation, through the person’s subjective lens. it is an unconscious process, albeit the person may later become conscious of it as a felt difference. as students engage with abrahamson’s trainer task, initially they attempt to raise their hands keeping constant the spatial interval between the hands, and yet the device has been programmed such that the correct movement requires varying the interval between the hands—the interval should increase as the hands ascend and decrease as they descend (compare figures 2i and 2ii). notably, it is not the case that the children are biomechanically or psychologically incapable of the correct movement. rather, in attempting to solve the task, they initially bring to bear what they tacitly believe to be the reality of the situation. it is only once this tacit belief is refuted that the belief surfaces to consciousness, so that the student becomes aware of their belief and can then begin to modify it concordant with ongoing feedback from the technological system. 3.3 embracing diverse subjectivity by repositioning movement as a means to a common goal eliciting from dancers optimal performance requires acknowledging and incorporating their subjective perspective so as to preserve within their system a cohesive integrity. yet this embodied subjectivity poses for the pedagogy of ensemble work the challenge of working with a plurality of individual perspectives whilst trying to achieve specificity within a collective goal. one pedagogical solution is to position the movement not as an end in and of itself but as a means to an end—some well-articulated common end. this pedagogical strategy of repositioning movement as a means to an end is exercised in abrahamson’s mathematics imagery trainer for proportion, where the students are all attempting, in their diverse subjective ways, to achieve one and the same well-defined goal state of the technological system, namely to make the screen green. a correlation from a dance perspective would be a case where an instructor seeks to achieve unison across the abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 12 ensemble’s collective movement whilst embracing each individual dancer’s optimal performance. consider the example of using full-bodied spinal movement. regardless of dancers’ diverse articulations of the body, there is a tendency for them either to fall into one of two extreme inclinations of either overusing or to underusing their spine. typically, those who overuse the spine need to develop more ease of movement, whereas those who underuse the spine need more clarity. how does an instructor achieve unified external movement across such dichotomous internal orientations? a pedagogical approach to this conundrum is to assign all the dancers two experiential tasks that expand each dancer’s thinking and movement from their habitual use to include more of the other perspective. task a guides the dancer’s attention to the two most ​distal points​ of the spine, the head and the pelvis. when dancers thus attend to this relationship between the head and the pelvis, they engage the spine in its full use. task b focuses on the ​line​ of the spine, directing the dancer to perceive its shape, for example as a chain. this task foregrounds the movement of the spine. combining these two tasks creates for the ensemble common grounds between the two extreme inclinations of clarity versus ease, producing among dancers a shared physical language that facilitates their movement unison. as such, the instructor eschews a focus on unison ​per se​, which is liable to reduce the individual’s optimal performance, instead educating all dancers about the movement of the spine. enabling all individual dancers to discover these subtleties for themselves makes them better performers and potentially able to transpose this skill into different contexts. for both mathematics and dance, perceiving movement as a means of achieving a well-defined goal may foster productive responses in prospective encounters within new yet apparently similar situations that would likely elicit the same movement as a response. 3.4 movement as polysemous meanings: potential for learning through moving when a person moves, they are orienting toward the movement in one particular way. they are immersed through movement, not looking at it. yet when we stop to think about movement, we could potentially re-imagine it in a different way. this is just like an ambiguous visual figure (see figure 3). you are not seeing it ​as​ a duck or a rabbit—you are simply seeing duck or seeing rabbit (wittgenstein 1953: 194-197). abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 13 figure 3.​ the duck–rabbit ambiguous figure by joseph jastrow (1863–1944), which has served countless philosophers and psychologists in their investigations and expositions on sensory perception, meaning, and communication (wittgenstein 1953: 194-197) yet when we stop to think about our seeing, those who saw duck only may be steered to see rabbit, and vice versa (gopnik and rosati 2001). as such, one could speak of movement as “containing” a plethora of potential meanings. this potentiality of diverse perspectives all implicit within any given movement constitutes the key to an innovative pedagogical process. more broadly, developing capacity to decouple ​how​ we are seeing something from ​what​ we are looking at, that is, to disengage from one perspective on the world and consider another, is a powerful pan-domain skill that could support both richer reasoning on specific concepts and possibly greater social tolerance to others’ views. let us refer back to the dance example above. whilst the movement of the spine as a line is a completely different concept to the independent co-ordinates that constitute the extreme points of the spine, the movement itself is essentially the same. however, the perception of the relational movement of the head/pelvis is as distinctly different from the perception of the spine-as-a-line as the duck is from the rabbit. both aspects are implicit within the movement, and it is a wealth that we can simultaneously recognize their difference and their commonality. as abrahamson points out with respect to students working with the trainer device, perhaps the greatest pedagogical potential of movement polysemy lies in attempting to link up across different perceptions of the same movement. unlike the duck/rabbit ambiguous image, where the two meanings are mutually exclusive, in the case of movement, the alternative sensorimotor orientations are biomechanically and conceptually complementary, so that shifting across these orientations creates opportunities for productive reasoning (abrahamson ​et al​. 2009; abrahamson ​et al​. 2014). in dance, these shifts make for more versatile coordinations and richer expressivity. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 14 3.5 on the ontology and epistemology of movement: challenges and solutions movement is the process of action; it is ephemeral, dynamical, continuous. and yet when we reason and speak of movement, we are liable to reify it as static moments. our discursive minds tend to “language” movement into a linear succession of elements that can be grasped and pinned down for scrutiny, measurement, description, and instruction. consequently, the pedagogy of movement is liable paradoxically to fragment it, to contain it by attempts to measure it. one way out of this quandary is to perceive movement for one implicit characteristic—it is relational in its nature. movement can be in relation to: gravity; the environment; spatial considerations; the biomechanical integrity of the body through which it is expressed along with the senses; the self; and the movement of others. by putting our attention on a select relational aspect of movement, we can sustain its dynamicism even as we thematize it. understanding movement in this regard made me reconsider my pedagogical approach to dance education: i stopped being interested in ​what​ i was teaching but instead focused on ​how​ i was teaching it. similarly i focused on ​how​ a dancer approached the movement rather than ​what​ the movement was. i became more interested in the process of the movement and how the dancer got from one point to another, focusing not on the points themselves but through specific directives. this was a task-oriented approach with specificity: “how can your elbow reach your knee?”; you become very clear about where those two parts are in order to ​use​ them. in this way it became a functional task. the way a dancer would move within those points would actually ​familiarize​ them with their instrument. i would take an exercise and each day reframe it from a different perspective. gradually, the dancers would begin to understand the relational body – the body in action; the dancer understood how to think about movement and not about the shapes that they would pass through. this style of pedagogy set up unique conditions for learning, as it required of dancers a consciousness to their self-use. its suggestive approach also allowed more developmental expansion in comparison to its alternative corrective approach. this implicit mode of instruction was permissive, inclusive and became exponential in developing an understanding of the body through movement. it ​familiarized​ the dancer with the territory of their body in a ​functional reality​, and this had a major impact on their understanding of dynamic movement, which was also an implicit result of this methodology. i was teaching the dancer how to think, not what to think. as abrahamson reports, when students work in the trainer activity they may initially analyze their hand movements as traversing measurable quotas (see figures 2iii and 2iv); doing so, students shift their bimanual movement from simultaneous (both hands at the same time) to sequential (one hand followed by the other). eventually, however, by way of reasoning about the hands’ respective speeds (figure 2vi) the students can reclaim simultaneous movement even as they bear in mind the measured intervals traversed by each hand. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 15 in dance, similarly, once you have understood a pattern of movement, you refine its co-ordination as a gestalt rather than thinking of two separate things going on simultaneously. 3.6 awareness of movement as the epistemic bridge to conceptual understanding awareness of movement is a defining aspect in the learning process, as it actuates changes in the nervous system. without awareness we would likely just repeat our habitual impulses without the attention required to make the optimal choice for that particular situation. abrahamson mentions how after his students had achieved the desired outcome, they reflected on what they had been doing in the attempt to describe it. this act of describing what one has done elicits a somatic awareness, which in turn integrates the learning into conceptual matter (see also morgan and abrahamson 2016, 2018). an essential principle in the feldenkrais practice is to create guided opportunities for students to untangle their action complexes into simpler motor components, modify these components, and then selectively reintegrate into more salubrious complexes. importantly, students must assume a degree of agency in achieving novel motion complexes. as ginsburg (2010) clarifies: ‘learning itself is not conscious. the integration process itself is not conscious. nevertheless, the process depends on conscious processes in feeling and detecting changes. the consequence is felt as difference’ (185). this notion—that unconscious, subtle interactions drive adaptations to behavior, and that consciousness plays a post facto appraisal role in making sense of these changes—is crucial to our thesis of conceptual knowledge emerging from guided interaction through a felt sense of difference. the gap between what we think is available to us versus what is actually possible is like a blind spot in consciousness. the work of feldenkrais helps bridge this gap by clarifying the image of perceived potentials and limitations in our physical capacity—what we call the self-image—with an actual, integrated roadmap of possibilities, so that there is more similarity between the desired action and the action itself. this is done through awareness, where information registers and somatic changes become possible. 3.7 on degrees of difference: towards a systemic movement pedagogy when introducing a new movement pattern to a student, if the information is too foreign or too threatening to the integrity of their system, it will be rejected. the information itself has to be accessible to the person through the current organization of their system. functional integration​®​, a feature of the feldenkrais method, requires of the practitioner to attend closely to the systemic state of an individual student and use light touch so as to shift the student’s systemic organization into a new dynamical configuration, ultimately improving the student’s overall movement functioning. that is, smaller intervention may curiously generate greater effect on the system than the bigger, more global intervention. though the global change may be more easily adopted as a whole, this would occur not as a gradual systemic shift (an accommodation) but as a break, similar to the arguments from dynamical systems theory cited abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 16 earlier (kostrubiec ​et al​. 2012; smith and thelen 2003; vygotsky 2001). by integrating some of the more incremental variations within the whole, the person, while retaining a sense of agency, is better able to clarify their self-image and improve their self-use. functioning analogously, the mathematics imagery trainer for proportion guides students to shift gradually from additive to multiplicative reasoning: students who initially believe the interval between their hands should remain invariant as they raise the hands are ushered to accommodate this reasoning so as to assimilate the target movement pattern. a gentle suggestion or intriguing invitation at the appropriate timing can open up for the student new possibilities for movement, whereby the interval between the hands changes with the rising of the hands—a new way of moving that works within an existing choreographic envelope yet departs from it, swaying it into new dynamical equilibrium that is manifestly better adapted to the micro-ecology of this field of promoted action. thus students are led to conceptualize multiplicative structures (multiplication, division, fractions, ratio, and proportion) not as isolated from additive structures (counting, adding, subtracting) but as related variants on these structures. 1 4. conclusion within mundane sociocultural landscapes, mathematics and dance occupy dramatically disparate spaces. and yet the embodiment turn in the cognitive sciences is implicating these foreign disciplines as corporeally cognate—both transpire as sensorimotor activity, both avail from reflection. the interdisciplinary pas de deux presented herewith has only bolstered our growing conviction that our respective pedagogical worlds have much to share and debate. we have only scratched the surface. when mathematical learning is conceptualized as sensorimotor exploration and entrainment, mathematics and dance appear to have similar pedagogical practices. both center on students’ subjective and idiosyncratic phenomenology of movement and both attempt to stimulate students’ awareness of their action such that the students diversify the action so as better to 1 resonance with this feldenkrais method technique of focused, nuanced intervention is found in discussions of coordination dynamics, wherein researchers transform the state of a system by manipulating the values of select attributes that thus serve as control parameters. kelso (2000) explains the idea of control parameters as follows: these are analogous to what a social or behavioral scientist might call an independent variable. but the concept is entirely different, and the implications for experimental design in the social, behavioral, and cognitive sciences far reaching….in physical systems, control parameters refer to naturally occurring environmental variations or specific experimental manipulations that move the system through patterned states and cause them to change (65). complexity researchers are wont to reflect on the great efforts they invest in identifying a system’s control parameter. again, parallels to the work of feldenkrais should not surprise us, given his training as a physicist during the dawn of cybernetics. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 17 accord with a desired outcome and further mastering/cultivation of the subject matter. from a systemic perspective, learning in both dance and mathematics transpires as a search, in real or imagined spatial-temporal domains of enactment, for movement that is both subjectively coherent and objectively effective. the new movement adapts personal resources to meet multiple constraints of organism, task, and environment. learning is the embodied cognitive work of building new coherence by reorienting to the enactive domain. we adapt our functioning sensorimotor schemes by perceiving in the domain latent dynamical patterns affording the enactment of new coordinated motor actions. instructors can help students toward new coherence by formulating these patterned potentialities that augment on our extant orientation toward in enactive domain. to do so, instructors use multimodal expression to suggest familiar cultural forms. these suggestions, such as metaphorical images, constitute new constraints that the students inhabit and assimilate (abrahamson, sánchez–garcía, and smyth 2016). movement as an objective construct is experienced and enacted via a myriad of subjective sensorimotor dispositions. instructors should not shy away from this diversity of perspectives but rather leverage it by creating opportunities for individual students to bring to bear their own perspectives, discover and assimilate new meanings, surface, reflect on, and accommodate existing meanings, and integrate these different meanings as conceptually complementary for the practice. one instructional methodology for achieving these results is to create conditions that reposition movement as a means of achieving an end, that is, as a tool for wielding environmental change. within this framework, instructors should strive to maintain a dynamical construction of movement even as the analytic discursive formulations of movement are liable to stop and stave action. in all this, awareness of one’s own movement is essential for bringing forth productive change. instructors minded by this systemic approach to the phenomenology of movement stand a greater chance to foster critical and generative change through nuanced intervention. the systemic approach to instructional methodology obtains across the disciplines of mathematics and music. at its core is a philosophical, theoretical, and practical commitment to the principle that the body, or rather the sensorimotor system, is at the vanguard of cognitive activity. pedagogy that recognizes the essential role of the body in problem solving creates environments that are auspicious for movement-based reasoning, where these environments may include technological devices that support customized facilitation. as glenberg (2006) cautions, in evaluating the mainstay of available educational designs, ‘one can view most of my reasons for skepticism as challenges for the future development of technology that is sensitive to the principles of biological cognitive systems‘ (271). it is this sensitivity to principles of biological cognitive systems that effective movement directors in dance practice intuitively. in mathematics education, the field is making tentative strides (nathan ​et al​. 2017). as we step back to evaluate our collaboration in building this manuscript, we recognize an elephant dancing in the room: through the prism of our mutual interest in movement we have witnessed an astonishing convergence of essential ideas from strange bedfellows—distant abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 18 schools of philosophical, theoretical, and empirical thought and cultural practice that rarely converse yet agree on the systemic conceptualization of human behavior, reasoning, and learning. this gives us hope that the embodiment turn in the cognitive sciences will permeate and consolidate diverse disciplines into a cohesive doctrine. authors note this paper expands on our presentation at movement: brain, body, cognition, 2017 (abrahamson and shulman, 2017). references abrahamson, d. 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(2018) ‘towards a complex systems model of enculturation: a dual-eye-tracking study.’ ​annual conference of the american educational research association (special interest group: learning sciences).​ held 13-17 april, 2018 at new york city smith, l. b., and thelen, e. (2003) ‘development as a dynamic system’. ​trends in cognitive sciences ​7 (8), 343-348 thelen, e., and smith, l. b. (1994) ​a dynamic systems approach to the development of cognition and action​. cambridge: mit press varela, f. j. (1999) ​ethical know-how: action, wisdom, and cognition​. stanford: stanford university press varela, f. j., thompson, e., and rosch, e. (1991) ​the embodied mind: cognitive science and human experience​. cambridge: m.i.t. press vygotsky, l. s. (2001) ‘​lektsii po pedologii​ ​[lectures on pedology].​ izhevsk: izdatel’kii dom udmurtskii universitet’. (original work partially published 1935) vygotsky, l. s. (1997) ​educational psychology.​ trans. by r. h. silverman.boca raton: crc press llc. (original work published 1926) wilson, m. (2002) ‘six views of embodied cognition’. ​psychonomic bulletin ​and​ review ​9​ ​(4), 625-636 wittgenstein, l. (1980) ​remarks on the philosophy of psychology​. chicago: university of chicago press wittgenstein, l. (1953). ​philosophical investigations.​ trans by g. e. m. anscombe. upper saddle river, nj: prentice hall worsley, m., abrahamson, d., blikstein, p., bumbacher, e., grover, s., schneider, b., and tissenbaum, m. (2016) ‘workshop: situating multimodal learning analytics’. in c.-k. looi, j. l. polman, u. cress, and p. reimann (eds.) ​proceedings of the international conference of the learning sciences (icls 2016), ​‘transforming learning, empowering learners’.​ ​held 20-24 june 2016 at nanyang technology university. singapore: international society of the learning sciences, 1346-1349 abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 23 worsley, m., and blikstein, p. (2014) ‘using multimodal learning analytics to study learning mechanisms’. in stamper, z. pardos, m. mavrikis, and b. m. mclaren (eds.) ​proceedings of the 7​th​ international conference on educational data mining.​ held 4-7 july, 2014 at institute of education london. london: institute of education, 431-432 biographies dor abrahamson dor abrahamson, phd, is a professor of cognition and development with a secondary mathematics appointment at the graduate school of education, university of california berkeley, where he runs the embodied design research laboratory (https://edrl.berkeley.edu). abrahamson is a design-based researcher, who develops and evaluates theoretical models of mathematics learning and teaching by analyzing empirical data collected during implementations of his pedagogical design. drawing on embodiment and sociocultural perspectives, abrahamson theorizes conceptual learning as students’ reconciliation of perceptually immediate and culturally mediated constructions of dynamical situated phenomena. ami shulman ami shulman choreographed for the national theatre of london; the shakespeare theatre company, for which she received a helen hayes award, and has co-created works with the cirque du soleil, the national ballet of canada, and ballet british columbia. ami performed with dance companies marie chouinard, flak, and the danceon ensemble berlin, and has taught throughout europe, canada, and the usa, including for the juilliard school, alvin ailey school, brown university, ucsd, and jacob’s pillow. ami is currently rehearsal director at the gothenburg opera danskompani, sweden. she co-authored a chapter for the anthology ‘back to the dance itself: phenomenologies of the body in performance’. ami is a certified feldenkrais practitioner. abrahamson and shulman • ​feldenkrais research journal, volume 6​ (2018-2019) 24 feldenkrais research journal • volume 6 (2018-2019) reflections on practice feldenkrais method ® and piano somatics: from the general towards the specific in piano technique alan fraser b.mus, m.mus, dip.amps, pgdip.pp, gcfp contact: phraser@alanfraserinstitute.com abstract this article is built around an extract from play the piano with your whole self , my fourth in an ongoing series of books on piano technique. the series is titled “natural, artistic piano playing,” and to date contains over 250 piano somatics atm ® lessons. the hand on key functions much like a little person with legs (fingers), pelvis (hand) and torso (forearm). this analogy lends itself to feldenkrais method-style exercises which develop the relationship between the hand’s innate structure and function and the complex actions required to move a piano key artistically. piano somatics, the science and art of movement at the keyboard, addresses certain thorny problems in piano pedagogy that have exasperated generations of pianists. the feldenkrais method, with its understanding of skeletal mechanics, biological cybernetics and learning, offers the context for piano somatics’ new approach to piano technique. keywords feldenkrais method, piano technique, classical piano, piano & feldenkrais, alan fraser, hand movement development, hand arches, hand as mini-body, movement developmental approach copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 6 ; 2018-2019. service marks: the terms feldenkrais ® , feldenkrais method ® , awareness through movement ® , atm ® , functional integration ® , and fi ® are service marked terms of the international feldenkrais ® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais ® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:phraser@alanfraserinstitute.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ reflections on practice feldenkrais method ® and piano somatics: from the general towards the specific in piano technique alan fraser b.mus, m.mus, dip.amps, pgdip.pp, gcfp this article is built around an extract from play the piano with your whole self , my fourth in an ongoing series of books on piano technique. the series is titled “natural, artistic piano playing,” and to date contains over 250 piano somatics atm ® lessons. the hand 1 on key functions much like a little person with legs (fingers), pelvis (hand) and torso (forearm). this analogy lends itself to feldenkrais method-style exercises which develop the relationship between the hand’s innate structure and function and the complex actions required to move a piano key artistically. piano somatics, the science and art of movement at the keyboard, addresses certain thorny problems in piano pedagogy that have exasperated generations of pianists. the feldenkrais method, with its understanding of skeletal mechanics, biological cybernetics and learning, offers the context for piano somatics’ new approach to piano technique. my feldenkrais method training has had a profound influence on my understanding and teaching of piano. indeed, i decided to become a practitioner with the express intent of developing a new approach to piano technique, though at the time i had no idea how that would look. i intuitively knew that the structural-functional underpinnings of the method, applied to piano playing, might offer one a way of freeing the art from the overly academic, creatively ham-strung playing of so many modern pianists – playing that is not even a pale reflection of the glorious interpretive powers of the past masters. i had help from my professor, phil cohen of montreal (1926-2018), to my mind the moshe feldenkrais of the piano world. he moved my arms as a practitioner would, while i was playing . one reason i did a training was to find out what he was doing as he evoked new sounds, new touches, new phrase shapes and expressions, often simply by guiding me physically. sometimes his subtle touch on my forearm, almost a non-touch, would evoke a deep let-go within my body, a visceral release that could be almost painful, something wonderfully disturbing and mystifying. when i discovered feldenkrais method, functional integration ® began evoking similar sensations. what thinking, what logic lay behind these experiences? why was it “learning how to learn” rather than learning in the classical sense? how could i bring this learning style to 1 http://www.alanfraserinstitute.com/natural-artistic-piano.php fraser • feldenkrais research journal, volume 6 (2018-2019) 2 http://www.alanfraserinstitute.com/natural-artistic-piano.php piano pedagogy? could feldenkrais method help me to understand and replicate cohen’s genius? the experience and study of tai chi offered a preliminary bridge between feldenkrais method and the piano. resistance in tai chi is a form of parasitic contraction. the reduction of resistance and the refinement of a movement’s trajectory through more precise bone alignments allows for increased power with less effort. replace ones opponent with a piano key, establish the same dynamic, and a new mode of musical control appears – a strikingly different way of relating to the key – skin to skin, flesh to flesh, bone to bone – that offers one a tabula rasa , an artistic process free from habitual assumptions, where all is called into question, all interpretive strategies must be established anew. i recall experimenting with this in concert, using movement to specify the created sonorities in debussy’s images , and my teacher commenting afterwards, “you weren’t even playing the piano; you were doing tai chi on the keys.” i knew i was on to something. the next step, studying with the croatian virtuoso kemal gekić in yugoslavia offered me further clarification. gekić’s optimal use of skeletal dynamics results in a pianism of exceptional power, variety and expressive depth. as he rebuilt my technique from the ground up, i began to understand in a practical way the perceptual and skeletal organization needed for virtuosity. transmitting this developing practice to other pianists presented an obstacle. although one cannot guide the arm of a pianist reading a book a thousand miles away, i tried to communicate cohen’s magic, gekić’s wizardry through the printed word. my first attempt, the craft of piano playing (scarecrow press, 2003/2011), dealt mainly with maximizing the innate potency and function of the hand’s arch natural structure. honing the pianistic self-image (maple grove music, 2010) raised that structure up into a state of unstable equilibrium to make it more functional and more a reflection of the elegant sophistication of human movement. all thumbs: well-coordinated piano technique (maple grove music, 2012) dealt with the specific problems of the opposable thumb – a question so complex that indeed it merits a complete book. play the piano with your whole self (piano somatics press, in press) combines these issues and others in a series of integrative exercises that relate hand function on key back to the quality of movement in the whole body. all along, the goal had been to develop a series of exercises for the hands, arms and body that would evoke a movement style similar to the one evoked by cohen’s and gekić’s interventions – and the metaphor of the hand as a little person with legs (the fingers), pelvis (the hand) and a torso that breathes (a forearm that moves) has been a perfect vehicle. the skeletal dynamics of the hand and the human body are amazingly similar: virtually any awareness through movement ® (atm) strategy for the whole body has its equivalent for the hand – the trick is the divining. one aspect of feldenkrais’s developing line of thought offers a particularly intriguing blueprint for these exercises. his wife malka had been a paediatrician, and he had spent an inordinate fraser • feldenkrais research journal, volume 6 (2018-2019) 3 amount of time observing babies and their development – not only physical growth but the development of movement. he could perceive sequences in the learning process: certain aspects of skeletal mechanics and function needed to be established before other abilities could be built on that foundation, and so on through many stages. feldenkrais based much of his method on mirroring those sequences to improve adult movement, perhaps most elegantly in the amherst training where the entire series of atms in the first year follows the movement evolution of the infant from its very first voluntary action, sucking on the breast. this book chapter was inspired by feldenkrais’s mapping of infant movement development 2 onto improving adult human movement. the included atm tries to do the same for the pianist’s hand. how babies move this view of the hand as bones linked in an elastic, dynamic chain of movement is new – but the fact is not. hands have always been such, and infancy and childhood have always been spent learning ‘skeletal’ movement throughout the body. this chapter draws a parallel between the first stages of human movement and the first stages of learning in a pianist’s hand. for every new movement ‘baby’ learns, the hand is given an equivalent. do the movements gently, speculatively: offer the hand the sensations and impressions of a pre-standing apprenticeship. the developing sense of self is sensorially based a baby’s sensory experience makes a crucial contribution to its sense of self. lying prone stimulates the belly and the entire front of the body; lying supine does the same for the back. without this sensory input, there would not even be a sense of self as we know it – but sensation alone is not enough. baby’s interface with the world is created through movement. without movement, there is limited interaction with one’s surroundings. movement is a response to stimulus that confirms the sense of self by establishing relationship . sensation combines with intention to beget learned movement baby’s first movements are random; they lack purpose. when baby sees and wants, it conceives an intention, and moves to fulfill it. the first attempts miss the mark; intention remains thwarted – but sensation records all the failures and refines the movement, calibrates it until eventually it hits home: intention is fulfilled. that movement is recorded in the brain, ‘soft-wired’ for future reference, and with enough repetition becomes ‘hard-wired’ into permanent storage in a cycle of 2 extract from fraser (in press, a: 73-106). fraser • feldenkrais research journal, volume 6 (2018-2019) 4 ● sensation ● perception ● intention ● movement ● intention fulfilled (or not) ● wiring in (or not) ● recalibration ● new sensation ● new perception ● new intention ● new movement, etc. the sensory-motor feedback loop these are the elements of the sensory-motor feedback loop , the fundamental neurological process underlying learning. the initial sensory self image is the background against which all the baby’s subsequent motor apprenticeship takes place. sensation feeds the brain the information needed to fulfill intentionality, creating ordered, elegant movements out of chaos. enriched sensation leads to a better sense of self, a more detailed and accurate perception of movement, and thus more profound, organic learning. healthy movement wastes no energy good alignment is an essential component of healthy movement. misaligned bones cause friction in the joints, eventual wear and tear, strained muscles and chronic tensions that can lead to injury. by contrast a well-aligned skeleton is ergonomically efficient: the bones transmit forces cleanly and easily. babies must align bones to transmit forces effectively, because they are too weak to do it any other way. necessity forces them to learn easy, elegant and efficient movement. preliminary elements of complex actions sitting, standing and walking are as remote from a newborn baby as the andromeda galaxy is from earth – but many of its preliminary movements become crucial components of those more complex and demanding activities that appear much later. nobody learned to walk by walking those components are learned most effectively in a stress-free environment. the leg first flexes and extends while baby is lying down, in comfort. many muscular segments calibrate their degree of contraction to make the action effective – the coordination is finer in a leg free from the stresses of standing. leg flexion and extension is much easier even in crawling, a more exploratory activity than in walking. the hip joints don’t stiffen because they are bearing so little fraser • feldenkrais research journal, volume 6 (2018-2019) 5 weight. lying on the back and pushing the ground with the legs is also free from weight-bearing – the hips just transmit kinetic energy. even thrusting the pelvis up into the air is relatively stress-free, an important intermediate step towards full weight-bearing. the long apprenticeship is informed by whole body sensory experience sliding along the ground as we first move enriches the sensory experience of our torso. without the rich sensory stimulation from the back or the belly in lying and sliding, the kinesthetic sense of self would be relatively impoverished, and the leg muscles would push more mechanically. when the sense of self derived from the torso’s sensory input informs the flexing and extending of the limbs, there’s a more sophisticated and subtle interaction between the various muscle groups. flexion and extension develop an organic quality because the learning is both stress-free and sensorially enriched. enhanced sensation of self improves the functioning of the sensory-motor feedback loop. context of comfort and security as a baby acquires its movement skills, there are many false starts, many wrong paths – but it’s all fine. there’s no hurry, and there’s no stress – baby is lying down. baby flexes and extends its arms and legs, its hands and feet, its fingers and toes, effortlessly and easily as it feels the floor or its mother’s body supporting its entire skeleton. the first ‘making peace with gravity’ is capitulation. gravity wins hands down and baby is fine with that. it lies down, cools out, and enjoys the contact with the sand, the ground, the water, its mom. all the while the brain is developing a sophisticated, complex set of coordinations which will afterwards serve as templates for the child’s developing gait. the brain will refer back to these constantly, bringing their sophisticated, organic quality to standing, walking, running and jumping. after the long apprenticeship: finally, full verticality standing for the first time at about one year, baby keeps her hip joints fluid. her innate intelligence senses that stiffening them would make her lose her balance and fall. she must stay malleable to stay upright, allowing for the continuous adjustments that keep the body in balance. she can do so if she has acquired all the requisite movement components – but if she stands before they are fully developed, baby will stiffen unduly. standing will be mechanically inefficient. a full seven years to learn adult walking although the hips don’t lock in standing even initially, many other joints do – the act is still relatively undifferentiated. another full six years will pass before baby acquires the sophisticated, complex motor organization of adult walking (brenière and bril 1998: 1-2). there is a world of difference between the first halting, undifferentiated steps of an infant and the fraser • feldenkrais research journal, volume 6 (2018-2019) 6 subtle, three-dimensional flattened figure-eight movement of the pelvis that appears in its mature form only at age seven. adult walking takes so long to develop because that sophisticated gait must integrate so many movement sub-components. standing and moving: an inherent contradiction in walking, the hip joints must simultaneously hold the torso erect and initiate the legs’ free, fluid movement. hip tonus must be high enough to keep the body erect – but not completely stiff. high tonus allows smooth, but not unwieldy movement through the torso: the hips remain fluid when subtle adjustments to the body’s shifting weight ripple through the entire frame. it’s the need to develop this complex and delicately balanced organization that makes for such a long apprenticeship – both preand post-standing. “as above, so below”: as for the whole body, so for the hand the hand of a beginning pianist is in a similar situation to a newborn baby. the actions that move the keys are a pianistic tabula rasa for it. if the hand could lie down and crawl on the keys before walking – acclimatizing itself to the keyboard before being subjected to the stresses of standing, walking, running and jumping on the keys – it could profoundly improve its pianistic sense of self. correlating baby’s preand post-standing movement experiences to those of the beginning pianist’s hand on key shows us why many hands are over-relaxed or too stiff, and why they could benefit from a pianistic pre-standing apprenticeship. the hand, missing out on the equivalent of baby’s entire first year of sensorial experience, is forced to stand and walk on key its very first pianistic day. a child’s hand may be dextrous, but not adept at walking on piano keys, let alone exerting precise control over the descent and ascent of those keys. ‘standing’ and ‘walking’ causes many pianists to stiffen their hands despite their best intentions to relax – when there has been no pre-standing apprenticeship. the pianist’s hands have been denied their movement birthright the beginner forced to play immediately, like the baby forced to walk prematurely, forgoes a rich experience of sensual contact with the key that could inform his or her apprenticeship to pianistic standing, walking, running, hopping and leaping. without it, flexion and extension of one's pianistic legs don't develop organically. the pianist lacks the baby’s abundance of time and its stress-free environment. a well-organized ‘hand hip joint,’ the metacarpal-phalangeal joint, can simultaneously stand firm and move fluidly, but many pianists’ hands remind me of the stressed-out infant forced to walk too soon without having learnt how. the hand holds itself stiffly in its arch shape, the arm moving this stiff structure into the key; or the arch collapses in an attempt to stay relaxed, as if fraser • feldenkrais research journal, volume 6 (2018-2019) 7 the hand had a sort of pianistic polio. this 'pianistic preemie' simply doesn’t know how to stay erect, stiffening and impeding movement or staying ineffectively limp. the high incidence of piano disabilities is a natural outcome who could expect the hand’s ‘hip joint’ to master an incredibly complex set of skills the first moment it touches the piano? is it any wonder there are so many technical problems? is it any wonder we develop tendonitis, carpal tunnel syndrome, focal dystonia and all the rest, when our hands are denied their pianistic birthright? a new regime for developing capable, healthy hands at the keyboard this next atm, and in a larger way, much of this book, addresses the dilemma, offering our hands the incalculable benefits of a sensorially rich pre-standing keyboard apprenticeship. the developmental exercises stimulate the beginner’s hand to move at the keyboard naturally, organically, biologically. advanced pianists can also benefit, finally freeing the hand from the stress it has experienced all its pianistic life: the learned response to the stress of standing and walking too soon. fraser • feldenkrais research journal, volume 6 (2018-2019) 8 atm the hand like a baby learning movement sucking a baby needs first to satisfy its hunger: it learns first to suck on the breast. no sucking, no survival. photo: istock photos  illustration 1: baby breastfeeding the contraction of the lips activates extensors all through the neck and spine, preparing these muscles for their eventual role in straightening the whole body to verticality. how could the hand imitate the reflexive contractions of sucking? step 1: rub each finger pad in turn against the thumb pad. where do you feel muscular activity – only in the fingers or elsewhere as well? rotate the forearm and flex and extend the wrist as you rub. which hand position helps you most clearly feel reciprocal activity in the upper arm and shoulder area? fraser • feldenkrais research journal, volume 6 (2018-2019) 9   photo: igor peyovitch    illustration 2: rub fingers & thumb against each other step 2: explore a similar movement on key: rub the entire surface area of a key with each finger pad in turn, sensing muscular effort in the finger hand ---> wrist ---> forearm ---> elbow ---> upper arm ---> shoulder ---> around the shoulder blade ---> elsewhere in the back ---> and the neck. do the same with the thumb ---> and then with combinations of fingers and thumb. vary the pressure: sometimes rub lightly, other times press quite firmly – what changes in the sense of muscular activity throughout yourself? fraser • feldenkrais research journal, volume 6 (2018-2019) 10 the bell hand baby’s sucking evokes an echo of flexion in its fingers – the “bell hand” movement of many feldenkrais method awareness through movement lessons. this primeval, elemental grasping motion is a deep-seated reflexive component of human movement – and at best it suffuses most of the movements of the hand on key. step 3: rest your elbow on a surface. lean the forearm forward slightly, and let the hand droop. gently bring fingers and thumb together while the hand moves back, reaching the vertical and even passing it slightly as thumb and fingers touch , while the forearm comes to the vertical as well. then droop the hand again, letting the forearm move forward as fingers and thumb separate from each other. move the hand gently in the air like seaweed waving in a soft ocean swell, without curling the fingers, just letting them form a bell shape on their own – or perhaps helping them out just a little. where else does the bell hand movement evoke muscular activity? photo: igor peyovitch illustration 3: the bell hand motion fraser • feldenkrais research journal, volume 6 (2018-2019) 11 extension the baby begins to see, and interests itself in things other than the breast. it wants things. lying on its stomach, it lifts its head to see more, allowing the torso to develop the rudiments of extension. photo: istock photos illustration 4: raised head with arms curled under how would your hand ‘raise its head?’ step 4: cup the hand, fingers and thumb quite closely bunched, and lay it palm down on the table. slide the finger pads away from you so the hand flattens. do this several times, attending to the physical sensations elsewhere in your arm and body. step 5: repeat step 4, flattening the fingers more and more until the tips leave the table to ‘look up,’ as if the fingertips are baby’s head. the straightened, sliding fingers, their tips rising slightly in the air, recall a bobsled moving so quickly that its front end becomes airborne. don’t extend the fingers in isolation: feel supportive muscular activity in the hand ---> wrist ---> forearm ---> upper arm ---> shoulder ---> back and torso helping the fingers fan out and up. let the arm go to allow these muscles to participate more subtly and effectively. find the easy way. fraser • feldenkrais research journal, volume 6 (2018-2019) 12 photo: igor peyovitch illustration 5: the fingers ‘raise their heads’ fraser • feldenkrais research journal, volume 6 (2018-2019) 13 grasping and flexion baby’s exploration of the world is primarily sensorial: to understand something, in addition to seeing it, she must grasp it and bring it to her mouth. photo: istock photos illustration 6: the mouth is the primary sense organ step 6: flop your hand on a table and ‘glue’ the fingertips to the surface. move the heel of the hand toward the glued tips, sliding the forearm and curling the fingers while the mcp joints stay fairly low. curl the fingers and slide the arm more and more until the tips 3 come unglued from the table to nestle in the palm, and the ‘backs’ of the medial phalanges lie on the table. the fingertips have been put into the ‘mouth’ of the hand, deep within the palm. curl the fingers passively by sliding the heel forward, or curl them actively to pull the heel forward. the pull can be non-existent, gentle, or so strong that it transmits up the arm into the body, even pulling the torso. 3 metacarpal-phalangeal joint fraser • feldenkrais research journal, volume 6 (2018-2019) 14 photos: igor peyovitch illustration 7: the hand slides forward to nestle the fingertips in the palm (the hand’s ‘mouth’) fraser • feldenkrais research journal, volume 6 (2018-2019) 15 propping baby straightens its arms, pushing the body into a stronger extension. photo: istock photos illustration 8: straightened arms raise head farther how could the hand imitate propping? step 7: with the fingers curled and lying on the backs of the medial phalanges, begin to straighten them, making the wrist rise a little. do this many times, increasing the range by small degrees to sense in as much detail as possible the inner workings of this unusual movement. perhaps get out of your chair and stand by the table, making it easier for the wrist to rise farther. fraser • feldenkrais research journal, volume 6 (2018-2019) 16   photos: igor peyovitch illustration 9: uncurl fingers to ‘prop’ the arm up fraser • feldenkrais research journal, volume 6 (2018-2019) 17 extending the legs in its first attempts to move about, baby straightens its legs, pushing on the ground with its foot. photo: istock photos illustration 10: baby pushes legs to raise pelvis if it is lying on its back, this pushes its pelvis up into the air. step 8: lie your hand on its back. extend the fingers, straightening them so much that the fingernails push on the table, pushing the metacarpal-phalangeal joints up into the air. leave the elbow hanging so the extensors get a good workout and the lumbrical-interossei really stretch. fraser • feldenkrais research journal, volume 6 (2018-2019) 18 photo: igor peyovitch illustration 11: fingers extend to push the ‘hand-pelvis’ up fraser • feldenkrais research journal, volume 6 (2018-2019) 19 commando crawling if baby lies prone, it begins to creep (‘commando crawl’) on its belly. photo: istock photos illustration 12: baby commando crawling how could the hand creep along the table top? step 9: flop the hand on the table with fingers curled enough to make them stand on their tips. make the distal phalanges stand vertically. glue the fingertips to the table and straighten the fingers to push the heel of the hand away from them, sliding the heel along the table towards yourself. then glue the heel and curl the fingers to slide the tips closer to the heel. then glue the tips again and repeat. the hand moves like an inchworm. step 10: commando crawl in the other direction by curling the ‘glued’ fingers to pull the heel of the hand closer to them, then gluing the heel to the table and straightening the fingers to slide or flop them farther out in front. repeat. fraser • feldenkrais research journal, volume 6 (2018-2019) 20 photos: igor peyovitch illustration 13: the hand commando crawls forward (step 10) fraser • feldenkrais research journal, volume 6 (2018-2019) 21 toe differentiation the toes learn to flex independently of the foot, increasing the degree of differentiation in crawling. photo: istock photos illustration 14: the toes curl, the better to feel the ground step 11: creep again (steps 9, 10), stopping many times mid-movement to flex and extend the fingertips isometrically. glue the tips to the table, curling and uncurling the distal phalanges alone without letting them slide. don’t flex the whole finger – only the tips. curl them isometrically to dig them gently into the table top, then release. fraser • feldenkrais research journal, volume 6 (2018-2019) 22 rolling – prone to supine if baby looks sideways and up, she begins to roll, eventually flopping over onto her back (surprising herself as much as anyone). photo: istock photos illustration 15: baby looks up, rolls over how could the hand imitate baby’s first rolling experiences? first let’s explore a movement from prone to supine. step 12: lay the hand prone with the fingers quite straight, but not stiff. begin to oppose the thumb to the fingers while supinating the forearm so the hand folds in on itself, drawing the thumb toward the fingers. glide the thumb along the table towards the fingers so it moves under the hand, causes the hand’s arch to rise. let the thumb leave the table when it wants to; don’t force it to maintain contact. eventually the hand rolls onto its back, the fingers bunched loosely. where does the thumb end up? does it float loosely in the air, or does it touch the underside of the fingers? if so, where? each time you roll, fold the hand a little more or a little less – how do the trajectories change? how many variations can you develop? fraser • feldenkrais research journal, volume 6 (2018-2019) 23 photos: igor peyovitch illustration 16: draw thumb to fingers to roll from prone to supine fraser • feldenkrais research journal, volume 6 (2018-2019) 24 rolling – supine to prone rolling the other way, let’s introduce a preliminary movement towards ‘sitting.’ step 13: before returning from supine to prone, let the hand (except the thumb) rest more completely on its back. pronate to flop the heel, thumb, palm and fingers onto the table. repeat several times. step 14: while pronating from supine, move the heel towards the fingertips so the hand folds in on itself and comes to ‘sitting.’ photos: igor peyovitch illustration 17: rolling from supine to prone, fold hand to ‘sit’ on the backs of the fingers (step 14) fraser • feldenkrais research journal, volume 6 (2018-2019) 25 folding the leg in and under baby learns to flex its leg and draw the leg up underneath itself in preparation for a stronger push. photo: istock photos illustration 18: drawing the leg up and in towards the torso step 15: with the heel on the table and the loosely curled fingers lying on the backs of their medial phalanges, make a stronger fist to make the mcp joint more pronounced. step 16: with their ‘backs’ still glued to the table, uncurl the fingers slightly to push the mcp joint a little higher, but leave the heel on the table. the fingers will now lie on the backs of the distal phalanges, and the thumb will straighten and move slightly away from the hand. this imitates baby’s pushing her body with her legs instead of her arms. fraser • feldenkrais research journal, volume 6 (2018-2019) 26   photos: igor peyovitch illustration 19: extend the fisted fingers to lift the hand’s ‘pelvis’ (step 16) folding the body but when it draws its leg up, it also begins to fold its body. photo: irina saygina illustration 20: baby folds body to half-roll, half-sit how could your hand fold to imitate the folding of a baby’s torso? fraser • feldenkrais research journal, volume 6 (2018-2019) 27 step 17: lay the hand prone on the table top. as you roll it onto its back, fold it so by the time the backs of baby’s ‘legs’ touch the ground, baby’s ‘torso’ is curled over them. photos: igor peyovitch illustration 21: roll to fold the hand onto the backs of the fingers step 18: lay the hand flat on the table. combine commando crawling with a partial roll by drawing the thumb tip towards fingertips while supinating the hand. leave the fingers straight. finally thumb nestles against the 2nd finger. where is there effort: in the hand ---> forearm ---> upper arm ---> shoulder ---> back? intensify the hand’s internal effort by drawing all 5 fingers together as you supinate. fraser • feldenkrais research journal, volume 6 (2018-2019) 28 photos: igor peyovitch illustration 22: roll to fold thumb into curved fingers photos: igor peyovitch illustration 23: roll to fold thumb into flat fingers fraser • feldenkrais research journal, volume 6 (2018-2019) 29 sitting folding leads to a whole new series of developments – baby folds the torso until it can’t fold any more, so it begins to unfold. flexion transforms into extension, and baby comes to sitting. photo: istock photos illustration 24: baby sitting fully upright when was the last time any of us sat like this, with such wonderful verticality, such complete ease, with a torso naturally soaring high and happy? how would your hand sit up? step 19: rest your loose fist on the table and roll further forward to lie on the backs of your proximal phalanges. now bring your hand to the vertical while all three phalanges of all the fingers extend to press their backs into the table. sit forward in your chair, or even stand up to do this more easily. step 20: alternately, lay your hand on its palm. roll to the outside until the hand and fingers lie on their backs on the table. next, fold the hand while the finger backs remain glued to the table so the heel of the hand and the completely supinated forearm move forward, away from you. get out of your chair and stand by the table to feel more comfortable. fraser • feldenkrais research journal, volume 6 (2018-2019) 30   photos: igor peyovitch illustration 25: hand sit-ups fraser • feldenkrais research journal, volume 6 (2018-2019) 31 here the fingers are baby’s legs, the hand its torso, its head where your wrist is.   photo: igor peyovitch illustration 26: fingers lie on their backs, hand vertical  fraser • feldenkrais research journal, volume 6 (2018-2019) 32 standing – bottom half only the legs eventually flex so well that baby stands right up – but since her top half isn’t ready, only her derrière becomes fully vertical. photo: irina saygina illustration 27: tush higher than everything else notice the ninety-degree angle between legs and torso: she’s using her structure in the best possible way – albeit for a questionable goal. half-standing how would your hand stick its tush in the air? step 21: flop the hand on table, and leaving the fingers absolutely straight, flex them to draw the heel towards the fingertips. here the mcp joint is baby’s tush, the fingertips its head, the wrist its feet. the straighter the fingers, the higher baby’s tush can rise while head and feet remain securely on the ground. fraser • feldenkrais research journal, volume 6 (2018-2019) 33 photos: igor peyovitch illustration 28: fingers approach the stationary thumb by gradually flexing fraser • feldenkrais research journal, volume 6 (2018-2019) 34 integration step 22: let your hands hang by your sides. sense the difference between right and left. which hand feels warmer ---> larger ---> more sensitive ---> more alive ---> more potent? go to the piano and play a passage with your left hand, and then the same with your right. what did your right hand spontaneously do differently? has this new version of its self-image changed how it stands, walks, runs and jumps on the keyboard? postscript i have been developing a feldenkrais method-based approach to piano technique for over 30 years, almost 50 years if we count my initial experiences with phil cohen. the main group of “student-beneficiaries” has been my class at the university of novi sad, serbia, whose art academy was one of the top music conservatories in yugoslavia. i also work with professionals, adult amateurs, university students and young, gifted pianists at the alan fraser piano institute, 4 with editions of the institute in various european and north american centers. my glory year as a pedagogue was perhaps 1999-2000 at the music conservatory in wuhan, china, where a whole flock of youngsters blossomed when exposed to these ideas. it was striking to see how untrue the old assumption was: that those from the east can’t really understand western classical music. when their selves were brought into direct relationship to the music, their innate, human musicianship quickly found voice. the hand’s basic function is to grasp. turn the hand palm down and lay it on a surface; the same grasping action now creates an arch. the voice of the piano is reflected in the integrity, functionality and potency of this arch, which must be neither too stiff nor too relaxed. the feldenkrais approach helps pianists avoid the two main factors impinging on arch integrity, relaxation and arm weight technique where the weight of the arm is used to move the key. a healthy arch allows the fingers to walk functionally, freeing the wrist and arm for their proper task, linking notes together in discrete lateral movements. this is a gross simplification of these seminal ideas which have far-reaching consequences in the empowerment of modern day piano technique. of course, a purely physical approach to piano technique would seem to neglect the crucial element of musical expression. one needs much more than a healthy arch and differentiated arm movements to make music. however, the rare artist who can trust her body to enact a musical conception, who can afford to avoid the distraction of “how,” has an exceptionally great 4 http://www.alanfraserinstitute.com/ fraser • feldenkrais research journal, volume 6 (2018-2019) 35 http://www.alanfraserinstitute.com/ talent, or has been trained so well, at such a young age, that now, in her maturity, she simply cannot remember that apprenticeship. maria joão pires can afford to assert that “technique doesn’t exist” (cited in maes 2014) – and she really believes it – because her body responds perfectly to her musical intentions. those who attempt to live as if she were right, without the requisite flawless, effortless and complete technique, risk injury or even worse, boring, musically inept performances. one pianist, after discovering the immense potential of the hand’s arch in mastering chopin’s etude in c major, op. 10 #1 , said that he could finally play the etude musically, although we had not said a word about the music. we had simply taught his physical self how to fulfil his musical vision. there is always a direct link between physical organization and musical result. everything you do, sounds . every gesture, every newly learned movement affects the quality of the music’s sonority and expression. this relationship is explored in depth in other chapters of play the piano with your whole self , as well as in my other books on piano technique. the above excerpt neglects it only because i wanted to present the link between a baby’s pre-standing apprenticeship and the hand’s beginning steps at the piano as concisely as possible. the world of pianists can be roughly divided into two camps, those who avoid the distraction of the “how,” and those who benefit by delving into it. many sceptics will always remain, but thankfully there are many who eagerly greet new insights into the physical/musical connection. the feldenkrais method was initially brought to musical performance mainly to address injury, but it is hoped that for the developing group of musico-physico aficionados, the far richer aspect of interpretative development comes to the fore. everything you do, sounds my students have noticed that the palpable sense of connection between “skeletal self” and one’s instrument begets artistic transformation. when there is no contradiction in the body’s relationship to the musical shape, nor the musical instrument, musical expression grows naturally out of the architectonic structure, instead of being imposed upon it. starkly bold orchestrations on the piano become possible when muscular interference is absent and the bones align effectively to transmit kinetic forces efficiently. movement rippling unhindered through the skeleton’s entire kinematic chain allows the whole self to take part in the artistic process, with an accompanying, astonishing blossoming of emotionally expressive content. music can now speak from deep within the self. when a piano key is a three-dimensional entity to be entered rather than an object to be depressed, it becomes an effective means of colour creation, an effective tool for rich orchestrations. the requisite precision can be obtained through feldenkrais-style physical differentiations not only in the hand’s ‘mini-body’ but also in the body as a whole. the shape of every gesture affects not only on the sound, but also one’s basic inner state – the level of background tonus throughout the entire body that allows more sophisticated skeletal fraser • feldenkrais research journal, volume 6 (2018-2019) 36 differentiation, that experiences the music physically, not just intellectually, that seems to touch the very soundboard with artistic spirit. in the past, piano technique has been seen as scales and arpeggios, czerny and hanon exercises, the diligent cultivation of mechanical dexterity through the slavish repetition of exercises. the “how” was expected to develop reflexively. even the young liszt put his newspaper on the music desk while he did his hour or two of finger exercises each day. extending a feldenkrais method mindset into the realm of piano technique changes all that. becoming aware of how one plays enhances the physical and mechanical result. when physical blockages melt away, one is more potent physically and artistically. it is crucial that this “how” be felt at the sensory level, not just understood intellectually – hence the feldenkrais method-style exercises, which become most effective not when done in isolation but when applied to the solution of specific musical and technical challenges presented in the repertoire. the refining influence of the feldenkrais method for pianists and other musicians is not just about feeling good, not just about relaxing, nor even just about improving movement – it is about connecting the deepest parts of the artist to the instrument to create performances full of drama and sensitivity, power and subtlety, to engender a voice that speaks with true artistic command. references brenière, y., and bril, b. (1998) ‘development of postural control of gravity forces in children during the first 5 years of walking’. exploratory brain research 121 (3), 255-262 cohen, p. (2008) ‘the embodied conductor: concert pianists, diaper dancers, and the fine art of creative variability in performance’. in inquiry in education ii: overcoming barriers to successful implementation . eds. by shore, b., aulls, m. w., and delcourt, m. new york: laurence erlbaum associates fraser, a. (in press, a) play the piano with your whole self . novi sad: piano somatics press fraser, a. (2012) all thumbs: well-coordinated piano technique . novi sad: maple grove music fraser, a. ([2003] 2011) the craft of piano playing: a new approach to piano technique . 2nd edn. lanham: scarecrow press fraser, a. (2010) honing the pianistic self-image: skeletal-based piano technique . novi sad: maple grove music. maes, s. (2014) technique doesn’t exist: maria joao pires piano . [video] [online] eprc productions. available from < https://www.youtube.com/watch?reload=9&v=ziicpjpzyye > fraser • feldenkrais research journal, volume 6 (2018-2019) 37 https://www.youtube.com/watch?reload=9&v=ziicpjpzyye author biography alan fraser, b.mus, m.mus, dip.amps, pgdip.pp, gcfp canadian pianist and pedagogue alan fraser has spent 50 years developing piano somatics: the art & science of movement at the piano , his approach that dovetails the principles of the feldenkrais method with the practicalities of piano technique. he studied with phil cohen in montreal and kemal gekić in novi sad, serbia, and completed a feldenkrais professional training in hawaii in 1992. he has outlined his approach in his series of books, natural, artistic piano playing , and works with students around the world at the alan fraser piano institute . he teaches at the university of novi sad, serbia. email: phraser@alanfraserinstitute.com member, l’association feldenkrais france fraser • feldenkrais research journal, volume 6 (2018-2019) 38 mailto:phraser@alanfraserinstitute.com feldenkrais research journal​ • ​volume 6​ (2018-2019) review ‘feldenkrais​®​ for actors – how to do less and discover more’ thomas kampe phd; bath spa university correspondence: ​t.kampe@hotmail.com​ ​t.kampe@bathspa.ac.uk keywords movement for actors, embodied acting, somatic actor training, theatre and cognition, feldenkrais method copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:t.kampe@hotmail.com mailto:t.kampe@bathspa.ac.uk https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ review ‘feldenkrais​®​ for actors – how to do less and discover more’ thomas kampe phd; bath spa university review of ‘feldenkrais for actors – how to do less and discover more’ by victoria worsley​, illustrated by james humphries; nick hern books london 2016; 272 pages how do we train actors to develop an organic competence of their craft? how do we educate young people to become agile, creative, sensitive and affective performers in a cultural context that affords an increased disembodiment of everyday life experience? how do we encourage open-ended inquiry within a corporate increasingly goal-oriented and fast-paced vocational educational training system? victoria worsley, london based actor and feldenkrais​®​ practitioner, published the book feldenkrais for actors – how to do less and discover more​ as a resource for students and teachers in 2016. her writings emerged from her rich experience as an artist, teacher of movement for actors in drama conservatories, and as feldenkrais practitioner who works with the general public. her book offers a convincing resource for student-actors, professionals and pedagogues, with an historical introduction that links the work of moshe feldenkrais to theatre practice and to the current work feldenkrais/theatre peer-practitioners in the uk, a large experiential part linked to the needs of the student actor, and an appendix with useful links to resources for further study. there is a growing context of literature on the study of movement for actors, often informed by modernist movement and contemporary somatic practices including the feldenkrais method​®​. worsley’s thoroughly written book sets out from the start that it is concerned with articulating the application and possible benefits of the feldenkrais method in the training, education and self-care practice of actors. it allows readers to immerse themselves in a theory-practice world concerned with increased awareness, agility and function, self-perception and presence, always bearing in mind the professional context of the actor as flexible learner and spontaneous explorer. worsley draws on her own training with philippe gaulier in physical theatre, and on her studies with monika pagneux who had worked with moshe feldenkrais in the 1970’s to identify key topics in her book concerned with the actor as a sensitive, affective and creative being. worsley structures the main part of her book into chapters concerned with ‘presence and posture’, ‘the role of tension’, ‘emotion, character and creativity’, ‘voice and breath’, ‘injury and anxiety’. each of these chapters, split into differentiated sub-chapters, offers contextual newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 2 discussion, case-study examples and practical exploration parts, which bring the awareness through movement​®​ practice into a meaningful experiential context for the learner. worsley’s book offers a comprehensive insight into the value of the study of the feldenkrais method within actor training contexts by making consistent links between feldenkrais-based pedagogies and the world of the actor. as an educator involved in actor-training i appreciate such contextualisation and bridge-building greatly, as it offers a tangible place for the feldenkrais method in a training-context and allows students to access a non-goal oriented explorative practice from an informed perspective. the book achieves several things at once – it forges direct historical connections to the feldenkrais/brook/lecoq/pagneux lineage, and connections made to the dominant western psycho-physical theatre heritage based on the work of russian modernist educator konstantin stanislavsky (1863 -1938) and contemporary developments. this allows students and professionals to locate themselves within a culturally relevant learning trajectory. more so, the book is structured towards meaningful areas of application, and offers stories and case studies written from the field which allow the reader to identify relevant learning or problem areas concerned with embodiment, self-care, range of expression and creative choice-making for the actor. here, the author accompanies the tangible with basic physiological information, at times in the shape of anatomical drawings, or through brief discussions on theory of perception. the book then offers a range of explorative practices articulated and distilled as games and simple awareness through movement lessons which can serve as a resource for self-inquiry. the ‘foreword’ by uk director john wright reflects on accessing and dealing with old habits and accessing fm as a ‘rich and continuing area of inquiry’ (2016: viii) to explore new ideas through a ‘gentle art of teaching yourself not to try’ (viii). in her ‘introduction’ chapter worsley reflects on the study of movement for the actor as an essential process of self–development. it introduces the potential of the feldenkrais method to support the actor’s ‘job of delving into human behaviour in all its variety and subtlety’, by using movement in structured ways to ‘enable how you personally respond or do things; to open up new avenues and expand your possibilities’ (2016: 3). worsley proposes the study of the feldenkrais method here as an inquiry into ‘human functioning and developing potential’ (3), and the possibility to move beyond habitual behaviour as highly useful for the actor. she clarifies the intention of the book as a personal resource for students for detailed self-discovery, ‘of how you are you’ (3). worsley’s chapter ‘a little bit of history’ opens with a translated letter from 1978 by theatre-director peter brook (1921 ) arguing for embodiment as the most concrete ‘foundation of the work of every actor’ (cited in worsley 2016: 7). brook talks about his encounter with the work of moshe feldenkrais as an inter-cultural approach to the detailed study of ‘the body as a whole’ with hundreds of exercises of ‘exceptional value’ (2016: 7). worsley then gives a brief historical overview on moshe’s feldenkrais professional development with a particular focus on his connections to the company of peter brook, the us based company el teatro campesino and their collaboration during the san juan bautista workshop in california in 1973. here she newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 3 interweaves exercise descriptions with a discussion on the inquiry-based ethos of the feldenkrais method to foster ‘curiosity, spontaneity and creativity [….], all qualities an actor needs to develop, too’ (2016: 13). worsley suggests that ‘you don’t come out of the feldenkrais method with a specific way of holding yourself or moving. you don’t come out with rules, but you discover more about yourself and your potential. you do develop skill’ (2016: 15). she then goes on to introduce a range of practitioners who have been influential on the application of the method within uk theatre and performing arts contexts as educators and artists. perhaps it would have been beneficial here to have more of moshe feldenkrais’ own thoughts on theatre included. feldenkrais was familiar of the post-stanislavski realism acting systems and methods developed in israel and the us, and he articulates his thoughts most explicitly in the interview with richard schechner (feldenkrais and morris 1966). feldenkrais had been introduced to the work of stanislavski and his disciple vakhtangov by actor and family friend aharon meskin in tel aviv already in the 1920’s (buckard 2015). feldenkrais suggests that an actor needs to be trained ‘to have the fluent ability to act and check what his actions mean in reality’ (feldenkrais and morris 1966: 118), and that his approach to learning fosters ‘an awareness of action’, ‘greater clarity and ease’, a capacity for ‘rediscovery’, and a heightened ability to ‘listening to the other person’ in the actor (118). responding to schechner’s questioning regarding noted affinities between stanislavski’s work and his own, feldenkrais claimed that stanislavski and his leading disciple vakhtangov ‘often showed examples and could not teach what they wanted’ because ‘they had no body awareness themselves’ and worked from visual ‘impressions’ (1966: 125-126). in the ‘part 1’ of the main section of her book, worsley contextualises the use of the feldenkrais method through initial discussions on self-awareness, habit and neutrality as fundamental issues concerning the actor in training. she matches this discussion with some simple observation tasks and a thorough introduction to basic self-scanning practices of awareness through movement (atm​®​). worsley addresses the difficulty of working from books by adding the useful suggestion of creating audio-recordings of the awareness through movement explorations from which to work. she continues to introduce key feldenkrais learning topics though contextual discussions and practice suggestions, including ​proprioception/kinaesthetic sense​, ​self-image​, and feldenkrais-informed approaches to experiential and explorative learning. here some cognitive science information on neuroplasticity based on the work of michael merzenich sets the tone 1 for an atm lesson in sitting and turning: ‘the richer, the more varied the possibilities of your movement landscapes, the more powerful you are. and the more imaginative you are and the more fun you are having’ (merzenich cited in worsley 2016: 57). here, perhaps a note towards the growing discourse on ​theatre and cognition​ (blair 2015), which touches upon ​embodied 1 (no date provided by author) newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 4 cognition​, ​enactivism​ and ​neuroplasticity​ would have been a useful link to a wider context where a feldenkrais-theatre practice might be located meaningfully. ‘part 2’ of the main body of the reader discusses issues regarding ‘presence and posture’. as the section before, it provides a convincing experiential learning set-up that combines discussion of practical problems, with a wider performance-culture context and practical activities as a model that frames embodied self-experiments as part of a broader personal or professional learning. worsley introduces the term ​embodiment​ in dialogue with awareness here to highlight the actor’s need ‘to feel a connection to what we do, so that in any moment we are fully, physically present: alive on stage, not “dead”. it is awareness that roots you in yourself, rather than separates you from yourself’ (2016: 76). the author always returns to first person language to talk from self-experience in an empathic way to the reader. she guides the reader into discussions moving from awareness towards being present with fellow actors and the audience, at times drawing on theatre-theorists as well as on a rare interview with moshe feldenkrais in the context of his working with peter brooke’s company and el teatro campesino in 1973. the quote reveals feldenkrais’ understanding of the embodied and dialogic nature of the work of the actor: what does increased sensitivity mean? it means telling the difference between minor increments or decrements in minor changes. it means you become sensitive to the little lead your partner gives you, to the change in your own voice, to your partner’s voice, you become more sensitive, more differentiated, more awake. (feldenkrais [1973] 2004, cited in worsley 2016: 82). worsley draws a vivid and convincing picture here, how the, often introspective, self-reflective atm practice might lead to a more nuanced ability to form relationships as suggested in the quote above. her writings on posture which embrace feldenkrais’ dynamic-systems proposals towards ‘acture’ and ‘reversibility’ as states of readiness and agility, focus on developing a holographic understanding of single parts to the whole organism and on developing a relational groundedness. here, she draws on feldenkrais trainer jeff haller (2010) who suggests that our muscle tone is turned on by our relationship with our environment. that means the specific ways we find support from the surfaces we are on. if i am faulty in the way i find support, then my musculature must in fact become engaged to support me because orientation is so crucial to me. […] and it must engage. because no living system that is healthy will just fall down. so the more specific, the more refined, the more clear you are in the way you find where you are supporting yourself from, the clearer any action will be. (haller 2010 cited in worsley 2016: 104) subsequently the chapter on ‘finding dynamic posture’ includes practical explorations on developing awareness and agility of our centre of gravity and pelvic region, including a variation newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 5 of a lesson on ​pelvic clock​ articulation. the integration of the awareness through movement in to the chapter is created through a preparatory discussion accompanied by simple anatomical drawings, and personal reflective section to support students into appreciating their experience of new tacit and felt knowledge on ‘what grounded feels like’ (worsley 2016: 110). this embedding of lessons meaningfully into relevant experiential topics and into guided discussion on felt experience, is well crafted throughout the book and allows the reader to enter into a world of sensorial inquiry and agency as embodied resource for their professional practice. this is a real strength of the book and allows the novice practitioner to access a possibility to ‘finding – and keeping a new home’ (worsley 2016: 110) in themselves. ‘part 3’, titled ‘the role of tension’, explores qualitative questions regarding dynamism of practice within atm practice, guiding the reader into processes of working through a reduction of stimuli, ultimately to achieve ‘healthy, powerful, easy and pleasurable exertion […] where efficient movement is effortless’ (feldenkrais [1972] 2010 cited in worsley 2016: 117). as in ‘part 2’ atm practice here a lesson on flexion and a lesson on pressing through legs into the ground is sandwiched effectively between a contextual introduction on sensitivity and excitation, and reflections on sensitivity within acting practice. worsley refers to the work of a broad range of practitioners, including ‘neutral mask’ work she had explored in dialogue with director john wright. neutrality as a concept is decoded and expanded as a place of potentiality through a finishing quote by moshe feldenkrais: ‘i want neutrality only to free you from the inhibition of having one speciality’ (feldenkrais [1972] 2010 cited in worsley 2016: 134). ‘part 4’ is distinctly devoted to issues around characterisation, while touching upon connectivity between movement, sensation and feeling. the section on ‘the physiology of emotion’ refers to the psycho-physical demands within the work of practitioners michael chekhov, sanford meisner and uta hagen, again encouraging students to make links between somatic explorations and personal sensorial discoveries and established acting practice. here the author passionately emphasizes the importance of inductive processes of trial and error where characters are allowed to emerge through creative play and ‘not knowing’ (2016: 197) as part of the actor’s repertoire of unruly, pleasurable and unforceful working modalities. worsley comes across here as a convincing advocate for the feldenkrais method as highly suitable for actors, ‘because it encourages responsiveness, spontaneity, flexibility and adaptation to the situation […] great for actors’ (2016: 196). the last two chapters, ‘part 5’ and ‘part 6’, are concerned with the application of feldenkrais process in relation to self-care and injury prevention. here, issues of vocal practice and anxiety are highlighted and supported through experiential offerings. as in the chapters before, contextual discussions and anatomical drawing form a useful framework for students to engage in embodied explorations, to develop self-competence and to practice professional nuanced reflective practice. the book concluded with appendices with a useful section on resources for further reading and study, and a final appendix for feldenkrais teachers. this final appendix makes explicit links between western modernist acting practices and the work of moshe newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 6 feldenkrais in their shared concerns with body-mind unity and the potential for experiential learning. it includes useful tips for problem-solving in the classroom that make the transition from a generic feldenkrais pedagogy facilitation to the context of an arts-training situation with specific student needs and expectations tangible. as i mentioned in my introduction, worsley’s book comes across as a convincing and well-constructed resource for practitioners in the acting field. it is a delight to read for informed practitioners as well as for students of acting. it is not a critical reader that discusses the limitations for the feldenkrais method in the field, nor does it include ideas about the integration of touch interaction based on functional integration practice as a learning modality. but that’s not what the book set out to do, and it reads satisfyingly well as a complete whole. the bibliography would perhaps read better in harvard style for easier reference. this is a minor issue, and perhaps based on the publisher’s conventions. i have taught movement for actors in conservatoires and universities for 30 years in the uk, and nearly 20 years of that time i have drawn on awareness through movement and functional integration​®​ practice, mostly in successful ways. yet, the delivery of a non-corrective inductive embodied practice in a fast-paced competitive training environment can be very unsettling for all participants for many reasons, let alone that uk studio spaces often are too cold to allow students to spend a long time quietly on the floor. there are many commonalities between western acting theory/practice models and the organic learning modalities that feldenkrais provides – this is no accident since all of them stem from a similar historical and cultural background that embraces knowledge from cognitive sciences, emancipatory body-cultures and the learner/performer autonomy of the contemporary democratic citizen. yet, it is often very difficult for feldenkrais teachers to guide students into understanding the bigger picture beyond their classroom experience without asking them to look at a broad range of resources. likewise, it is not easy for feldenkrais practitioners who do not have acting or actor training experience themselves to create a meaningful experience for students that allows them to make links to their professional development. movement as an area of study for actors often has a low status within the curriculum and profession that is driven by literary practice and text interpretation. together with colleague jackie adkins, i have started to use worsley’s book over the last year as a resource on the ba acting programme at bath spa university where we both facilitate a feldenkrais-informed pedagogy to first year students. the book appears as a hugely helpful resource that facilitates the integration of the feldenkrais method into the learning syllabus, offers contextual understanding and processes for self-directed study, and perhaps most importantly offers a well-articulated vessel for an emerging feldenkrais-informed culture and method of embodied acting. newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 7 references blair, r. (2015) ‘notes on empathy, cognitive neuroscience, and theatre/education’. p-e-r-f-o-r-m-a-n-c-e 2​ (1-2). ​http://p-e-r-f-o-r-m-a-n-c-e.org/?p=1101 buckard, c. (2015) ​moshe feldenkrais – der mensch hinter der methode (the man behind the method)​. berlin: piper feldenkrais, m. (1973/2004) ​moshe feldenkrais with el teatro campesino and peter brook’s international centre of theatre research, san juan bautista 1973​. paris: international feldenkrais federation (audio cd) beringer, e. (ed.) (2010) ​embodied wisdom: the collected papers of moshe feldenkrais​. berkeley: north atlantic books feldenkrais, m., & morris, k. (1966) ‘image, movement, and actor: restoration of potentiality’. the tulane drama review 10​ (3), 112-126. doi:10.2307/1125167 haller, j. (2010) ​discovering the roots of internal strength​. dumas bay, wa: inside moves (dvd) merzenich, m. (2012) ​dr. michael merzenich on neuroscience, learning and the feldenkrais method; in conversation with cliff smyth​. the feldenkrais guild​®​ of north america https://www.youtube.com/watch?v=rupz-wlrda0​ [accessed 02/04/2019] worsley, v. (2016) ​feldenkrais for actors, how to do less and discover more​. london: nick hern books wright, j. (2016) ‘foreward’. in ​feldenkrais for actors, how to do less and discover more​. worsley, v. london: nick hern books biography thomas kampe (phd)​ has worked as a performing artist, researcher and somatic educator across the globe. he works as senior lecturer for movement/acting at bath spa university, uk, where he co-directs the ​creative corporealities research group​. collaborations include work with liz aggiss, hilde holger, julia pascal, tanzinitiative hamburg, somatische akademie berlin, and with carol brown on re-embodying the diasporic practices of modernist choreographer gertrud bodenwieser. thomas’ research focuses on critical somatic legacies. he recently co-edited ​journal of dance and somatic practices​, vol. 9. (2017) ​bodily undoing: somatics as practices of critique​, with kirsty alexander. thomas is a practitioner of the feldenkrais method​®​. since 2015 direction of international symposia: ​(re)storing performance newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 8 http://p-e-r-f-o-r-m-a-n-c-e.org/?p=1101 https://www.youtube.com/watch?v=rupz-wlrda0 (2015); ​theatre, youth, trauma and europe in crisis​ (2016); ​bodily undoing –somatic performance cultures and activisms as critical practice​ (2016); ​beyond forgetting 1938-2018: persecution/exile/ memory​ (2018). he currently co-directs the international ​body iq berlin festival 2019​ with somatische akademie berlin (sab). he is the co-editor of this volume of the feldenkrais research journal​. https://www.bathspa.ac.uk/our-people/thomas-kampe/ http://www.thomaskampe.com/ newton ​et al.​ • ​feldenkrais research journal, volume 6​ (2018-2019) 9 https://www.bathspa.ac.uk/our-people/thomas-kampe/ http://www.thomaskampe.com/ feldenkrais research journal​ • ​volume 5​ (2016) hypothesis and theory 'crossing/weaving': somatic interventions in choreographic practices thomas kampe phd; senior lecturer in acting studies, college of liberal arts, bath spa university abstract this article aims to articulate how collaborative choreographic processes can be informed through somatic educational practices. focusing on the feldenkrais method​® ​(fm), the author elucidates how this trans-disciplinary dialogue offers a bio-psycho-social model of critical artistic inquiry. by leaning on choreographic research ‘body/soma/self’ and artistic play undertaken between 2004 and 2011, the essay gives an insight into the development of fm-informed performance-making practices. the author discusses creative process development from a practitioner perspective while offering contextual debate with reference to the fields of ‘release’ (o’donnell 2010) and ‘social choreography’ (hewitt 2005; klien 2009). by placing fm in the context of performance-making, this article aims to make a distinct contribution to the emerging field of ‘somatic-informed’ choreographic practices (brown 2011). the author explicates how feldenkrais-informed interventions offer the development of preparatory processes, kinaesthetic tuning scores, choreographic vocabulary development and choreographic structuring strategies. the transfer of the feldenkrais method into performance-making—a process-of-enquiry within a process-of-enquiry—is discussed as a complex system involving a large number of interacting agents, allowing for conditions of uncertainty, ambiguity, and emergent nonlinear causalities while offering an empowering corporeal tool for process-participants. the essay also discusses how the feldenkrais method offers micro-choreographic processes to offer creative modalities of self-inquiry through the combination of application of de-familiarisation devices, logic in compositional structuring of lessons, and the use of touch and verbal instruction. the article indicates how the use of fm as an intersubjective tool for choreographic intervention can support shared decision-making processes. within such context, the role of the choreographer is understood as facilitator of conditions for co-creation and an ‘embodied choreographic questioning’ (kampe 2013), which supports alternatives to the ‘myth of the lone genius of the artist’ (montuori 2011) as a contemporary mode of choreographic enquiry and production. keywords somatic practices, choreographic practice, release technique, collaborative arts practice, social choreography, feldenkrais method published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/kampe http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/kampe copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. kampe • ​feldenkrais research journal, volume 5​ (2016) 2 hypothesis and theory 'crossing/weaving': somatic interventions in choreographic practices thomas kampe phd; senior lecturer in acting studies, college of liberal arts, bath spa university this essay aims to expose how collaborative choreographic processes can be informed through somatic educational practices. focusing on the feldenkrais method​®​, a key 20​th​ century system of somatic movement education, this essay elucidates how this trans-disciplinary dialogue offers a bio-psycho-social model of artistic inquiry. while there is a fair amount of literature on the application of feldenkrais method​ ​ within dance education and training (fortin, vieyra, and tremblay 2009; fortin, long, and lord 2002; long 2002), little has been written about its application in choreographic contexts (kampe 2010; münker 2010). more so, it is the non-goal-oriented and subjective orientation of the feldenkrais method, concerned with the recognition of the emergent and malleable human being in ‘co-dependent interaction with the outer world’ (reese 1985), that aligns the aims of this essay with an increasing trend in dance scholarship concerned with the study of the construction, performance, and analysis of embodied processes within choreographic culture . susan melrose suggests that, rather than 1 analysing product, dance scholars ‘should be enquiring about the making of work’ (2008)​. dance-maker emilyn claid argues further that, within collaborative performing arts contexts, ‘its processes, not its products, have the power to shift cultural practice’ (2006:124).​ ​ in line with this position, the focus of the performative projects discussed in this essay has been on the probing of innovative processes of performance-making and their relationship to emerging product and agency of the participant. i aim to articulate and disseminate through writing how somatic-informed processes and participants’ responses form parts of emancipatory and collaborative dance-making practices that rely on organic feedback loops between choreographic facilitators and performers. by leaning on my choreographic research project ​body/soma/self, ​ undertaken between 2004 and 2010, this essay gives an insight into the use of feldenkrais method-informed processes to facilitate performance-making practices. by drawing on the educational practices of physicist moshe feldenkrais (1904–1984), this choreographic research project aimed to extend the boundaries of choreographic processing towards a trans-disciplinary performance practice that 1 i presented the main ideas of this essay as an academic paper at the symposium ‘performing process – sharing practice’ at the centre for dance research (cedare) of coventry university, uk on june 6, 2014. kampe • ​feldenkrais research journal, volume 5​ (2016) 3 makes a distinct contribution to the emerging field of ‘somatic-informed’ choreographic practices ‘that recognize the emergent dancing subject as a feature of the work’ (brown 2011:71). in this essay, i examine how feldenkrais-informed somatic interventions can serve as preparatory processes and ​kinaesthetic-tuning scores ​ and can aid choreographic vocabulary development and structuring strategies through corporeal modes of interaction with the social world. i strive to illuminate how a choreographic wrestling with limitations inherent in the feldenkrais method, mainly in its introspective slow attending, serves as starting point for a ‘testing of the extreme’ (rywerant 2001) that uses modes of disorientation as a choreographic stance. i propose that feldenkrais-informed choreographic practices foster a complicit ‘somatic authority’ (green 2001) by supporting shared decision-making processes through an underlying ‘embodied choreographic questioning’ (kampe 2014). feldenkrais’ autopoietic model of a person as an environmentally embedded and emergent social organism, and his non-corrective and anti-totalitarian stance towards embodied questioning as a ‘principle of no principles’ (1981), are discussed in performance-making contexts as dynamic systems processes that allow for enquiry and communication. i examine the uses of verbal instruction, questioning, and non-corrective touch interactions inherent in the feldenkrais method as emancipatory technologies within creative processes. the essay draws on research participant feedback, discusses choreographic process development from a practitioner perspective, and offers a contextual debate by drawing on the process-oriented writings of choreographic pioneer mary o’donnell and more recent discussions on the emancipatory dimensions of choreographic process inquiry (clarke in delahunta et al. 2011; klein 2011; klien 2009; martin 2009). choreographic process, agency and world-making ‘​ perhaps art as such will have no objects.’ (marcuse 2007:111) emerging from mid-twentieth century us and european dance cultures, there has been a trend in choreographic practice and research that privileges the inquiry into the process-based nature of choreographic practices over notions of product and spectacle. such a paradigm shift aimed to challenge modes of participation within dance creation and reception processes. in the us, departing mainly from the non-determinist work of merce cunningham, the task-based choreographies of the judson dance theatre, and the improvisational dance-theatre experiments of west coast dance-pioneer anna halprin, a trend towards process-based practice emerged where participation in and witnessing of the creation process form part of the aesthetics of the emerging artistic product. this has manifested in the improvisational performances of ​grand union​ (1970–1976), the collective formed by members of the judson dance theatre, and the emergence of contact improvisation through the work of steve paxton (1972), but also in a growing interest in ​open form composition​ as a choreographic modality, which, according to us dance-maker mary o’donnell, could serve as a vessel for a ‘new aesthetic, based in actual, real-gestural and process-based works’ (o’donnell 2010:8). kampe • ​feldenkrais research journal, volume 5​ (2016) 4 o’donnell, who influenced a generation of current european dance-makers though her directorial work at the school for new dance development (sndo) in amsterdam (between 1987–89) and the european dance development centre (eddc) in arnhem and düsseldorf (between 1989–2001), had participated in the first contact improvisation showings in the weber gallery in​ ​1972.​ ​inspired by the process-based ​open form​ practices developed by composer earle brown in the 1950s, she developed her choreographic practices in the us between the late 1960s and early 1970s with her company (tropical fruit company) before moving to europe in 1973.​ ​o’donnell discusses her interest in developing task-based choreographic strategies which would enhance a non-determinism and fluidity in form, while emphasising the potential for the integration of the dancers’ capacity for choice-making within choreographic devising and performance processes: ‘​open form’​ to me then meant ‘sequenced, (in the sense of ordered in time), process-based’ forms where choice-making of dancers was based on their own intuition, judgment, and abilities. (o’donnell 2010:7) o’donnell’s work was seminal for the development of uk ​new dance​ , initially through her work at dartington college of arts in the uk between 1974 and 1987, where she was instrumental in re-visioning the practice and study of dance as a critical process in which questions of personal and societal relevance became questions of choreographic interrogation. she further disseminated an ethos toward process-based making and performance through her practice and theorization of the emerging approach to dance development she termed ​release​ , ‘an extended scientific and philosophical inquiry’ and vessel for creative transformation (2010:4). her commitment to the dissemination of contact improvisation in collaboration with pioneer practitioners such as steve paxton, nancy stark-smith, daniel lepkov, and lisa nelson and her collaboration with members of the x6 collective, was instrumental in forging the uk ​new dance​ idiom as, to quote dance-maker emilyn claid, ‘a practice of liberation’ (2006:131), and her work influenced numerous emerging dance artists of the period. o’donnell articulates her vision of dance as a trans-disciplinary ‘platform for the exploration of societal ethics, with the training and management of individual responsibility and freedom being the basis’ (2010:12). such reasoning, where the critical application of choreographic processes is understood as emancipatory practice towards a democratisation of the dance-making culture, echoes current trans-disciplinary tendencies in dance scholarship towards ​social choreography (hewitt 2005, klein and noeth 2011, monni 2010), which aims ‘to open the disciplines of choreography and dance to other fields of human knowledge production’ (klien 2009:5), and my own practice-led research that this chapter discusses. dance sociologists gabriele klein (2011) and the late randy martin (2009) and choreographer michael klien (2009) argue that a main cultural contribution of dance practice lies within the development of new embodied models of social governance. gabriele klein and sandra noeth (2011) contend that: dance reveals its effectivity not in the representation of existing structures and systems, but unfolds its potentiality precisely in the offering of kampe • ​feldenkrais research journal, volume 5​ (2016) 5 alternatives, […] developed with the help of the body and through the organization of movement. (2011:9) these authors propose a scholarship concerned with inquiring ‘how dance creates “world” as a medium bound to the body’ (2011:9). developing a capacity of world-making or self-creation through reflective embodied practices is at the heart of the feldenkrais method, which, i suggest, uses choreographic processes to empower the learner for autonomous choice-making and new ways of interacting with the world. the feldenkrais method: embodiment and choreographic becoming the feldenkrais method was developed by judoka and physicist moshe feldenkrais, dsc (1904–1984), between the 1940s and 1980s, as ‘an approach to working with people, which expands their repertoire of movements, enhances awareness, improves function and enables people to express themselves more fully’ (international feldenkrais federation 1994). it is applied within contexts of rehabilitation, sports, and increasingly within the performing arts, and forms part of the widening field of ​somatics​ , posited by thomas hanna as ‘the art and science of the inner relational process between awareness, biological function, and environment, all three factors being understood as a synergetic whole’ (1985:1). feldenkrais developed his work in response to freud and pavlov, in dialogue with leading twentieth-century body-learning pioneers and systems-scientists. his work, which places learning at the heart of the human condition, is recognised within current research on ​neuroplasticity​ (merzenich 2013; doidge 2015), and ​enactive cognition ​ (varela 1995, noë 2009). the feldenkrais method makes use of two interrelated approaches, awareness through movement​®​ (atm​®​) and functional integration​®​ (fi​®​). while atm lessons are facilitated in groups, fi hands-on interventions happen on a one-to-one, non-verbal level. atm lessons are led through verbal instruction and questions. feldenkrais clarifies his use of verbal instruction as a mode of facilitating an embodied and ‘ecologized thinking’ (morin and kern 1999): in my lessons the student learns to listen to the instruction while he is actually carrying out an exercise and to make the necessary adjustments without stopping the movement itself. in this way he learns to act while he thinks and to think while he acts. (1992:60) atm lessons can be understood as detailed educational micro-choreographies. the atm teacher facilitates conditions from which ‘awareness’ can be cultivated through the use of compositional devices, disorientation strategies, and de-familiarisation processes. lessons use repetition, theme and variation, rondo forms, reversal, differentiation, and constraint in order to stimulate the learner’s curiosity and develop capacity for the questioning of habitual patterns of behaviour and thinking. feldenkrais uses processes of de-patterning and re-patterning of habitual movement to construct a self-reflective and creative potential in the mature learner. for feldenkrais, maturity ‘is the capacity of the individual to break up total situations of previous kampe • ​feldenkrais research journal, volume 5​ (2016) 6 experience into parts, to reform them into a pattern most suitable to the present circumstances’ (2005:196). feldenkrais aims to facilitate learning processes through defamiliarisation strategies, first theorised by russian formalist viktor shklovski (1893–1984) in his essay ‘art as technique’ (1917). shklovski, like feldenkrais, was concerned with habituation of perception and behaviour and saw the main function of art as to challenge habituation: the purpose of art is to impart the sensation of things as they are perceived and not as they are known. the technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the length and difficulty of perception because the process of perception is an aesthetic end in itself and must be prolonged. (shklovski 1917:12) similarly, feldenkrais proposes an aesthetic experience to the participant/learner that makes use of this ‘making strange’ to heighten sensory-motor awareness and capacities while stimulating critical reflection on the organisation and construction of embodied knowledge. feldenkrais states that an important feature of the group work is the continued novelty of situation that is maintained throughout the course. ‘once the novelty wears off, awareness is dulled and no learning takes place. if a configuration needs repetition, i teach it in tens and even hundreds of variations until they are mastered’ (2010:37). shelhav (2003) emphasises the relevance of compositional aspects of the atm lessons and suggests that each lesson has a logical structure and is like a work of art. it is hoped that the teacher and student alike, through the medium of the lesson, will have a sensual-emotional-thoughtful experience [...]. the components of the lessons become clear, its hidden layers and logical structure become obvious in this way, the logical structure can foster logical thinking. (shelhav and golomb 2003:ii) within somatic movement practices, the feldenkrais method finds a unique signature through the combination of application of de-familiarisation devices, logic in compositional structuring of lessons, and the use of verbal instruction. functional integration is an empathetic touch-based dialogue that allows the learner to discover new and pleasurable sensory experiences and movement possibilities. feldenkrais radically challenges notions of the isolated individual by proposing that, through touch, boundaries between self and other can be both suspended and clarified. he suggests that ‘through touch, two persons, the toucher and the touched, can become a new ensemble […] a new entity’ (feldenkrais in ginsburg 2010:267). modes of interaction inherent in the feldenkrais method rely on honing into intersubjective processes of mutual learning through coupling with peers and environment, to be understood as ‘dancing together’ (feldenkrais in goldfarb 1990). kampe • ​feldenkrais research journal, volume 5​ (2016) 7 transfer and becoming the title of this essay refers to choreographic research projects undertaken in 2006 and 2009 as part of the ​body/soma/self​ cycle at the facility: performance as research centre of london metropolitan university. ​crossing (2006)​ , a collaboration with dance-makers colin poole, lizzie lequesne, and composer mark horrocks that aimed to explore strategies of transcending pre-expressive educational propositions within the feldenkrais method towards highly dynamic, impulsive, and visceral performance modes. ​weave (2009),​ a week of shared feldenkrais-informed choreographic interventions, investigated how psychosocial dimensions of the feldenkrais method can support decision-making processes within choreographic interrogations. this project was designed as an exchange between uk-based feldenkrais practitioners and somatic-informed dance-makers. body/soma/self ​ (2004–2009)​ ​ was comprised of a series of choreographic laboratory projects – chaser (2004),​ ​trace/reverse​ ​(2005),​ ​crossing (2006),​ ​weave​ ​(2009)​ – which were driven by emergent and developmental aims and questions. these projects focussed on studio-based practice, debate, peer-exchange, and documentation processes. the project formed part of my 2 practice-led phd ‘the art of making choices: the feldenkrais method as a choreographic resource’ (kampe 2013), which was bookended by two professional productions. ​urbane rituale​ ​(2003)​ , a site-specific choreographic collaboration with a cast of 150 performers created with ​tanzinitiative hamburg​ in germany, and the play ​the dybbuk ​ (2010), co-directed with writer julia pascal and presented in new york city, tested the integration of the feldenkrais method into professional performance-making contexts. during the research period of ​body/soma/self,​ the nature of questions asked shifted from questions regarding the transfer and development of ​movement​ ​vocabularies ​ (​chaser​ ) and structuring devices​ (​trace/reverse​ ) from feldenkrais method to performance-making processes, to questions going beyond movement, concerned with ​accesing and enhancing the affective capacities of performers​ (​crossing​ ), and with ​processes that support​ ​capacities for judgement and choice-making (weave)​ within performance-making processes. the final project, ​the​ ​dybbuk,​ was a professional testing ground for further extending and manifesting of the results of the research into the feldenkrais method as a choreographic resource. the development process of the piece involved a three-week period of working with an ensemble of actors in daily laboratory-sessions. i also worked in collaboration with co-director julia pascal on integrating text-based work, movement-based practices, and choreographic interactions with objects and set. this co-rehearsal continued for the first week of the run of the 2 all laboratory projects were undertaken and presented through public performances in collaboration with academic and professional partners including (the facility – the par unit london metropolitan university, the feldenkrais guild of germany, chisenhale dance space london), and conducted with expert somatic practitioners and dance-makers as co-researchers, including feldenkrais, body-mind centering™, and pilates practitioners. kampe • ​feldenkrais research journal, volume 5​ (2016) 8 project. drawing on research undertaken in ​body/soma/self​ , the rehearsal process included an application of a questioning approach​ allowing for trial and error, even during the run of the play. collaborator julia pascal describes the intraand inter-subjective nature of the questioning that emerged within the feldenkrais-informed rehearsal processes where the embodied and felt intelligence of the performer becomes a dynamic resource in the creation process: in rehearsal, you are constantly encouraging us to ask questions; you are verbalizing all the time—how does this feel? you are synthesizing the body-mind by the fact of questioning. ‘why are you doing this? what do you want from this person? what do you want from yourself?’ without that you don't have a movement that works, that has any intelligence behind it. what is the action and how do i show my inner feeling through action? it is always about action, it’s not about thought, but of course thought and action are completely connected; what is the physical action, where is it coming from? in our rehearsals this seems to be now symbiotically connected. (pascal in conversation with kampe 2010) facilitating co-creation pascal (2010) suggests that such non-dualist process is an ‘opening […] you are always opening; opening new rooms in the house, opening new doors, opening new experiences.’ feldenkrais practices rely on coupling processes where sociality is constructed through the interaction of flexible communicative partners. within such context the role of the choreographer is understood predominantly as facilitator of conditions for co-creation​. ​ this includes the facilitating​ ​ of conditions for awareness and ‘self-eco-reorganisation’ (morin 2007) of individual performers, allowing for flexibility, openness, and curiosity through movement. it also means a facilitating of conditions for the ‘necessary encounter with the unfamiliar’ (mumford and garde 2011) through interactions of ensemble members, with a focus on the generation and development of movement material through individual performers and ensemble. the providing of time for shared periods of debate and reflection, as developed during laboratory projects, strengthened conditions for ‘complicity’ amongst collaborators. negotiating the role of the choreographer as a ‘facilitator of a choreographic environment’ formed part of a learning process between participants. through the development of fm-informed rehearsal modalities, the ​facilitating​ and ​social​ ​choreographing ​ of​ ​ such collaborative learning became an integral part of the artistic input and output of the choreographic process. my research suggests that a transfer of fi touch modalities to interaction of participants through improvisation enhances the organic potential for social exchange of sensory insights inherent in the feldenkrais method as a base for performance making. research participant simeon perlin in ​the dybbuk​ suggested that the transfer of touch interactions into partner work and improvisational scores may develop empathy, communication skills, and trust amongst the performers, ‘as a platform from which to build, a physical common code’​ ​ (perlin in conversation kampe • ​feldenkrais research journal, volume 5​ (2016) 9 with kampe 2010). such processes of transfer included an introducing of fi-based touch interactions as a mode of non-verbal communication between choreographic facilitator and performers, providing sensory stimulation, pattern clarification, and a psycho-physical modality of ‘support’ (rywerant 2001). perlin commented on the non-corrective quality of touch-interaction emerging from feldenkrais-informed processes: you never once pushed me to do something that i’ve not wanted to do. in other movement practises i’ve felt hands on me trying to push areas that don’t want to be pushed, whereas with this you have the freedom to discover your body in a way that is comfortable for you…it’s not forced. (perlin 2010) the choreographic processes also extensively tested modalities of sharing of such touch explorations with ensemble/research participants as a mode of dialoguing and transfer into movement exploration, fostering a haptic collaboration between performers. the research probed the transfer of the listening and guiding quality of hands-on fi modalities into creative processes. this transfer explored the shifting of touch interaction from ​hands-on-torso​ touch to torso-to-torso​ touch and dialogue as resource for collaborative movement generation. it also broadened the dynamics of touch interaction from ‘yielding’ qualities to forceful ‘fighting’ qualities, and introduced notions of ‘resistance as choice’ while maintaining a shared awareness. dialogic bodies this research identifies a dialogic body as resource for performance investigation. while the feldenkrais method focuses on neuro-muscular-skeletal organisation, the corporeal organisation proposed has no fixed centre, but is part of an ecological system that is reflected in a ‘functional unity between body, mind, and environment’ (feldenkrais 2005:149). such de-centralised body places a​ ​ dialogic between awareness and adaptability as its potent core. while aiming for free flow in joint articulation and an articulate ‘culture of pelvis and hip joints’ (feldenkrais 2005), feldenkrais lessons play with the differentiating and varying of kinetic-chains to allow for complexity, poly-centricity, and omni-directionality in possible movement range. such differentiating includes a testing, shifting, and reversal of places of movement initiation, and the isolation and re-connection of body-areas in relation to a larger function. lessons are distinctly designed to highlight relationships in timing, space, and shaping between articulated areas in the mover. this relational testing encourages the learner to develop an understanding of the interplay between stabilityand mobility-providing corporeal organisation in relation to environment and ground. throughout this project, a body-coding emerged that abandons a ​stable core​ for ​core mobility​ in the mover, in which potentials for adaptability are seen as a resource for creativity​. ​batson (2008) suggests that dominant western dance aesthetics privilege ​core stability​ and verticality of alignment where the ​axial-skeleton​ is understood as centralising anchor supporting the actions of ​distal areas​ of the human body. feldenkrais challenges this cartesian model of kampe • ​feldenkrais research journal, volume 5​ (2016) 10 alignment by asking the mover to constantly shift place of movement initiation and by offering movement explorations where ​joint-order​ relationship of stability and mobility are varied and reversed. this ​proximal-distal-reversal​ strategy, embedded in both atm and fi practices, was used extensively during the creation of all projects. dance-maker adi lerer (​weave​ 2010) reflects upon the relational aspect of the feldenkrais-informed body-coding as an empowering experience that affected her capacity for choice-making: the feldenkrais sessions gave me a strong sense of awareness of the relationship of different parts of my body and their connectedness, the restrictive flow of everyday habits, and how through the practice i can become aware again of the choices i have and my habits. […] i am being reminded of something that is already ingrained in us, the placement of different limbs, muscles, joints and bones, what they are capable of, which then enabled me to make decisions of how to move. if i will move this part or put weight on this part, how will it affect the other parts in my body? it was a very liberating experience. (lerer in kampe 2010:50) while emerging vocabularies within this project may seem similar to other 20​th​ century dance-movement vocabularies, the way the performer is invited into the reflective process of ‘embodied analysis’ (kampe 2010) makes the feldenkrais approach to movement development distinct. the dancers’ decision-making processes are an integral part of the dance language. bodies are not understood as texts, but as readers. performers are not asked to instrumentalise their bodies, but are becoming players. while spatiality of movement organisation within feldenkrais lessons is self-referential, it is linked to an intentional relationship between mover and environment. rather than being concerned with theatrical codes of presentation or representation, the feldenkrais method also privileges a ‘slower ontology that challenges the western capitalized view that prioritizes “more and faster” ideologies’ (wood 2011), offering a limited dynamic and spatial range as a working position. the feldenkrais method privileges a ‘yielding’ or ‘indulging’ dynamic quality by encouraging participants to reduce speed, resistance to gravity and force, and scale of movement, while allowing for connectivity with the ground. 3 such ‘slowing down’ and yielding allows participants to align heightened perception with fine-tuned action. consequently, movers are invited to connect intentionality with action. the impact of such psycho-physical connectivity within performance contexts was described by research participants as awareness enhancing: 3 i am using terminology based on laban, and post-laban practices such as lma, bartenieff fundamentals™, and body-mind centering™ to describe the complexity of dynamic and spatial movement organisation. ‘yielding’ or ‘indulging’ refers here to a non-resistant relationship to the dynamic qualities of weight (force), space, time, and flow (longstaff 2004). hackney (1998) uses the term ‘yielding’ to articulate an active giving into gravity to connect with the ground rather than resisting it. kampe • ​feldenkrais research journal, volume 5​ (2016) 11 the movements are so gentle and bring you back into yourself, but not only into yourself, it makes you aware of first of all your center and then you open out; and everything is quite gentle, so it’s very specific; no movement is gratuitous. so it helps to focus.​ ​ (dante in conversation with kampe and perlin 2010) more so, performers identified a relationship between a heightened proprioception and a readiness for action: you become aware of parts of your body moving, particularly the feeling or the sensations of it. […] you are more active [...] a performer should be active at all points. (karsberg in conversation with kampe and sykes 2010) performer adi lerer described this emerging readiness for action as empowering to choice-making in movement design or performance. she suggests that a psycho-physical agency emerging through feldenkrais processes fosters […] more control of the decisions of how and when to move, and if i move this part, what will i project, what will my body say to the audience? (lerer in kampe 2010:50) actor simeon perlin suggested that this dialogic embodied agency can serve as a resource for affective action, where​ ​‘movement is impacting emotion […] movement infers emotion’ (perlin in kampe 2011). the choreographic research identifies a synergistic relationship between the omni-directional and relational core mobility as prioritized within feldenkrais practices, the emphasis on free flow, slowing down, and lightness as dynamic modes of investigation, and the emerging capacity for choice-making, affective presence, and expressivity of performers in rehearsal and performance. transfer as extending this choreographic research probed practical modes of knowledge-transfer as an extending – dynamically, spatially, contextually, and socially – of feldenkrais method modalities through artistic processing. it acknowledges that the feldenkrais method developed as an emergent hybrid form from its inception and is never applied in a neutral context; rehearsal participants, including myself, inevitably bring their own micro-narratives and needs into a necessarily complex and contaminated process. dance-maker lerer comments on the effects of the organic transfer of feldenkrais method to dance-making strategies: one session we worked on the eyes. we explored the mental and physical effect this work had on the whole body, and we inquired the relationship between what we envisaged to what is there in reality. in another session we worked on breath. i kampe • ​feldenkrais research journal, volume 5​ (2016) 12 then took those specific elements and decided to work for a while on those different aspects in my piece – just being led by my eyes or the breath and what does it express. (lerer in kampe 2010:50) the project identified the following recurring modes of transfer: the use of the feldenkrais method​ ​as ​preparatory-practice​ , challenging visual perception as privileged mode of process engagement through the combination of verbal instruction and questioning​ ​ in atm, and haptic dialogues as found in fi, with eyes-closed reception of process participants. the results of such preparatory-practice, organically and un-directed, ‘bled into rehearsal and performance’ (perlin 2010).​ ​research-participant rachel vonmoos commented on the ​non-linear effect​ of such preparatory practice on the process of dance-making within the project ​weave (2009)​ : i felt a strong readiness to enter my own work […] connecting the morning experience with the solo i was making in the afternoon was a very inspiring aspect for my creative process. during sessions ideas/images would come up, structures for explorations, [...] all these to be ‘used’ in the afternoon. i worked with some of the ‘instructions’ as restriction, not achieving the goal (vonmoos in kampe 2010:49). the extending of ​ the feldenkrais method​ – educational modalities​ ​as modes of inquiry into rehearsal and performance practice: ​this included the use of atm and fi as kinaesthetic tuning scores​ as direct resource for movement generation. here, the facilitator provided topics/functions investigated through the feldenkrais method to be transferred into performance investigations. performers were given time immediately after atm practice to explore modes of enquiry and of emergent, unfamiliar, movement patterns within improvisational contexts; minimal verbal intervention allowed for a foregrounding of kinaesthetic experience as resource for enquiry. it also entailed the​ ​transfer of modes of ​verbal instruction into improvisational and editorial processes, e.g. use of suggestion, imagery, and metaphor, reframing, pacing, and modelling, and through the use of questioning. such verbal instruction is 4 understood as performative and includes intention and tone of voice of the speaker. throughout all projects an ​instructing through questioning​ was applied as reoccurring strategy. by taking the role of questioner, the choreographer facilitates an environment for inquiry and at the same time subverts traditional hierarchies within the choreographic process, allowing for not-knowing and collaborative processes of ‘finding’. choreographer and performers become ‘co-enquirers’ (igweonu 2010).​ ​ actor simeon perlin identified ‘a strategy of what if?’ as emerging mode of self-questioning within editorial and performance practice: 4 for a more in-depth discussion on the use of language in the work of moshe feldenkrais see reese (1985). kampe • ​feldenkrais research journal, volume 5​ (2016) 13 what happens if i do it as if one arm is lighter than the other, or if i’m terrified and my body is tight and constricted, what happens to my voice, what happens to my intention? (perlin in conversation with kampe and dante 2010) the transfer of ​problem-setting and solving ​ processes into improvisation and movement generation included the setting and letting go of ​physical constraints​ to allow for discovery of non-habitual movement choices. dance-maker karin fisher-potisk comments: it invites us to find a way around restriction, usually by freeing up another part, allowing something else to move or take over […]. this became very clear for me, i.e. when placing one hand on the head – the head became a much more active limb (fisher-potisk in kampe 2010:48) this ‘holding on to the head’ literally blocks the use of the neck, disturbs habitual self-use, and thus asks movers to activate their ribs in relation to head movements in unfamiliar ways. the use of ​touch interactions​ ,​ as used in fi practice, involves haptic dialogues of listening, following, guiding, and manipulation. like verbal instruction, pacing, modelling, reframing and questioning, these dialogues become non-corrective and holographic modalities that can shift focus from ‘detailed’ inquiry to ‘global’ whole-body touch dialogues. the choreographic subject this research suggests​ ​that the movement-led educational practices developed by moshe feldenkrais are deliberately choreographic . if, for choreographer michael klien, choreography 5 itself is proposed as an aesthetics – ‘​a sensitive knowing’​ (2009:99), the facilitation of such sensitive knowing, which is at the heart of feldenkrais’ concerns, must be understood as a choreographic process. ‘the art of making choices’​ ​ probed how feldenkrais provides a sophisticated choreographic toolkit for becoming articulate of a non-verbal thinking, through processes that combine embodied analysis and verbally-led assisted enquiry. feldenkrais’ quest for an embodied self-education towards ‘mature behaviour’ (2005) of the individual is from its outset concerned with a re-education of gravity responses within the adult learner: this is the beginning of consciousness; learning to recognize how our bodies are oriented we come to know ourselves. subjective and objective realities are thus organically dependent on the motor elements […] which are oriented by and react to the gravitational field. (2010:33) to foster such getting in touch with how we orient ourselves in relationship to gravity and world, feldenkrais developed a highly structured movement-led practice that provides learners with 5 moshe feldenkrais referred to his lessons as compositions in movement: ‘i have created about ten thousand hours and recorded thirty variations in each one. in other words, i have composed more music than beethoven and bach together.’ (feldenkrais 2010:88) kampe • ​feldenkrais research journal, volume 5​ (2016) 14 ‘conditions where they can learn to think. they have to think without words, with images, patterns and connections. that sort of thinking always leads to a new way of action’ (2010:88). feldenkrais referred to such non-verbal thinking with images, patterns and connections, inferred through movement, as a ‘thinking with the elements of thinking’ (88). such embodied, patterned, imaged, connective, and divergent thinking can be posited as ​choreographic thinking, ​ or as the choreographic per se. the feldenkrais method thus renders the choreographic as a lived and emergent learning process, understood by klien (2009) as ‘the very source of knowledge’. klien argues, in line with a feldenkraisian epistemology, that ‘the perception of patterns, relations and their dynamics, the integration to existing knowledge, and the creative application to a wider reality, all together constitute the choreographic act’ (2009:100). the role of the facilitator in the feldenkrais method is to provide embodied contexts for ​‘gestural “i can’s​ ”’ (noland 2009), which lead the participant into an emerging choreographic agency. pascal describes this process: you often ask ‘how does that feel’? you make the person experience their own bodies as if it’s a new coat, and that is very exciting, and makes the person realize that they can expand and grow in a way they had not thought of before […] that questioning which transmutes into a body change allows the person to widen and realize they are capable of much more. (pascal in conversation with kampe 2010) ideally, the facilitator in the feldenkrais method aims to provide conditions that enable participants to differentiate and realign relationships between​ cultural efficacy, physiological efficiency, and self-efficacy ​ through felt subjective experience (bandura 1994). both atm and fi are designed to ask questions through multi-modal movement-based processes, aiming to support the awareness of an ​intra-subjective​ , ​inter-subjective​ , and ​trans-subjective​ reflective agent-self. such multi-dimensional agency, understood as in-process, allows the participant to make choices from within, regarding: ● internal psycho-physical self-organisation the feldenkrais sessions gave me a strong sense of awareness of the relationship of different parts of my body and their connectedness. (lerer in kampe 2010:49) ● relationship towards the environment feldenkrais helped me get a new and special sense of my body and its relationship to the world. my work is all about this […] it involves a process of going over and over, smudging and exploring and repeating until the precise form emerges. and the sources are body and the world. (lequesne in kampe 2010:50) kampe • ​feldenkrais research journal, volume 5​ (2016) 15 ● a shared functionality and materiality that goes beyond individual uniqueness the feldenkrais method gave me a connection to the poetry of movement and its pure functionality, which i work with. it interests me to be a real person on stage’​ ​ (vonmoss in kampe 2010:49) relational and environmentally embedded, this enacted questioning regarding a ‘whole self’ asked through feldenkrais method practices is concerned with: what, right now, during or after feldenkrais method practice, does it feel like to be myself? how am i engaging with the world? how could i engage differently with world? how can i modulate my interaction with the world so that it feels the way i want it to feel? the critical subject ‘i have a problem setting any material today. some things are beyond reason – i only want to explore more’. 6 this research project acknowledges the self-constitutive and critical potential of the feldenkrais method practices probed within performance-making contexts. it also acknowledges the emergent, de-centred, de-stabilised position of the subject within the process. such respectful acknowledgement of the self-in-process is at the heart of the ethos and potential of this project. as a choreographer/person, i am not working with abstract movement or complex systems, but working as a person, with people – and for people. such a position acknowledges mutual agency-in-process, empathy, desire, communication, vulnerability, and compassion. it enhances klein’s (2011) claim for a ​subject-constitutive potential of dance ​ by transposing feldenkrais method processes and nature of questions as introduced above into rehearsal and performance praxis: we move and improvise attuned to ourselves through feldenkrais method processes we ask questions regarding our ‘whole selves’: who are we? how are we relating to our environment? what do we want? 6 dance-maker alenka herman, research participant in project ​weave (2009), ​ cited in kampe 2010:49. kampe • ​feldenkrais research journal, volume 5​ (2016) 16 what do we desire? we move who are we now, while and after moving? who are we now, through moving? feeding questions regarding self-efficacy into rehearsal processes has been a key strategy developed throughout this project. asking feldenkrais-inspired questions during rehearsal-practice has affected ​kinaesthetic-affective feedback loops ​ within the artistic dialogue. choreographer alenka herman illuminates her self-questioning: i went on a journey [...] i could feel so clearly the difference on two sides of the body. who lives here? this was the question that stayed with me for a long time […] i realised and could feel how emotions, habits and tensions stay in the body, how much power they have to transform. there is a lot of work in undoing. (herman in kampe 2010:49) processes of de-patterning, though introduced through playful questioning as a feldenkrais method modality and allowing a possibility for re-patterning and re-integration of new knowledge into enworlded functions, can, or must, provoke crises of self-image and ‘of knowledge and skills’ (martin 2009). allowing for ​a space for crisis – ​ a ‘krisenraum’ (klein 2011) – and ambiguity has been part of the choreographic practice cultivated and fertilized throughout this project. in her reflections on her creation process in ​weave,​ dance-maker katsura isobe describes a feeling of ‘less fear towards the unknown’ as the effect of working with atm lessons prior to rehearsal. such fearlessness emerged from a place of confusion and crisis: during most of time in atm sessions, i was struggling. i was struggling to understand what the instruction was, to find out how i wanted to move with which part of body, and to draw a conclusion from what i experienced. i wanted to make sense​. i really could not let it go in atm sessions (which i found easier in fi sessions since i was completely passive), but the sessions took me to some mental space where i don’t go normally, where i felt calm or almost empty; things were much simpler and there were no need of words to explain. a vast open space, it was. the feldenkrais method definitely encouraged us to listen to our intuition, and that was the crucial approach we took for our artistic practice […]. now and then i ask myself a question: what is dance about? what does dance deal with? the experience during ​weave ​ shows me the answer: you can access to a place where kampe • ​feldenkrais research journal, volume 5​ (2016) 17 you otherwise don’t access, through the body movement. and this place holds the truth. (isobe in kampe 2010) complex processes: dances for a sick world the transfer of the feldenkrais method into performance-making – ​a process-of-enquiry within a process-of-enquiry​ , is understood as a complex system involving a large number of interacting agents, allowing for conditions for uncertainty, ambiguity, and emergent non-linear causalities. on reflection, my research identifies five areas for transfer within the feldenkrais method as relevant for informing choreographic research processes: ‘…through movement’​ :​ a privileging of movement, understood as relational, as vehicle for knowledge creation, self-awareness, and ‘self-imaging’ (beringer 2001). ‘theory of reversibility’​ :​ feldenkrais’ working proposition, that ‘the adherence to one principle to the utter exclusion of the opposite is contrary to the laws of life’ (2005:18), allows for an embracing of the paradox between different perspectives of the agents of the artistic process – choreographer, performers, and spectators. such ‘first principle of the feldenkrais method being no principle’ (hanna 1980), as a position from which to question the given at any time, underpins strategies and modes of embodiment inherent in the feldenkrais method; it provides a context for a subversive methodology of ​embodied questioning​ . ‘choreographic thinking’​ :​ ​ feldenkrais’ proposition of non-reductionist thinking ‘with images, patterns and connections’ (2010:88), constructed through multi-modal teaching processes, can serve as tuning processes which invite participants into choreographic micro-inquiry. ‘body-mind-environment unity’​ :​ feldenkrais’ evolutionary stance on a ​whole self​ , challenging a humanist centrality of the individual, highlights an interand trans-subjective position of the living organism and supports notions of collaboration within creative processes. such organic perspective underpinning all feldenkrais practices fosters what sociologist cornelius castoriadis coined as ‘the paradox of autonomy’ – the becoming of a relational and co-dependent being (castoriadis 2005:314). ‘working with the person’​ :​ feldenkrais’ insistence on working with the person, not with bodies (2010), and a concern for ‘human dignity’ (1992), places ethical, political, and spiritual dimensions into the practice which results in a compassionate, empathetic, and non-corrective intersubjective dialogic working mode. my research into the transfer of the feldenkrais method to choreographic processes has resulted in the development of an interrogative ‘open systems’ approach to 7 performance-making. it supports the late dance-facilitator gill clarke’s argument that, for 7 cillary (2005) refers to ‘open systems’ as ‘systems that live within a constant exchange with their environment’​ ​ (cillary in birringer and fenger 2005:121). kampe • ​feldenkrais research journal, volume 5​ (2016) 18 dancers as co-creators, somatic competencies such as​ ​ ‘skills of attention, imagination and curiosity “thought through” the body become tools as essential for the dancer to develop as their physical proficiency’ (clarke in delahunta et al. 2011:249). a key outcome of the project is the development of processes that form ​tools for​ ​embodied choreographic questioning, ​ valid for performers, choreographers, and theatre directors alike, which allow the performers to work ​as co-creators​ ‘with all the power of bodily experience.’ 8 the choreographic research discussed in this essay​ ​suggests that the feldenkrais method, concerned with questioning habitual perception and behaviour, placed within a choreographic context, can support a ‘new culture of uncertainty’ (montuori 2007). it can support an open-ended, rigorous, and re-constructive approach to collaborative practice. feldenkrais’ work and his ideas on embodied self-care in the here and now are close to randy martin’s ideas on a contemporary function of dance as a tool for ‘looking at the re-organisation of now’ (2009). it thus offers a model for embodied reconfigurations of a ‘social kinaesthetic’ (martin 2010) within dance-making processes away from verticaland core-oriented modes of interaction, towards a pleasurable, de-centralised – and therefore collaborative – organisation. my original phd project ​the art of making choices: the feldenkrais method as a choreographic resource ​ took inspiration from the title of modernist choreographer doris humphrey’s book ​the art of making dances​ (1987). humphrey’s manual for choreographic processes was published at a seminal time of crisis within 20​th​ century dance culture. new developing modes of presentation and non-determinism beyond representation left humphrey with uncomfortable conclusions. emerging late modernist choreographers were referred to as ‘abdicating their rights to be people, pretending to be objects in space’, leading her to a linear aesthetic logic that ‘a sick world will produce a sick art’ (1987:171). perhaps a choreographic practice that cultivates a non-verbal thinking, facilitated in an empathetic inter-personal and co-creational quest for ‘human dignity’ (feldenkrais 2010:68), allowing for questioning the given, as a ‘true rationality [that] is not merely critical, but self-critical’,​ ​ can produce much-needed dances for a sick world (morin 1999:129). such dance or choreographic practice might well be found outside traditional stage settings, within trans-disciplinary contexts and processes that realign the artistic with the everyday through images, patterns, and connections – a shared embodied learning, as facilitated through somatic-informed choreographic processes. references bandura, a. 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(2013) ​komplizenschaft. neue perspektiven auf kollektivität​ . bielefeld:transcript interviews dante, j. in conversation with kampe, t. and perlin, s., november 8, 2010 karsberg, s. in conversation with kampe, t. and sykes, k., october 8, 2010 pascal, j. in conversation with kampe, t., august 8, 2010 perlin, s. in conversation with kampe, t. and dante, j., november 8, 2010 sykes, k. in conversation with kampe, t. and karsberg, s., october 8, 2010 poole, c. (2005) in interview with trace/reverse cast [dvd].​ ​ the facility: research centre for performance as research kampe • ​feldenkrais research journal, volume 5​ (2016) 24 biography thomas kampe​ ​ has worked with dance, theatre and movement for the last 30 years as performer, choreographer, director and educator. he has taught somatic approaches towards movement education and creative practice in different settings around the world. throughout his career he has coordinated international transdisciplinary initiatives that bridge performing arts, health and education. he currently works at bath spa university as senior lecturer in acting studies. thomas trained as a visual artist in kassel, germany and studied dance at the laban centre and at middlesex university in london where he worked for 13 years with austrian ausdruckstanz pioneer and holocaust survivor hilde holger (1905–2011). international artistic collaborations have included artists liz aggiss, laura belem, carol brown, hilde holger, rosemary lee, julia pascal, colin poole, german media-arts company ‘blackhole-factory’, tanzinitiative hamburg and proforma dresden. he is a practitioner of the feldenkrais method​® which forms a foundation for his teaching, research and artistic practice. his most recent publications on somatics and criticality include the chapter ‘the art of making choices: the feldenkrais method as a soma-critique’ (triarchy press 2015), and ‘eros and inquiry – the feldenkrais method as a complex resource’ (​theater dance and performance training ​ 2015). thomas is currently co-editing journal volumes for ​journal of dance and somatic practices​ and the international feldenkrais federation (iff) ​feldenkrais research journal​ . kampe • ​feldenkrais research journal, volume 5​ (2016) 25   feldenkrais research journal​ • ​volume 5​ (2016)    original research: reprint      united states ​guild certified feldenkrais teachers​®​:  a survey of characteristics and practice patterns    patricia a buchanan  nicole l nelsen  simon geletta    this article was originally published in ​bmc complementary and alternative medicine ​14; 2014. the pdf  version of the article follows. the html version can be found at biomedcentral:  http://www.biomedcentral.com/1472­6882/14/217    abstract  background:​ ​feldenkrais method​®​ teachers help students improve function and quality of life through  verbally and manually guided lessons. the reasons people seek ​feldenkrais​®​ lessons are poorly  understood. similarly, little is known about practice characteristics and patterns. to address these  knowledge gaps, we conducted an extensive survey of united states ​guild certified feldenkrais  teachers​®​.  methods: ​we invited all ​feldenkrais teachers​®​ to participate in this survey delivered in web­based or print  formats. we obtained overall and question­specific response rates, descriptive statistics, chi­square tests of  response bias, and performed qualitative thematic review of comments.  results:​ ​overall response rate was 30.5% (392/1287). ninety percent of responders had college degrees in  diverse fields; 12.5% had credentials outside health care, 36.9% held conventional health care licenses, and  23.1% had complementary and alternative medicine credentials. mean age was 55.7 years; most teachers  were women (83%). california (n = 100) and new york (n = 34) had the most teachers. forty­five percent of  teachers earned ≤ 20% of their gross income from their practices, while 26% earned > 80%. most saw < 10  students/week for individual lessons and < 10 students/week for group lessons. students were mostly  women (71.1%) and 45–64 years old. the primary reason students sought ​feldenkrais​ lessons was pain. a  quarter of students self­referred, a fifth were referred by conventional health care providers, and two­thirds  paid for services directly. themes from comments included: beliefs that ​feldenkrais​ training had important  personal and professional benefits for teachers; recognition of the challenges of operating small businesses  and succinctly describing the ​feldenkrais method​; the variety of practice approaches; and a deep  commitment to the ​feldenkrais method​.  conclusions:​ most ​feldenkrais teachers​ were well educated, often held additional credentials, were  located in the west, were women, were older than 50 years, and had part­time practices. most students  were women, were adults, came from various referral sources, and paid directly for services. teachers and      published by the international ​feldenkrais​®​ federation (iff) ​http://feldenkrais­method.org  available online at ​http://iffresearchjournal.org/volume/5/buchanan­et­al        http://www.biomedcentral.com/1472-6882/14/217 http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/buchanan-et-al   students utilized the ​feldenkrais method​ in diverse settings and applications. these findings may foster  practice development by ​feldenkrais teachers​, improve communication between health care consumers  and providers and assist decision­making, and stimulate more research concerning the ​feldenkrais method​.  keywords  feldenkrais method​ of somatic education, us ​guild certified feldenkrais teachers​, practitioner  characteristics, practice patterns, communication, decision­making, research development  copyright ©:​ the copyright for this paper remains with the author(s).  please cite:​ first published in ​bmc complementary and alternative medicine​ ​14​; 2014.​ ​reprinted in the  feldenkrais research journal, volume 5​;​ ​2016.  service marks:​ the terms feldenkrais​®​, feldenkrais method ​®​, awareness through movement​®​, atm ​®​,  functional integration ​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​  federation (iff)  and feldenkrais professional guilds and associations in many countries. in keeping with academic  conventions, they will not be service marked in the entire text as may be required in nonacademic use, but  only for the first and most prominent use of the terms. in recognition that these phrases are formal terms  referring to specific practices within the method, and to the method as a whole, capitalization of all the words  in each term has been retained.    buchanan ​et al.​ • ​feldenkrais research journal, volume 5 ​ ​( ​2016)  2   research article open access united states guild certified feldenkrais teachers®: a survey of characteristics and practice patterns patricia a buchanan1*, nicole l nelsen2 and simon geletta3 abstract background: feldenkrais method® teachers help students improve function and quality of life through verbally and manually guided lessons. the reasons people seek feldenkrais® lessons are poorly understood. similarly, little is known about practice characteristics and patterns. to address these knowledge gaps, we conducted an extensive survey of united states guild certified feldenkrais teachers®. methods: we invited all feldenkrais teachers to participate in this survey delivered in web-based or print formats. we obtained overall and question-specific response rates, descriptive statistics, chi-square tests of response bias, and performed qualitative thematic review of comments. results: overall response rate was 30.5% (392/1287). ninety percent of responders had college degrees in diverse fields; 12.5% had credentials outside health care, 36.9% held conventional health care licenses, and 23.1% had complementary and alternative medicine credentials. mean age was 55.7 years; most teachers were women (83%). california (n = 100) and new york (n = 34) had the most teachers. forty-five percent of teachers earned ≤ 20% of their gross income from their practices, while 26% earned > 80%. most saw < 10 students/week for individual lessons and < 10 students/week for group lessons. students were mostly women (71.1%) and 45–64 years old. the primary reason students sought feldenkrais lessons was pain. a quarter of students self-referred, a fifth were referred by conventional health care providers, and two-thirds paid for services directly. themes from comments included: beliefs that feldenkrais training had important personal and professional benefits for teachers; recognition of the challenges of operating small businesses and succinctly describing the feldenkrais method; the variety of practice approaches; and a deep commitment to the feldenkrais method. conclusions: most feldenkrais teachers were well educated, often held additional credentials, were located in the west, were women, were older than 50 years, and had part-time practices. most students were women, were adults, came from various referral sources, and paid directly for services. teachers and students utilized the feldenkrais method in diverse settings and applications. these findings may foster practice development by feldenkrais teachers, improve communication between health care consumers and providers and assist decision-making, and stimulate more research concerning the feldenkrais method. keywords: feldenkrais method of somatic education, us guild certified feldenkrais teachers, practitioner characteristics, practice patterns, communication, decision-making, research development * correspondence: patbuchananphd@icloud.com 1toledo, ohio 43614, usa full list of author information is available at the end of the article © 2014 buchanan et al.; licensee biomed central ltd. this is an open access article distributed under the terms of the creative commons attribution license (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly credited. the creative commons public domain dedication waiver (http://creativecommons.org/publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 http://www.biomedcentral.com/1472-6882/14/217 mailto:patbuchananphd@icloud.com http://creativecommons.org/licenses/by/4.0 http://creativecommons.org/publicdomain/zero/1.0/ background an estimated half of the united states (us) population has used some form of complementary and alternative medicine (cam) [1]. in 2010, us health care consumers spent $31 billion on direct payments to complementary and alternative medicine (cam) providers [2]. among these providers are certified teachers of the feldenkrais method® of somatic education. these teachers, practicing in more than 30 countries, work to improve the functions and quality of their students’ lives [3]. through the use of verbally guided awareness through movement® (atm) lessons and manually facilitated functional integration® (fi) lessons, teachers (also known as practitioners) assist their students (also known as clients; typically not patients) to become more familiar with their current habitual behaviors, explore other movement options, and attend to their actions, sensations, emotions and thoughts [4,5]. these guided experiences presumably facilitate the emergence of more effective, flexible and adaptable behaviors [4,5]. international training standards guide the educational process to become a certified feldenkrais teacher. the curricula of feldenkrais professional training programs involve at least 800 hours distributed over 3–4 years to allow for considerable experience with the extensive repertoire of lessons, the development of teaching skills, and interdisciplinary study [6,7]. teachers with additional credentials as certified feldenkrais assistant trainers and certified feldenkrais trainers instruct participants in these programs. only certified feldenkrais trainers can serve as educational directors of training programs [6,7]. according to personal accounts, teachers enter training programs with a wide variety of backgrounds, credentials, and experiences. however, little research exists to support these reports. the reasons people seek feldenkrais lessons are poorly understood. many individuals purportedly choose this method to aid with recovery from injury, manage chronic conditions, or enhance performance even though limited research supporting its safety and effectiveness exists to guide decisions about use and referral. beyond anecdotal accounts, review of the literature suggests a broad range of concerns lead students to try feldenkrais lessons. a small sample of reasons includes improvement of balance [8-10], problems with pain [11,12], chronic low back dysfunction [13,14], multiple sclerosis [15-17], various musculoskeletal conditions [18,19], and post-stroke functional limitations [20,21]. similarly, little is objectively known about practice characteristics and patterns, such as practice volume, settings, and methods of payment. present data about practitioners are mostly limited to information contained in the feldenkrais guild of north america (fgna) membership print and on-line directories [22]. entries specify year of certification, geographic location, and may include information about other credentials (e.g., pt, rn, md) or advanced degrees, and practice specialties (e.g., performing arts, children, sports). these knowledge gaps pose significant barriers to the assessment of safety and effectiveness by consumers, appropriate consideration of referrals by health care providers, and development of quality research studies. as an initial step in reducing these barriers, the first author conducted a small survey in 2009 to begin to collect and distribute information about the characteristics and practice patterns of us feldenkrais teachers [23]. teachers were more commonly located in the west and northeast. while most responders were singularly credentialed as feldenkrais teachers, nearly 23% were also physical therapists. practice sizes varied considerably, but most teachers operated part time practices. just over half provided exclusively feldenkrais method lessons in their sessions. many questions about provider characteristics and practice patterns went unanswered in that short survey and new questions arose from the results. therefore, in 2011 we took the next step and conducted this more extensive survey of united states guild certified feldenkrais teachers. the purpose of this study was to gather in-depth information about feldenkrais teachers that would assist them with practice improvement, enhance communication between and decision-making by health care providers and consumers, and support development of relevant research. in addition to feldenkrais teachers’ demographics, we gathered information about: credentials and education in the feldenkrais method, other cam practices, and conventional health care; practice settings; and practice patterns. methods survey development we used a survey to obtain a snapshot of the characteristics and practice patterns of certified feldenkrais teachers within the us. this survey was modeled after studies of other cam providers by cherkin and colleagues [24-28], adapted to the feldenkrais field, and informed by the preliminary study [23]. the des moines university institutional review board approved the study protocol and consent forms. after drafting the survey, we sought feedback from 2 focus groups of us feldenkrais teachers. the first review occurred with 9 attendees at the 2010 fgna midwest regional meeting. we revised the survey in response to comments and obtained another review from 7 attendees of the 2010 feldenkrais method annual conference. we finalized the survey for delivery in either a web-based, secure format utilizing feedback server® 4 or in print for mail delivery. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 2 of 15 http://www.biomedcentral.com/1472-6882/14/217 the survey had 7 parts: 1) feldenkrais method training and certification, 2) educational background, 3) other licensures, certification, and specialties, 4) demographics, 5) overview of the past 12 months (january december 2010), 6) review of representative month during the past 12 months (january december 2010), and 7) open comment. there was a maximum of 108 questions, with skip logic included to direct responders away from questions that were not applicable to them based on previous responses. in the instructions, we encouraged participants to review their records, to take breaks as desired, and to review the definitions of terms (see additional file 1) before beginning the survey. in the definitions of terms, we identified licensed or certified practitioners in health care fields that are recognized by the american medical association and similar groups operating within a conventional, western medical model as traditional health care providers. throughout this report, we use the current terminology of conventional health care (chc) providers. participants we obtained the listing of all us guild certified feldenkrais teachers as of january 25, 2011 from fgna. we mailed letters to everyone alerting them that they would soon receive an invitation to participate in the survey. the majority of feldenkrais teachers received the invitation, including consent information and a link to the survey, via email. those who had a stated preference to be contacted by mail and those for whom email deliveries failed received the consent information and survey with postage-paid return envelopes via mail. teachers had a 2-month window (february 15 to april 14, 2011) to complete and submit the survey. to encourage participation, we sent up to 3 reminders by email or mail during this period. persons who completed and returned the survey were eligible for 1 of 50 randomly-selected $50 payments to compensate participants for their time. data processing and statistical analysis once the survey response window closed, we manually entered individual print survey responses into feedback server® 4. we exported data for all responders into microsoft® office excel 2007 for screening and cleaning. subsequently, we used ibm® spss® statistics 19 to obtain question-specific response rates in the form of valid percentages (not all responders answered all questions), descriptive statistics, and chi-square tests of response bias. for our descriptive statistics, we determined mean ± standard deviation (sd) as measures of centrality and dispersion, and 95% confidence intervals to represent true values of key measures. we used information about feldenkrais teachers provided with the january 2011 listing, other feldenkrais community resources, and internet searches to assess for geographic distribution, gender, and advanced feldenkrais credential biases in the distribution of our responders. finally, we exported responders’ comments to 3 open questions into microsoft® office word 2007 for qualitative thematic review. two authors used conventional, inductive open coding to independently review the comments, discussed their analyses, and finalized the themes. we selected exemplar quotations to illustrate the themes. results survey participation figure 1 summarizes the population, delivery method counts, nonresponder and responder numbers, and survey response percentage. the first author is a feldenkrais teacher and chose not to complete the survey. feldenkrais method training and certification nine of the responders (9/392 = 2.3%) graduated in 1977 from the first us feldenkrais professional training program held in san francisco, california. thirty-three of the responders (8.4%) graduated from training programs between 1981 and 1990, 179 (45.7%) between 1991 and 2000, and 171 (43.6%) between 2001 and 2010. for the 52 responders (13.3% of 392) who provided the year in which they first learned about or experienced the feldenkrais method, the time interval from the introductory year to graduation from a training program varied considerably (mean = 9.1 ± 7.9 years). in addition to certification in the feldenkrais method, 28.9% (113/391) of responders had additional certifications in 1 or more techniques that are substantially based on the teaching of moshe feldenkrais, dsc, originator of the feldenkrais method. the majority of responders (361/392 = 92.1%) completed their training in the us, with programs held in 24 states and the district of columbia. california had the most training program graduates with 156 (39.8%). twenty of the responders (5.1%) completed training programs in canada, 4 (1.0%) in multiple locations, and 7 (1.8%) outside of north america. twenty-two different educational directors, solely or in partnerships, led the north american trainings. moshe feldenkrais led the trainings of 23 of the responders (5.9% of 392). in this survey, 27 of the responders (6.9% of 391) were certified feldenkrais assistant trainers. of the 26 who provided their year of credentialing, 6 (23.1%) became credentialed between 1981 and 1990, 14 (53.8%) between 1991 and 2000, and 6 (23.1%) between 2001 and 2010. three responders reported they were in the process of applying to be assistant trainers. thirteen of the responders (3.3% of 391) were certified feldenkrais trainers. two (15.4%) became trainers between 1981 and 1990, 7 (53.8%) between 1991 and 2000, and 4 (30.8%) between 2001 and 2010. one responder was in the process of applying to be a trainer. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 3 of 15 http://www.biomedcentral.com/1472-6882/14/217 the 6.9% response rate of assistant trainers was more than double the 3.0% (38 of 1287) representation among the january 2011 listing. the 3.3% response rate of trainers was higher than the 2.1% (27 of 1287) representation as of january 2011. the response rates of assistant trainers and trainers were not statistically significantly different (χ2 = 3.5, df = 1, p = 0.06). however, a significant chisquare test (χ2 = 31.4, df = 1, p < 0.01) indicated there was a response bias with assistant trainers and trainers more likely to respond than feldenkrais teachers without these advanced credentials. educational background all 388 responders (99.0% of 392) reported having at least a high school education. for highest degree earned, 47.7% (185 of 388) of the responders reported holding bachelor’s degrees, 33.5% (n = 130) held master’s degrees, and 9% (n = 35) held doctorate degrees. in listing up to 5 degrees and majors, responders reported a highly diverse catalog of areas of study ranging from a (accounting) to z (zoology). we grouped areas of study across all degrees into similar disciplines (e.g., zoology with biological sciences) and determined their frequencies. physical therapy ranked first (n = 112) with more than twice the responses of any of the next most common fields of education (n = 44), music (n = 43), psychology (n = 38), and biological sciences (n = 35). other licensures, certifications, and specialties we first asked responders if they held current licenses or certifications that were not specific to conventional health care or cam and, if so, to list them. forty-eight of the 385 responders (12.5%) did. most common were education licensures (n = 11) and exercise certifications (n = 5). next, we asked responders if they held current licenses or certifications as a conventional health care provider and, if so, to identify them. one hundred forty-one of 382 responders (36.9%) answered yes. most of those responding yes (n = 133) held 1 conventional license, while 7 reported having 2 licenses. among those credentials with more than 1 response, physical therapist was the clear leader (n = 93). there were responses from 15 occupational change delivery from email to mail initially due to shared emails = 2 undelivered/bounced emails = 10 email recipients requested mail = 9 population of us guild certified feldenkrais teachers at time of survey n = 1287 teachers preferring email at time of survey n = 1200 nonresponders: lead author = 1 other nonresponders n = 894 total nonresponders n = 895 responders (partial or complete) mail = 39 email/web = 353 total responders n = 392 response percentage 392/1287 ∙ 100 = 30.5 % teachers preferring mail at time of survey n = 87 change delivery from mail to email mail recipients requested email = 1 final counts by delivery method email = 1180 mail = 107 total = 1287 figure 1 population, delivery method counts, nonresponder and responder numbers, and survey response percentage. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 4 of 15 http://www.biomedcentral.com/1472-6882/14/217 therapists, 5 nurses, 5 speech-language pathologists, 4 athletic trainers, 4 physical therapist assistants, 4 social workers, and 2 medical doctors. third, we asked responders if they were licensed or certified in cam practices and, if so, to list them. eightynine of 385 responders (23.1%) reported having 1 or more of these credentials. while most of those responding yes (n = 47) identified 1 cam certification, 23 listed 2 certifications, 8 named 3 certifications, and 5 others reported 4–11 certifications. for certifications with more than 1 response, massage therapist was most common (n = 36). the subsequent certifications with more than 5 responses were reiki (n = 13), pilates (n = 12), tai chi (n = 9), yoga (n = 9), qigong (n = 7), reflexology (n = 7), craniosacral therapy (n = 7), and meditation (n = 6). we considered what combinations of credentials (feldenkrais method, licenses or certifications not specific to conventional health care or cam, conventional health care provider licenses, and cam practice certifications) the 382 responders identified. while 40.3% were solely credentialed in the feldenkrais method, over half of responders were certified in 1 or more additional areas. the credentials combinations above 10% were feldenkrais method and conventional (27.7%), and feldenkrais method and cam (13.1%). we asked responders whether they promoted or advertised any of their nonspecific, conventional health care, or cam provider credentials. of the 215 (54.8% of 392) who answered, 25.6% promoted none, 55.3% promoted some, and 19.1% promoted all of their credentials. in addition, we asked responders if they had specialty areas that were not identified by these 3 groups of credentials. ninety-two of 376 responders (24.5%) reported specialties. of those, 90 clarified how they promoted their specialties: 21.1% promoted none, 46.7% promoted some, and 32.2% promoted all specialties. we categorized the reported specialties into related groupings and identified those with more than 3 responses. these 8 specialties were led by work with performing artists (n = 25), followed by applications with infants and children (n = 22), chronic pain (n = 15), elderly and aging (n = 11), neurological conditions (n = 9), sports, martial arts, yoga (n = 7), horses and riders (n = 6), and balance (n = 4). finally, we asked responders to think about all aspects of their practice and to identify the forms of promotion that applied to them. all teachers who were also members of fgna had detailed listings in the fgna print directory, could opt in or out of the fgna online directory, and had an altmed web listing they could develop. non-members only had their names and years of certification listed in the print directory. the most to least frequently used forms of promotion for 25% or more of the 380 responders were the fgna print directory (89.2%), fgna online directory (87.6%), email (54.7%), flyers (50.3%), personal website (45.8%), and social media (25.0%). among other forms of promotion (20.0%), word-of-mouth/personal referral (n = 16) was the most common response, followed by distribution of business cards (n = 5). demographics we asked teachers to identify their gender. responders were 83.0% women (318 of 383) and 17.0% men. while we could not reasonably confirm the gender of 5 of 1287 teachers in the january 2011 listing, the response rates were similar to the list distribution of 81.9% women (1050 of 1282) and 18.1% men. based on a non-significant chisquare test (χ2 = 0.47, df = 1, p = 0.49), there was no indication of gender bias in the response sample compared to the population. on average for 380 responders (96.9% of 392), teachers were 55.7 ± 9.2 years of age. there was 1 responder over the age of 79 and no responder younger than 29. table 1 presents the distribution of age groups. the largest group of responders were in their 50s. the 27 assistant trainers averaged 57.9 ± 7.4 years of age, while the 13 trainers were 62.2 ± 5.1 years old. table 1 summarizes the numbers of responders (total = 381; 97.2% of 392) by geographical regions. regional response rates were 16.3% for the northeast (state with most responders: new york, n = 34), 13.1% for the midwest (illinois, n = 14), 17.1% for the south (virginia, n = 15), and 53.5% for the west (california, n = 100). geographical distribution based on the january 2011 listing (n = 1287) was 20.5% for the northeast, 13.4% for the midwest, 16.0% for the south, and 50.1% for the west. there was no indication of geographic bias among our responders per chi-square test (χ2 = 6.41, df = 3, p = 0.09). there were no responders from 10 states (northeast: rhode island; midwest: kansas, north dakota, nebraska, south dakota; south: arkansas, kentucky, mississippi; west: montana, nevada) and the district of columbia. this compares with no teachers living in delaware, north dakota, and south dakota as of the january 2011 listing. we asked responders to identify their ethnicity and race. the majority of responders selected not hispanic, latino or spanish as their ethnic background (98.4%) and identified their race as white (94.5%). responders provided information about their individual gross income from all sources during 2010. table 1 indicates the frequencies and percentages for 4 levels of gross income. women were more likely than men to have incomes under $25,000, while men were more likely than women to have incomes at or above $75,000. we next asked responders what percentage of their individual gross income during 2010 came from earnings related to their feldenkrais method practices. the mean percentage for the 373 responders (95.2% of 392) was buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 5 of 15 http://www.biomedcentral.com/1472-6882/14/217 table 1 profile of feldenkrais teachers and traditional format practice patterns during 2010 characteristic responders percentage mean (sd) 95% ci age group 18–29 years 3 0.8 30–39 years 14 3.7 40–49 years 71 18.7 50–59 years 153 40.3 60–69 years 112 29.5 70–84 years 27 7.1 region northeasta 62 16.3 midwestb 50 13.1 southc 65 17.1 westd 204 53.5 gross income level less than $25,000 all 88 23.6 men 11 17.2 women 77 24.9 $25,000 to $49,999 all 124 33.2 men 21 32.8 women 103 33.3 $50,000 to $74,999 all 88 23.6 men 9 14.1 women 79 25.6 $75,000 or more all 73 19.6 men 23 35.9 women 50 16.2 percentage of gross income from feldenkrais practice 0 all 37 9.9 men 2 3.1 women 35 11.3 1-20 all 132 35.4 men 29 45.3 women 103 33.3 21-40 all 46 12.3 men 6 9.4 women 40 12.9 table 1 profile of feldenkrais teachers and traditional format practice patterns during 2010 (continued) 41-60 all 30 8.0 men 4 6.3 women 26 8.4 traditional practice format, 12-month overview questions how many weeks did you practice? 266 96.7 39.6 (14.3) 37.9-41.3 how many hours of direct contact with students did you have in a typical week? 265 96.4 10.5 (9.8) 9.3-11.7 how many appointments (visits) for individual lessons (functional integration® or awareness through movement®) with students did you have in a typical week? 257 93.5 8.7 (8.6) 7.7-9.8 how many students did you have for individual lessons in a typical week? 255 92.7 7.9 (8.0) 6.9-8.9 how many minutes did your individual lessons last? most often, typical lesson 260 94.5 58.4 (9.3) 57.3-59.5 shorter lessons 174 63.3 43.5 (11.8) 41.7-45.2 longer lessons 171 62.2 77.0 (14.9) 74.8-79.3 how many classes (visits) for group lessons (awareness through movement) with students did you have in a typical week? 275 100.0 1.5 (2.4) 1.2-1.8 how many students did you have for group lessons in a typical week? 275 100.0 8.1 (11.2) 6.8-9.4 how many minutes did your group lessons (classes) last? most often, typical lesson 190 69.1 58.7 (9.1) 57.4-60.0 shorter lessons 102 37.1 48.7 (11.3) 46.5-51.0 longer lessons 101 36.7 71.7 (23.5) 67.0-76.3 how many public workshops based on the feldenkrais method did you offer? 275 100.0 2.0 (3.2) 1.7-2.4 buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 6 of 15 http://www.biomedcentral.com/1472-6882/14/217 43.0% ± 39.3%. grouping percentage of income from feldenkrais practice into bins revealed a bimodal distribution (see table 1) favoring the ranges of 1%-20% and 81%-100%. more women than men reported no income from feldenkrais practice, yet more men than women reported 1%-20% income from feldenkrais practice. percentage of income differences between women and men were small for the other bins. as another perspective on responders’ practices, we asked if they considered the practice of the feldenkrais method to be their primary occupation. of the 377 responders (96.2% of 392), 46.7% marked yes; 53.3% selected no. we then asked responders to provide their primary occupation. similar to the diversity of college majors, responders reported occupations from a (accounting) to y (yoga). of the 380 responders (96.9% of 392), the most commonly reported occupations with at least 10 responses were feldenkrais teacher (n = 40), physical therapist (n = 27), educator (n = 11), and retired (n = 10; n = 13 including semi-retired). finally, through a series of 3 questions, we screened responders for whether or not they practiced in a formal setting (meaning teachers were paid or compensated for their practice, and they worked with students other than family and friends) during 2010. when asked if teachers practiced the feldenkrais method in any manner at any time during 2010, 98.9% of responders (373 of 377) reported yes. twenty of 368 responders (5.4%) reported they only practiced informally with family and friends, while 89.4% (330 of 369) reported practicing in a formal setting. we embedded skip logic in the survey to direct those who did not report having a formal practice to the last, open comment section. overview of the past 12 months (january december 2010) we began this section by asking teachers what percentages of their feldenkrais method practices were in traditional and integrated formats (see additional file 1 definition of terms). at this stage of the survey, 77.3% of the initial responders (303 of 392) answered that 68.8% ± 37.6% of their practices were in traditional formats and 31.2% ± 37.6% of their practices were in integrated formats. two hundred seventy-five of 305 responders specifically reported that part of their practices were in a traditional format. those who responded yes answered several questions about their contacts with students, length of lessons, and delivery of workshops. table 1 summarizes the question-specific numbers of responders, means, sds, and 95% confidence intervals (ci) for these items. one hundred sixty of 294 responders reported that part of their practices were in an integrated format. for 151 of those who responded yes, the mean weeks of practice was 37.4 ± 17.0 (95% ci 34.7 to 40.1). the mean hours of direct contact with students in a typical week of integrated practice for 147 of these responders was 13.9 ± 12.5 (95% ci 11.9 to 15.9). we asked those who practiced in an integrated format to give a short description of how they integrated their practice of the feldenkrais method into their other occupation or professional context. most of the 154 responders (39.3% of 392) basically stated with what they combined the feldenkrais method. as examples, “i integrate atm lessons into voice therapy sessions,” and “when teaching yoga, i teach an atm lesson around the theme of the class, i.e., twisting, reaching, sitting”. many responders offered comments about the impact of a feldenkrais perspective on their practice. one physical therapist stated, “i am a provider who respects the complexity of every individual and i do not impose force during my treatments”. several commented on how deeply they have integrated the feldenkrais method into their work. one responder stated succinctly, “it is impossible to separate feldenkrais [method] from other modalities”. another responder elaborated: “since learning the feldenkrais method, i incorporate the process of looking at, feeling, finding origins of movement, feeling of pattern change into my speech/language work. i no longer tell a client what to do or how to do it based on a standard/model but ask him/her to find a way to make changes in current thinking/production outside level of comfort or habit in order to notice differences which may or may not become new and/or more useful patterns”. a final exemplar provides another perspective of the impact of the feldenkrais method on the teacher: “awareness of self use from the feldenkrais method is a key point in my professional work”. we asked responders to consider their whole practice, including traditional and integrated formats, in answering the remaining questions in this section. first, we table 1 profile of feldenkrais teachers and traditional format practice patterns during 2010 (continued) how many workshops for feldenkrais practitioners and/or students in accredited feldenkrais professional training programs did you offer? 275 100.0 0.6 (2.4) 0.3-0.9 item-specific numbers of responders and percentages for all characteristics; means with standard deviations (sd), and 95% confidence intervals (ci) for 12-month overview of traditional practice format. anew york, pennsylvania, connecticut, maine, new jersey, massachusetts, new hampshire, vermont, rhode island. billinois, michigan, wisconsin, indiana, minnesota, ohio, iowa, missouri, kansas, north dakota, nebraska, south dakota. cvirginia, maryland, north carolina, florida, georgia, texas, alabama, oklahoma, louisiana, tennessee, delaware, south carolina, west virginia, arkansas, district of columbia, kentucky, mississippi. dcalifornia, washington, oregon, colorado, arizona, new mexico, idaho, hawaii, utah, alaska, wyoming, montana, nevada. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 7 of 15 http://www.biomedcentral.com/1472-6882/14/217 inquired about what percentages of their practices involved students across 7 age groups. most commonly, 297 responders (75.8% of 392) had students who were 45–64 years old (see table 2). second, we asked for the percentages of students who identified as female, male, or some other identity. responders (295 of 392) reported that most students identified as females, with mean = 71.1% ± 17.6% (95% ci 69.1% to 73.1%). for male-identified students, mean = 28.8% ± 17.7% (95% ci 26.8% to 30.8%). several responders worked with students who had some other identity, with mean = 0.1% ± 0.5% (95% ci 0.0% to 0.1%). next, we asked responders to identify the top 5 most frequent reasons that students came to their practices. we categorized all reasons into pain (7 subgroups) and nonpain (12 subgroups) groups (see table 3). pain was the most common reason students sought feldenkrais lessons. subsequently, non-pain reasons were more prevalent. two hundred eighty-eight responders (73.5% of 392) identified the percentages of their students who came from select referral sources. self-referral was most common (mean = 26.9% ± 28.0%, 95% ci 23.6% to 30.1%), followed by referral from a conventional health care provider (mean = 22.3% ± 29.3%, 95% ci 18.9% to 25.7%). there were 216 responders (55.1% of 392) who reported that students self-referred and provided the percentages of those students who learned about the responders’ practices through 11 sources. the fgna online directory (mean = 23.0% ± 30.5%, 95% ci 18.9% to 27.1%) was the most frequent specific source of practice information. results from 287 responders (73.2% of 392) regarding the percentages of 11 sources of payment for services indicated that 65.2% ± 35.7% (95% ci 61.1% to 69.4%) of students paid out of pocket. for another perspective on payment sources, we grouped 285 responders (72.7% of 392) into 8 certification/credential combinations: 1) feldenkrais method (fm) only, 2) fm plus conventional health care (chc), 3) fm plus cam, 4) fm plus certifications that were not specific (ns) to chc or cam, 5) fm plus chc plus cam, 6) fm plus chc plus ns, 7) fm plus cam plus ns, and 8) fm plus chc plus cam plus ns. the 80 responders who were fm plus chc on average had the highest percentages of payments from medicaid (mean = 4.9% ± 14.5%), medicare mean = 15.5% ± 21.9%), private insurance (mean = 22.2% ± 24.2%), and workers compensation (mean = 2.5% ± 7.0%); and the lowest percentage of payment by self-pay (mean = 34.3% ± 35.5%). we asked responders to review where they provided services (where they gave lessons) and identify the percentages of their practices that occurred in those locations. of the 288 responders (73.5% of 392), 41.3% ± 42.1% (95% ci 36.4% to 46.2%) practiced in offices located outside their homes, while 28.6% ± 35.6% (95% ci 24.5% to 32.7%) practiced in offices inside their homes. feedback from 284 responders (72.4% of 392) indicated the most common of 7 practice settings was a solo practice in a traditional format (mean = 53.8% ± 43.0%, 95% ci 48.8% to 58.8%). by grouping 282 responders (71.9% of 392) into 8 certification combinations, we identified that fm only responders were most likely to have solo traditional settings (mean = 72.5% ± 37.1%) and to teach within feldenkrais professional training programs (mean 3.4%. ± 12.6%). fm plus chc responders were most likely to work in a multidisciplinary group practice of feldenkrais teachers plus chc providers and/or cam providers (mean 38.7% ± 45.0%). we asked the 78 responders (19.9% of 392) who reported they practiced within a multidisciplinary group to list up to 4 of the most common types of colleagues or practitioners they worked with other than feldenkrais teachers. we categorized the types of colleagues into 3 groups: conventional, cam, and other. the first 2 categories followed the definitions of terms (see additional file 1) for chc provider and cam provider. across the first to fourth most common types of colleagues, responders were most likely to work with conventional providers (low of 46.9% for fourth to high of 74.4% for first), followed by cam, and lastly other providers. when we considered common types of colleagues by certification combinations, the responders most likely to be colleagues with conventional providers were those with fm plus chc (low of 58.6% for first to high of 71.9% for second). fm only responders were most likely to have cam colleagues (low of 41.2% for first to high of 54.5% for fourth). fm only (first: 66.7% and second: 44.4%) and fm plus chc (third and fourth: 33.3%) responders were most likely to work with other types of colleagues. lastly, we asked responders to review whether or not they combined other approaches in which they were licensed or certified with the feldenkrais method. over half of the services offered by 280 responders (71.4% of 392) involved feldenkrais method lessons alone (mean = 56.1% ± 42.5%, 95% ci 51.1% to 61.1%). the most common combination was with conventional health care (mean = 16.9% ± 33.3%, 95% ci 13.0% to 20.8%). table 2 percentages for age groups of students across responders’ whole feldenkrais method practices during 2010 age group mean (sd) 95% ci 0-4 years 6.2 (18.8) 4.0-8.3 5-11 years 3.9 (11.4) 2.6-5.2 12-17 years 2.9 (6.3) 2.2-3.7 18-24 years 5.1 (10.0) 3.9-6.2 25-44 years 18.0 (18.2) 15.9-20.1 45-64 years 40.4 (25.3) 37.5-43.3 65 years and above 23.5 (22.6) 20.9-26.1 means with standard deviations (sd), and 95% confidence intervals (ci). buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 8 of 15 http://www.biomedcentral.com/1472-6882/14/217 review of representative month during the past 12 months (january december 2010) for this section, we asked responders to review their feldenkrais method practice during the previous 12 months and identify a typical, representative month (average; not the busiest, not the slowest). responders answered questions similar to those in the prior section. in screening these data, we omitted some responses due to inconsistencies in reporting (i.e., despite instructions, some responders reported percentages instead of numbers). the 224 responders (57.1% of the initial 392) most often chose october (18.8%) as their representative month. they selected july the least (2.2%). the results for the representative month were comparable in all areas to the review of the past 12 months. open comment in this last section, we gave responders the opportunity to share information about their feldenkrais method practices that was not addressed elsewhere in the survey. we analyzed comments from 101 responders (25.8% of 392) and identified 5 main themes. first, as suggested by the earlier comments about integrated practice, several responders thought their skills in another profession were significantly enhanced by their feldenkrais training. here are 3 example quotations: ! “my dance teaching is infused with feldenkrais [method] and it is for this reason i am hired.” ! “my skill as a pt [physical therapist] has sky rocketed since my training in the feldenkrais method. clients and physicians can tell there is ‘something different’ about how i work. since the feldenkrais training, i will never be bored at work now.” ! “even though i had been a social worker for many years, i did not feel capable of being a therapist before i completed my feldenkrais training; it was only after learning to be with people in a feldy-specific [sic] way that i felt i could handle it and had something to offer.” table 3 top 5 most common reasons students sought feldenkrais lessons during 2010 reasons reason 1 reason 2 reason 3 reason 4 reason 5 main groups n = 292 n = 289 n = 265 n = 216 n = 180 pain 62.7 38.4 24.2 16.7 13.3 non-pain 37.3 61.6 75.8 83.3 86.7 pain subgroups n = 183 n = 111 n = 64 n = 36 n = 24 general 73.8 45.9 42.2 38.9 20.8 upper extremity 0.0 4.5 10.9 13.9 16.7 lower extremity 0.5 3.6 9.4 22.2 16.7 back 20.8 27.9 15.6 8.3 20.8 spine, other 3.8 8.1 12.5 5.6 4.2 upper quartera 0.0 7.2 4.7 2.8 20.8 lower quarterb 1.1 2.7 4.7 8.3 0.0 non-pain subgroups n = 106 n = 178 n = 201 n = 180 n = 156 balance-posture 7.5 9 8 13.3 7.7 developmental delay 19.8 10.1 6.5 6.1 6.4 education 0.9 0 0.5 0 0 emotional health 0.9 6.7 4.5 8.9 5.1 health-wellness 3.8 10.7 10.9 8.3 17.3 injury-surgery-trauma 12.3 13.5 14.4 11.7 8.3 mobility 10.4 16.9 10 8.3 5.8 neurological 10.4 12.9 16.4 12.2 16.7 performing arts 4.7 2.8 3 2.2 1.9 quality of life-function 8.5 6.2 6.5 7.2 5.1 sport-athletics 4.7 1.7 8 6.1 9 other 16 9.6 11.4 15.6 16.7 numbers and percentages of responders. aupper quarter includes cervical, thoracic, shoulder girdle and arm combinations. blower quarter includes lumbar, pelvic girdle and leg combinations. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 9 of 15 http://www.biomedcentral.com/1472-6882/14/217 second, many statements clustered under the umbrella of practice challenges. responders wrote about the difficulties of explaining what the feldenkrais method is and issues common to self-employed practitioners and small businesses (e.g., building a practice, cost of health insurance, impact of the great recession, practicing in smaller communities, marketing, governmental and regulatory constraints, and record keeping). several described struggling with these challenges, while some highlighted paths of success. these quotations exemplify this theme: ! “i would like to have more of my income come from my feldenkrais practice however i find the following to limit my ability to make my feldenkrais practice my sole income provider, or even more of my total income: – very difficult to market feldenkrais [method] – health insurance benefits are difficult for a selfemployed person to obtain – the current recession (poor economy) is limiting people from paying for self improvement methods/ therapies such as feldenkrais [method].” ! “i had a feldenkrais office for a few years but struggled to pay the rent. there was simply not enough business for me in this little town with less than 9000 citizens. i also compete with more and more yoga teachers, massage therapists, and a rolfer. . . . i find it too cumbersome to always explain in many sentences the difference between feldenkrais [method], yoga and other methods. i decided to let go of any ideas to make money with it.” ! “i continually hear that 'we' are hard to find or know about. as a profession we need more mainstream exposure, mainstream magazines, advertising, articles etc.” ! “i have opened a business, but the result is zero, i practice on friends and family at the moment. but to touch someone in ct [connecticut] you have to be a massage therapist, and now i am a [massage therapy] student . . . and then i can promote the feldenkrais in a lawful way.” ! “to be clear, i do not have accurate records of my classes in particular.” ! “i teach atm lessons in rented space. i have changed locations 4 times in the last 3 years and finally found a space that is working.” ! “persistence, stability and good communication skills are essential ingredients for a private practice using the feldenkrais method.” third, responders’ comments demonstrated the variety of views that teachers have about their practice of the feldenkrais method. this ranged from personal use to a hobby, a retirement activity, a desired part-time practice, a part-time practice seeking growth, to a full-time business. the following 6 quotations illustrate this range of practice. ! “. . . my involvement with the feldenkrais method is basically personal.” ! “i am fortunate that i have another source of income that requires very little time. i feel no pressure to build a feldenkrais practice. i tend to treat it as a hobby, and not a business.” ! “. . . i don't need the money or the bookkeeping. also, i travel with my retired husband and am not always available.” ! “dating 10 years from my personal ‘discovery’ of the feldenkrais method as a student in serious need, i graduated from basic training with an express intention (call it a business plan..?): i wanted my early retirement from my (previous) career (enjoying gainful employment in sales & marketing) to dovetail with the commencement of a part-time practice as self-employed feldenkrais teacher. after 2.5 years since graduation, i have steady part-time workload teaching 4–5 atm classes per week with an occasional fi student or 2. you might say i have taken my bows [sic] of poverty and love it! my income from feldenkrais practice covers all expenses associated with the practice (guild membership, insurance, room rental, advanced training, books & supplies) and provides me flexible spending over and above what i derive from other sources to meet my fixed expenses. i am very grateful that i do not have to depend upon income from a traditional feldenkrais practice to meet all my financial needs.” ! “i love the feldenkrais method and i'm working and ready to increase my practice in a ‘wellness center’”. ! “i stopped practicing in 2004; during and prior to that, i supported myself and my family on a very full (40 plus hours a week) feldenkrais practice.” fourth, several responders made clear that they personally value the feldenkrais method. closely related to this value was the desire to share with others what has been so meaningful to them. these 5 quotations point to this theme. ! “the method remains a lifeline, an anchor for my curiosity and a sense of joy and calm in my life.” ! “in 1976 i met a dancer whose father had helped moshe [feldenkrais] come to the us on his first trip. she taught me several atms. i was hooked. it was water when i was parched–an answer to a question i had not yet formulated.” buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 10 of 15 http://www.biomedcentral.com/1472-6882/14/217 ! “i feel it is something that i give back for the help that the feldenkrais method did for me.” ! “since i am retired i do not advertise my practice. . . . i charge a low fee because i do not want money to be the reason someone says 'no' to learning about the method. i justify all of the above because i have received many personal benefits from feldenkrais [method]. and because of that i want to share it with anyone interested. my aim is not to make money.” ! “i see 2 students pro bono on average per month but i do not see that as payment but a mission.” finally, despite any challenges in building and maintaining feldenkrais practices, many responders expressed their deep commitment to the value of the feldenkrais method and to seeing it grow. here are 3 exemplar quotations. ! “i love my work and the knowledge that it really helps to make life better for those i work with!” ! “i appreciate anything anyone can do to further the profile of this valuable method. i would love to do more as a practitioner and have it be more recognized.” ! “if what we are doing is to improve one's life we need to let people know it does, the feldenkrais method has benefits for them, not a lot of community/professional explanations and emphasis on a vague concept of 'learning'. . . . we need a several year plan to expose our work. what happens is we get caught in jargon about descriptions and forget that to sell something you have to make it needed and useful. and we do have to sell our method, we have to make it desirable, needed, easy and useful.” discussion this survey is a significant expansion of a preliminary survey [23] of us guild certified feldenkrais teachers. we invited all teachers to provide information on many more topics. despite the sizeable increase, overall response rates were similar: 32.3% in 2010, and 30.5% here. in this section, we reflect on the current results, use them to address several questions raised by the preliminary survey, situate these results with other cam studies, and suggest areas in need of more inquiry. the number of feldenkrais teachers, although small compared to other cam disciplines such as massage therapy [25], increased dramatically in the decades after feldenkrais’ death in 1984. nearly 90% of responders completed their training between 1991 and 2010. during that time period, cam use in general increased in the us to about 40% among adults [1,29] and 11% among children [1]. while the increase in feldenkrais teachers was stable in the past 2 decades, the numbers of teachers rising to the ranks of assistant trainer and trainer were lower in the 2000s than in the 1990s. if the profession does not address this pattern, it may reduce the capacity for training feldenkrais teachers moving forward, given the average ages of 57.9 for assistant trainers and 62.2 for trainers. feldenkrais teachers were typically well educated in a wide range of fields. ninety percent held bachelor’s degrees or higher. physical therapy was the most frequent area of study. as was the case in the preliminary survey, physical therapist was the most commonly held conventional health care credential and massage therapist was the most common cam credential. percentages were similar in both surveys. sixty percent of respondents in the current survey held credentials in conventional health care, cam, or another discipline outside of health care. unlike in the preliminary survey, we could identify here that most conventional health care providers held 1 such license. conversely, over half of cam providers held more than 1 cam credential. it may be more prevalent for cam practitioners to hold more than 1 credential. for example, studies reported half of australian naturopaths [30] held credentials in other cam fields, while up to a third of acupuncturists, chiropractors, massage therapists, and naturopaths were licensed in another cam or conventional health care field [25]. overall, our results suggest that feldenkrais teachers have educational backgrounds that complement and enhance their feldenkrais certifications. open comments indicate the converse is also true, as many responders stated that the addition of feldenkrais certification significantly improved their abilities in health care and related disciplines. responders used a broad range of tools to promote their practices. the most common were the fgna print directory and online directory. as was the case for patients of naturopaths, acupuncturists, massage therapists and chiropractors [26], students most often self-referred to feldenkrais teachers. students frequently found their teachers through the online directory. given that only members of fgna have access to listings in the online directory, membership in fgna can be an important investment in practice promotion for feldenkrais teachers. this resource can also serve as a tool for health care professionals who wish to refer patients for complementary services or follow-up care. over 80% of feldenkrais teachers were women. we did not locate other gender data for feldenkrais teachers, but did find studies that identified greater proportions of women acupuncturists [25,30], herbalists [30], massage therapists [25,31], and naturopaths [24,25,30]. feldenkrais teachers overall were somewhat older than other cam practitioners. over 75% of feldenkrais teachers were aged buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 11 of 15 http://www.biomedcentral.com/1472-6882/14/217 50 or older. studies of other cam providers reported mean ages in the 40s [25,31]. comparable to these cam providers, with the exception of acupuncturists [25,31], feldenkrais teachers were majority white and not hispanic, latino or spanish. similarly, the students of feldenkrais teachers were mostly women and mostly 45–64 years old. other cam studies also identified that women were more frequent consumers [1,24,26]. barnes [1] found users of manipulative and body-based practices, the category that includes the feldenkrais method, were mostly 30–59 years old. cherkin [26] used wider age ranges and reported most patients of naturopaths, acupuncturists, massage therapists and chiropractors were 15–64 years old. for both the preliminary survey and the current study, most feldenkrais teachers practiced in california and new york. regional rankings varied somewhat between surveys. responders to the first survey were mostly located in the west, followed by the northeast, south and midwest [23]. the northeast and south reversed rankings in the current survey. both distributions differ from the 2010 us census data that identified the midwest as most populous region, followed by the northeast, west, and south [32]. from the perspective of utilization of manipulative and body-based practices, barnes [1] reported highest usage by adults in the west, then midwest, northeast and south. for children, west and midwest were similar, followed by northeast and south. another factor to consider in understanding the distribution of feldenkrais teachers is the location of feldenkrais professional training programs. the first occurred in california and the second in massachusetts. subsequently, nearly 40% of responders graduated from trainings held in california, 6.9% in illinois, and 6.6% in new york. the distribution of feldenkrais teachers may reflect an interaction among training history and population-based factors. similar percentages of men and women responders had individual gross incomes above and below $50,000. thus, half or more had incomes above the us medians for fulltime workers in 2010 (men $47,715, women $36,931) [33]. higher percentages of women than men had incomes below $25,000 and between $50,000 and $75,000, while a higher percentage of men had incomes above $75,000. in comparison, whalen [34] reported that men who were chiropractors earned 49% more than women. hale’s survey [30] of acupuncturists, herbalists and naturopaths found men were more likely than women to earn 81%-100% of their income from their practices. women were more likely to earn less than $30,000 (australian) while men were more likely to earn over $100,000. thus, while gender differences existed in earnings among us workers and cam practitioners, feldenkrais teachers were likely to earn more than the median income with under half of their annual income coming from their feldenkrais practices. the finding that just over half of responders did not identify feldenkrais teacher as their primary occupation likely influenced the percentage of income from feldenkrais method practice. this finding may also be reflected in our results that suggest feldenkrais teachers on average had part-time practices. results from the preliminary survey were similar with means of 7.6 students per week for individual lessons, 8.4 students per week for group lessons, and 2.9 new students per month [23]. reports for massage therapists ranged from 10 to 19.5 visits per week [25,28,31]. conversely, acupuncturists and naturopaths averaged about 30 visits a week, meaning most had full-time practices [25]. if desired, many feldenkrais teachers have room to grow their practices and their incomes. students of feldenkrais teachers were of all ages. the most frequent age group was 45–64 years. this is comparable to the most common age group for all cam consumers (30–69 years) and manipulative and body-based therapies specifically (30–59 years) [1]. it also nests within the wider age range of most prevalent consumers of services by naturopaths, acupuncturists, massage therapists and chiropractors [26]. the proportion of students who were women was about twice that for men. this gender distribution was similar to other cam studies that reported higher usage by women [1,24,26]. our responders reported that pain was the leading reason that students sought their services. within the pain group, the primary location of pain was the back. pain [35] and specifically back pain [1,26,29] were top reasons for seeking cam services in other reports. subsequently, reasons cited for seeking lessons focused increasingly on non-pain concerns. more commonly reported reasons included neurological conditions, recovery from injury-surgery-trauma, health-wellness, mobility, and balance-posture. this pattern is similar to that reported in a study of cam providers that included feldenkrais teachers [35]. although there is very little evidence of adverse effects from feldenkrais lessons [3], research should examine the safety of this somatic learning method. research supporting the effectiveness of the feldenkrais method for the cited reasons is broad yet relatively limited compared to more widely used interventions [3]. however, there are multiple studies supporting effectiveness for people who come for feldenkrais lessons to improve pain [11,36,37] and particularly back pain [13,14], and improve balance [8-10]. given that 1) feldenkrais students were mostly 45 years and older, 2) people in this age range account for a disproportionate amount of health care costs [2] and 3) falls in seniors are a serious contributor to nonfatal and fatal injuries [38], feldenkrais teachers may be well positioned to offer effective health promotion interventions to impact back pain and enhance balance. appropriately designed studies could determine if feldenkrais lessons that improve balance in turn reduce the risk of falls. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 12 of 15 http://www.biomedcentral.com/1472-6882/14/217 while a quarter of students self-referred to feldenkrais teachers during 2010, conventional health care providers referred over 20% of the students to feldenkrais practices. the implication is that a substantial number of students were seeing both conventional health care providers and feldenkrais teachers. this is consistent with other studies that reported health care consumers often combine conventional health care with cam practices [1,29,39-41]. however, it is not always clear whether conventional health care providers are aware of their patients’ use of cam practices. a survey of patients with arthritis reported that most used at least 1 type of cam and a smaller majority had discussed this with their physicians [42]. a study of rehabilitation medicine physicians indicated most had been asked about cam by their patients and most had spoken against some form of cam use [40]. broader surveys reported that less than half of patients who combined cam and physician visits discussed the cam visits with their physicians [29]. reasons for this communication gap included the failure of physicians to ask patients about cam use and perceptions of patients that physicians would be judgemental [43]. patients did not expect physicians to be experts in cam, but desired open-minded inquiries from their physicians [43]. in another study, many patients indicated they would prefer providers who combine cam and conventional health care [44]. this may be a factor favoring the practices of feldenkrais teachers who also hold conventional health care licenses. future studies could inquire directly of feldenkrais students about their usage of cam and conventional health care providers, and their communication with their providers. the findings of the present study offer much more detailed information about the characteristics and practice profiles of feldenkrais teachers to the broader health care community. this information, combined with existing and subsequent research, can enhance communication among all members of a person’s health care team. opportunities for collaboration and continuing education may emerge that mutually strengthen providers’ practices and benefit patient-centered care. self-pay was the most prevalent form of payment for feldenkrais services. this is consistent with several studies of cam practices and usage that reported consumers often pay for services directly [24,26,29,31,34,41]. some cam practitioners (e.g., naturopaths and acupuncturists) were more likely to be included in insurance plans and therefore had notable payments from such sources [26]. among feldenkrais teachers, those who held a conventional health care credential were more likely to receive payment from insurers and less likely to receive direct pay from students. while individual fi lessons allow feldenkrais teachers to customize lessons to students, group atm lessons provide low cost access for those with limited financial resources. feldenkrais teachers were most likely to see students for lessons in offices outside their homes, with offices in their homes being the next most common location. hale [30] reported a similar location pattern for australian cam practitioners. overall, feldenkrais teachers were most likely to have solo practices, especially if they did not hold other credentials. in contrast, feldenkrais teachers who were also conventional health care providers were most likely to have multidisciplinary group practices that most likely included other conventional health care providers. acupuncturists, chiropractors, massage therapists and naturopaths also commonly had solo practices [25]. their multi-professional group practices included cam and conventional health care providers [25]. similar to the preliminary survey [23], over half of the present responders offered purely, exclusively feldenkrais method lessons. a distant second was feldenkrais method and conventional health care. while we know that other cam providers have credentials in other health professions [25], it is not clear how they combine them in their practices. whether expanding on teaching the feldenkrais method in integrated formats or offering open comments about their practices, feldenkrais teachers expressed perceptions of the value that the feldenkrais method added to their personal and professional lives. in spite of the typical challenges of self-employment and small business management, and the particular challenge of marketing a distinctive somatic approach to learning, feldenkrais teachers stated their convictions in the method. the challenge of succinctly describing the feldenkrais method and positioning it relative to more popular categories was mirrored by the myriad ways that feldenkrais teachers put their professional training into practice. the complexity of the method, while making a short description difficult, apparently facilitated its application to many situations for both teachers and students. the results of this study have expanded knowledge about the characteristics and practice patterns of feldenkrais teachers. these findings are consistent with anecdotal accounts about the diverse backgrounds of teachers and the wide range of reasons students seek their services. still, there is considerable room for more research. we acknowledge the present limitation that this is a retrospective study and subject to recall bias. we instructed responders to review their records as they completed the survey, but accept that may not have occurred in all instances. additionally, some responders commented that the survey helped them recognize areas for improved record keeping. prospective inquiry could reduce or eliminate many of these concerns. the details of utilization of feldenkrais services by students remain unclear. the number of individual lessons or group lessons a student attends over time is not known from our results. this may vary with the buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 13 of 15 http://www.biomedcentral.com/1472-6882/14/217 reasons students seek the services of feldenkrais teachers, for example, back pain vs. wellness. future studies could query students directly for information about why they sought feldenkrais lessons and what other providers they were using to assist with their health and wellness. the present study grew from a preliminary study and offered participation to the census of us feldenkrais teachers via web-based or paper formats. while training standards are similar worldwide, findings are limited to the us and might differ from surveys of teachers in other countries. strengths of the survey include its incorporation of questions adapted from prior surveys of cam providers and consumers, inclusion of items specific to the feldenkrais method, and rounds of review by focus groups of feldenkrais teachers before finalization. no response bias existed based on geographical distribution or gender. however, assistant trainers and trainers were more likely to respond than teachers without these advanced credentials. the main limitation is the overall response rate of 30.5%; this may indicate a risk of lower accuracy for the survey results. however, responses for questions in the preliminary survey that parallel ones in the present survey provided comparable results. as a check on the reliability of the 12-month data, we asked respondents to provide information for representative months of practice for comparison. responses for the representative month review and the 12-month review were similar. while these factors provide support for the reliability and validity of this survey, we cannot eliminate the possibility of non-response bias in our results. conclusions the results of this survey of us guild certified feldenkrais teachers indicated that 90% were college educated in a broad range of disciplines. the most common was physical therapy. over half held 1 or more credentials in conventional health care, cam, or disciplines outside of health care. the most common in each category were physical therapist, massage therapist, and education. the growth in the number of feldenkrais teachers was significant during the 1990s and 2000s and occurred at a faster rate than that for certified feldenkrais assistant trainers and certified feldenkrais trainers. feldenkrais teachers were predominantly located in the states of california and new york, and in the west region. most were women and ages 50 years or older. practices varied in size and settings. just under half of feldenkrais teachers earned 20% or less of their gross income from their practices, while a quarter earned over 80% of their income from feldenkrais practice. information about visits and income indicate most feldenkrais teachers had part-time practices. feldenkrais teachers mostly had offices outside of their homes, operated solo practices, offered purely feldenkrais method lessons, and were directly paid by students. those who were also conventional health care providers were likely to have multidisciplinary group practices with other conventional health care providers, combine feldenkrais method with their licensed practice, and be paid more often by insurers. students were mostly women and mostly 45–64 years old. their primary reason for seeking the services of feldenkrais teachers was to help with pain, followed by non-pain reasons. a quarter of students self-referred while a fifth was referred by conventional health care providers to feldenkrais teachers. consistent with the description of the feldenkrais method as a learning approach, teachers and students utilized the feldenkrais method in a wide and diverse array of settings and applications. these findings can assist decision-making by stakeholders in conventional and cam health care in several ways. first, it may promote strategic planning and practice development for feldenkrais teachers through appropriate access to certification, and enhanced marketing strategies and practice management. second, this study can improve communication among feldenkrais teachers, health care consumers and providers that informs decision-making and fosters mutually beneficial alliances. finally, researchers can use the results to design studies of the characteristics of feldenkrais students and investigations of the safety and effectiveness of the feldenkrais method. additional file additional file 1: definitions of terms provided to teachers in survey introduction. competing interests the first author is a guild certified feldenkrais teacher and member of the feldenkrais guild of north america (fgna). she has received small honoraria from fgna for presenting workshops at its 2005 and 2009 annual conferences. authors’ contributions pb conceived of the study and coordinated and participated in all aspects of its conduct. nn contributed to analysis and interpretation of data, and helped to draft the manuscript. sg contributed to survey development, performed statistical analyses, and helped to draft the manuscript. all authors read and approved the final manuscript. acknowledgements this study was supported by a grant from the iowa osteopathic education and research grants committee of des moines university (dmu) with additional support from the dean of the college of health sciences. we thank stacey long, alanna phillips, and donna taylor (dmu) for their help with development and delivery of the web survey, and the staff at the feldenkrais guild of north america for their assistance with membership information and review of survey materials. author details 1toledo, ohio 43614, usa. 2st. anthony regional hospital, carroll, iowa 51401, usa. 3master of public health program, des moines university, 3200 grand avenue, des moines, iowa 50312, usa. received: 27 march 2014 accepted: 25 june 2014 published: 2 july 2014 buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 14 of 15 http://www.biomedcentral.com/1472-6882/14/217 http://www.biomedcentral.com/content/supplementary/1472-6882-14-217-s1.pdf references 1. barnes pm, bloom b, nahin rl: complementary and alternative medicine use among adults and children: united states, 2007. natl health stat report 2008, 12:1–24. 2. keckley ph, coughlin s, korenda l: the hidden costs of u.s. health care: consumer discretionary health care spending. washington, dc: deloitte center for health solutions; 2012. 3. buchanan pa: the feldenkrais method of somatic education. in a compendium of essays on alternative therapy. edited by bhattacharya a. rijeka, croatia: intech; 2012:147–172. 4. buchanan p, ulrich b: the feldenkrais method: a dynamic approach to changing motor behavior. res q 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2012. doi:10.1186/1472-6882-14-217 cite this article as: buchanan et al.: united states guild certified feldenkrais teachers®: a survey of characteristics and practice patterns. bmc complementary and alternative medicine 2014 14:217. buchanan et al. bmc complementary and alternative medicine 2014, 14:217 page 15 of 15 http://www.biomedcentral.com/1472-6882/14/217 http://www.feldenkrais.com/method/frequently_asked_questions/#8/ http://www.feldenkrais.com/method/frequently_asked_questions/#8/ http://www.feldenkrais.com/profession/international_training_accreditation_guidelines/ http://www.feldenkrais.com/profession/international_training_accreditation_guidelines/ http://www.feldenkrais.com/practitioners/find/ http://www.feldenkrais.com/practitioners/find/ feldenkrais research journal​ • ​volume 6​ (2018-2019) reflections on practice to know slowly: how the feldenkrais method​®​ has informed a dance performance and pedagogic pathway detta howe ba, ma, senior lecturer in dance, university of chichester contact: ​d.howe@chi.ac.uk abstract this two-part essay offers a personal reflection on an emerging feldenkrais-informed practice in dance performance and pedagogy. as a post-positivist piece of writing from practice, the essay acknowledges the first-hand experience of the researcher as documenter of embodied process. the essay makes reference to the research of sylvie fortin and warren long (2000) who explore the potential of feldenkrais learning for the dancer. the writing of moshe feldenkrais (2010, 1990), norman doidge (2015) and guy claxton (2016, 1997) illustrate notions of organic learning and knowing slowly. in part 1 of the essay i reflect upon the impact of the feldenkrais method on my dancing. i highlight how the feldenkrais method offered me the opportunity to get to know the difference between the dancer that moves and the dancer that knows they are moving. part 2 directs the reflection towards the experience of students i have been teaching at the university of chichester, introducing an emerging practice, awareness in motion (aim)​. keywords feldenkrais, dance performance, pedagogy, somatic practice, learning, stillness, improvisation copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:d.howe@chi.ac.uk https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ reflections on practice to know slowly: how the feldenkrais method​®​ has informed a dance performance and pedagogic pathway detta howe ba, ma, senior lecturer in dance, university of chichester introduction it was whilst training in the feldenkrais method​®​ (2011-2015) that i first became aware of the possibility of moving slowly and began to experience a slower knowing. it was through this process of slowing and later stilling that i began to learn how to move again. this learning has evolved into a research pathway where i continue to discover more from the philosophy and fundamental principles of the feldenkrais method. it is only now, upon reflection that i recognise how fixed my approach to learning was as a contemporary dance student, and how my moving had become automatic and unfelt after 25 years of contemporary dance practice. it was this realisation that sparked the beginnings of my new movement learning, developing my need to recapture moving as it happens, to wake up and fine-tune my potential to notice, discover, experience and breathe again. whilst acknowledging the risk of losing the clarity of the immediate through the dilution of the telling, i will aim to immerse the reader with both the subtlety and enormity of my performance practice and offer an auto-ethnographic view to highlight new perceptions of body, time and space as a result of enhancing the experience of moving for myself as a dancer, and later for those i teach. reflections throughout will be italicised as a way to emphasise process and track the embodiment of new learning and change. part 1: ​‘to discover a lost body, my lost body’ my practice i realised that i was moving without knowing what i was doing…i then saw that most people don’t know what they are doing; they just don’t know that they don’t know. feldenkrais (2010: 96) after four years of contemporary dance training (1987-91) which for the most part involved learning steps and relentless rehearsing, followed by freelance repertory work with small howe • ​feldenkrais research journal, volume 6​ (2018-2019) 2 companies (1991-94), i had no sense of who i was or quite how to place myself within the dance world. as i moved towards making my own work, i continued to create in the only way i knew, the way i had learnt, generally working with improvisation in the studio as a means to an end, a way to invent and fine tune dance material to devise a finished product. it was in 2009 that i first noticed a distance between myself and what i was doing, a separation of being, loss of reason and a desperate need for stillness. constantly hurtling towards deadlines, in a cycle of performing, choreographing and teaching, i began to realise that something had been lost, something major was missing; little did i know at the time that it was me. through my introduction to the feldenkrais method in 2011 i started to notice that i was missing the phenomenal sensation of receiving and sensing. in the process of striving to rehearse and perfect what had been found, the richness of the original source had become less vivid. the raw, innocent, vibrancy in the improvisation itself was bypassed and crafted into something other. i began the london 2 feldenkrais training as a way to practice awareness, to get more 1 intimate with being present and to discover more about the person that was moving. it was in this place that i learned to listen to my body and for the first time became involved in, engaged with and a part of my own experience. at the same time, i participated in the solo commissioning dance project with choreographer deborah hay which provided an opportunity to explore this new-found awareness in its infancy. 2 i did not expect it at first, but it soon became clear that hay’s philosophy of moving and the feldenkrais method would inform each other quite beautifully. both share similar principles that include the importance of getting there opposed to arriving; recognising movement habits; embracing uncertainty; and keeping an enquiry alive with playful questioning all of which aim to heighten the experience of moving for the mover. it was here, whilst dancing in an improvised score that i experienced feeling at the moment of moving, the instant sensation of the whole of me, the felt sense of being, a human being moving. this is what i had been missing, this was where the dance was, this was where i was. 1 the feldenkrais training london was held from 2011 to 2015. this was the second training programme of the feldenkrais method to be held in london and was organised by scott clark (uk) and elizabeth beringer (usa). 2 deborah hay is an experimental choreographer from usa who has been a seminal influence on post-modern dance practice and one of the founder members of judson dance theatre. the solo commissioning dance project (2011) was hosted annually by independent dance (london) and gave freelance dance artists the opportunity to work intensively with hay in findhorn, scotland. hay devised a score for each commission and worked with the dancers to explore the potential of the score and in the process developing a solo for each artist. after the two week intensive, there followed a nine month period in which each artist was asked to continue a daily practice of the score to enable the process to ‘marinade’, enrich and develop a depth of understanding, both knowing and not knowing before it could be performed. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 3 increasingly intrigued by the unknown, interested in the unwritten, and curious about the notion of readiness, perception and awareness in the pursuit of presence in performance, my understanding and interest in the potential of dancing had changed. it took me 4 years on the feldenkrais training programme to begin to retrace, relearn and ultimately to re-feel, remembering what it was/is to sense and notice, becoming more intimate with being present. my danced body that had become absent and empty, gradually became more present and full, gaining power and meaning, enriched with new sensations, new possibilities, new life. but what was it about the feldenkrais method that released me and allowed me to become known to myself? for me the feldenkrais method unearthed everything necessary to discover a lost body, my lost body. a method that allows time to explore and discover, gently unwrapping layers of doing and done to experience the unknown and the undone. i was introduced to terms such as ease and pleasure, something i had long forgotten in relation to dancing. the idea of replacing judgement with curiosity, investing in the process opposed to reaching for the end goal and the strategy of moving slowly were all elements that had been overlooked as part of my dance training and concepts that i realised would need time to absorb. thankfully i found time to allow these concepts to seep into my movement learning, with each lesson offering the invitation to slow down and the opportunity to encounter new spaces in the body and as a result, a new body in space. in his book ​the brain’s way of healing​ norman doidge emphasises the importance of moving slowly in the feldenkrais method, explaining that ‘slowness is the key to awareness and awareness is the key to learning’ (2015: 172). guy claxton reinforces the importance of ‘the slow ways of knowing,’ suggesting that only when the ‘brain-mind’s activity is…meandering can it spread and puddle’ (1997: 214), and in doing so notice familiarity and habitual pathways of motion. claxton elaborates that ‘to tap into the leisurely ways of knowing, one must dare to wait. knowing emerges from, and in response to, not-knowing’ (1997: 6). claxton’s thoughts here capture my interest in the practices of feldenkrais and improvisation, both knowing and not knowing, emphasising the importance of how this learning is a ‘process of coming to know’ which claxton concludes, ‘emerges from uncertainty’ (1997: 6), a starting point for any improvisatory score. my learning ‘....knowing oneself….that learning is the gift of life.’ (feldenkrais 2010: 58) feldenkrais method awareness through movement​®​ lessons (atm​®​) propose questions and new movement challenges that can confront and expose habit and effort by returning to the simplicity of the bones and moving slowly. when moving is small and slow, sensory distinctions howe • ​feldenkrais research journal, volume 6​ (2018-2019) 4 can be made between movements; as claxton suggests, spreading and puddling this new information throughout the system so that change is possible. moving slowly however, was not part of my movement vocabulary when i began my feldenkrais training, and i can remember wondering: ‘what is the purpose of working so slowly and repeating the same movement when nothing seemed to be happening?’ so used to copying material from other bodies, and using my eyes to make sense of what i was seeing, i was now offered the option to close my eyes and respond to moving in a different way, sensing and feeling, listening and responding, searching for answers to questions and suggestions through a process of discovery. with so much time given to a simple idea, there was no alternative but to slow down and notice it and with this awareness alone, i began to sense change. in those early stages, i was unable to put these sensations into words but knew this was something i needed to pursue further in an attempt to unravel what was happening. as i reflect, i realise that my early experiences of the feldenkrais method exposed the kind of learner i was and also the trained dancer in me. i was very much a ‘hare,’ wanting to find an answer, to reach the end of a movement, but in time i realised how much i was missing in my eagerness to arrive at the end point. gradually reducing power and speed, i had time to notice subtleties of movement. a felt connection and collaboration between mind and body evolving, responsive and open to sensations and feelings that had become unfelt, unseen and unheard. the ‘tortoise’ was beginning to stretch its legs! the great value of this technique is that by reducing tension in a particular group of muscles, it provides a methodical study of the entire self-image, and through study, improvement….you discover, rediscover yourself as your structure is capable of being yourself to the limits of your body. you can be reborn. (feldenkrais 2010: 106-107) an awareness through movement lesson will often begin by inviting participants to lie on their backs, offering quiet space and time to arrive, to shift from a place of doing and busy to resting and peace. the process continues with the practitioner guiding the participants through a scan of their bodies to wake up and notice that which may have been forgotten or far from daily thinking. this scan allows attention to be directed internally to broaden perception and awareness to feeling and sensation. a simple movement is often used as a way to notice change and direct awareness to a particular part of the body. this small movement can be a place to begin and can be referred to again and again as the lesson unfolds. it could be to notice how the head rolls, the shoulder lifts or the pelvis lies, or simply to notice sameness or difference in the whole self, whilst resting on the floor. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 5 it was being in contact with the floor, in moments of restful awareness that i began to sense the wonder of moving slowly and became intrigued by stillness; how each time the experience was new and ever changing. it was through this invitation to be still that i rediscovered how to move. stillness allows time to arrive and be, to receive and follow, encountering the places between doing and not doing, dancing and not dancing, the moments between sensing, interpreting and responding. as a result of finding stillness and giving time for myself to settle and listen, the smallest of initiations seemed magnified, purely through my awareness and attention given to them. the intimacy of both moving slowly and beginning small took me to unknown places, both physically and emotionally, discovering moving in a way that was new to my vocabulary. the feldenkrais method often directs attention to the skeleton and explores the movement possibilities of the architecture of the bones, enhancing sensitivity by reducing effort through suggestion, enquiry and provocation. discovering movement through increased awareness of my bones altered everything i understood about moving. i felt a stronger connection with the ground which in turn, fuelled the rest of me, allowing muscles to be soft and mobile as opposed to hard and held; each lesson inviting that which was unknown, unfelt and ignored to become part of my knowing body. awareness through movement enabled me to experience a new sense of myself, what it is to be here now, a space to become who you are as opposed to who you were or, who you think you should be. moving with this enhanced understanding transformed my improvisatory practice, encouraging new possibilities of creativity and enriching the experience of the moment of moving. i began to realise that the feldenkrais method invited self-learning, self-knowing and self-acceptance, shifting the emphasis from head to body and in doing so encouraging the potential to free self from the image and known to the felt and knowing. by rejecting the traditional mirror image used in much dance training which tends to externalise, distort and alter perceptions of self, i moved towards a practice where reflection is internal and sensitive, nurturing self-understanding and growth. the investigative nature of awareness through movement lessons enhanced my studio practice utilising the principles of slowing, sensing and processing, layer by layer. this enabled me to find new strategies in which to reclaim lost or forgotten moving. it is a practice that allows time for learning and space for awareness to discover potential, new knowing, new self, here-ness, nowness. the sheer immediacy of body in time and space – where am i now, this moment, this feeling, this knowing. as claxton writes howe • ​feldenkrais research journal, volume 6​ (2018-2019) 6 time spent discovering things for yourself, even though someone could have simply told you the answer, or given you the information, may be time well spent if the outcome is greater confidence and competence as an explorer. (1997: 220) performance my interest in performing shifted as a result of my feldenkrais learning. with renewed awareness, i recognised how much of my dancing had been about giving, attempting to rise to the expectations of others rather than nurturing, noticing and satisfying my own curiosity. this unexpected shift came into being as a result of discovering what it feels like to breathe, and for that to become part of my dancing experience. within each awareness through movement lesson there is time to notice breath, and each time i did i felt more connected, a wholeness evolving that had not been present before. as the spaces in my body were infused with breath i began to notice expansion; ribs softening, opening, spreading, and the ripple effect of this echoed its way to other parts of me. discovering new found space inside my body affected a change as to how i perceived space outside of it. i moved differently, walking, sensing, noticing, seeing as if for the first time; sky, clouds, buildings, trees, flowers, grass, people: blinkers removed, inviting an explosion of colour, sound and texture that made moving in the world an altogether new experience. by returning to my breath and bones, i discovered a sense of me in the world again and my performance practice highlighted this change. i explored dancing in gardens, galleries, on beaches and other diverse venues where the space became part of the experience, adding more texture and variety to feed my senses. as i began to discover more of me, i enjoyed the prospect of having a dialogue with an audience, dissolving the 4th wall and allowing them to participate and feed the investigation. the audience and the space became part of the dance as they were part of my awareness, alive, breathing together. as my practice of the feldenkrais method and improvisation continue to collide and coincide, i am often overwhelmed by a sense of presence and being; at times, so deeply present to become almost absent, disappearing further into self as discovery and sharing take place together. awareness through movement lessons normally take place in silence, with only a spoken voice interspersed to guide, offer and suggest. exposure to the richness of silence unexpectedly released me from my dependence on music as part of my creative process. once reliant on recorded sounds, i am now inspired by the ambiguity, humour and vulnerability of silence, listening to my newly discovered movement language, whilst responding and interacting with the audience and the space; a physical conversation that is raw, vibrant, teasing and real. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 7 in 2015 i devised a dance called ‘​sometimes​’ in which i chose to use my spoken voice. dancing in this solo performance had a new feeling; everything magnified, enriched and full of flavours; allowing the vulnerability of not knowing to become part of the dance, part of being human and something to share with an audience. i evolved from a dancer that moves to a dancer that knows they are moving, valuing and enjoying the paradox of knowing and not knowing in my body and in the dance space. i intend to return to the performance practice of this work through the lens of my current learning, to challenge the new familiar, once again experiencing movement from stillness, the sound of movement from silence and the stimulus of language in order to inform my practice and further enrich my process. continuously inspired by awareness through movement lessons, intrigued, confused and often overwhelmed by what i might find and where i would end up, i knew this organic sense of self-discovery was something i needed to share with my dance students, offering them the opportunity to explore new moving in their habit bodies. the following section tracks the emergence of my pedagogic practice, awareness in motion (aim) where i draw upon the feldenkrais method to nourish and support my continued learning. i will share examples of how this teaching approach aims to transfer the potential of the feldenkrais method into a dance practice that may inspire and encourage self-awareness for others in the moment of their dance training rather than waiting to discover it 30 years later. part 2: ​‘to be a conscious dancer’ preface somatic education is not only something new and unexpected, it is something of momentous consequence: it entails a basic transformation in our understanding of the human species and of the capacities of the human individual. (hanna 1980: 188) the field of somatics was first defined by thomas hanna in the 1970s (hanna, 1976, 1980. see also eddy 2009: 7) to describe an approach to movement inquiry that encourages ‘easeful, mindful, efficiency of the body’ and looks at ‘each person as a functional whole’ (fitt 1996: 304). almost 45 years later hanna’s understanding of the ‘inner-relational process between awareness, biological function and environment’ (hanna 1976: 30) has never been more prevalent. the impact of working and living in the 21st century has recently seen a huge rise in the awareness of health and wellbeing in the workplace. providing people with methods to relax and reduce stress levels, offering practices that provide a rescue remedy to unwind, rebalance howe • ​feldenkrais research journal, volume 6​ (2018-2019) 8 and recover. somatic practices which aim to integrate and encourage a more holistic approach to moving and being now seem to be more recognised and accessible for all. with increased knowledge of bodywork through the growth of somatic practices alongside the development of dance science, practices such as alexander technique, pilates, rolfing, ideokinesis and the feldenkrais method are now highly regarded and recognised in many higher education institutions for dancers in training. the potential of this learning has been slowly seeping its way into the dance education sector. for me it began in the early years of my training (1990) when i first experienced a contemporary dance class informed by the feldenkrais method. this was taught by scott clark, now a highly influential practitioner based in london, who was a professional dancer before training to be a feldenkrais practitioner in 1987. skip forward 24 years to 2011, when i participated in the second london feldenkrais training programme, where i had the opportunity to work with scott again (he is now currently co-directing the third training programme, 2016-2020) coming from a dance background, clark has been a huge inspiration to many dancers like me who have pursued the feldenkrais method as a way to inform their own practice and take this learning out into the field. i am in the fortunate position of being able to develop a teaching programme and share my learning with the students at the university of chichester. this is made possible by the legacy of work of those practitioners who have paved the way, passionate about the person as a whole functioning being and interested to discover and disseminate ways to enable ease, efficiency and pleasure in our moving and being. awareness in motion the feldenkrais method ‘provides an environment where mistakes are accepted and questions are encouraged, ’where ‘the student’s curiosity is fostered, playful exploration is nurtured, and self-discovery is the key’ (lessinger 1996: 330). this sounds like the perfect place to learn? unfortunately this was not part of my experience as a child through my school years or as part of my dance training. if i had access then to what i know now, how different my experience of learning and getting to know would have been. in the following writing i aim to share how my understanding of learning has changed through personal feldenkrais method practice and the consequent evolution of my role as a movement educator, where i attempt to offer dance students the freedom to make mistakes, to learn through play and fundamentally to realise that ‘the body is our first and most profoundly relevant teacher’ (fitt 1996: 367). many dancers are drawn to somatically informed ways of working, often as a result of injury, fatigue, curiosity, maturity and/or just another way to inform their movement learning. the feldenkrais method has influenced dance practitioners, and many of those have informed the howe • ​feldenkrais research journal, volume 6​ (2018-2019) 9 current discourse about practice. experienced practitioners and movement educators warren 3 long and zoran kovich have continued their dance practice into their later years as a result of re-learning through the feldenkrais method. they, as i, discovered the possibility of moving without causing further injury and re-discovering what it is to feel pleasure in and ease of motion. i am therefore aware of and intrigued by how they and others have taken the method into the dance studio, whilst at the same time finding my way. as a starting point, i take inspiration from awareness through movement lessons, noticing growth and change from a simple seed of an idea and carry this new movement knowing into the dance studio to see where, if given time, my improvisation would choose to take it. weaving my way through the potential of awareness through movement and my evolving practice, awareness in motion (aim), i will attempt to discuss as claxton describes a kind of knowing which is essentially indirect, sideways, illusive and symbolic; which hints and evokes, touches and moves, in ways that resist explication……accessed not through earnest manipulation of abstraction, but through leisurely contemplation of the particular. (1997: 173) learning sideways both feldenkrais and claxton highlight the need for tacit learning, believing that ‘learning power grows through experience’ (claxton 1997: 222) and it is the experience of doing, feeling and sensing that help us to understand, notice and make sense of the world around us. in biology classes at school, children are introduced to the term osmosis to explain how plants absorb water to prevent them from wilting. it does this through the cell walls which are semi-permeable and thus the process of osmosis is much like a sponge absorbing water slowly and continuously, to keep the plant alive. this concept of absorbing or soaking up the plants life blood can be related to the term organic learning, coined by feldenkrais among others, believing that learning is an organic process and much like the needs of a plant, requires slow and continuous absorption to enable growth and change to take place. claxton refers to the notion of learning by osmosis, explaining that the greater part of the useful understanding we acquire throughout our life is not explicit knowledge, but implicit know-how. our fundamental priority is not to be able to talk about what we are doing, but to do it…..and the corresponding need for the kind of learning that delivers know-how…learning by osmosis …is not one that we outgrow. (1997: 20) between the ages of 0-5 years we experience the most influential learning of our lives, mostly due to the fact that it is tacit, experiential learning through a process of trial and error. learning 3 influential practitioners exploring the interplay between the feldenkrais method and improvisation practices for learning include simonetta alessandri, thomas kampe, jackie adkins, caroline scott, sylvie fortin, warren long, zoran kovich and jenny roche. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 10 to sit, stand and walk are enormous milestones for any child, but to reach this place of stability and locomotion, the child needs to fall and recover, to try one way then another, building layers of understanding and know-how. this evolves from a body that is given time and space to explore, be curious, slowly absorbing strategies for motion and cultivating body knowledge. herein lies my interest in learning, which has been enhanced through my experience of the feldenkrais method and led to the development of my practice aim, an approach to movement discovery from the inside out. it was being exposed to the essence of organic learning which tapped into my awareness and unwrapped my curiosity, and in doing so made me realise how important it was to refresh and invigorate both what and how i was teaching. i began to question how much i was doing in an attempt to encourage and inspire, very quickly realising that i was working far more than the students. they were following ‘externally’ but with little thinking or processing taking place. as i began to learn more about my potential to move and the circumstances in which this learning was allowed to unfold, i began to shift my emphasis on doing to feeling, and for that i needed to encourage the students to find more for themselves opposed to me trying to find it for them. this was and still is the hardest part of my pedagogic journey. teaching began to require a similar approach to my performance practice. rather than giving and entertaining to fulfil a certain expectation of what it is to teach, i needed to learn to share and engage, converse and respond, listen and wait. allowing time for thinking, questioning, searching; providing a space for dance students to experience themselves in motion; a place where learning happens and the student becomes part of their own organic process. the feldenkrais method helps to bring us back to now, back to the body and reintroduces the potential of learning again, organically, slowly, absorbing as by osmosis, in the way that a child absorbs. the method offers lessons that allow for playfulness and the opportunity for self-discovery, moving with ease, pleasure and wonder. it is this sense of play and exploration that i believe is vital for a dancer and why i evolved awareness in motion (aim). this practice aims to give dancers in training the opportunity to experience their being in motion as a way to learn more about their being; it uses words to find the body; body to find a language; language to find a voice. a practice that consciously engages with the notion: where am i now? a dance practice and study for the 21​st​ century that aims to disrupt, dislodge and dismantle in order to unearth, discover and renew. the practice the following outlines my growing practice, ​awareness in motion​; moving away from the more vertical, linear, known routes, to something more meandering, off centre and horizontal. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 11 awareness in motion (aim)​ aims to provide a wider context to explore sensations experienced in an awareness through movement lesson through improvisation, offering the students more time to experience what they have noticed. the sensations of newness are explored through play in the studio to discover the potential of these movement choices. improvising in this way allows a dancer freedom to discover moving in their bodies, time to notice what is happening in this moment and the next. judging the aesthetic with the use of studio mirrors soon becomes outweighed with sensing and feeling. learning that is not comparable with anyone else’s, unique and personal and as a result more powerful than anything any teacher can give. aim can direct learning in a variety of ways, sometimes informed by a quality or texture of the moving experienced from the preceding awareness through movement lesson or an idea or concept from the lesson that might feed an improvisatory exploration. an example of an aim exploration here highlights a particular favourite awareness through movement lesson, often known as the ​four corners​ which i enjoyed as part of feldenkrais training: spring 2012. this lesson draws attention to the right and left shoulder and the right and left side of the pelvis, to enhance a feeling of width, depth and distance between each. connections are made linearly and diagonally as a way to notice movement in the spine and how the rest of the participant’s body responds to the idea of pressing and lifting each corner towards and away from the floor or each other. from this lesson, the consequent moving enquiry can begin from lying on the back at the end of the lesson to explore the feeling of pressing and lifting in other parts of their body, expanding the investigation to notice similarities and differences in sensation. feeling as one part presses, another lifts; one becomes heavy and weighted whilst the other becomes light and without weight. this exploration can evolve from lying to sitting to standing and then interact with all three to experience the potential of giving and taking weight in unexpected, unplanned ways. a more conceptual challenge would be to encourage the students to explore around a theme, which in this instance, i refer to the terms towards and away. this can begin on the floor as before or in standing where the dancer is given time to play with the notions of towards and away, in the space, from an embodied perspective and/or in the imagination. as with pressing and lifting, when movement occurs with the intention of towards, that same movement is simultaneously moving away, which can enhance a more global sense of the self in motion. these are ideas that may encourage dancers to think differently about who is moving and how they are doing so, which may allow new sensations and awareness of movement to arrive. this learning however, takes time and needs continuous soaking as does a plant, and as claxton writes with reference to the work of [the] poet, ‘we hang motionless for a moment in the presence of something made strange and new…’, and here, ‘one must not search for meaning… but marinade oneself in the poem’ (1997: 177). howe • ​feldenkrais research journal, volume 6​ (2018-2019) 12 on occasion i carry the fundamental principles of a lesson through to more conventionally taught movement sequences, where the student watches and tries to emulate that which is demonstrated. early research carried out by fortin and long in 2000, looked to discover ways to encourage a somatic awareness when dancing in a more known practiced way, searching for language to inform the practice and allow students to find their way of moving and sensing the material given. it is within this teaching framework however, that for many students it is all too easy or automatic to fall back into habits of externalizing what they see opposed to noticing what they feel. to support this difficult transition i add thoughts, questions and movement pathways introduced in the feldenkrais lesson to encourage a new way of thinking about the learning potential that is now available within a given movement. this process enhances the notion that learning material can be more than merely picking up steps; it can be about pressing or lifting, moving towards the elbow or away from the ceiling. as with fortin and long, i have realised that it is very much about language choices, suggestions and questions that can begin to support this transition from seeing and doing to sensing and feeling. long highlights using initiation as a way to explain and instigate a movement as well as directing attention to sensation, comparing these sensations, and describing skeletal functioning, all concepts adapted from the principles of the feldenkrais method (2000: 6). rewriting a language, searching for ways to describe sensation and guide another to experience their own is very much at the forefront of my research, to enable the students to embody what is theirs and within that place, find more of themselves opposed to habitually copying and becoming another. the student experience my teaching practice has grown with the support and interest of the dance department at the university of chichester, who have recognised a change in the students as a result of this learning. initially i delivered a 15 week module teaching once a week for an hour and a half as part of the technique programme, which began in the academic year 2016. this programme was designed for first year students (28 in total) as i felt on arrival at the university each will bring their particular movement history, but will more than likely still lack a basic awareness of their bodies. in these lessons, with no one to follow copy or pretend to be, they have just time and space in which to discover the possibility of getting to know themselves. at the end of each class, discussion took place to allow those who were willing to share their experiences, providing the students with a supportive environment to understand and articulate their findings. at the end of each module the students were given a questionnaire, allowing those the opportunity to write when speaking might be difficult and also, all a chance to reflect on their process, what they had discovered, enjoyed or found difficult. the students were aware that their answers were purely for me to learn from their learning and that their participation was optional. i explained that this was an informal research process and their comments would howe • ​feldenkrais research journal, volume 6​ (2018-2019) 13 provide a way for me to gather feedback to reflect on and improve my practice; these comments when given were anonymous. i have edited the feedback below with the aim to share thoughts that came from individual students as examples of the kinds of comments i received, recognising of course that the few who did not take part may have had more negative comments or simply found it difficult to exchange their experiences for words. in response to some of the given questions listed below, i have attempted to categorise the answers. you may notice however, that each answer could quite happily sit under any of the given headings: 1. as a result of the awareness through movement (atm) lessons, did you experience a different sense of yourself as a person/dancer? can you explain/describe your findings? 2. as a result of your practice of aim did you have a different sense of the possibilities of yourself as a mover in everyday life and in the context of improvisation? can you explain/describe your findings? 3. as a result of your experience of both atm and aim, do you feel your experience of moving has changed? 4. do you feel you have more understanding of the potential of improvisation as a tool for exploring your movement? can you explain/describe your findings? student feedback the first group of responses i have categorised as self-learning, or maybe the term ‘selfing’ would be appropriate, coined by elizabeth beringer as the ‘ongoing process of becoming self’ (seminar discussion, feldenkrais training programme 2011-15). beringer was introduced to this idea by dr heinz von forester in 1977, who explained that the self is not a collection of attributes and should not be considered as a noun, but rather a dynamic process: selfing (beringer 2001: 36). ● i understood something that changed my way of thinking and dancing completely ● it felt amazing to be discovering how easy movement can be ● the possibilities of movement now seem endless and exciting! i don’t see my body parts as they were before, i see the back, side and front of them giving me a more 3-dimensional sense of myself that allows me to move in new ways. ● my dancing in this class is a lot more ‘whole’…after one exploration, my body and mind felt so alive, it almost made me cry… i felt so incredible howe • ​feldenkrais research journal, volume 6​ (2018-2019) 14 ● i feel more connected ● one thing moves another follows (personal communications from students, university of chichester, 2016) self-acceptance also seemed to alter as a result of this practice ● i have started to care a bit less about how i look ● i feel like i can be myself without being judged for doing it wrong ● the lessons helped me to accept my body more, so i am not constantly concentrating on my inadequacies (personal communications from students, university of chichester, 2016) and a new sense of knowing seemed to be apparent, self-knowing ● through this experience i don’t feel limited anymore because i know my body has infinite possibilities of moving ● i feel more confident ● all of a sudden i lost all of the anxious feelings i had and i felt like i had found myself ● the first time i felt myself ● i feel as though i can hear my body now (personal communications from students, university of chichester, 2016) although this is not a large number of participants, i believe that from these responses it is possible to see with this new found sense of awareness, that the potential to move in other ways becomes a choice. through this practice i could see the students grow week by week, making more connections, learning more about themselves in motion and gradually becoming less fearful of the unknown. i found it a privilege to observe their dancing as they grew in confidence and trust in the process, sharing the intimate with the expansive, the sensitive and curious with risk taking abandon. one of the most rewarding moments in the taught sessions occurred when i could hear, see and sense all those in the room breathe, and then find rest and new movement through stillness. this was by far one of the most challenging aspects of the method i have found for today’s dancers. managing the high speed living of the 21​st​ century alone can be exhausting, but add to this the workload of a dancer in training, where they often put themselves and their bodies under intense physical stresses, risking fatigue and potential injury through overuse or bad practice. rarely do they have time to be slow or the confidence to be still. it was fascinating to notice how the majority of students at the beginning of the programme would twitch and wriggle, stretch, flex, and look around, unsure about what they were doing and why they were doing it. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 15 as the weeks accumulated and layers of learning were added to each lesson, anxiety and judgement seemed to dissolve, replaced with curiosity and increasing trust, until the magical moment, approximately half way through an awareness through movement lesson, where stillness pierced the space. here i would allow the students to linger and ‘marinade’ (claxton 1997: 177) in that unique learning place where the nervous system settles, becomes quiet and less busy, ‘defences dissolve, walls come down, vulnerability becomes the door to intimacy, to being ourselves, to being real, to being where we are’ (almaas 2008: 53) there is something about experiencing and sharing uncertain vulnerability in the dance studio or on stage that i believe allows a dancer to unfurl; softening, discovering and getting closer to the person inside. it can provide a playground to restore the innocence and curiosity of the child back into the adult, the being back into human, the human back into dancing. a major point of departure for my learning and one which i continue to practice, question and share, is the ability to accept, enjoy and bask in the unknown, to enter a studio or performance place unplanned but ready and receptive to what may arrive. experiencing a new relationship with time and space, drifting into now opposed to fast falling into the future, allowing the unknown to unfold rather than reaching, grasping, going and getting. aim continues to grow as i consider how feldenkrais lessons can best support the dancer in the early stages of their training, how much to challenge and disrupt when their process is a matter of weeks rather than years. providing a nurturing environment to enable the students to shift away from curriculum/syllabus led learning to something which may feel less secure and unsettling, but a process that allows the human being to re-establish a new sense of stability and awareness of choice in a world of limitless possibilities. following on from the first year of this teaching model, in sept 2017 i delivered the module again to a new cohort of students, with a few tweaks and adaptations as a result of the previous years’ experience and my understanding of less is more. in sept 2018, the first year module continued with the addition of a new programme of lessons designed for the second year students (21 in number) in which i introduce them to the notion of the ​fish body​ to discover the potential freedom of moving the ribs. the fish body is a term i first encountered in a workshop with malcolm manning at impulstanz (vienna 2011) where the 4 potential of moving the rib cage was paralleled with the skeletal structure and movement of the fish. i have explored this notion further through the writing of dr keith harrison, ​your body, the fish that evolved​ (2007) and neil shubin, ​your inner fish​ (2008). with this analogy, combined with movement research, i have increased the potential of my dancing, which for the most part involved discovering movement in my ribs and breathing. i have become more aware of how the majority of young dancers are often confined by holding the spine straight and rigid, and how their ribs act somewhat like a cage, trapping moving potential inside. the awareness through 4 based in finland, malcolm is a somatic movement researcher, educator and performing artist howe • ​feldenkrais research journal, volume 6​ (2018-2019) 16 movement lessons chosen, alongside studio play time, aim to share some of my learning and invite others to experience the movement potential of ​feeding the fish​, the proposed title for the paper i hope to disseminate in january 2020. giving myself permission to go slowly, be gentle and rest, i aim to infuse, inform and nourish my ongoing artistic practice with breath and new knowing, which will emerge later this year as i encounter the unknown stories of ‘​this time​’ (the sequel to ‘​sometimes​’ referenced in part 1). my pedagogic enquiry will continue to search for language which can soak seamlessly into the dancers’ body to enable learning without looking, to bring the sideways to the vertical whilst maintaining contact with the first person. i will be devising the third part of my evolving teaching practice for september 2019 in which i aim to play with particular awareness through movement lessons that can offer third year dance students the opportunity to discover freedom in the neck, shoulders, eyes and tongue, all with the aim to enrich the sensation of themselves in motion, to experience a new movement language, to be a conscious dancer and ultimately to become their own best teacher. references almaas, a. (2008) ​the unfolding now​. boston: shambhala publications inc. beringer, e. (2001) ‘self-imaging’. ​feldenkrais journal 13​, 33-38 claxton, g. (1997) ​hare brain tortoise mind​. london: fourth estate claxton, g (2016) ​intelligence in the flesh​. new haven and london: yale university press doidge, n. (2015) ​the brain’s way of healing​. new york: penguin books eddy, m. (2009) ‘a brief history of somatic practices and dance: historical development of the field of somatic education and its relationship to dance’. ​journal of dance and somatic practices 1​ (1), 7. available from <​https://wellnesscke.net/downloadables/abriefhistoryofsomaticanddance.pdf​> feldenkrais, m. (2010) ​embodied wisdom: the collected papers of moshe feldenkrais​. ed. by beringer, e. berkeley: north atlantic books feldenkrais, m. (1990) ​awareness through movement​. new york: harpercollins publishers fitt, s. s. (1996) ​dance kinesiology​. 2nd edn. new york: schirmer books fortin, s., and long, w. (2000) ‘integrating the feldenkrais method within dance technique class’. available from howe • ​feldenkrais research journal, volume 6​ (2018-2019) 17 https://wellnesscke.net/downloadables/abriefhistoryofsomaticanddance.pdf <​https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_meth od_within_dance_technique_class​> (30 march 2019) hanna, t. (1976) ‘the field of somatics’. ​somatics: magazine-journal of the bodily arts and sciences 1​ (1), 30-34. available from <​http://somatics.org/library/htl-fieldofsomatics.html​> hanna, t. (1980) ​the body of life​. new york: knopf harrison, k. (2007) ​your body: the fish that evolved​. london: metro publishing lessinger, c. (1996) ‘the nature of the feldenkrais method and its value to dancers’. in ​dance kinesiology​. 2nd edn. ed. by fitt, s.s. new york: schirmer books shubin, n. (2008) ​your inner fish​. london: penguin books biography detta howe is a senior lecturer in dance at the university of chichester, teaching on both ba and ma programmes and co-directing their postgraduate company ​mapdance​. in 2013 detta completed her own masters which furthered her interest in improvisation and awareness in motion, challenging her working processes and curiosity about the dancing body. she has continued her research pathway both as a soloist and with independent artist cai tomos, investigating an embodied understanding of presence in performance, deepening her enquiry through improvisational practices. in august 2015 detta completed a year feldenkrais method training; the philosophy of which continues to inform the development of her understanding of awareness, efficiency and choice and continues to enrich her performance and pedagogical practice. howe • ​feldenkrais research journal, volume 6​ (2018-2019) 18 https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_method_within_dance_technique_class https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_method_within_dance_technique_class http://somatics.org/library/htl-fieldofsomatics.html untitled-1 feldenkrais research journal • volume 1 (2004) article the feldenkrais method: a dynamic approach to changing motor behavior patricia buchanan indiana university beverly ulrich phd; university of michigan abstract this tutorial describes the feldenkrais method and points to parallels with a dynamic systems theory (dst) approach to motor behavior. feldenkrais is an educational system designed to use movement and perception to foster individualized improvement in function. moshe feldenkrais, its originator, believed his method enhanced people’s ability to discover flexible and adaptable behavior and that behaviors are self-organized. similarly, dst explains that a human-environment system is continually adapting to changing conditions and assembling behaviors accordingly. despite little research, feldenkrais is being used with people of widely ranging ages and abilities in varied settings. we propose that dst provides an integrated foundation for research on the feldenkrais method, suggest research questions, and encourage researchers to test the fundamental tenets of feldenkrais. keywords dynamic systems theory, intervention, movement, perception-action copyright ©: the copyright for this paper remains with the author(s). first published: research quarterly for exercise and sport, vol. 72, no. 4, p315-323 (2001). please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 315315315315315 buchanan and ulrich research quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sport ©2001 by the american alliance for health, physical education, recreation and dance vol. 72, no. 4, pp. 315–323 key words: dynamic systems theory, intervention, movement, perception-action the purpose of this article is twofold: first, to provide a tutorial on the feldenkrais method;1 and second, to propose dynamic systems theory as a theoretical basis for testing its efficacy. the feldenkrais method was designed as an approach to changing and improving motor behavior over time—or simply, motor development—whether within a single session or over years of training. we believe this method is based on plausible tenets, made more intriguing by the many similarities to the principles of a popular contemporary theory—dynamic systems theory. interestingly, the feldenkrais method has been in practice since the 1940s, long before many theorists began to recognize and study the connections between dynamic systems theory and human motor behavior. little experimental research has been published that examines the effects of feldenkrais on performance. regardless, its use with individuals and groups is increasing in a variety of settings including private practices, health clubs, schools and universities, and hospitals and clinics (feldenkrais guild® of north america, 1996). practitioners might work with an infant learning to stand up from the floor; an older adult trying to get down to the floor without falling; athletic teams, dance companies, or orchestras seeking to refine performance; or workers wanting to avoid repetitive motion complaints. by describing the feldenkrais method and relating it to dynamic systems theory, we hope to motivate researchers to rigorously examine this approach to changing motor behavior. we begin with an overview of the feldenkrais method, then draw parallels and distinctions between feldenkrais and dynamic systems theory. after reviewing existing research, we present suggestions for future study. fundamentals of the fundamentals of the fundamentals of the fundamentals of the fundamentals of the feldenkrais methodfeldenkrais methodfeldenkrais methodfeldenkrais methodfeldenkrais method the feldenkrais method of somatic education is designed to improve function in activities of daily living, work, and recreation. its proponents believe more effective and efficient actions can emerge from guided exploration of movement that promotes improved attention and awareness and refines the ability to detect information and make perceptual discriminations. regular use of such attentive explorations and integration of the skills developed during these lessons into activities of daily living lead the feldenkrais method£££££: a dynamic approach to changing motor behavior patricia a. buchanan and beverly d. ulrich submitted: june 21, 1999 accepted: march 19, 2001 patricia a. buchanan is with the department of kinesiology at indiana university. beverly d. ulrich is with the division of kinesiology at the university of michigan. this tutorial describes the feldenkrais method and points to parallels with a dynamic systems theory (dst) approach to motor behavior. feldenkrais is an educational system designed to use movement and perception to foster individualized improvement in function. moshe feldenkrais, its originator, believed his method enhanced people’s ability to discover flexible and adaptable behavior and that behaviors are self-organized. similarly, dst explains that a human-environment system is continually adapting to changing conditions and assembling behaviors accordingly. despite little research, feldenkrais is being used with people of widely ranging ages and abilities in varied settings. we propose that dst provides an integrated foundation for research on the feldenkrais method, suggest research questions, and encourage researchers to test the fundamental tenets of feldenkrais. growth and motor development untitled-1 4/15/2004, 12:37 pm315 316316316316316 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 buchanan and ulrich to further refinements and more seemingly automatic use of these motor abilities. practitioners believe feldenkrais is “an educational system that develops a functional awareness of the self in the environment” feldenkrais guild® of north america, 1997, p. 3). importantly, the overarching goal is to help people become self-directed learners who can apply the perceptual-motor skills and exploratory strategies teachers believe to be fostered by feldenkrais lessons to a variety of learning situations. because of the focus on learning, guild certified feldenkrais teachers ® and practitionerscm often identify the people they work with as students, not clients or patients. feldenkrais teachers have applied this method to people of all ages and all abilities, with the goal of helping them learn how to improve their lives. there are two complementary styles of teaching in the feldenkrais method—awareness through movement® (atm) and functional integration®(fi). through the specific use of sensorimotor experiences, both approaches purport to enhance people’s awareness of their habitual solutions to motor problems and the sensations accompanying those habits, demonstrate other solutions, and help students select easier, more efficient, and more effective movement options. practitioners who use this method believe that the impact of a single lesson may be relatively minor in the moment, but they expect more noticeable effects to accumulate over a series of lessons. sometimes rapid and dramatic changes in behavior are reported to occur within a session (e.g., see the feldenkrais journal; rosenfeld, 1981). atm lessons are designed to enable feldenkrais teachers to work with more than one student at a time, while allowing for individualized responses to common sets of instruction. atms are verbally guided movement explorations in which teachers focus the students’ attention on the sensory information that accompany a series of movements and minimize focus on the larger movement outcome of the lesson. students often come to feldenkrais teachers with a specific movement problem in mind (e.g., to reduce back pain, to improve tennis serve). but during lessons, teachers primarily direct students’ awareness to the exploratory process. in turn, teachers observe students’ responses to the instructions and attempt to adjust directions and ask guiding questions to match the demonstrated needs of the students. the feldenkrais teacher may select atm lessons with a broad goal in mind of improving the students’ abilities to perceive sensory information and change their behavior accordingly or for a more specific sensorimotor function, such as lying down on and standing up from the floor, or improving the movement skills used in alpine skiing (feldenkrais, 1972, 1981; feldenkrais guild® of north america, 1997). a sketch of an atm in which the goal is to enable students to transition efficiently from supine to sitting is presented in the appendix. during an fi lesson, feldenkrais teachers also use touch to direct attention, guide a student’s movement, and gather additional information about how a student is acting. thus, fi lessons are believed to afford the exchange of more specific and richer information between the teacher and student. as with atm lessons, teachers organize fi lessons with students’ functional goals in mind, without prescribing the solutions (feldenkrais, 1981; hanna, 1980/1993). fi and atm are two approaches to teaching similar lessons. a teacher could give one or more fi lessons on the movement theme of an atm about rolling to sit (see appendix). part of an fi lesson might focus on investigating a component of this function. for example, the student, while lying supine, might be able to do an undifferentiated log roll but have difficulty rolling using differentiated movements. being able to bend the legs then sequentially roll affords the possibility of moving efficiently from supine to sitting in a continuous motion. a student might find this challenging because of difficulty tilting the knees to the right and rolling the pelvis to that side. given the complexity of human structure-function, many reasons could exist for this difficulty. the feldenkrais teacher would attempt to discover how the student currently does the movement, bring this into clearer focus for both the teacher and the student, and then consider other possibilities. within this method, a detailed awareness of how a person currently organizes a solution to a movement problem is considered to be foundational to and seamless with improvement. feldenkrais (1981) stated, “if we do not know what we are actually enacting then we cannot possibly do what we want” (p. xi). as a step in this process, teachers often direct students’ attention to their habitual or preferred movement patterns before exploring other options. continuing our example, having noticed that tilting the knees to the left is easier (e.g., more range of motion) than tilting to the right, the teacher considers that the source of this limitation might be proximal or distal, with singular or multiple contributing factors. for example, more detailed assessment of hip movements may reveal easy and full motion of the hips but limited mobility in the ribs. or, closer attention to the right leg might show that internal rotation-adduction is easier than external rotation-abduction, and that external rotation-abduction of the left hip is greater than that of the right hip. one possible factor contributing to this pattern is persistent activation of the right adductors that restricts right hip abduction. the teacher has several options for helping the student perceive this. one approach is the use of contract-relax to exaggerate the feeling of muscle activation versus relaxation for the student. another tactic is to support the leg in a position of 90° of hip flexion and 90° of knee flexion while gently guiding the student’s hip joint through a small path of circumduction in clockwise and counterclockwise directions. after a few of these or other techniques, the teacher would return to the earlier movement of tilting the right knee to allow both teacher and student to notice any changes. specifiuntitled-1 4/15/2004, 12:37 pm316 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 317317317317317 buchanan and ulrich cally for fi, the intent is that assessment and instruction (evaluation and treatment in a medical model) occur simultaneously and continually. given this introduction to atm and fi, we next relate basic concepts on which the feldenkrais method was created and anecdotal accounts of its effects with principles of dynamic systems theory. while dynamic systems theory has only been applied to motor behavior for about 20 years, it has already offered numerous insights to this field (thelen and smith, 1994, 1998; ulrich 1997; wallace, 1996). in turn, dynamic systems theory may assist the scientific evaluation of the feldenkrais method. dynamic systems theory and dynamic systems theory and dynamic systems theory and dynamic systems theory and dynamic systems theory and feldenkraisfeldenkraisfeldenkraisfeldenkraisfeldenkrais linkageslinkageslinkageslinkageslinkages we believe there is strong correspondence between the feldenkrais method and dynamic systems theory on five major points. additionally, we pose three possible distinctions. we begin with the parallels. first, self-organization is a foundational principle of dynamic systems theory and feldenkrais. dynamic systems theorists believe that humans are self-organizing systems; behavior emerges from the interaction of multiple subsystems, including experience. behaviors are assembled in the moment and context of the current movement task. while it is efficient to develop stable behaviors for recurring task categories, these behaviors need not be encoded in detail in the system. flexibility and adaptability can coexist with stability when solutions to movement problems are softly assembled and remain plastic. reorganization of behavioral patterns may occur gradually or rapidly, linearly or nonlinearly (edelman, 1993; haken, 1983; sporns & edelman, 1993; thelen & smith, 1994, 1998; ulrich, 1997). during feldenkrais lessons, students are not told rules for how to do a movement but are guided to explore action possibilities and attend to the accompanying sensations. the presumption is that they will self-organize behaviors emerging from individual constellations of intrinsic factors in relation to the extrinsic factors posed during lessons. (feldenkrais, 1972, 1975/1980, 1981, 1977/1993). nested within the principle of self-organization is the concept that behavior is dynamic and, therefore, plastic. in a classic statement, feldenkrais (1949/1996) said, that with very few exceptions “behaviour is acquired and has nothing permanent about it but our belief that it is so” (p. 6). for example, feldenkrais thought that cortical mappings along with movement patterns would reorganize in response to activity. he speculated, “the area for the third finger would be larger in a person who has learned to play a musical instrument than in one who has not” (1972, p. 14). elbert, pantev, wienbruch, rockstroh, & taub (1995) observed this proposed effect for the left hands of string players. they used magnetic source imaging to demonstrate increased strength of response to and shifts in cortical response to tactile stimulation of the digits of the left hands in musicians versus controls. in addition, the amount of shift in cortical representation correlated strongly with experience. a second similarity exists in describing behavior that assembles into preferred patterns or coordination modes. in dynamic systems terms, such behavioral states are called attractors. the stability of attractors is variable, depending on intrinsic factors such as experience or practice with the task, extrinsic factors such as environmental conditions, and the dynamics of the task itself (thelen & smith, 1994; ulrich, 1997; wallace, 1996; zanone & kelso, 1994). a stable behavior, such as a habit, can be useful, as in a well practiced skill, or problematic, as in sitting or standing postures that lead to musculoskeletal dysfunctions and pain. feldenkrais (1949/1996) offered a vivid description of problematic habitual behavior that “can be likened to a groove into which the person sinks never to leave unless some special force makes him do so. with time, the groove deepens, and stronger forces are necessary to remove him from it” (p. 118). this leads to a third commonality: both dynamic systems theory and feldenkrais view perturbation as instrumental for changing habitual behavior. from a dynamic systems perspective, the transition between two stable patterns is marked by a period of instability characterized by large fluctuations in behavior in which the organism explores the functional space. this period of instability arises from perturbations, such as critical change in a contributing subsystem or input from a new source. changing habitual behavior, good or bad, requires perturbing the actual production of the pattern to allow organization of alternate patterns that might be similar or quite different. less stable behaviors are more easily nudged from their shallow attractor spaces into alternative behavior states than are more stable ones. (thelen & smith, 1994, 1998; zanone & kelso, 1997). one may consider the elements of feldenkrais lessons as “special forces” that disturb habitual behaviors. with verbal instructions or manual guidance, teachers attempt to highlight students’ usual movements, limit the use of these standard motions, and encourage exploration of other movement options. teachers intend for these perturbations to destabilize habitual behaviors enough to allow students to self-organize individually appropriate alternative solutions. a fourth connection between dynamic systems theory and feldenkrais is their common belief that multiple subsystems affect behavior. the explanatory power of dynamic systems theory resides in the relationships among the parts that form the whole system (prigogine & stengers, 1984; thelen & smith, 1994, 1998; thelen, schöner, scheier, & smith, 2001; ulrich, 1997). from a bernsteinian account of behavior, these relationships constrain the innumerable degrees of freedom within the human to certain biomeuntitled-1 4/15/2004, 12:37 pm317 318318318318318 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 buchanan and ulrich chanically efficient movements, while accommodating the various patterns of coordination that can result in similar behavior (bernstein, 1967). these relationships are influenced by many factors, such as the system’s history of experiences, the availability of resources, and the demands and constraints of a given task in a specific context. as the mix of factors changes, so does the behavior of the system (haken, 1983; prigogine & stengers, 1984; thelen et al., 2001; thelen & smith, 1994, 1998; thelen & ulrich, 1991). thelen and smith (1998) argued that a dynamic systems view of behavior could account for situations in which “the same conditions lead to different behavioral outcomes, depending on the immediate previous history of the system” (p. 593). the unique set of experiences possessed by each person—from the events of the preceding hour to the happenings across a lifespan—is a significant component that impacts the particular movement patterns individuals produce. while many neuroscientists give primacy to the role of the brain in organizing behavior, feldenkrais and dynamic systems theory agree that it is but one component among the many cooperatively directing patterns of action. feldenkrais (1949/1996) articulated this concept when he stated, “there is no function which has necessitated apprenticeship in which the somatic, motor, emotive or mental element can be singled out as the cause of the others” (p. 136). the interplay of these components with extrinsic and task-specific factors may account for the acceptance in feldenkrais instruction of variable student responses to the same lesson and differing student improvement rates over a sequence of lessons. feldenkrais also emphasized the influence of lifelong histories of experiences, along with genetic inheritance and cultural influences, to give a developmental explanation for the movement variability among people (feldenkrais, 1972, 1985). he noted, for example, more mobility of the hips, pelvis, and low back in people of asian countries compared to those raised in western countries, which he attributed to cultural differences in sitting habits (feldenkrais, 1981). others have documented notable variations in how humans within cultures acquire crawling, independent walking, and reaching that are based on differences in experience with the task and neuromuscular characteristics (adolph, vereijken, & denny, 1998; bottos et al., 1989; bottos, puato, vianello, & facchin, 1995; thelen, corbetta, & spencer, 1996). our fifth linkage between dynamic systems theory and feldenkrais concerns their mutual emphasis on the continual interaction between the perception and action subsystems. through perception, we detect intrinsic and extrinsic information that lets us understand our actions and drives the organization of contextually appropriate actions. in turn, our actions influence our perceptions. dynamic systems theorists have drawn from the direct perception or ecological perspective that originated with gibson (1950, 1966) to often conceptualize perception and action as the two subsystems critical to human motor behavior. the interactive roles of more microscopic subsystems can be subsumed within the larger systems of perception and action. in this manner, the integrated roles of nerves and muscles in both sensory and motor functions become more apparent. researchers have examined how humans use perception to guide actions, such as catching balls or juggling or reaching, and, conversely, the use of exploratory actions to make perceptual discriminations, such as determining the length of unseen hand-held objects (mark et al., 1997; savelsbergh & bootsma, 1994; turvey, park, dumais, & carello, 1998). after studying the development of reaching, thelen and smith (1998) stated that the development of motor behavior “must emerge from the continuous processes of moving and perceiving” (p. 608). in other words, perception and action are coupled in a tight interdependence. feldenkrais (1985) strongly linked perception and action in his work, noting that the human organism’s “behavior and environment are a whole that cannot be subdivided and acted upon separately” (p. 36). he believed that in order to sense one must move. musculoskeletal proprioceptors responsive to movement parameters inform us of internal states and specify our relation to our environment. for feldenkrais (1949/1996), “re-education of the kinaesthetic sense, and resetting it to the normal course of self-adjusting improvement of all muscular activity—the essence of life—is fundamental” (p. 155). it is through movement that touch, visual, taste, and even olfactory receptors contact external stimuli. indeed, many feldenkrais lessons are intended to develop the ability to orient the teleceptors of the head while in a variety of positions and across a range of tasks. in turn, our perceptions guide and motivate our movements. a critical assumption in feldenkrais is that developing one’s ability to make finer perceptual distinctions is dependent on movement and, recursively, refining perception fine-tunes movement (feldenkrais, 1972, 1981, 1984, 1994, 1949/1996). in the feldenkrais method, the teacher repeatedly directs and guides the student’s perceptual attention, whether through verbal suggestion or tactile cueing, as movement occurs. at different times, feldenkrais teachers guide students to attend to various forms of perceptual information. in a thorough set of lessons, students monitor kinesthetic, haptic, and visual information, and may also focus on vestibular and auditory sensations. commonly, teachers challenge students to notice differences in pressure, patterns of breathing, areas of the body in or out of contact with other surfaces, positional relationships between body segments, levels of muscle tension, and the shape and arrangement of the skeleton. teachers attempt to improve the ability of students to make these perceptual discriminations by placing students in nonhabitual positions, altering their relationship to gravity, repeating similar movement patterns in various positional contexts, experimenting with differentiated and undifferentiated eye movements, doing both untitled-1 4/15/2004, 12:37 pm318 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 319319319319319 buchanan and ulrich open and closed kinetic chain versions of movements, and many more techniques (feldenkrais, 1972, 1979, 1984, 1994, 1949/1996). from these five proposed similarities, we shift to three areas of conceivable differences between dynamic systems theory and feldenkrais. the first concerns the importance of goal. dynamic systems theory focuses heavily on behavior in context, with the goal driving the system organization. in studies, the task goal is up front and transparent to participants (e.g., vereijken, whiting, & beek, 1992; zanone & kelso, 1997). during a feldenkrais lesson, emphasis is placed on attending to sensory information present during exploratory movements. teachers of this method argue that by first improving the sensitivity of perception one can learn to adapt any behavior more easily. thus, during instruction, the motor goal or task is secondary to the process of improving perceptual-motor skills for subsequent use in self-organizing task-specific behaviors (feldenkrais, 1972, 1984, 1985). a second distinction might exist regarding nonlinearity. dynamic systems theory expressly predicts both nonlinear and linear change in the behavior of an open system operating far from equilibrium (haken, 1983; prigogine & stengers, 1984; wallace, 1996). whether change occurs rapidly or gradually, this principle accounts for episodes of nonlinear changes in coordination patterns. as subsystems change, behavioral modes become unstable and more variable. exploring the task-relevant workspace facilitates the organization of other options for coordinating behavior. not all options are equally viable for all systems; therefore, different systems (i.e., different people) might discover different solutions that best fit their current states (schmidt & fitzpatrick, 1996; turvey & fitzpatrick, 1993; ulrich, 1997; zanone & kelso, 1994, 1997). the foundational ideas of feldenkrais do not explicitly discuss nonlinear shifts in behavior. however, anecdotal accounts of sudden behavior reorganization, such as the shift in the lifelong irregular breathing pattern of an adult with cerebral palsy to a quiet and slow rhythm during a single fi lesson with feldenkrais (hanna, 1980/1993), suggest that nonlinear change can emerge via feldenkrais instruction (feldenkrais, 1977/1993; see issues of feldenkrais journal and senseability). the nonequilibrium behavior of open systems might explain the variable rates of change and range of behaviors feldenkrais teachers report observing in their students. a third possible distinction considers the treatment of subsystems. both dynamic systems theory and feldenkrais emphasize that it is the interactions among subsystems that determine system behavior. dynamic systems theory takes a step further and attempts to identify which subsystem (or subsystems), functioning as a control parameter, most probably drives a behavioral transition. for example, shifts in strength or body composition influence the kicking and stepping behavior of infants; changes in postural control affect the transition to independent walking (thelen & smith, 1994; thelen & ulrich, 1991; ulrich, 1997). while feldenkrais teachers are focused on facilitating individually appropriate changes in relevant subsystems, they believe certain factors may influence behavior across individuals, such as the role of eye movements in coordinating reaching or turning (feldenkrais, 1972, 1949/1996). in summary, dynamic systems theorists (e.g., thelen & smith, 1994, 1998; ulrich, 1997; zanone & kelso, 1994) and the basis for the feldenkrais method (feldenkrais, 1972, 1981, 1985, 1949/1996) both describe human behavior as self-organizing from individual, complex, continual processes that relate perception, action, and experience. stable behaviors need to be perturbed to permit their reorganization into related or new patterns of coordination. distinctions between dynamic systems theory and feldenkrais pertaining to the role of goal or task, nonlinearity, and the identification of control parameters may represent differing points of emphasis for the dynamic systems researcher and the feldenkrais practitioner. overall, the strength of these linkages suggests that dynamic systems theory is an appropriate basis for researching the feldenkrais method. we now turn attention to research that has assessed the feldenkrais method and its efficacy. we review the limited experimental studies in the next section and suggest directions for future research from a dynamic systems perspective. research past and futureresearch past and futureresearch past and futureresearch past and futureresearch past and future to date, the number of published, peer-reviewed studies examining the effectiveness of the feldenkrais method for changing motor behavior and improving function is low. some considered the effects of single lessons on healthy adults or people with relatively minor physical complaints (brown & kegerreis, 1991; chinn, trujillo, kegerreis, & worrell, 1994; ruth & kegerreis, 1992; seegert & shapiro, 1999). others have observed older adults (gutman, herbert, & brown, 1977), people with multiple sclerosis (johnson, frederick, kaufman, & mountjoy, 1999; stephens et al., 1999), and adults with chronic pain (bearman & shafarman, 1999) for changes subsequent to a series of feldenkrais lessons. although all but one of these studies (gutman et al., 1977) reported alterations in observed measures after intervention, these studies have design limitations (e.g., lack of appropriate control groups) that weaken the impact of their findings and leave room for alternative explanations of outcomes. one well controlled, randomized study demonstrated significant functional changes after feldenkrais lessons. lundblad, elert, and gerdle (1999) conducted a yearlong study of female factory workers who had complaints of neck and shoulder pain. researchers randomly assigned participants to a control group, physiotherapy group, or feldenkrais group. work-based interventions lasted 16 weeks. lundblad et al. (1999) conducted an extensive untitled-1 4/15/2004, 12:37 pm319 320320320320320 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 buchanan and ulrich battery of work performance and physiological tests before and after the interventions. they summarized that little or no change occurred in the physiotherapy group, the control group often worsened, and the feldenkrais group improved with respect to neck and shoulder complaints and function over the study year. these studies offer clues to the functional impact feldenkrais might have on behavior. clearly, more research is needed to justify or disprove its effectiveness in clinics and schools. research questions focused on whether or not feldenkrais lessons can change motor behavior might not require any particular theoretical framework. but questions concerning how the method produces change, queries into the process of change occurring within individuals, or efforts to differentiate feldenkrais from other interventions bring theoretical assumptions to the foreground. we have proposed that dynamic systems theory shows notable similarities in many of its principles to the basic tenets of the feldenkrais method. this theory embraces the complex and interactive qualities of the learning process supposedly facilitated by the feldenkrais method, and so may be an appropriate (though arguably not the only) perspective for research. given the significant parallels and cognizant of possible distinctions, we propose that dynamic systems theory affords an appropriate framework for constructing research questions about the feldenkrais method that extend beyond whether it can change behavior to how performers respond. we offer several possibilities below. dynamic systems theory and feldenkrais hold in common the principle that multiple subsystems interact to produce behavior. changing a subsystem and, thus, the relationship among subsystems might cause a behavior to change. certain feldenkrais lessons emphasize one functional subsystem in an effort to facilitate reorganization of the integrated system. for example, anecdotal reports of teachers claim that a lesson about differentiating eye movements (a subsystem behavior) while quietly lying supine has led to increased range of turning while seated (a system behavior). typically, one would expect an increase in range of motion to follow stretching exercises or other activities that increase tissue temperature. resting supine while doing eye movements would not be expected to induce these changes. researchers could use motion analysis or other range of motion detectors to establish baseline turning ranges of participants prior to the lesson and then remeasure turning afterwards. if turning increases following a lesson with eye movements only, the principle that multiple subsystems interact to coordinate behavior would be supported. another shared principle of dynamic systems theory and feldenkrais is that perturbations can cause stable behaviors to shift into other coordination patterns. practitioners believe the elements of feldenkrais lessons stimulate students to reorganize current behaviors into refined or new modes of coordination. researchers could follow the individual course of learning in response to the perturbations produced within a single lesson about the relationship of pelvic motion to the trunk and head. because such atms involve frequent repetitions of a relatively periodic movement, they are amenable to analysis of parameters, such as relative phase. researchers could first gather kinematic data as a participant sits on a stool and responds to simple instructions to shift the weight from one side of the pelvis to the other. a phase variable could be derived relating the motion of the pelvis with that of the head. three phase relations are conceivable: absolute phase locking in which the pelvis and head move together, relative phasing with the pelvis leading the head, and variable phasing, if the head remains fairly stationary as the pelvis moves. once the initial coordination pattern is known, researchers could track this variable as the participant follows the instructions of an atm “pelvic clock” lesson and again at its conclusion for any changes in the coordination pattern. if performers change their initial preferred phase relations to other patterns after the lesson, this would support the contention that feldenkrais lessons perturb existing behaviors and so facilitate the reorganization of other coordination modes. researchers might also be interested in observing changes in this exemplary pattern longitudinally over a series of related pelvic clock lessons and including follow-up retention observations. a variation on this longitudinal study may be informative about the transfer and generalization of feldenkrais learning by using this test movement in a series of lessons that has no pelvic clock lessons at all, or perhaps in only a single lesson. we also propose a design that could address the differing emphasis of dynamic systems theory and the feldenkrais method regarding on what a performer should focus—goal or process—while learning a new task. several researchers have demonstrated bernstein’s (1967) ideas that when adults acquire a novel skill they pass through three phases. initially they freeze out degrees of freedom, stiffening up and coupling joints to act as a unit rather than independently. subsequently, performers increase exploratory behavior, loosening up joint couplings and searching for more efficient patterns of movement, before settling into the third phase, in which patterns become stable and efficient (newell, 1996; vereijken, van emmerik, whiting, & newell, 1992; ulrich 1997). one could argue that the approach advocated by feldenkrais would facilitate the process of skill acquisition particularly well for performers who are in phase 1 and need to explore options to detect the relevant perceptual information needed to move on to phases 2 and 3. a dynamic systems theorist might argue that by focusing on the goal, the complex human system would be drawn to explore, as control (a subsystem) improved, thus progressing more dynamically over time without explicit attention to the process from tightly coupled to more variable and exploratory. the test would be in the rate of progress and changes in other learning measures made by two groups of individuals, if “guided” by these competing principles. untitled-1 4/15/2004, 12:37 pm320 rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001rqes: december 2001 321321321321321 buchanan and ulrich one could adapt the paradigm of vereijken and colleagues, who used a ski simulator (e.g., vereijken, van emmerik, et al., 1992; vereijken, whiting, et al., 1992) for such a study. as vereijken previously demonstrated, training regimes that varied performers’ target frequency or instructed them to attend to the frequency versus the amplitude of platform movement were no more effective, and sometimes less effective, learning strategies than discovery learning. the behaviors of performers who learn via discovery to move the simulator platform as quickly and as far as possible could be compared with others who receive feldenkrais-based guidance in their discovery process. for example, prior to getting on the simulator, participants might first be instructed to do a variety of lateral sway tasks that attempt to make them aware of the different sensations and action possibilities associated with coordination patterns that emphasize or minimize certain joint motions. once participants are on the ski simulator, the teacher might ask them to notice a variety of features of their actions, such as where their heads are relative to the apex of the simulator or how they sense their weight shifting at their feet. we noted another possible distinction between dynamic systems theory and feldenkrais concerning control parameters. dynamic systems theorists often try to identify a subsystem that generally acts as a control parameter for a given behavior, while feldenkrais teachers remain more interested in the interactions among subsystems and identifying individually appropriate factors for facilitating change. for example, strength is a control parameter for certain behaviors, and activities to increase strength are typical components of preventative and rehabilitation programs. some feldenkrais practitioners have anecdotally reported increases in strength in students after a series of lessons, even though the lessons did not focus on strength development and the students did not engage in typical strengthening exercises. researchers might compare these two positions in a study that examines changes in strength, a factor that obviously influences one’s ability to lift a load from the floor or perform a squat lift. groups engaged in a weight-training course or a work hardening program based on a traditional hypertrophy model of strength development could be compared with participants in a series of atm lessons only. the atm participants conceivably would be learning to make more efficient use of their existing strength capacities but would not be engaged in muscle hypertrophy tasks per se. a third group might be included that combines methods. if the atm group makes notable improvements in strength as measured by the amount of weight they lifted, this would support the feldenkrais position that, given individual differences, no one subsystem or control parameter can a priori be deemed most in need of change in order to shift the behavior of the system. besides tracking how much weight a person could lift, researchers might also be interested in monitoring the efficiency and, thus, the safety with which performers execute their lifts. these questions and more regarding the feldenkrais method await answers. it is our hope that the tutorial about the method, the presentation of the connections between dynamic systems theory and feldenkrais, the highlights of existing research, and suggestions for studies motivated by dynamic systems theory will encourage more researchers to critically examine the efficacy of feldenkrais. exploring application and theoryexploring application and theoryexploring application and theoryexploring application and theoryexploring application and theory feldenkrais method practitioners claim to intervene in a wide variety of situations and facilitate a person’s own process of self-improvement through attentive, guided movement explorations. yet, well designed experimental study of these assertions has so far been minimal. based on the similarities we described between the principles of dynamic systems theory and the concepts of feldenkrais, we proposed that rigorous studies of this method could be designed from a dynamic systems perspective and suggested several specific research questions. we believe that studies of the feldenkrais method hold importance for professionals in the movement sciences on three fronts. first, these studies will refute, promote revision of, or lend support to feldenkrais proponents’ claims. second, this research may well expand our theoretical understanding of the processes of learning and human motor behavior development. third, we believe this affords an important opportunity to bridge the gap between theory and practice. whether or not the principles of dynamic systems theory and the feldenkrais method are the match we suggest they are, the process of discovery seems likely to be an informative exploration. referencesreferencesreferencesreferencesreferences adolph, k. e., vereijken, b., & denny, m. a. 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(1997). coordination dynamics of learning and transfer: collective and component levels. journal of experimental psychology: human perception and performance, 23, 1454–1480. appendix a. appendix a. appendix a. appendix a. appendix a. example atm sketch: rolling to sit by sweeping the arms before beginning this or any atm lesson, a teacher will typically speak to students about focusing their attention on the process of proceeding through the lesson, attending to sensory information, and minimizing their concerns about achieving a particular outcome. the teacher may or may not tell the students what the name or task of the lesson is before they do the atm. 1. lie on your back with your legs spread a comfortable distance apart. bend your knees and bring your feet to stand. rest your arms on the floor above your head. 2. tilt your knees to the left, and then sweep your arms along the floor toward the left. let yourself curl so that your nose and face come toward your left knee. return to your starting position, and repeat this movement several times. is there enough space between your legs so that your right knee could tilt to rest on the floor? 3. rest in the middle with your arms by your sides and your legs long. do you notice any changes in your contact with the floor or in your breathing? 4. bend up your knees and bring your arms overhead. now, begin the movement by sweeping your arms, then let the tilting of the knees follow as you move your nose closer to your left knee. reverse the movement, pause, and repeat several times. how is this different from leading with your knees? 5. pause in the middle, then return to initiating the movement with the tilting of your knees then sweeping your arms to the left as you curl your face toward your left knee. is there a place you can find for your left arm so that your elbow can bend and you can take some weight on your left arm? 6. rest in the middle. as you rest, remember the sequence of movements you just did. imagine doing that same sequence to the right. 7. now actually do that series of movements to the right. how is it to do the movements to the right compared to your left? 8. rest a moment. notice the position and sensation of your legs. 9. resume the movement to one side, and, as you return to the middle, let the movement continue to the other side. so, you find yourself sweeping your arms, rolling to one side, coming onto your elbow and up to side sit; reversing that; and sweeping, rolling and coming up to sit on the other side. 10. rest and scan yourself for any differences from when you first laid down on the floor. then use what you have just learned to come up to sit, then stand. notice if your standing is different, then walk around and observe how walking feels. notenotenotenotenote 1. feldenkrais®, feldenkrais method®, functional integration®, and awareness through movement® are registered service marks; and guild certified feldenkrais practitionercm and guild certified feldenkrais teacher® are certification marks of the feldenkrais guild®. authors’ notesauthors’ notesauthors’ notesauthors’ notesauthors’ notes the first author is a guild certified feldenkrais teacher. preparation of this paper was supported in part by a grant from the national institutes of health (t32 hd 07475). we thank anonymous reviewers and esther thelen for their helpful comments on earlier versions of this manuscript. please address all correspondence concerning this article to patricia a. buchanan, indiana university, school of hper, department of kinesiology, hper 112, bloomington, indiana 47405. e-mail: pabuchan@indiana.edu untitled-1 4/15/2004, 12:37 pm323   feldenkrais research journal​ • ​volume 5​ (2016)    hypothesis and theory      feldenkrais method​®​ and health:  phenomenological perspectives    cliff smyth  ms, guild certified feldenkrais teacher​®  feldenkrais center for movement & awareness, san francisco; phd candidate and teaching fellow,  saybrook university, oakland    an earlier version of this paper was presented at interdisciplinary coalition of north american  phenomenologists (icnap) v conference, ramapo college, mahwah, nj, may 2013.    abstract  somatic practices share with phenomenology an interest in the body as lived and experienced.  the  feldenkrais method​®​ is a form of somatic education that develops awareness through movement.  it  contributes to rehabilitation for people dealing with injury and illness, but it may also contribute to an overall  shift to a more healthful (or salutogenic) orientation in life.  this paper describes the feldenkrais method, and explores the phenomenology of embodiment as it  emerges from the practice of the feldenkrais method, including the following themes: the effect of somatic  practice on the experience of ​being­in­the­world​ through shifts in perception and bodily disposition; the body  in its world; action, function and practical bodily engagements; the experience of being a bodily subject and  having a physical body; health, awareness, and the ​how​ of how the body ​appears​ in consciousness.  it  posits that a ​positive felt­appearance​ of the body to direct experience, different from the ‘dys­appearance’ of  the body in illness, is both possible and useful for human health.   this paper explores how somatic practices such as the feldenkrais method may contribute to health though  the development of somatic awareness, how the experience of health can involve mood (feelings, situation,  and reflexivity), the idea of developing a healthful, or salutogenic orientation, and how somatic practices help  form bodily intentionality, and an intentional arc toward health.   it suggests that there are interesting commonalities between phenomenological practice and the feldenkrais  method.  in addition, insights from phenomenological literature on movement, the body, and illness can  provide useful insights, images, and frameworks for the investigation and discussion of the feldenkrais  method in relation to health.  keywords  feldenkrais method, somatics, phenomenology, embodiment, health        published by the international ​feldenkrais​®​ federation (iff) ​http://feldenkrais­method.org  available online at ​http://iffresearchjournal.org/volume/5/smyth        http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/smyth   copyright ©:​ the copyright for this paper remains with the author(s).  please cite:​ (first published in the) ​feldenkrais research journal, volume 5​;​ ​2016.  service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​,  functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff)  and feldenkrais professional guilds and associations in many countries. in keeping with academic  conventions, they will not be service marked in the entire text as may be required in nonacademic use, but  only for the first and most prominent use of the terms. in recognition that these phrases are formal terms  referring to specific practices within the method, and to the method as a whole, capitalization of all the words  in each term has been retained.      smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  2     hypothesis and theory      feldenkrais method​®​ and health:  phenomenological perspectives    cliff smyth  ms, guild certified feldenkrais teacher​®  feldenkrais center for movement & awareness, san francisco; phd candidate and teaching fellow,  saybrook university, oakland    introduction  this paper concerns how somatic practices contribute to human health, and how  phenomenological perspectives and practices may contribute to the study of these phenomena.  the study of somatics has much in common with the concerns of phenomenology in terms of  the emphasis on lived, bodily experience as an essential aspect of our ​being­in­the­world​.    drawing on his studies of existential philosophy, hanna (1970, 1976) described the field of  somatics as that which is concerned with the study of the living body, as distinct from the  corpse­like cartesian body, and the practices associated with the discovery and development of  bodily experience.  somatic practices have the potential to allow for a disciplined exploration of  bodily being through the systematic attention to the bodily experiences of intention, movement,  and perception in action (morley 2008: 144­163).    the feldenkrais method is one form of self­education that develops bodily awareness through  movement (feldenkrais 1972; smyth 2012).  the form of education is one of experiential  learning.  it is based in feldenkrais’s idea of ​organic learning,​ as distinct from forms of social,  cognitive, or academic learning (feldenkrais 1981; sharfarman 1997).  feldenkrais (1981)  wrote,   organic learning begins in the womb and continues during the whole of the individual’s  period of physical growth. … organic learning is individual, and without a teacher who is  striving for results within a certain time, it lasts as long as the learner keeps at it.  this  organic learning is slow, and unconcerned with any judgment as to the achievement of  good or bad results.  it has no obvious purpose or goal. it is guided only by the sensation  of satisfaction when each attempt feels less awkward as the result of avoiding a former  minor error which felt unpleasant or difficult (29–30).  feldenkrais notes that, while scholastic learning is one of our greatest achievements, it can  interfere with the kind of organic, experiential learning he describes.  scholastic learning is    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  3     always incomplete in some ways due to faulty teaching and impact of social expectations.  learning focused on the use of willpower, on cognitive achievement and standardized content,  and oriented toward extrinsic ends can undermine the individual’s interests and motivations, and  frustrate the integration of learning and personal development.  feldenkrais developed his  approach, which uses principles of organic learning (such as sensory­motor integration,  self­observation and correction, and curiosity) to assist people to find a greater capacity to  function in the world in more integral ways and overcome limitations of formal education  (feldenkrais 1981).  the feldenkrais method is predicated on the assumption that a large proportion of our  experience of our self is of our bodily movement in the world.  feedback from our  self­movement comes through the muscles and joints, and also through the stretch receptors in  our largest single organ, the skin.  in addition, on a neurological level, there is a lot of activation  that is not only sensory feedback, but also significantly the efferent activity (feed­forward)  associated with creating movement using the largest organ system of the body, the  musculoskeletal system.  in this way, ‘bodily self­consciousness would correspond to a  predicted​ sense of self’ (legrand 2011:105).   the feldenkrais method can be seen as an awareness practice that can change the ways  people experience themselves, their bodies, and their world.  however, much of the research  into the method so far has been outcome studies of its application in the field of rehabilitation.  a  common perception of the feldenkrais method is that it is for people dealing with physical  challenges and pain, yet many students report that the method contributes to their overall sense  of well being and the adoption of behaviors that are more healthful, or ​salutogenic​ (antonovsky  1979,1987; deunsing 2008: 48­54; smyth 2012).  this paper argues that more research is needed into the feldenkrais method, and suggests that  phenomenological approaches would be particularly valuable to gain a better understanding of  the nature of the ​lived experience​ of the method, and its contribution to health.    a number of authors have suggested that phenomenologically­informed research has much to  offer the study of somatic practices (bhenke 2001:94­117; braude 2015; fraleigh, 2015:  xix–xxxi, 2016 [this volume], hanlon­johnson 2004:105­121; smyth 2012).  phenomenology  asks the researcher to go beyond taken­for­granted assumptions about the nature of  phenomena, such as those assumptions arising in everyday life (e.g. expressed in distinctions  in commonplace language) or from the natural sciences, which often take phenomena as given  or operationalized without reflection on the underlying nature of a phenomenon and how it is  constituted in consciousness.  one result of this openness is that there is a rich literature of the  importance of the body, bodily experience, and self­movement in phenomenological literature  going back to the founder of phenomenological thought, husserl (1989), through to  contemporary thinkers such as sheets­johnstone (1998).    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  4     feldenkrais method  the feldenkrais method has been applied in the area of improved performance, for example,  with dancers, athletes, singers, and actors.  its other main area of application is in functional  rehabilitation for people dealing with injuries, neurological conditions, illness, chronic pain, and  stress.  many students or clients attend classes or visit practitioners initially to deal with issues  of movement and pain, but continue to study or practice the method for greater physical  flexibility and bodily ease, improved sleep, stress management, relaxation, and improved body  image.  the feldenkrais method functions in many people’s lives like practices such as tai chi,  qigong, and yoga, but it does not have an explanatory system based on the concept of energy,  nor any explicit spiritual philosophy, imagery, or practices.  its development was based at least  on (a) physics, anatomy and physiology, (b) the neuroscience of movement, perception and  cognition, (c) learning theories, (d) martial arts practice, particularly judo, and (e) mind­body  practices (such as autosuggestion, autogenics, and hypnosis).  explanations coming from  information processing theories, cybernetics, dynamical systems theory, biophysics, and the  biology of cognition (especially neurophenomenological approaches), are now also applied to  conceptualizing the method (buchanan and ulrich 2002; goldfarb, 1990; rywerant, 1983).  feldenkrais himself was aware of some of these emergent disciplines through, for example, his  association with thinkers such as bateson, katsir (feldenkrais, katsir, and ginsburg 2006),  pribram (feldenkrais and pribram 1975/2006), von foerster (leri 2006: 13­23), and others  (reese 2015).    the feldenkrais method can be experienced in either of two modes, awareness through  movement​®​ and functional integration​®​.  awareness through movement  in this mode, usually done in a group or from a recording, the student makes exploratory  movements, and directs her or his attention as suggested by the feldenkrais teacher.  the aim  is for the student to discover the ways in which she or he moves, and new possible patterns of  movement.  attention is directed to three broad categories of the experience of the self in action, (1) the  kinesthetic qualities of movement, (2) the body in relation to the environment (space, gravity and  mechanical forces in relation to gravity, and the temporal dimension), (3) attitudes to one’s  action that may arise, and the possibility of different attitudes, such as moving and attending to  oneself without judgment, with an intention of care, or with a playful sense of curiosity.  let us  consider these aspects of awareness through movement in more detail.  1. the student is asked to bring forth some particular qualities of action as they move, such  as (a) to reduce effort to only the level necessary, (b) to make the movement as smooth  as possible, (c) to work well within the limits of their range of movement, (d) unless the  movement needs to be ballistic, to make the movement “reversible” (be able to change    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  5     direction at any time), (e) to make the movement at an even speed (without sudden  acceleration or deceleration), and (f) breathe easily, or have appropriate use of the  breath with the movements.    2. attention is directed to aspects of the parts of the body in relation to the whole body in  relation to the environment, such as (a) space (orientation and direction), (b) gravity  (changes in the contact with supporting surfaces, e.g. floor, chair) and mechanical force  (e.g. through the skeleton when moving in relation to gravity), (c) the temporal aspects of  action (timing and rhythm, including pauses and rests), (d) the experience of the air  entering and leaving the body.  3. attention is also directed to feelings about one’s body and movement, or noticing one’s  intentionality (e.g. competitiveness “with oneself” – a feeling that one could or should do  more, feelings of incompetence or wanting to ‘do it right’, excessive striving, or disregard  for one’s comfort, etc.).   4. in addition, the teacher also makes suggestions that one care for oneself (e.g. taking a  non­judgmental attitude, make the movements in a comfortable manner, and not create  pain, or increase any pain one may already have), using the quality of breathing and the  lack of a sense of muscular strain as measures of this.  the bodily self­awareness that can be stimulated by the processes in awareness through  movement is often more subtle, elusive, fleeting, complex, and is often experienced in a more  whole and integrated manner, than is suggested by a listing such as this (gendlin 1978;  shusterman 2008; legrand 2011).  functional integration  functional integration​®​ lessons are the individual mode of the method, and is often chosen as  the mode of using the method if the person is dealing with major or long­standing challenges,  such as chronic pain, recovery from an accident, stroke, neurological conditions, or by  performers and others needing a more intense and individualized approach.  the student lies on  a low table (or sits, or stands), and for much of the lesson, the feldenkrais teacher gently  touches and moves the student with the intention of creating experiences of the body and of  movement using the same exploratory principles as awareness through movement.  the touch  is intended to be communicative rather than purely manipulative in a mechanical sense.  the  practitioner’s touch is intended to be such that the person experiences as much as possible of  their own bodily sensation and movement, rather than a sense of the practitioner directing the  student in ways she or he ​must​ move.  at the same time, it is suggested that the client has the  opportunity to experience the possibilities of movement and feeling offered by the practitioner’s  sensitive, precise, non­forceful, and “care­full” movements.      smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  6     the root of the word ​compassion​ is to feel with or suffer with the other.  braude (2015) and  others have suggested that there is a bodily or somatic component in empathy for the other.  in  this sense, functional integration can be seen as a ‘compassionate’ interaction, in this sense of  ‘experiencing­with’ the other (leder 1990:161).  functional integration offers the possibility of a  positive experience of ‘intercorporeity’ (young 2011:55­87) or ‘intercorporality’ (fuchs and  dejaegher 2009:465­486), where for both the student and teacher there is an ‘absorption’ in the  body of the other (leder 1990:164).  the aims of the feldenkrais method are pragmatic: ‘the main object is to form an attitude and a  new set of responses that permit an even and poised application of oneself to the business of  living’ (feldenkrais 1985:107).  in contrast to some other mind­body approaches, ‘the aim is not  complete relaxation, but healthy, powerful, easy and pleasurable exertion’ (feldenkrais,  1964/2010c:37).    feldenkrais method and phenomenological thought and practice  it has been suggested that in their form and intention, feldenkrais lessons have much in  common with the phenomenological project (smyth 2012).  as noted, phenomenological  thought calls for an openness to the nature of phenomena as they appear in human  consciousness.  the emphasis is on the lived experience of the person, and how that  experience is constitutive of phenomena, and indeed, their world for them (giorgi 2009; van  manen 2014:408­420).  what is sought is greater understanding, rather that explanation or  prediction.  in phenomenological practice, a couple of steps are utilized to move toward an  as­fresh­as­possible view of the nature of human experience as it is lived­through.  the first is  the idea of ​époche ​– a move where the researcher deliberately attempts to bracket, suspend or  put into abeyance everyday, ​taken­for­granted​, or ​scientific​ explanations in order to observe as  openly as possible what they are observing themselves, what is reported to them by an  informant or found in a text.  in this way the researcher’s fore­knowledge and fore­conceptions  can be brought to conscious awareness, and their impact on emergent understandings  assessed (giorgi 2009; levassuer 2003; wertz 2011:124­164).  porter and robinson (2011)  noted that ‘the ​époche​… is meant to… allow access to the phenomenon in the least prejudiced  or corrupted way,’ and that ‘…phenomenology is not a description of the “real world” per se, but  our experiences of the perceived world’ (55).  feldenkrais suggested that we act on the basis of  our perceptions.  understanding a person’s bodily experience and world as perceived is an  important part of human understanding.  in a similar way to phenomenological practice, the feldenkrais student could be seen to  deliberately set aside time and suspend their usual modes of attention to attend to their lived  experience in fresh ways.  for example, he or she pays attention to the bodily aspects of life,  and to what are often taken­for­granted aspects of experience, such as the qualities of    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  7     self­movement (e.g. effort, direction, timing, smoothness) and the experience of living in gravity,  or being skeletal (feldenkrais, 1988/2010).  in the process of exploring one’s movement, and in  response to suggestions from the teacher to, in various ways, ​take care of oneself​, one can also  come to be aware of one’s usual intentionality toward one’s body.  for example, many people  have habits of ignoring or straining the body, or of judging their body and bodily experience.   in a second major step, the phenomenologist attempts to discover what is essential in the  phenomena being studied.  this is often called the ​eidetic​ reduction, reflection, or intuition  (porter and robinson 2011; wertz 2011:124­164).  the ​eidos​ refers to the essence, nature, or  being of a phenomenon.  phenomenological practice often involves the use of ​imaginative  variations​ to find out what is essential to the nature and structure of an experience or a  phenomenon (wertz 2011:124­164).  by imagining what could be removed from the description  of a phenomena without it changing the description, by deliberately reversing or shifting usual  perceptual angles, and playing with other ways of coming to an understanding, it is hoped that it  will be clear what is necessarily for an adequate and plausible description of the phenomenon.  sheets­johnstone (1998) similarly describes using kinetic or movement ‘free variations’ on a  theme in order to discover more about the experience of self­movement (141).    the feldenkrais method also makes use of variations in movement (e.g. in effort, direction,  speed, initiation, reversibility, support, smoothness) to stimulate experience and awareness of  the self in movement.  this may allow for a more precise and in some ways more objective  knowledge of the student’s body, including clearer senses of orientation, space, location of  points in the body, relationships of the parts of the body and how they are articulated to each  other and the whole, and of how the body is motile.  awareness through movement also makes  use of imagined movements in which qualities of movement are also varied in mental  simulations (ginsburg 2010).  in these ways, feldenkrais practices may clarify what is given and invariant, and what is  changeable in the body and how it is experienced (ginsburg, 2010). (see below for further  discussion).  in this way the feldenkrais method engages with the patterns of perception and  action that form our ​bodily organization​, our ​deportment​ (boss 2001) or ​bodily dispositions  (dreyfus 1991; merleau­ponty 1962).   the phenomenal body  phenomenology is not concerned entirely with either the objective or the subjective, but the  intertwining of both in life (merleau­ponty, 1973).  we both are our body, and have a body.  in  german, this is the difference between the “lived body,” the ​lieb​, and the “physical body,” the  k​orper.  the feldenkrais method embraces the subjective and objective aspects of the phenomenon of  embodiment; the experience of the ​phenomenal body​ (morley 2008: 144­163; young  2002:25­47).  students experience themselves as embodied subjects initiating movement,    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  8     generating their own perceptions, directing attention, observing their experience, and carrying  out their intention to learn.  at the same time, students have the ​experience of having a body  that moves in gravity, space and time; a body that has intrinsic heft, volume, and timing  (legrand 2011:204­277).  that is, our bodies, ​as physical, are experienced​ or ​lived through​, and  not just an object or thing of scientific description (plügge 1970:293­311).   with the repetition of the word “body” in a paper such as this it may be easy for the idea of the  body as the physical body of cartesian dualism to be repeatedly evoked, but the reader is  invited to stay in touch with the idea of the lived body as the ground of our experience, our  sense of self, and our world.    the body in its world  the role of the relationship between the body and its environment, and ​its world​ in the  phenomenological sense is also fundamental in feldenkrais thinking and practice.  feldenkrais  lessons bring attention to the inwardly directed and outwardly directed aspects of embodiment,  and the ​perceptual reversibility​ between them as described by merleau­ponty (1962) (morley  2001:73­82).  take for example the experience of gravity – which is one of the aspects of  experience emphasized in feldenkrais practice.  we experience gravity in the soles of our feet.  we experience gravity deep in our body, in our bones and joints.  we experience gravity at the  centre of our head, with the vestibular apparatus of the inner ear.  gravity is not just for physics  class.  we experience ​ourselves​ in gravity.  because one’s world is always experienced through the body, altering one’s perceptions of  one’s body should axiomatically alter one’s perceptions of the world.  the feldenkrais method  provides one way of ‘reachieving a direct… contact with the world,’ of experiencing ‘space, time  and the world as we “live” them,’ which are part of merleau­ponty’s project for  phenomenological practice (merleau­ponty 1962:vii.).   experience of being a bodily subject and having a physical body  the feldenkrais method embraces, and brings to the foreground, the student’s subjective lived  experience of his or her body.  however, there are also ways in which the feldenkrais student’s  perception of the body, through actively sensing one’s interaction in the environment, can also  be more “objective”.  here “objective” is being used in a more narrow sense than the broadest  philosophical usage, to mean a more concrete, precise, and accurate perception of one’s body  as an object in gravity, space, and time.  as noted above, feldenkrais lessons – through touch,  movement, active proprioceptive sensing or imagery – may help a student better identify (a) the  location of important points in the body (e.g. hands, feet, head) in relation to each other and the  world, (b) lines for force within the body, (c) the articulations (e.g. shoulders, hips), and (d) the  orientation and directions of these parts in movement.  in this way the student may discover  invariances in the body (e.g. size and space) (ginsburg 2010; merleau­ponty 1962).  greater  precision in bodily perception can allow one to carry out one’s practical projects in the world    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  9     more effectively.    this new awareness may also challenge subjective habits of perception, which are often  distorted in the course of one’s history of interactions within the social and cultural world into  which the person is thrown (dreyfus 1991; morley 2008:144­163; smyth 2012).  for example,  there is an extensive literature on how society impacts body image, and the feldenkrais method  has been used in programs, for example, attending to women’s body image concerns  (hutchinson 1985; laumer, bauer, fichter and milz, 2004).    action, function, and practical bodily engagements  merleau–ponty wrote, ‘the body is the vehicle of being in the world, and having a body is, for a  living creature, to be involved with a definite environment, to identify oneself with certain  projects and be continually committed to them’ (1962:34).  our ​being­in­the­world​ is grounded in  our everyday coping – our use of tools and equipment, our practical skills and know­how, and  our ​prevailing affective state​ or ​mood​ in relation to the situations in which we find ourselves  thrown (dreyfus 1991, 2014; leder 1990; porter and robinson 2011).    the feldenkrais method engages the ‘action­system’ to promote improved human functioning  (feldenkrais 1972:38).  husserl posited that all consciousness is consciousness of something –  that there is a fundamental intentionality in our thought and action.  we are disposed to be  oriented in our thought and action to particular things in our world.  much of that intentionality is  expressed through a bodily sense of ​i can​ (husserl 1989; sheets–johnstone 1998).  merleau­ponty (1962) took up this idea to propose the idea of ​motor intentionality​ or ​operational  intentionality​ (which will be discussed further below).  in the feldenkrais method the concept of ​function​ is seen as connecting intention to action  (ginsberg 2010).  functions are considered as fundamental patterns of bodily organization that  allow for self­maintenance, self­protection, and self­promotion, all of which require  self­movement (or living in a society that supports those functions for people who are disabled  in their movement capacities) (feldenkrais 1981: leder 1990).  using ideas from ecological  psychology, these functions would include locomotion and the manipulation of objects and tools,  which the environment or culture offer to ensure sustenance, warmth, and shelter.  also  included in this description would be functions such as eating, drinking, elimination, grooming,  communication, sleeping, and more (reed 1996).  in more everyday language, functions could  be seen as involving standing, sitting, lying, walking, running, facing, turning, talking, breathing,  directing one’s gaze, and again much more.  feldenkrais lessons are often organized around  such functional patterns.    in an interesting example of how the body appears through functional activity,  phenomenological researcher sobchack (2010) draws on her experience of an above­the­knee  amputation of one of her legs.  she describes the variety of experiences of the senses of  absence, or presence­through­absence, and presence though pain, of the amputated leg    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  10      (51–67).  at the same time, she noted that the leg began to appear to her in a way similar to her  remaining biological leg, when she first began to walk using her prosthesis.  this included the  return of clear limb­like sensations of the ball and heel of the foot, which aided her return to  bipedal walking (sobchack 2010:51–67).    health, awareness, and the​ how​ of ​how the body appears  as many authors have noted, health is often taken for granted until illness or injury brings its  absence or loss, or the imbalance that the loss of health implies, to one’s conscious attention  (gadamer, 1996).  in a similar vein, leder’s (1990) thesis is that the body is often not present in  direct experience – it is ​absent​, it ​disappears​, when one is engaged in pursuing life’s projects.  in this way of experiencing the body, the body is ‘ecstatic’ – it disappears into the background of  our experience of being (leder 1990:11).  the ​appearance​ of the body in conscious awareness,  then, is often in the form of a “dys­appearance” associated with illness, injury, and disability  (leder 1990:69).  in this way, the body­in­awareness is often experienced by people dealing  with illness, injury, or pain as the ‘body as a threat’ (leder 1990:161).    the body also appears to direct experience in the context of life experiences associated with the  lifespan (such as growth, adolescence, pregnancy, and aging) and development (such as  sexuality and care giving) (leder 1990).  another context in which conscious bodily awareness  comes to the fore is in skill development.  there is a growing qualitative research literature on  the experience of the body in sports, especially individual sports, such as distance running and  scuba diving (allen­collinson and hockey 2010; howe and morris 2009:308­330; merchant  2011:215–234).  feldenkrais (1929/2013) in his early writing used the term ​unconscious​ to discuss the kinds of  capacities for decision, action, and creativity below the level of the conscious mind.  writing  about the importance of the experiential and implicit knowledge available though the action of  the unconscious he noted,   the role of the unconscious is not limited to memorizing, storing and then making its  knowledge available upon demand; its creative ability is vast.  it uses its treasured  experience to reform, to reconfigure and create new varieties that are beyond the ability  of most people using their mental faculties on a conscious level (feldenkrais  1929/2013:4)  the term unconscious is now used less to describe these aspects of human functioning, partly  because of the association of the term with the freudian concept of the unconscious as the  repository of repressed psychological material.  instead, the terms ​non­conscious​ and  pre­conscious​ are more likely to be used.  contemporary neuroscience supports the view put forward by merleau­ponty (1962) that much  of our perception and action in the world does not achieve the level of conscious awareness, but    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  11      instead occurs at a non­conscious or pre­conscious level (freeman 2000; khilstrom 1987, 2012;  rywerant 2008).  some aspects of our biological functioning are not available to perception.  for example, some of our internal organs and systems, or subtle aspects of the environment  that can prime how we respond, may not even be capable of being brought to conscious  awareness: they are non­conscious.  however, many aspects of our functioning that are not  normally part of our usual conscious awareness, focused as it is on our projects and goals, can  be brought to conscious awareness with practices like feldenkrais method.  for example, our  orientation in space, proprioception of the positions and relationships of parts of our bodies, the  nature and quality of our breathing, and many other things that are usually in the background  can be brought to awareness.  they can go from being pre­conscious to being part of conscious  awareness.  even such things as a sense of raised blood pressure, usually not considered  perceptible, can be felt by some people (bakal 1999).  ginsburg (2010) has noted that ‘all human action requires an integration of conscious and  non­conscious activity, and also requires immense and complex organization’ (81).  the  feldenkrais method aims to make use of conscious awareness, including bringing some  pre­conscious experience into conscious awareness, as well as alterations in non­conscious  aspects of perception and movement, to improve all aspects of human functioning –  spontaneous action, creativity and expression, as well as conscious cognition and reflective  self­awareness (claxton 2007:14­43; ginsburg 2010; shusterman 2008).   it is assumed that some of the changes in the feldenkrais student’s action and functioning  occur at a non­conscious or pre­conscious level, however conscious attention is part of the  process of attending to, and altering, aspects of one’s movements and bodily perceptions  (freeman 2000; ginsburg 2010; smyth 2012).  taking up what is usually non­conscious or  pre­conscious, and considered as part of the involuntary aspects of perception and action, can  allow one to bring these experiences into the ‘sphere of ownness’ (husserl 1950/1999:92; and  quoted in morley 2001:76).  husserl (1950/1999) proposed that because we can ‘ “act”  somatically’ and are ‘perceptively active’ we can gain access to a unique and individual sense of  oneself as an ‘animate organism’ ​and​ a ‘psychophysical unity’.  this constitutes a sense of  ‘ownness,’ even as our experience also gives us access to a sense of the other and ‘the  external world’ (97–99).  students of the feldenkrais method can face the contradictory nature of bodily awareness – that  attention often discloses levels of discomfort, lack of ease, and even pain, that have not been  noticed before.  at the same time, it offers the possibility of altering the patterns of bodily  organization associated with ​dis­ease​ and pain.  thus the feldenkrais method can be involved  in two ways with the conscious awareness of the body – bringing experience to attention as it is,  but also teaching the skills associated with the ability to sense the body.  that is, learning to  become a witness to one’s own experience (morley, 2001; 2008:144­163).  as such, the  feldenkrais method is like the eastern practices of zen, tantra and yoga identified by leder,  which actualize ‘positive states of relaxation, concentration, [and] ecstasy’, and where ‘the body    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  12      is viewed as a crucial medium of self­development’ (1990:153).  as leder (1990) points out,  most of these positive practices that promote positive bodily awareness are pursued on a  voluntary basis, and often outside of the context of illness (morley 2008), but are of value as a  counter to the appearance of the body in illness.  leder notes that,  whether attention is systematically developed or not, we have no choice but to  remember the body when it screams out in pain, disrupts our projects with fatigue or lust,  is wracked by disease, or threatened by death.  if positive practices are shunned, such  dysfunctional episodes can become the primary mode of body awareness, serving to  define corporeality as a whole. (1990:153)  one valuable construct in this context is gendlin’s ​felt­sense​ as a form of awareness of the self  and one’s current state that is an opening to meaning arising in, from, and through bodily  experience (gendlin, 1962, 1978).  through the practice of ​focusing​ (gendlin 1978) and other  forms of somatic awareness, one may bring forth awareness of the body as both a focus of  attention and a source of meaning.  bringing together the ​felt sense​ with ​appearance​ (in the sense used by leder), one could argue  that practices like the feldenkrais method bring forth the idea and experience of a ​positive  felt­appearance​ of the body. that is, a cultivated capacity to bring forth bodily awareness when  it is needed or desired to allow us to live in a healthy or more full way.  at the same time, as we are always embedded in our world, or situated, then any bodily felt  sense, including ones of healthfulness, includes our sense of ourselves in our situation.  the felt  sense involves feeling, not just the ‘“stuff inside,” but the sentience of what is happening in one’s  living, in the outside’ (gendlin quoted in todres 2007:23).    health  the healthy uses of somatic awareness  shusterman (1997) points out that for many philosophers from saint paul to kant, somatic  introspection led to melancholia or worse, and more recently even william james presented the  common view that attention to somatic sensation always gets in the way of spontaneous or  authentic being­in­the­world.  in his proposal for a “somaesthetics,” shusterman (1997)  challenges these views.  he invites as to ask whether, on the basis of these reservations,  should we give up the practical utility of altering our habits of action and perception, as well as  the value of somatic awareness in the service of the philosophical injunction to “know thy self”?  instead he proposes that we explore how and when somatic awareness serves us, and the best  ways to cultivate it.  in medicine too, somatic awareness has been seen as an unhealthy fixation on the body and its    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  13      sensations; a sign of hypochondria (mehling ​et al​ 2009).  bakal (1999) proposes instead that  somatic awareness is valuable in coming to sense the health of one’s body.  he suggests that it  is possible and desirable for someone to identify the very early stages of conditions like  headache, and even elevated blood pressure, and take action before there is a worsening of  symptoms.    the feldenkrais method can help people develop the awareness of positive practices for health,  such as learning to rest when in pain (o’connor and webb 2002).  in a qualitative study of  participants in a feldenkrais awareness through movement program for people with chronic  pain, öhman, aström and malmgren­olsson (2011) found that participants reported an  increased ability to regulate themselves, a greater sense of trust in their body, were less willing  to “sacrifice” their bodily comfort to social expectations of what they should do, and felt that they  had more choice of how to respond to pain and to life’s demands. the feldenkrais method can  help give people a felt­sense (gendlin 1978) of how it is to breathe easily, and of balance, ease,  comfort, and self­compassion (smyth 2012).  this could include a sense of how to ‘ “slow  down,” to “ease up”, [or] to “let go”’ (leder 2008:126).  becoming more attuned to the  phenomenal body creates the possibility of becoming more attuned to the body as organism  and the ground of the experience of self.  in reviewing the ​various bodies​ that have been constructed by medical thought, levin (2005)  suggests that we have now reached a time where medicine may be able to correlate medical  findings in the physical body with the body of ‘experienced meaning,’ or the ‘body of lived  experience’ (99­102).  he writes,  however, it must be noted that medicine’s success in making such correlations does not  depend only on advances in medical knowledge. it also depends on patients’ ability to  fine­tune their embodied awareness, their sensitivity to processes of bodily experiencing,  and the skillfulness in carrying those processes forward into more articulate, more  discriminating meanings. for many centuries, western culture has denied recognition of  this ability and consequently made it very difficult for people to enjoy contacting and  working with their bodies’ felt meanings […], the intricate meanings carried by the bodies  in co­responsiveness to particular situations and circumstances (101).  befindlichkeit​: how do you find yourself?  in german, one way of asking ‘ “how are you?” is “wie befinden sie sich”’: literally, “how do you  find yourself?” (gendlin 1978–1979, “introduction”, para. 3).  drawing on this everyday  language, heidegger created the noun ​befindlichkeit,​ which is often translated as ​mood​ or ​to be  in a mood​, to describe the phenomena of one key aspect of our existence.  gendlin suggested  that the term has the meaning of ‘how­are­youness’ or ‘self­finding’.  it is reflexive, in that it is a  process of self­examination, as well as connotative of one’s feelings of situatedness  (1978–1979, “introduction”, para. 4).  one’s sense of one’s state of health can have some of  these qualities of mood as: a felt or an existential sense, in the context of one’s situation, that    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  14      also involves an active process of feeling oneself.    a practice like the feldenkrais method can alter the qualities of how people find themselves.  it  could be argued that much of one’s primary affective state is reflective of the content of our  sense of well­being, or of ‘dis­ease’ (leder 1998:126).  a shift in the ​habit body​ can create  significantly different bodily dispositions.  greater bodily ease can help shift one’s overall mood.  it can alter one’s ​feelings of being ​(ratcliffe 2008).  at the same time, the skills of ‘feeling feelings’ (rothfield 2008,“title”) or the ability to ‘feel for  the feeling’ (“prolegomena,” para. 3), are learnable through somatic practices.  again, some of  the sense of our selves is more bodily, and some more situational, but always intertwined.  we  need to be able to feel for both, and how they interact.   health as skillful coping  health sociologist, antonovsky (1978, 1987), suggested health can be thought of as a  continuum from ‘dis­ease’ to ‘health­ease’ (1979:55).  like feldenkrais, antonovsky saw health  not as an absence of illness or injury, but as one’s capacity to cope; one’s resilience  (antonovsky 1979; feldenkrais 1979/2010b). in one way, salutogenisis can be seen as a form  of ​skillful coping​ (dreyfus 1991, 2014) in response to challenges to one’s health.  drawing on antonovsky’s thinking, wayne jonas (duensing 2008:48­54) suggested that a  salutogenic orientation involves the capacity to find and choose the treatments and practices  that move one toward health.  in a study of breast cancer patients who felt they had successful  experiences with the use of complementary and alternative medicine, many of the women used  their bodily experience as a ‘gauge’ for the evaluation of conventional and complementary  therapies, and as a ‘guide’ for their choice of alternative therapies (salamonsen, kruse and  ericksen, 2012:1505).  again, somatic practices can contribute to the development of resources  and competencies for dealing with health challenges, especially developing the capacities of  bodily awareness that can inform the trajectory of one’s health choices.  at the same time, the  experience of successfully altering one’s bodily experience can generate ​hope​ (feldenkrais  2006; lowe, ​et al​ 2002; öhman ​et al​ 2011:153­161).  bodily dispositions, affordances, and an intentional arc toward health  one way of thinking about health is as a form of ​know how​ in dealing with challenges and  toward one’s potential to live a desired life consistent with one’s goals (feldenkrais  1979/2010b).  it can be seen as a capacity for knowing how to make one’s life more integrated  or whole again.  indeed, ​whole​ is the root of the word ​health ​(gadamer 1989).   this process may involve both conscious goals, but also the non­conscious as a kind of​ ​motor  or operational intentionality (dreyfus 1996; merleau­ponty 1962).  our world is a field of  potentialities that the body grasps and perceives (hass 2008).  ‘on a pre­conscious level, the    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  15      body prepares itself for action consistent with what is of value to the organism and while making  use of the ​affordances​ in the environment’ (smyth 2012:96).  hass (2008) writes that  merleu­ponty’s idea requires recognition of ‘the living body’s positions and dispositions, its  global orientation, its attunement to a situation, and the body’s subsequent preparation for the  reception of stimulations and the body’s subsequent responses’.  he notes that, ‘in this sense  the living body greets the world that has influence on it’ (81).  building on the concept of motor or​ ​operational intentionality,​ ​merleau­ponty (1962) extends the  idea to propose that one’s life has the aspect of an ​intentional arc​.  he writes,  cognitive life… is subtended by an “intentional arc,” which projects round us our past,  our future, our human setting, or physical, ideological, and moral situation, or rather  results us in being situated in all these respects.  it is this intentional arc which brings  about the unity of the senses, or intelligence, of sensibility and motility. (merleau­ponty  1962:157)   the intentional arc can be understood as a field of meaningfulness.  through our bodily  deportment, as well as our conscious actions, we act on this field of meaningfulness, and it acts  on us. the intentional arc means that we develop a set of deep ongoing skills and habits – our  usual ways of perceiving, acting, and being.  it is the way that we meet the world in a bodily  way, and our action over time that gives our lives, and therefore our world, its shape and  direction (dreyfus 1996).  therefore, to change our habitual ways of being requires a change in  our habitual bodily dispositions (dreyfus 1986, 1991).  to change bodily dispositions requires  changes in motor or operational intentionality, as well as in cognition.  we can be less reactive  and live more consistently with our conscious intentions if we have more choice in how we  respond to the world (feldenkrais 1972).  somatic practices like the feldenkrais method offer  that possibility.   merleau­ponty notes that this ‘intentional arc “goes limp” in illness’ (157).  however, the world  offers a wide range of physical, social, cultural potentialities or affordances for health.  our  intentional arc can be formed through and around our bodily self and directed toward our health  as an object of our intentionality.  a practice like the feldenkrais method affords the possibility  for a shift in our deep ways of being bodily in the world: the way we breathe, move, perceive  ourselves, and possibilities for action.  by bringing forth the value of bodily experience, providing  the experience of self­care, and developing the abilities to shift perception and action, the  feldenkrais method can help bend one’s intentional arc toward health.  the feldenkrais method and health  the feldenkrais method can contribute to (a) conscious awareness of the body which can be  drawn upon when it is needed to deal with challenges and breakdowns such as illness and  injury, (b) the development of non­judgmental self awareness necessary for acceptance and  self­care when dealing with health conditions, (c) the prevention of injury and chronic conditions    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  16      through the development of more skillful and appropriate action in the world, and to bring forth  the ability to make use of healthful or salutogenic affordances in our world, and (d) allow one to  shift into an ​ecstatic​, ​integrated​ state of being immersed in one’s practical engagement with  one’s world (leder 1990; feldenkrais 1981).  by engagement with the conscious and non­conscious aspects of the meaning of bodily  experience, the feldenkrais method can provide the ground for a healthy orientation toward  being, and being healthier.  it can develop capacities of the self where the body can ​appear in a  felt way​ as needed or desired, but mostly there is a change in bodily dispositions toward a new  health­oriented, bodily intentionality.    conclusion: the feldenkrais method, the body and the phenomenology of health  these possibilities deserve investigation, particularly research from a phenomenological  perspective.  in this paper i have suggested that there are some significant similarities between  phenomenological practice, such as the ​époche​ and the exploration of what is an essential, or  eidetic​, nature of certain experiences, and the practices of the feldenkrais method.  the  emphasis in phenomenology on the ​lived, experienced body​ as a basis for knowledge and  being­in­the­world provides a strong basis for using it to help investigate a practice of somatic  learning such as the feldenkrais method.  in addition, phenomenological thinkers have created  interesting and valuable reflections on aspects of the bodily experience, including (a) the  emphasis on how we are always already engaged bodily in our environment, situation, or world,  (b) the nature of our practical engagements and skillful coping in the world, and (c) the  importance of the experience of self­movement.  in relation to health these reflections include  (a) how our bodies appear to us in consciousness are profoundly influenced by the experience  of illness and health, (b) the importance our mood in response to our situation, (c) the value of  somatic awareness in health care practice, and (d) how we can shift the intentional arc,  developing capacities for new perceptual and action responses – a new bodily, life orientation  toward health.  i am proposing that this literature provides useful touchstones, images, and  frameworks as potentially very useful ‘​insight cultivators’​ (van manen 2014:408­420) as we  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phenomenological research and writing​. walnut creek: left coast press    wertz, f. j. (2011) ‘a phenomenological psychological approach to trauma and resilience’.  in  f. j. wertz, k. charmaz, l. m. mcmullen, r. josselson, r. anderson, and e.  mcspadden (eds), ​five ways of doing qualitative analysis: phenomenological  psychology, grounded theory, discourse analysis, narrative research, and intuitive  inquiry​. new york: the guildford press, 124–164     young, k. (2002) ‘memory in the flesh: the family body in somatic psychology’. ​body and  society 8 ​(3), 25–47. doi: 10.1177/1357034x02008003002    young, k. (2011) ‘gestures, incorporeity, and the fate of phenomenology in folklore’. ​journal of  american folklore 124 ​(492), 55–87      smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  23    http://pqdtopen.proquest.com/doc/1355961708.html?fmt=ai   acknowledgements  thanks to deborah bowes, dpt, gcft; hillel braude, md, phd, feldenkrais teacher; pat  buchanan, pt, phd, gcft; luann fortune, phd, cmt, and brandee selk, gcft, for editing  support and suggestions.  biography    cliff smyth has practiced the feldenkrais method for almost 25 years in melbourne and san  francisco. he has an ms degree in mind­body medicine, and is a phd candidate at saybrook  university, where he is also a teaching fellow.  he teaches feldenkrais method and mind­body  at the feldenkrais center for movement & awareness in san francisco and in other locations,  such as the osher integrative health center at ucsf.  he is also a life, and health and  wellness, coach.    smyth • ​feldenkrais research journal, volume 5​ ​(​2016)  24    feldenkrais research journal • volume 1 (2004) article on research: reply to jim stephen’s first version of this article from 1999 carl ginsburg phd abstract this article has very nicely articulated the criteria used by medical groups to “evaluate” research, and reports on how research on the feldenkrais method “stacks” up (not very well). although the article presents this as if the question is simply a scientific one, what the author has presented so well is the basics of the political mountain we in the feldenkrais community must climb in order to get recognition from the medical and scientific community. he is, of course, right in this. but there is another side of the coin. the response considers the basic assumptions behind this medical model of what is valid. keywords feldenkrais, evaluating research, qualitative copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author on research by carl ginsburg “the closer one looks at a real-world problem, the fuzzier becomes its solution.” -lofti zadeh in a piece entitled, “how does the world evaluate research on the feldenkrais method,” (in touch, third quarter, 1999) jim stephens has very nicely articulated the criteria used by medical groups to “evaluate” research, and he has also reported on how research on the feldenkrais method “stacks” up (not very well). although this is presented as if the question is simply a scientific one, what jim stephens presented so well is the basics of the political mountain we in the feldenkrais community must climb in order to get recognition from the medical and scientific community. he is, of course, right in this. but there is another side of the coin. what are the basic assumptions behind this medical model of what is valid? one can be mesmerized by the seeming rigor and exactness. to look under the façade, there is much that is hidden. first of all is the notion that the world must be described in yesno, right-wrong, logical terms. what is hidden is that such descriptions never fit an actual living world. second is the notion that a verbal analysis and description can impart the information that you need to proceed. this works, of course for pills, surgical procedures, and exercise regimens. what is hidden are the instances when the procedure fails or simply doesn’t fit the person’s situation. thirdly is the notion that any effect to be valid must result from an actual physical agent, thus the notion that a placebo effect is something in the way and must be eliminated as a factor. there is an accompanying lack of curiosity about the placebo effect and how it may work or how human contact may be a factor in the results. fourthly there is the notion that the important measure of anything is statistical significance. thus the intense scrutiny of such issues as sampling, controls, randomization. statistics can hide huge areas of ignorance of individual situations. rather than increase the quality of information, statistics set up a betting situation. i can choose this procedure because 60% of the time in similar circumstances it “works.” remember that the feldenkrais method was developed (according to legend) when feldenkrais chose not to bet on knee surgery. lastly is the assumption that the authority of the process confers safety and validity for the procedures. note that it is the national medical groups that make recommendations for treatment. the person using such authority then does not need to observe or think further in the situation. when there is failure, it is just a part of the probabilities. in feldenkrais we want to be precise about the individual, and of necessity we are fuzzy in our verbal descriptions. this is the opposite of the criteria that jim stephens describes. we do not work 2 c.ginsburg/feldenkrais research journal 1 (2004) with fixed protocols, even in atm. we guide people to their own self-discovery and away from accepting any external authority. but the outcomes of this precision does not lead to predictability. heinz von foerster used the terms trivial and non-trivial machines to distinguish systems that have predictable relationships between input and output and those that have a feedback loop, which generates internal states. the behavior of such systems becomes unpredictable. fuzziness is then a characteristic of living creatures and their interactions. von foerster often noted that human beings had a propensity to try to trivialize the non-trivial. in our feldenkrais work we need to resist this desire for predictability (triviality). in fact our successes are dependent on staying in an open relation with those we work with. there is a funny trade off between our verbal imprecision and actual working precision. it is a consequence of the nature of complex systems, which suggests that feldenkrais is more accurate to our non-trivial life processes. i quote from the engineer lofti zadeh who was instrumental in developing the mathematics of fuzzy sets. “as the complexity of a system increases, our ability to make precise and significant statements about its behavior diminishes until a threshold is reached beyond which precision and significance (or relevance) become almost mutually exclusive characteristics.”(as quoted in bart kosco, “fuzzy thinking,” harper-collins, 1994.) the net consequence is that it is more than difficult to fit what we do into the classic statistical research model. that is not to say that we cannot do research. as i have pointed out before (see my talk “is there a science of the feldenkrais magic,” report of the first european feldenkrais conference, heidelberg, 1995, iff publication 100) our work crosses the boundary between what is phenomenological, i.e. experience, and the realm of external observation. what we need is to develop another way of doing science, one that accounts for the way complex interconnected systems behave, and accounts for the relevance of experiential data. in most of current science and medicine zadeh’s analysis is pure heresy. it puts into question the whole foundation of the research game, which depends upon the mathematics of probability. there are other ways of doing research and operating successfully in the world. bart kosco in his book (ibid.) describes how fuzzy logic makes for much more precise control in designed systems such as the focusing mechanism of video cameras. the real shame is how often scientifically valid procedures (i.e. correct based on the so called probabilities) lead to human disaster for an individual. feldenkrais used the idea of fuzzy before it was named as such, and he heaped scorn on bivalent, cause-effect thinking as well as statistical medicine. statistical medicine fuzzes up the question of why a procedure works for one individual and not another and hides the ignorance behind the statistical analysis. so what can we do in this situation? first and foremost, i believe, we need to work primarily with individual instances. neurological researchers do it all the time, and accumulate information that can apply to many nervous systems. secondly it seems to me we have to become clear about what we want from research. if it is just to validate the method, i think we cannot succeed. that forces us to attempts at randomized controlled 3 c.ginsburg/feldenkrais research journal 1 (2004) trials. our method is not a pill; it is not one clearly definable thing. it depends on the qualities and skills of the person presenting the atm or fi as well as the persons participating and how they are willing to enter the process. research can be and should be about what we do not know. it can be about new discoveries about functional interconnections that we observe in our working with individuals or teaching atm. let me give some examples. in the same issue of in touch (third quarter, 1999) russell delman in his column writes of his experience in working with fixing and opening the attention and how this relates to experience of pain. he makes some astute observations. here is a whole area for experiment and research. in some experiments i have done in my classes, it has been demonstrated that an open attention changes the observational ability of students, and more interestingly it changes the quality of touching another person as well as changing something in the feeling of the person touched. research in an area such as this could contribute to the general body of knowledge. here is another example. some years ago i taught an atm class for a large corporation for people with back pain. this class was combined with a back care program taught by a pt using the atm work as a basis. we did a survey that compared personal results with prior treatments the participants received. the results were encouraging, but the survey was not rigorously constructed. some of the individual stories, however, were fascinating. one man with years of pain became pain free after one particular atm lesson that helped him recover movement in his pelvis, back and hips. that lesson was for him. but how was that possible? in my years of practice i have found that by feeling the change of quality of movement of say the spine during a lesson, i can predict if a person will experience much less pain after the lesson. here is an important research topic. what is changing for the person and how is it that some people who seem disorganized in their structure and movement may never complain of pain in their entire life? there are other phenomena to research. for example, i have observed with a number of people a correlation of some missing parts of the visual field of imagining the hand in moving with body-image disturbances and disturbances in the vestibular system and balance. this could be something really important to explore and could be a discovery of something not known. the results of our work are not easy to document, and vary from person to person. primarily, at first, when results are dramatic, they are phenomenological, i.e. they involve a big change in a person’s experience. changes in posture, movement, breathing, behavior are much more subtle and can be seen clearly more easily by a trained observer. what shows up on computerized movement analysis equipment is small and barely detectable in machine terms. tests such as range of movement are often too crude a measure to find the significant change. and we do not know what we might see with brain imaging techniques. experience also shows that sustaining changes happen over a long period of practice with the method, not just with a few lessons. this is even more the case with neurological difficulties. 4 c.ginsburg/feldenkrais research journal 1 (2004) to really look at our work we need to document a lot and over a long time period, to develop the quality of our observing and describing, to create notes, make photographic and video documentation. we also need to continue our own development and learning, and discover in ourselves what makes for real quality and success in what we do. we need to go to the laboratory situation with a clearness of what we are investigating and what our claims are. i have been negative toward the classic model of research. nevertheless i do support a research effort. let us begin again with more sophistication and in our own terms. reading suggestions: fuzzy thinking, bart kosco. harper-collins. hare brain tortoise mind: why intelligence increases when you think less, guy claxton. fourth estate (london). molecules of emotions, candace pert. scribner. understanding systems, heinz von foerster, and bernhard poerksen. kluwer academic/plenum press. feldenkrais research journal • volume 1 (2004) article la recherche et la pratique du corps vecu un point de vue, par la methode feldenkrais® d’education somatique yvan joly ma; feldenkrais institute for somatic education inc., québec, canada abstract l’éducation somatique est un nouveau champ disciplinaire qui s’intéresse au corps vivant, à la conscience médiatisée par le corps biologique et au mouvement du corps vécu dans l’espace. la méthode feldenkrais et toutes les approches d’éducation somatique ont des besoins de recherche qualitative pour se formuler, pour définir leurs bases théoriques et scientifiques, pour mesurer les effets de leurs pratiques et pour comprendre et améliorer les processus de formation des praticiens et enseignants. il faut aussi mettre en évidence le paradoxe même d’une recherche verbale sur le corps non-verbal et s’il veut faire une recherche qualitative de qualité, le chercheur doit se soumettre lui-même ou elle-même à l’expérience de prise de conscience de son corps. et en cela l’éducation somatique propose une unique forme de recherche qualitative. keywords somatic education, feldenkrais, consciousness, awareness, qualitative research copyright ©: the copyright for this paper remains with the author(s). first published: revue de l'association pour la recherche qualitative (1995), vol. 12, pp. 87-99. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author la recherche et la pratique du corps vecu un point de vue, par la methode feldenkrais® d’education somatique publié dans : revue de l’association pour la recherche qualitative, vol. 12, hiver 1994, pp. 87-99 par : yvan joly, m.a. (ps.), psychologue institut feldenkrais d’éducation somatique inc. 107 avenue de touraine, st-lambert, québec j4s 1h3 tél. fax. : 1-450-671-0638 mel : yvanjoly@compuserve.com introduction de mon point de vue le point de vue que j’aimerais présenter ici émerge de mon expérience en tant que praticien, formateur et chercheur en éducation somatique, et plus particulièrement en tant que professeur de la méthode feldenkrais® (note 1) de “prise de conscience du corps par le mouvement”. j’aimerais ici partager quelques-unes de mes idées, rapporter certaines de mes “aventures” et surtout exposer quelques-unes de mes questions, telles que je les mijote en faisant de la recherche depuis plus de vingt années dans les milieux de la pratique pour ne pas dire dans le milieu de ma pratique en éducation somatique. notez que ma présentation n’aura ni une allure ni une prétention académique à proprement parler. si “le corps a ses raisons”, la pratique du corps et la réflexion sur les pratiques du corps par un praticien ont aussi leurs raisons propres. dans le cadre du présent congrès de l’association pour la recherche qualitative sur “le corps de la recherche”, je remercie le comité d’organisation de me permettre de représenter la perspective de professionnelles et de professionnels de l’éducation somatique. voici, autour du thème “le corps de la recherche”, une belle occasion de construire des ponts entre les milieux universitaires et les milieux de la pratique professionnelle, et surtout entre les personnes qui font de la recherche, celles qui font de la pratique et celles qui font de la recherche sur la pratique. dans les paragraphes qui suivent, je vais aborder les quatre points suivants: a le domaine de l’éducation somatique et la méthode feldenkrais b les besoins en recherche des pratiques en éducation somatique c les limites d’une recherche verbale sur le corps vécu d le corps de la recherche et le corps du chercheur j’essaierai de montrer que les méthodes d’éducation somatique présentent, pour la personne qui s’intéresse à la recherche qualitative, un vaste réservoir de possibilités. le domaine luimême a besoin d’être recherché et articulé. le processus somatique a besoin d’être nommé et exprimé. les praticiens et les pratiquants de l’éducation somatique ont enfin besoin de se donner un langage à la hauteur de l’expérience somatique. cela présente en soi un intéressant paradoxe et un exceptionnel défi de recherche puisque l’essentiel de l’expérience somatique n’est pas d’ordre verbal. par ailleurs, les méthodes d’éducation somatique présentent pour la recherche qualitative une occasion unique d’immersion dans l’expérience phénoménologique d’être un corps, celui de la recherche et celui du chercheur, de la chercheuse. “les chercheurs en sciences cognitives qui ne sont pas réductionnistes 2 y.joly/feldenkrais research journal 1 (2004) considèrent que la conscience et l’expérience sont des phénomènes irréductibles à évacuer. il faut donc se doter d’une méthode d’exploration de ce phénomène” (varela l993a : 54). dans son livre intitulé l’inscription corporelle de l’esprit varela s’est tourné vers le bouddhisme et la méditation pour appuyer sa recherche sur l’enaction et la phénoménologie du mental. je considère quant à moi que l’éducation somatique présente un riche éventail de méthodes d’exploration de la phénoménologie du corps et qu’à ce titre elles devraient avoir une place importante dans la production et la formation en recherche qualitative. voilà l’échange de bons procédés que je voudrais ici faciliter entre le domaine de la recherche qualitative et le champ de l’éducation somatique. a-le domaine de l’éducation somatique et plus précisément la méthode feldenkrais l’éducation somatique est un champ disciplinaire en émergence qui s’intéresse au mouvement du corps dans son environnement, à la conscience corporelle proprement dite et à la capacité de ce corps vécu de s’éduquer en tant que corps vécu. ce champ se situe à l’intersection des arts et des sciences qui s’intéressent au corps vivant, et ce dans les domaines de la santé (réhabilitation, psychologie, activité physique), de la performance sportive (entraînement et compétition de pointe), des arts (interprétation et création), de la philosophie (incorporation de l’esprit, constructivisme), de l’éducation et de l’enseignement en général ( bases corporelles concrètes de l’apprentissage) ou encore dans des domaines plus pointus comme la phénoménologie, la biomécanique, la méditation, la biologie et la systémique, les sciences cognitives et les sciences du mouvement (“movement sciences”). cette liste impressionnante de tangentes disciplinaires démontre bien la complexité du nouveau domaine en émergence. et ceci sans nommer la trentaine de méthodes spécifiques dont les praticiens du monde occidental se réclament pour enseigner l’éducation somatique (note 2). “par delà leurs particularités, les diverses méthodes partagent un but fondamentalement semblable: apprendre à raffiner le sens kinesthésique et proprioceptif pour agir avec une efficacité, un plaisir, une expression accrus, et une douleur moindre” (regroupement québécois pour l’éducation somatique, 1994). dans l’expression “éducation somatique”, le mot soma est le plus important. son sens ici s’éloigne de l’usage courant où somatique est opposé à psychique. en fait, nous réhabilitons ici la notion de soma en regard du mot grec qui depuis hésiode signifie corps vivant . nous visons donc ici le corps total, tel que vécu, en continuité systémique avec son environnement. c’est thomas hanna, fondateur de la revue américaine somatics (note 3) qui est à l’origine récente de ce courant qui nomme et met en valeur le corps vécu. il a proposé une définition de la somatique: “c’est l’art et la science des processus d’interaction synergétique entre la conscience, le fonctionnement biologique et l’environnement” (hanna, l989: 1). avec hanna, plusieurs auteurs et chercheurs se sont intéressés au corps vécu (note 4), à l’embodiement (varela, 1993a, 1993b, 1994), à l’auto-régulation des systèmes vivants (maturana et varela, 1990) et à l’anatomie de la conscience (rosenfield, l992, 1993). parmi le vaste champ de la somatique, qui inclue des pratiques d’origine orientale, le biofeedback, l’imagerie mentale, les approches reichiennes, la psycho-neuro-immunologie et tout le body-mind, il y a un sous-ensemble bien précis de méthodes qui partagent une perspective d’éducation somatique. “l’éducation somatique se distingue de la plupart des approches psycho-corporelles qui utilisent le corps pour mettre en évidence les émotions refoulées et les relations inachevées. cela pourrait être de la “somatothérapie”, comme l’indique le titre d’une revue française. le 3 y.joly/feldenkrais research journal 1 (2004) mot thérapie, étymologiquement ne désignait-il pas le traitement des dysfonctions et des maladies? or l’art et la science des éducateurs somatiques ne résident pas dans la pathologie et la symptomatique, l’étiologie et la guérison mais dans le processus d’apprentissage sensorimoteur, le développement du potentiel kinesthésique et la découverte, dans le mouvement, de meilleures options stratégiques (joly, l994:14)”. pour prendre un exemple de méthode, parlons un peu de la méthode feldenkrais, (feldenkrais, 1971) qui est celle que je pratique et enseigne depuis plus de vingt années. elle fut mise au point par moshe feldenkrais (l904-1984) qui était un ingénieur-physicien, entre autres au laboratoire de physique nucléaire des juliot-curie. feldenkrais était aussi un adepte du judo, première ceinture noire européenne et un disciple des enseignements de gurdjieff. sa méthode propose une meilleure conscience du corps en mouvement dans le champ de la gravité. feldenkrais s’est intéressé au mouvement humain et à son rôle dans le développement de nos habiletés et dans la gestion de nos actions. cette méthode se pratique en groupe ou individuellement, sous la direction orale ou manuelle d’un professeur. ce professeur a suivi une formation poussée pour acquérir des connaissances “objectives” sur le corps en mouvement tel que perçu à la troisième personne, (anatomie du mouvement, physiologie, biomécanique, physique du corps); mais également sinon surtout ce professeur s’est soumis à un processus rigoureux d’exploration subjective du mouvement tel que vécu au je. cette réhabilitation de la subjectivité éduquée dans la pratique professionnelle constitue sans doute la caractéristique unique du domaine de l’éducation somatique: l’intervenante ou l’intervenant doit s’appuyer sur sa propre expérience, ou sur ses propres expériences personnelles, au sens d’experiment, pour pouvoir bâtir sa compétence professionnelle. et à cet égard, chacune des grandes méthodes d’éducation somatique possède des stratégies pédagogiques propres pour former ses professeurs. mais voyons un exemple concret dans une mise en situation. première mise en situation tel que vous êtes, assis sur une chaise ou dans un fauteuil, prenez conscience de votre position et des sensations que vous ressentez à ce moment dans votre corps. vous pouvez fermer les yeux ou les garder ouverts à votre convenance. l’une de ces deux possibilités vous rendra l’exploration plus facile. portez votre attention à votre respiration, et notez en le rythme. combien de temps dure l’inspiration, l’expiration, et les pauses entre l’une et l’autre. où dans le tronc se déploie la respiration? puis, portez votre attention à vos appuis sur le siège, sur le sol et sur le dossier si c’est le cas. remarquez si vos appuis sont semblables à gauche et à droite du corps. notez si la tête vous semble inclinée, verticale, tournée. ne changez rien à ce que vous observez. et effectivement, ce peut être difficile de sentir et de ne pas agir. pour poursuivre la description concrète du travail quotidien du praticien ou de la praticienne en éducation somatique, je pourrais vous dire que dans ma pratique privée, dans la même semaine, je puis rencontrer: un enfant atteint de paralysie cérébrale, un ouvrier de la construction en réhabilitation pour son dos, un chanteur en quête de flexibilité vocale, un musicien qui souffre de douleurs chroniques en jouant du violon, un peintre qui est dans un creux créatif, un golfeur professionnel qui cherche une méthode d’enseignement pour faciliter l’apprentissage aux débutants, un enseignant qui souffre d’anxiété et est en burn-out, 4 y.joly/feldenkrais research journal 1 (2004) une mère de famille qui cherche à se réorienter depuis que les enfants sont grands, un danseur essoufflé par son entraînement technique, un enfant dyslexique, voire même un cheval qui a des problèmes de comportement au moment du transport en remorque. ce qu’il y a de commun à tous ces clients-élèves, ce n’est sûrement pas la symptomatique! c’est dans l’approche par le corps vécu, dans la conscience en mouvement, que tous ces gens se retrouvent en éducation somatique. la pratique de l’éducation somatique s’appuie sur la capacité du praticien ou de la praticienne de sentir son propre corps en mouvement et sur la capacité de percevoir par observation, par le toucher, et par projection, ce qui se passe dans le vécu de l’autre personne, comme si on pouvait brancher son propre vécu sur le vécu d’un autre système vivant et de là faire oeuvre d’éducation selon des stratégies propres à chaque méthode. une grande partie de ce travail éducatif repose donc sur la capacité intuitive du praticien ou de la praticienne; j’entends par là la capacité de penser hors du champ des mots, dans cet univers pré-verbal du sensori-moteur, dans l’intimité de la conscience du corps vécu. là est tout l’intérêt de l’approche. là réside également toute la difficulté de la pratique elle-même, de même que celle de la formation des futurs praticiens et praticiennes. et que dire de la difficulté de conduire une recherche sur cet univers hors du champ du verbe? et quel paradoxe n’est ce pas d’être justement en train d’en parler! b-les besoins en recherche des pratiques en éducation somatique comme pour toute jeune discipline, les besoins en recherche de l’éducation somatique sont vastes. je vais en identifier ici quelques-uns, et pas nécessairement dans un ordre de priorité. 1-le domaine de l’éducation somatique a besoin de se formuler, de se nommer. les modèles théoriques sont relativement peu développés. le langage est peu précis. les mêmes mots sont utilisés par des praticiens et des praticiennes d’allégeances variées, et quiconque lit un peu sur le domaine saisit rapidement que le vocabulaire est presqu’interchangeable alors que, dans l’action éducative, concrète, les praticiens posent des gestes très différents. donc, un premier grand besoin: celui de clarifier le langage, les concepts, les méthodes, le cadre théorique. à ce titre il faut mentionner ici la recherche de odette guimond (1987) qui, dans sa thèse de doctorat, a développé une importante réflexion sur l’importance du mouvement et sur son sens, dans le jeu et la formation de l’acteur, mais aussi de façon générale pour l’éducation somatique. des recherches semblables apportent énormément d’eau au moulin de la conceptualisation. derrière la “mise en langage” (au sens de languaging) de chacune des méthodes se cache sans aucun doute un substrat commun à toutes les méthodes, et c’est ce qui constitue le domaine à définir. par ailleurs, entre les différentes méthodes, il y a sans aucun doute aussi, pour qui connaît plus d’une méthode, des différences énormes au plan des conceptions et de la pédagogie: “l’une sera plus directive, voire corrective, l’autre, plus exploratoire; l’une mettra l’accent sur l’utilisation de l’espace, l’autre, sur l’intériorisation du mouvement; l’une préférera le mouvement au sol, l’autre à la verticale. le langage, l’imagination, l’interaction entre les participants, la communication par le toucher et l’expression émotive ou artistique intéresseront plus ou moins les différents éducateurs somatiques” (joly, 1994: 12). 5 y.joly/feldenkrais research journal 1 (2004) en termes de théorie des ensembles, face à la variété des méthodes, l’ensemble commun définira le champ même de l’éducation somatique. resteront les caractéristiques propres à chaque méthode au plan conceptuel et pédagogique. et à cet égard la recherche n’en est qu’à ses débuts. la rigueur de la recherche est nécessaire pour établir les frontières du champ et le baliser. 2l’efficacité même de l’éducation somatique reste à démontrer sur des bases rigoureuses, j’allais dire scientifiques, mais si et seulement si on inclue, dans la vision de la science, le vécu au plan subjectif! evidemment , on pourrait de façon traditionnelle et en double aveugle, mesurer l’efficacité d’une intervention en éducation somatique auprès d’une clientèle atteinte de sclérose en plaques, ou auprès de sportifs qui se soumettraient à une variété d’interventions, en assignant les sujets au hasard, et en contrôlant l’effet placebo. de telles recherches pourraient être pertinentes, et toutes difficultés méthodologiques et éthiques étant surmontées, certaines recherches de ce type objectivant et quantitatif seront sans doute utiles, sinon nécessaires, pour assurer la crédibilité du domaine, du moins dans certains milieux. mais pour toutes sortes de raisons, ce type de recherche n’a pas encore été très populaire dans le domaine somatique. ma propre expérience et ma première formation en tant que méthodologue auraient pu m’amener dans cette direction. mais j’ai surtout résisté à ce type de recherche parce que les méthodes ne me semblent pas tenir de la même source que le processus auquel elles s’intéressent. j’ai dû moi-même passer des années à me réapproprier mon vécu et à lui faire une place rigoureuse dans ma pratique et dans ma vie pour pourvoir vouloir résister à des démarches de recherche qui ne seraient qu’objectivantes et quantifiantes et qui limiteraient l’importance du processus. l’évaluation de l’efficacité du processus de l’éducation somatique, au delà de la spécificité des méthodes utilisées, peut-elle être mesurée par des critères externes, objectivants? sans doute, mais pas uniquement. car il faut bien le reconnaître, chaque intervention avec chaque personne est unique. l’éducation somatique ou la méthode f, a, b ou c ne fonctionne pas avec “la sclérose en plaques” ou avec “les maux de dos”, mais avec des personnes précises et cela presque sans égard à la symptomatique. et, dans l’efficacité de l’intervention, la communication établie entre le praticien ou la praticienne et son “élève” est le facteur le plus important. du moins est-ce la croyance des praticiens et des praticiennes! car les mêmes stratégies ne seront pas utilisées avec des personnes ayant les mêmes symptômes! alors, quelle est la valeur d’une étude d’évaluation d’une méthode dans le traitement d’une maladie ou dans l’amélioration d’un geste sportif particulier si l’on ne tient pas compte de la médiatisation? sans connaître tout le champ méthodologique, je me demande bien si on ne doit pas reconnaître d’emblée que les méthodes qualitatives et plus spécifiquement les méthodes phénoménologiques, sont plus aptes à éclairer les lanternes du domaine somatique, y inclus pour l’appréciation de l’efficacité. des recherches comme celles menées par sylvie fortin (l994) au département de danse de l’université du québec sont un exemple de l’application des méthodes qualitatives à l’étude de l’éducation somatique et à son impact dans un domaine particulier, nommément la danse. madame fortin est à la fois une praticienne et une universitaire et elle présente d’ailleurs un exposé dans le cadre du présent congrès. 3 le “vécu”, puisqu’il faut bien encore une fois l’appeler par son nom, des personnes qui font une démarche en éducation somatique est un domaine bien peu recherché et documenté. quelques pionniers, comme charlotte beaudoin (1994) du département d’éducation physique de l’université laval, s’intéressent à cet aspect . voilà un type de recherche phénoménologique très pertinent pour les personnes en démarche et très riche pour celles qui les accompagnent au plan professionnel. le fait de participer à une telle recherche doit d’ailleurs enrichir l’expérience de tous les interlocuteurs . mais il y a un défi méthodologique de taille dans ce type de recherche et c’est celui de rendre compte par le 6 y.joly/feldenkrais research journal 1 (2004) médium de la parole du cheminement vécu somatiquement. la valeur de ce type de recherche ne repose-t-elle pas en grande partie sur la capacité des sujets à formuler leur expérience verbalement.? cette question sera abordée dans une prochaine section car elle est soulevée par plusieurs types de recherche, pas uniquement à propos des recherches sur le cheminement . la question du rapport entre le vécu et le verbe,est quant à moi, au centre même de la problématique de l’éducation somatique. 4-le processus de communication verbale et surtout non-verbale qui s’établit entre deux personnes au cours d’une séance d’éducation somatique pourrait paraître bien mystérieux à l’observateur non avisé. qu’est-ce qui peut bien guider le praticien ou la praticienne à dire ceci ou cela, à toucher ici ou là, à faire une pause, à recommencer, à s’arrêter? les stagiaires en formation sont toujours curieux de savoir ce à quoi leurs formateurs pensent quand ils font des démonstrations. quel est l’objectif poursuivi, en vertu de quels principes le formateur agit-il? la réponse à toutes ces questions appartient à un processus cognitif complexe, essentiellement branché dans le présent de l’expérience présente, et foncièrement appuyé sur les expériences passées. le praticien peut avoir des images, entendre des paroles, sentir une sensation, une émotion, s’inspirer d’un concept, porter attention à son propre confort, à ses propres sensations (comment sait-il d’ailleurs que ces sensations ont source en lui ou dans l’interaction avec l’autre parce qu’elles originent de l’autre?). dans la recherche à cet égard, une percée importante a été faite au québec par yves st-arnaud du département de psychologie de l’université de sherbrooke et par yvan joly de l’institut feldenkrais d’éducation somatique de montréal, dans l’application d’un modèle méthodologique pour conceptualiser la pratique somatique (st arnaud, 1993, st arnaud et joly, l992) . ce modèle inspiré de la science-action présente d’ailleurs une grande généralité et ne se restreint pas aux pratiques somatiques. il consiste essentiellement en un échange à propos d’un questionnaire élaboré à partir d’une conception de la pratique. ce questionnaire fournit aussi l’occasion de revoir des interventions enregistrées sur bande vidéo et le praticien doit alors expliquer, expliciter, décrire son vécu lors de ses gestes professionnels. ses stratégies pédagogiques en ressortent clairement. et c’est le chercheur méthodologue qui les reflète ensuite au praticien. l’effort de formulation dans l’action et la réflexion sur l’action sont d’une grande richesse. pour m’être moi-même soumis à cette démarche, je puis témoigner de sa valeur. ma compréhension de mes interventions s’est grandement améliorée et ma capacité de me formuler et de m’expliquer à d’autres a fait de grands pas. ma pratique s’en est ressentie tout au long des mois de la recherche (c’est plus difficile à dire si ceci est encore important avec le recul des mois) et mes activités de formation en ont grandement tiré partie. ce type de recherche mérite, quant à moi, d’être repris et poursuivi, peut-être de façon plus spécifique méthodologiquement pour les pratiques en éducation somatique. et encore ici, il y a un grand pan de recherche à faire pour inclure tout le vécu somatique, en deça de la verbalisation. y a-t-il moyen de rendre compte de toute cette complexité du vécu interactif en éducation somatique sans le réductionnisme de la parole? 5-le dernier besoin de recherche que je voudrais mentionner c’est celui qui a trait aux programmes de formation, quant à leur processus et quant à leur efficacité. le processus même de formation des futurs éducatrices et éducateurs somatiques est à peine amorcé. et cela même si certaines écoles ont déjà formé plusieurs centaines de praticiennnes et de praticiens. les modèles de formation pourraient être plus précis, et ils pourraient aussi être mieux validés. quel est le profil de compétence (puisque l’expression est à la mode) que l’on recherche et que l’on voudrait trouver à la fin? comment établit-on des critères de fin d’études? comment les formateurs et les formatrices déterminent-ils qu’un stagiaire est en mesure de pratiquer sans supervision? comment le sujet-formateur établit-il son rapport pédagogique avec le sujet-stagiaire? quelles données objectives doivent être inclues dans la 7 y.joly/feldenkrais research journal 1 (2004) formation? comment évalue-t-on l’atteinte des objectifs au plan de la démarche subjective que le stagiaire doit faire avec lui-même ou avec elle-même? quel est le cheminement critique prévu pour les stagiaires? rappelons-nous qu’en éducation somatique, on doit pouvoir toucher la tête d’une personne et sentir le vécu du sujet touché! les modèles de formation de toutes les écoles utilisent à des degrés divers, c’est vrai, un modèle de relation maître-apprenti. est-ce là le meilleur modèle? et si le domaine de l’éducation somatique fait des incursions dans les milieux universitaires, quelles sont les conditions pédagogiques que l’institution doit respecter pour garder le vécu du sujet au coeur du processus ? comment reconnaître que la démarche des étudiants nécessite une immersion somatique et comment inclure cela dans le curriculum et dans l’évaluation? plusieurs de ces questions de formation dans les domaines de la pratique professionelle ont été abordées au grapp (groupe de réflexion et d’action sur les pratiques professionnelles) (note 5) qui réunit au québec des formateurs, des praticiens et des professeurs de différentes institutions universitaires de même que quelques praticiens et formateurs du domaine privé. ce groupe s’est penché depuis l987 sur les relations entre le savoir académique et le savoir pratique, sur le rapport entre la théorie et la pratique et sur toutes les questions de la formation de praticiens dans les domaines de l’éducation, de la psychologie, de la sociologie, de la consultation et également dans le domaine de l’éducation somatique. car il faut bien le reconnaître, l’éducation somatique ne porte pas seule tout le champ des préoccupations en ce qui a trait à la formation de professionnels-praticiens. mais, et ce fut le cas au grapp, l’éducation somatique a beaucoup à apporter pour créer des expériences d’exploration et d’apprentissage sur le domaine du vécu incorporé dans l’action. et à ce titre, nous avons pu contribuer à la réflexion de nos collègues du grapp sur l’intuition et sur les mécanismes de la pensée non-verbale. nos collègues formateurs, universitaires et praticiens nous ont, quant à eux, grandement influencés dans l’élargissement de la vision des méthodes et des problématiques dans les rapports entre l’action et la réflexion. voilà un type de recherche qui nous fut très utile. c-les limites d’une recherche verbale sur le corps vécu trève d’allusions, plongeons maintenant dans le vif du sujet qui me préoccupe le plus, soit celui des rapports entre la parole et le corps vécu. j’aimerais d’abord rappeler avec korsybski (1966: 25) , l’initiateur de la sémantique générale que : 1) une carte, ce n’est pas le territoire ( les mots ne sont pas les choses qu’ils représentent). 2)une carte ne couvre pas tout le territoire (les mots ne peuvent couvrir tout ce qu’ils représentent). dans ma mythologie personnelle, je dis que les mots, par rapport au vécu, c’est comme le drapeau sur la pointe de l’iceberg! la plus grande partie de l’iceberg de la conscience est sous la ligne de flottaison. puis il y a une partie de l’iceberg que l’on voit, que l’on peut “sentir” dirait-on. et il y a sur le dessus de l’iceberg un tout petit symbole pour la communication et l’identification. quelle est la relation entre ces “niveaux” de vécu. j’emploie à dessein le mot “niveaux” et je pose en même temps la question de la hiérarchie des niveaux, et je réponds que du point de vue de l’éducation somatique, le niveau le plus élevé, le plus important, c’est le niveau de l’expérience et que l’expérience ne peut être réduite à ce que l’on peut en dire ? evidemment le piège, quant à moi, serait d’amorcer ici un débat verbalement sophistiqué et intellectuellement élevé sur la sémantique, la sémiologie et sur l’empire des sens. rassurez 8 y.joly/feldenkrais research journal 1 (2004) vous. ce n’est ni ma compétence ni mon intérêt. je veux seulement soulever ici un malaise fréquemment ressenti quand la question de la recherche sur le corps est abordée: souvent ça déborde de mots. on ne sent plus l’expérience. evidemment pour un certain type de communication, comme je le fais ici, nous utilisons des mots. mais combien de livres, combien de textes qui ont pour intérêt la phénoménologie du corps et l’expérience vécue, se manifestent par un flot soutenu d’abstractions, détachées du vécu du chercheur, et à peine rattachées au vécu du sujet étudié. comprenons-nous bien: il ne s’agit pas d’évacuer la parole et le symbole oral ou écrit. je suis aussi de ceux qui défendent parfois et avec brio que “une expérience qui n’est pas nommée n’existe pas”! il s’agit plutôt de garder le lien et la proportion entre le drapeau sur l’iceberg et l’iceberg lui-même, entre autres avec la partie qui est immergée! mais peut-être après tout s’agit-il simplement de revoir l’usage du langage? eh bien non, cela ne suffirait pas, quant à moi. evidemment, après avoir vu un film, on peut en parler à divers niveaux et de différentes façons. certaines formes de langage, certains styles d’expression, sont plus ou moins détachés de l’expérience vécue lors de la réception du film, plus ou moins porteurs du vécu. et pour une recherche en éducation somatique, il sera plus approprié de se tenir proche de l’expérience, même lorsque l’on voudra faire une théorie de l’éducation somatique. mais mon propos a l’ambition de pousser le débat encore plus loin. car demander à des sujets de parler de leur expérience somatique c’est déjà leur demander de se dissocier! surtout si on leur demande de faire cela en cours d’expérimentation (pour ne pas dire experienciation). et puis parler en rétrospective d’une expérience somatique que l’on a eue, c’est s’appuyer sur la mémoire et l’évocation de cette expérience, et alors le sujet parle d’autre chose que de son expérience vécue. permettez-moi de distinguer, du point de vue de l’expérience somatique et de son expression, trois aspects. et pour rendre mon propos plus concret, considérez quelques instants la possibilité de vous soumettre à la mise en situation suivante. deuxième mise en situation veuillez vous asseoir confortablement. prenez quelques instants pour ce faire . faites cela maintenant avant de continuer à lire. bien, merci. vous pouvez continuer à lire. notez les ajustements que vous avez faits pour répondre à la proposition. si vous n’avez pas à votre connaissance fait de changement, continuez à lire comme si de rien n’était. combien de temps avez-vous réfléchi pour décider quoi changer dans votre posture, dans votre relation à la chaise, et puis combien de temps les ajustements ont-ils pris? vous êtes-vous parlé intérieurement avant, pendant ou après le changement? qu’avez-vous changé au juste? pourriez-vous revenir dans la position de départ, celle qui vous semblait sans doute moins confortable? cette position vous semble-t-elle différente maintenant que vous la re-considérez? si vous avez changé de position est-ce à dire que vous n’étiez pas confortablement assis auparavant? revenez a la deuxième position, celle que vous aviez choisie pour être plus confortable. quels sont les indices que vous avez pris en considération pour changer ou ne pas changer votre position? 9 y.joly/feldenkrais research journal 1 (2004) etaient-ce des sensations, des visions intérieures, des émotions, des saveurs, des odeurs, des sensations tactiles, ou cutanées, des paroles entendues ou dites à vous-même, une impression de fatigue, de tension, une respiration particulière ou quoi encore? lorsque vous vous sentez mieux, dans la présente position, comment savez-vous que tel est le cas? finalement, considérez quelques instants l’une des deux possibilités suivantes: ou bien vous avez déjà répondu à toutes ces questions, et vous êtes maintenant libre ; ou bien vous avez maintenant à écrire vos réponses pour vous faire lire par un intervieweur qui vous appellera bientôt au téléphone pour faire sa recherche en éducation somatique. la distinction que j’aimerais apporter suite à cette petite mise en situation mettra en évidence divers modes d’expérience. dans un premier temps, clarifions d’abord que, du point de vue de l’éducation somatique, l’objectif principal de cette petite mise en situation pourrait être la découverte de la notion concrète de confort en position assise, et par là une amélioration de la capacité d’auto-régulation de la personne incorporée dans l’interaction avec son environnement. voilà ce que pense faire le professeur. par ailleurs il y a le ceque-fait le professeur, par sa présence, son intonation vocale, ses pauses, son choix de vocabulaire. puis il y a ce que l’élève vit et apprend. il y a aussi ce que l’élève pense vivre et apprendre, ce dont il ou elle a conscience. finalement, il y a ce que l’élève peut ou veut dire verbalement de son expérience. a vol d’oiseau, voilà quelques distinctions dans le champ de l’éducation somatique. dans la pratique de l’éducation somatique, ce qui m’importe en tant que professeur, c’est que mes élèves puissent s’auto-réguler en mouvement, dans l’action, y inclus qu’ils ou elles soient capables de régulièrement changer de position pour entretenir cette expérience de confort en position assise, lors d’une conférence ou lors d’une lecture, même et surtout si cette lecture ou cette conférence est comme celle-ci particulièrement captivante. dans le processus de cet apprentissage somatique, je puis orienter le cheminement de mes élèves par une approche de découverte guidée par la parole, comme ci-haut. et les réponses que les élèves apportent à mes questions sont plus souvent qu’autrement réservées à l’élève, sans qu’elles soient communiquées au professeur. ou encore, je pourrais guider l’apprentissage somatique de mon élève par le toucher de mes mains, en sentant par extension de ma propre expérience la nature de l’expérience somatique de confort de l’élève et en guidant son apprentissage et son exploration somatiques par le toucher de mes mains. dans les deux cas, l’expression verbale de l’élève n’est pas nécessaire et souvent même elle débranche l’élève de ses sensations, surtout dans les moments de découverte intensément nouvelle et dense. d’ailleurs, dans certains cas, je pourrais même dissocier mon propre discours de l’expérience somatique en cours, (en parlant de la pluie et du beau temps ou de la dernière joute de mon sport préféré) comme si je prenais en charge la verbalisation d’un certain niveau dissocié pour permettre à l’élève de mieux associer somatiquement. evidemment il est aussi possible pour l’élève et pour moi de confirmer par la parole, voire d’amplifier par la verbalisation une expérience somatique particulière. mais encore une fois, cette verbalisation est la plupart du temps non essentielle au processus d’apprentissage somatique. et nous re-voilà à la question de départ: qu’en est-il alors de la recherche sur le processus en cours en éducation somatique? d-le corps de la recherche et le corps du chercheur avant de laisser mon lecteur ou ma lectrice avoir l’impression vague que jusqu’ici ils ont été menés le bateau vers la quadrature du cercle, laissez-moi annoncer maintenant la couleur que 10 y.joly/feldenkrais research journal 1 (2004) pourrait prendre la relation “somatique et parole” dans les paragraphes qui viennent. en fait je crois que nous avons besoin de développer des méthodes de recherche qui incluent l’état de conscience du chercheur dans la méthodologie. dans les années ‘70, certains chercheurs s’étaient rendus à l’évidence de la nécessité de faire de la consciousness-dependent research (de la recherche qui tienne compte de l’état de conscience du chercheur ). cela s’avérait nécessaire entre autres pour l’étude des états de conscience modifiée par l’absorption de substances psychotropes. jusqu’où pouvait-on aller dans la compréhension de ces phénomènes de modification de conscience si, pour rester objectifs, les chercheurs restaient à l’extérieur de l’expérience, prenaient “à froid” des mesures physiologiques, notaient les modifications observables de comportement et enregistraient les sons et les propos souvent décousus de leurs sujets ? je vous avoue avoir perdu la trace de cette percée méthodologique et certains d’entre vous sont peut être mieux que moi informés des récents développements dans cette orientation de recherche. on pourra toujours dire qu’à tout le moins, cette stratégie de recherche a justifié de belles expériences d’hallucination pour quelques chercheurs audacieux. mais tel n’est pas mon propos. qu’il suffise ici de souligner que, quant à moi, pour l’éducation somatique, il pourrait être éminemment propice de développer cette perspective d’une recherche qui inclue l’état de conscience du chercheur et par là qui met sa subjectivité en mouvement. mais faisons donc une autre expérience avant d’aller plus loin. troisième mise en situation lisez ce qui suit tout en essayant de comprendre le texte, ne faites aucun des mouvements suggérés. ou mieux encore, lisez ce texte à un collègue qui fera les mouvements et observez, tout en lisant son comportement. prenez encore une fois une position assise confortable. puis fixez un point à l’horizon. fermez les yeux, puis levez la tête vers le plafond, et ouvrez les yeux pour remarquer dans cette position de la tête un autre point plus haut que le premier. puis revenez à la position de départ. gardez le regard fixe sur votre premier point à l’horizon, devant vous et commencez à faire avec le bout du nez et la tête des cercles dans l’espace. commencez par de petits cercles puis augmentez la circonférence des cercles en une spirale que vous agrandissez progressivement puis que vous rapetissez pour revenir au milieu. quelques fois, trois ou quatre, lentement, dans un sens et puis dans l’autre. puis fermez les yeux, et relevez la tête vers le plafond et en ouvrant les yeux déterminez si votre point de référence vers le haut est le même ou si vous avez dépassé la première limite. avancez-vous sur l’avant de votre siège pour vous détacher du dossier. dans cette position, placez les mains jointes sur le sommet de la tête, les coudes étant ouverts de chaque côté. de là, en gardant la tête et les coudes fixes dans l’espace, roulez votre bassin sur le siège, de l’avant vers l’arrière (certains diraient: basculez votre bassin sur les ischions, sur les os du bassin). faites cette bascule du bassin plusieurs fois, 7 ou 8 fois lentement, en gardant les coudes et la tête fixes dans l’espace. notez les mouvements du tronc, de la colonne, de la cage thoracique, du dos et du ventre, si vous les ressentez. posez les mains sur les cuisses, fermez les yeux et regardez vers le le plafond en levant la tête, et puis ouvrez les yeux et notez où se situe maintenant votre repère du haut, et si 11 y.joly/feldenkrais research journal 1 (2004) vous voyez vers le haut au même point ou plus haut sur le mur, voire même sur le plafond. asseyez-vous confortablement et reposez-vous quelques instants. si vous vous êtes prêté au jeu de la mise en situation précédente, sans faire les mouvements, tel que proposé, quelle est votre expérience? comment pourriez-vous faire une recherche sur ce processus de mouvement pour cueillir les impressions d’un ou d’une élève, pour comprendre la méthode et la logique de la séquence, pour mesurer et puis comprendre l’efficacité et l’amélioration de l’amplitude du mouvement chez certains et le manque total de variations chez les autres? comment aider les praticiens qui ont conçu ces explorations de mouvement à les améliorer? en guise de conclusion la perspective qualitative propre à l’éducation somatique s’appuie sur un état d’absorption dans l’expérience sensori-motrice et kinesthésique et la plus grande partie des événements expérientiels est d’ordre pré-verbal. la recherche qualitative la plus intéressante et la plus difficile à faire en éducation somatique, c’est celle qui précède le verbe. elle requiert de la part du chercheur un plongeon dans un univers de subjectivité où la parole et la réflexion n’offrent que d’occasionnelles balises. dans cet univers de recherche, l’expérience somatique vécue doit être de première ligne. le risque que court alors le chercheur ou la chercheuse c’est de perdre la sécurité des frontières entre la recherche et la pratique, entre l’expérience et la réflexion, entre le vécu et son rapport analytique, médiatisé de façon raisonnable et articulée. “l’humanité doit apprendre à vivre dans un monde flou, sans repères fixes ni fondements ultimes” (varela, 1993b: 132). et alors quelle recherche fait-on et quelle est la méthodologie? il s’agit d’une recherche qualitative de conscience et il faut avant tout faire cette recherche dans les dédales du “je” de chacun. et mon souhait pour la suite, c’est que la recherche qualitative en éducation somatique s’appuie de plus en plus sur cette base large et partagée d’expérience d’immersion directe renouvelée dans le vécu corporel. et de là nous pourrons peut-être inventer des méthodologies qualitatives qui incluent le vécu respiratoire, et tout le vécu neuro-végétatif, le vécu sensoriel cutané et musculaire, le vécu postural et tout le vécu kinesthésique dont le vécu vestibulaire, et toutes les dimensions de la conscience du corps dans l’espace qui sont à la base même de notre expérience de sujet. pour terminer, j’emprunterai les mots de israel rosenfield : “a brain does not function independently of the body it exists in.” (rosenfield, 1992: 139). “the pattern of acquisition of body image and, with it, of knowledge of objects suggest how central body image is to our understanding of the world. notions of space, objects, and self reference depend on body image and they cannot be separated (rosenfield, l992: 62). l’image corporelle inconsciente est le reférentiel de notre subjectivité (rosenfield, 1993: 148). c’est le mouvement qui crée le sentiment de continuité du vécu (rosenfield, 1993: 147). a lire cet auteur et un certain nombre d’autres cités ici et ailleurs, on a vraiment l’impression qu’on n’en est qu’au début d’un important courant de réappropriation du vécu corporel dans la recherche scientifique de pointe. l’éducation somatique offre une méthode exceptionnelle pour plonger dans l’expérience même de la qualité de la conscience. la recherche nous y attend, là. au plaisir de vous y croiser, avec ou sans balises. 12 y.joly/feldenkrais research journal 1 (2004) 28 octobre 1994 notes 1) feldenkrais® est une marque déposée, propriété de la north american feldenkrais guild® qui délègue la protection des termes au québec à l’association québécoise des professeures et des professeurs de la méthode feldenkrais. 2) près de nous, le regroupement québécois pour l’éducation somatique construit depuis l992 un réseau, au delà des approches spécifiques, qui vise à établir le domaine même de l’éducation somatique. six approches sont représentées: la technique f.m. alexander, l’approche globale du corps et l’antigymnastique md, les bartenieff fundamentals tm, le body-mind centering tm, la méthode feldenkrais md, la gymnastique holistique md. 3) la revue américaine somatics est une source unique de référence pour le domaine global de la somatique. somatics est publiée deux fois par an depuis 1976 par le novato institute, 1516 grant avenue, suite 212, novato, ca 94945 4) a ce sujet, voir the newsletter of the study project in phenomenology of the body, elisabeth a. behnke , p.o. box o-2, felton ca 95018 u.s.a. 5) pour joindre le grapp, (groupe de réflexion et d’action sur les pratiques professionnelles, contacter roger tessier, département de communication , université du québec à montréal). une grande quantité de textes et documents de séminaire y ont été présentés et discutés. bibliographie beaudoin, c. (l994). l’expérience d’intégration des apprentissages en éducation somatique selon une perspective phénoménologique. miméographié. université laval, département d’éducation physique. feldenkrais, m. (l971). la conscience du corps. paris: robert laffont. fortin, s. (l994). ‘when dance science and somatics enter the dance technique class”. kinesiology and medecine for dance, 15(2), 88-107. hanna, t. (1989). la somatique. paris: interéditions. joly, y. (1994). “l’éducation somatique: au delà du discours des méthodes”. association française des praticiens de la méthode feldenkrais. bulletin d’accueil, 12-19. korzybski, a. (l966). le rôle du langage dans les processus perceptuels. new-york: the international nonaristotelian library. maturana, h., varela, f. (l987). the tree of knowledge: the biological roots of human understanding. boston: new science library. regroupement québécois pour l’ éducation somatique (l994). brochure de présentation du regroupement et des approches représentées. rosenfield, i. (l992). the stange, the familiar and the forgotten: an anatomy of consciousness. newyork: alfred k. knopf. rosenfield, i. (l993). “pourquoi le cerveau n’est pas un ordinateur”. science et vie, no 184: les secrets du vivant. st arnaud, y. (l993). “guide méthodologique pour conceptualiser un modèle d’intervention”. f. serre, (éd.) . recherche, formation et pratiques en éducation des adultes. editions du crp, université de sherbrooke, chap. 8. st arnaud y. , joly, y. (l992). agir consciemment: conceptualisation du modèle d’une pratique en éducation somatique. miméographié. département de psychologie, université de sherbrooke. varela, f., thompson, e., rosch, e. (1993). l’inscription corporelle de l’esprit: sciences cognitives et expérience humaine. paris: seuil. varela, f. (1993)a. “rencontre avec francisco varela”. sciences humaines, no. 31. varela, f. (1993)b. “varela chauffe la tête”. actuel, no 31-32. 13 y.joly/feldenkrais research journal 1 (2004) yvan joly, m.a. (psy.) est psychologue et praticien-formateur de la méthode feldenkrais®. d’abord formé en psychologie de l’université de montréal en science cognitive, il a fait de 1971 à 1980 de la recherche appliquée et de la consultation organisationnelle. depuis 1980, il conduit une pratique privée en éducation somatique à montréal et il dirige maintenant l’institut feldenkrais d’éducation somatique. m. joly a été chargé de cours dans une dizaine de départements universitaires au québec et formateur-invité dans une dizaine de pays. m. joly est l’auteur de nombreux rapports de recherche et articles de revues. . résumé l’éducation somatique est un nouveau champ disciplinaire qui s’intéresse au corps vivant, à la conscience médiatisée par le corps biologique et au mouvement du corps vécu dans l’espace. la méthode feldenkrais et toutes les approches d’éducation somatique ont des besoins de recherche qualitative pour se formuler, pour définir leurs bases théoriques et scientifiques, pour mesurer les effets de leurs pratiques et pour comprendre et améliorer les processus de formation des praticiens et enseignants. il faut aussi mettre en évidence le paradoxe même d’une recherche verbale sur le corps non-verbal et s’il veut faire une recherche qualitative de qualité, le chercheur doit se soumettre lui-même ou elle-même à l’expérience de prise de conscience de son corps.et en cela l’éducation somatique propose une unique forme de recherche qualitative. abstract somatic education is the name of a new disciplinary field which focuses on the living body, on the biological basis of conscious and awareness and on the movement of the body as experienced in space. the feldenkrais method and all other methods for somatic education bare a variety of needs for qualitative research: to formulate their theories and define the scientific basis of their concepts; to measure the effects of their practices; to understand and to improve the process for the training of practitioners and teachers. one must also be aware of the paradoxical nature of a verbal research on the non verbal body. if the researcher wants to research the quality of somatic education he or she must bring in the research process the awareness of his or her own body. this is a characteristic and necessity of qualitative research for somatic education. feldenkrais research journal​ • ​volume 5​ (2016) introduction to ​volume 5 it is with great pleasure that we bring you volume 5 of the ​feldenkrais research journal​. it is wonderful to be publishing articles again after an eight-year hiatus. in keeping with contemporary practice, we have decided to now upload articles as they become available, rather than hold articles until the whole volume is prepared. here you will find most of the articles for ​volume 5​ – with several more in the later stages of editing and formatting, which will be available soon. see the ​index​ for the list of articles published here, and in preparation to this point in time. the theme for this volume is ‘catching up, and moving ahead’. in the editorial below i take some time to describe the very significant developments in relation to the feldenkrais method​®​, research, and scholarship that have occurred in the last eight years. it provides a context for the articles in this volume. at the end of this editorial you will find introductions to the articles that can be found in this volume of the journal. cliff smyth, editor may 20, 2016 correspondence: ​researchjournal@feldenkrais-method.org published by the international ​feldenkrais​®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/introduction-editorial http://iffresearchjournal.org/volume/5/index mailto:researchjournal@feldenkrais-method.org http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/introduction-editorial/ editorial: catching up, and moving ahead cliff smyth, editor eight years have passed since the publication of the first four volumes of this journal. it is not without irony that these have been some of the most productive years of research and scholarship in relation to the feldenkrais method​®​. this period, from 2008 to 2016, has seen significant developments in terms of research carried out, the quality of that research, and the publication of research, along with much progress in thought about the nature and possibilities for feldenkrais-related research. the aim of this editorial is to catch the reader up on feldenkrais​®​ research, and thinking about research in relation to the feldenkrais method. it aims to provide a context for this journal – in the process of moving ahead, i will: (a) introduce the articles that can be found in this volume of the ​feldenkrais research journal (b) include a brief discussion of the factors that have influenced the burgeoning of feldenkrais research in this time period (c) review some of the published research from this period, including: outcomes research, research reviews, new thinking and writing about feldenkrais in relation to motor learning, attention, affectivity, and intersubjectivity (d) provide a brief introduction to emerging frameworks from philosophy and the social, psychological, movement, learning, cognitive, and neurological sciences that may be useful for understanding a practice like the feldenkrais method (e) reflect briefly on what all of this means for the kinds of knowledge that are valuable in understanding the feldenkrais method in all its wide applications. a quickening a number of factors and phenomena are associated with a rapid increase in the volume and quality of feldenkrais research writings. these include: ● more feldenkrais practitioners undertaking advanced academic degrees in a number of fields introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 2 ● the building of more, and stronger, links between the feldenkrais method and academic research institutions – links initiated by both feldenkrais practitioners and interested academicians and researchers ● a growing interest in the body and in embodiment, somatics, movement, mindfulness, consciousness and their connections – from the fields of creative practice, health care, and the learning sciences, as well as cognitive science and neuroscience. when, as president of the international feldenkrais federation (iff), i wrote a preface to the first volume of this journal, i was mostly thinking of the kind of empirical, outcomes-oriented research that had characterized much of the research into the feldenkrais method until then, despite my own background in qualitative research and phenomenological thinking. since 2004, the nature and quality of research undertaken and published, as well as the thinking about the possibilities for how the “feldenkrais research project” could proceed, have expanded greatly. as the reader will see in the discussion below, and indeed in this volume of the journal, this expansion includes: ● a continuation of the application of the feldenkrais method for health and well-being, with an exploration of what could be the most relevant and effective measures in this domain – as well as the emergence of some interesting qualitative research ● greater exploration of how the feldenkrais method can be integrated in arts and expressive practice, and ways to describe and research that emerging practice ● discussion of the philosophical frameworks that are relevant to the feldenkrais method, how they reflect and may inform feldenkrais practice, and what they might mean for the kind of research we do into the method ● new thinking and research about the feldenkrais method in relation to movement science, cognitive science, and neuroscience – and interestingly, at the many possible intersections of these fields (for example, recent thought and research on attention, “mindfulness”, and related topics). consistent with the theme of ‘catching up, and moving ahead’, we are excited to include papers in this new volume of the ​feldenkrais research journal​ that reflect all of these developments. in reviewing what has been published in the last eight years, what surprises me is the breadth of the application of the feldenkrais method that has been researched, along with the innovative approaches to research methodology across the many domains. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 3 published outcomes research i will begin by reviewing some of the significant publications of research findings and research-related papers in the areas of movement, health and well-being, bodily-oriented psychology, arts and creative practice, and the movement, cognitive, and neurological sciences. even as i write this, i am very aware that i am writing about the research available in the english language, and there may be additional important studies in other languages that i have not included here. i invite the authors of such studies to provide abstracts, news items or articles about their published research for future volumes of the journal. recent outcomes studies: movement, function, health and quality of life reviewers in the 1990s and early 2000s, looking at the small amount of published research into the feldenkrais method until then, were critical of the research that had been published for the small size of the studies, the frequent lack of control groups, the lack of study dropout tracking, and other aspects of the research designs. since around 2010, there have been many new studies into the application of the feldenkrais method that have addressed many of these methodological concerns. these include a number of studies into the feldenkrais method showing a variety of improvements in balance, mobility, and gait, mostly for older adults, including: ullmann, williams, hussey, durstine, and mcclenaghan (2008), vrantsidis, hill, moore, webb, hunt, and dowson (2009), hillier, porter, jackson, and petkov (2010), connors, galea, and said (2011), and gopal nambi, trivedi, momin, patel, and pancholi (2014). other valuable studies include bitter, hillier, and civetta’s (2011) study showing increases in dexterity (grip strength and coordination) and webb, cofré lizama, and galea’s (2013) study showing improvements in dynamic balance and a number of measures of gait for people dealing with osteoarthritis. a 2013 pilot study by ramli, leonard, and harun showed preliminary evidence of improved lung function for patients with chronic obstructive pulmonary disease (copd). a recent study from paolucci, zangrando, iosa, de angelis, marzoli, piccinini, and saraceni (2016) showed that people with chronic low back pain (clbp) had decreased back pain and increased interoception, in a study that contrasted feldenkrais method with a ‘back school’ exercise program. connors, pile, and nichols’ (2010) study of functional integration​®​ aimed to validate some outcomes measures, and indeed found that the pain outcome profile (pop), various scales of the sf 12v2 quality of life measure, and the patient specific functional outcome measure were all useful when looking at outcomes for clients of functional integration. their study showed reductions in pain and improvements in functional abilities and quality of life measures for 33 functional integration clients who worked with 11 practitioners. in addition, this study also provides a model of a research project distributed across a feldenkrais professional community – in this case, in australia. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 4 in an interesting case report, myers (2015) looked at the outcomes for a runner with scoliosis, using neuroplasticity as a theoretical framework. research reviews two systematic reviews of research have recently been published: buchanan (2012) and hillier and worley (2015). both look at research published up to the date of the review, and have somewhat different emphases. buchanan (2012) looked at all studies where the feldenkrais method was used as an intervention, noting the large growth in the number of published studies starting in the 2000s and continuing after 2010. buchanan analyzed 59 studies in terms of standards of evidence – from level 1 at the highest to level 4 at the lowest – finding, for example, only two studies at the highest level of evidence (level 1) and a further 26 at the next level (level 2). one ongoing challenge in investigating the outcomes of the feldenkrais method is that it is very difficult to “blind” trials for practices like feldenkrais (for example, for participants to not know whether they are receiving the “intervention” or not). even with sham interventions, participants will often be able to guess fairly accurately which is the real intervention and which is the sham (licciardone and russo 2006). this lack of blinding is one of the reasons that the evidence in feldenkrais outcome studies frequently receives a lower level of evidence rating. buchanan draws on work by mehling, diblasi, and hecht (2005) to suggest ways that this risk of bias can be dealt with in studies of practices like the feldenkrais method. buchanan (2012) also notes that, since 2000, a number of studies identified “physiological” changes in response to a feldenkrais intervention. this is significant, as previous reviewers had suggested that changes engendered by feldenkrais practice were probably mostly “psychological” (for example, described by self-report measures). in analyzing the limitations of feldenkrais research studies to date, buchanan (2012) makes a number of suggestions for improvement. she concludes: ‘much more research needs to be done utilizing a range of methodologies with appropriate rigor befitting a learning method that is grounded in the self-organization of human behavior that emerges in relation to intention, others, and the environment’ (164). hillier and worley’s (2015) systematic review, funded in part by the iff, analyzed randomized controlled trials (rcts). using the cochrane review’s “risk of bias” approach, these authors did a detailed analysis and data comparison of 20 rcts. meta-analyses – comparing the data from different studies – were performed on seven studies, finding significant positive effects of the feldenkrais method for improving balance in ageing populations. in addition, single studies reported significant positive effects in relation to: ● perceived effort and increased comfort in movement ● body image perception introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 5 ● dexterity. they noted no adverse effects reported for the studies reviewed. hillier and worley concluded, ‘further research is required; however, in the meantime, clinicians and professionals may promote the use of the feldenkrais method in populations interested in efficient physical performance and self-efficacy’ (2014, “abstract”). the publication of this systematic review is an important step in the documentation and evaluation of rcts of the feldenkrais method as an intervention to date. these two systematic reviews add much to feldenkrais research by providing an evaluation of outcomes research to date, as well as providing important perspectives on the limitations of this research that can help guide how we proceed with future outcomes research. new qualitative studies for a long time there were not many qualitative studies in relation to the feldenkrais method, although some interesting material had been published as mixed-methods studies or as small parts of mainly quantitative studies. three new qualitative studies, addressing students’ experiences of the feldenkrais method, have begun to fill this gap. öhman, aström, and malmgren-olsson (2011) used a grounded theory approach to explore the experience of a group of people with neck and back pain who had participated in a seven-week awareness through movement​®​ program. interviewed four to six months after the program, they reported reduced pain, ‘the feeling of reclaimed movement ability and freedom’, and that they were ‘more prone to “listen” to the body’ (159), among many other perceived benefits. pugh and williams (2014) used a phenomenological approach, interviewing feldenkrais students who had been dealing with pain for up to 17 years. key among the experiences of these students, reflected in the title of the paper, was ‘feeling empowered by the feldenkrais method’ (176), which included feelings of having greater choice, learning self-care tools, gaining a positive relationship with their bodies, being able to maintain themselves with less pain, and greater functional ability. broome, shamrock, and alcorn (2015) conducted semi-structured interviews with eight older adults about why they engaged with feldenkrais method classes. using a qualitative content analysis approach, they identified key themes about these participants’ choice to participate in these classes, such as reduced pain and improvement in everyday life activities, as well as ‘the attraction of gentle physical and cognitive exercise’ (122), the development of ‘body and movement awareness’ (123), and ‘mindfulness’ (124). related programs and studies another new phenomenon is an increasing number of programs that address particular movement learning, health, or rehabilitation needs that draw strongly on ideas and practices from the feldenkrais method, but also involve other modalities. these programs may make use of aspects of the method and/or are designed and delivered with the active participation of introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 6 feldenkrais teachers. some of these are now being studied. for example, the “walk for life” program developed by feldenkrais trainer ruthy alon was the subject of one study showing a number of improvements in balance and gait as the result of a five-day workshop using this approach (cook, laroche, swartz, hammond, and king 2014). the plié (preventing loss of independence through exercise) program, as an early intervention for dementia patients, drew on ideas from the feldenkrais method as well as physical therapy, tai chi, and other practices. the initial protocol was written by feldenkrais practitioner eveline wu along with senior investigators, and with input from feldenkrais practitioner jennifer lee. three papers have been published (barnes ​et al ​2012, barnes ​et al ​2015, wu ​et al​ 2015) and research is expanding into a second phase at new sites with larger numbers of participants. finally, christina schön-ohlsson’s (2010) book ​back to oneself: sensory-motor learning applied in patients with nonspecific chronic low back pain​ was published by the university of gothenberg in sweden. in her approach to sensory-motor learning, schön-ohlsson makes use of ideas and practices from the feldenkrais method, physical therapy and exercise, motivational interviewing, and other sources. the book contains the texts of her four studies, as well as support material about her approach and research methods. arts and creative practice there has been an increase in recent years in published articles about the feldenkrais method and the arts and creative practice. one recent highlight was that the july 2015 edition of the journal ​theatre, dance and performance training ​was dedicated to the feldenkrais method, including 11 articles. the authors of these papers describe their creative and teaching practice in, for example, theatre, voice, and puppetry, in relation to themes such as the use of breath, the meaning of movement, and working in higher education. worth (2015) quotes a phrase from latour’s paper on puppetry, which might also apply to feldenkrais and the arts generally, suggesting together they ‘offer a strong dyad for ecological and restorative human performance practice’ (127). kampe (2015) discusses how ‘feldenkrais-informed performance pedagogies’ can be ‘a means to facilitate conditions for embodied self-care, collaborative creative enquiry, and an embodied criticality through movement’ (2015: “abstract”). this new writing on creative practice and feldenkrais ranges from grant’s (2014) book chapter on teaching vocal skills using feldenkrais to the work of loke and khut (2011) and their associates (loke ​et al​ 2014), who make use of the feldenkrais method in the creation of interactive experiential art practices and events. it has long been suggested that, for “new” practices like the feldenkrais method, one early and continuing research task is to develop good descriptions of the many and complex phenomena that are part of the practice (hanlon johnson 1997). one of the strengths of these writings about the feldenkrais method, arts, and creative practice is an approach to research using rich description, dialogue or multi-voiced texts, and other innovative qualitative methods. many thinkers, such as merleau-ponty (hass 2008), have come to understand how creative introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 7 “expression” is one of the most important ways in which we humans can come to deeply understand our experience and each other. it is very appropriate that the contribution of the feldenkrais method to human expression is one of the growing areas of feldenkrais thinking and research. the feldenkrais method and emerging fields of thought and research in previous volumes of the ​feldenkrais research journal​, several authors have noted that, in addition to studying the outcomes of the feldenkrais method for students and clients, research into the possible mechanisms of action of the feldenkrais method is needed (​browne 2007​, stephens 2007​). this may involve exploring not only the physiological aspects of the method, but also the cognitive, pedagogical, and interpersonal nature of our methods. in many cases these mechanisms of action will be shared with other approaches to human movement, awareness, and development, allowing for complementary research and mutual insights. a number of developments in philosophy and scientific theory have helped create a framework for new ways of describing and thinking about the feldenkrais method, including possible mechanisms of action. in many ways, other thinkers are catching up with some of moshe feldenkrais’ insight. in addition, both feldenkrais and many contemporary thinkers draw on the same deep sources of human knowledge that are becoming clearer and better understood even as i write. among these developments in contemporary thinking about human consciousness and life are: (a) the understanding of how ​neuroplasticity ​(nahum, lee, and merzenich 2013) provides a framework for learning and behavior change on a neurological level (b) the widespread inclusion of ​dynamical systems theory​ in a variety of domains – for example, in the science of motor skill learning (newell 1996, kelso 1997), human development (thelen and smith 1994), and the feldenkrais method (buchanan and ulrich 2002) (c) the emergence of an ​enactive​ approach to human cognition and action: a recognition that knowledge and meaning are grounded in the action of self-organizing organisms in their environment (the idea of ​autopoiesis​) (stewart, gapenne, and di paolo 2010, thompson 2007, varela 1996, varela 1997, varela, thompson, and rosch 1993) (d) phenomenologically-informed​ research and theorizing: an attempt to ground scientific understandings in both first-person descriptions of human experience, especially bodily experience, and third-person observation and theorizing (depraz, varela, and vermensch 2003). such an approach can be seen in the kind of psychological and cognitive science advocated by thomas fuchs and colleagues (koch, fuchs, summa, and müller 2012), chemero’s call for a radically embodied introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 8 http://iffresearchjournal.org/volume/3/browne http://iffresearchjournal.org/volume/3/stephens cognitive science (chemero 2009, käufer and chemero 2015), and berthoz and petit’s exploration of human action (2008). many of these authors draw on the pioneering thinking of maxine sheets-johnstone (2011) on the importance of the phenomenon of self-movement. in addition, the spread of buddhist-inspired “mindfulness” practices in the west has led to an ‘attention revolution’ (wallace 2006). many feldenkrais and other somatic practitioners, as well as researchers, have noted the similarity between aspects of mindfulness practices and movement-and-awareness-based somatic practices (kerr, sacchet, lazar, moore, and jones 2013). mindfulness can include non-judgmental, present-moment attention within the buddhist practice (kabat-zinn 2000), as well as the coming of ​awareness​ (or ​metacognition​) of one’s taken-for-granted habits of perception found in langer’s (1997) definition of “mindfulness”, in the feldenkrais method (feldenkrais 1972), and arising from programs like mindfulness based stress reduction (mbsr) (kerr, josyula, and littenberg 2011). in buddhist meditation practice, the ‘first foundation of mindfulness’ is awareness of the body (hanh 1990). the well-known secular mbsr program of jon kabat-zinn (2000) and colleagues involves a body scan, walking meditation, and awareness of the breath in the body. some neuroscientists have called for research into what they have termed ‘movement-based embodied contemplative practices’ (schmalzl, crane-godreau, and payne 2014:1), such as the feldenkrais method, the alexander technique, tai chi chuan, and yoga. payne and crane-godreau (2015) provide an interesting framework for the study of ‘body-mind therapeutic and educational systems (btes)’ in proposing the construct of the ‘preparatory set’ (54) of ‘the organism in readiness: physical posture and muscle tone, visceral state, affective or motivational state, arousal and orientation of attention, and (subcortical) cognitive expectations’ (55). schmalzl and kerr (2016a, 2016b) also recently published a review of the neuroscientific studies of these practices to date. new fmri study one of these studies, reviewed by schmalzl and kerr (2016a), is a recent study of the feldenkrais method using functional magnetic resonance imaging (fmri) (verrel, almagor, schumann, lindenberger, and kühn 2016). this study looked at possible differences in brain activation in response to different applications of the functional integration​ ​technique of using an ‘artificial ground or floor’ (feldenkrais 1981:139), where a flat surface (such as a board) is brought to the client/research subject’s feet with the aim of simulating, albeit with less force, aspects of the haptic experience of standing on the foot. two different applications of this technique were studied: one where the ‘practitioner explored movement within foot and ankle’ and another where ‘the practitioner focused on the connection and support from the foot to the rest of the body’ (verrel ​et al​ 2016:1). the authors found that these different applications of the intervention were able to ‘target lower-level sensory areas related to specific body parts or instead engage more broad action-related networks’ (schmalzl and kerr 2016:3), as reflected in introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 9 changes in the neurologic resting state of ‘primary or higher order motor areas’ in the brain (verrel ​et al​ 2016:2). that is, “working locally” with the foot and ankle led to changes in the levels of neurological activity in areas of the brain associated with those parts of the body, while when the intention was to work more “globally”, with the whole body, changes were observed in more widespread neural networks, including some involvement of motor areas. much more research is needed, but this paper represents an interesting beginning to this kind of research. in addition to this interesting research, there are a number of other recently published papers that draw on the kinds of developments in theory and research from the movement, learning, cognitive, and neurological sciences described above. here are some examples. feldenkrais method and motor skill acquisition theory in an interesting approach to qualitative research, connors, galea, said, and remedios (2010b) analyzed the texts of the ​getting grounded gracefully​ awareness through movement program for improving balance, developed by robert webb. they found that ‘the lessons contained many elements consistent with current theories of motor skill acquisition and motor control’ (connors, galea ​et al​ 2010, “abstract”). studying the relationship between attention and movement in june 2015, clark, schumann, and mostofsky published a major paper on ‘mindful movement and skilled attention’. their thesis is that ‘mindful movement practice may improve executive and attentional control by providing opportunities for learned functional coordination of goals and attention, and that this might be productively modeled as ​skill learning​’ (4). they provide a thorough review of ‘the theoretical literature on attention, cognitive control, mind wandering, mindfulness, and skill learning, endorsing a model of skilled attention in which motor plans, attention, and executive goals are seen as mutually co-defining aspects of skilled behavior…’ (1). they make use of langer’s (2000) framework of “mindful learning”, and look at adhd as an example of a phenomenon where lack of attentional and cognitive development are seen to correlate with limitations in the person’s motor coordination. clark ​et al​ (2015) draw on the feldenkrais method as an example of a sophisticated approach to improving motor coordination that provides frameworks for thinking about and researching a range of practices that may develop cognitive skill and mindful movement through a mutually influencing and reinforcing process. discovering connections between diverse practices an extensive comparison between the hands-on practice of feldenkrais functional integration and zen shiatsu is presented in an interesting recent study by kimmel, irran, and luger (2014). they used a qualitative “micro-ethnographic cognitive analysis” for their research methodology to explore these two practices in much detail through the descriptions of the practitioners. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 10 drawing on language from dynamical systems theory, the authors sought to look beyond apparent differences in jargon and metaphors from each approach to try to discover the ways in which practitioners use ‘their ability for sensorially staying apace of systematic emergence’ of aspects of the client’s sensory-motor responses, which ‘allows them to customize’ their responses and ‘stimulate the client’s system with a mix of perturbing and stabilizing interventions…’ (1). such a study has much to offer in examining in detail the dynamics of complex practices we see in functional integration and other ‘inter-enactive’ modalities (1). in a similar vein, abrahamson, sanchez-garcia, and smyth (2016) (respectively a mathematics educator, sports scientist, and feldenkrais practitioner), in a conference paper on the use of metaphors as “attentional anchors” in learning, give examples from diverse practices including math learning, judo, and the feldenkrais method. embodying research in a recently published study, de jaegher, pieper, clénin, and fuchs (2016) make use of an embodied approach to the research process itself, in particular drawing on principles and practices from the feldenkrais method to provide frameworks for research. making use of a form of practical-phenomenology advocated by, among others, depraz, varela, and vermensch (2003), the authors use movement-and-awareness-based workshops as “experiments” in the embodied experience of intersubjectivity. the authors drew on the prisma workshop framework, developed originally as part of the iff quality and competency program, to explore embodied “inter-action” in functional integration. while not explicitly studying the feldenkrais method, this paper shows and exemplifies how key concepts and practices from the method can be used to design research processes that could be applied to other somatic practices (such as contact improvisation) and diverse research issues (such as autism) for studying specifics and patterns of intersubjective experience. discovering intersecting practices; finding common language these new paradigms offer the possibility for practitioners and researchers to use shared language and develop common conceptualizations to support research. are there places where our practices intersect, and are there common mechanisms of action, beyond the practice-specific ways of describing and conceptualizing what we do? these frameworks not only have informed the authors engaged with feldenkrais in a scientific context, but also provide useful conceptual frameworks for arts and creative practice, as can be seen in the writings of kampe (2015, 2016 – this volume) and loke ​et al​ (2013). scaffolding feldenkrais research and thinking: data, events, books reference database introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 11 in order to support the development of research in relation to the feldenkrais method, last year the iff initiated a project to create a ​feldenkrais studies reference database​. the aim is ‘to collect and showcase all available high-quality research publications related to the feldenkrais method​’​ (iff 2015, “para 1”). this database is located online within zotero, allowing it to be updated quickly and easily. interested practitioners and scholars can ​browse the database​ and join the ​feldenkrais studies group​ on zotero to contribute. in addition, ​curated collections focused on particular areas or topics of research will be prepared from time to time. the project team to create the new and updated reference database was comprised of wolfgang säckl, dav clark, jessica taylor (web designer), stefan wiltschnig (as project coordinator), and myself. events a number of events organized by the feldenkrais professional community have supported this quickening in the life of feldenkrais-related research. since 2011, there have been three symposia on feldenkrais and research, designed, organized, and financially supported by roger russell, cornelia berens, and the “foerderverein fuer feldenkrais and somatisches lernen”, represented by claus-juergen kocka and herbert hollesch. these workshops aimed to discuss the scientific and philosophical background of the feldenkrais method and what kind of research needs to be done, to support international and interdisciplinary discussion between feldenkrais teachers and researchers, and to consider various research and epistemological perspectives. the three symposia were ‘feldenkrais and research’: “i. feldenkrais and research” (berlin 2011), “ii. self-image in theory and practice” (berlin 2012), and “iii. feldenkrais: between the humanities and natural sciences” (aschaffenburg 2013). the last two symposia also included research workshops. in 2012, the feldenkrais guild of north america organized the esther thelen research forum on the theme of ‘embodying neuroscience’. speakers included movement and neuroscientists, philosophers, integrative medicine, human development, and rehabilitation experts, including jane clark, catherine kerr, michael merzenich, alva noë, michael turvey, georg striedter, wolf mehling, and jill withall. in april 2015, thomas kampe and associates organized a symposium, ‘(re)storing performance: the feldenkrais method and creative practice’, at bath spa university in the united kingdom. over 20 people presented papers or led workshops. many of the authors featured in the special edition of ​theatre, dance and performance training ​also presented at that symposium. in april 2016, ‘making the impossible possible: the feldenkrais method in music, dance, movement, and creative practice’ at the university of west london was convened by marcia carr and robert sholl. sholl and kampe are currently planning to apply for arts and humanities research council funding to set up a “feldenkrais higher education studies network” in the uk. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 12 http://feldenkrais-method.org/research/reference-database/ https://www.zotero.org/groups/feldenkrais_studies/items https://www.zotero.org/groups/feldenkrais_studies http://feldenkrais-method.org/research/curated-collections/ journal volume in 2013, the feldenkrais guild of north america published volume 26 of ​the feldenkrais journal ​on the theme of “science” (fgna 2013). it included articles by seven feldenkrais practitioners on a variety of themes, including the ideas of body image and body schema, the study of the part or the whole in neuroscience research, research into gait, group sessions for children with special needs, motor learning, imagined movement, and a review of maxine sheets-johnstone’s ​the primacy of movement​. important new books this review would not be complete without also noting the publication of a number of important books that help forward ways of thinking about the feldenkrais method. firstly, ​doing and thinking​ by moshe feldenkrais (1929/2013) is a translation into english of the two chapters by feldenkrais that he included with his translation into hebrew of harry brooks’ book on émile coué, ​autosuggestion​. the chapters bring forth feldenkrais’ emphasis on the value of “unconscious” knowledge in effective action in the world. included with feldenkrais’ writings are notes and introductions that provide both historical and intellectual context to the development of parts of feldenkrais’ thinking. see the ​review of ​doing and thinking​ by hillel d. braude (2016) in this volume of the ​feldenkrais research journal​. also of great importance is the publication of the biography ​moshe feldenkrais: a life in movement, vol. 1​ (2015) by mark reese. this biography is a momentous achievement, over 500 pages of detailed scholarship into feldenkrais’ life from 1905 to 1951 – his struggles, his achievements, and the incredibly diverse influences on the development of his thought and practice. reese has created a biography that is both personal and intellectual, and that does much to refine our understanding of feldenkrais’ method. it will be of great value to scholars for years to come. we hope to review this biography more fully in a future volume of this journal. the 2010 book ​the intelligence of moving bodies​ by carl ginsburg (which also includes contributions from lucia schuette-ginsburg) provides an extensive intellectual framework for understanding the feldenkrais method. going from brown’s laws of form and drawing particularly on the ideas of biological epistemology of maturana and varela, as well as non-linear dynamics and of course feldenkrais’ thinking, these authors provide a contemporary outline toward a ‘theory’ of learning through the feldenkrais method. in his two books of philosophy, richard shusterman (2008, 2012) brought forth his proposal for a new field of “somaesthetics” that supports the understanding of the central role of bodily experience in human life and the practice of bodily awareness as a form of self-cultivation. he explores the thinking of foucault, merleau-ponty, de beauvoir, wittgenstein, james, and dewey – both in their limitations and possibilities – in making his argument for the importance of the somatic to the philosophical injunction to “know thyself”. drawing on pragmatist philosophy, introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 13 http://iffresearchjournal.org/volume/5/braude http://iffresearchjournal.org/volume/5/braude and his experience as a feldenkrais practitioner, and as a student of the alexander technique and buddhist meditation practices, shusterman argues against philosophical dualism and provides a critique of the philosophical assumption that bodily self-awareness is of necessity a barrier to effective action, authentic being, or both. medical doctor and author norman doidge’s first book, ​the brain that changes itself​ (2007), was of great interest to feldenkrais practitioners in its presentation of the idea of neuroplasticity. doidge’s new book, ​the brain’s way of healing​ (2015), includes two chapters on the feldenkrais method. doidge explores the crucial role of the nervous system and its ability to change with appropriate stimulation (for example, through touch, movement, light, vibration, or sound). while the aim of these books is to popularize the science of neuroplasticity, the greater understanding of the kinds of learning-as-healing (feldenkrais 1981) we see in the feldenkrais method is useful in situating the method in terms of this emerging scientific paradigm. finally, sondra fraleigh, a long-time pioneer of somatic thinking in dance and movement studies, has recently edited a volume of essays, ​moving consciously​ (2015). it features several of her own essays on somatic movement arts that bring together both eastern and western somatic movement traditions and draw on phenomenological thought. the book includes essays by other somatic thinkers, including a paper by hillel d. braude on the somatic basis of empathy. papers by both ​fraleigh​ and ​braude​ appear in this volume of the ​feldenkrais research journal​. introducing the​ feldenkrais research journal​, ​volume 5 volume 5​ of the ​feldenkrais research journal​ reflects many of the tendencies and directions emerging as part of the feldenkrais research dialogue over the last eight years. our research news for this volume is a description of interesting work in progress conducted in france by ​adjoa domelevo and bernard andrieu​. domelevo’s dissertation studies will explore csikszentmihalyi’s (1992) psychological construct of “flow” in the context of teaching awareness through movement with high school students. the original research by ​madeleine edgar, greg anderson, and neil tuttle​ continues the process of researching outcomes from awareness through movement classes, especially for older adults, and exploring what research tools may be of value in identifying outcomes. the measures of quality of life and kinesiophobia (fear of movement usually associated with a history of pain) did not achieve significance in this study. however, consistent with the findings of connors, pile ​et al​ (2010), the patient specific functional scale – where a student or client can identify a functional activity in which they wish to improve – was a useful measure and also showed significant results. we are also pleased to “reprint” ​patricia buchanan, nicole nelsen,​ ​and simon geletta’s​ original research on the practice patterns of guild certified feldenkrais practitioners in north america. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 14 http://iffresearchjournal.org/volume/5/fraleigh http://iffresearchjournal.org/volume/5/braude http://iffresearchjournal.org/volume/5/domelevo-andrieu http://iffresearchjournal.org/volume/5/edgar-et-al http://iffresearchjournal.org/volume/5/buchanan-et-al http://iffresearchjournal.org/volume/5/buchanan-et-al http://iffresearchjournal.org/volume/5/buchanan-et-al this paper was first published in ​bmc complementary and alternative medicine 14​, in 2014, and is reprinted here with the permission of the authors. such research is very valuable to understanding the actual practice of the method for our professional organizations in thinking about training, continuing education, and promotion. also, for researchers, the information on the demographics, interests, and needs of the public who utilize the feldenkrais method is very useful in arguing for and designing future research. other original research, this time from the field of arts and creative practice, is by ​rhiannon newton, zoran kovich, and julie-anne long​. their paper is a good example of the kind of plurivocal, dialogic research from this field. the authors explore the experience of the process of doing feldenkrais lessons for one dancer, bringing forth perspectives from a choreographer, the feldenkrais practitioner, and the dancer herself. in ​thomas kampe’s​ paper, he discusses ‘how collaborative choreographic processes can be informed through somatic educational practices’ such as the feldenkrais method. he explores the history of thought about these approaches, introducing the ideas of many important exponents of somatically-oriented collaborative practitioners, and provides examples from his own choreographic research projects from 2006 and 2009 – the “body/soma/self” cycle undertaken at london metropolitan university. his paper includes rich quotations from a number of participants in these feldenkrais-informed explorations. we are delighted to have a paper from ​sondra fraleigh​, one of the pioneers of somatic approaches to dance and movement expression. fraleigh, a long-time teacher at the state university of new york at brockport, has combined her training in the feldenkrais method with eastern dance and somatic approaches, such as butoh, to create her unique approach. in this paper she traces some of the history of her process, particularly how phenomenological philosophical practice has informed her work, presented through the metaphor of a process of “detection”. while much philosophical dialogue in relation to the feldenkrais method lately draws on phenomenological perspectives (see various papers in this volume), ​abraham mansbach’s paper argues for the relevance of foucault’s critical theory. the social aspects of feldenkrais’ thought are often more in the background of everyday practice of the method, yet are a vital part of his thought. mansbach, a feldenkrais practitioner and professor of philosophy at the ben gurion university of the negev, explores important similarities and differences in feldenkrais’ and foucault’s social thought. in particular, he puts forward the value of foucault’s conception of the “care of the self” as a way of thinking about the ethical personal and social potential of feldenkrais’ method. as noted, ​smyth​ explores phenomenological thought: both the similarities between the feldenkrais method and phenomenology as practices, and the value of the many conceptions from phenomenological thinkers such as husserl, merleau-ponty, leder, dreyfus, and introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 15 http://iffresearchjournal.org/volume/5/newton-et-al http://iffresearchjournal.org/volume/5/newton-et-al http://iffresearchjournal.org/volume/5/kampe http://iffresearchjournal.org/volume/5/fraleigh http://iffresearchjournal.org/volume/5/mansbach http://iffresearchjournal.org/volume/5/smyth sheets-johnstone on the phenomena associated with embodiment and self-movement in relation to health. philosopher, physician, and feldenkrais practitioner ​hillel d. braude​ reviews ​thinking and doing​ (feldenkrais 1929/2013), the two chapters feldenkrais wrote to accompany his translation of harry brook’s book ​autosuggestion​ on the ideas of émile coué. braude introduces the book and its context in feldenkrais’ life – one of the features of the material published along with feldenkrais’ two chapters. he also takes up the likely influence on feldenkrais’ thinking by the authors of the foreword of the original edition (professor hugo bergman) and the preface of the proposed 1977 edition (professors hans kreitler and shulamit kreitler). braude puts forward a perspective in his review of this book that suggests a way of thinking about feldenkrais’ thought as lying between philosophy and psychology. taking up the relationships between philosophy and psychology, we are pleased to present a dialogue between an eminent psychologist at the university of heidelberg, ​thomas fuchs, and experienced feldenkrais teachers roger russell, ulla schlaefke, and sabina graf-pointner​. they discuss the concept of ​leibgedächtnis​, or “body memory”, in some depth. they make useful comparisons and distinctions between this idea and concepts such as “the lived body” or “own body”, between “implicit” or “procedural” memory, and between the old idea of the “unconscious” (with its associations of repressed material) and contemporary ideas about the “cognitive unconscious”. the discussion brings forth the often-neglected bodily aspect of the deep sources of our emotions and behavior. what emerges is the contrast between the idea of the nervous system being “reactive” to stimulus and the idea of humans being “resonant” with their environment based on the whole of their experience. this bodily, lived experience provides the basis for a whole range of tendencies and potentialities from which we act. in addition to the fascinating dialogue presented here in ​volume 5​, dr. fuchs and roger russell, and ulla schläfke have recorded an additional four dialogues on a range of topics. once they are transcribed, we will collect these dialogues as a special online publication of the feldenkrais research journal​. we are delighted for this opportunity to present dr. fuchs’ thinking in depth and in the context of feldenkrais thought and practice. types of knowing it is important to acknowledge that there are many ways of experiencing the feldenkrais method, or aspects of the feldenkrais method, in different contexts. there are also many different views of the nature of the feldenkrais method within the professional field. it is also clear that the feldenkrais method has a very wide range of application. because of the many aspects of human experience and development to which it contributes, a wide range of research methodologies is not only desirable, but necessary. this, in turn, implies an engagement with different epistemologies – with different ways of knowing and different types of knowledge. some people cleave to certain kinds of “evidence” – favoring, for example, the introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 16 http://iffresearchjournal.org/volume/5/braude http://iffresearchjournal.org/volume/5/fuchs-et-al http://iffresearchjournal.org/volume/5/fuchs-et-al findings of a government report ahead of a systematic review of trials, or empirical studies ahead of a qualitative report. research always involves processes of selection in the bringing forth of knowledge: the definition of terms in the operationalization of concepts in the research process, such as the selection of the methodology; the selection in how the results, even statistical results, are presented; and the choice of explanatory systems and metaphors. what is important for any valid research process is transparency and rigor. in addition, the value of knowledge is very context-dependent. an insight from a case report or a dialogue may be of profound value to a dance teacher or a client in pain in a way that an empirical study may not be. to really study and appreciate the tremendous value of a systematic approach to enhancing human health, expression, life, and being, like the feldenkrais method, requires an openness and rigor that i hope will continue to be a characteristic of this journal – and i invite readers to bring those qualities to their roles as well. thanks it takes a community to produce a journal. many thanks to the member organizations of the iff that fund and support this journal, and the iff board that carries that support forward. in particular, thanks to outgoing iff president, wolfgang säckl, who was the liaison person through the production of ​volume 5​. next, very special thanks to the editors: cornelia berens, hillel d. braude, karol connors, dianne hancock, zoran kovich, aarti rana, pat buchanan, susan hillier, and roger russell, who did much of the work of finding authors and papers, reviewing papers, corresponding with authors, helping with text editing, coordinating transcriptions and format checking, setting policies, and much more. thanks to brandee selck, robert spencer, jessica taylor, and nicola kate woods for additional reviewing and editing, and liz hough for transcription. many thanks also to our web designer, jessica taylor. and thanks to the editors, and others, including dav clark, frank schumann, and barbara pieper, who gave feedback on parts of this editorial. i also want to take this chance to acknowledge those pioneers who produced the first four volumes of this journal, and the last editor stephan elgelid, who did much of the work to bring out ​volume 4​. finally, and of course, special thanks to the authors of the papers you find here, without whom there is no journal, and who work long hours to make a contribution to this important corner of human knowledge and understanding. i hope you enjoy this volume of the ​feldenkrais research journal​ and the many more we plan will follow. please get in touch if there is any way you would like to contribute to this venture, that is as important now in its revival as it was in its inauguration so many years ago. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 17 cliff smyth, editor may 2016 (updates to references july 2018. the author apologizes to eveline wu for the errors in the citation and description of the plié project.) correspondence: ​researchjournal@feldenkrais-method.org introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 18 mailto:researchjournal@feldenkrais-method.org references abrahamson, d., sanchez-garcia, r., and smyth, c. 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(2016a) ‘editorial: neural mechanisms underlying movement-based embodied contemplative practices’. ​frontiers in human neuroscience 10​, article 169. doi: 10.3389/fnhum.2016.00169 available from < ​http://www.ncbi.nlm.nih.gov/pmc/articles/pmc4844845/​ > (accessed may 29, 2016) schmalzl, l. and kerr, c. e. (eds.) (2016b) ‘neural mechanisms underlying movement-based embodied contemplative practices’. ​frontiers in human neuroscience​: ​frontiers research topics​ [ebook], june 2016. doi: 10.3389/978-2-88919-894-8 available from < http://www.frontiersin.org/books/neural_mechanisms_underlying_movement-based_em bodied_contemplative_practices/916​ > (accessed july 29, 2016) schön-ohlsson, c. (2010) ​back to oneself: sensory-motor learning: applied in patients with introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 24 http://journal.frontiersin.org/article/10.3389/fnhum.2015.00178/full http://nicolettacinotti.net/wp-content/uploads/2014/07/movement-based_embodied_contem_practices_2014-libre-1.pdf http://nicolettacinotti.net/wp-content/uploads/2014/07/movement-based_embodied_contem_practices_2014-libre-1.pdf http://www.ncbi.nlm.nih.gov/pmc/articles/pmc4844845/ http://www.frontiersin.org/books/neural_mechanisms_underlying_movement-based_embodied_contemplative_practices/916 http://www.frontiersin.org/books/neural_mechanisms_underlying_movement-based_embodied_contemplative_practices/916 nonspecific chronic low back pain​. gothenburg: university of gothenburg sheets-johnstone, m. (2011) ​the primacy of movement​ (​advances in consciousness research​, vol. 82). amsterdam: john benjamins publishing company shusterman, r. (2008) ​body consciousness: a philosophy of mindfulness and somaesthetics​. cambridge, uk: cambridge university press shusterman, r. (2012) ​thinking through the body: essays in somaesthetics​. cambridge, uk: cambridge university press stephens, j. (2007) ‘future directions for research on the feldenkrais method’. iff academy feldenkrais research journal​ ​3​. available from < ​http://iffresearchjournal.org/volume/3/stephens​ > (accessed may 29, 2016) stewart, j. r., gapenne, o., and di paolo, e. a. (2010) ​enaction: toward a new paradigm for cognitive science​. cambridge, ma: mit press thelen, e. and smith, l. b. (1994) ​a dynamic systems approach to the development of cognition and action​. cambridge, ma: mit press (a bradford book) thompson, e. (2007) ​mind and life: biology, phenomenology, and the sciences of mind. cambridge, ma: belknap press/harvard university press ullmann, g., williams, h. g., hussey, j., durstine, j. l., and mcclenaghan, p. e. d. (2008) ‘effects of feldenkrais exercises on balance, mobility, balance confidence, and gait performance in community-dwelling adults age 64 and older’. ​the journal of alternative and complementary medicine 16 ​(1), 97–105. doi: 10.1089/acm.2008.0612 available from < ​https://www.researchgate.net/profile/bruce_mcclenaghan/publication/41011572_effect s_of_feldenkrais_exercises_on_balance_mobility_balance_confidence_and_gait_perfor mance_in_community-dwelling_adults_age_65_and_older/links/0fcfd50da5fd068e8b000 000.pdf​ > (accessed may 29, 2016) varela, f. j., thompson, e., and rosch, e. (1993) ​the embodied mind: cognitive science and human experience​. cambridge, ma: mit press varela, f. j. (1996) ‘neurophenomenology: a methodological remedy for the hard problem’. journal of consciousness studies 3 ​(4), 330–349 varela, f. j. (1997) ‘a science of consciousness as if experience mattered’. in ​towards the science of consciousness: the second tucson discussions and debates​ ed. by hameroff, s., kazniak, a., and scott, a​.​ cambridge, ma: mit press, 31–44. available from < ​http://www.univie.ac.at/constructivism/archive/fulltexts/1894.html?id=1894​ > introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 25 http://iffresearchjournal.org/volume/3/stephens https://www.researchgate.net/profile/bruce_mcclenaghan/publication/41011572_effects_of_feldenkrais_exercises_on_balance_mobility_balance_confidence_and_gait_performance_in_community-dwelling_adults_age_65_and_older/links/0fcfd50da5fd068e8b000000.pdf https://www.researchgate.net/profile/bruce_mcclenaghan/publication/41011572_effects_of_feldenkrais_exercises_on_balance_mobility_balance_confidence_and_gait_performance_in_community-dwelling_adults_age_65_and_older/links/0fcfd50da5fd068e8b000000.pdf https://www.researchgate.net/profile/bruce_mcclenaghan/publication/41011572_effects_of_feldenkrais_exercises_on_balance_mobility_balance_confidence_and_gait_performance_in_community-dwelling_adults_age_65_and_older/links/0fcfd50da5fd068e8b000000.pdf https://www.researchgate.net/profile/bruce_mcclenaghan/publication/41011572_effects_of_feldenkrais_exercises_on_balance_mobility_balance_confidence_and_gait_performance_in_community-dwelling_adults_age_65_and_older/links/0fcfd50da5fd068e8b000000.pdf http://www.univie.ac.at/constructivism/archive/fulltexts/1894.html?id=1894 (accessed may 14, 2016) verrel, j., almagor, e., schumann, f., lindenberger, u., and kühn, s. (2015) ‘changes in neural resting state activity in primary and higher-order motor areas induced by a short sensorimotor intervention based on the feldenkrais method’. ​frontiers in human neuroscience 9​, article 232. doi: ​10.3389/fnhum.2015.00232​ available from < ​http://www.ncbi.nlm.nih.gov/pmc/articles/pmc4411887/​ > (accessed may 29, 2016) vrantsidis, f., hill, k. d., moore, k., webb, r., hunt, s., and dowson, l. (2009) ‘getting grounded gracefully: effectiveness and acceptability of feldenkrais in improving balance’. ​journal of aging and physical activity 17 ​(1), 57–76 wallace, b. a. (2006) ​the attention revolution: unlocking the power of the focused mind​. boston: wisdom publications webb, r., cofré lizama, l. e., and galea, m. p. (2013) ‘moving with ease: feldenkrais method classes for people with osteoarthritis’. ​evidence-based complementary and alternative medicine, 2013​. doi: 10.1155/2013/479142 available from < ​http://www.hindawi.com/journals/ecam/2013/479142/abs/​ > (accessed may 29, 2016) worth, l. (2015) ‘editorial’​. theatre, dance and performance training 6 (2), ​130–144.​ ​doi: 10.1080/19443927.2015.1047118 available from < ​http://www.tandfonline.com/doi/pdf/10.1080/19443927.2015.1047118​ > (accessed may 14, 2016) wu, e., barnes, d. e., ackerman, s. l., lee, j., chesney, m., & mehling, w. e. (2015) ‘preventing loss of independence through exercise (plié): qualitative analysis of a clinical trial in older adults with dementia. aging & mental health 19(4), 353-362. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 26 http://dx.doi.org/10.3389/fnhum.2015.00232 http://www.ncbi.nlm.nih.gov/pmc/articles/pmc4411887/ http://www.hindawi.com/journals/ecam/2013/479142/abs/ http://www.tandfonline.com/doi/pdf/10.1080/19443927.2015.1047118 please cite:​ (first published in the) ​feldenkrais research journal, volume 5​;​ ​2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. introduction and editorial • ​feldenkrais research journal, volume 5​ (2016) 27 feldenkrais research journal​ • ​volume 6​ (2018-2019) editorial practices of freedom – the feldenkrais method & creativity: editorial guest editor: thomas kampe phd, bath spa university (uk) copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ editorial practices of freedom – the feldenkrais method & creativity: editorial guest editor: thomas kampe phd, bath spa university (uk) can you see that my lessons are [...] improvised, yet they are improvised with a method. [...] it's all the time improvisation but it has a method in it, therefore it's jazz. […] it's playing music on certain notes, making variations on a theme, and therefore it's a real learning. it's a lived thing. (feldenkrais (1975: 155) our daily life appears to us so simple and direct that we often fail to see its richness and appreciate its beauty. nonetheless, it is a refined choreography of behavioural coordination. (maturana, and varela 1992: 233) the desire to develop this journal volume on feldenkrais and creativity in collaboration with the iff emerged from the symposium ‘​(re)storing performance the feldenkrais method and creative practice​’, staged at bath spa university (uk) in 2015. the symposium brought together an international team of thirty artists, scholars and feldenkrais practitioners to inquire, through practice and theoretical debate, the potential of the feldenkrais method​®​ to facilitate creative practice within the performing arts, and of framing the feldenkrais method as creative practice per se. the symposium launched the ​special issue on moshe feldenkrais​ of the journal ​theatre, dance and performance training (tdpt)​, edited by libby worth and dick mccaw, and aimed to articulate new processes, connections, limitations and emerging problems. how do we develop new, extended, practices through the meeting of feldenkrais’ 1 educational modalities and artistic discourses? what hybrid practices emerge through a collage or layering of these diverse practices? how do such meetings of processes clarify, expand, support or limit one another? moshe feldenkrais repeatedly used artistic metaphors to describe his practices in non-dualist ways, such as ‘compositions’, ‘improvisation’, or the act of ‘dancing together’ (goldfarb 1990) and activates reflective and transformative learning through embodied modalities, strategies and devices which can be called ‘choreographic’ (kampe 2013, 2015, 2016). in similar ways humberto maturana and francesco varela described the human organic interaction with the world as ‘a structural dance in the choreography of coexistence’ (1992: 248). current enactivist transdisciplinary discourses on contemporary choreography, likewise, reframe the role of the 1 see also: ​https://tandfonline.com/toc/rtdp20/6/2 editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 2 https://tandfonline.com/toc/rtdp20/6/2 choreographer as ‘engineering the determining conditions of personhood’ (noë 2009), thus into close proximity of the organic educational concerns embedded in the feldenkrais method. 2 the title of this journal volume leans on philosopher michel foucault’s writings on ‘pratiques de liberte’ practices of freedom (1997). foucault proposes the possibility of a ‘conscious practice of freedom’ (1997: 284), as a ‘care of the self’ towards the freeing and producing of one's own subjectivity, by inventing alternative practices which embrace ‘complex relationships with others’ and ‘a way of caring for others’ (1997: 287). the title implies that the feldenkrais method and contemporary creative arts processes and research cultures share such ethical concern in the meeting of these diverse practices. arts research: process and articulation the contributions within this journal volume can be located in within the growing field of arts research (ar) which allows for multi-modal ways of questioning, thinking and doing. within the anglo-saxon sphere ar has evolved towards a discourse on practice-led research, including performance as research (par) and processual somatic arts research cultures. it therefore values embodied knowledge, recognises subjective, non-linear, and relational dimensions of artistic processes, and acknowledges emergent, uncertain, and collaborative modalities which challenge the myth of the solitary researcher (barrett, and bolt 2007; foster 2009; haseman 2007; midgelow 2014). ar operates itself in a dialogic between artistic and educational concerns. i would suggest that both, the feldenkrais method and the research publications in this volume, are of transdisciplinary inflection by asking questions between and beyond disciplines, embrace systemic and complexity-informed understandings of knowledge construction and world-making, allow for the subjective voice of the researcher, and are concerned with real-life problems (montuori 2007; borgdorff 2007). writing on dance research, midgelow suggests that a reframing of dance as critical practice where the ‘mode of embodiment is multi-coded and deconstructive’ is at the centre of ‘dance practice as research’ (2014). the author argues here that such critical, deconstructive and complex modes of embodiment and considerations are at the heart of the feldenkrais method, and run through all publications and reflections on practice within this volume. in the recent publication ​researching (in/as) motion: a resource collection/ artistic doctorates in europe​ (​https://nivel.teak.fi/adie/​) midgelow reflects on the inductive and often messy, or even incoherent and unpredictable nature of artistic research: ‘ar intertwines movement and art practices with/as reflexive methods to generate, reveal, articulate the tacit knowledges that are 2 i am using the term ‘transdisciplinary’ here with reference to borgdorff (2007) as going beyond disciplinary inquiry and application, while concerned with ‘questions and topics from broader areas of life’ (borgdorff 2007: 76). montuori (2007) further suggests that trans-disciplinary practice and thinking must be concerned with systemic approaches towards the construction of knowledge and, in self-reflexive ways, ‘place the knower at the centre of enquiry’ (2007: 8). the transdisciplinary discourse towards ‘social choreography’ (hewitt 2005; klein, and noeth 2011; klien 2009) aims ‘to open the disciplines of choreography and dance to other fields of human knowledge production’ (klien 2009: 5). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 3 https://nivel.teak.fi/adie/ situated and embodied in specific artworks and artistic processes’ (midgelow 2019). in her writings on ​somatic practice as research​, bacon proposes that ar research values the status of processes over things, at times ‘as fleshy, lived, embodied experiences’ (2019). she further suggests that ar asks the researcher ‘to continuously work with processes and practices that are both of ourselves and not of ourselves’ (2019). processual research is the study of processes rather than discrete events. it is methodological and ontological. as a methodological approach, it is concerned with process and processual, attention and attending. as an ontological one, it is an enquiry into more deeply researching the nature of being’. (bacon 2019) bacon and midgelow (2014) highlight the importance of the practitioner-researcher to ‘becoming articulate’ in practice, critical reflection, documentation and dissemination of embodied, tacit, affective and complex knowledge and processes. facilitating a learning of such articulation, has been an ongoing concern in my own research activities which have included the testing and probing of somatic-oriented artistic and educational processes, a developing of a critical writing practice, and the co-organising of research events and gatherings (see also kampe 2019). this journal volume sets out to offer further opportunities towards the critical articulation of feldenkrais-informed processes of creative practice, within an exciting and timely somatic arts research culture. entangled narratives the following section of this editorial aims to reframe the work of moshe feldenkrais within a cultural context of twentieth century and contemporary arts practices. it deliberately turns a blind eye to his science, jiu-jitsu, and judo background to foreground another narrative concerned with somatic arts legacies. ‘somatics’ was first loosely defined by phenomenologist thomas hanna (1970), influenced by the work of moshe feldenkrais, as a non-goal oriented and first person-centred discourse towards a ‘somatic culture’ of ‘self-sensing’ (hanna 1970) and ‘self-activation’ (feldenkrais 2010). somatic practices, including the feldenkrais method have a long standing history of application within dance-training and dance-making contexts (batson 2008; batson, and wilson 2014; brodie, and lobel 2004, 2012; eddy 2017; kampe 2015; kovich 2007; long, newton, and kovich 2015) , and have been discussed as critical resources which allow dance students to develop greater self-awareness, agency and autonomy in choice-making (fortin 1998; fortin, long, and lord 2002; green 2001; roche 2016). there has been an increase in literature about the feldenkrais method as a resource in theatre practice, theatre education in higher education, and the training of actors (cave 2015; kampe 2015; kapsali 2013; mccaw 2016; pergola 2003; purcell 1990; questel 2002; worsley 2016), highlighting issues concerning performer agency, skills acquisition and holistic communication (see also kampe 2015). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 4 displaced/displayed: re-enacting dances of migration (video 2018) screenshot: dancers carl tolentino, lucy lynch, katie rudd photography thomas kampe and manuela jara 3 since its inception in 2009, the ‘journal of dance and somatic practices’ (jdsp) has served as a critical forum to articulate a collective and diverse voice, as ‘a radical, but necessary, alternative to dance practices that aspire towards a virtuosic body seeking to reproduce a stylized form’, aiming to ‘question traditional modes of doing, ways of seeing and experiencing dance’ (whatley, alexander & garrett-brown 2009: 3,4). this alternative discourse of ‘somatic-informed dance practices’ has claimed to hold a political potential within dance studies by foregrounding the corporeal dimension of ‘the emergent dancing subject’, a questioning of the authority of spectatorship (garrett-brown 2011), and by adopting a ‘slower ontology’ that challenges dominant western ‘more and faster’ ideologies for a reflective embodied criticality of the participant (wood 2011). equally, it is a potential for ‘somatic activism’ (eddy 2000) through a focus on inductive process inquiry, a questioning of power-structures and hierarchies within knowledge transmission (green 2015; fortin, vieira, and tremblay 2009; roche 2016), and an experiential emphasis of a dynamic-systems informed ‘relational body’ (batson 2008) that open out psycho-social emancipatory dimensions within somatic-informed arts practices. batson proposes that within somatic inquiry, as exemplified by the feldenkrais method, ‘movers sensitize to subtle messages arising from micro dynamics of movement’ (batson, and wilson 3 this video forms part of the collaborative ar project ‘releasing the archive’ with choreographer carol brown and the new zealand dance company (nzdc). the project aimed to re-activate the choreographic process of jewish exiled modernist choreographer gertrud bodenwieser (vienna 1890 sydney 1959) through feldenkrais informed preparatory and directorial processes. see also kampe (2017). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 5 2014: 4). she further suggests, that ‘attending consciously to these micro-movements and micro-processes fosters body-mind integration’ (2014: 4). such educational quest for unified action, where the intention of the performer is integrated in embodied interaction with the world, lies already at the heart of modernist actor training approaches such as the work of konstantin stanislavski (1863 -1938) or michael chekhov (1891-1955), and of early 20​th​ century body-culture pioneers who drew on the teachings on embodied expressivity of french acting theorist francois delsarte (1811-1871). recent practitioner reflections within the groundbreaking special issue of ​theatre, dance and performance training​ on moshe feldenkrais published in 2015 (cave 2015; worth 2015) articulate the relationship between contemporary theatre education and the feldenkrais method, at times linked to his work with the company of director peter brook. similarly, the recent reader on feldenkrais and actor training (worsley 2016) forges direct historical connections to the feldenkrais/brook/lecoq/pagneux lineage, and makes connections to the dominant western psycho-physical theatre heritage based on the work of russian modernist educator konstantin stanislavski and contemporary developments. yet, the synergies between the feldenkrais method and psycho-physical movement approaches developed within the twentieth-century theatre and dance cultures are rarely discussed in literature by moshe feldenkrais, nor in his recently published biographies or works that analyse his cultural milieu (aldor 2012; reese 2016, buckard 2015). it therefore seems surprising that in the edited conversation of 1965 between moshe feldenkrais and theatre director richard schechner (feldenkrais 2010), feldenkrais reveals detailed insights into the training approaches developed by konstantin stanislavski. feldenkrais had been introduced to the work of theatre innovator stanislavski and his disciple yevgeny vakhtangov (18831923) by his close friend aharon meskin in tel aviv already in the 1920’s (buckard 2015). meskin was a leading actor with the hebrew speaking habimah theatre company which settled from russia to palestine in 1928. 4 stanislavski’s later approach to acting which highlighted embodiment and action is akin to feldenkrais’ own rationale for privileging movement as an accessible educational lever to access an awareness the unity of ‘whole self’ (1990). feldenkrais sets out that his approach is ‘mainly concerned with learning a better mode of action and uses of the body, from which the person can learn directly, in his own body language’ (1985: 153). this ability to learn directly from uses of the body is equally articulated in early twentieth-century writings by stanislavski whose work was concerned with ‘organismic functioning of man’ where thinking and feeling are necessarily an embodied whole (prokofiev 1964 cited in litvinoff 1972). stanislavski sets out that 4 the habimah actors had developed their work in russia as a yiddish speaking company under the direction of vakhtangov while working on the touring production of ansky’s jewish myth ‘the dybbuk’ (1922). this seminal play was directed in the style of vakhtangov’s ‘fantastic-realism’ (mirochnikov 2007), which combined modernist approaches to realism and stylisation in performance. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 6 a physical action is easier to grasp than a psychological attitude; it is more accessible than an elusive inner feeling. it is easier to capture, is more concrete, more readily perceived. a physical action is connected with all the other elements. truly there is no physical action without a will towards it, a direction, a use of the imagination. […] all this testifies to the intimate link between a physical action and the totality of one’s inner being and feeling. (stanislavski cited in litvinoff 1972: 21) like feldenkrais, he was concerned with accessing the person’s agency, creativity and potential through movement. ‘we are more at home with physical action than with the elusive nature of emotion. here we can find our bearing better, here we are more inventive, and more certain than with subjective elements which are difficult to capture and fix’ (stanislavski cited in litvinoff 1972: 21). stanislaviski’s system of ​spiritual realism​ was inspired by his professional and personal encounter with the modern dance pioneer isadora duncan (1877-1927) in moscow in 1907 who described her way of finding an embodied unity in her arts as placing ’a motor in my soul’ (duncan cited in stanislavski 1924/1974). stanislavski reveals that at the time he ‘was in search of that very creative motor, which the actor must learn to put in his soul before he comes out on the stage’ (duncan cited in stanislavski 1924/1974). modern dance, as an emerging twentieth century genre concerned with embodied forms of human expression through dynamic action, seemed to provide ‘an imaginative richness in material and a search for truth’, to enrich stanislavski’s psycho-physical training system and rehearsal practices. 5 6 moshe feldenkrais was no stranger to modern dance and reform-gymnastic practices developed at the beginning of the 20​th​ century in europe and the us. he had long-standing friendships to leading palestine/israel based modern dancers including shoshana ornstein and noa eshkol, and taught for several years in the studios of dancers margalit ornstein, mia arbatova and lotte kristeller before and after setting up his base in alexander yanai street in tel aviv from 1955. in the recently published biography of moshe feldenkrais, mark reese reveals that moshe feldenkrais studied dance in palestine during the 1920’s, stating briefly that ‘he studied ballet with one mrs. ornstein’ (2016: 68). this is confirmed in the writings of theatre-director gaby aldor, daughter of modern dancer shoshona ornstein (1911-1998) and grand-daughter of palestine/israel körperkultur-pioneer margalit ornstein (1888-1973). while biographer buckard (2015), like reese, links feldenkrais’ studies with margalit ornstein mistakenly to the study of 5 franko (1995) suggests that early to mid-twentieth modern dance revolves around an instituted ‘split between emotion and expression’ where embodied outward expression of inner impulse is given a universal validity above subjective feeling. he further points towards a trinity of affect ‘stimulus – feeling impact expression’ (1995: x) as a post-romanticist framework for a theory of expression (ausdruck) that drives early modern dance practices. stimulus of the nervous system can here also be understood as external impression that leads to sensation response, which then leads to expression as a ‘crystallisation of an outer reaction. expression responds outwardly to sensation through a physical displacement dissipating sensations indwelling reverberations’ (1995: 76). 6 see also hinkley, c. in vernon, and warren 1999: 167. coralie hinkley was a member of the 1940’s and 50’s australian bodenwieser [modern] ballet. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 7 ballet, aldor (2012, 2017) clarifies in her writings on the roots of israeli modern dance and body-culture that ornstein taught reform-gymnastics – ‘plastic & rhythmic exercises’ and bodenwieser-influenced improvisatory ‘expressive dance – artistic dance or ‘künstlerischer tanz’. ornstein, who emigrated from austria to palestine in 1921, reveals aspects of structure 7 and learning mood of her immediately successful classes in her diaries: i have 57 students already […] a lesson is constructed like this: floor exercises at the beginning, then swing exercises in groups of eight, for each group in different way – standing, walking or jumping. as professor bodenwieser used to say: if you enjoy it you will understand it faster (ornstein 1922 cited in aldor 2012: 27). gertrud bodenwieser’s inductive dance pedagogy proposed a bodily poly-centricity which includes the use of the head, and even hair, as places of initiation, multi-directionality in spatial orientation and richness in variation of dynamic qualities as key to her dance praxis. dancer 8 shona dunlop mctavish remembers: ‘true dance for bodenwieser meant discovery, discovery which combined the exploration of thoughts and feelings, simultaneously with the penetrating study of the body and its anatomical structure and the impetus of movement as a whole.’ 9 ornstein had studied with body-culture pioneer elisabeth ‘bess’ mensendieck (1864-1957) in vienna prior to arriving in palestine. mensendieck’s system of ‘free gymnastics system for women’ (ornstein 1922 cited in aldor 2012: 23), her work with gertrud bodenwieser at vienna dance academy, and her studies in rhythmic gymnastics based on the work of emile jacques-dalcroze, informed her teaching in jaffa and tel aviv from 1921. ornstein credits the 10 work of mensendieck as a major influence on the development of her practice, offering a functional and analytical system of bodily education useful for the modern dancer. mensendieck offered a proto-feminist practice concerned with ‘self-determination’ (1906/1929) of women through a ‘subjective method of bodily education’ (1927: 9). several key features in mensendieck’s work foreshadow the post-wwii work of moshe feldenkrais – a social-constructivist perspective on embodiment, a focus on movement analysis and autonomy of the learner through internalisation and observation, and an emphasis on the reactivation of the pelvis as a counter-cultural and emancipatory necessity for the modern citizen. 7 programme notes 20/06/1923 ‘margalit ornstein and pupils soiree’, herzliah hall tel aviv; programme notes 09/02/1929 künstlerische tänze vorgeführt von der tanzgruppe des studio ornstein‘; theater hatai; both accessed 06/01/2017 tel aviv dance library. 8 australian company member coralie hinkley suggests a privileging of free-flowing movement qualities within bodenwieser’s practice: ‘the demands of her technique embraced the circle, wave, arc, spiral – never staticalways fluid – never ending gradations of flow, rhythms, designs, expressions, with the breath as the impulse for the surge of the dance’ (hinkley 1990: 161, cited in milne-home 2011). 9 shona dunlop mctavish archives, notes from photographs. 10 the work of swiss music educator jacques dalcroze (1865–1950) was seminal for a development of modernist artistic body-culture. his system of eurythmics, drawing on holistic gymnastics and improvisational modes of teaching and learning was initially developed to foster greater embodiment in the education of musicians. many leading modernist dancers including mary wigman, hanya holm and marie rambert studied at his hellerau schools in dresden, and later in the vienna suburb of laxenburg. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 8 mensendieck developed a whole array of semi-supine floor-based exercises, many of them resembling parts of feldenkrais atm lessons, including slow knee-tilts from side to the side, or a gentle pressing through the feet to lift the pelvis and spine forward in a successive chain-like movement. she articulated a systemic perspective on movement education that embraced agency and judgement of the learner within a body-mind process that aims to construct ‘an intellectualisation of the flesh’ (1927: 17) through a reflective and inductive practice of ‘wiring muscles and brain together’ (1927: appendix). veder (2010) suggests that mensendieck’s work ‘served a new kind of expressivity, forged through a new degree of bodily efciency’ within the emerging european modern dance practices which permeated dance and theatre education in palestine and israel until the 1960s (2010: 818). with the arrival of the athletic and heroic us modern dance styles in israel in the 1960s, most leading israeli dancers turned towards studying with moshe feldenkrais to develop a more rigorous functional foundation for their own technical development (naharin 2017). aldor suggests that feldenkrais ‘changed the way dancers treated their bodies, he opened a door for them. there is a lot of dignity in the slow pace of his exercises, in listening to the body, about the part of thinking in the physical process’ (2017 email correspondence with the author). yet, surprisingly she emphasizes a reciprocity of influence of modernist body-culture knowledges on the later work of moshe feldenkrais. i think that they built some sort of groundwork that connects rationality and wisdom like methods of von laban, of very high physical awareness, what later went into feldenkrais with the capacity for inspiration. it shows up in all the exercises in margalit's blue notebooks and i think that it's terrific that it is really a kind of groundwork that characterizes israeli dance too’. (aldor cited in samorzik 2011) aldor’s writings reveal that feldenkrais had first-hand knowledge of modern gymnastics and dance. he was in personal correspondence with the ornstein sisters while he lived in paris in 1931, and advised them not to give up their studies and careers in dance (aldor 2012: 159). surprisingly, a letter by yehudit from 1929 states that moshe feldenkrais also taught at the ornstein studio in 42, ahad ha’am street in tel aviv. we had a wonderful dance lesson. i am really so foolish that i always forget how good it is to dance. afterwards i feel so comfortable, that i can’t understand why i always find it so difficult to begin a lesson. […] after class we had a feldenkrais lesson. (ornstein, y. cited in aldor 2012: 94) 11 both aldor (2012) and buckard (2015) conclude that these ‘feldenkrais lessons’ taught in 1929 were most likely self-defence lessons taught by moshe feldenkrais to members of the 11 letter by yehudit ornstein: 2/11/1929. translated from german by the author. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 9 haganah. margalit’s architect husband jacques ornstein was a leading member in the secret para-military organisation. 12 shoshana and yehudit ornstein. photograph by alfonso himmelreich, © g. aldor ornstein taught basic principles of movement and dance to the emerging tel aviv theatre companies such as the tali, ohel and habima, ‘to put the body of the “new jew” on stage, full of vitality and breathing freely (ornstein 1928 cited in aldor 2012: 48). ornstein was interested 13 in dramatic action and in merging her pedagogies with the evolving ‘biomechanics’ practices of vsevolod meyerhold (1874-1940). her work embraced the integration of movement and dance into emerging ‘tanztheater dance-theatre – forms, and the development of ‘theatertanz’ theatre-dance within existing plays (aldor 2012: 48). as an educator, ornstein wrote passionately about the training of theatre-directors through movement (1940a,b). she 14 12 there is currently no exact information on how long and how often moshe feldenkrais studied with margalit ornstein. 13 ornstein translated from the german language by the author. ‘wir sind doch nach palästina gekommen, um den körper des ‚neuen juden’ auf die bühne zu bringen, lebendig und frei atmend’. (aldor 2012: 48) 14 her two-part essay, ‘bewegungskultur als vorbereitung für regieführung’ written in german during 1939 and 1940 on movement education for the training of directors, provides an analytical framework editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 10 proposed that, through the direction of movement, the educated theatre director ‘will be able to give the inspirations of nature and life […] artistic expression and a form that matches the characteristics of our jewish life’. (ornstein 1940a,b) in her diaries from 1926, ornstein quotes a letter by her husband jacques from 1921 to contextualise her theatrical body-politics. the quote refers directly to theodore herzl’s novel zionist utopian novel ​altneuland​ (1902) the old new land: ‘in straight lines and in powerful rhythm, inspired by the old-new homeland, the liberated body will emerge. the dance of the new hebrew’ (ornstein cited in aldor 2012: 42). the 15 author suggests that feldenkrais’ studying dance and gymnastics with margalit ornstein forms a key part of his critical becoming and exemplifying the ‘new hebrew’ male. 16 feldenkrais’ practices sit comfortably within modernist utopian reform-movement pedagogies and avant-garde arts practices, which were concerned with questioning cultural realities and personal ways of perceiving and interacting with the world. i have argued elsewhere (kampe 2015) that feldenkrais uses defamiliarisation or ‘making strange’ strategies, first theorised by russian formalist viktor shklovsky (1893-1984) in his essay ‘art as techniques’ (1917). shklovsky, like feldenkrais, was concerned with challenging habituation of perception and behaviour and saw the main function of art as to facilitate such challenge. at the height of the russian revolution he writes: art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. the purpose of art is to impart the sensation of things as they are perceived and not as they are known. the technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the length and difficulty of perception because the process of perception is an aesthetic end in itself and must be prolonged (1917: 12). similarly, feldenkrais proposes an aesthetic experience to the participant/learner which makes use of this ‘making strange’ to heighten sensory-motor awareness and capacities while stimulating critical reflection on the organisation and construction of embodied knowledge. feldenkrais states that an important feature of the group work is the continued novelty of situation that is maintained throughout the course. ‘once the novelty wears off, awareness is dulled and no learning takes place. if a configuration needs repetition, i teach it in tens and even hundreds of variations until they are mastered‘ (2010: 37). it is this zeitgeist towards a re-forming of modern personhood through new forms of art and education that had emerged based on rudolf laban’s movement elements of force, time and space (kraft – zeit raum) that aims to form a vessel for a zionist vision of the embodied ‘formation of the jewish individual and the jewish people in light of the challenges of modernism’ (conforti 2002/2011: 111). 15 original is “[…] in geraden linien und kraftvollem, aus der altneuen heimat schöpfenden rhythmus wird der befreite körper entstehen. der tanz des neuen hebräers.“ see also oberzaucher-schuller (2013). 16 see also max nordau on ‘muscular judaism’ at the second zionist congress held in basel on august 28, 1898. ‘zionism has awakened jewry to new life, morally through the national idea, materially through physical rearing. […] for the first time since bar-kochba does there exist among the jews an inclination to show themselves, and to show the world how much vitality they still possess (nordau 1898/1955: 88). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 11 around the turn of the twentieth century, which formed embodied and situated knowledges that were collectively shared and transformed by teachers and disciples of the individual practices over several generations and across continents. the work of moshe feldenkrais can be placed within this context. displaced/displayed: re-enacting dances of migration dancers: lucy lynch & carl tolentino editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 12 re-embodiment, education & performer training ‘to humanize humanity’ contemporary western performer training and education build on modernist foundations concerned with improved function, learner autonomy, reflective, critical and awared practice, and on enhanced performer agency to make meaningful sensory-motor choices towards world-making within complex environments. contemporary western performance practice increasingly embraces collaborative modes of co-creation within a broad range of aesthetic contexts that demand a creative, flexible and ethically articulate participant. recent scholarship towards the training of dancers welcomes such model of a performer as creative agent as timely. roche (2016) suggests that contemporary dancers in training consistently ‘need to engage critically with new ideas and develop autonomous outlooks in order to prepare for professional practice’ and calls for ‘an open engagement’ with students through somatic-oriented practices (2016: 143). there is a similar trend in western actor training which embraces the application of 20​th​ century somatic practices as a resource for an embodied holistic education that aims to foster participant’s agency, capacity of critical self-reflection and creative endeavour (amory 2010; evans 2009; kampe 2015). such trend which recognises movement as a fundamental agency-constituting experience, parallels developments in scholarship in actor training and theatre reception that draws on studies in enactivist cognitive sciences concerned with notions of embodiment, kinaesthetic empathy and intentional attunement, imagination, affect, and embodied expressivity (blair and cook 2016; blair 2009; falleti, sofia and joono 2016). western performer training and education has also shifted from conservatoire training, concerned with prioritising skills acquisition and the development of vocational rigour, towards higher education (he) university educational models that offer inquiry-based under-graduate, post-graduate and research-based modes of study. here, a critical engagement with the emergent self, world and professional arts contexts are part of syllabi that aim to facilitate the learner’s ability to understand and engage with self-organised creative processes. current discourses within ‘somatic-informed’ (garrett-brown 2011) performer education and training are asking questions towards the ethics of a contemporary education towards democratic citizenship and a reimagining of being in the world. how to we facilitate performers engaging with being human in a growing ‘culture of dis-embodiment’ (gare 2016)? eco-philosopher arran gare asks for ‘a new alliance between science, the humanities and the arts’ which must strive for a ‘re-embodying humanity’ as part of an eco-cultural transformation (2016: 40). an emerging necessary grand narrative of ‘the age of re-embodiments’ demands democratic citizens and communities that can articulate their own policies and concerns, re-discover, affirm and develop their own traditions, ‘part of and responsible for the future of nature […] and responsible for the resilience and vitality of their social and ecological communities’ (2016: 40). bringing forth such cultural shift through a multiplicity of means, he editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 13 argues, will change how human beings can understand themselves at a visceral level, ‘embodying this culture as part of their habitus in new ways’ (2016: 9). such quest for a culture of re-embodiments, is echoed in ecologist and complexity thinker edgar morin’s calls for an education towards a ‘true rationality’ that aims to abandon dualist, reductionist and totalitarian imaginaries for systemic and non-dualist critical interpretations of natural and cultural development. morin proposes a necessarily embodied, affective and 17 sentient organisational thinking ‘that respects diversity as it recognizes unity, and that tries to discern interdependencies’ (2007: iv). such holographic thinking where the feedback dynamics between macroand microelements of a larger ecological process are brought into awareness and reflective practice of the participant echoes feldenkrais’ educational concern towards a ‘thinking with the elements of thinking’ (2010: 88). such embodied, patterned, imaged, connective, and divergent thinking, can be posited as ​choreographic thinking​, or as the choreographic per se, understood by klien (2009) as ‘the very source of knowledge’. klien argues, in line with a feldenkraisian epistemology, that ‘the perception of patterns, relations and their dynamics, the integration to existing knowledge, and the creative application to a wider reality, all together constitute the choreographic act’ (2009: 100). i have argued elsewhere that morin’s ‘radical reform in thinking’ through new modes of education echoes educational ethical concerns and principles embedded within the work of moshe feldenkrais. his embodied, ‘organic’ and ‘awared learning’ processes aim to equip the participant towards a development of ‘the somatic aspects of consciousness’ as a means to ‘self-direction’ and self-activation (feldenkrais 2010). feldenkrais proposed a utopian humanist vision on evolutionary social progress through a growth in self–awareness of the socially embedded individual, where ‘humanoids can develop into homo sapiens, human beings with intelligence, knowledge and awareness (2010: 181).’ feldenkrais’ somato-educational ethics concur with edgar morin’s proposal for an ‘education for the future’ (morin 1999), asking for an educational ‘anthropo-ethics’ towards the development of a critical planetary conscience and citizenship (1999: 57). in his unesco-commissioned writings morin suggests that in an ongoing culture of poly-crisis ‘the human condition should be an essential subject of all education’(1999: 2). he urges us that ‘the study of hominization’, a process of becoming human, ‘is of capital importance for education to the human condition because it shows how our human condition is a combination of animality and humanity’ (1999: 2). morin proposes the investigation and study of human complexity as part of any education to accelerate an awareness ‘of the common condition of all human beings; the very rich and necessary diversity of individuals, peoples, cultures; and our rootedness as citizens of the earth’ (1999: 29). he urges for an organismic-socio-historical education ‘to 17 ‘a reason that ignores living beings, subjectivity, emotions, and life is irrational [...] true rationality is not merely critical, but self-critical. it is recognizable in its ability to recognize its own insufficiencies.’ (morin & kern 1999: 129). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 14 humanize humanity’ (1999:10) that facilities ‘pertinent knowledge’ that recognises the human being as ‘a biological, psychological, social, emotional, rational being’ (1999: 13). displaced/displayed: re-enacting dances of migration (video 2018) screenshot: dancers carl tolentino, lucy lynch, katie rudd photography thomas kampe and manuela jara editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 15 volume 6 contributions in line with such critical developments towards re-embodying and humanising educational processes this journal presents a series of articles that situate applications and a framing of the feldenkrais method within performing arts contexts. choreographer/researcher jenny coogan’s writings in this journal volume present reflections on an extensive action research project undertaken with bachelor level dance students at palucca conservatoire in dresden, germany. coogan, who describes herself as ‘committed to facilitating somatically oriented teaching and learning environments in professional dance education’, unpacks the workings and problems of her feldenkrais-informed research in the context of german vocational education. coogan sets out the problematic situation of german conservatoire dance training as lagging behind ‘the anglosphere’ where ‘fusions of dance and somatics have entered the mainstream of tertiary education’ and have activated a ‘collective somatic sensibility’ within dance education, training and research culture. her original research contribution to the field through developing a ‘feldenkrais informed contemporary dance practice’ focuses on four emerging categories of ‘interrelated perspectives to the complex processes of situational learning: ​environment, reflection; personal agency, and transferability​. coogan also reflects on her somatic inflected dance work with a collective of elderly dancers in an open access chapter: https://www.tanzensemble-artrose.de/methoden also working within a german conservatoire context, musician corinna eikmeier reflects on her research, on the convergence of the feldenkrais method and improvisation in music instrumental learning and performance. eikmeier’s report, published in the german language, 18 draws on a discovery-based ​qualitative heuristic method​, developed at hamburg free university, which ‘demands an openness of the researcher’ and ‘acknowledges an openness and emerging of topics which the researcher should attend to’. while research data should be gathered and evaluated through a broad range of perspectives, the diverse information based on data are being analysed for their commonalities. her research asked initial questions on modes of behaviour within improvisational contexts (​improvisatorische handlungsweisen/improvisational activity​), and their reciprocal relationship to movement qualities within music performance. eikmeier asked questions how improvisational activity is implicitly addressed within the feldenkrais method, and how we can compare learning strategies within the feldenkrais method with improvisational activity. her initial research phase involved initial conversations with music students and feldenkrais colleagues about improvisation practice. emerging topics revolved around dynamic systems self-organised dynamic processes, autopoiesis, chaos theory and fractals, and issues around perception, attention and awareness. ‘what types of awareness do we need to develop to follow 18 the research report is a republication (see eikmeier 2010). a shortened version was published in gagel, and schwabe (2016). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 16 https://www.tanzensemble-artrose.de/methoden an emerging artistic product and process? how do we direct our attention in different ways between our self-attention and attention towards artistic product?’ topics further evolved around habit and habituation within music practice ‘how do we attend to our own habits? when do they get in the way? how can we constructively work with our habits, and how can we transcend those?’ and on the attending to ‘movement qualities’ during improvisation practice: e.g. the organisation of weight-shifts, variation in tempo, or use of breath. in her ‘research phase 2’ eikmeier creates an analogy between improvisation practice and the feldenkrais method. here she defines an ‘improvisational movement quality‘ (improvisatorische bewegungsqualität), and suggests that within feldenkrais lessons improvisational virtues are practiced on a meta level. within her analogy between the feldenkrais method and improvisational activity a series of ‘virtues’ emerged: all action is based on a spirit of inquiry/ situations demand creative problem solving / a suspending of judgment is a foundation for development/ quality of action is more important than a goal of action/ authentic perception underpins process/ the discerning of small differences enables quality / a critical engagement with habits is necessary for action and learning to be meaningful in present contexts/ the acceptance of constraints is prerequisite for a creative process within a set framework/ verbal language used within creative processes faces the problem that the present cannot be captured through a wrestling with language/ ‘mistakes’ are recognised in neutral ways and become new impulses/ perturbations through the avoiding of mistakes, fear, preplanning and purely cognitive thinking processes are limiting a connection to present situations/ actions can relate to the present as soon as they are reversible, which means they are stoppable or can be retracted, or can be transformed into another action/ the readiness to act in any moment into any direction enables decisions within the present and their immediate translation into action/ organic learning should never be externally steered; it seems extremely vulnerable and will be interrupted as soon as the learner is taken out of his/her non-goal-oriented and present-focused action. in her third research phase, eikmeier designed a series of 49 practical experiments and ‘laboratory spaces’ (laborräume) where distinct embodied and functional topics based on improvisational qualities were linked to improvisational activity. here four ‘fictional’ laboratories were designed around distinct topics: ​muscle tonus, dynamic balance, impulse, breath​. in her conclusion eikmeier suggests that her re-embodying of instrumental pedagogy within an improvisational context though a feldenkrais-informed perspective can enhance the learners’ and players’ ability to engage with improvisational activity. while questions regarding improvisational and embodiment practices within music education as tools for holistic learner and performer-agency development since the work of emile jacques-dalcroze (1865-1950), eikmeier’s work contributes distinctly to the emerging contemporary discourses of ​embodied editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 17 music education​ (laroche and kaddouch 2015) and ​enactive music pedagogy​ (van der schyff 2017, laroche and kaddouch 2015: 522). victoria worsley’s article ‘from the coalface’ offers reflections on her extensive experience of teaching feldenkrais for student actors within a vocational conservatoire training in the uk. worsley, who also published a book on feldenkrais for actors in 2016, sets out the context for her classes where highly ambitious and often judgemental students are attending her classes not because of their personal choice, but because feldenkrais inflected lessons are part of their movement for the actor syllabus. in the article worsley opens out a rationale for teaching 19 feldenkrais lessons for student actors and articulates this around topics of ​posture, presence, awareness, and strong experiences​. she offers a discussion on furthering and extending perhaps more common features of the feldenkrais method such as developing introspective awareness and improved functionality towards working with the relationship between emotions and somatic impulse or affective response. worsley proposes that the central idea is to enable the students to notice their sensations as they encounter different emotional responses and to recognise how noticing can help them re-find the emotional journey of their character every night of the show or every take of the scene. for example, how the sadness evoked in that scene feels in their breathing, heart rate, muscular tonus and so on, as opposed to a moment of fear, anger, pleasure or hope. worsley lays out how working traditional feldenkrais kinaesthetic modalities, such as focusing on slow, often sequential and free flow oriented movement qualities, need and can to be transcended to meet the students’ training needs towards fitness, increased strength and speedy agility. in her concluding section worsley brings back her discussion to the integration of feldenkrais work into the learners’ acting experience. she suggests here that a feldenkrais-informed learning experience can aid the actor in their creative choice-making and towards heightened levels of embodied communication: becoming clear enough in what they are doing in any movement in an awareness through movement lesson, however small, and developing choice at a very fine level, enables the actor to execute their intention – or to tell their story – precisely, clearly and immediately. they are not stuck in one blind compulsive choice that may not always fit the moment or chime well with the audience. in contrast to worsley’s articulation of a feldenkrais-informed pedagogy within a conservatoire training context, kene igweonu’s essay refers to existing practices within higher education performing arts field in the uk. igweonu sets out a historical lineage from pioneering work done by feldenkrais trainer garet newell through the ​international workshop festival​, and initial anchoring of feldenkrais practices within theatre and dance syllabi in universityand college 19 see also review of worsley 2016 by kampe in this journal volume. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 18 level education through the work of richard cave and scott clark. he provides a critical rationale for the inclusion feldenkrais-informed practices within higher education models: key to the adoption of the feldenkrais method in uk higher education is its perceived usefulness for developing pedagogical ideas as a pedagogical tool and offering dynamic approaches to learning that complements and often challenge established modes of teaching and learning that are body-centred and somatic. however, the pace of this adoption has been rather slow, since it relies on the presence of a feldenkrais practitioner on the teaching team, who is involved in curriculum design as a programme leader or one who is sufficiently empowered to introduce new ideas and materials to students. igweonu reflects on a longitudinal research project set up by him in 2010 which aimed to investigate and document the use of the feldenkrais method as a performer training methodology within uk higher education (2010). this research study included practitioner-interviews on the integration of ​awareness through movement​ modalities within performing arts teaching and the critically attending to assessment and grading modalities within he – clearly jarring with the non-corrective ethos of the feldenkrais method. igweonu suggests that the general view among the practitioners interviewed was that any assessment framework for articulating benefit to students should not be performance based but consider the students’ developing awareness of habitual patterns of stress associated with particular movements and actions. the feldenkrais method develops students’ capacity as reflexive practitioners by creating a safe space for students to be curious, experiment with ideas and potentially ‘fail’ without repercussion. igweonu also discusses his own practice as an educator within higher education contexts where he prescribes to the educational potential of the feldenkrais method to facilitate ‘curiosity and experimentation’ through processes of ‘assisted inquiry’. he sets out that a feldenkrais-informed pedagogy can allow students to develop skills of experiential and embodied inquiry as a prerequisite for a critical scholarly agency of the undergraduate student. igweonu suggests that it not only provides the vehicle of enquiry but, more importantly, it presents the performer with the clear indications as to ‘what to question’ and ‘how to question’. feldenkrais method offers the performer a space in which to listen to himself and to enquire about his physical organisation and relationship to the world around him. this space equally provides the performer with the unique opportunity to notice, to be uncertain and to change long held habits that will in turn lead to greater ease, sophistication and creativity in movement, play and action. editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 19 igweonu’s reflections set up an extended practice that involves embodied exploration, selfand peer observation, and ample time for peer-led feedback discussions and written reflections, to construct an agency-enhancing education that enables students to articulate experiential concerns ‘as creative practitioners’. drawing on his research and his pedagogical practice, he argues passionately for a placing the feldenkrais method at the forefront of performer training in uk higher education. detta howe’s two part emerging scholar essay reflects on her personal journey as a contemporary dancer where ‘moving had become automatic and unfelt after 25 years of contemporary dance practice’, towards a re-awakening of ​‘the instant sensation of the whole of me, the felt sense of being, a human being moving’​. howe collages practice analysis with personal, affective and poetic insight which are set in italics in the first part of the essay. howe describes how the feldenkrais method ‘unearthed everything necessary to discover a lost body, my lost body’. her personal reflections on a body lost and found, after years of commodifying self as a dancer’s professional body-instrument, are set against an insight into the dancer detailing her finding a new artistic practice in dialogue with her growing pleasured and curious somatic agency. dancing in this solo had a new feeling; everything magnified, enriched and full of flavours. i found new ways of moving that i hadn’t experienced before, welcoming the unknown; allowing the vulnerability of not knowing to become part of the dance, part of being human and something to share with an audience. i evolved from a dancer that moves to a dancer that knows they are moving, valuing and enjoying the paradox of knowing and not knowing in my body and in the dance space. in the second part of her essay, howe offers a case study of an evolving pedagogical practice awareness in motion (aim)​ which involves ​awareness through movement​ material as preparatory practice for improvisational probing that allows students to deepen their somatic experience in self-directed dance inquiry. this extended practice aims to ’provide a wider context to explore sensations experienced in an atm lesson through improvisation, offering the students more time to experience what they have noticed.’ howe describes a weaving of a non-corrective and non-goal oriented educational ethos into her evolving pedagogy with undergraduate ba dance students at university of chichester, uk. she suggests that through ‘a non-judgemental process of discovery, the student is encouraged to let their body move with awareness and without the need to know.’ howe reflects on her processes of combining feldenkrais-informed processes with teaching more conventionally framed contemporary dance technique classes, where students are asked to learn, naturalise and interpret given and set dance material. howe suggests that within this teaching framework many students tend ‘to fall back into habits of externalizing what they see opposed to noticing what they feel’. leaning on research undertaken by sylvie fortin and warwick long on the integration of the feldenkrais method in contemporary dance teaching (2019) she details on editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 20 her pedagogical processes strategies to support student’s self-directed and organic dance learning. dor abrahamson and ami shulman’s essay on ‘co-constructing movement in mathematics and dance: an interdisciplinary pedagogical dialogue on subjectivity and awareness’ aligns itself with a growing discourse on dance and science and dance and cognition that has implications on educational and performance-cultural modalities. the writers set out a conversational 20 context that discusses a ‘corporeal turn’ in mathematics education and research informed by enactivist and embodiment theories which concurs with somatic-informed dance studies. abrahamson suggests that such research and education perceives a mathematical concept as a polysemous structure grounded in multiple interrelated sensorimotor constructions. in both mathematics and dance, instructors thus seek to create conditions for students to develop diverse subjective constructions of the movements they are learning to enact and to explore relations across these different constructions. entering an interdisciplinary dialogue on the phenomenology and pedagogy of human movement, the authors aim to ‘search of common grounds through which educational scholars and practitioners of mathematics and dance may benefit through conversation’. abrahamson exemplifies mathematical research grounded in sensorimotor action through describing an experimental application to mathematics pedagogy through an interactive technological device, the ​mathematics imagery trainer​. feldenkrais practitioner and dance-maker shulman reflects further on this technological device by opening out a discussion on the cognitive and sensorimotor negotiations towards knowledge creation and choice making necessitated by the dancer in learning or performance situations. shulman creates an analogy between the processes of enaction within dance practice and pedagogical concepts embedded with the feldenkrais method, and uses such perspective to reflect on abrahamson’s practice-led research. the authors propose their conversational writing as an interdisciplinary space to reflect and debate a ‘pas de deux’ where ‘mathematics and dance occupy dramatically disparate spaces, and yet the embodiment turn in the cognitive sciences is implicating these foreign disciplines as corporeally cognate—both transpire as sensorimotor activity, both avail from reflection’. katja münker’s experimental essay ‘understanding understanding!’ muses on enactive and relational interpretations of the process of understanding. dance scholar, pedagogue and walking artist münker suggests that ‘how we are and how we bring ourselves in relation to our environment creates our understanding and forms our experiences and conceptions of the world’. her text draws on material from a lecture-performance which explored a new 20 see also: https://blogs.ams.org/mathgradblog/2016/07/07/mathematics-dance-enhancing-understanding-movement /​ and birringer and fenger (2005). editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 21 https://blogs.ams.org/mathgradblog/2016/07/07/mathematics-dance-enhancing-understanding-movement/ https://blogs.ams.org/mathgradblog/2016/07/07/mathematics-dance-enhancing-understanding-movement/ understanding of understanding while relating the ideas and practices of the feldenkrais method to improvisation theory and to political, artistic and biological philosophy. displaced/displayed: re-enacting dances of migration dancers: katie rudd, lucy lynch & carl tolentino münker sets out how her interdisciplinary participatory lecture performance ‘unfolded a field for experiential, cognitive and poetic understanding of understanding’ through a blending of the spoken text with movement and improvisation/instant composition-strategies. her work explored editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 22 possibilities of how somatic practices can support multi-layered modes of understanding. her writings offer an insight into a lecture format that invites participants to move, interact with their gravitational and social field in playful ways, while listening to spoken words –at times discursive or poetic, at times instructional – or while reading quotes by various philosophers. the essay is constructed in non-traditional ways, blending different type-set colouring with photographs from the lecture event and from münker’s urban walking-art practice, and guides the reader into reflections on enactivist understandings of understanding, often with reference to the work of moshe feldenkrais. she uses analogies between the feldenkrais method and artistic processes to guide participants towards exploring score-like suggestions for playful activity, stating that ‘while the ​feldenkrais method​ provides strategies to use the human ​potential​ on a movement-awareness​ -related level, ​improvisation​ and instant ​composition​ can provide strategies for ​navigation​ in ​space, time and relationship​ in broader ways.’ münker is the co-director of ​somatische akademie berlin​ (sab) which explores the potential and application of somatic practices as socially transformative processes. in line with this transdisciplinary social-somatic thinking her text proposes ‘a cultural and political potentiality in which we form our social reality’ where somatic practices such as the feldenkrais method inhabit ‘the possibility to expand the ​self-care​ towards ​community-care​’. margaret kaye’s and lian loke’s research in progress piece ‘designing technology for active sitting: an example of feldenkrais method​®​-inspired body-centric interaction design’ discusses their research into the application of principles of feldenkrais method to interaction design, or what they call ‘body-centric interaction design’. the authors introduce a debate on post-ergonomic ‘interactive design’, and their development of a digital interactive prototype-tool ‘let’s sway’ through which shifts in weight whilst sitting are displayed in a visual form on a computer screen. rather than developing a corrective approach towards postural improvement while sitting, the authors experimented with creative interventionist ‘strategies for active sitting’, to encourage the design user to explore ‘certain kinds of simple geometric movement patterns whilst sitting and shifting weight, such as forward/backward, side-to-side, circling around the pelvis, or figure-of-eight spiralling’. the authors discuss how the workplace could be re-designed through the lens of feldenkrais method towards giving agency back to the individual within a sedentary workplace environment. they suggest that this entails the ‘agency to make choices about how to use one’s body. agency to find comfort and ease through awareness that will lead to sustainable, revitalising practices in the workplace, and beyond.’ alan fraser’s integration of feldenkrais practices principles within a piano-technique teaching and coaching approach forms a case study of an emerging applied and adapted pedagogy. the journal volume includes a chapter and an awareness through movement lesson from his book, ‘play the piano with your whole self’ (2019) together with a critical introduction and post script by fraser. the selected sections exemplify how organic learning principles with a focus on child development might be translated into an innovative and explorative approach towards skills development within piano scholarship. fraser’s contextual section ‘how babies move’ aims to editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 23 give a conceptual framework to the reader and uses analogies between developmental whole-body learning processes to the uses of the hand in piano learning. fraser proposes that ‘correlating baby’s preand post-standing movement experiences to those of the beginning pianist’s hand on key shows us why many hands are over-relaxed or too stiff, and why they could benefit from a pianistic pre-standing apprenticeship.’ his organic learning rationale is exemplified in an awareness through movement lesson designed for pianists. fraser states that this lesson, entitled ​‘the hand like a baby learning movement’​, offers ‘our hands the incalculable benefits of a sensorially rich pre-standing keyboard apprenticeship. the developmental exercises stimulate the beginner’s hand to move at the keyboard naturally, organically, biologically.’ using analogies to activities such as ​sucking, grasping, crawling, weight bearing, rolling, sitting​ the author develops movement explorations for the pianist’s hands that can serve as a preparatory practice to improve nuanced articulation for instrumental playing. the lesson guides the learner moving from non-goal oriented sensory-motor explorations towards a reflective interaction the instrument in non-familiar ways. this journal volume concludes with two practitioner reviews – my own review on victoria worsley’s latest book ‘feldenkrais for actors: how to do less and discover more’ (2016) – and helen singh-miller’s review on aspects of the work of israeli choreographer ohad naharin, whose dance practice and ‘gaga technique’ carry traces of influence of the feldenkrais method. acknowledgements:​ i would like to thank all the authors for their contributions to this journal and for their willingness to engage in a rigorous, developmental and inspiring peer reviewed editorial process. i am grateful for the consistent support from and dialogue with the ​feldenkrais research journal​ general editor cliff smyth for coordinating between all parties involved. a big thank you also goes to our team of specialist guest editors and peer-reviewers, cornelia berens, zoran kovich, sara reed, robert sholl, libby worth, and to our copyand harvard format-editors brandee selk and joanne page, who engaged with thorough scrutiny in the creation of this journal volume. thomas kampe, guest editor, may 2019 author biography thomas kampe (phd)​ has worked as a performing artist, researcher and somatic educator across the globe. he works as senior lecturer for movement/acting at bath spa university, uk, where he co-directs the ​creative corporealities research group​. collaborations include work with liz aggiss, hilde holger, julia pascal, tanzinitiative hamburg, somatische akademie berlin, and with carol brown on re-embodying the diasporic practices of modernist choreographer gertrud bodenwieser. thomas’ research focuses on critical somatic legacies. he recently co-edited ​journal of dance and somatic practices​, vol. 9. (2017) ​bodily undoing: editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 24 somatics as practices of critique​, with kirsty alexander. thomas is a practitioner of the feldenkrais method​®​. since 2015 direction of international symposia: ​(re)storing performance (2015); ​theatre, youth, trauma and europe in crisis​ (2016); ​bodily undoing –somatic performance cultures and activisms as critical practice​ (2016); ​beyond forgetting 1938-2018: persecution/exile/ memory​ (2018). he currently co-directs the international ​body iq berlin festival 2019​ with somatische akademie berlin (sab). he is the guest-editor of this volume of the ​feldenkrais research journal​. ​https://www.bathspa.ac.uk/our-people/thomas-kampe/ www.thomaskampe.com references aldor, g. (2012) ​wie tanzt nun ein kamel? die geschichte der ornstein-familie und die erfindung des modernen israelischen tanztheaters [how does a camel dance?: the story of the orenstein family and the invention of modern israeli dance theater]​. vienna: mandelbaum verlag amory, k. (2010) ‘acting for the twenty-first century: a somatic approach to contemporary actor training’. ​perfformio​ 1 (2), spring, 5-20. available from <​http://www.wellnesscke.net/downloadables/actingforthetwenty-firstcentury.pdf​> bacon, j. (2019) ‘processual attention in somatic practice as research/artistic research’. in researching (in/as) motion: a resource collection, artistic doctorates in europe.​ eds. by midgelow, v., bacon, j., kramer, p., and hilton, r. theatre academy, university of the arts, helsinki: nivel 10. available from <​https://nivel.teak.fi/adie/processual-attention-in-somatic-practice-as-research-artistic-rese arch/​> bacon, j., and midgelow, v. (2014) ‘creative articulations process’. ​articulations​ (special issue choreographic practices) ​5​ (1), 7–31. bristol: intellect barrett, e., and bolt, b. (eds.) (2007) ​practice as research: approaches to creative arts enquiry​. london: i.b. tauris batson, g. (2008) ‘teaching alignment’. in ​the body eclectic: evolving practices in dance training​. ed by bales, m. and nettl-fiol, r. urbana, illinois: university of illinois press batson, g., and wilson, m. (2014) ​body and mind in motion: dance and neuroscience in conversation​. bristol: intellect publishers blair, r. (2009) ​the actor, image, and action: acting and cognitive neuroscience​. new york: routledge editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 25 https://www.bathspa.ac.uk/our-people/thomas-kampe/ http://www.thomaskampe.com/ http://www.wellnesscke.net/downloadables/actingforthetwenty-firstcentury.pdf https://nivel.teak.fi/adie/processual-attention-in-somatic-practice-as-research-artistic-research/ https://nivel.teak.fi/adie/processual-attention-in-somatic-practice-as-research-artistic-research/ blair, r., and cook, a. (2016) ​theatre, performance and cognition languages, bodies and ecologies​. london: bloomsbury birringer, j., and fenger, j. (2005) ​tanz im kopf: dance and cognition​. bielefeld: lit verlag borgdorff, h. (2007) ‘the mode of knowledge production in artistic research’. in ​knowledge in motion​. eds. by gehm, s., husemann, p., and von wilcke, k. bielefeld: transcript brodie, j., and lobel, e. 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(2010) ​bewegungsqualität und musizierpraxis. zum verhältnis von feldenkrais-methode und musikalischer improvisation [movement quality and music practice. on the relationship between feldenkrais method and musical improvisation]​. fernwald: musikautorenverlag burkard muth editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 26 https://www.academia.edu/2218726/the_new_jew_in_the_zionist_movement_ideology_and_historiography https://www.academia.edu/2218726/the_new_jew_in_the_zionist_movement_ideology_and_historiography http://www.wellnesscke.net/downloadables/access-to-somatics.pdf evans, m. (2009) ​movement training for the modern actor​. london: routledge falletti, c., sofia, g., and jacono, v. (eds.) (2016) ​theatre and cognitive neuroscience​. london: bloomsbury feldenkrais, m. (1975) ​san francisco training transcripts​. paris: international feldenkrais federation feldenkrais, m. (2010) ​embodied wisdom: the collected papers of moshe feldenkrais.​ ed. by berringer, e. berkeley, california: north atlantic books feldenkrais, m. (1990) ​awareness through movement: health exercises for personal growth​. 2nd edn. new york: harper collins feldenkrais, m. (1985) ​the potent self: a study of spontaneity and compulsion​. san francisco: harper and row fortin, s. (1998) ‘somatics: a tool for empowering modern dance teachers’. in ​dance, power, and difference: critical and feminist perspectives on dance education​. ed by shapiro, s. champaign, ill.: human kinetics, 49-71 fortin, s., long, w., and lord, m. (2002) ‘three voices researching how somatic education informs contemporary dance technique classes’. ​research in dance education 3​ (2), 153-177 fortin, s and long, w. (2019) ​integrating the feldenkrais method within dance technique class​, available from <​https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_meth od_within_dance_technique_class​> [30 march 2019] fortin, s., vieira a., and tremblay, m. (2009) ‘the experience of discourses in dance and somatics’. ​journal of dance and somatic practices 1​ (1), 47-64 foster, s. l. (ed.) (2009) ​worlding dance​. basingstoke: palgrave macmillan foucault, m. (1997) ‘the ethic of the concern of the self as a practice of freedom’. in ​ethics: subjectivity and truth​. ed. by rabinow, p. london: the penguin press, 281-301 franko, m. (1995) ​dancing modernism/performing politics​. bloomington: indiana university press fraser, a. (2017) ​play the piano with your whole self.​ [e-book] serbia: the alan fraser piano institute. available from <​https://store.alanfraserinstitute.com/product/5​> editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 27 https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_method_within_dance_technique_class https://www.researchgate.net/publication/265274558_integrating_the_feldenkrais_method_within_dance_technique_class https://store.alanfraserinstitute.com/product/5 gare, a. (2016) ‘beyond modernism and postmodernism: the narrative of the age of re-embodiments’. in ​contributions to law, philosophy and ecology​. ed by thomas-pellicer, r., de lucia, v., and sian sullivan, s. london: routledge garrett-brown, n. (2011) ‘disorientation and emergent subjectivity: the political potentiality of embodied encounter’. ​journal of dance & somatic practices 3​ (1+2), 61-73. doi: 10.1386/jdsp.3.1-2.61_1 goldfarb, l. w. (1990) ​articulating changes: preliminary notes to a theory for feldenkrais​. berkeley: feldenkrais resources green, j. (2015) ‘social somatic theory: issues and applications in dance pedagogy’. ​revista científi ca/fap, curitiba [scientific magazine / fap, curitiba]​ 13, 65-76. available from <​http://periodicos.unespar.edu.br/index.php/revistacientifica/article/viewfile/1444/793​> [17 april 2019] green, j. (2001) ‘socially constructed bodies in american dance classrooms’. ​research in dance education 2​ (2), 155-173 hanna, t. (1970) ​bodies in revolt: a primer in somatic thinking​. new york: holt, rinehart and winston haseman, b. (2007) ‘rupture and recognition: identifying the performative research paradigm’. in ​practice as research approaches to arts enquiry​. ed. by barrett, e., and bolt, b. london: i.b. tauris herzl, t. (1902) ​altneuland​. 1st edn. leipzig: hermann seemann nachfolger hewitt, a. (2005) ​social choreography: ideology as performance in dance and everyday movement​. durham: duke university press igweonu, k. (2010) ​feldenkrais method in performer training: encouraging curiosity and experimentation​. project report. swansea: centre for innovative performance practice and research kampe, t. (2019) ‘body-soma-self: re-embodying dance research’. in ​researching (in/as) motion: a resource collection/ artistic doctorates in europe​. eds. by midgelow, v., bacon, j., kramer, p., and hilton, r. available from <​https://nivel.teak.fi/adie/body-soma-self/​> kampe, t. (2017) ‘entangled histories, part 2: releasing the de-generate body’. ​journal of dance & somatic practices​, 9:1, pp. 75-93 editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 28 http://periodicos.unespar.edu.br/index.php/revistacientifica/article/viewfile/1444/793 https://nivel.teak.fi/adie/body-soma-self/ kampe, t. (2016) ‘crossing/weaving: somatic interventions in choreographic practices’. in: international feldenkrais federation (iff) research journal vol 5​. kampe, t. (2015) ‘eros and inquiry: the feldenkrais method as a complex resource’. in theatre, dance and performance training 6​ (2), 200-218. available from <​https://www.tandfonline.com/doi/full/10.1080/19443927.2015.1027451​> kampe, t. (2013) ​the art of making choices: the feldenkrais method as a choreographic resource​. unpublished phd documentation. london metropolitan university (academia.edu) kapsali, m. (2013) ‘rethinking actor training: training body, mind and … ideological awareness’. theatre, dance and performance training 4​ (1), 73-86 klein, g. (2011) ‘künstlerisches arbeiten im postkapitalismus [surviving artistic work in post capitalism]’. ​surviving dance symposium, choreographisches.​ unpublished. zentrum k3 hamburg germany, paper 20/05/11 klein, g., and noeth, s. (eds.) (2011) ​emerging bodies: the performance of worldmaking in dance and choreography.​ bielefeld: transcript klien, m. (2009) ​choreography as an aesthetics of change.​ unpublished phd thesis. university of edinburgh kovich, z. (2007) ‘promoting dexterity in technical dance training using the feldenkrais method’. ​feldenkrais research journal, 3 laroche, j., and kaddouch, i. (2015) ‘spontaneous preferences and core tastes: embodied musical personality and dynamics of interaction in a pedagogical method of improvisation’. frontiers in psychology 6​, 522. doi: 10.3389/fpsyg.2015.00522 litvinoff, v. (1972) ​the use of stanislavsky within modern dance​. new york, ny: american dance guild long, j. a., newton, r., and kovich, z. (2015) ‘essai: manifesting kinesthetic and creative possibilities through the art of somatic inquiry using the feldenkrais method’. ​theatre, dance and performance training 6​ (2), 258-262 mccaw, d. (2016) ​training the actor's body​. london: methuen drama maturana, h. r., and varela, f. (1992) ​the tree of knowledge​. rev. edn. boston: shambhala editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 29 https://www.tandfonline.com/doi/full/10.1080/19443927.2015.1027451 mensendieck, e. ([1906] 1929) ​körperkultur des weibes: praktisch hygienische und praktische ästhetische winke [body culture of the woman. practically hygienic and practically aesthetic hints]​. 10th edn. munich: f. bruckmann mensendieck, e. (1927) ​bewegungsprobleme – die gestaltung schöner arme [movement problems. the design of beautiful arms]​. munich: f. bruckmann midgelow, v. (2019) ‘introduction‘ , in midgelow, v., bacon, j., kramer, p., and hilton, r. (eds.) (2019) ​researching (in/as) motion: a resource collection/ artistic doctorates in europe​. available from <​https://nivel.teak.fi/adie/introduction/​> [19 may 2019] midgelow, v. 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(2007) ‘foreword’. in ​on complexity​. morin, e. cresskill, nj: hampton press morin, e. (2009) ​the seven necessary reforms of the 21st century. <​http://www.ideassonline.org/pic/doc/videoconferencemorineng.pdf​> [14 april 2018] morin, e. (2007) ​on complexity​. cresskill, nj: hampton press morin, e. (1999) ​seven complex lessons in education for the future​. trans. by poller, n. paris: unesco publications morin, e., and kern, a. b. (1999) ​homeland earth: a manifesto for the new millennium​. cresskill, nj: hampton press editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 30 https://nivel.teak.fi/adie/introduction/ https://www.researchgate.net/publication/31871414_a_little_fleshy_philosophy_dance_improvisation_as_research https://www.researchgate.net/publication/31871414_a_little_fleshy_philosophy_dance_improvisation_as_research https://nivel.teak.fi/adie/ https://ausdance.org.au/articles/details/improvisation-a-continuum http://www.ideassonline.org/pic/doc/videoconferencemorineng.pdf noë, a. (2009) ‘bringing the world (in dance) into focus’. talk. ​tanzkongress deutschland [dance congress] 2009​. held 5-8 november 2009 at kampnagel, hamburg. nordau, m. (1955) ​zionist writings. vol. 1.​ (in hebrew) jerusalem: hassifria haziyonit publishing house of the world zionist congress oberzaucher-schuller, g. (2013) ‘utopia realised‘. [online] ​tanz.at​ 11 january, 2013. available from <​http://www.tanz.at/index.php/verlegt/buecher/1659-wie-tanzt-nun-ein-kamel​> ornstein, m. (1940a) ​bewegungskultur als vorbereitung für regieführung (movement culture as preparation for direction) part 1​. tel aviv: israel dance library ornstein, m. (1940b) ​bewegungskultur als vorbereitung für regieführung (movement culture as preparation for direction) part 2​. tel aviv: israel dance library pergola, m. d. (2003) ‘working with actors’. ​feldenkrais journal 16​, 33-41 purcell, m. (1990) ‘feldenkrais for actors (and acters)’. ​feldenkrais journal 5​, 41-47 questel, a. s. (2002) ‘the feldenkrais method: application for the actor’. ​feldenkrais journal 14​, 11-16 reese, m. (2016) ​moshe feldenkrais: a life in movement.​ san rafael, ca: reesekress somatics press roche, j. (2016) ‘shifting embodied perspectives in dance teaching’. in ​journal for dance and somatic practices 8​ (2), 143-156 samorzik, e. 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(1999) ​gertrud bodenwieser and vienna's contribution to ausdruckstanz​. amsterdam: harwood academic publishers whatley, s., alexander k., and garrett-brown, n. (2009) ‘editorial’. ​journal of dance and somatic practices 1​ (1), 2-4 wood, b. (2011) ‘coming to our senses: perceptual performance and fields intensities’. journal of dance and somatic practices 3​ (1+2), 85-99 worth, l. (2015) ‘editorial’. ​theatre, dance and performance training 6​ (2), 125-129 worsley, v. (2016) ​feldenkrais for actors: how to do less and discover more.​ london: nick hern books interviews aldor, g. (2017) email dialogue with thomas kampe; unpublished. london & tel aviv naharin, s. (2017) interview with thomas kampe, kassel/tel aviv editorial • ​feldenkrais research journal, volume 6​ (2018-2019) 32 feldenkrais research journal • volume 1 (2004) article répercussions psychologiques et physiologique d'un entrainment a la prise de conscience du corps marcel frydman state university of mons, belgium p. frydman state university of mons, belgium abstract during a period of research which was carried out from 1976 to 1979, the authors tested the effects of body-awareness training on perception, memory and skin temperature. the results of the various experiments point without any doubt to the same conclusions. indeed, in all cases, the experimental groups proved significantly superior to the control groups. data collected show that the feldenkrais techniques bring about psychological and physiological changes and probably promote the exploitation of the individual’s potential. keywords suggestopedy, body awareness, euthony, memory, perception, skin temperature, selective attention copyright ©: the copyright for this paper remains with the author(s). first published: revue de psychologie appliquée 2e trim. 1982, vol. 32, no 2, p. 69-95. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author répercussions psychologiques et physiologiques d’un entrainement a la prise de conscience du corps revue de psychologie appliquée 2e trim. 1982, vol. 32, no 2, p. 69-95. par m. frydman et p. frydman1: mots clés: suggestopédie prise de conscience du corps eutonie mémoire perception température cutanée attention selective key words: suggestopedy body awareness euthony memory perception skin temperature selective attention summary during a period of research which was carried out from 1976 to 1979, the authors tested the effects of body-awareness training on perception, memory and skin temperature. the results of the various experiments point without any doubt to the same conclusions. indeed, in all cases, the experimental groups proved significantly superior to the control groups. data collected show that the feldenkrais techniques bring about psychological and physiological changes and probably promote the exploitation of the individual’s potential. i. – introduction 1.1. la suggestopédie. les recherches successives que nous avons menées, de 1976 à 1979, afin d’évaluer les répercussions d’un entraînement à la prise de conscience du corps dans la perspective d’une augmentation des potentialités de l’individu (frydman, dierkens et abels, 1977; p. et m. frydman,1978 et 1979), méritent à présent, nous semble-t-il, d’être synthétisées. si elles ont porté, chaque fois, sur des échantillons occasionnels et relativement restreints, les résultats concordants enregistrés dans diverses expérimentations appartenant aux domaines de la psychopédagogie, nous autorisent, aujourd’hui, à tirer une série de conclusions à caractère opérationnel. 1. département de psychologie, université de l’etat, mons (belgique). m.frydman/feldenkrais research journal 1 (2004) 2 il n’est sans doute pas inutile de rappeler, préalablement, que nos travaux se situent dans le prolongement des études de lozanov (1973 et 1976), d’une part, et surtout celles d’alexander (1977) ou de feldenkrais (1971), de l’autre. ces auteurs estiment, avec de nombreux spécialistes appartenant à diverses disciplines, que l’être humain n’exploite qu’une part infime des ses ressources. en testant plusieurs techniques thérapeutiques, dont l’hypnose, et en présence des effets positifs observés – l’activation intellectuelle sous toutes ses formes en particulier – lozanov a considéré que la suggestion était le mécanisme curatif essentiel. dans un second temps, étendant ses recherches à l’apprentissage, notamment à l’acquisition d’une seconde langue, il a développé un point de vu identique en ce qui concerne le rôle joué par la suggestion. l’accroissement considérable des possibilités mnémoniques des individus qui fut mis en évidence – dans certaines circonstances, on a assisté à la fixation de centaines de mots étrangers en une seule séance – a été attribué à l’influence de cette variable. l’auteur bulgare a cru pouvoir affirmer que la suggestion est le facteur responsable de l’augmentation des performances de la mémoire. une discipline nouvelle a ainsi pris naissance au cours des années 1960 : la suggestopédie qui est tout simplement l’application pédagogique des données de la suggestologie, c’est-à-dire des études axées sur la suggestion. testée d’abord à sofia, ensuite au canada, par racle et ses collaborateurs (1973 et 1974), la suggestopédie a fourni, dans les deux cas, des résultats très intéressants. les groupes qui avaient bénéficié d’un enseignement <<suggestopédique>> se sont révélés significativement supérieurs aux groupes de contrôle soumis aux conditions d’apprentissage traditionnelles. en dépit du grand intérêt qu’elle présente, on ne trouve cependant pas, dans l’œuvre féconde de lazanov, ni dans les travaux canadiens, une recherche pédagogique basée sur un plan expérimental rigoureux qui aurait assuré le contrôle des diverses variables, dont l’action conjuguée seule, nous dit l’auteur, conduirait à l’utilisation des potentialités gardées <<en réserve>> de l’individu. de telles affirmations restent toutefois hypothétiques et leur vérification impliquerait une série d’expérimentations successives (qui n’avaient pas été entreprises jusque-là) où chacune des variables serait manipulée à tour de rôle en permettant ainsi d’évaluer, de manière indiscutable, son incidence éventuelle sur les résultats obtenus. de plus, lozanov ne s’exprime pas toujours sans ambiguïté, notamment lorsqu’il fait allusion aux effets de la musique ou de l’état de relaxation des sujets sur la fixation d’un matériel dans la mémoire. l’assertion suivant laquelle <<la suggestopédie n’est pas fondée sur la décontraction musculaire>>, <<qu’il ne s’agit pas d’une relaxopédie>>, n’est-elle pas en opposition avec la détente physique et psychique délibérément crée dès le début de l’apprentissage? la musique et la relaxation sont-elles susceptibles d’améliorer les performances de la mémoire? nous ne disposions toujours pas l’informations objectives pour répondre de façon catégorique à cette question. 1.2. la prise de conscience du corps. le second pivot sur lequel reposait notre première recherche était constitué par les méthodes de prise de conscience du corps. l’eutonie proposée par alexander permet de progresser dans la connaissance de soi, tout en favorisant l’adaptation au monde extérieur. l’auteur présente un programme comportant trois grandes parties dont les objectifs sont les suivants: 1. le développement de la sensibilité superficielle et profonde (muscles, organes, os) qui exercerait une influence sur le tonus et l’équilibre neuro végétatif; m.frydman/feldenkrais research journal 1 (2004) 3 2. la relation avec le monde extérieur éduquée par le <<contact>> qui permettrait d’inclure dans la conscience l’espace environnant; 3. l’exécution du mouvement de manière eutonique demandant le recours au minimum d’énergie. selon alexander, le travail conscient d’équilibration des tensions conduit à une maturation de la personnalité. l’équilibre tonique ainsi réalisé –ou eutonie – est la capacité de s’adapter harmonieusement aux circonstances les plus variées de l’existence où tout mouvement serait effectué avec un maximum d’efficacité. la technique de feldenkrais, comme l’eutonie, permet à l’individu de progresser dans la prise de conscience, de développer sa sensibilité proprioceptive, d’enrichir son vécu intérieur et sa relation avec autrui. centrée sur le mouvement conscient, elle vise, en réalité, l’entraînement de toutes les fonctions, tant mentales que corporelles. fondée sur des lois physiologiques, la méthode impliquerait la participation consciente des zones intégratives du système nerveux central et favoriserait l’exploitation plus complète des potentialités. l’auteur estime que l’homme pourrait décupler ses facultés en prenant pleinement conscience de son corps. un tel objectif exigerait d’abord la prise de conscience de toutes les parties de l’organisme afin d’obtenir une image de son complète. la démarche suggérée consiste à enrichir l’image de soi par un travail systématique portant sur le mouvement avec représentation mentale, au lieu de s’appliquer à la correction d’actes isolés, ce qui reviendrait à agir au niveau de symptômes. en résumé, la progression passerait par la prise de conscience. celle-ci correspond à un état de veille renforcé grâce auquel le sujet sait exactement quel comportement il mettra en jeu. pour illustrer ces conceptions, reprenons un exemple cité par feldenkrais, celui d’un homme âgé de quarante ans qui, ayant consulté un médecin à la suite de douleurs lombaires, découvre qu’une de ses jambes est plus courte que l’autre. il ne s’en était pas aperçu jusque-là et son état de veille était plus proche de l’état de sommeil que de la prise de conscience. l’individu ne modifie pas aisément ses conduites. le changement, nous dit l’auteur, est rendu possible par la prise de conscience, et l’acquisition de celle-ci mènerait à l’autonomie. nous pouvions néanmoins nous demander si ces considérations ne restaient pas, elles aussi, purement hypothétiques. sans doute, les techniques de prise de conscience avaient-elles fait leurs preuves sur le plan clinique et, par exemple, dans le traitement de différents troubles psychosomatiques, des arthroses, ou de certains traumatismes. leur incidence n’avait cependant pas été vérifiée de manière scientifique à l’aide d’une expérimentation basée sur le contrôle des diverses variables susceptibles de contaminer les résultats obtenus. il es clair que cette procédure est la seule qui permette d’établir une relation de cause à effet. voilà l’optique dans laquelle nous avons entamé nos propres recherches. ii. approche expérimentale des effets de la prise de conscience du corps 2. l’apprentissage d’une langue étrangère. dans un premier travail1, nous avons testé l’effet de deux variables sur l’acquisition d’une langue étrangère – le russe en l’occurrence – et sur la conservation à moyen terme des notions acquises. il s’agissait d’une étude limitée dans le temps (dix leçons), ne portant que sur des échantillons restreints (huit sujets par échantillon), mais réalisée dans une situation 1 . réalisé avec la collaboration de r. abels. m.frydman/feldenkrais research journal 1 (2004) 4 expérimentale dont tous les aspects étaient parfaitement contrôlés. les trois groupes d’étudiants ont reçu le même professeur et ils furent placés dans des conditions en tous points identiques – pour lesquelles nous nous sommes inspirés partiellement des principes de la suggestopédie – sauf, bien entendu, en ce qui concerne les deux variables indépendantes. nous avons ainsi évalué les répercussions, sur l’apprentissage, d’un état de relaxation obtenu à l’aide de musique classique (premier groupe expérimental), et d’un entraînement à la prise de conscience d’après la technique de feldenkrais (second groupe expérimental). les sujets de ce deuxième échantillon furent soumis à environ dix heures de formation pendant la semaine qui avait précédé les séances de cours et bénéficièrent, en outre, d’une vingtaine de minutes de préparation avant chacune de celles-ci. l’administration d’un premier test, immédiatement après l’apprentissage, a révélé un écart significatif entre les performances du groupe feldenkrais et celles des deux autres échantillons. l’application de la même épreuve, un mois plus tard, a confirmé la supériorité du second groupe expérimental (b) dont les sujets n’avaient perdu que 2,85 %, en moyenne, par rapport aux scores réalisés au premier moment, alors que a et c perdaient respectivement 8,26 et 21,76 % (voir dispositif, tableau i). tableau i représentation schématique du dispositif. groupes traitements post tests a b c x1y1x2y2x3y3x4y4x5y5 x’0 x’1yx’2yx’3yx’4yx’5y y1y2y3y4y5 01 04 02 05 03 06 y = cours de russe (10 leçons en 5 séances). x = programme de musique classique. x’0 = entraînement intensif à la prise de conscience du corps (méthode feldenkrais) au cours de la semaine précédant l’apprentissage. x’ = exercices de prise de conscience avant chaque leçon. 0 = observations post expérimentales. la progression au niveau de la prise de conscience du corps semble donc bien favoriser l’apprentissage d’une langue étrangère et la rétention des acquisitions. les membres du groupe b n’ont généralement ressenti aucune fatigue; ils terminaient les séances qui se déroulaient de 18 à 20 heures, c’est-à-dire après une journée de cours, dans un état de fraîcheur qui les surprenait et avaient l’impression que les possibilités de leur mémoire s’étaient nettement accrues. cette impression subjective fut corroborée par les résultats de l’expérience, mais il était évidemment prématuré de songer à leur généralisation. un vaste domaine d’études, encore insuffisamment exploré, était donc offert à la recherche. c’est dans cette perspective que nous nous sommes proposé, dans un second temps, de tester les répercussions d’un entraînement à la prise de conscience du corps sur le fonctionnement de la mémoire visuelle et auditive ainsi que sur la perception visuelle. 2.2. effets du traitement sur la mémoire et la perception. 2.2.1. introduction. les résultats enregistrés au cours de notre première recherche demandaient assurément à être confirmés. nous avons donc élaboré une série d’expérimentations successives destinées à m.frydman/feldenkrais research journal 1 (2004) 5 tester les répercussions éventuelles de la prise de conscience du corps sur la mémoire, visuelle ou auditive, et sur la perception visuelle. plusieurs échantillons occasionnels ont été constitués. chaque échantillon comprenait une douzaine d’étudiants – ages de 20 ans en moyenne – de l’université de l’etat à mons ou de l’institut supérieur de l’etat de kinésithérapie a bruxelles. les deux groupes expérimentaux ont été soumis à un traitement comportant dix et onze séances que se sont étalées sur une période de deux à trois mois. 2.2.2. hypothèses à tester. 1. l’entraînement à la prise de conscience du corps favorise la fixation des éléments contenus dans un texte structuré. 2. entraînement à la prise de conscience du corps améliore l’acquisition d’une série de mots étrangers. 3. les techniques de feldenkrais favorisent la fixation de mots présentés successivement sur un écran. 4. dans le cadre de la fixation d’une liste de mots présentés à la vue, la prise de conscience du corps est plus efficace qu’une technique de relaxation ou l’utilisation de détours mnémoniques. 5. l’entraînement à la prise de conscience augmente le rendement de l’individu dans le domaine de la perception visuelle. 2.2.3. le traitement. la durée des séances était généralement de 60 à 90 minutes. chacune de celles-ci, quelle que fut la position de départ (couché facial, dorsal, assis ou debout), débutait par une observation attentive des différentes parties du corps et de leur contact avec le sol. le travail spécifique d’une région s’effectuait toujours au niveau d’un coté du corps, de manière à permettre la comparaison entre le coté conscient e l’autre. les sujets avaient ainsi l’occasion de découvrir leurs propres références, à partir du vécu corporel personnel, condition essentielle de l’accomplissement conscient d’un acte. toutes les leçons comprenaient donc une période d’intégration fonctionnelle et de prise de conscience par le mouvement. après la séance, les sujets étaient invités à exprimer librement leur vécu et nous avons ainsi pu réunir des données d’ordre qualitatif extrêmement intéressantes. 2.2.4. les post tests. 2.2.4.1. tests de mémoire auditive. pour évaluer les répercussions de la prise de conscience du corps sur la mémoire auditive, nous avons eu recours à deux tests. le premier était basé sur un texte de woodworth (1949). le choix de ce dernier était fonction de sa commodité car, composé exactement de cent unités significatives, il se prêtait aisément à un calcul de pourcentages. c’est la méthode des éléments retenus qui a été appliquée et le score, dans ce cas, correspond au nombre d’éléments correctement reproduits après deux lectures successives du texte. le groupe expérimental et le groupe de contrôle ont subi le test dans des conditions rigoureusement identiques en ce qui concerne le choix du local, le moment de la journée, les consignes, etc.; de plus, la même personne a été chargé de la lecture dans les deux situations. m.frydman/feldenkrais research journal 1 (2004) 6 nous avons également élaboré une épreuve originale, plus spécialement destinée à la vérification de notre deuxième hypothèse, composée de seize mots hongrois de deux syllabes. la langue étrangère choisie, était, bien entendu, totalement ignorée par tous les étudiants. dans l’enregistrement qui fut réalise, nous avons prévu, pour chaque item, la présentation d’un substantif hongrois à trois reprises, avec un intervalle de deux secondes entre les répétitions, la séquence étant suivie immédiatement par le terme franchis correspondant. dans un second temps, les mêmes mots étaient proposés une nouvelle fois aux sujets, mais dans un ordre aléatoire, donc différent du précédent, de manière à éviter toute possibilité d’association par sériation. un intervalle suffisant séparait les items et permettait la notation du mot franchis. toutes les précautions furent prises pour assurer aux deux groupes des conditions de travail identiques. l’utilisation de l’enregistreur écartait l’éventualité d’une modification du rythme ou de l’intonation; l’épreuve s’est déroulée dans le même local, avec le même magnétophone dont les diffuseurs étaient placés de façon identique. 2.2.4.2. tests de mémoire visuelle. nous avons repris à denis (1975), l’épreuve administrée en post test. celle-ci avait servi de modèle à la mise au point de six séries supplémentaires. la première a constitué le pré test qui a permis d’établir que les trois groupes expérimentaux – le groupe feldenkrais (a), le groupe b qui avait bénéficié d’une initiation à la relaxation induite par sophronisation et le groupe c dont l’entraînement était limité à l’utilisation de détours mnémoniques – ne différaient pas au regard de la variable étudiée. les moyennes de ces trois échantillons à l’épreuve pré expérimentale étaient extrêmement proches (13,33 pour a; 13,82 pour b; 13,70 pour c) et l’analyse de variance n’a fait apparaître aucune différence significative, le f étant inférieur à 1. les cinq autres séries furent proposées aux trois groupes pendant la période d’apprentissage au rythme d’une par semaine. les sept séries étaient composées de trente noms concrets qui apparaissaient pendant trois secondes sur un écran avec un intervalle inter-items d’une seconde et demie. les tests comprenaient des noms assez peu employés dans le langage courant, de fréquence égale ou inférieure à 15, d’après les tables de gougenheim et al. (1956). nous avons cependant veillé à ce que les items présentant une certaine proximité sémantique ou phonétique ne se trouvent pas en succession immédiate. chacune des séries était l’objet d’une seule présentation au terme de laquelle les sujets disposaient de deux minutes pour restituer, par écrit, les éléments retenus. il suffisait, dès lors, d’attribuer un point par élément correctement rappelé pour déterminer le score. 2.2.4.3. tests de perception visuelle. deux observations pré expérimentales avaient été effectuées lors d’un testing individuel auquel furent soumis les sujets du groupe a(voir dispositif, tableau ii).elles avaient pour objectif l’établissement de deux seuils de perception visuelle qui ont été déterminés à l’aide d’un tachistoscope. les cinquante items du premier test étaient constitués par des mots de quatre lettres, des majuscules noires de 7 cm de hauteur et de 3 cm de largeur. les stimuli de la seconde épreuve étaient composés d’ensembles de quatre lettres de même dimension que nous avions assemblées de manière aléatoire en recourant à une table de nombres au hasard. en pré testant les items nous avons constaté qu’ils ne se caractérisaient pas tous par le même degré de difficulté, particulièrement, ceux de la deuxième série. il était donc indispensable d’associer chaque stimulus à un temps d’exposition déterminé afin que les comparaisons entre les sujets et entre les moments eussent une signification. nous nous sommes heurtés à une autre difficulté, celle de la méthode à mettre en œuvre pour calculer les scores des individus. un m.frydman/feldenkrais research journal 1 (2004) 7 seuil identique, en effet, pouvait être atteint avec ou sans échec partiel antérieur, car nous poursuivions les essais jusqu’à l’apparition de trois succès et, à l’autre extrémité, de trois échecs consécutifs. or, nous n'avons pas trouvé, dans la littérature, une technique indiscutable ayant obtenu l’accord unanime des spécialistes en la matière. après tâtonnements, le critère suivant a été retenu: le score serait déterminé par la performance la meilleure à laquelle il y aurait lieu, néanmoins, d’ajouter un certain nombre de points en fonction des échecs précédents éventuels. si, par exemple, un individu réussit à lire les items présentés aux seuils 14/1000e, 13/1000e, 12/1000e et 10/1000e de seconde en échouant à 11/100e ainsi qu’à 9/1000e et au-delà, le score doit être, dans ce cas, de 10/1000e + 1/1000e = 11/1000e de seconde, ou 11. nous disposions donc, pour chaque sujet, de deux seuils qui allaient pouvoir être confrontés avec les performances réalisées par les mêmes individus lors des post tests, mais également avec celles du deuxième groupe expérimental et du groupe de contrôle qui n’avaient été soumis qu’à la seconde épreuve, celle des lettres. nous avons élaboré un dispositif à deux moments d’observation. ce dernier devait permettre la comparaison des résultats obtenus par un même groupe au pré test et au post test ainsi que la comparaison des trois échantillons au niveau des gains relatifs entre les deux moments. tableau ii dispositif expérimental. groupes pré tests traitement post tests a b c 01 02 0’3 0’’2 x x’ 03 04 0’4 0’’4 x et x’ = entraînement à la prise de conscience du corps assuré par deux personnes différentes. si la technique proposée par feldenkrais a un effet sur l’utilisation des potentialités exigées par l’activité perceptive, nous devions enregistrer, en principe, une amélioration significative de la performance au niveau des groupes expérimentaux. nous savons, cependant, que les sujets qui subissent un test pour la deuxième fois, ont des notes qui diffèrent systématiquement de leurs notes initiales. nous pouvions normalement nous attendre, alors, à une seconde moyenne supérieure à la première. dans notre recherche, il n’était pas impossible que le pré test, en renforçant la motivation des individus, en attirant leur attention sur l’objet de l’expérience, ou tout simplement, en rendant la situation plus familière, eût une incidence indépendamment du traitement. afin de contrôler la variable <<effets du pré test>>, un troisième groupe d’étudiants (c) a également été soumis, à deux reprises, à l’épreuve des lettres. le gain éventuel de c pouvait, le cas échéant, être confronté à celui des groupes expérimentaux, après un intervalle de temps équivalent pour tous les échantillons. 2.2.5. analyse des résultats. 2.2.5.1. effets sur la mémoire auditive. l’analyse de variance fait apparaître une différence significative entre les deux échantillons, tant au test de woodworth – où les moyennes sont, respectivement, de 52,36 pour le groupe expérimental et de 38,09 pour le groupe de contrôle – qu’à celui des mots hongrois pour m.frydman/feldenkrais research journal 1 (2004) 8 lequel les moyennes sont de 2,64et 1,5. malgré une variabilité interindividuelle importante, la valeur du f calculé (f = 4,48 et f = 4,63) est supérieure, dans les deux cas, au f théorique (4,35) à .05. si les scores obtenus à la seconde épreuve sont tous relativement faibles, c’est parce que celle-ci est particulièrement exigeante et nous ne devons pas tenir compte des résultats bruts, mais plutôt de la mise en évidence de l’effet qui ne paraît pas contestable. la différence observée entre les groupes provient donc vraisemblablement d’une cause systématique – le traitement en l’occurrence – et nous pouvons considérer que les hypothèses 1 et 2 sont vérifiées. 2.2.5.2. incidence sur la mémoire visuelle. la comparaison des moyennes enregistrées à l’épreuve post expérimentale permet, non seulement de situer les différents groupes les uns par rapport aux autres, mais aussi par rapport aux résultats pré expérimentaux. nous constatons, par exemple, que la moyenne du groupe de contrôle (d), qui n’a bénéficié d’aucun traitement est pratiquement identique à celle que les trois groupes expérimentaux obtiennent au pré test. les sujets de c, qui avaient appris à recourir aux détours mnémoniques, ont progressé de près de 8 % (en termes de gains relatifs). ils ont donc réalisé une performance nettement supérieure (15), à la fois à celle de d (13) et à celles des deux groupes de denis qui avaient subi soit l’apprentissage des mêmes noms sans traitement préalable (12,52), soit un tel apprentissage précédé par une activité d’imagerie mentale suscitée pour cette même série de 30 noms (13,21). l’écart entre c et d n’est pas significatif. nous pouvons relever également que les sujets de b, initiés à la relaxation, n’ont pas progressé. en réalité, les étudiants de cet échantillon avaient amélioré leurs scores, au début, dans une mesure comparable à c, mais à partir du moment où les séances de relaxation furent introduites, nous avons observé une régression. en revanche, pour le groupe feldenkrais (a), le gain relatif entre les deux moments est 19,38 % et lav comparaison des moyennes enregistrées à l’épreuve post expérimentale fait apparaître la supériorité de ce groupe (16,5) sur tous les autres. nous pouvons raisonnablement supposer que l’évolution des cet échantillon est bien due à l’intervention du traitement. en effet la comparaison, au post test, des moyennes des quatre groupes pris deux à deux (t de student) révèle que les écarts entre a et d ainsi qu’entre a et b sont significatifs. en échantillonnant un plus grand nombre de sujets dans chaque groupe, il n’est pas impossible que le seuil de signification eût pu être atteint également pour la différence observée entre a et c. nos quatre premières hypothèses sont donc bien confirmées par les résultats de l’expérimentation. la méthode de prise de conscience préconisée par feldenkrais s’est révélée efficace, tant dans les épreuves de mémoire auditive ou visuelle que dans l’acquisition d’une langue étrangère. elle paraît donc particulièrement opportune si l’objectif est l’augmentation du rendement de la mémoire, au moins à court ou à moyen terme. 2.2.5.3. effets sur la perception visuelle. l’administration en pré test et en post test de l’épreuve de perception visuelle a révélé, pour a, une progression sensible et significative aux deux épreuves qui furent appliquées (à .005 pour les mots et à .10 pour les lettres). les pourcentages de gain, pour l’ensemble du groupe, sont respectivement de 54,6 et 27 %. en examinant les performances individuelles, nous constatons qu’après le traitement, tous les sujets, sans exception, améliorent leurs scores pour chacune des deux séries de stimuli et, dans certaines cas, de manière remarquable. dans le groupe b, nous constatons également que, pour dix étudiants sur douze, la performance du post test est supérieure à celle du pré test et le pourcentage de gain et de 41,04 %. de tels m.frydman/feldenkrais research journal 1 (2004) 9 résultats s’expliquent-ils par une accoutumance aux conditions de testing, assez inhabituels il est vrai imposées par l’utilisation du tachistoscope ? il ne semble pas car, dans le groupe de contrôle, les progrès restent peu importants et la différence entre les moyens (19,7 et 18,6) n’est pas significatif. l’analyse de variance calculée sur les notes de gain fait d’ailleurs apparaître une différence significative entre les moyens des gains, puisque la valeur du f dépasse le niveau de p = .05. l’administration du pré test ne justifie donc pas, à elle seule, l’évolution des groupes expérimentaux que ne peut s’expliquer, par conséquent, que grâce à l’intervention du traitement. notre hypothèse est donc bien confirmée: la prise de conscience du corps permet à l’individu de progresser sur le plan de la perception visuelle. nous sommes en présence d’une exploitation plus adéquate des ressources qui découle vraisemblablement d’un relèvement du niveau de veille. 3. effets de la prise de conscience du corps sur la température cutanée 3.1. justification. les résultats incontestablement intéressants que nous avions obtenus au cours des diverses expérimentations où furent testées les répercussions des techniques de feldenkrais sur la mémoire et la perception nous ont incités à continuer nos recherches. si le traitement déterminait des changements d’ordre psychologique, nous pouvions supposer que ces derniers allaient de pair avec des modifications physiologiques. il paraissait donc judicieux de vérifier également l’effet éventuel d’un entraînement à la prise de conscience du corps sur une variable essentiellement physiologique. c’est ainsi que nous nous sommes intéressés à la température cutanée. 3.2. la fonction thermique. dans un ouvrage récent, houdas et guieu (1977) ont particulièrement bien étudié l’ensemble des problèmes qui se posent dans le domaine de la thermophysiologie. c’est à partir de leur publication que nous avons réuni les données indispensables à la mise au point de notre dernière expérimentation. les auteurs cités rappellent, avant tout, que l’homme est homéotherme, c’est-à-dire que sa température centrale est relativement constante malgré les variations de la température ambiante et ceci grâce à l’intervention dynamique de mécanismes physiologiques régulateurs. ces derniers permettent, d’une part, le transfert de chaleur du noyau central (muscles, viscères), vers la périphérie (peau et tissus sous-cutanés) et, d’autre part, de la périphérie vers l’ambiance. les différents points du corps ne sont pas à la même température. ainsi, la peau, influencée par l’environnement, est moins homéoterme. la partie la plus importante des échanges thermiques se fait par le sang. le flux de chaleur perdu par la peau est donc fonction du débit sanguin cutané, lui-même sous la dépendance de l’état vasomoteur de la circulation cutanée. on peut donc s’attendre à ce que des tensions musculaires, conscientes ou inconscientes, en déterminant une vasoconstriction, modifient la température cutanée des zones voisines. la topographie d’une région cutaneé dépend du bilan thermique de cette région. celui-ci est influencé par les facteurs internes et externes. la température cutanée doit donc se définir pour une condition ambiante déterminée soit en régime permanent, soit lors de variations des conditions ambiantes, c’est-à-dire en régime transitoire. il y a <<état stable>> ou <<régime permanent thermique>> lorsque la production thermique de l’organisme reste constante et si aucun des paramètres thermiques de l’ambiance ne varie. l’organisme est alors en équilibre thermique car les gains et les pertes m.frydman/feldenkrais research journal 1 (2004) 10 sont équivalents. une autre condition à la normothermie, nous disent houdas et guieu, est la neutralité thermique. il s’agit de l’ensemble des conditions pour lesquelles, en régime permanent, aucun mécanisme régulateur ne doit entre mis en œuvre. cet équilibre est reálisé lorsque l’individu est au repos, nu, dans une ambiance homogène, à une température de 30° c, la vitesse de déplacement de l’air étant faible (0,5 m/s). la température cutanée de 33,5 ° c, mais elle varie d’une région à l’autre. dans certaines conditions, le concept de neutralité peut toutefois être étendu au cas du sujet au repos sous protection vestimentaire. lorsque l’une des conditions de la neutralité thermique se modifie, le sujet est en régime transitoire. pour recouvrer un nouveau régime permanent, après stabilisation des conditions de normothermie, il faut de quinze à vingt minutes. parmi les facteurs susceptibles de modifier la température du corps, citons notamment: l’activité musculaire; le cycle circadien; le cycle menstruel; la digestion le métabolisme. ajoutons que le flux de chaleur de l’organisme se propage du noyau vers la peau par la circulation sanguine. la vasodilatation des vaisseaux cutanés entraîne donc une augmentation du débit sanguin périphérique du flux de chaleur apporté à la peau et de la température cutanée. la vasoconstriction a des effets inverses. a la neutralité thermique, les vaisseaux cutanés sont dans un certain état de vasoconstriction. les modifications vasculaires périphériques ne sont pas de simples phénomènes locaux, mais dépendent des centres nerveux thermorégulateurs (le tonus vasoconstricteur étant assuré par le système sympathique adrénergique). la vasodilatation peut résulter soit d’une inhibition du tonus vasoconstricteur, soit d’une action humorale (bradykinine). rappelons encore que les structures nerveuses centrales de contrôle se situent au niveau de l’hypothalamus, la partie antérieure intervenant dans la thermolyse et la partie postérieure dans la thermogenèse. il faut noter, en outre, que le mésencéphale haut exerce une action inhibitrice tonique sur les structures inférieures et assure ainsi un mécanisme d’intégration. nous signalerons, enfin, qu’un certain nombre de neurones de la réticulée mésencéphalique présentent une thermosensibilité élevée. il s’agit le plus souvent de neurones sensibles au froid s’apparentant à un inter neurones à fonction intégrative d’informations transmises à distance. 3.3. hypothèses à tester. 3.3.1 l’entraînement à la prise des consciences du corps, selon la technique de feldenkrais, a des répercussions sur la température cutanée paravertébrale. 3.3.2. la prise de conscience du corps détermine une homogénéisation des températures para vertébrales. 3.3.3. les techniques de feldenkrais permettent de régulariser une température qui, par rapport aux régions controlatérales ou voisines, est anormalement basse. 3.3.4. l’entraînement à l’eutonie détermine une modification des températures cutanées de la région lombaire. 3.4. constitution des échantillons. m.frydman/feldenkrais research journal 1 (2004) 11 pour cette nouvelle phase de nos recherches, nous avons constitué quatre échantillons occasionnels comportant respectivement 11, 21, 6 et 32 étudiants. le traitement appliqué à a est celui que nous avons présenté plus haut (prise de conscience du corps, d’après la technique de feldenkrais), tandis que les sujets du second groupe expérimental (b) avaient bénéficié, pendant un an et demi, d’un entraînement intensif à l’eutonie. les étudiants des deux groupes de contrôle n’ont subi que les épreuves post expérimentales. ceux de d n’ont été testés qu’une seule fois. par contre, les six individus de c furent soumis à cinq mesures successives étalées sur une période de quinze jours (voir tableau iii). cette procédure a permis d’étudier l’évolution dans le temps des températures cutanées de la région lombaire en l’absence de tout traitement. 3.5. le pré test. l’épreuve pré expérimentale avait pour objet l’enregistrement des températures cutanées para vertébrales dans des conditions absolument identiques à celles du post test de manière à permettre une comparaison entre les deux moments. toutes les variables parasites susceptibles de modifier les températures cutanées ont été, autant que possible, contrôlées. c’est ainsi, par exemple, que toutes les mesures ont été effectuées dans un local dont l’isolation thermique était poussée, à une température d’ambiance constamment maintenue à 22° c avec 60 % d’humidité relative; en outre, les sujets furent testés au même moment de la journée (entre 18 et 20 heures), vêtus de manière identique (un même training couvrait le sous-vêtement minimum), et en n’étant pas en période de digestion. ces conditions sont celles qui correspondent à la <<neutralité thermique>>, telle qu’elle est définie par houdas et guieu, et permettent donc à l’organisme d’être en équilibre thermique avec l’ambiance. les températures cutanées ont été relevées automatiquement pendant une période d’une heure – 30 minutes en couché facial et 30 minutes en couche dorsale -, à raison d’une mesure toutes les cinq minutes, grâce à un thermomètre à thermistances relié à un enregistreur. six sondes étaient fixées de part et d’autre de la colonne vertébrale, aux niveaux c7, d8 et l4, à l’aide d’un sparadrap hypoallergique. nous disposions donc, pour chaque sujet, de 13 séries de 6 mesures (du point 0 au point 60). 3.6. le post test. lors de l’application de l’épreuve post expérimentale, les sujets de a ont été placés dans des conditions en tous points identiques à celles du pré test. les séances se sont déroulées dans le même local dont la température ambiante est restée identique, les mesures ont été relevées au même moment de la journée, etc. la seule différence, par rapport au premier moment, se situait au niveau d’une courte mise en train d’une quinzaine de minutes qui comportait quelques exercices de prise de conscience du corps. dès la fin de celle-ci, nous avons procédé, pendant une heure, m.frydman/feldenkrais research journal 1 (2004) 12 tableau iii dispositif expérimental. groupes pré test traitements post test n a op x1o1 … x1o11 op 11 b x o’l1 21 c o’’l5 6 d o’’’l1 32 op : mesures pré expérimentales (températures). op et ol : mesures post expérimentales (températures). o1 à o11 : observations qualitatives. x : entraînement à la prise de conscience du corps (méthode feldenkrais). x’ : entraînement à l’eutonie (méthode alexander). l1 : température lombaire testée à une occasion. l5 : température lombaire testée à cinq reprises. à l’enregistrement des températures cutanées para vertébrales. les sujets des autres groupes furent testés de la même manière et pendant un temps identique, mais aucun exercice préalable n’était évidemment prévu. 3.7.résultats. 3.7.1. effets de la méthode feldenkrais. nous disposions pour a, de treize séries de six mesures pré expérimentales et de treize séries post expérimentales correspondant aux trois niveaux testés (7e verticale, 8e dorsale et 4e lombaire). chaque niveau donnait lieu à deux mesures para vertébrales (gauche et droite). en calculant la moyenne des six températures relevées à chaque moment, nous pouvions donc procéder à treize comparaisons entre les moyennes obtenues avant l’administration du traitement et celles obtenues au même moment en post test. l’évolution des températures cutanées des régions para vertébrales, de la situation pré expérimentale à la situation post expérimentale, est fort bien illustrée par les courbes présentées dans le cadre du tableau iv (voir page 86). nous constatons qu’à partir du moment 4, la température est toujours plus élevée au post test et surtout que l’écart par rapport à la moyenne du pré test croit progressivement. cet écart est de 0,31 et de 0,34° c aux moments 8 et 9, mais il atteint 0,45 et 0,49 aux deux suivants ; aux moments 12 et 13, enfin, il est respectivement de 0,53 et 0,72° c. pour les quatre derniers, l’analyse de variance révèle une différence significative entre les mesures qui ont précédé et celles qui ont suivi le traitement. en dépit d’une variabilité inter individuelle non négligeable, la valeur du f et du t dépasse le niveau de p = .05 ou, parfois, de .01 et l’hypothèse 3.3.1. est donc bien confirmée. 3.7.1.1. discussion. la comparaison des mesures effectuées en pré et post test, nous permet de considérer que l’entraînement à la prise de conscience du corps a une incidence sur les températures cutanées para vertébrales. ne perdons pas de vue que le temps nécessaire à la stabilisation des températures est d’une vingtaine de minutes (houdas et guieu) et il n’y aurait pas lieu, m.frydman/feldenkrais research journal 1 (2004) 13 par conséquent, de s’attendre à l’obtention d’une différence significative entre les données enregistrées au début de chaque séance. ce sont, au contraire, les comparaisons établies au cours de la seconde partie de celles-ci qu’étaient les plus susceptibles de révéler un effet du traitement. or, pendant les trente dernières minutes, les écarts sont d’abord fort proches du seuil de signification à .05 qui est dépassé aux quatre derniers moments. 3.7.1.2. l’homogénéisation des températures cutanées para vertébral. la vérification de la première hypothèse impliquait une diminution de l’hétérogénéité des températures moyennes relevées aux différents points du corps. autrement dit, la variance des températures devait, au post test, être inférieure à la variance du pré test. dans cette perspective, nous avons comparé, à chaque moment, les variances entre les six températures de l’épreuve pré expérimentale à celles de l’épreuve post expérimentale. chaque variance était calculée à partir d’un tableau d’analyse de variance à deux dimensions croisées (points du corps x sujets) donnant une variance entre sujets, une variance entre les points du corps et une variance résiduelle. cette analyse montre que la variance du pré test est inférieure à la variance du post test aux deux premiers moments ainsi qu’au 8e et au 9e. par contre, aux neuf autres moments c’est la variance du post test qui est chaque fois inférieure à l’autre. les quatre derniers moments révèlent une différence croissante et, au treizième, le f de snedecorfischer (rapport de la variance la plus élevée à la variance la plus basse) dépasse le seuil de signification en dépit du nombre réduit de degrés de liberté. notre hypothèse 3.2.2. semble donc bien confirmée. par ailleurs, nous avons également vérifié quelle était, à chaque moment, la proportion de sujets pour lesquels la variance m.frydman/feldenkrais research journal 1 (2004) 14 tableau iv températures moyennes groupe a. post test était inférieure à la variance pré test. a l’exception des moments 1 et 8 où nous observons l’inverse, cette proportion oscille constamment entre 60 et 80 % pour atteindre 90 % au moment 13, ce qui tend également à confirmer l’hypothèse suivant laquelle la prise de conscience du corps détermine une homogénéisation des températures para vertébrales. 3.7.1.3. comparaison des régions contra latérales. en ce qui concerne les écarts de température entre les cotés gauche et droit d’un même niveau, il n’est pas aisé de mesurer les changements à l’aide de données chiffrées. nous avons donc du nous résoudre à évaluer l’effet supposé du traitement, dans le sens d’une ré équilibration éventuelle, par l’analyse qualitative des courbes. celles-ci font apparaître une ré équilibration plus ou moins nette dans six cas sur onze. nous observons, de surcroît, pour la plupart des sujets, un réchauffement non négligeable de la région la plus froide qui, parfois, devient même la plus chaude. 3.7.2. répercussions d’un entraînement à l’eutonie. résultats et discussion. rappelons que, dans cette étude, nous nous sommes limités à la comparaison des températures lombaires de notre second échantillon expérimental (b) à celles de deux groupes de contrôle (c et d). si nous avons décidé d’axer notre étude sur l4, c’essentiellement parce 33 33,5 34 34,5 35 35,5 36 0 5 10 15 20 25 30 35 40 45 50 55 60 pre test post test 35,41 34,69 m.frydman/feldenkrais research journal 1 (2004) 15 que les pré tests administrés à a avaient révélé, pour cette région, des températures souvent inférieures à celles des régions cervicale ou dorsale. de plus, les températures de la région lombaire présentaient plus de variations d’un moment à l’autre. nous avons donc confronté l’évolution des températures lombaires de b et de d. l’examen des températures relevées dans les trois groupes ne manque assurément pas d’intérêt (voir tableau v). nous constatons que le groupe c ne présente pas de véritable modification des températures de la région lombaire de l’une à l’autre des cinq séances. il y a bien une régularisation relative des températures au cours de chacune des cinq séries de mesures, mais on observe plutôt une certaine anarchie dans l’évolution, tant en analysant le tableau de la gauche vers la droite, c’est-à-dire en passant du premier au treizième moment, qu’en confrontant les données recueillies au même moment de la première à la cinquième séance. sous l’influence de facteurs incontrôlables, les températures cutanées para vertébrales subissent donc des variations aléatoires dans le sens de l’élévation ou de la diminution. les moments 7 et 13 – au cours desquels les sujets étaient invités à porter une attention particulière à l’endroit où se trouvaient les sondes – confirment cette anarchie et il est évident que cette concentration n’a pas eu en c, la moindre incidence sur la variable étudiée. dans le second groupe témoin (d), compte tenu du plus grand nombre de données, la courbe est plus régulière, mais la progression est sensiblement la même et, surtout, on constate une légère chute des températures au moment 13, lorsque les individus se concentrent sur la région lombaire. la courbe des résultats obtenus par les étudiants entraînés à l’eutonie a, en revanche, une allure fort différente. en premier lieu, elle est régulièrement ascendante et, à partir du moment 8, les températures de b sont nettement supérieures à celles de tous les autres groupes. l’analyse de variance montre que, du 8e au 13e moment, la différence entre b, d’une part, c1, c2, c3, c4, c5 et d, d’autre part, est toujours significative et le plus souvent à .01. notons tout spécialement la hausse enregistrée au moment 8 après m.frydman/feldenkrais research journal 1 (2004) 16 tableau v evolution des températures lombaires. second groupe expérimental et groupes de contrôle. groupe 1 2 3 4 5 6 7 8 9 10 11 12 13 b 33,03 33,43 33,73 33,80 33,84 33,84 34,13 35,00 35,29 35,50 35.72 35,86 36,03 c1 33,73 34,21 34,20 34,12 34,16 34,40 34,47 34,51 34,51 34,45 34,41 34,20 34,07 c2 33,50 33,73 33,86 34,04 34,08 34,26 34,18 34,13 34,19 34,06 34,34 34,49 34,56 c3 33,75 33,76 33,61 33,43 33,49 33,80 33,60 34,03 34,32 34,51 34,36 34,38 34,14 c4 33,62 33,09 33,13 32,74 33,90 34,76 33,87 33,78 33,77 33,72 33,98 34,11 34,17 c5 33,97 33,90 33,78 33,90 33,84 33,73 34,18 34,27 34,74 34,38 34,51 34,59 34,79 d 33,47 34,25 34,34 34,35 34,43 34,40 34,44 34,69 34,59 34,65 34,68 34,71 34,63 b: groupe entraîné à l’eutonie c et d: groupe de contrôle les températures soulignées et indiquent une diminution. une première période d’observation de la région lombaire. la température atteint alors 35° c et pendant les trente dernières minutes, elle reste toujours supérieure à ce seuil. enfin, au moment 13, alors que les sujets étaient invités une nouvelle fois à porter leur attention au niveau testé, la température dépasse 36° c ! l’hypothèse 3.3.4. est donc vérifiée. l’entraînement à l’eutonie détermine une modification des températures cutanées para vertébrales de la région lombaire. celles-ci augmentent de manière significative et cet effet est plus marqué lorsque les sujets observent attentivement la région concernée. 4. conclusions générales 4.1. synthèse des résultats. nos recherches se sont étalées sur une période de trois ans et ont impliqué la participation de nombreux groupes expérimentaux et de contrôle. elles ont permis de vérifier une série d’hypothèses relatives aux répercussions de l’entraînement à la prise de conscience du corps. nous avons pu établir notamment, que la méthode préconisée par feldenkrais augmentait le rendement de l’individu dans le domaine de la mémoire auditive ou visuelle, m.frydman/feldenkrais research journal 1 (2004) 17 qu’elle favorisait l’apprentissage d’une langue étrangère, qu’elle améliorait les performances dans les épreuves de perception visuelle et qu’elle déterminait des modifications significatives au niveau des températures cutanées para vertébrales. il est vrai que les échantillons étaient relativement restreints et les informations obtenues ne sont encore que très partielles car le plan expérimental était élaboré, dans chacune des expériences, en fonction des hypothèses qui nous apparaissaient comme les plus fondamentales. de nombreuses questions n’ont donc toujours pas reçu de réponse et les données enregistrées demandent sans doute à être confirmées tant dans le cadre de la psychologie de laboratoire qu’au niveau de la pratique scolaire quotidienne. il n’est pas inutile, cependant, d’insister sur la convergence indiscutable des données recueillies au cours des cinq recherches successives que nous avons menées. elles semblent révéler que la méthode testée favorise effectivement le développement des potentialités. avant de tenter une interprétation quelconque, interrogeons-nous de même au sujet des limites de validité des conclusions que nous pourrions tirer. 4.2. limites de validité. nous croyons avoir pris suffisamment de précautions pour atteindre la validité interne. dans notre recherche, les principales variables qui risquaient de contaminer les résultats ont été contrôlées ou, tout ou moins, neutralisées. il en est ainsi, notamment, à coté des conditions matérielles dans lesquelles se sont déroulées les épreuves, des effets du pré test, de la maturation, de la mortalité et des autres biais potentiels. rappelons, par ailleurs, que nous avons eu recours généralement à un dispositif longitudinal qui, au regard de la validité interne, présente de sérieuses garanties. tout en assurant le contrôle d’autres variables parasites (régression statistique, effet hawthorne, etc.), il a permis d’accumuler une série d’observations extrêmement intéressantes. dans bien des cas, celles-ci annonçaient les changements que nous avons mis en évidence lors de l’application des post tests. en outre, à l’occasion des échanges de vue qui eurent lieu à la fin de chacune des séances d’entraînement, les sujets ne se sont pas contentés de souligner l’état de fraîcheur qui les caractérisait alors – tout se passe, nous ont dit plusieurs des ces étudiants, comme si la fatigue de la journée avait disparu – mais ils ont mis également l’accent sur les possibilités accrues de concentration et sur une augmentation de rendement dans l’étude de leurs cours. au cours de notre expérience, les progrès importants et significatifs réalisés, par exemple, dans l’épreuve de perception visuelle ne sont évidemment pas fortuits et ne se justifient pas non plus par l’accoutumance à la situation dont le pré test serait responsable, ou alors le groupe témoin aurait évolué de manière comparable. dans l’ensemble, les résultats enregistrés ne sont sûrement pas accidentels et ils s’expliquent essentiellement par l’intervention de la variable indépendante. est-il possible, par conséquent, de conclure à la validité externe? nous savons que la généralisation des résultats d’une recherche est liée aux modalités d’échantillonnage. or, nos travaux ont porté non pas sur des échantillons aléatoires, mais sur des échantillons occasionnels et restreints. nous ne nous permettrons donc pas de généraliser hors de l’expérience aussi longtemps que les effets mis en évidence ne seront pas une nouvelle fois confirmés. les répercussions d’un entraînement à la prise de conscience du corps mériteraient d’entre testées, à présent, dans différents types d’apprentissages. compte tenu des résultats déjà m.frydman/feldenkrais research journal 1 (2004) 18 obtenus, nous pouvons supposer que les hypothèses émises à propos de l’incidence des techniques de feldenkrais ont toutes les chances d’être vérifiées. 4.3. essai d’interprétation physiologique. au terme de ce travail, il resterait, en principe, à préciser les modifications qui, sur le plan physiologique, conditionnent les changements enregistrés. une telle tentative dépasse nos compétences. la synthèse des données relevées dans la littérature et de celles qui découlent de notre recherche nous autorise, tout au plus, à avancer quelques hypothèses. une conscience plus approfondie de soi-même déterminerait, d’une part, un accroissement du rendement de la mémoire visuelle ou auditive, et un affinement de la perception visuelle et, d’autre part, une modification de la température cutanée. n’influerait-elle pas sur les centres de l’éveil qui, à leur tour, exerceraient une action régulatrice sur le système nerveux végétatif et sur le mécanisme d’intégration de la perception? en ce qui concerne la température, deux types de récepteurs assurent la thermorégulation: les récepteurs périphériques et les récepteurs centraux. ces derniers sont situés dans la région hypothalamique. or, les connexions entre cette région et la substance réticulée sont nombreuses. de plus, les expériences de hess junior1 confirment les rôles respectifs de l’hypothalamus postérolatéral et antérieur dans la régulation du niveau de veille. ne peut-on penser, dès lors, que le niveau de veille, renforcé par l’entraînement à la prise de conscience, active les centres thermorégulateurs dans le sens d’une meilleure répartition de chaleur, ou encore, que le cortex préfrontal et oculogyre, sensibilisé par les informations transmises par le système réticulaire ascendant, ne les intègre en vue d’un meilleur ajustement des réponses du système orthosympathique? par ailleurs, le relèvement du niveau de veille permettrait à la substance réticulée d’agir par l’intermédiaire des voies réticulo-spinales sur les tensions musculaires, favoriserait le relâchement musculaire et, par conséquent, l’augmentation du <<lit veineux>>, les dimensions de celui-ci étant sous la dépendance du tonus musculaire (sapir cité par geissman et al.,1968, p. 160). quant à l’influence du niveau de veille sur la perception visuelle, rappelons, avec geissman et al., que celle-ci est diminuée au cours de l’entraînement à la relaxation, quelle que soit la méthode utilisée. dans nos recherches, un tel entraînement a également déterminé une diminution du rendement de la mémoire visuelle. en revanche, conformément à l’hypothèse émise, les techniques de feldenkrais ont conduit à une chute significative du seuil de perception visuelle. le moment est sans doute propice pour rappeler, avec pièron que la perception est une prise de conscience sensorielle d’objets ou d’événements extérieurs qui ont donné naissance à des sensations plus ou moins nombreuses et complexes. meulders et schepensboisacq ajoutent que <<la perception est le résultat de l’intégration intracérébrale des influx nerveux provenant des organes des sens…elle n’est pas déterminée exclusivement par les influx sensoriels, mais dépend de la structure des activités centrales à ce moment-là… la perception apparaît donc plutôt comme un acte de décision au niveau cérébral quant à la signification probable des informations sensorielles pour le sujet>>. dès lors, si les structures centrales responsables des modulations de l’état de conscience, en l’occurrence la formation réticulée, sont activées par un traitement adéquat, n’est-il pas logique de s’attendre à une modification du seuil de perception ? 1 . cité par meulders et schepens-boisacq. m.frydman/feldenkrais research journal 1 (2004) 19 ajoutons encore que moruzzi et magoun1 ont montré que la stimulation réticulaire affine les discriminations sensorielles. ceci peut être expliqué par les relations qui unissent la formation réticulée et les organes de sens. les afférentes visuelles extra lemniscates, entre autres, rejoignent le cortex en passant par la formation réticulée. n’est-il donc pas concevable, dans le cas où la formation réticulée est stimulée par la prise de conscience, que la transmission des informations destinées au cortex soit optimisée? celui-ci assurerait ainsi les intégrations psycho sensorielle et psycho motrice, particulièrement par les régions médiane et orbitaire de l’aire préfrontale dont le rôle sur l’attention et la mémoire de fixation a déjà été souligné. a partir du moment où nous acceptons le caractère dynamique de la perception (kayser, 1969, p. 949), non seulement au niveau cérébral, mais encore au niveau musculaire, une autre interprétation paraît encore plausible. la prise de conscience des mouvements de veux associés et dissociés de ceux de la tête permet, certes, un enrichissement de la perception proprioceptive et kinesthésique. de plus, le contrôle de la position de la tête, du subaplomb antérieur réduit au minimum, diminue les tensions musculaires cervicales, décomprime les filets nerveux des centres orthosympathiques vasomoteurs et améliore ainsi la circulation sanguine. ces facteurs ne pourraient-ils expliquer, qu’après un tel travail, les sujets éprouvent une impression de plus grande clarté visuelle et que, simultanément, on assiste à une diminution du seuil de perception visuelle? au terme de ce travail, rappelons que, si les théories de lozanov ont constitué le point de départ de notre première expérimentation, les techniques suggestopédiques nous apparaissent, aujourd’hui, comme largement dépassée. elles présentent au moins l’inconvénient de renforcer la dépendance de l’élève par rapport à un maître plus ou moins prestigieux et par rapport aux conditions d’environnement. par contre, avec les techniques de prise de conscience du corps, en supposant que leur efficacité puisse être confirmée dans de nouvelles recherches, nous disposerions d’un outil particulièrement précieux puisqu’il favoriserait l’accession de l’individu à l’autonomie. aboulker, p., chertok, l., sapir, m. – la relaxation, rééducation psychomotrice, aspects théoriques et pratiques. paris: l’expansion scientifique française, 1971. alexander, g. – le corps retrouvé par l’eutonie. paris: tchou, 1977. brieghel-müller, g. – eutonie et relaxation. paris et neuchâtel: delachaux et niestlé, 1972. denis, m. – mémorisation d’un matériel imagé ou verbal en fonction de l’activité d’imagerie mentale préalable à l’apprentissage. l’année psychologique, 1 (1975). d’hainaut, l. – concepts et méthodes de la statistique. tomes i et ii, paris: labornathan, 1975. digelman, d. – eutonie de gerda alexander. paris: scarabée, 1971. feldenkrais, m. – la conscience du corps. paris: r. laffont, 1971. m.frydman/feldenkrais research journal 1 (2004) 20 frydman, m., dierkens, j., abels, r. – de la suggestopédie à la prise de conscience du corps. etude expérimentale de deux variables. le langage et l’homme, 37, 11-17, bruxelles (1978). frydman, p., frydman, m. – les techniques de prise de conscience du corps au service de la pédagogie. kinésithérapie scientifique, 162 (1978). frydman, m., frydman, p. – relaxation ou prise de conscience du corps? revue p.m.s., 7, 3-9, bruxelles (1979). geissmann, p., durand de bousingen, r. – les méthodes de relaxation, dessart, 1968. houdas, y., guieu, j.d. – la fonction thermique, simep, 1977. kayser, c. – physiologie. tomes i, ii et iii. paris: flammarion, 1969 et 1970. lozanov, g. – foundations of suggestology, in problemi di suggestologia, varna, 1973. lozanov, g. – théorie générale de la suggestion dans le processus communicatif et activation des réserves globales de la personnalité de l’apprenant. premier congrès mondial d’hypnopédie et de suggestopédie, paris: 1976. meulders, m., schepens-boisacq, n. – abrégé de neuro-psycho-physiologie. tome i, paris: masson, 1977. meulders, m., schepens-boisacq, n. – neuro-psycho-physiologie. tome ii. faculté de médecine, université catholique de louvain, 1977. racle, g. et. al. – une expérience d’enseignement avec la méthode suggestopédique. commission de la fonction publique du canada, direction générale du perfectionnement, division des etudes, ottawa, 1975. woodworth, r. – psychologie expérimentale. première partie, paris: p.u.f., 1949. adresse des auteurs: département de psychologie université de l’etat mons (belgique).   feldenkrais research journal​ • ​volume 5​ (2016)    hypothesis and theory      a conversation about ​leibgedächtnis​ (body memory)    thomas fuchs  dr. med., dr. phil, karl jaspers­professor für philosophische grundlagen der psychiatrie und  psychotherapie  psychiatrische universitätsklinik, university of heidelberg, germany  roger russell  ma, pt, feldenkrais practitioner  feldenkraiszentrum heidelberg, germany  ulla schläfke  feldenkrais practitioner  feldenkraiszentrum heidelberg, germany  sabina graf­pointner  dipl. soz. päd, feldenkrais practitioner, erlangen, germany    keywords  leibgedächtnis​, body memory, feldenkrais method, embodiment, emotions, phenomenological psychology    correspondence: ​roger russell: ​feldenkraiszentrum­hd@t­online.de      copyright ©:​ the copyright for this paper remains with the author(s).  please cite:​ (first published in the) ​feldenkrais research journal, volume 5​;​ ​2016.  service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​,  functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff)  and feldenkrais professional guilds and associations in many countries. in keeping with academic  conventions, they will not be service marked in the entire text as may be required in nonacademic use, but  only for the first and most prominent use of the terms. in recognition that these phrases are formal terms  referring to specific practices within the method, and to the method as a whole, capitalization of all the words  in each term has been retained.      published by the international ​feldenkrais​®​ federation (iff) ​http://feldenkrais­method.org  available online at ​http://iffresearchjournal.org/volume/5/fuchs­et­al        mailto:feldenkraiszentrum-hd@t-online.de http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/fuchs-et-al   hypothesis and theory      a conversation about ​leibgedächtnis​ (body memory)    thomas fuchs  dr. med., dr. phil, karl jaspers­professor für philosophische grundlagen der psychiatrie und  psychotherapie  psychiatrische universitätsklinik, university of heidelberg, germany  roger russell  ma, pt, feldenkrais practitioner  feldenkraiszentrum heidelberg, germany  ulla schläfke  feldenkrais practitioner  feldenkraiszentrum heidelberg, germany  sabina graf­pointner  dipl. soz. päd, feldenkrais practitioner, erlangen, germany    introduction  two years ago i suggested to the iff ​feldenkrais research journal​ editor cliff smyth that dr.  thomas fuchs’ ideas about subjective body memory, which he calls ​leibgedächtnis​ in german,  would offer a valuable perspective for understanding the feldenkrais method. in november  2014 i began a series of conversations with professor fuchs with my partner ulla schläfke, and  at times with sabina graf­pointner joining us.    dr. fuchs, or more correctly, dr. dr. fuchs since he has doctorates in psychiatry and philosophy  and is professor in the medical and philosophy faculties at the university of heidelberg, has a  wide knowledge and a gentle manner. he knows the feldenkrais method through barbara  pieper and daniel clenin, who have worked with him for many years and held leadership  positions in the iff. our talks with professor fuchs have ranged over many topics, including  this one about ​leibgedächtnis​. in the future, the other transcripts concerning themes of  embodiment, philosophy, and emergent learning processes will be published.  a note on pronunciation  the german word ​leibgedächtnis ​would be pronounced “lie­b­ge­dackt­nis” approximately in  english.​ ​ä in german is pronounced like the english “a” in gate.          fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  2     attendees  professor thomas fuchs​ is karl jaspers professor for philosophical foundations of  psychiatry and psychotherapy, and supervising psychiatrist at the department of general  psychiatry, centre for psychosocial medicine, university of heidelberg, germany. ​roger  russell, ulla schläfke​, trainers in the feldenkrais method and educational directors at the  feldenkraiszentrum heidelberg, germany, and ​sabina graf­pointner,​ assistant trainer of the  feldenkrais method, erlangen, germany.  roger russell, june 2016  a conversation about ​leibgedächtnis​ (body memory)  roger​ – thomas, your idea of ​leibgedächtnis ​is a word that doesn’t have a good english  translation.   thomas​ – you could call it body memory, why not?  roger​ – we could, but that doesn’t capture what it means in german. in german the word for  body, ​koerper​, is the objective, third­person perspective; looking at the body as an object from  outside. however, the word ​leib​ is the subjective, first­person perspective; experiencing one’s  own body from the inside.  thomas​ – yes, of course. there is, however, a german notion of body memory  (körpergedächtnis)​, which is described by joachim bauer for example. (bauer 2004) his  concept of body memory in this book is much different from what i mean. he writes about mirror  neurons, the immune system, about hormonal changes and all kinds of reactions of the  anatomical, physiological body, including pain memory and so on.   you couldn’t describe the whole phenomena which i have in mind when i talk about subjective  body memory in that way. you can describe them from an objective, anatomical or physiological  point of view, or you can describe subjective correlates of that objective point of view.   the concept, or better yet, the experience of ​leibgedächtnis, ​signifies the essentially subjective  component of our memories of our ​leib​ experience, even if it’s mostly something that is implicit  or even unconscious. it’s still subjectivity; it’s not objective, and in that sense you are right,  there’s no really good english word for that. “lived body memory” perhaps?  roger​ – alan berthoz and jean­luc petit (berthoz and petit 2008) call it ‘​own body’​, which is  translated from the french ​corps propre​. the french expression seems much closer to ​leib​ in  german as opposed to body. ​own body​, something like that, but that doesn’t seem to work so  well either. in english it seems a bit awkward. so if the english­speaking world learned to live  with the german word ​gestalt​, then maybe we can train them to live with ​leibgedächtnis.    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  3     thomas ​– it’s up to you. if you translate it as body memory or ​leibgedächtnis​. when we  published the volume with sabina koch, with something then we used the term “body memory”  as well in the anthology edited by koch, fuchs,​ ​summa and müller (2012).   roger ​– what was your line of thinking that brought you to differentiate these two concepts, and  what are the consequences?   thomas ​– the concept emerged from my interest in the lived, subjective body as such. when i  wrote about “body, space and person” (​leib, raum, person. entwurfeiner  phänomenologischen anthropologie) ​fifteen years ago (fuchs 2000a), i looked into the different  experiences of space: starting from the ​leib​ or immediate and already extended spatial bodily  self­awareness; then moving to the ​richtungsraum,​ that means the directional space of your  body in relationship to your surroundings, the space of action and perception; then going on to  what i call ​stimmungsraum​ which translates to mood­space or affective space, basically this is  the space of attraction, repulsion, all kinds of affective evaluative relationships to your  environment; and then finally you arrive at the ​lebensraum ​or lived space. this is the space,  which includes the whole of your social relationships, which are always inter­corporal  relationships with others and which are embedded in a shared, lived world.  furthermore, you can also talk about the ​personal space​ which is, in my understanding, a space  that means a ​suspension​ of the primary bodily space. for being a person you start to take the  perspective of others at a certain point and thus your primary, egocentric bodily space becomes  decentered so to speak. you learn to look at yourself from the outside, from the point of view of  other persons, and this inverts the whole primary centrifugal bodily space and creates an  interpersonal space of different agents; for example, i can take your point of view and imagine  how things look from your vantage point. so primarily i’m in an ego­centered space, but i’m able  to take a bird’s eye view which gives a completely different space. you could call it personal  space or interpersonal space – the space created by being a person.   so, that was a short summary of my book ‘body space and the person’ (​leib, raum, person.  entwurfeiner phänomenologischen anthropologie) ​published in 2000. at the end of that book i  wrote about body and temporality. it occurred to me that all of these kinds of spaces have their  own history because they are all formed by experience, by inter­bodily, interpersonal  experience, by learning skills, by learning habits. and so all these spaces which i looked at from  a spatial point of view, could have been looked at from a temporal point of view as well.  i thought that i could write another book starting from a temporal perspective, but i never arrived  at that because of lack of time. but i wrote some papers (fuchs 2000, 2003, 2008, 2011, 2012)  increasingly focusing on this concept of the history or memory of the body, taking into account  some ideas from merleau­ponty’s concept of the habitual body (merleau­ponty 1966). edward  casey’s (2000) idea of memory is also related to the body. he writes about skilled memory and  erotic memory, for example. there are already some scattered ideas around on this, but in  philosophy or in the special field of phenomenology there’s no comprehensive book on the    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  4     history of the lived, subjective body. merleau­ponty never elaborated on this; it’s just mentioned  here and there as the habitual body. it is a project waiting to be done.  roger ​– so that idea of temporality brought you to the question of memory?  thomas​ – yes, exactly. it was my acquaintance with developmental psychology and  mother­child interactions. in our research project at the clinical unit of post­partum depressed  mothers we observed and counseled them about their relationships with their babies, which  brought me to the fundamental importance of the history of their interactions which is somehow  sedimented into the infant’s body memory. you can observe these pairs of infant and mother,  and it’s quite striking. babies who interact with their depressed mothers get accustomed to the  reduced expressiveness and the withdrawnness of their mothers; to the slow and rather dull  expression that they show. the baby itself becomes withdrawn as well; a bit reserved, less  expressive, waiting. the child self­regulates in a specific way. when these babies interact with  other mothers who are not depressed, then interestingly these mothers start behaving a bit  more like depressed mothers. tiffany field’s (1984) study also found similar results.  of course, the mothers are not aware of their responses. however, it is very interesting that the  child learns a way of behaving, an expressiveness or lack of expressiveness, an inter­bodily  scheme of behaviour, of being with others that is transferred to other partners and is enacted in  a way that influences the third partner. so to speak, in a way that is similar to what they have  learned before. so we had a front row seat to watch how these inter­bodily relationships  developed.   watching these children and women, i realized that body memory is at the same time  interpersonal; it is inter­body memory. these observations made me aware of the decisive  importance of these bodily experiences; experiences that become anchored in our embodied  way of being with others and dealing with the world, part of our embodied personality structure.  roger – ​so the baby can get the mother to adapt more than the baby adapts to the mother.  this would make biological sense; without the adults responding to the baby’s needs, the child  will not survive.  thomas​ – certainly, and what’s more, the mother has to adapt to the individual baby because it  brings its temperament; its different ways of reaction, which are partially innate. the mother  responds to what the individual child brings into the relationship.   roger ​–thomas, you brought up that there doesn’t seem to be a clear concept in the  phenomenology field of philosophy for what sabina and i were talking about, which i’ll just call  body image at this point.   thomas ​– which is a problematic term for the way you sense yourself. the problem is that it is  about how our life experience has formed our sense of ourselves. so the problem with body  image is that the word ‘image’ automatically evokes the idea that we are discussing a visual    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  5     thing. of course, in a multimodal sensory experience of ourselves, our visual experience makes  a contribution. however, that shouldn’t be in the centre of the process. this is one of the  reasons i have developed the concept of ​leibgedächtnis​; it is much more comprehensive than a  visual metaphor.  roger ​– it being so that this term is inadequate for the experience, there is still the question  how that changes over a lifetime and how it changes through different experiences. in our  feldenkrais field we work with the experience of the subjective, lived body. we know that it can  change very quickly; within a 60­minute group lesson. we have also found, in talking to people  in the fields of psychology or psychotherapy, and in people thinking about embodied philosophy,  that the ideas of body image and body scheme are there but the people talking about these  concepts do not have the personal experience of how their own subjective experience of their  body can change quickly and significantly. therefore it seems that they cannot imagine how  flexible this experience can be. so the plasticity and flexibility of the ​leibgedächtnis​ has not  become part of the conversation. this is a particularly interesting theme for us because we  believe that the phenomena which feldenkrais lessons bring to light belong in the center of the  conversations in psychology and philosophy. finally, is your article about ​leibgedächtnis​ in  english or only in german?   thomas – ​it’s in english in the book in which sabina koch and i edited entitled ​body memory,  metaphor and movement​ (koch ​et al ​2012).​ ​this is a conference report, but there is a  translation of my original paper into english. the article is about the phenomenology of body  memory. it gives a short overview on the types of subjective body memory, or ​leibgedächtnis,  which i distinguish. these are: procedural memory, then spatial or situational memory,  intercorporeal memory, pain and traumatic memory, and what i call incorporative memory,  which is the kind of memory that plays a particular role in enculturation.    roger –​ thomas, would you please give us a short summary of each of these?  thomas –​ yes, of course. some of them are not intuitively obvious, at least not without giving  all of this special attention.   let’s start with procedural memories. these are the sensorimotor and kinesthetic patterned  sequences of movement, well­practiced habits, skillful handling of tools and other instruments of  our cultural world. but it also includes familiarity with patterns of perception. generally,  procedural memory releases our attention from having to monitor many details of our everyday  performances. working in the background, this dimension of memory operates without us  remembering how we learned these skills, as a know­how without the need of knowing­that.  this is what psychologists usually describe as implicit memory. when i looked beyond this  description i have found that there were a host of other skills we all learn, which are often not  seen in that sense. however, they are learned ways of living our individual lives within our life  space over our lifetime, so one could say that they are living skills or know­how in life.      fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  6     next, situational memory includes our familiarity with the spaces and situations of our lives.  therefore, it is a spatial memory. it helps us find our way in the space of our neighborhood and  homes, for example, and one special situation: our hometown. these situations also have  expressive qualities that contribute to their peculiar atmospheric impression that is stored as a  whole in the intermodal memory of the body and which might not be completely expressed in  words. just think of the atmosphere of your place here that you are acquainted with.  intercorporeal memory reverberates from our encounters with important others. when  encountering another person, our bodies interact without our being able to say how, or without  even consciously noticing this kind of intersubjective resonance. merleau­ponty (1960) called  this pre­reflective bodily understanding, “intercorporeality”.  developmental research has shown that motor, emotional, and social development in early  childhood does not proceed on separate tracks, but is integrated through the formation of  sensory­motor and affective patterns of interaction. these “intercorporeal” memories are potent  carriers of our past. not remembered in the explicit sense, they are unconsciously effective in  every encounter. just stand across from someone, maintaining eye contact for more than a few  seconds; you will sense a strong, affective response which you cannot inhibit with intentional  will.   stern has called this implicit relational knowing. it is memory for the dynamics and undertones  present in interactions, which also forms the implicit relational style of one’s personality.  comparable to the acquisition of motor skills, these intercorporeal memories shape  relationships and are also expressed in the habitual postures of the body. as a result, the  embodied structure of one’s personality is most accessible in the actual intercorporeal  encounter, and can be attended to with proper training.  incorporative memory means the shaping of bodily habits by attitudes and roles taken over from  others. this happens mostly by bodily imitation and identification. the body becomes a  body­for­others, reflecting a set of socially learned dispositions, taste, clothing, culture­ or  class­specific styles of perception and action that the individuals take to be their own and which  are acquired through the experiences of everyday life.   roger ​–​ ​which leads us to bourdieu’s (1990) idea of “habitus”.   thomas​ – yes, exactly. how we get our habitus, by learning manners, acquiring certain ways of  how to behave, which is very much a question of education and also of discipline. it is a second  nature that we acquire in our early social interactions which is very much culture­dependent and  gives shape to an otherwise spontaneous or more naturally lived body. this is an acquired  memory of how you behave in a certain situation; how you sit at a table or hold your fork and  knife and don’t talk so loud, and so on. some of this can also be regarded as an adoption of  roles that undermine the authenticity of one’s primary bodily self and may inhibit spontaneous  impulses.    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  7     this incorporative memory is nicely illustrated by a short video, which was presented by colwyn  trevarthen, a scottish developmental psychologist. at one of our workshops in heidelberg, he  showed a six­month old japanese boy interacting with his mother. you see the boy constantly  making these nice bows, which the japanese acquire obviously very early on; they just do it. it’s  modeled, they imitate, as a kind of incorporative memory, because they adopt certain postures,  certain behaviours: by imitation, or by disciplining, or by whatever ways of acquiring or teaching  a habitus, so to speak.  now let’s continue with the different types of body memory. in pain memory, there is the implicit  bodily presence of former painful experiences. for example, think of walking into your dentist’s  room. this is part of almost every person’s subjective body memory. we all have our rather  harmless memories, such as the dentist’s visit, but also many others which are not so easily  forgiven. this can also be part of our implicit memory of abusive relationships. thus, not only is  the pain inscribed into the body, but also the situations and relationships that were associated  with that pain.  finally, one of the most indelible impressions in body memory is caused by trauma. a serious  accident, rape, torture, or threat of death is an experience that is very difficult or impossible to  be integrated into a meaningful narrative. the trauma is then withdrawn from conscious recall  but remains all the more virulent in the memory of the lived body, as if it were a foreign object.  mechanisms of avoidance or denial help a person isolate, forget, or repress this painful  memory, but it forges its way nevertheless, in flash­backs or other kinds of sudden returns of the  trauma.   now that was a short summary of my paper (fuchs 2012), which presents these different types  of body memory, which are loosely connected but can be distinguished in these several  dimensions.   roger ​– i understood from your german article that you place these multifaceted experiences  of body memory into the framework of implicit learning and memory systems that have been  clarified in relation to explicit learning and memory since the 1960s and 1970s in psychology  and neuroscience (schacter 1987, 1996).  thomas ​– yes, most cognitive psychologists might say that ​leibgedächtnis ​is nothing new.  they might say, “well, what you call body memories are just procedural memory, which we  know about since the cognitive turn in psychology beginning in the 1950s and 1960s.” however,  i think it’s not the whole story, because body memory is much broader than procedural memory,  which is a term in academic psychology and memory research. it does not cover the entire field  of subjective body memory, because it lacks inter­corporeality for example, it lacks situational  memory, it also lacks the impact of postural expressions on your mood, on your emotions and  so on.     fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  8     so, all kinds of interactions between body posture, body action and self­experience are not  covered by this notion of procedural memory. also, it lacks the unconscious dimension of our  interrelations with others that are mediated by the body. therefore, what i mean with implicit  body memory would also mean that there are certain ways of dealing with significant others  which are transferred to new persons, as i pointed out with the baby when it’s transferring a  certain way of interacting to other mothers; so that’s what is called transference in  psychoanalysis, in a way.   we can take an example: your behaviour towards your boss may imply a certain posture,  gestures and behaviour that conveys submission or a slight anxiety; maybe you are expecting  shouting which you have experienced perhaps from your father. imbedded in the intercorporeal  memory there’s a lot of unconscious expectations, assumptions, or protentions, to use husserl’s  term, which means being implicitly prepared for something to continue or to happen, according  to one’s earlier experiences of similar situations. it doesn’t mean explicit anticipation but your  body attitudes imply some expectations, protentions of the immediate next step in the  interaction, which are very much shaped by your experiences with significant others. all of this is  part of subjective body memory – ​leibgedächtnis​ – and the term implicit memory doesn’t cover  all of that.  in my thinking ​leibgedächtnis​ – subjective body memory, is a concept that includes all kinds of  significant experiences that you have made while interacting with the world and others that have  influenced how you experience a present situation and how you deal with it. it will shape how  you behave in that situation without having an explicit memory of what it reminds you of or how  you learned what you are doing now.   most of this is excluded from our conscious memory. not purposefully, it is simply how implicit  memory and learning works. it is not explicitly present, nor is it necessary to remember it  because you enact what you have experienced in the past, bringing it forth into the present  situation without being aware of the former experiences. so this is, in short, what the concept  implies.   does this make it clear what the difference between implicit and explicit means? of course  explicit are all kinds of deliberate recollection or linguistic declarative memory, including all that  you are aware of as an episodic memory, all you are explicitly aware of as having happened  sometime in your life and you can go back and find in your explicit memory. it’s an intentional  act of recollecting, of reminding yourself, which you do with the awareness, “oh, now i  remember. i learned that when i… that was at that time, or that place, or with those people…”  this may often be closely related to implicit memory, but it is something that you do deliberately,  explicitly and this is, as psychology and neuroscience have also pointed out, a different memory  system.     fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  9     roger ​– that means that by looking very carefully at the different concepts of memory we can  recognize that implicit memory, procedural memory and ​leibgedächtnis​ (subjective body  memory) don’t mean the same concept.   thomas ​– there’s an overlap, but it’s not synonymous.  roger ​– so you have differentiated these kinds of experience. it’s not a singular experience,  and if you are willing to pay attention to the differences, it is possible to develop a refined  concept along the line of what gendlin (1982) has done?  thomas ​– yes, certainly.  roger ​– so the psychologist’s idea of implicit and explicit memory and the philosopher’s idea  sound different. let’s step back to the development of your idea. you’ve brought your training as  a psychiatrist and as a philosopher to triangulate your viewpoint and realized that the  psychologists and the philosophers have different ways to approach it, is that correct?  thomas ​– yes, but in particular the phenomenologists have a different way to approach it  because psychologists tend to categorize these experiences into some other kind of system.  either it is the unconscious in freud’s terminology and concepts, or, today much more  frequently, it’s the cognitive unconscious of some modules of the brain that do these things for  you. in other words, they are looking for a ​third­person​ explanation of these experiences of  being acquainted with something.   roger ​– so these ways of describing and categorizing the experience seem to make the  concept of implicit memory narrower?  thomas ​– yes exactly. to put it pointedly, i would say the accepted definition of implicit  memory deprives you of your holistic way of experiencing and interacting with the world. you  know, it’s a bit problematic that we don’t have a word in english for the german word  erfahrenheit​, which means something like knowing how, adeptness or sophistication. it’s not  only that you have experience of something or that you are skilled; it is more like you are deeply  familiar with a part of living in the world, and your adept responses demonstrate that familiarity  with situations.   by something which has grown through repeated experiences, you are becoming an  experienced person in the sense of husserl’s term, “i can”. it sounds a bit cryptic, but in husserl  this kind of familiarity with one’s subjective body is a whole background system of “i cans – i am  able to do….such and such.” this is taken from the german word ​können​, meaning ability or  skill in doing, or know­how. in husserl this was described as “i can”; as potentialities you would  say – motor potentialities, sensory potentialities, affective potentialities, interactive potentialities  – and all this is what makes you very essentially the person that you are. in a way, everything  you have experienced is what you are now; everything that you have become aware of, what  you have acted and tracked in contact with the environment, everything that you have felt in    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  10      relation towards others is somehow sedimented in your body memory and is making up your  present way of being, of being disposed to act. this is ​erfahrenheit​, and its foundation is the  leibgedächtnis​, which is thus much wider than implicit memory or procedural memory.  so, this experience of oneself is a whole system of ​i cans,​ which means not only motor abilities,  but all dispositions that make you able to interact with your environment, and all this is what  makes up your particular way of being in the world. redefining that entire experience in terms of  a third­person approach is okay, but needs to be seen as only one of the choices we can make  of how to study our behaviour. after all, it comes at the cost of depriving us of all of what is  inside us; of what we feel and what we are as subjects.   we tend, too much in my point of view, to think of who we are in terms of what we ​think​ we are,  of what we can attribute to ourselves in terms of episodic autobiographical memory,  self­concept and so on, which are terms that are part of explicit memory. we tend to  overemphasise this. you will see it in our thoughts about dementia, for example, where we tend  to say, well, a person who cannot attribute certain information to himself, who doesn’t know  what his major autobiographical events are, is not a person any longer. on the other hand,  emphasising what a person is in terms of all his grown experiences gives a different view on the  person. even a demented person is still someone who has acquired all these experiences and  skills, habits and familiarities, even though he might not remember where, how or when he has  acquired them. so, i think this offers a fundamentally different view on who we are; in kant’s  classic question: who is a person? we have then a much richer understanding of how we can  answer.   roger ​– and it raises a real fundamental question. if the psychological view is coming from a  set of assumptions about the person that, like academic psychology, is grounded in the  third­person view of looking from outside, where there is a lot of research, it is still that outside  view. if you shift the question to the inside view it raises other complex questions if one is  working therapeutically or with the feldenkrais approach, about who is this person i am with, i  as a subject with a second subject? what do they need?   psychology gives us interesting concepts, and the other point of view taken from  phenomenology that you are coming from, they are saying, “well what will happen if we would  open up our peripheral view to all the experiences that we don’t yet have precise concepts for,  but the experience, if one is willing to explore, is undeniably there.”   that brings up some fascinating questions. first, is it undeniably there? if we don’t have  concepts for something can we even perceive it? this is something ludwik fleck (1935)  outlined, building, i am certain, on others before him. fleck pointed out that, as a community of  knowledge, without some kind of basic concept of what we are looking at, as often as not, we  cannot perceive something. we don’t have the categories to distinguish what we are observing  from the background. by differentiating these ideas, as we are doing now, we can see that we    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  11      are talking about different viewpoints. the one is that of psychology, and the other is drawing on  phenomenology, which has other roots from the philosophical tradition.    we could take one or the other perspective, but you could also ask yourself, “well, what would  happen if we go back and forth, moving between viewpoints and comparing how they affect our  perception and understanding of what we are observing?” so we can change our way of looking  if we choose and if we have the necessary background knowledge. it sounds to me like part of  what you did in developing your idea of ​leibgedächtnis ​was to move back and forth between  these two distinct viewpoints.  thomas ​– yes, we are talking about moving between the phenomenological and the  psychological perspective. however, psychology can certainly be richer. for example,  developmental psychology, which is in many ways a third­person psychology, has brought  enormous insight into early interaction. there is the tradition of psychotherapy as well, including  a second­person interactive psychology – a “we” which relies on the intercorporeal experience  of the therapist as a source of knowing. so it’s definitely not something which is only  philosophical; the concept of body memory has a wider foundation. i think it should also be  informed, at least, by psychology and also by the more than 100 years of know­how in  psychodynamic psychology when trying to give a more phenomenologically­sound description  of subjective body experience. the other way round, the concept of ​leibgedächtnis​ can also  give freudian concepts like repression or superego, and id, and so on, a new meaning. all of  this demands from us that we take a close look at what kind of experience is behind any of  those concepts.   thomas ​– so if you are looking at phenomenal experience and ask yourself where you can find  all of freud’s unconscious drives and needs and avoidances and repressions and so on? then  as a phenomenologist you would say, well, those experiences are in the lived body, where else  should they be? there is no soul substance or soul space somewhere if you don’t attach it to  bodily experience, even if it might be in a subconscious or unconscious bodily experience. it’s  hard to say where all these meta­psychological things like id, ego, superego, object  representations and so on should reside. it they are not ultimately experienced within the realm  of the lived body and its relation to the world, where else should they be?  sabina ​– for the brain scientist it would be the brain.   thomas ​– yes, of course. that’s why many psychoanalysts have taken their refuge in  neuroscience today because they hope to find their concepts somehow materialised in the  brain. to a certain extent this is fine, however if you redefine psychoanalytic concepts into  neurobiological concepts, they are completely alienated from the person, from the subject; they  are not part of my subjectivity any longer. they are mechanisms that might determine what i do,  and besides the fact that this kind of determinism is also a problematic issue, i have no  experiential relation to these brain events, just as i don’t have any relation to my blood cells. i  know i have red blood cells in my body; i know about that, but what should i do with them?    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  12      nothing. so adopting this kind of thinking because it is easier to make psychoanalytic concepts  seem like objective facts, would be a loss for our humanity, because then all these less precise  experiences, these unclear dispositions and hidden sides of me, these marginal zones of my  subjectivity would be lost because they are now becoming just brain events; things that happen  in my brain, but not to me.  roger ​– meaning, if they are not measureable with the available methods they are not  considered to be real experiences at all.  thomas ​– these are some of the distinctions that philosophy makes possible and can help to  clarify. it’s a bit difficult to describe, but i have tried to analyse, at least to a certain extent, how  the concept of subjective body memory and the bodily unconscious could be suitable to  reconceptualise some of the psychoanalytic terms such as repression or avoidance. by  reconceptualising the psychoanalytic unconscious, not in terms of something deep inside us but  as being embedded in our actual behaviour towards others and the world, we can attend to  these experiences in a new way. these concepts are about what we do, what we enact, what  we experience without explicit awareness in our relations with others, and this is very much  enacted by the body, by unconscious postures, gestures, attitudes, dispositions and protentions.  here we can see how the idea of ​leibgedächtnis​, with its many dimensions, helps show how  our present behaviour is bringing the implicit learning from the past into present behaviour.  roger ​– that’s interesting because moshe feldenkrais’ first book about his work was called,  ‘body and mature behaviour’ (feldenkrais 1949). at the time he was writing it in the 1940s, he  was in england, and he became familiar with various schools of psychology and psychoanalysis  (reese 2015). however, i think he ran into a fairly rigid set of ideas in psychoanalysis in  england at the time. apparently he didn’t agree with many of the attitudes he got to know, but  his book was predicated (feldenkrais 1949: ch. 1 and 2) on the idea that if you do talk therapy  and become aware of your emotional behaviour but keep your movement habits, then as soon  as you get into a situation where you shift back in your movement habits to a particular way of  organising yourself, you have to shift back to the emotional habits that were associated with  those movement patterns in your learning process.   seen from the point of view of what you are suggesting in the idea of ​leibgedächtnis ​then  feldenkrais’ description makes sense. he says we need to reorganize the way we experience  ourselves in action and that our kinesthetic experience is a fundamental part of our sense of  ourselves. this would match daniel stern’s (1985) ideas about core sense of self too. this  brings us up to date with some of the theoretical models we find today.  thomas ​– exactly. that is confirmed today by an increasing amount of research being done on  the embodiment of emotions, which means the impact of bodily postures, gestures, sensory  experiences, on our affective evaluation of situations. usually we think in the reverse direction,    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  13      so to speak. so we will normally say, “well, i experience a certain feeling and i also felt it in my  body, or i’ve felt strained and i caught my breath and couldn’t get enough air”, and so on.   so we normally tend to think of our bodily experiences as reactions to a primary affective  experience, but the body is not a reacting entity but it is the ​resonant​ entity, that means it is the  resonance of our emotional relations to a situation that we experience bodily and which makes  up the affect. the affect is not something which can be separated from bodily resonance, but  body resonance is an intricate part of what we experience as affects or emotions. even the  slightest emotions are somehow felt within the body. and the interesting thing is that it turns out  more and more that the way we experience the body, the way we hold our limbs, the way we  organize our postures, have their impact on our whole affective relation to the world.   so the direction runs both ways. for example, taking a warm cup of coffee in your hand will  make you evaluate faces of people that you don’t know “warmer”, that means you will find them  more friendly, warmer than if you take an iced cup of coffee in your hand. there are many  research reports like that. or being touched by a friendly person…  this gesture that you did right now, this gesture makes you more open to others for example.   [note for the reader: we are sitting here and i (roger) just opened my arms and turned my  hands with my palms up.]  yes exactly. the same gesture, even if you don’t know that you do it, lets you experience  certain things, like for example, chinese pictograms, as more funny and more interesting than if  you turn your hands down. you’re more open to new or strange experiences if you just turn your  palms up. well, the best example of course is given by charlie brown: if you really want to be  depressed you need to adopt a bowed posture, otherwise you can’t stay depressed or you won’t  get anything out of your depression.   sabina ​– i like the description in your book concerning anger because this is very obvious. a  common expression is that people say, “i first feel angry and then start to get red in my face.”  however, the experience of anger is one single expression as a whole, not a cause and effect  type of event.   thomas​ – yes, of course. another clinical example: i have a patient with a paralysis of the  facial nerve, which makes him unable to smile naturally. he often complains that he is not able  to find things so funny as before, because he can’t experience the smile – which is necessary  for the experience. this is confirmed by a study (strack, martin, and stepper, 1988) where  subjects are told to hold a pencil in their mouth in different ways. in one series they hold it with  their lips like this… [note for the reader: holding the pencil between the lips as if sucking on a  drinking straw.]​ ​the other series, they hold it between their teeth with the lips opened, as if  biting the pencil. you can see that i’m somehow smiling when i hold it like that with the teeth    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  14      and the lips open. so, when the people holding the pencil between their teeth are shown  cartoons, they find them significantly funnier than if they hold the pencil with their lips.   this is exactly what my patient describes: if you can’t smile, then somehow the feeling of  funniness or humour gets lost. therefore parkinson patients often get depressed. they have  this mask­like expression on their face, and without their familiar expressions they can’t  experience bodily resonance. this in turn makes them feel more distant to situations which are  normally affectively relevant. they are not able to take part affectively, to be attuned to  situations like they were before. it is simple: all our affective relations to the world are mediated  and enabled by our bodily postures, expressions and gestures.   sabina ​– it reminds me of something we do a lot with people in our feldenkrais explorations.  we might, for example, invite them to become aware of how they do a certain movement while  they think of smiling or prepare to smile. then we ask them to compare this experience with  doing the movement while clenching the teeth, and it’s a different experience of the movement  as a complete experience​. it changes the entire tone of the muscles and this change has a big  impact ​on the whole​, not the movement as such, which is visible from outside, but how people  experience themselves moving.  thomas ​– yes. as a feldenkrais teacher or a psychotherapist you often have to deal with what  can be called body defence mechanisms, which does not mean a movement but rather a  counter­movement so to speak, the rigidity that is put up against possible movements. in  obsessive­compulsive patients, you often find that they are very stiff in their posture, their  breathing and their belly, and they show these rigid jaw muscles. there is a stiffness, a rigidity  that is obviously meant to suppress an unwanted affect which would be expressed by more  expansive body movements. in terms of classic psychoanalytic thinking you would say  obsessive­compulsives are repressing aggressive affects, confining them in the body because  they have acquired habits of bodily rigidity which inhibits a certain kind of bodily expressiveness.  you could call it a bodily defence mechanism, a defence against dangerous aggressive  impulses. this is a psychodynamic viewpoint transferred to what i call body memory.   sabina​ – as i understand what you are saying, then that’s an assumption, that there is a  suppression of something, a certain way of looking at the person.   thomas​ – yes, but don’t we all do that in many cases? this is normal in a way, nothing special.  don’t we have the term “pull yourself together”? you pull yourself together in some situation in  which you cannot lose face or be ashamed. but it’s not only the face, it’s the whole posture that  you have to keep under control in order not to indulge to certain affects which make you, for  example, cry in front of others, so you pull yourself together. how do you do that? you might  stiffen your mouth, pull your lips together, tighten your belly; you won’t breathe much, and so on.  you do that automatically; it’s quite intuitive. you inhibit bodily resonance with that affect and if    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  15      you do it a hundred times you will find that in the habits of body memory. and it’s nothing  special; it’s part of normal behaviour.   sabina​ – maybe you misunderstood what i wanted to say. it seems that because people did a  habit so many times that in the moment, once they are lying on the floor and doing a  feldenkrais lesson, they resort to that habit and pull themselves together. it’s not that now they  are repressing something, some kind of aggression, but it’s just that their embodied reaction  years ago has become part of their habitual way of living. however, working with the  feldenkrais method, i’m not addressing this person’s suppressed feelings or anger, but rather  how it would be if this person experiences himself differently? if the person experiences  something else that they can act differently, the whole way of acting can be different, also the  affective experience. when i walk out and meet you, i meet you differently with my hands like  this and not like that. so we don’t need this assumption of a person with suppressed anger, for  example. we can also look at it on the basis of what they are doing now, and how they could do  that in a different way, now.  thomas​ – yes, i agree and i wouldn’t contend that this person, which i have schematically  described before, would suppress aggressive affects all the time; of course not. he or she is not  a container full of aggression so to speak, but the way they use their body has shaped their  body memory. this memory influences whether and how the person lets these expressions  come through. the habit which was shaped by past experiences now shapes the present way of  interacting, of resonating with others and enacting one’s being. it’s more difficult for these  persons to experience that they are angry, for example, if they habitually inhibit the expression.  if in certain situations they can give up this defence or inhibition, next time they may have better  access to certain feelings which they normally tend not to experience because the bodily  resonance is lacking or inhibited.  roger​ ­ another possibility is that if they no longer use their habitual body pattern of organising  themselves, the affective associations may feel irrelevant in another subjective body state.  something along the lines of “well, yes that’s what i used to think or feel, but now that i sense  myself, my subjective body state differently, i feel emotionally different and my history of that  past emotional experience is not really that important for me anymore”.   thomas​ – yes, it’s a possibility of course.   roger​ – this discussion demonstrates that we can take a number of different points of view,  which brings me back to the polish medical doctor and philosopher ludwik fleck (walach 2013;  fleck 1935; cohen and schnelle 1986) ​. i was intrigued with his idea about how we learn a way  1 of looking and conceptualising things, based on specific ways of looking, which are defined by  the community of knowledge that you belong to; the way of observing and thinking into which  1 see walach, 2013, ch. 2, 47 ­71, concerning fleck, collingwood, and kuhn.    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  16      we have been initiated by our training. this seems to be ignored in all sorts of professional fields  which cannot or will not stand outside of their own community and look around.  for example, when you were talking about the academic psychology perspective, they learn a  way of conceptualising which forms how they’re looking at the behaviour of the person and what  their categories tell them about what they are seeing. if they remain within that community they  cannot see another possibility. this is often the case with our feldenkrais community too. now,  fleck points out that this is a natural result of science, or any epistemological system, being  inherently a social, a community, activity… in order to participate in a particular community, you  need to adopt that community’s perspective and way of observing. otherwise you are not an  insider and cannot participate in the activities of that professional community, or are not taken  seriously as someone who can contribute with thoughts, methods or theories.   the phenomenological view that you’ve been talking about is about standing somewhere else to  get a different viewpoint than academic psychology. not that either is necessarily better than the  other, but that you were taking different perspectives, or as fleck might say, getting another  education with another community of thought. we can say, “well, i’m going to look through a  different lens, from somewhere else, and i may see something really different.” then the  question becomes, how can i bring these two different viewpoints into some sort of relation with  each other? because i may be seeing differences but they’re not two worlds; it’s two sets of  concepts, assumptions and observations.  thomas​ – yes, it’s still the same world and it’s still the same body. for one individual, the  subjective body and the objective body, in the end they must be the same, even when  experienced quite differently.  roger ​– in other words, one description and the other description cannot be so different that  they have nothing to do with each other. the question is: what brings them together? what kind  of thinking brings the two perspectives together into some kind of coherent relationship?   i know that i am skating on philosophically thin ice here, but it brings me to another author,  robin collingwood, (walach 2013) and his idea concerning absolute pre­assumptions.  collingwood pointed out that when we are seeking to understand something we bring a set of  thinking tools, which fleck would say we learned as a member of a particular community of  thought. however, collingwood points out that we also build our use of those thinking tools upon  a foundation, which we are often not aware of, which he calls absolute pre­assumptions.  collingwood pointed out that the crux of the matter is that the thinking tools we apply within our  community of thought cannot be used to logically prove the truth of the absolute  pre­assumptions that the community is standing on.​ ​this brings up all sorts of headaches to say  the least. how do we examine those absolute pre­assumptions (collingwood 1940) and start  rethinking what we are doing?    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  17      that’s the one set of especially interesting, i guess, epistemological questions. and the other  ones are pragmatic questions in the sense, as i understand the pragmatism of peirce, james or  dewey. “if i know something, then how is it going to make a difference to what i do or  experience or what i can imagine?” (blackburn 1996: 296­297). so, all of these questions raise  more questions, but the pragmatic question remains: what do we do with this person who’s got  this certain way of experiencing himself? what difference will it make in his or her life if we claim  we know something from any of these perspectives we are speaking of? someone talks about  his emotions, and the psychiatrist or psychologist taking one perspective asks, “how do you  feel?” another professional, let’s say for example someone whose community of thought deals  with movement or the body says, let’s take a look at how you move or how you experience your  muscles or your bones. if these two observers described to each other who they talked to but  didn’t give a name, they might not realise they had been talking to the same person.  so my question would be, what’s the way of looking that could pull in both perspectives? and  what i’m hearing is your idea of ​leibgedächtnis​, or subjective body memory, was an attempt to  pull together the perspective of the phenomenological philosopher and the perspective of the  psychologist, and the biologist, and furthermore not consider first­person and third­person  viewpoints as opposed to each other but that they complement each other.   this raises questions which are difficult because they are almost like second order questions.  they are questions about how we ask questions and what we think we know about who a  person is, about understanding their history and about who they can become. then, if we could  answer that second order question about how we can weave together our answers taken from  different perspectives, what would we do to help the person? what does this person need to be  able to do, and what would i need to know to be able to help them? it becomes a very pragmatic  question because it would make a personal difference for that individual. i find that all very  interesting both in reflecting about what the issues are. but then getting down to the brass tacks,  what are we going to do with this person, what could help them live easier?   thomas ​– as a philosopher, i would say the most basic recommendation that would follow from  these concepts is that ​in order to see the world differently, to see yourself and experience  yourself differently, you have to act differently​; have a different experience of interacting with the  world. we could find all kinds of theoretical representations or ideas or fantasies of what i could  possibly be or how i can possibly be different. however, ​not much will change unless you  somehow start to act in a different way and interact in a different way, because that is how the  body memory changes.   now, the two complementary views of looking at the body from the objective, third­person point  of view and the subjective, first­person point of view, can best be reconciled or integrated when  looking at the temporal dimension, when looking at the process dimension. there is a  continuous process of experiences, actions, turning into different bodily dispositions, and this, of  course, changes your objective body as well. doing different things will influence the kind of  sedimented experiences that are finally somehow ingrained in your brain structure or neural    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  18      excitation patterns or whatever you might call it. in other words, the process of experience  changes your bodily dispositions, your body’s structure, and this in turn enables new  experiences. so there’s a continuous interaction between first­person experience and  third­person patterns or structures, or you could say, between ​process​ and ​structure​. so there’s  process, continuous interaction, which is very much dependant on your experience, and  processes are continuously transformed into structure, which is the more constant, the more  continuous, stable result. but changed structure already enables new experience, so that’s not  just a one­way street.  this is one way in which i think these two seemingly opposed contradictory poles can be  brought into a process of interaction and can be integrated, and that is what i think you do as  feldenkrais teachers.  roger ​– that’s a nice way of describing the feldenkrais lessons. we agree to be interested in  an experience that we’ve never experienced before. seen from neuroscience, we engage our  prefrontal attention systems to help reorganise the neurological habitual patterns and change,  what i’m going to call it body image right now, although it doesn’t encompass the whole idea of  leibgedächtnis​. however, in a feldenkrais lesson the change is almost immediate. in an hour  you can shift the way you sense your body experience and the personal meaning of the  experience too; the way you feel about your body experience and the way you imagine your  possibilities. you might say, “wow, i can do that!” because the world – in the sense of other  people in your social world – might have been telling you, no, you cannot do that, or you cannot  learn that in any simple process or short time. and then here you are, clearly experiencing that  this is not true.   in feldenkrais lessons, opening the opportunity to make a new experience is central to what we  do. now i hear from you that this is also central to how ​leibgedächtnis​ functions and how new  experience affects our behaviour in the world.  thomas ​– yes.   ulla ​– i had a good example today with a woman i was working with, because she felt like she  didn’t have anything where she said i’m concerned about. she didn’t know what she wanted in  the lesson. however, as we continued to talk, she said that the moment she gets up and walks  through the room, and even though other people are not looking at her, she feels shame, and  feels like she is clumsy in her movement because she thinks they are watching her. after the  lesson, she could clearly sense her spine and pelvis moving gracefully, and her head easily  upright; which really surprised her that she could do that in such a short time. surprisingly to  her, that sense of shame was no longer part of her experience. she could walk through the  room with me watching her, other people watching her. she knew that others were watching her  now and she didn’t experience the same clumsiness or shame. she felt she was simply there  and could walk and it was fine. that seems like your description in practice. she could act    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  19      differently, and she could experience herself differently, but she was immediately also seeing  the others watching her and experiencing that differently too.   roger ​– another question comes up for me, which we will have to talk about another time. it is  about practical methods of addressing ​leibgedächtnis​ issues; for helping the person find more  effective and satisfying ways of action in their world. because if this sense of subjective body  memory is implicit and often even unconscious, which means the person can’t gain access to  their way of bringing their past into the present, as you say, then how can we approach their  need for help in discovering themselves in more depth, in more possibilities?   we have seen now that there are different ways of conceptualizing and observing. the  perspectives of academic psychology, of psychiatry, the brain­based concepts of autobiographic  memory of markowitsch and welzer (2005) or damasio (2010) or panksepp and biven (2012),  for example, or the developmental ideas of daniel stern (1985) with his ideas of core sense of  self, intersubjective sense of self or the narrative sense of self. then there are other  third­person perspectives of the body that are associated with physical therapy, sports training  theories, and physiology – as examples, which seem to turn the body into a mechanical system  that can be repaired with the proper methods. now with your multidimensional perspective of  leibgedächtnis​ first and third­person perspectives cross paths by bringing phenomenology into  the picture.  the question is: what kind of practical methods might be available to address all those issues?  the philosophical, the psychological, and the biological? what kind of methodology could  capture that whole experience?  thomas, this has been both interesting and enjoyable, and we want to continue the  conversation. there are a lot of feldenkrais teachers who are very interested in bringing these  many different points of view together.   thomas​ – i can gladly contribute to that.   references  bauer, j. (2004) ​das gedächtnis des körpers: wie beziehungen und lebensstile unsere gene  steuern​. frankfurt: eichborn verlag  berthoz, a. and petit, j­l. (2008) ​the physiology and phenomenology of action​. oxford: oxford  university press   bergson, h. (2007) ​matière et mémoire. essai sur la relation du corps à l’esprit ​[matter and  memory: essay on the relation of body and spirit; originally published 1896]. paris: puf  blackburn, s. (1996) ​the oxford dictionary of philosophy​, oxford: oxford university press     fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  20      bourdieu, p. (1990) ​the logic of practice. ​trans. by r. nice. stanford: stanford university press  casey, e. (2000) ​remembering: a phenomenological study. ​bloomington: indiana university  press  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stuttgart: klett­cotta  fuchs, t. (2000b). das gedächtnis des leibes [the memory of the body]. ​phänomenologische  forschungen 5, ​71–89  fuchs, t. (2003) schmerz und gedächtnis. ​journal phänomenologie​ ​19​, 15­24  fuchs, t. (2008) leibgedächtnis und lebensgeschichte. in: f. a. friedrich, t. fuchs, j. koll, b.  krondorfer, and g. m. martin (hrsg.) (2008) ​der text im körper​. hamburg: eb­verlag,  10­40  fuchs, t. (2006) gibt es eine leibliche persönlichkeitsstruktur? ein  phänomenologisch­psychodynamischer ansatz [is there a bodily structure of  personality? a phenomenological psychodynamic approach]. ​psychodynamische  psychotherapie 5, ​109–117  fuchs, t. (2008a) ​leib und lebenswelt. neue philosophisch­psychiatrische essays ​[the lived  body and the life­world. new philosophical­psychiatric essays]. kusterdingen: die graue  edition    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  21      fuchs, t. (2008b) leibgedächtnis und lebensgeschichte. [body memory and life history]. in f.  a. friedrich, t. fuchs, j. koll, b. krondorfer, and g. m. martin (hrsg.) (2008) ​der text im  körpe: leibgedächtnis, inkarnation und bibliodrama ​[the text in the body.  body­memory,​ ​incarnation, and bibliodrama] hamburg: eb­verlag, 10­40  fuchs, t. (2011) body memory and the unconscious. in d. lohmar and j. brudzinska (eds.),  founding psychoanalysis: phenomenological theory of subjectivity and the  psychoanalytical​ ​experience. ​dordrecht: kluwer, 69–82  fuchs, t. (2012) the phenomenology of body memory. in s. c. ​koch​, t. fuchs, m. summa,  and c. müller, (eds.) (2012) ​body memory, metaphor and movement​ (advances in  consciousness research, vol. 84). amsterdam: john benjamins publishing company,  9–22  gendlin, e. t. (1982) ​focusing ​(2​nd​ ed.).​ ​new york: bantam books  husserl, e. (1952) ​ideen zu einer reinen phänomenologie und phänomenologischen  philosophie. ii. phänomenologische untersuchungen zur konstitution. vol. iv,  husserliana ​[ideas pertaining​ ​to a pure phenomenology and to a phenomenological  philosophy: studies in the phenomenology of constitution]. den haag: martinus nijhoff  koch, s., fuchs, t.,​ ​summa, m., müller, c. (eds.) (2012) ​body memory, metaphor and  movement​. amsterdam: john benjamins publishing  markowitsch, h.j. and welzer, h. (2005) ​das autobiographische gedächtnis: hirnorganische  grundlagen und biosoziale entwicklung. ​stuttgart​: ​klett cotta  merleau­ponty, m. (1960) ​le philosophe et son ombre ​[the philosopher and his shadow]. in  signes ​[signs]​. ​paris: gallimard  merleau­ponty, m. (1962) ​phenomenology of perception​. trans. by c. smith. london:  routledge and kegan paul  merleau­ponty, m. (1966) ​phänomenologie der wahrnehmung​. berlin: de gruyter  panksepp, j. and biven, l. (2012) ​the archaeology of mind: neuroevolutionary origins of  human emotions​. new york: w.w. norton  reese, m. (2015) ​moshe feldenkrais: a life in movement​, vol. 1. san rafael, ca: reesekress  somatics press  schacter, d. (1987) implicit memory: history and current status. ​journal of experimental  psychology, 13​(3), 501–518    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  22    http://www.amazon.co.uk/s/ref=dp_byline_sr_book_1?ie=utf8&text=sabine+c.+koch&search-alias=books-uk&field-author=sabine+c.+koch&sort=relevancerank   schacter, d. (1996) ​searching for memory. the brain, the mind, and the past. ​new york: basic  books  stern, d. (1985) ​the interpersonal world of the infant.​ new york: basic books  walach, h., (2013) ​psychologie: wissenschaftstheorie, philosophische grundlage und  geschichte – ein lehrbuch, 3​. auflage, stuttgart: verlag w. kohlhammer    transcription and editing  transcribed by liz hough  edited by dianne hancock and brandee selck  biographies of participants  dr. med. dr. phil. thomas fuchs​ is a native of munich, germany where he studied medicine  from 1981­1988. during his medical studies he was troubled by the exclusive objectification of  the living body, and became interested in the first­person, subjective perspective of our  embodied self. he broadened his studies beyond medicine to include philosophy and the history  of medicine. it was in this later field that he received his first doctorate (md).   in the following years he received training in neurology, psychiatry and psychotherapy in  munich. in 1997, he became supervising psychiatrist at the heidelberg university hospital and  holds that position until today. continuing his studies in philosophy, he received a ph.d. in  philosophy with a dissertation about the phenomenology of the subjective body, space and the  concept of the person. in his work as a psychiatrist he has been able to weave together his  fascination with medicine and the philosophical tradition of phenomenology, which goes beyond  the objective physiology of the body to the subjective experience of what the germans call the  leib​ or ​leiblichkeit ​– the personal experiential dimension of one’s own body.  since 2005 he has been professor for psychiatry and psychotherapy in heidelberg. in 2010 he  was appointed karl jaspers professor of philosophic foundations of psychiatry and  psychotherapy in heidelberg. he has led two major research projects, funded by the european  union, concerning the subjective, first­person experience of one’s own body and the experience  of self. these projects have included several conferences in heidelberg with researchers and  therapists from around the world. since 2008 he has been a fellow of the marsilius center for  advanced interdisciplinary studies in heidelberg. since 2010 he has also been head of the  german society of phenomenological anthropology, psychiatry and psychotherapy (dgap).   he serves as editor of several professional journals, is a member of several professional  associations and has published several books, conference volumes and countless articles. a  popular lecturer, he has given talks at conferences on several continents; he is an avid traveler.    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  23      correspondence:   prof. dr. dr. thomas fuchs  psychiatrische universitätsklinik  voßstr. 4, d­69115 heidelberg, germany  e­mail: ​thomas.fuchs@urz.uni­heidelberg.de  homepage: ​www.thomasfuchs.uni­hd.de  roger russell​ ​ma, pt​ is a feldenkrais trainer. he is american, and is educational director,  with his partner ulla schläfke, of the feldenkrais zentrum heidelberg. he had the luck to learn  the feldenkrais method with moshé feldenkrais in san francisco and amherst (1975­1982).  since his first experience of feldenkrais lessons he has been intrigued by the ideas and the  way of thinking that led feldenkrais to his extraordinarily creative methods. he has studied  physical therapy, movement science, evolution, sensory­motor development, psychotherapy  and neuroscience in pursuit of more understanding of moshé’s ideas. realizing that these  different fields of study needed to be understood in a larger frame he became interested in  epistemology and philosophy, which led him to the door of thomas fuchs at the university of  heidelberg.   ulla schläfke ​is german and has been fascinated with people and their individual differences  since she was a teenager. she learned languages (spanish, french and english) in order to  engage with people in different cultures. leading the administration of a training institute for  teachers and psychologists, she recognized that many of the methods of humanistic psychology  could give her new insights into human nature, and she learned many of those methods,  including transactional analysis, theme­centered interaction, neuro­linguistic programming,  coaching and organizational development. an encounter in a conference led her to the  feldenkrais method which she learned in hawaii, paris and london (1988 – 1991). she is a  feldenkrais trainer and leads the feldenkrais zentrum heidelberg together with roger russell  in germany.   correspondence:  roger russell and ulla schläfke  feldenkraiszentrum heidelberg, bergheimerstr. 31, 69115 heidelberg, germany  e­mail: ​feldenkraiszentrum­hd@t­online.de  homepage: ​www.feldenkraiszentrum­hd.de  sabina graf­pointner, dipl. soz.päd (fh)​ is a feldenkrais practitioner and complementary  health practitioner.  she was born in munich​, ​germany and has been a teacher of dance and  movement since 1984. she has been a curious practical researcher of human behaviour in  many parts of the world and has studied dance and movement in munich, bolivia, barcelona,  boulder, colorado, san francisco and new york. understanding movement and approaching it  from the mind’s side was equally important for her, which led her to study philosophy,  psychology and pedagogy. a feldenkrais assistant trainer since 2005, she is presently seeking    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  24    mailto:thomas.fuchs@urz.uni-heidelberg.de http://www.thomasfuchs.uni-hd.de/ mailto:feldenkraiszentrum-hd@t-online.de http://www.feldenkraiszentrum-hd.de/   her accreditation as a feldenkrais trainer candidate. she has led a feldenkrais centre in  erlangen since 1993 where she teaches awareness through movement and functional  integration, and gives advanced trainings and supervision for feldenkrais teachers.  correspondence:   sabina graf­pointner  feldenkrais­praxis erlangen  schleifmühlstr. 19, 91054 erlangen, germany  e­mail: ​sabina.graf­pointner@t­online.de  homepage: ​www.feldenkraispraxis­erlangen.de    fuchs ​et al​ • ​feldenkrais research journal, volume 5​ ​(​2016)  25    mailto:sabina.graf-pointner@t-online.de http://www.feldenkraispraxis-erlangen.de/ feldenkrais research journal • volume 1 (2004) editorial introduction werner kraus passau, germany; former iff board member and iff research portfolio keywords feldenkrais, scientific research, self-education copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author introduction by werner kraus personally, i believe that dark-colored clothing makes people look thinner, that power corrupts and that a good feldenkrais lesson makes you more flexible and a little bit more mature. but do i really look thinner in black clothing? does power really corrupt? and has a feldenkrais lesson always a good result? it certainly happens all the time, that after a beautiful atm lesson someone gets up from the floor and claims that nothing really has changed. she doesn’t feel more flexible than before and certainly she has not experienced a minor explosion of maturity. in order to deal with this problem we have a number of possibilities to react: 1) we could in a more or less friendly fashion reject the experience of the client and regard her as a trouble maker. aren’t we sure that our method works anyway? 2) we could accept her experience and admit that not everything is good for everybody. 3) we could become curious about the fact that her experience stands in stark contrast to the experience of her neighbor and try to find out why that is the case. and most probably this investigation would lead us to questions like: what does “more flexible” mean? what is “flexibility” anyway? what do i mean by “maturity” and what is the client’s understanding of such a term. in short, we would find ourselves engaged in a scientific discourse. in order to deal with this kind of everyday irritations science developed a tool called research. scientific research is, as max weber used to term it, the central force for demystification of thought and action. science developed as a highly historical trend which rules today, at least on the surface, a vast terrain of our social interaction. if you want to convince your next-door neighbor that the feldenkrais method shows good results, you probably can resort to your own experience and convince her to believe it. if you have to convince the chairman of a health insurance company he wants to see scientific results. the public expectation that we proof our claims in a rational acceptable way is on us. we cannot reject it anymore. even if we are of the opinion that the canonization of science is just another form of re-mystifying phenomenological experience and that the feldenkrais method should be classified under the category of non-researchable phenomena. and there are a lot of good arguments to substantiate this opinion. but even in this case we have to accept that the majority of our contemporaries want to see some sort of scientific evidence before they accept that our method works. and some might even be interested in how and why it works. however we look at it, we have to build up a sound research base in order to be able to communicate with essential parts of the societies we are living and working in. the founder of the feldenkrais method, dr. moshe feldenkrais, certainly understood his work as teachable, learnable and therefore researchable project. only a method that can be discussed in scientific terms, can be handed down to a next generation of practitioners. as far as i am aware dr. feldenkrais never worked on a research 2 w.kraus/feldenkrais research journal 1 (2004) design to investigate scientifically certain aspects of his teachings himself. maybe he was to busy, maybe he knew how difficult such an endeavor would be. after all, the core of his method asks for nothing less than a holistic understanding of the world and its phenomena. fortunately his students where not quite as reluctant as their teacher. over the last years a lot of feldenkrais research has been done, as documented by the iff research list attached to this journal. the online iff research journal, which is planned as an ongoing endeavor, understands itself, in the best tradition of the international feldenkrais federation, as a documentation service. we, this first volume’s editor and the organizer of the iff academy journal, would like to present to the feldenkrais community samples of research works done over the years by different people in different cultures. the selecting criteria for the articles of this edition are not arranged along the line of “good” or “bad” research. to repeat it again: we are not the ones to decide, but to document. we are the ones who offer the community access to an ever-growing selection of feldenkrais research and the wisdom, competence and knowledge of the community will finally decide how feldenkrais research could be improved. after all the feldenkrais method basically stands for self-education. the first volume, which is presented to you here, includes american (bearman&shafarman, buchanan&ulrich), german (laumer), swedish (lundblad) and belgian (frydman) research works. it begins with a very wise friend of moshe feldenkrais – friedhelm kemp followed by articles on the nature of feldenkrais research (stephens, ginsberg, yoly) and it includes a rather blunt critique of feldenkrais research methods by a non-feldenkrais movement scientist (ives) as an answer to an article by buchanan&ulrich; it ends with thoughts about a future dialogue (schacker) and last but not least offers a little help for beginners in the matter, a ‘beginners guide to science’ (theuring) gives an introduction to all those who hardly ever got in touch with any research projects, but would like to contribute in the future. besides a wide geographical range we also have a historical depth – frydman’s article is regarded as the first feldenkrais-related research work ever done. kemps’ essay ‘walking upright’ was published 1969. as an international institution the iff academy decided to have most articles in their original language of publication and in an english version as well. finally the journal presents the most substancial list on feldenkrais research and feldenkrais research related works. to keep this list up-to-date everybody is invited to give notice of any research piece not yet included in this list. (contact: werkraus@aol.com) the hope of the editor is, that this journal might encourage one or the other of our colleagues to engage in feldenkrais research. as a community we have reached the “critical mass” for a major break through. let’s move on. passau/germany march 28, 2004 microsoft word 4_eisenberg_engl_pdf.doc feldenkrais research journal • volume 2 (2005) article psycho-corporal recovery as the essence of environmental values training rose eisenberg national autonomous university of mexico (unam) faculty of higher studies, iztacala c. chávez national autonomous university of mexico (unam) faculty of higher studies, iztacala v. cuevas national autonomous university of mexico (unam) faculty of higher studies, iztacala j. gutiérrez national autonomous university of mexico (unam) faculty of higher studies, iztacala s. rosas national autonomous university of mexico (unam) faculty of higher studies, iztacala a.m. landázuri national autonomous university of mexico (unam) faculty of higher studies, iztacala abstract this article presents the results of descriptive qualitative studies from a participatory action research perspective, focused on the impacts that have resulted from the incorporation of awareness through movement (awareness through movement) lessons from the feldenkrais method (fm). in education and training on environmental health, the inclusion of the human body as part of the natural environment is not common. similarly, human health is generally studied separate and apart from environmental health. the act of rediscovery and re-incorporation of awareness (mind-body) in the human being, in order that he recognize his internal bio-psycho-social environment and that he identify himself as an element in constant interaction with an external environment (natural, constructed, social), has not been considered relevant for the training of the individual and for environmental training in general. an interprofessional group of women was formed and undertook participatory action research. a longitudinal study consisted of an analysis of the discourse of the logbooks of groups of 75 work sessions during the years 2000 and 2001. we must learn to read the micro phenomena to better understand the realities of our society. zimmerman, 1998 published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org keywords feldenkrais, mind-body, awareness, somatic, consciousness, psycho-corporal recovery, environmental values training copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 psycho-corporal recovery as the essence of environmental values training one has to learn to perceive the micro-phenomena in order to better understand the realities of our society. (zimmermann) eisenberg, r.; chávez, c.; cuevas, v.; gutiérrez, j.; rosas, s.; y landázuri, a.m. national autonomous university of mexico (unam) faculty of higher studies, iztacala av. de los barrios no. 1 los reyes iztacala, c.p. 54090 tlalnepantla, estado de méxico. tel (5) 56231176, fax (5) 56231193, wieder@servidor.unam.mx 1) introduction 1.1) the mind-body relationship or environmental psycho-corporal recovery. in education and training on environmental health, the inclusion of the human body as part of the natural environment is not common. similarly, human health is generally studied separate and apart from environmental health. the act of rediscovery and re-incorporation of awareness (mind-body) in the human being, in order that he recognize his internal bio-psycho-social environment and that he identify himself as an element in constant interaction with an external environment (natural, constructed, social), has not been considered relevant for the training of the individual and for environmental training in general. since descartes, the human being has been divided into two regions: mind and body. this division has determined, for the most part, that intellectual work be overvalued and perceived as being separate from the body of the thinking individual. nowadays, and revisiting some of montford’s (1987) ideas, we observe that intellectual work, as an priority-taking activity in augmenting productivity and sparking technological innovation, “has lost all vision of the entirety of the social activities in which it 2 is involved, and that it cannot be but an alienated work; the alienation of intellectual work” that does not necessarily signify a better quality of life for society. some of the many consequences of this alienation that imply the absence of a perception of united self (mind-body) and its connections with the external environment, are clearly evidenced within the human psycho–social–corporal scope. in the mexican newspaper, la jornada (dpa 2002), the world health organization (who) announced that they would dedicate the entire year of 2002 to the promotion of movement, and on 7th april 2002, world health day, that organization inaugurated their pro-movement campaign with the motto “get moving for your health’s sake!” they noted that moving oneself reduces the risk of developing a heart condition, diabetes, cancer of the colon and lower back pains; that it lowers levels of stress, anxiety and depression and, moreover, that it promotes social interaction and integration. 1.2 the feldenkrais method (fm) in face of intellectual alienation. in face of this intellectual alienation, the feldenkrais method (1972), by way of its “awareness through movement” characteristic, facilitates the processes of auto-exploration that permit the development of attention, imagination and the internal perception of self, via guided movement. the method’s creator, moshé feldenkrais, drew on his background as an engineer and physicist, as well as his studies in neuroscience, theories of learning and the oriental martial arts, in order to develop a unique system of self-education that improves and augments human functioning via mind-body experience. in addition, he was in favor of the recognition of the importance of external space and environment and of going beyond the frequently centered vision of an “i” bounded by the skin’s surface. this method deals with the mind-body relationship and “environmental embodiment” as the bases of perception and development of awareness, as well as the platform for action. it grants a central position to socialization, self-regulation and learning, in order to assist the person to take charge of himself and his action in different environments. 1.3 the relationship between environment and the feldenkrais method in the feldenkrais method, awareness is considered a characteristic of the person, forming part of the auto-regulatory mechanisms of living beings. according to canter (1988), the environment is an expression that, etymologically speaking, refers to the “sheath” that encapsulates the subject. not only is it the container of the individual’s action, it is, moreover, the place-for-the-action of the individual. the somatic (soma = mind + body) focus of the fm, far from being reductionistic or materialistic, is more than anything an integrator of the living person “incorporated”. it is the embodiment of life as the 3 anglo-saxons termed it. when to this notion of soma is added one of education a position and methodology are affirmed; in this case the use of the fm for somatic development in one’s internal and external environments. similarly, joly (1995) considers that the image of the body in particular, and the sensation experienced in the body, do not emerge in a vacuum or capsule but as a continuum within the immediate environmental surroundings. we consider that the lessons (formal or informal) and the consequent acquisition of values constitute part of the life story of the individuals and mold the development of individual and collective environmental awareness. the psycho-corporal strategy used to improve internal and external environmental perception and action (whose “limits” are the skin and the membranes of the external organs), is innovative in that it uses the feldenkrais method as a mediator in order to identify the difficulties and achievements of incorporating values in self. in this research, it was not sought to center the training in order to learn the techniques of the fm in its two aspects, but to attempt to bring about formative integral processes in health and environmental education. we recognize the existence of pedagogical proposals and alternatives, by diverse authors, that enter into deep ecology [e.g. cohen (1989) and zimmermann (2001)], in order to awaken, comprehend or improve the awareness of human–environmental interaction, via the senses. however, the feldenkrais method centers upon the development of the perceptions of self as part of the environment, associating, as a result, the analysis of personal action in face of the external environment, via the analysis of body movements made by the person in training. four major points determine the focus of this training method (joly 1995): a) movement (and not posture or structure). b) the consciousness of the living, sensitive body (not the objective body learned from the exterior). c) learning (and not therapy). d) space or environment (and not the isolation of the self). 1.4 the somatic consciousness and the types of social consciousness. in relation to the experiences and scope of interaction of the individuals with themselves and with their surroundings, we adapt the progression of levels of consciousness that the human being can acquire on his educational journey, proposed by colette (1975), to the environmental training of the feldenkrais method (fm) and participative action research (par) used in this research. 4 as such, we have a primary level of consciousness (awareness) that is termed subdued or naïve consciousness and is described as ingenuous, induced; it is “the culture of silence” that does not perceive the dialectic relationship between nature and history, and the human being. example: protect the trees! without providing further information. in the pre-critical consciousness, the consciousness is alert, emerging, on occasion, as a rebel consciousness of an environmental situation, but accepting the determinants indicated by an established system. example: why must i protect the trees? what business is that of mine? why should i do it? in the critical integrator consciousness, the way to the analysis of the “perceived’ is given, with individual will to determine personal future and external environment relying on its own forces and potentialities in order to take an action stance in face of a given environmental situation or crisis. example: “ah! i understand that the trees are important to the existence of the animals and may be their source of food and shelter. they provide me with shade, play a part in the regulation of temperature and humidity, prevent erosion, reduce noise and contamination and make up part of a pleasing landscape that symbolizes life. i live from their fruits and trunks. i understand the reasoning behind the alarming messages regarding the consequences of their diminution or disappearance”. the liberating critical consciousness invites a cultural mobilization where there exists a clarification of the personal position regarding people and the environment, with an individual and collective civic obligation or responsibility that manifests itself in attitudes and concrete actions in face of a definite environmental situation. example: “now that i have researched which trees are suited to my community and how to plant and care for them in accordance with the seasons, i will set aside part of my time, thought and physical energy to commit myself to action; planting or cultivating the trees in my community”. 1.5 the conflicts involved in taking responsibilities for, and making commitments to, my person and my proximal surroundings. we now associate this ‘liberating critical consciousness’ with the three levels that kohlberg (1992) proposed, so that the development of the personality can reach a reasoning or advanced moral commitment in face of environmental problems or crises. we consider that the responsibility or commitment in face of these environmental risks implies, in agreement with kohlberg, passing through the following three stages: the pre-conventional or pre-moral, where “it’s all mine!” (of the subject). the conventional, where the “i” is located in the expectations of another, “i’m okay if i do what i’m told”. 5 the post-conventional, where there are no concrete norms, only principles of justice, reciprocity, equality and respect for the human rights of individuals. in a recent revision study, flores and pérez (1991) explain that previous authors (kuhn, braun y beribeau, diaz-aguado y medrano) enriched kohlberg’s vision of moral development, adding that it is convenient to take into account the preexisting sociocultural processes in addition to the real conflicts and specific situations in which moral decisions are made. that is, in order for the individual to voluntarily undertake pro-environmental actions, he would have to pass through the aforementioned processes, so that, in accordance with the context of his action, he would be able to identify both what it signified as regards quality of life for himself and his community, and the means of achieving or improving it. re-examining some elements proposed by elizalde et al. (1997), we may define quality of life as the dynamic and personal process of finding a delicate balance between the existential necessities that are being, having and doing, and the concrete values associated with them, such as, subsistence, protection, affection, understanding, participation, leisure, creation, identity and freedom; within the context suggested by the international declaration of human rights, at both individual and collective levels. 1.6 awareness through movement in environmental values training becoming aware of these existential necessities of being, having and doing, in the search for quality of life, is related to the processes realized in the fm. the lessons of awareness through movement (atm) are based in listening to verbal directions in order to make micro or expansive movements. they are movement sequences that serve to re-educate the self-image of the participant and attempt to encourage improvements in the quality of functional abilities, coordination, posture, self-image and, finally, performance in everyday life. sooner or later, these lessons engender questioning with regard to existential necessities and values. the lessons propose a coming and going between the following phases: the solicited movement, the sensations felt throughout the course of executing the action and the feelings and thoughts that are awakened, both whilst performing the action and after execution has taken place. the lessons are generally performed on the floor with the eyes shut. in essence, they involve imagining the action and carrying it out in an honest way. not imitating, but progressively discovering one’s own way of doing it; identifying and respecting, in turn, the limits that mark tension or pain in your “being” while avoiding entering into competition with either yourself or others. in this self-education, recognizing error (going beyond the point producing tension or pain), on a personal basis, is central to learning. the movements range from simple operations to highly sophisticated and complex activities, and have two modalities. 6 in functional integration (fi), the instructor suggests to the pupil, via a light but precise touch, the possibility of examining bodily structures and their movements, liberating tension or discovering simple and manageable movements that, on his own, he had considered difficult to do. 2) antecedents and universe of study: desiring to sketch an outline of the context of the investigation, we provide a summary of the origin and characteristics of our group as an universe of self-study. in december 1999, a meeting of academics of the national autonomous university of mexico (unam), iztacala campus, was held, regarding the strike that was then taking place at the university. at that meeting, a group of female colleagues (biologists, psychologists, doctors, nurses and teachers), who worked on and researched environmental health education and training, were reunited. given our impotence in face of the strike, we came up with the idea of getting together and conducting lessons in awareness through movement (as had formerly one member of the group), while also using that time to discuss the situation of the labor strike that our institution was experiencing. initially, we met in a carpeted room; 6 to 8 women, once a week. after completing an atm lesson (45 to 60 mins) and analyzing the strike situation, it was proposed that we should hold seminars in participative action research (par) to analyze, at a professional level, the achievements and difficulties experienced in our activities and personal research projects into health and environment. little by little, norms arose regarding use of our time; the discussions, the atm lessons, the presentation and subsequent discussion of our personal projects and the analysis of base articles. out of this came the environmental technical and values training project: analysis of processes in an interdisciplinary and intercultural group. this allowed the formalization of the analysis of our own interdisciplinary and intercultural processes, using the session logs for recording the group processes that were experienced. participants took turns 3) the base hypothesis of this work is the consideration that, while not personally experiencing the same difficulties and achievements in the organization and individual will to carry out consistent actions that favor the environment and the health of the trainer, within his everyday milieu, it would be difficult to reach an understanding of the individual or collective processes that result in the difficulties and achievements related to his actions as regards environmental and health education. associated with the practice of awareness through movement (atm) lessons, the participative action research (par) was incorporated as a dynamic methodology of the seminar. this was understood, as by kemmis and mctaggart (1988), as a form of collective introspective research by the 7 participants, in social situations, with the object of improving the rationality of their social or educational practices, as well as their comprehension of those practices and the situations in which they took place. the application of the participative action research (par) and the atm lessons (personal action research) as pedagogical strategies in action to promote environmental values training, permit, in the “here and now”, the essential sensitizing (to make conscious) of the “self” or the “i”, in action toward himself and in his interaction with the external environment; social, constructed and natural. action is required in order to understand the difficulties that arise whilst searching for personal quality of life and, as such, to better understand what we desire to awaken in the “otherness” (the other, the others and other things) in order to improve the collective quality of life. an everyday example: several campaigns promote energy-saving, requesting that unnecessary lights be switched off. however, this obviously worthwhile action appears not to be so obviously worthwhile to many people, both at home and at work, since it implies “moving oneself”. 4) in light of the above, we consider environmental values training to be the process of interiorization and biopsychosocial development in the subject, immersed in his differing fields of action, for the perception, identification and testing of strategies in close and concrete action, for the management of environmental problems, under an integrated perspective, in individual and collective areas. 5) object we present the results of a longitudinal and transversal, qualitative descriptive study that investigates the impact of the incorporation of the awareness through movement modality of the feldenkrais method (fm) and an interdisciplinary group of women who work on environmental and health education projects; in regard to the construction and reconstruction of their selves and their surroundings. 6) methodology longitudinal and transversal qualitative descriptive studies were undertaken that investigated the impact of the incorporation of the awareness through movement modality of the feldenkrais method (fm) and an interdisciplinary group of female lecturers and investigators in environmental and health education and training. 8 7) longitudinal research: analysis of the discourse of 75 group session logs. the technique of discourse analysis (boutin, g. 1997) was applied to 75 group logs, produced by the participants during the period 2000/2001, that describe the processes experienced in the 5-hour weekly seminars. five major thematic categories were identified: a) research projects, b) logs, c) the feldenkrais method, d) group processes, e) treated themes. in this study we will only report and comment upon the results relative to: c) the feldenkrais method. universe of study. the characteristics of the group under study and, at the same time, studying itself, while producing and analyzing the logs on a rotating basis, were the following: ages varied (during 2000 and 2001) between 28 and 63, with an average age of 47 years. about two thirds of the group (10 of 14) were trained or were being trained in the area of biological and health sciences, while the other third (5 of 14) were trained, or were in training, in the fields related to pedagogy and the educational sciences. one person had training in all of the above areas and was counted as an individual in each group. 7.1 results of the longitudinal study. the thematic sub-categories identified during the collective analysis of the discourse to detect the presence or absence of relationships between the fm and becoming environmentally aware, in 75 session logs produced between january 2000 (38) and october 2001 (37), were: 1) the frequency of the atm lessons 2) those who directed the lessons 3) the record of type and composition of the lessons 4) the possibility of identifying the name of lesson 5) whether or not feedback was offered regarding resonances 6) analysis of the kinds of resonances experienced by the participants. findings: 7.1.1) failure to initially record impacts (resonances) paradoxically, although atm lessons were conducted in most of the sessions of 2000, in the majority of those (25 of 37), the logs for those sessions reflected no thoughts regarding the impacts or resonances experienced by the participants. this situation came as a surprise to the group that deduced some possible explanations for the phenomenon: 9 a) the instructor asked the students to reflect upon the lessons on three occasions: immediately upon having completed the lesson, at the rest period (coffee), and/or at the beginning of the intellectual phase of the work. in addition, thoughts would surface in meetings that had nothing to do with the seminar. b) no person had been assigned to record the reflections regarding the atm lessons for the first 12 sessions due to the study not having been formalized at that point. c) due to the fact that the methodology of the investigation seminars was taken from the participative action research (par), in each session a log of edited group developments was produced, sometimes voluntarily or hastily. the resistance to produce these logs was put down to the fact that it was difficult to simultaneously participate, observe, write down the relevant details of group processes and later edit the log, solely or in pairs, to be read and confirmed or modified by the group in the next session. this also involved the use of an average of 2 to 3 hours of personal time away from the seminar. d) among the sensations and feelings awakened by the atm lessons, we initially did not find that connections were made between psycho-corporeality and environmental training, but that the latter was considered to be primarily an intellectual exercise. initially, there appeared to be a difficulty in linking experiences in training with everyday actions in the external environment. this last fact was corroborated when it was found that the first 5 sessions did not include an atm class, a lack that was attributed to the unconscious granting of priority to purely intellectual work, in order to comply with report rendering and other institutional activities. that is, in the procurement of values, the link between the personal perception of our biology, of our emotions and feelings and of intellectual work processes, is rarely formed. all of this inside an institution of higher learning and as part of an investigation project. 7.1.2) processes or stages experienced upon effecting the analysis of the discourse of the logs we were able to identify four stages in the practice of the atm lessons: in the first stage, reports were made detailing feelings of astonishment upon identifying in the body (or soma), in contact with a sense of gravity on the floor, an asymmetry (left or right side short, long, heavy, contracted, hard, etc.) that over the course of the lesson tended to balance out. also described were feelings of relaxation, pleasure and reduction in tension, together with the awareness of everyday movements that had not been noticed before. subjects mentioned difficulties in coordinating movement with breathing, coordinating the movement of legs – arms, a feeling of heaviness in the 10 extremities and wrists, and difficulty in following instructions due to fatigue and stress, and in establishing rhythm. during the second stage, feelings of pleasure continued and comments were made lamenting the loss incurred by some members who had missed out on the atm by arriving late. in the third stage, changes took place in the guidance structure of the classes due to the absence of the qualified instructor for several sessions. faced with these absences (4 to 8 sessions), the group decided to continue under the guidance of a volunteer who had prior experience as a participant in the activity. each session generally facilitated relaxation, but there were reports of failure in realizing that state when the rhythm or speed of the lessons was less than optimal or when there was a lack of warning regarding possible over-extension or injury. other failures were attributed to a lack of voice modulation on the part of the substitute instructor or to that person only dictating the exercise (the focus was on routinely completing the task); not having carried out prior self-experimentation and psycho-corporal learning of the lesson. during this stage, we observed the development and movement of a baby boy, the son of one of the participants. during six consecutive sessions we were able to observe, discuss and practise some of his movements, made between the ages of four and ten months, encountering in the process some associations with previous atm lessons or discovering new movement options for all parts of the body. in the fourth stage, we met with a situation where participants were under pressure to complete academic reports and other institutional obligations. at the same time, the group began to question the instructor about the pace of the work and the relevance of continuing it within an institutional assistance program that demanded that the majority of the time be spent in “honoring” the intellectual work. at the same time, a series of discussions were held: proposing new group work options (the elimination of logs, a realignment of the work pace to be established by the group), and ignoring the institutional pressure placed upon us to justify the economic assistance we were receiving. nevertheless, the number of feldenkrais lessons undertaken during this stage diminished, deliberation over them was discontinued, and intellectual work predominated. that is, a paradox emerged: sometimes we would proceed with the research, taking the necessary time and free of self-imposed pressures and at other times we would work at a pace set to comply solely with external pressures. from that point on, the group continuously sought a balance between the internal aspirations and external commitments that pulled them in several directions at once and that vied for their limited resources. 11 7.1.3. conclusions of the longitudinal study scant reflection was made regarding the impacts of the fm during the year 2000, however, in 2001, the frequency of reflection increased and a link between the fm and performance was made, both at a personal and professional level. we recognized the difficulty of carrying out the seminar activities in face of institutional pressures (schedules, problems of qualitative investigation recognition, report production, integration of disciplines and professions). there arose questions with regard to whether environmental training had anything to do with corporeality or interdisciplinary work, both by some of the participants and in the various academic departments to which some of them belonged. this evidenced the institutional view (both inside and outside the group) that the environmental question was solely an intellectual or biotechnological work but not an inter-scientific one. this became patently obvious during the second year, when some participants left the group, in some cases explaining that, in their individual academic areas, the authorities did not consider that such an activity should be evaluated institutionally (no points would be awarded), and in other cases because their immediate superiors did not accept that this activity had a relationship to environmental health. they insisted that this kind of work should be restricted to departmental projects. the remaining participants, realizing the value of the atm and the seminars, decided to continue; restructuring the intellectual portion of the work now that they considered the practice of the fm to be relevant. this period saw the introduction of the transversal study questionnaire, which is described next. 8) transversal research. analysis of the dialogue of 7 participants who responded anonymously to a survey. in august of 2001, the atm instructor proposed to the remaining group of seven participants that they anonymously respond to a survey of open and closed questions, in order to study directly which personal impacts had surfaced during the practice of the feldenkrais method, within the scope of their processes of research and environmental training. the main points of the survey studied were: a) whether the use of the feldenkrais method in environmental training was pertinent, b) whether there existed a relationship between the fm and environmental education, and c) what echoes or personal impacts were taken from the lessons. 8.1 results with respect to the main points analyzed in the horizontal study the reflections that surfaced comprised a “here and now” segment of the results found in an analysis of the logs. in synthesis, the fm contributed to clarifying the perception of the personal 12 internal and external microenvironment via movement (1.2, 1.3 and iii.1), it permitted the person to identify himself as being part of the environment and the processes of change necessary to carrying out pro-environmental action (i.1, ii.1, ii.2, ii.3). it was used as an alternative method of reducing everyday tensions (iii.2), and it enhanced the practice of values such as tolerance, acceptance of personal limits and the application of various alternatives in problem-solving (iii.3). next, we present fragments of the responses found in the surveys, grouped in relevant subcategories. i.1 analogies to the resolution of environmental problems. (p) 2 individuals p1 over the course of the sessions, relationships between this method and topics of group interest were shown to exist, principally in the analysis of the process for internal and external problem-solving. p6 i consider that the method is not only pertinent but very important. with the feldenkrais method we have realized that, just as there are many different ways to perform the same movement, we must also seek alternative options in resolving environmental problems. i.2 the relationship with the “self” or experienced soma (3 individuals) p2 we enter inside ourselves. p3 (because it has helped me) to be in contact with my body and my thought. it has given me time to work with my body and my surroundings. it has helped me a great deal to relax. p4 the feldenkrais sessions give us the possibility of a greater perception, as much with respect to what surrounds us as to our own bodies, to our microenvironment. it is incredible to feel that some very subtle movements bring about a total body effect. i.3 the conscious mind body link (2 individuals) p7 it is pertinent to me due to the fact that it deals with the body in its entirety and not just the head (intellectual thought), with this one may raise awareness starting with oneself. p4 (the feldenkrais sessions made it possible for us) to make the amazing discovery of these feelings, which, although not entirely new, we had never been quite aware of before. i.4 the perception of individual or group processes (4 individuals) 13 p2 it made possible a wider and enhanced understanding of the diverse processes that have been experienced. p3 they are a form of introduction to a work where the relationship with others must be cordial, respectful, comprehending, tolerant and “objective”. p4 it has lent cohesion to the group. p5 it has been pertinent and necessary because after every session one re-embarks with renewed desire and a more open mind. there exists the uneasiness of sharing personal experiences with the others. ii.1 permits self-identification as part of the environment (4 individuals) p2 everything is part of the environment. p3 because the way in which i perceive my body is the way in which i may perceive my surroundings. the organic system (my being) is a part of greater systems; family, work, social, etc., and all together they constitute the environment. p5 we make up part of the environment. p7 the body forms part of the environment; it interacts with the environment. on many occasions (the body) is the external reflection of where we are, or we are part of the environmental story that we are exposed to. ii.2 it is a way of knowing body and movement linked to environment (3 individuals) p3 therefore, environmental education would comprise every action that allowed us to know, identify, modify, protect and prevent harm to, the environment and all the elements that make up that environment. p5 the act of knowing our bodies, our movements and feelings, helps us, in a way, to get to know our environment from our own point of view. p7 therefore, the activity of personal understanding of the atm really has a lot to do with environmental education. ii. 3 it relates to the processes or options for change (4 individuals) p1 it is indirect. if it influences decision-making due to the process of the movements it supports a philosophy that may be applied to environmental questions. p3 if i desire to change my surroundings, i have to begin with an analysis of my being. 14 p4 (if we could not comprehend) our own bodies, we would not be able to comprehend what surrounds us either, if we do not learn to have respect for our own bodies, we will not respect the environment either. we have to have a relationship with the environment, knowing that as we degrade it, we degrade ourselves. p6 i consider that the method is not only pertinent but very important, given that, with the feldenkrais method we have realized that just as there are many different ways to perform the same movement, we must also seek alternative options in resolving environmental problems. iii.1 recognition of the living soma (3 individuals) p1 it has helped me to recognize my body. p2 greater sensitivity. i learned to pay more attention to the movements i make. p5 to be able to know my body, my mind, my breathing. iii.2 practise tolerance, analysis of alternatives, accepting limits (5 individuals) p1 (it has helped me) to be take thought for my movements before making them and, because of that, to avoid hurting myself or expending unnecessary energy. p2 (i learned) to be more tolerant. (i learned) not to demand more from myself than i can give. p3 (i learned) to analyze every decision that has to be made. p5 it has made me more able to control myself, to be more tolerant. p6 to be tolerant. to change my way of thinking and acting. it has been useful to me in my personal life, my family life and in my life in general. i have accepted the fact that i have limits. iii.3 i can relax (3 individuals) p1 (it has helped me) to relax. p5 i am able to relax whenever i feel pressure. p6 to relax myself. 15 9) discussion of the two studies undertaken to investigate the resonances of the feldenkrais method in environmental values and techniques training, by way of the technique of analysis of the dialogue in the 57 group logs (longitudinal study) and the answers to the survey questions given by 7 people (transversal study based on personal statements made in the “here and now”), two types of conclusions were drawn: some in a methodological sense and others in regard to personal resonances. in the methodological sense, although an analysis of the logs provided important details and although correlations were found between the longitudinal and transversal studies, we considered that, during the weekly seminars, the compilation of the resonances due to taking the atm lessons would have to be more rigorous. various possibilities arose in this regard: a) record the remarks that were made by participants directly upon ending the lesson, at the same time that opinions were requested. b) invite the participants to note or remember the comments that were made at the end of the lesson, in order that they could share them and have them recorded or noted when the group met again. c) every four lessons, encourage a moment of reflection, inviting the participants to respond, verbally or in writing, to open questions in regard to whether the atm or if lessons had an impact in their professional and/or everyday lives. d) if possible, and if the individual permitted, to have each person providing a verbal or written commentary, identify herself at the time of the collection of the dialogues. at the time of reporting results, for ethical reasons, the name of the person would not appear, instead that name would be substituted by a code number in order to be able to identify, within the study, the characteristics of the person regarding age, occupation, background or other factor considered relevant. in the qualitative sense the principal impacts were the following: during the analysis of the logs, we observed an initial difficulty in associating the intellectual exercise within the body movement and the mind-body (soma) as part of the environment. another doubt that arose was the possible reach of the atm lessons to achieve the desired liberating awareness (in the sense of colette, 1975), or post-conventional stage (in the sense of kohlberg, 1992), in personal pro-environmental action and in face of the external environment. this was achieved, thanks to the linking of the fm with the environmental values training from the participative action research method. that is, that the group analysis of our planning – action – reflection upon our own activities, the analysis of our conflicts, and individual, group and professional processes, allowed us a vision, at once collective and personal, of the complexity that a change of habits and/or environmental and health values would mean. 16 our investigative group, like any other, had goals, doubts, conflicts and advances, but was different than others in the sense of its central concern. this was not just completing the task but, in a parallel sense, permitting each person to become self-aware and to feel part of the group itself, that was comprised of people who needed each other and who “embarked” on a common task; environmental values and technique training. for this group, recognition of their microenvironment or soma, and the diversity of their value, attitudinal and behavioral links in face of the microenvironment (social, constructed and natural) during the seminars, was central. the relevance of the atm and the implicit value philosophy, permeated the participants by way of their life stories, individual experiences within the different limits of interaction of the subjects, the confrontation and analysis of conflicts, the fathoming and analysis of concepts, the pertinence of language use and multidisciplinary approach to individual projects of research into health and environment. it promoted the perception of self and of individual action towards the environment in order to understand the difficulty of assuming a voluntary commitment and facilitating change, seeking to improve the quality of individual and collective life. contemplating human action from a macro level “the neo-liberal policies are capitalizing nature and man himself, reducing life values to a market quote. quality of life in a community implies a process of reappropriation and self-management of the population’s own standards, via its needs and subjective values. an extrapolation to the subject implies a process of self-knowledge, constant construction and reconstruction in answer to society’s needs and values, as well as the use of resources, both biological and psychological, to resolve them. the sustainability of the quality of life implies having a life of quality to pass on to future generations and leaving them with resources that will allow them to adapt to new conditions” (leff e., 2000). we cannot immediately modify the conditions of our external environment, but through the atm we have been able to rediscover the needs of our own bodies and the value of this as a biopsychosocial entity. as a written example of the difficulty of perceiving the obvious (the oneness of mind-bodyenvironment) we look again at a proof given by cohen (1995). at this moment, the reader may perceive the words being read but, in general, has no awareness of the white spaces that separate and surround them, even though the one could not exist without the other. both represent reality. this phenomenon occurs because we have learned to focus on what society has told us is important. due to the fact that the words are what are important, we ignore the space that exists between and around them, although they are just as real as the words. for this reason we have included the practice of somatic education via the feldenkrais method as an innovative element. joly (1995) defines somatic education as an “emerging disciplinary field that 17 deals with the movement of the body within its environment, strictly speaking, in corporal awareness, and in the capacity of that living body to educate himself in everything that he is somatically living through. therefore, we include in environmental training, the entire body of the person being trained, with the experience it possesses, in systematic continuity with its environment. 18 bibliography boutin, g, (1997) “la colecta, el análisis de los datos y la redacción de reporte de investigación”. in the interview as used in qualitative research. chapter 6.presses de l’université du québec (en original 129-146 pp.) canadá. canter, d. 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"análisis psicológico-cultural del razonamiento moral de niños y adolescentes mexicanos, un estudio exploratorio" tesis de licenciatura en psicología, unam iztacala, méxico. joly y, (1995) "la investigación y la práctica del cuerpo vivido: un punto de vista por el método feldenkrais® de educación somática”. published in la magazine: association pour la recherche qualitative vol. 12. invierno. pág. 87 a 101. département des sciences de l'education, université du québec canadá. kemmis, s., y mc. taggart., (1988) cómo planificar en la investigación acción. laertes, barcelona. cap. 1. kohlberg, l. (1992) psicología del desarrollo moral. editorial desclée de borower. montford g. g.,(1987) educación recursos y prioridades, periódico excelsior sección metropolitana, año lxxi, tomo vi, número 25, 771 pag. 1 y 2m, del miércoles 30 de diciembre. pozner, p. competencias para la profesionalización de la gestión educativa. argentina. 2000. consultado en línea: http://www.iipe-buenosaires.org.ar/ zimmermann, m. (1998). psicología ambiental y calidad de vida. colombia. textos universitarios. zimmermann, m. (2001). ecopedagogía para el nuevo milenio. colombia. textos universitarios. feldenkrais research journal​ • ​volume 6​ (2018-2019) research in progress designing technology for active sitting: an example of feldenkrais method​®​-inspired body-centric interaction design margaret kaye feldenkrais practitioner, feldenkrais method assistant trainer, sydney, australia lian loke phd, certificate in fashion design and illustration; sydney school of architecture, design and planning, university of sydney, australia keywords design technology, active sitting, feldenkrais method, body conscious design, activity-based workspace design copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ research in progress designing technology for active sitting: an example of feldenkrais method​®​-inspired body-centric interaction design margaret kaye feldenkrais practitioner, feldenkrais method assistant trainer, sydney, australia lian loke phd, certificate in fashion design and illustration; sydney school of architecture, design and planning, university of sydney, australia “the aim [of the feldenkrais method] is a person that is organized to move with minimum effort and maximum efficiency, not through muscular strength, but through increased consciousness of how movement works.” moshe feldenkrais with the increasing ubiquity of digital technologies in everyday life, we find our daily habits and routines dependent to a large extent on the interactions made possible by how these technologies are designed. as digital technologies continue to be integrated into work and leisure activities, our very movements become choreographed and often restricted in range and quality – whether or not we are aware of it. recent studies in health science have raised the alarm to the negative health consequences of sedentary behaviour, linking a lack of physical activity to an increased likelihood of cardiovascular disease, not to mention musculoskeletal problems. new evidence defines long term sitting as the ‘new smoking’ as cardiovascular action is restricted for long periods of time in many work, study or leisure contexts that rely increasingly on seated activities related to writing or screen work (stamatakis 2017). in this context acknowledgement is increasing of the importance of movement and variation (chau and engelen 2015). what this recognition of long periods of static activity does not acknowledge is the effect on musculoskeletal, or biomechanical function. the office workplace, in particular, is seen as a prime site for intervention. a myriad of different approaches to transforming the workplace into a place of healthy productivity have emerged in the past decade: activity-based workspace design (foley ​et al​. 2016), active design guidelines (center for active design 2010), yoga and meditation rooms, and a host of new interactive technologies aimed at monitoring and motivating people to take breaks and move more (stephenson ​et al​. 2017). as yet no conclusive evidence has emerged to support widespread adoption. what is more troubling are the paradigms of health that are reinforced by the design of environments and technology. as everyday technologies become more implicated in our physical health and mental wellbeing, kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 2 the dependent relationship between people, technology and the environment cannot be ignored. there is a responsibility to examine assumptions around the relationships between body, technology and culture. what are the dominant paradigms and tacit assumptions underlying the designs and products that become embedded in daily life? how is movement and posture understood? what implications do these models have on how people understand and use their bodies in daily life? it is this set of questions that underpins our research into the application of principles of feldenkrais method to interaction design, or what we call body-centric interaction design. we began this enquiry with a focus on the workplace, and how it could be redesigned through the lens of feldenkrais method. our approach shares the values of body-conscious design introduced by galen cranz (2000), and extends the focus from the design of furniture and environment to include the use of digital, interactive technologies. it also builds on margaret kaye’s previous feldenkrais-based workplace consultancy, including running workshops, on sitting, examining individual work areas, and adjusting work physical structures to suit the individual person. the consultancy was premised on the basis that we work with what we have. in contrast, the new study has enabled an exploration of new concepts using interactive technologies to support the aims of feldenkrais practice in the workplace. in our study, we are using feldenkrais method principles of conscious awareness to our mind-body in the context of the workplace. we conducted a series of workshops to explore possible thinking and ideas, as a dialogue between a feldenkrais teacher (first author), an interaction design researcher (second author), and a software developer. the exploration began with margaret leading a set of awareness through movement​®​ (atm​®​) lessons, to ensure we all had a basic understanding of the feldenkrais work and shared bodily experience. the premise of the movement lessons included finding skeletal support while sitting on chairs, finding efficiency in standing, and increasing the range of motion for ease and efficiency in movement while engaging with a range of activities, including just sitting or standing without any other intention. we undertook conceptual explorations of broader interactive, and active workplaces, where playfulness and movement are considered. we then brainstormed several ideas, starting either from a desired movement pattern and then speculating on what kind of interactive technology could support that movement, or examining a specific technology and identifying what kinds of movement-based concepts could be possible with that technology. when we shifted to prototyping ideas, we used existing products that could be ‘hacked’ and repurposed, e.g., the nintendo wii balance board and the microsoft kinect motion sensor. in this article, we will focus on just one of the concepts we are exploring for seated solutions to address the issue of prolonged sitting. ​let’s sway​ is a pressure-sensitive seat that provides feedback and feedforward on the act of sitting. through this concept, we are critiquing conventional models of posture and sitting. our intention is to challenge the dominant paradigm of corrective behaviour such as ‘fixing’ posture. our approach is more concerned with somatic kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 3 learning as an ongoing process versus disciplining the body. to illustrate our points, we will compare ​let’s sway​ to a commercial product, ​lumo lift​ (the grommet n.d.). with ​lumo lift​, a person wears a small device positioned just below the collarbone that monitors when the body is not in an upright posture. when the person leans over, or slouches, the device emits a simple vibration to alert them to their incorrect posture. in our view this kind of device is in the corrective behaviour paradigm, where there is a correct and an incorrect posture. popular understandings of ‘correct posture’ are developed from childhood through a social process of learning. we become accustomed to our cultural patterns of movement, and this includes in many contexts, the requirement to sit on a chair, to sit in a certain way, to sit without too much movement, and to sit in a way that demonstrates compliance with cultural norms and subordination in recognition of authority. we learn that sitting upright and certain ways of standing are ‘good posture’. we are told to ‘pull the shoulders back’, ‘pull the belly in’, and to ‘sit up straight’. or to stand straight. but in reality, nobody knows what this actually means. people may respond to this concept with rigidity, which then collapses with fatigue. another common and relatively new idea is the concept of ‘core strength’. this varies greatly depending on the model of enquiry. generally, it relies on muscular strength in the pelvic region without detailed consideration of muscular skeletal patterns or inherent movement pathways. another deterrent from finding efficiency and comfort is the opposite effect, of self-evaluated ‘bad posture’, where people may be reluctant to discover non-habitual practices as it feels too unusual, culturally infrequent, or makes them feel ‘bad’ about themselves. some people become so habituated to the patterns of movement that become culturally embedded, they feel ‘out of sorts’ upon invitation to do something new. this kind of thinking, of good versus bad posture within a corrective behaviour paradigm, is antithetical to the principles of the feldenkrais method, where effective posture is related to function, and found naturally through awareness and movement. in our model, the act of sitting is understood as ​dynamic​, not static. in a static model of posture, sitting is understood as holding a posture, of which there are good and bad instances. whereas in a dynamic model of posture, the body ​moves​ in the act of sitting. the spine is able to articulate and adjust itself in relation to the whole body – what moshe feldenkrais (1985) calls “acture”, in contrast to posture. instead of using technology to monitor for ‘poor posture’ like the ​lumo lift​ does (which means embedding a model of poor posture into the technology), we are working from a premise of enhancing awareness of how one is sitting over time, and using technology to encourage people to be more dynamic in how they sit. the person is not disciplined to correct their posture, instead they are encouraged to become more aware of how they habitually sit and to kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 4 learn strategies for active sitting. in our prototype ​let’s sway​, the shifts in weight whilst sitting are displayed in a visual form on a computer screen. the position of one’s centre of mass on the pressure-sensitive seat is represented as a dot on the screen. the series of weight shifts is displayed as a trace pattern of the dot in motion, providing direct feedback to the sitter. the display is intended as a reflection of how the person is moving (or sitting still), to draw awareness to how they habitually sit. it is also intended as a gentle stimulus, a reminder to change how they are sitting, to experiment or play with how they are sitting, or to take a break from work. regarding strategies for active sitting, we are experimenting with forms of visual suggestion (or feedforward) to encourage certain kinds of simple geometric movement patterns whilst sitting and shifting weight, such as forward/backward, side-to-side, circling around the pelvis, or figure-of-eight spiralling. it is also possible, of course, to perform free-form movements of weight-shifting and instantly view the emergent visual drawings. these feedforward patterns are informed by awareness through movement principles and exercises. whereas in previous work loke ​et al​. (2013) included an audio recording of an awareness through movement lesson as part of an interactive artwork, here we are exploring how to embed awareness through movement principles into the interactive visuals. the speed of the feedforward visuals is deliberately rendered at a slow pace to encourage the person to slow down as they mimic the geometric pattern and notice the quality of their movement. the drawing of the geometric patterns is intended to encourage the person to smooth out the trajectory of their moving and shifting of weight. this smoothing out of movement enables a person to gain mastery over small movements which are then chained to form larger movement arcs. this study is in its formative stages, at an exploratory level, and no conclusions have yet been reached. we are continuing to experiment with strategies for providing visual feedback and feedforward on active sitting. in conclusion, previously there has been a reliance on furniture doing the work of body alignment. ergonomic approaches generally assess the fit between person and environment, and endeavour to provide solutions that allow optimal functioning, both physical and cognitive. however ergonomic approaches and assessments may not take into account the person's habitual tendencies in function. trends in posture correction (e.g., ​lumo lift​) (the grommet, n.d.) and workstation design (e.g., sit stand desk) (foley ​et al​. 2016) are attempting to introduce new ways of working aligned with good health, but don’t necessarily address the question of how comfortable and efficient we are – how we do what we want to do in the best ways. the rhetoric is often around the impact of sedentary behaviour, such as cardiovascular disease, and diabetes. despite musculo-skeletal issues also being identified as resulting from poor workplace design and lack of physical activity, kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 5 the ​quality​ of moving is never really addressed. under a feldenkrais-inspired approach to body-centric interaction design, the ethos is about giving agency back to the individual. agency to make choices about how to use one’s body. agency to find comfort and ease through awareness that will lead to sustainable, revitalising practices in the workplace, and beyond. references center for active design (2010) ‘active design guidelines’. [online] available from < https://centerforactivedesign.org/guidelines/​ > chau, j., and engelen, l. (2015, august 3) ‘health check: the lowdown on standing desks’. the conversation​. [online] available from < https://theconversation.com/health-check-the-low-down-on-standing-desks-37515​ > [january 3, 2017] cranz, g. (2000) ​the chair: rethinking culture, body and design​. new york: ww norton feldenkrais, m. (1985) ​the potent self: a guide to spontaneity​. san francisco: harper and row foley, b., engelen, l., gale, j., bauman, a., & mackey, m. (2016) ‘sedentary behavior and musculoskeletal discomfort are reduced when office workers trial an activity-based work environment’. ​journal of occupational and environmental medicine 58​ (9), 924-931. doi: 10.1097/jom.0000000000000828 loke, l., khut, g., muller, l., slattery, m., truman, c., & duckworth, j. (2013) ‘re-sensitising the body: interactive art and the feldenkrais method’. ​international journal of arts and technology 6​ (4), pp.339-356. doi: 10.1504/ijart.2013.058283 shrestha, n., kukkonen-harjula, k.t., verbeek, j.h., ijaz, s., hermans, v. and bhaumik, s. (2016) ‘workplace interventions for reducing sitting at work’. ​the cochrane database of systematic reviews, 3​, p.cd010912. doi: 10.1002/14651858.cd010912.pub3 stamatakis, e. (2017) ‘why sitting is not the new smoking’. ​the conversation​. [online] available from < ​https://theconversation.com/why-sitting-is-not-the-new-smoking-72568​ > [january 3, 2017] stephenson, a., mcdonough, s.m., murphy, m.h., nugent, c.d., & mair, j.l. (2017) ‘using computer, mobile and wearable technology enhanced interventions to reduce sedentary behaviour: a systematic review and meta-analysis’. ​international journal of kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 6 https://centerforactivedesign.org/guidelines/ https://theconversation.com/health-check-the-low-down-on-standing-desks-37515 https://theconversation.com/why-sitting-is-not-the-new-smoking-72568 behavioral nutrition and physical activity 14​ (1), 105. available from < https://doi.org/10.1186/s12966-017-0561-4​ > [january 3, 2017] the grommet (n.d.) ‘lumo bodytech: posture and activity tracker’ [online] available from < https://www.thegrommet.com/lumo-bodytech​ > [january 3, 2017] kaye and loke • ​feldenkrais research journal, volume 6​ (2018-2019) 7 https://doi.org/10.1186/s12966-017-0561-4 https://www.thegrommet.com/lumo-bodytech feldenkrais research journal • volume 1 (2004) article therapeutic effects of the feldenkrais method (awareness through movement) in eating disorders uwe laumer lehrstuhl für psychologie i., universität regensburg manfred bauer lehrstuhl für psychologie i., universität regensburg manfred fichter lehrstuhl für psychologie i., universität regensburg helmut milz lehrstuhl für psychologie i., universität regensburg abstract based on the movement-pedagogical concept of feldenkrais and the findings of disturbed body perception by eating disordered patients this research aimed at studying the therapeutical effects of the feldenkrais method „awareness through movement“ with eating disorder patients. 15 eating disordered patients treated at the roseneck hospital for behavioural medicine rated – by means of a questionnaire consisting of scales of the body cathexis scale (bcs), the body parts satisfaction scale (bpss), the questionnaire for body perception (fragebogen zum körpererleben; fke), the emotion inventory (emotionalitätsinventar; emi-b), the anorexia-nervosa-inventory for self-rating (anis) and the eating disorder inventory-2 (edi) – various aspects of their eating disorder before and after participating in a nine hour course of the feldenkrais method. the data of these patients were compared to those of the members of a control group, also consisting of 15 eating disordered patients who did not participate in a feldenkrais course. the participants of the feldenkrais-course showed increasing contentment with regard to problematic zones of their body and their own health as well as concerning acceptance and familiarity with their own body. other results were a more spontaneous, open and self-confident behaviour, the decrease of feelings of helplessness and decrease of the wish to return to the security of the early childhood, which indicates the development of felt sense of self, self-confidence and a general process of maturation of the whole personality. the outcome points to the therapeutical effectiveness of the feldenkrais method with eating-disorder patients within a multimodal treatment program. keywords feldenkrais method, eating disorder, body perception, body therapy, psychotherapy copyright ©: the copyright for this paper remains with the author(s). published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org first published in german: ppmp psychotherapie psychosomatik medizinische psychologie 47 (1997) p. 170-180. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 1 (2004) ® 2004 by the author therapeutic effects of the feldenkrais method (awareness through movement) in eating disorders by uwe laumer, manfred bauer, manfred fichter, helmut milz originally published in german. translation 2004 by carolin theuring with consultation of uwe laumer. abstract „based on the movement-pedagogical concept of feldenkrais and the findings of disturbed body perception by eating disordered patients this research aimed at studying the therapeutical effects of the feldenkrais method „awareness through movement“ with eating disorder patients. 15 eating disordered patients treated at the roseneck hospital for behavioural medicine rated – by means of a questionnaire consisting of scales of the body cathexis scale (bcs), the body parts satisfaction scale (bpss), the questionnaire for body perception (fragebogen zum körpererleben; fke), the emotion inventory (emotionalitätsinventar; emib), the anorexia-nervosa-inventory for self-rating (anis) and the eating disorder inventory-2 (edi) – various aspects of their eating disorder before and after participating in a nine hour course of the feldenkrais method. the data of these patients were compared to those of the members of a control group, also consisting of 15 eating disordered patients who did not participate in a feldenkrais course. the participants of the feldenkrais-course showed increasing contentment with regard to problematic zones of their body and their own health as well as concerning acceptance and familiarity with their own body. other results were a more spontaneous, open and self-confident behaviour, the decrease of feelings of helplessness and decrease of the wish to return to the security of the early childhood, which indicates the development of felt sense of self, self-confidence and a general process of maturation of the whole personality. the outcome points to the therapeutical effectiveness of the feldenkrais method with eating-disorder patients within a multimodal treatment program.” key words: feldenkrais method – eating disorderbody perceptionbody therapy psychotherapy published in: ppmp psychotherapie psychosomatik medizinische psychologie 47 (1997) p. 170-180. 2 u.laumer et al./feldenkrais research journal 1 (2004) introduction the interest in body oriented approaches for treatment of psychosomatic disorders has been growing continuously during the last years. body-, movementand breathing therapies become more and more integrated into the treatment plans of psychosomatic disorders, especially in stationary settings, due to impoverishment of sensuous experience in modern industrial society, a movement-inactive lifestyle, excessive demand of the body through stressful situations and increase of psychosomatic illnesses. many body-oriented treatments are thereby founded on the work of wilhelm reich (1970,1972). alongside, integrative approaches as well as functional body approaches gained more and more importance, like practices of movement oriented therapies. one of these practices is the holistic movement pedagogy of feldenkrais, whose group method is in the centre of the following study. his interest in mechanics and efficiency of movement, in neurophysiology and pedagogy as well as the experience of a severe walking disabling knee injury, that he was able to heal by himself through self observation and application of movement, lead the ingenieur, phd of physics and judo teacher moshe feldenkrais (1904-1984) 1949 to the publication of his ground laying book “body and mature behaviour. a study of anxiety, sex, gravitation and learning” (feldenkrais, 1949). during the following 30 years feldenkrais developed and taught the two ways of his method, the hands on version “functional integration” and the group lessons “awareness through movement” (feldenkrais 1978, 1987, 1989). according to feldenkrais the unity of body and mind is a concrete reality. they are not two somehow connected things, but in their functions rather an inseparable whole. (feldenkrais, 1988). motor activity is in that perspective the centre of all human activity and learned motor habits are the origin of emotional instability and behaviour disorders. changes in behaviour are therefore only stable, if also the underlying physical pattern changes and through new-, or re-education of muscular habits the whole psychophysical organism achieves improvement (hanna, 1984). that way feldenkrais (1949) shaped a theory of holistic somatic education, in which through movement an access for change of the entire person is sought. according to feldenkrais (1978) we act after the image, that we create of ourselves. this selfimage, which is formed through movement, sensation, emotions and thinking, is partly inherited, partly educated and a third part is created through self-education. with help of the specific movement lessons of the feldenkrais method a process of organic learning is re-stimulated, which enables a sort of post-maturation and leads to the formation of new, more functionally appropriate reactions. feldenkrais (1987) understands organic learning as the way children learn to lift the head, to roll, to walk, etc. meant is an exploring, playful way of learning in ones own rhythm, with sufficient breaks and without pressure to perform, which awakens curiosity and interest, in which multifaceted parallels to most recent pedagogic approaches become apparent. this way of learning aims to evolvement and better use of ones own potential. of special meaning is here the progression and promotion of kinesthetic sense, which is, as our first and basic ability to perceive, deeply connected with our self-identity. another important point is the creation of eu-tonus, which means an optimal pattern of tonus, which provides the biggest preparation for action and reaction. the method of “awareness through movement” a system of over thousand of verbally taught movement lessons uses gentle movement, guided attention, perception and imagination to develop the kinaesthetic sense in a vivid and lively way, to improve the 3 u.laumer et al./feldenkrais research journal 1 (2004) neuromuscular self image, on which movement is based and to foster with it the felt sense of self and self awareness. the work wants to lead to aware and spontaneous action and to the ability to be at the same time in contact with ones own muscular-skeletal system and the environment. movement should ideally be only limited through the individual structure of the skeleton but not through muscular interference and every action should be performed with the least required effort and a maximum of efficiency. thereby movement ranges from specific patterns, based on human motor development, to quite unusual configurations and often covers a specific function, like rolling, looking, breathing etc. important principles are for example the exercise of attentive perception of ones own body, reduction of unnecessary effort, reduction of movements oftentimes down to very tiny, slow motions, encouragement to being not perfect, a playful approach, newness of the situation during the whole lesson, work with only one half of the body, techniques of imaging (feldenkrais 1988) as well as parallels to milton ericksons hypnotherapeutic approach in the use of language and the possibilities to induce trance by means of movement and enhanced attention (erickson u. rossi 1981, reese 1985). the feldenkrais method has a broad range of application and research areas, like rehabilitation of neurological disorders (deutsche multiple sklerose gesellschaft 1993, milz 1985), developmental disturbance of children, pain problems and disorders of the motor apparatus (weitzer u. graml 1995), psychosomatic problems (czetchok 1992, goebel 1992), prevention and adult education (petzold 1985), psychotherapy (fried 1988, pohl 1994) or the training of musicians (jacoby 1990), actors, dancers or in sports. the feldenkrais method is also increasingly used in treatment of psychosomatic disorders, which among other things go hand in hand with a decrease or disruption of the motivity or with a disturbed relation to ones own body and an incomplete body image. however there is still a lack of studies that evaluate the efficacy of the feldenkrais method in this realm. only hutchinson (1985) is referring to an evaluation of a training program consisting of exercises using imagination and elements of feldenkrais lessons to change the negative body and self-image of adipose women. in common for eating disorders like anorexia nervosa, bulimia nervosa and hyper phage adiposities are disturbances of body perception and of body image as well as feelings of personal ineffectivity (bruch 1973). the most obvious symptom of anorexia nervosa is a strong loss of weight, which is not resulting from somatic causes, but develops from food rejection or restriction, connected with a kind of weight phobia (gerlinghoff & backmund 1989). girls and young women are stricken with this in the first place (karren 1986). disturbed body perception of the patient is often expressed in the fact that even extreme loss of weight is not realized and the patients still feel too fat or want to retain the now reached “ideal weight” (karren 1986). this clinical picture nowadays increases considerably in industrial countries. equally considered as determining for development of anorexia nervosa are individual, family dynamic and sociocultural factors (bruch 1978, hellinger 1994, selvini-palazzoli 1982). bulimic patients mostly experience at least one ravenous hunger attack a day, during which they are unable to control the amount of food intake (paul u. pudel 1985). some patients though show a change between phases of hunger attacks and symptom free periods. two third of the patients induce vomiting every time after a ravenous hunger attack which comes with negative feelings. additionally they often abuse appetite depressants and laxatives. frequently named as trigger for the excessive hunger attacks are frustration, boredom, anger or rage. hunger or appetite don’t play a role here. this suggests that patients grounded on their symptomatology have lost the physical sensation of hunger or saturation. 4 u.laumer et al./feldenkrais research journal 1 (2004) adipositas is a symptom, for which physiological, genetic and personality factors as well as acquired eating habits from childhood are of significance (bräutigam & christian 1981). adipose feel their eating behaviour as well as their body weight as something uncontrollable. they often have an aggressive to hostile relationship to their own body. disturbances of the body image were found of the kind, that adipose people think of themselves as fatter as they actually are. (mader 1986). however from a medical point of view adipositas only describes the forms of overweight that require treatment or are relevant for health. in difference to adipose patients, normal weighted are able to show, without cognitive control, spontaneous on body signals relying eating behaviour and are able to keep their normal weight long-term. (pudel 1987). from the description of the feldenkrais method it became obvious, that movement opens access to a change of the entire person, existing movement-, breathing-, and posture patterns become more conscious and the development of body perception and the felt sense of self is being promoted. eating disorders have disturbances of body perception, of body image as well as feelings of personal ineffectivity in common (bruch 1973). these aspects show the significance and effective radius of a bodyand movement-therapeutical approach to these disorders. aim of the following inquiry study was to filter the effect of a feldenkrais-group on the patients relationship to her own body, her emotional state and on other for eating disorders typical fields in the setting of a stationary, multimodal therapy program. at the same time this investigation is following the intention to expand the psychological knowledge about areas in which the feldenkrais method has an impact on patients with eating disorders. from this aim resulted the following questions: -does “satisfaction with the own body” and “acceptance of the own body” change through participation in the feldenkrais-group? -do changes in “spontaneity of behaviour” and in “psychical well-being” occur through participation in the feldenkrais-group? -does the “consciousness of figure” (figurbewußtsein) as well as a “feeling of being overwhelmed” (gefühl der überforderung) change through the participation in the feldenkrais-group? -do as positive rated changes in areas specific for eating disorders, like impulse regulation, social security etc. result from a participation in the feldenkrais-group? method field of investigation and design of investigation several units at the hospital of roseneck where the following study was conducted are specialized in treatment of eating disorders besides other existing focal points. here patients with anorexia nervosaand bulimia nervosa as well as hyper phage adipose patients receive treatment together. at clinic entry every patient gets assigned to one reference therapist (m.d. or psychologist). at the beginning of therapy every patient together with her therapist works out a therapy plan with the goals of the therapy. this general therapy plan for every eating disordered person is composed of singleand group therapy, which is lead by the respective therapist of reference. additionally the eating-disorder patients take part in bodywork, in the setting of physical exercise and movement-therapies. movement therapy here includes dance therapy and the feldenkrais method “awareness through movement”, which is mostly conducted in groups of patients of one unit, as well as single work. a more extended description of the 5 u.laumer et al./feldenkrais research journal 1 (2004) therapeutic concept of the clinic of roseneck can be found in fichter (1989). in preparation of the transition from the stationary therapy to the ambulant phase the patients are already recommended during their stay to make contact with self-help associations or therapists in their hometown. patients have a possibility to try out the things learned in therapy also in their home environment in prepared therapy vacations. then occurring problems can be renewedly worked on in the clinic (brunner 1987). a group of 15 patients of the clinic with eating disorders did take part in a feldenkrais group with nine scheduled sessions within five weeks additionally to the intensive multimodal therapy program of the psychosomatic clinic of roseneck. these patients were compared with a control group of 15 patients with eating disorders of the same clinic, who only took part in the above described therapy program without the feldenkrais method. a closed group seemed to make more sense compared to an open group, because it allowed a developing program for the class. it also didn’t seem meaningful to have a placebo treatment for the control group, which would have had the same time length as the feldenkrais lessons, with a look at the extensive schedule of the patients and the purpose of this study to be also considering the small sample a pilot study. for both groups it was paid attention, that patients didn’t receive any other movement therapeutic treatments (e.g. dance therapy) during waiting hours and time frame of the investigation. however the influence of other (non-body-oriented) parts of the stationary treatment on the examined variables stayed uncontrolled in this comparison of the two groups. newly arrived patients of the units for eating disorders were collected in the course of three weeks. with this group a feldenkrais-group was started, with one initiating meeting and nine lessons of “awareness through movement” each of 45 min length. the lessons where held two times a week over a period of five weeks. during the execution of the feldenkrais-group again in the course of three weeks newly arrived patients with a diagnosis of eating disorders were collected to contribute to the control group. measurement of each group was conducted respectively after a initiating meeting and after a period of five weeks, resp. after the end of the feldenkrais-group. for the feldenkrais class a series of lessons was chosen, that in method specific ways dealt with different stages of child development. thus after the initiating meeting the first class was started with the primary movement topics of infancy (lips, eyes, head, first rolling movement). topic of the second class was lifting of the head in back position (work with the flexors). the third lesson introduced breathing movements, especially belly breathing. content of the fourth lesson were movements of the legs in connection and differentiation with rolling the head. the fifth class was aimed at the connection of different postures (from “collapsed in itself” to “exaggerated erection”) and the feelings that come with it. the sixth lesson continued to play with the red thread of motor development in infancy and was about rolling movement to the side. the seventh lesson was assigned to explore the own pattern of breathing as well as the connection of different ways of breathing and emotions. in the eighth class especially movement with arms and legs and the perception of both halves of the body received attention. the ninth lesson again was about breathing, this time about the different phases and the rhythm of breathing. description of the tools for data collection both patients from the controland from the feldenkrais-group received for both points of data collection a questionnaire composed of the following parts: based on “body cathexis scale” (bcs) (secord u. jourard 1953) and on “body parts satisfaction scale” (bpss) (berscheid, walster u. bohrnstedt 1973) a list of 34 items was put together, on which satisfaction or dissatisfaction with different body parts and functions had to be indicated. it was handled this way, because none of the original scales – bcs as well as bpssseemed to be ideal. as handled in bpss satisfaction and dissatisfaction with ones own body should be estimated on a six-ranks rating scale, which went from “very unhappy” (=0) up to “very happy” (=5). 6 u.laumer et al./feldenkrais research journal 1 (2004) for the topic of acceptance of the own body items from the “questionnaire for body experience” (fragebogen zum körperleben) (fke) of paulus (1982) was used. from the scale “acceptance of the own body and integration into self-experience”, which contains 43 items, the 21 topmost loading and for the study in its contents most meaningful items were selected. the answers had congruent to fke to be put on a four-ranks scale from “not right” (=0) to “very right” (=3). for measurement of psychic condition two factors “inhibited vs. spontaneous condition” and “disturbed general condition vs. well-being” from the emotionalitätsinventar (emi-b) of ullrich de muynck and ullrich were used (1978). an improvement of the general physical as well as psychical condition and decrease of inhibited behaviour and increase of spontaneous behaviour is assigned to the feldenkrais method (feldenkrais 1989). the 27 items of the two scales were introduced with the instruction:” during the last week i predominantly felt…”. the prevailing feelings had to be rated between two contrary pairs of attributes in each direction with three grades of distinction (“very much”, “clearly”, “more likely”). for the results these raw values were according to the instructions turned into scale values. the authors give/deliver t-value profiles among other things for samples of “clinical non-disturbed” (n= 566) and “psychiatric patients” (n=481), though a sample of comparison of patients with eating disorders is missing. the anorexia-nervosainventory for self evaluation (anis) (fichter u. keeser 1980) was initially conceptualized as instrument for recording anorectic symptoms, but is usable for all eating disorders and was at the time of the data collection used regularly at the clinic of roseneck. a factor analysis resulted in six factors with overall 32 items. for this study the factors “consciousness of figure” and “feeling of being overwhelmed” was used. for answering this a six-ranks rating scale from “not at all” (=0) to “very strong” (=5) is available. for evaluation the raw values are being summarized to scale values. (for the fields of “satisfaction with ones own body”, “acceptance of own body” and the anis no norm values were available.) to meet the many conditions and dimensions of eating disorders, the eating disorder inventory-2 (edi) (garner 1990) was used additionally. it is used regularly in its german translation at the clinic. edi is a widespread instrument for measurement of symptoms that usually come along with eating disorders. it delivers standardized scale values for 11 dimensions. for this study the following scales were used: “drive for thinness”, “bulimia”, “body dissatisfaction”, “interoceptive awareness”, “maturity fears”, “asceticism”, “impulse regulation” and “social insecurity”. the single questions had to be answered according to the momentary condition of the subject, using a six-ranks rating scale from “never” (=0) to “always” (=5). from these raw values one scale value was computed. norm tables exist for one group of eating disorder patients (n=889) and additional groups of comparison. sample as far as the therapy schedule of the clinic roseneck allowed it, the individuals of the control group were selected as parallel as possible to the ones in the feldenkrais group in terms of diagnostic criteria, age and preliminary time length of treatment in the clinic. (see tab. 1). out of 15 patients in the feldenkrais-group, nine were diagnosed with bulimia nervosa (bn), two with anorexia nervosa (an), one of the two had additionally the diagnosis bulimia nervosa and four patients were diagnosed a (psychogenetic) adipositas. of 15 patients in the control group, nine were diagnosed with bulimia nervosa, two with anorexia nervosa (one of them additionally with bulimia nervosa) and four with adipositas (two of them additionally with bulimia nervosa). an and bn were diagnosed through the therapists; they related all of their criteria for diagnosis to dsm-iii-r (wittchen et al. 1989). 7 u.laumer et al./feldenkrais research journal 1 (2004) feldenkraisgroup (fg) control-group (kg) subject age sex diagnosis pretreatment subject age sex diagnosis pretreatment fg01 23 w bn 3 kg01 25 w bn 3 fg02 26 w bn 1 kg02 25 w bn 1 fg03 28 w bn 2 kg03 30 w bn 3 fg04 42 w bn 0 kg04 27 w bn 0 fg05 30 w bn 2 kg05 31 w bn 3 fg06 30 w bn 0 kg06 30 w bn 0 fg07 28 w bn 1 kg07 27 w bn 1 fg08 20 w bn 0 kg08 21 w bn 0 fg09 24 w bn 1 kg09 24 w bn 0 fg10 29 w an 1 kg10 30 w an 1 fg11 22 w an/bn 3 kg11 18 w an/bn 0 fg12 41 m ad 1 kg12 51 w ad/bn 1 fg13 30 w ad 3 kg13 42 m ad 2 fg14 29 w ad 0 kg14 28 w ad 0 fg15 35 m ad 1 kg15 23 w ad/bn 1 x 29,0 1,3 28,8 1,1 note: bn: bulimia nervosa; an: anorexia nervosa; ad: hyper phage adipositas; pre-treatment: time of pre-treatment in weeks. tab. 1: description of the sample of the study the patients were predominately female, whereas the feldenkrais group had two men and the control group one man. age range of the patients of the feldenkrais group was 20-42 years, for the control group 18-51 years. both groups were matching in mean age and mean duration of preliminary time of treatment. regarding the family status currently four members of each group were married, the rest was unmarried. the question “do you already have any experience with body therapies (e.g. feldenkrais, dance therapy, autogenous training, yoga, etc.)?” which was asked at the first time of measurement, was answered with “no” by eight patients from the feldenkrais group. three had experience from a former clinic stay with autogenous training, four had to a small extent experience with the feldenkrais method. 5 patients from the control group hadn’t had any experience with body therapies. six had from a former clinic stay experience with autogenous training, five with feldenkrais, six with progressive muscle relaxation and three with yoga (multiple answers were possible). results satisfaction with the own body to assess the satisfaction with different body parts resp. body regions, the participants of the feldenkraisand of the control group were asked a list of 34 items from the “body cathexis scale” (bcs) (secord u. jourard 1953) and the “body parts satisfaction scale” (bpss) (berscheid, walster u. bohrnstedt 1973). the pre-and post assessments were tested with wilcoxon-test for pair differences for changes. the test of significance over the sum of raw values in each group resulted for the question of satisfaction with hips/thighs (z= -1.88, p=0,029), buttocks (z= -2.39, p=0,008), torso (z= -1.88, p=0,023), arms (z= -1.86, p=0,031), general physical appearance (z= -1.73, p=0,041) as well as health (z= -2.25, p=0,012) in significant differences for the feldenkrais group between preand post-test (see pic.1). the control group showed no significant differences in the corresponding evaluations. regarding satisfaction with feet, legs, knees, stomach, back, shoulders, hands, neck, head, hair, face, nose, mouth, lips, eyes, skin, weight, height, breathing, posture, body shapes, digestion, voice, ease of movement, elegance of movement, appetite, sleep, liveliness there were no significant changes, neither in the feldenkrais group nor in the control group. but differences in the initial level of feldenkrais group and control group have to be considered as limiting here. 8 u.laumer et al./feldenkrais research journal 1 (2004) these results suggest that the feldenkrais method causes improvement of satisfaction in body areas that are specifically problematic for eating disorders (e.g. hips/thighs, buttocks) as well as a more positive assessment and attitude regarding the own health. 0 5 10 15 20 25 30 35 40 45 50 55 hips/ thighs butto cks upper bo dy arms general phys. appearance health fg-pre fg –post kgpre kg-post pic. 1 change in estimation of content ness with single body parts resp. –areas, measured with 34 items of the “body cathexis scale” (bcs) (secord u. jourard 1953) und der “body parts satisfaction scale” (bpss) (berscheid, walster u. bohrnstedt 1973) (numbers show summarized raw values; high values show a high level of content ness; minimum = 0, maximum = 75). fg = feldenkrais group; kg = control group. acceptance of the own body acceptance of the own body was tested with 21 questions of the scale “acceptance of the own body and integration into self experience” from the “questionnaire for body experience (körpererleben)” (in german: fke) from paulus (1982). the change between preand post-test within each group was tested with a wilcoxon-test for pair differences over the summarized raw values for significance. tab.2 shows, that participants of the feldenkrais group describe a major improvement in the experience of their own movement and the acceptance of the own body in five questions, whereby for two of the five questions a different initial level existed. interesting is especially the clear improvement in the given “if i look at myself in a mirror, i find myself sometimes strange and sinister”, which describes a for eating disorders typical area of strangeness towards the own body. the control group didn’t show significant changes in any aspect of satisfaction with the own body. based on these results it can be assumed that the feldenkrais method promotes acceptance of the own body in different areas and with that especially the familiarity with the own body gets improved. 9 u.laumer et al./feldenkrais research journal 1 (2004) feldenkrais-group control-group pre post z-value p pre post z-value p 1. my body often feels uncomfortable 30 23 1,717 0,043 28 29 0,253 0,399 2. my movement often seems awkward and rigid 21 14 1,171 0,043 22 20 0,674 0,250 3. my movement often seems clumsy 18 14 0,980 0,163 20 18 0,801 0,211 4. i sometimes have physical experiences that stay unclear and puzzling to me 15 13 0,591 0,277 22 24 0,338 0,367 5. i look immature 13 07 1,135 0,088 18 21 1,095 0,137 6. i sometimes feel captured in my own body 25 21 1,048 0,147 30 29 0,338 0,367 7. it’s hard for me to make bodily contact to my friends and neighbours 22 17 1,400 0,080 22 24 0,912 0,180 8. i feel limited in my range of action through my physical condition 21 16 1,572 0,057 24 21 0,943 0,173 9. my body sometimes seems strange and far away 23 20 0,840 0,200 28 25 1,213 0,112 10. the impression i arouse with my body is often not congruent with my real feelings 30 26 0,888 0,197 32 34 0,296 0,383 11. i would feel better if i would look different 28 22 2,022 0,021 16 19 0,730 0,233 12. the impression i arouse with my body is more negative 24 19 1,352 0,088 20 19 0,000 0,500 13. if i look at myself in a mirror i find myself sometimes strange and frightening 23 14 2,100 0,017 24 21 0,591 0,554 14. i seldom have fun with my body 30 24 1,681 0,046 24 21 0,591 0,554 15. when i move i often feel my physical heaviness as a hindrance 16 16 0,000 0,500 19 19 0,140 0,444 16. i very often dislike how i behave and move 23 23 0,00 ,500 25 24 0,404 0,343 17. i often feel a physical uneasiness 27 23 1,121 0,131 29 35 1,483 0,069 18. in secret i’m sometimes afraid others could reject my physically 26 27 0,314 0,376 19 19 0,000 0,500 19. physically i mostly feel unbalanced 28 23 1,480 0,069 27 23 1,095 0,136 20. i am less content with my body than my peers 23 18 1,078 0,140 26 26 0,000 0,500 21. i often show a cool physical façade to the outside like a mask 25 20 1,120 0,131 26 29 0,43 0,176 tab. 2:change in the acceptance of the own body, measured with 21 questions from the scale acceptance of the own body and integration into self-experience” from the “questionnaire for experience of the own body(körpererleben)”(fke) (paulus 1982) (summed raw values for preand post-test for both groups; high values represent a low level of acceptance; min.=0, max.=45; significance based upon wilcoxon-test). psychical condition patients’ changes of the emotional inventory (emotionalitätsinventar) emi-b regarding the assessment of the factors “disturbed general condition vs. well-being“ as well as „inhibited vs. spontaneous condition“ were looked at here. an analysis of variance with measurement repetition over the values of both scales showed no significant main(factor group: f=2,60, df=1, p=0,012; factor time: f=1,79, df=1, p=0,19) resp. interaction-(f=0,94, df=1, p=0,342) effect for “disturbed general condition vs. well-being”. this means both groups showed no changes in the field of general condition and undisturbed self-evaluation. with the scale “inhibited vs. spontaneous condition” the factor “time of measurement”(f=6,24,df=1, p=0,19) lead to a significant main effect. furthermore significant was the interaction of the factors “group and time of measurement” (f=6,78, df=1, p=0,015) whereas the factor “group” didn’t show an effect (f=2,24, df=1, p=0,147). from looking at pic.2 of the interaction effect it is clear to see that participants in the feldenkrais group described themselves as more spontaneous, more free, more open, more self-confident, less shy and less hold back in their condition 10 u.laumer et al./feldenkrais research journal 1 (2004) after the series of lessons. the control group didn’t show changes in this point. with this regarding the psychical condition it can be said, that the feldenkrais method has a positive influence on the area of spontaneity. in relation to the general well being no therapeutic effects could be shown. 0 5 10 15 20 25 30 35 40 pre-test post-test feldenkrais group control group pic. 2: estimation of inhibited vs. spontaneous feelings (numbers show scale means; high values stand for a high level of inhibition). “consciousness of figure” and “feeling of being overwhelmed” to answer this question, analyses of variance over the scales “consciousness of figure” and “feeling of being overwhelmed” from the anorexia-nervosa-inventory (anis) were calculated. no significant effects were found for the “consciousness of figure” scale (factor group: f=0,02, df=1, p=0,899; factor time of measurement: f=2,12, df=1, p=0,158; interaction group-time of measurement: f= 0,29, df=1, p=0,593). for the scale “feeling of being overwhelmed” the interaction of group and time of measurement was significant (f=6,42, df=1, p=0,018). whereas the main effect didn’t reach significance (factor group: f=0,03, df=1, p=0,873; factor time of measurement: f=3,73, df=1, p=0,065). picture 3 shows for the factor “feeling of being overwhelmed” a clear change with the participants of the feldenkrais-group. these patients felt less overwhelmed after the class, whereas patients of the control group showed a light increase (compare pic. 3). 0 2 4 6 8 10 12 14 16 18 20 pre-test post-test feldenkrais group control group pic. 3: evaluation of the feeling of being overwhelmed (numbers show scale means; high values stand for a high level of feeling of being overwhelmed). 11 u.laumer et al./feldenkrais research journal 1 (2004) typical problems for eating disorder patients, like feelings of helplessness against outer demands and expectations and like feelings of inner emptiness, the seven items of the factor “feeling of being overwhelmed” covered restlessness and inferiority. this result suggests improvements through the feldenkrais-method regarding these feelings. a change of the general consciousness of figure, which was covered through the areas fasting, diet, eating behaviour and fear of gaining weight, whereas wasn’t detected through participation in the feldenkrais group. change in eating disorder specific symptoms changes in eating disorder specific symptoms were measured according to the specifications in the questions of the eight scales „drive for thinness“, „bulimia“, „body dissatisfaction“, „interoceptive awareness“, „maturity fears“, „ascetism“, „impulse regulation“ and „social insecurity“ of the eating disorder inventory-2 (edi). tab.3 shows group medians of both groups at time of measurement 1 and 2 as well as percentage range for the feldenkrais and control group at time of measurement 1 based on norms for eating disorder patients, as determined by garner (1990) with a sample of n=889, based on patients with different eating disorders. values for feldenkrais as well as control group lie altogether in upper levels, which points to the distinctive symptomatology of the patients in this study. tab. 4 shows results of the analysis of variance with measurement repetition. group and time of measurement show a significant interaction effect in the scale “maturity fears”, in which eight items capture the wish to return to the security of childhood. these fears decreased clearly in the feldenkrais group (scale means: before 15.7, after 13.2) and a increased lightly for the control group (scale mean: before 17.7, after 18.5). the feldenkrais method decreased the wish to return to a childlike dependence and supported a more mature behaviour and the acceptance of responsibility. subscale drive for thinness bulimia body dissatisfaction interoceptive awareness maturity fears asceticism impulse regulation social insecurity fg, mzp1 22.2 21.6 33.0 26.9 15.7 14.2 20.5 21.7 kg, mzp1 22.9 17.0 26.5 29.8 17.7 13.9 21.3 23.7 fg, mzp2 21.3 16.0 31.6 26.3 13.2 12.2 20.0 20.3 kg, mzp2 20.6 11.4 28.4 28.3 18.5 15.1 22.6 23.4 fg, mzp1 percentage rank (prozentränge) 99 99 99 99 96 93 99 99 kg, mzp1 percentage rank (prozentränge) 99 88 84 99 98 90 99 99 tab. 3: group means of the feldenkrais group (fg) and control group (kg) at the point of measurement (mzp) 1 and 2 for the 8 used subscales of the eating disorder inventory as well as prozentränge for fg and kg at mzp 1 regarding the norms of a group of eating disorder patients (garner 1990) (high values represent a high level of eating disorder specific symptoms). 12 u.laumer et al./feldenkrais research journal 1 (2004) tab. 4: result of the analysis of variance over the scales of the eating disorder inventory (edi). the factor “time of measurement” leads to a significant main effect for the scale “bulimia” (comp. table 4). both groups showed improvement for exactly the same amount (feldenkrais-group scale mean: before 21.6, after 16.0; control group scale mean: before 17.0, after 11.4). but since the initial level for both groups was very different in this case, this result is not being interpreted any further. the scales „drive for thinness“, „body dissatisfaction“, „interoceptive awareness“, „ascetism“, „impulse regulation“ and „social insecurity“ showed no significant effects and thus there were no specific consequences of the feldenkrais method observable. discussion the following aspects should be regarded critically: the sample of this study was quite small with two times 15 persons. but an extension of the groups would have caused non-reasonable waiting time for many patients. additionally it wouldn’t have made sense to work with a substantially larger group for the feldenkrais-class program, because it would have critically limited the possibility to survey the group, individual care and the development of a group feeling. also both groups contained patients with different diagnoses of eating disorder to avoid a too long waiting time for many patients. as a result the groups were heterogeneous. this kind of group formation however was congruent with the concept of treatment in the clinic, in which patients with different eating disorders are staying in the same unit and take part in the different group therapies. further uncontrolled stayed which effects other, non-body oriented elements of the stationary therapy program could have on the measured df ms f p scale: drive for thinness main effect: group 1 0,02 0,00 0,991 time 1 40,02 2,57 0,210 interaction: -group/time 1 7,35 0,47 0,498 scale: bulimia main effects: group 1 317,40 2,47 0,127 time 1 459,27 15,03 0,001 interaction: group/time 1 0,00 0,00 0,999 scale: body dissatisfaction main effects: group 1 360,15 1,57 0,220 time 1 0,82 0,04 0,849 interaction: group/time 1 40,02 1,81 0,189 scale: interoceptive awareness main effects: group 1 91,27 0,82 0,372 time 1 17,07 1,10 0,304 interaction: group/time 1 3,27 0,21 0,650 scale: maturity fears main effects: group 1 198,02 2,05 0,163 time 1 10,42 1,19 0,286 interaction: group/time 1 40,00 4,55 0,042 scale: asceticism main effects: group 1 25,35 0,69 0,414 time 1 2,82 0,26 0,614 interaction: group/time 1 40,02 3,69 0,065 scale: impulse regulation main effects: group 1 45,07 0,49 0,489 time 1 2,40 0,14 0,707 interaction: group/time 1 13,07 0,78 0,383 scale: social insecurity main effects: group 1 96,27 2,00 0,168 time 1 11,27 1,94 0,174 interaction: group/time 1 4,27 0,74 0,398 13 u.laumer et al./feldenkrais research journal 1 (2004) variables. facing these aspects as well as regarding the lack of evaluative studies concerning this topic and regarding the difficulties to measure short-term changes in this area with the existing tools adequately, this study had the character of a pilot study to show first hints of possible effects of the feldenkrais method in stationary therapy of eating disorders. a clinically observable sign of all eating disorders according to bruch (1973) is a disturbed relationship to the own body. patients suffering from eating disorders are dissatisfied with their own body and their body image is distorted. the feldenkrais method as a body therapy method works towards an improvement of body perception and a clarification of the body image, with which among others the satisfaction and acceptance of the body should improve from the assessment of satisfaction of the patients with various body parts and regions a confirmation for the effectiveness of the feldenkrais method can be concluded especially for the problematic zones typical for eating disorders (garner 1990), like hips, thighs and buttocks as well as torso and arms as described in the literature.the general physical appearance receives a more positive assessment and attitude which points to a generally improved body feeling and improved relationship with the own body. concerning the acceptance of the own body it is shown that after feldenkrais lessons the body feels more pleasant. the own movements are perceived as less awkward and inflexible , which is explicable with the method specific proceeding, aiming towards more quality and flexibility of movement (feldenkrais 1978). the own body is regarded with more pleasure, which is congruent with the already mentioned improvement of satisfaction with certain problematic zones and the general physical appearance. decrease of strangeness and fear while looking at oneself in a mirror is an interesting result and points to a clarification of a distorted body image. through the development of bodily awareness the subjective image of the own body approximates the real body structure and the perception of the body becomes more realistic (feldenkrais 1978). through sensing and moving and occasionally palpating of the own body it becomes more familiar. so the own mirror image looks less strange. feldenkrais (1988) states that the unity of body and mind is a concrete reality, that they are not somehow connected things, but in their functions an inseparable whole. physical behaviour has as well impact on thinking and feeling of a human being as well as thinking and feeling have impact on the body and behaviour. compulsive behaviour in different forms is symptomatic for all eating disorders and is always also expressed through physical behaviour in posture and action. new possibilities of behaviour and spontaneous possibilities of reaction, adjusted to the respective situation, arise if an immoderate increased or a slack tonus of musculature gets regulated and if rigid, habitual posture and movement patterns become more aware (feldenkrais 1989). the participants of the feldenkrais group showed on the referring factors of emi a decrease of inhibited and compulsive and an increase of spontaneous, open and self-assured condition and behaviour. this confirms the assumption of feldenkrais (1989), that through physical movement compulsive behaviour can be decreased and spontaneous behaviour can be increased. recent development in the area of eating disorders moved more towards an understanding of especially anorexia nervosa and bulimia nervosa as disorders with multiple conditions and dimensions, in which the patterns of symptoms are only ultimately the expression of numerous different developments. as mentioned biological, psychological, family and sociocultural factors are relevant for the development of eating disorders, although the influence of each single factor in the heterogeneous population of patients can vary quite a bit. (garner 1990). quite some of these issues can be found in the scales of the anorexia-nervosa-inventory (anis) and the eating-disorderinventory (edi) , which were used in this study. the feldenkrais group showed improvements referring to the feeling of helplessness against demands from the outside, inner emptiness, restlessness and inferiority, which were measured within the “feeling of being overwhelmed” with the referring scale from the anis. the feeling of ineffectivity is typical for all eating disorders (bruch 1973) and based on the result it can be said that through the development of body awareness also the felt sense of 14 u.laumer et al./feldenkrais research journal 1 (2004) self and self-consciousness is being promoted and with that also the ability to deal with demands from the outside in a constructive way. the feldenkrais group showed a surprising improvement in the edi-scale “maturity fears”, which captures the wish to return to the security of early childhood. this confirms one of the basic assumptions of the feldenkrais method – as expressed in “body and mature behaviour” (1949), which is that through the movement lessons which themselves are based on motor development of a child as a red thread , a sort of maturationor post-maturation process at the physical level and with that on the entire personality is evoked. based on the result of the edi-scale “bulimia” it can be said, that for eating disorder patients in general the tendency decreases to think of uncontrollable eating attacks or to give way to them. since both groups improved here in exact the same range, one can say that the feldenkrais method doesn’t show an additional effect but that the standard therapy program of the clinic is very effective in that point. since the satisfaction with the own body measured with typical problem zones increased, one could also expect a significant result in the edi-scale “body dissatisfaction” , which measures also dissatisfaction with these problem zones. the means show indeed a decrease of dissatisfaction in the feldenkrais group, but it is not significant. no significant changes were found in other subscales “consciousness of figure” (anis) as well as “drive for thinness” (edi), “interoceptive awareness” (edi), “asceticism” (edi) und “social insecurity” (edi). summarizing the results the feldenkrais method “awareness through movement” with its cautious and structure building procedure and the resulting development of body awareness and felt sense of self can be seen as a valuable part of a stationary therapy program for eating disorders. but a course with a quite little number of lessons has obviously its limitations. based on the experiences of this study the used program could be further developed and optimized (see comments). different elements, like perception, touch and palpation of the own body, developing a feeling for inner and outer space, as well as for body boundaries or working with lips, tongue, mouth cavity and especially breath hereby seem useful. thinkable would be also the offer of continuation classes in the stationary setting or a combination of participation in group lessons and individualized single lessons in the feldenkrais method “functional integration” (hanna 1994, rywerant 1985) as well as the realization of feldenkrais groups in the setting of post-careand selfhelp groups. future studies on the topic of “feldenkrais and eating disorders” could investigate the impact of feldenkrais on different forms of eating disorders (anorexia nervosa, bulimia nervosa, adipositas). furthermore a comparison of the feldenkrais method with other movement and body therapeutic methods would be informative. note the participants of the feldenkrais group answered additionally to the quantitative questionnaires an interview after finishing the study. most-mentioned topics formed categories like “kinaesthetic experience”, “conscious body perception”, “relaxing effect”, “pleasant exercises” and “problems during the lessons”. they also reported concrete “effects regarding the eating disorder”, “trance inducing effect” and “interest in further engagement” with the feldenkrais method. references berscheid, e., walster, e. & bohrnstedt, g. (1973). the happy american body: a survey report. psychology today, 11, 119-127. bräutigam, w. & christian, p. (1981). psychosomatische medizin: ein kurzgefaßtes lehrbuch für studenten und ärzte. stuttgart: thieme. bruch, h. (1973). eating disorders: obesity, anorexia nervosa and the person within. london: routledge & kegan paul. bruch, h. (1978): der goldene käfig. fischer, frankfurt 15 u.laumer et al./feldenkrais research journal 1 (2004) brunner, e. (1987). klinik roseneck. die stationäre behandlung von eßstörungen. in p. mader & b. ness (hrsg.), bewältigung gestörten eßverhaltens (s. 93-97). hamburg: neuland. czetcok, h.e. (1992): die feldenkrais-methode. in: bühring, m., kemper, f.h. (hrsg.): naturheilverfahren und unkonventionelle medizinische richtungen. grundlagen, methode, nachweissituation (s.1-24). berlin, heidelberg, new york deutsche multiple sklerose gesellschaft, landesverband saar e.v. (hrsg.) (1993): feldstudie zur wirksamkeit der feldenkrais methode bei ms-betroffenen. dmsg saar, saarbrücken erickson, m. & rossi, e. (1981). hypnotherapie. aufbau beispiele forschungen. münchen: pfeiffer. feldenkrais, m. (1949). body and mature behaviour. london: routledge and kagan paul, ltd. feldenkrais, m. (1978). bewußtheit durch bewegung. frankfurt: suhrkamp. feldenkrais, m. (1987). die entdeckung des selbstverständlichen. frankfurt: suhrkamp. feldenkrais, m. (1988). bewegungserziehung zur verbindung von körper und geist. in h. petzold (hrsg.), psychotherapie und körperdynamik (s. 176-194). paderborn: junfermann. feldenkrais, m. (1989). das starke selbst. anleitung zur spontaneität. frankfurt: insel. feldenkrais, m. (1990). die feldenkrais-methode in aktion. eine ganzheitliche bewegungslehre. paderborn: junfermann. fichter, m. m. & keeser, w. (1980). das anorexia-nervosa-inventar zur selbstbe urteilung (anis). archiv für psychiatrie und nervenkrankheiten, 228, 67-89. fichter, m. (1989). psychologische therapie bei bulimia nervosa. in m. fichter (hrsg.), bulimia nervosa (s. 230-247). stuttgart: enke verlag. fried, m. (1988): elements of psychotherapy in the feldenkrais method, feldenkrais journal, 4, 36-39 garner, d. m. (1990). eating disorder inventory-2, professional manual. florida: psychological assessment ressources. gerlinghoff, m. & backmund, h. (1989). magersucht. anstöße für eine krankheits bewältigung. stuttgart: trias thieme, hippokrates, enke. goebel, g. (hrsg.) (1992): ohrgeräusche – psychosomatische aspekte des komplexen chronischen tinnitus. quintessenz, münchen hanna, t. (1984). the silent heritage. somatics, 5 (1), 22-30. hanna, t. (1994): das geheimnis gesunder bewegung. wesen und wirkung funktionaler integration. die feldenkrais-methode verstehen lernen. junfermann, paderborn 16 u.laumer et al./feldenkrais research journal 1 (2004) hellinger, b. (1994). ordnungen der liebe: ein kursbuch. carl auer systeme, heidelberg hutchinson, m. g. (1985). transforming body image. californien 95019: the crossing press/freedom. jacoby, p. (1990): die feldenkrais-methode im instrumentalund gesangsunterricht. in: pütz, w. (hrsg.): musik und körper (s.99-106). verlag die blaue eule, essen karren, u. (1990). die psychologie der magersucht. bern: huber. mader, p. (1986). gestörtes eßverhalten: adipositas bulimia nervosa anorexia nervosa latente adipositas. hamburg: neuland. milz, h. (1985). die ganzheitliche medizin: neue wege zur gesundheit. königstein/ts: athenäum. paul, t. & pudel, v. (1985). bulimia nervosa: suchtartiges eßverhalten als folge von diätabusus? ernährungsumschau, 32 (3), 74-79. paulus, p. (1982). zur erfahrung des eigenen körpers. weinheim: beltz. petzold, h. (1985). die "nonverbalen" therapieverfahren. in w. toman & r. egg (hrsg.), psychotherapie (s. 100-123). stuttgart: enke. pohl, h. (1994): feldenkrais for psychoanalysis (part 1). somatics, 9 (4) 14-21 pudel, v. (1987). induziert reduktionsdiät das "störmuster" im eßverhalten des adipösen? versuch einer re-formulierung einer verhaltenstherapeutischen hypothese anhand empirischer befunde. in w. gerber, w. miltner & k. mayer (hrsg.), verhaltensmedizin: ergebnisse und perspektiven interdisziplinärer forschung (s. 226-243). weinheim: vch. reese, m. (1985). moshe feldenkrais' work with movement: a parallel approach to milton erickson's hypnotherapy. in j. k. zeig (hrsg.), ericksonian psychotherapy, 1 (s. 410-427). new york: brunner/mazel. reich, w. (1970). charakteranalyse. köln: kiepenheuer & witsch. reich, w. (1972). die entdeckung des orgons / die funktion des orgasmus. frankfurt: fischer. rywerant, y. (1985). die feldenkrais methode. lehren durch die hände. kübler und akseltrad verlag, heidelberg secord, p. f. & jourard, s. m. (1953). the appraisal of body-cathexis: body-cathexis and the self. journal of consulting psychology, 17, 343-347. selvini palazzoli, m. (1982). magersucht. stuttgart: klett-cotta. ullrich de muynck, r. & ullrich, r. (1978b). das emotionalitätsinventar. testmappe emi b. münchen: pfeiffer weitzer, k. graml, s. (1995): rückenschmerzen: ein verhaltensmedizinisches modell 17 u.laumer et al./feldenkrais research journal 1 (2004) und die folgen für die rückenschulpraxis. in: hoefert, h.-w. (hrsg.): rheuma und rückenschmerzen (s. 158-173) quintessenz, münchen wittchen, h. u., saß, h., zaudig, m. & koehler, h. (1989). diagnostisches und statistisches manual psychischer störungen dsm-iii-r revision. weinheim: beltz. laumer, u., bauer, m., fichter, m., milz, h. (1997).therapeutische effekte der feldenkrais-methode „bewusstheit durch bewegung“ bei patienten mit essstoerungen. psychother.psychosom.med.psychol., 47, 170-180. feldenkrais research journal​ • ​volume 5​ (2016) hypothesis and theory becoming ourselves: feldenkrais and foucault on soma and culture abraham mansbach phd, professor, department of philosophy, ben-gurion university of the negev, feldenkrais practitioner​® correspondence:​ ​mansbach@bgu.ac.il copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/mansbach mailto:mansbach@bgu.ac.il http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/mansbach hypothesis and theory becoming ourselves: feldenkrais and foucault on soma and culture abraham mansbach phd, professor, department of philosophy, ben-gurion university of the negev, feldenkrais practitioner​® introduction over the last decade we have witnessed a growing interest in the feldenkrais method of somatic education, not only as a practice but also as a field of research (husslein 2013, fördeverein 2016, iff 2016). the extent, diversity, and quality of the studies published have positioned the method in the frontiers of science, particularly in kinesthetic and somatic studies, and in the new paradigm led by quantum physics and neuroscience (doidge 2015). this article aims to contribute to that body of knowledge by focusing on the point where the feldenkrais method meets the cultural and philosophical domain and, more specifically, examining the notion of the self in relation to feldenkrais’ method and thought. notions of the self and its cognates, such as identity and subject, have been thoroughly revisited by scholars from the humanities and the social sciences for more than four decades (cadava, connor, and nancy 1991). at the basis of their endeavor lies a critique of the idea of an integral, unified self, and of the self-sustaining notion of the cartesian subject. foucault’s work stands out among the many theoreticians who have contributed to this theme. his cultural critique of the relationship between power, knowledge, and the self, have lent feminism and critical theory a new basis and redefined the paradigm of disciplines such as sociology, anthropology, education, and political science. feldenkrais and foucault, though following very different paths, shared a central concern, namely, the deciphering of the relationship between the self and the body (soma​, ​ σῶ μα​ ). for feldenkrais, the body is a living-moving organism. in his many writings and lectures he dealt with a gamut of issues from a wide range of disciplines including pedagogy, anatomy, physics, and psychology; all directly related to his method and to the body as a living-moving organism. his aim was to develop a method of somatic education that would increase self-awareness of body movements and enable efficient and healthy patterns that improved posture and refined motor skills. foucault, on the other hand, attempted to elucidate the processes by which the modern self has been constituted. to do so, he employed methods of cultural critique, examining the mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 2 https://en.wiktionary.org/wiki/%cf%83%e1%bf%b6%ce%bc%ce%b1#ancient_greek convergence of forms of power and knowledge in society and showing how these have encoded disciplinary patterns on the human body. the theme of the human body as a living organism was never examined by foucault. feldenkrais questioned the social, political, and pedagogical arrangements of his time, yet he did not explore them in depth. nonetheless, their paths cross over and intersect at various significant points. one of the objectives here is to map both their intersections and divergences on the theme of self and body with a view to expanding the meaning of each in light of the thinking and method of the other. the other objective is an investigation of the process of embodied selfhood as a synergy of the soma-culture configuration. the somatic turn both feldenkrais’ and foucault’s interest in the relationship between the self and the body were part of their effort to reveal the mechanisms which may constitute the individual. consequently, they both dealt with two main questions: how do we become who we are?, and, how is self-transformation possible? their assumption was that the self or the identity of each human being is neither static nor unchanging, neither an immutable substance nor essence; the self is an ongoing process in which different factors intervene to shape, define, and constitute. these factors may be externally imposed constraints or restrictions applied by individuals on themselves. there are also elements that expand the potentiality of individuals thereby increasing their autonomy, agency, and freedom. these can include actions willingly undertaken by individuals as well as forms of resistance to imposed restrictions; practices that originate in the interaction with both the natural and the human environment and that enhance self-transformation. in addition to seeing the self as a process or construction of sorts, both feldenkrais and foucault rejected the mind-body dualism. they saw the mind and the body not as two different entities or substances but rather as an indissoluble unity that defines human beings and governs all of their functions. as feldenkrais affirmed, ‘the unity of the mind and body is an objective reality;’ they are ‘an inseparable whole’ (2010: 28). both also disagreed with the idea, dominant in western thought since descartes, that the mental-reflexive activity, the ​cogito​ , is a unique and privileged feature defining what it means to be a subject or a self. feldenkrais’ and foucault’s exemplary work pioneered the “somatic turn” that has been taking place in the social and human sciences since the last two decades of the twentieth century (cooter 2010). this turn consists of seeing the body – and its associated practices, as fundamental to the constitution and transformation of the self. while for foucault somatic practices are those that act in and upon the body, for feldenkrais “somatic” refers to the way the body is perceived from within the person. (hanna, 1985, shusterman 2008, turner 2012). they, however, share the idea that in order to decipher what it means to be a human being in general and an individual in particular, it is impossible to separate the cognitive from the somatic mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 3 activities. this idea was encapsulated by foucault in the words, ‘subjectivity is always embodied’ (2005: 57), and similarly by feldenkrais: ‘a brain could not think without motor functions’ (2010: 94). feldenkrais and foucault followed in the footsteps of thinkers such as marx, jung, and reich who saw the human body and its integral activities, such as actions and practices both at work or in daily life, as determining elements of the individual’s identity. (reese 2002). they both considered the body as the site where human experiences of different levels – such as motor experiences, sensations, memories, and feelings, are imprinted. a key element distinguishing their view is the historical dimension of the body. in their opinion, the body is a carrier of meanings that have been etched into it in different ways at different times. the body has a history, and this should be taken into account when trying to elucidate who or what the self or identity is. feldenkrais states this idea unambiguously: do not try to forget the past; it is impossible to forget the past without forgetting oneself at the same time. you may imagine that you have forgotten one or another unwanted detail, but it is stamped in some part of your body. (1985: xxxv) feldenkrais focused on both the phylogenetic and ontogenetic axes – in the evolution of the human organism and body throughout history as well as in the history of the body of the individual. foucault, on the other hand, concentrated on the cultural history assimilated in and by the body of the modern individual, which has been configured through habits, standards of behavior, attitudes, gestures, postures, and general practices. and herein lies the main divergence in their approaches to the theme of self and body, and their interest in revealing the mechanism by which the self is constituted and transformed. foucault aimed to elucidate the way in which cultural codes are imprinted on the individual’s body and how social structures, institutions, and regimes act upon the self. these can be modes of comportment, mood, attention, or perception which mediate between culture and knowledge, and the individual’s bodily actions and habits. feldenkrais, however, dealt with the materiality of the human body, emphasizing movement and all related aspects, such as the nervous system, the structuration and geometry of the skeleton, the kinesthetic sense, the relationships between different parts of the body, and the principles of physical science and laws of motion. these two ostensibly different paths are complementary, and their synergy offers us a unique somatic-cultural perspective of the self and its transformation. foucault on how we become who we are foucault’s project to unravel the question of the self and its transformation is summarized in his essay ‘what is enlightenment?’ (1984a). here he explained that what is critically and culturally important is to carry out ‘a historical investigation into the events that have led us to constitute ourselves and to recognize ourselves as subjects of what we are doing, thinking, saying’ (1984b: 46). these events are historical configurations where power and knowledge converge, giving shape to practices of disciplinary control and normalization of individuals in society, such mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 4 as exclusion, marginalization, and punishment, as well as the structuration of sexuality in western culture as ​scientia sexualis​ (1997: 223). an important feature of foucault’s analysis of each of the different events, is the inextricable relationship between power, knowledge, and the self. power, for foucault, is ‘the name that one attributes to a complex strategical situation in a particular society,’ (1980: 96) and should not be understood as governmental – ‘a general system of domination exercised by one element or one group over another’ or ‘a certain strength we are endowed with’ (1980: 98). it follows that power is not necessarily repressive, and that its nature and effects are determined by its interplay with a given situation. in this sense, and with regard to the process of selfhood, power can be restrictive or liberating, subjugating or emancipating; it is contingent on the combination of circumstances or events in a specific situation. most importantly, power is essentially productive; in other words, it produces effectively, working as the engine in the process of selfhood: it’s my hypothesis that the individual is not a pre-given entity which is seized on by the exercise of power. the individual, with his identity and characteristics, is the product of a relation of power exercised over bodies, multiplicities, movements, desires, forces. (1980: 73-4) somatic marginalization following, i will give a brief account of foucault’s exploration of events in which strategies of control and surveillance – such as marginalization, exclusion, and punishment, interweave with fields of knowledge including psychotherapy, criminology, psychology, and education, and of the effects these have on the self or the process of selfhood. these social sciences all present and represent a model of the modern individual. they place great weight on the self and on self-image, since they delineate the boundaries between those who are defined as normal and abnormal, immoral and decent, virtuous and unethical, and thus set a pattern of adjustment for the individual. they outline the topography of normality and normativity where individuals are positioned both within society and against themselves. these disciplines then become a mechanism through which standardization and disciplining are effected (foucault 2003). in ​madness and civilization​ foucault (1965) explored the genealogy of psychiatry, psychology, and other medical and social sciences that deal with emotional and behavioral deviations by returning ‘to that zero point in the course of madness at which madness is an undifferentiated experience’ (1965: 15). he examined various events as part of that “zero point” which precedes the differentiation between the sane and the insane including: the confinement of lepers to leper colonies during the middle ages; the expulsion of the mentally ill from towns and on to boats (the ​stultifera navis​ ) that sailed down the rhine in renaissance germany; and the mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 5 establishment of the general hospital of paris in 1656. foucault used these events to show that these practices of reclusion, and later hospitalization, were not based on medical grounds; none of these were either medical or pre-medical institutions nor were the regimes they followed based on curative programs. leper colonies were rather chaotic places, where lepers were left and abandoned to their fate. similarly, those forced onto the “ships of fools” were condemned to live out their lives drifting on the water. foucault argued that madmen and lepers were seen to bear the mark of divine punishment on their bodies and that isolation, exclusion, and reclusion — all considered rituals of purification and saturated with symbols — were ways of dealing with such threats to the community. with regard to the general hospital of paris, foucault investigated historical records and discovered that it was not only the sick who were placed there, but also socially and economically displaced individuals. documents have shown that over time it became an asylum for the indigents of paris as well as for the sick, elderly, deviant, and disabled. they were, on the whole, confined against their will, making their hospitalization an imprisonment, and the hospital a means to isolate sections of the population who threatened the social order. but in foucault’s opinion, psychiatry could not have developed without the existence of these institutions of surveillance and control. the confinement of populations from the middle ages to the seventeenth century was indeed the basis for the creation of hospitals and gave psychiatry its institutional foundation and experimental field. while hospital regimes and the conditions of hospitalization have changed dramatically in recent years, they have done little to end the marginalization of the mentally ill, the abnormal, and the deviant. moreover, today the practices of marginalization haves extended to other populations and groups according to bodily characteristics such as ethnicity, gender, appearance, size, and any other characteristics which differentiate from the so-called normal. and in this sense, while isolation and confinement were practices of social marginalization associated with the purification of the body, in the more modern forms of marginalization, the body is not purified but rather politicized and commodified (coupland and gwyn 2003). somatic surveillance it is with this analysis of practices of marginalization and exclusion that foucault embarked on his study of how the body becomes a site for social agency and how it is made to conform to culture through norms, gestures, and actions. the somatic theme is emphasized later in discipline and punish​ (foucault 1979), where he explored the history of punishment and examined modern practices of control and surveillance. the prism of foucault’s analysis is an architectural plan of a prison designed in the late eighteenth century by the legislator and utilitarian philosopher jeremy bentham. this model, panopticon (i.e. all is observable), was a circular structure intended to allow the guard, housed in a central tower, to observe all the prisoners in their individual cells without the prisoners being able to see him. the most important effect of the panoptic model was to induce in the detainee a conscious and permanent visibility status that ensured the automatic functioning of power mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 6 without it being directly exercised, for example at times when the guard was not in the observation post or was watching other prisoners. by creating a sense of invisible omniscience on the detainees, an economical and efficient mechanism of control was thus produced. the object of control and discipline, namely, what is being watched, is the body of each individual prisoner – how and where they move and what they do there, and the disciplining tool is the gaze, or the possible gaze, of the guard. in addition to the gaze, there are other tactics of control in the panopticon through which the movements of the inmates can be monitored. one example is the closing off of spaces in which the detainees can move or just be and, at the same time, assigning specific activities to each of these spaces – i.e., the courtyard for walking and the dining room for eating, thus preventing freedom of movement. another tactic is the monotonous regime of discipline in which all bodily movements are overseen and controlled. the aim of the panopticon, as a structure of surveillance, is for prisoners to acquire the habits of a disciplinary system. foucault showed that panoptic control strategies were not exclusive to prison architecture and that many institutions such as hospitals, schools, public buildings, libraries, factories, marketplaces, and other social spaces had adopted this design. it should be noted that there are, indeed, differences between the types of surveillance and controls exerted in prisons as opposed to social spaces in which the mechanisms of surveillance are concealed despite being no less rigorous. the panoptic strategy of body control has today extended both in the tools used and in the bodily characteristics included. technological advances and networking have made surveillance a voluntary practice of and by individuals. in addition, contemporary differentiations between normal and abnormal cross other body lines such as size, ethnicity, ability, looks, and age. the mechanisms of control, however, remain the same: the gaze, be it computerized or human, and the regulation and standardization of behavior. these strategies have expanded and become processes that tend to homogenize individuals, dilute their differences, thus enabling better control of populations. this is a new form of power – termed by foucault “bio-politics”, that is exerted by the state over the physical bodies of the individuals. as a result, human life is regulated, not as a woman’s or man’s body, but rather as woman and man as species (foucault 2008).​ ​examples of bio-political control include the defining, measuring, and categorization of bodies, as well as ‘ratio of births to deaths, the rate of reproduction, the fertility of a population, and so on’​ ​(foucault 2003b, p. 243). these are mechanisms that constitute normativity, and impact the self-image of each individual. foucault’s analysis presents a complex mechanism of social control inscribed in the body. the moving parts of the mechanism are practices of somatic control, like marginalization and the panoptic strategy, the differentiation between the normal and the abnormal, the normative and the non-normative, the knowledge of some disciplines of the social sciences, and bio-power. mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 7 all this prompts the question, to be discussed later, of what foucault believes can be done to be free of this web to which we all inevitably belong, and which is accompanied by the standardization and deletion of our individual differences. what allows individuals to retain or regain some measure of autonomy and freedom? according to foucault, “where there is power there is resistance,” and so the question thus becomes: what are the forms of resistance and how is resistance achieved? before answering these questions though, feldenkrais’ approach to the theme of self and body should first be examined. feldenkrais’s method and the self the theme of the self occupies a prominent place in feldenkrais’ books, articles, and lectures, though he more frequently used the term “self-image.” he asserted that: self-image… is the body image; namely it is the shape and relationship of the bodily parts, which means the spatial and temporal relationships, as well as kinesthetic feelings. included with these are feelings and emotions and one’s thoughts. all of these form an integrated whole (2010: 3). for feldenkrais, the self, namely, the self-image or body image, is composed of the various parts of the body and the relationship between them as well as the sensations that they cause, such as position in space, sense of balance and weight, and awareness of movement. true to the somatic turn, feldenkrais considered feelings and thoughts to have their foundations in the living organism. in answer to questions such as how do we become who we are, how is the self or individual constituted, or ‘how does a self-image come about?’ (2010: 3), feldenkrais explained that self-image is the product of three elements: ‘heritage, education, and self-education’ (2009: 3). heritage, he explained, is ‘the biological endowment of the individual’ (2009: 3) which corresponds to the human body in all its materiality: the nervous system, the body’s skeleton, the internal organs, the muscles, and the genetic code; as well as the organization and functioning of all parts of the body, its movement, and life itself. two historical axes, the phylogenetic and the ontogenetic, constitute this biological endowment and thus comprise actions and movements adopted and developed by the human species throughout the evolutionary chain as well as the history of each individual human body, from as early as the womb and including motor development and postures assumed during the different stages of life. the individual’s biological endowment, along with its history, constitutes the physical and organizational identity that makes them distinctive. for feldenkrais, the biological endowment is one crucial ground for the uniqueness of each living organism. it should be noted that the singularity of each organism is a feature that is built into his method. education, the second element in the constitution of self-image, is not limited to the knowledge that can be acquired at an educational institution but is far more comprehensive and has the mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 8 same scope as foucault’s concept of “culture” or “discourse.” for feldenkrais, education encompasses culture, norms, acquired habits, the human environment in which people live and grow, the language spoken, the concepts used, and the typical reactions of society and those that people adopt, such as the way they dress. it also includes the knowledge and values acquired through social, cultural, and family interactions; in short, everything that is learned, internalized, and appropriated from the human and natural environment. feldenkrais, like foucault, is critical of certain central important aspects of social conventions. ‘it is hard to deny that the traditional foundations of our social structure need thorough revision. no objective observer, free of prejudice, will argue against the necessity of radical changes’ (2005: 10). like foucault, feldenkrais sees the standardization and uniformity of individuals in modern times, as a major problem, since it erases the differences between individuals and hinders, to the point of prevention, the realization of individuality or self. as the trend to uniformity within our society creates innumerable conflicts with individual traits, adjustments to society creates innumerable conflicts with individual traits, adjustments to society can be solved either by the suppression of the individual’s organic needs, or by the individual’s identification with the society’s needs (in a manner that does not appear to him to be imposed), which may go so far as to make the individual feel that he is debased whenever he fails to behave in accordance with society’s values. (feldenkrais 2009: 6) for both, it is the use of power in disguised but effective ways – such as marginalization, exclusion, suppression, and debasement, that is part of the mechanism of homogenization, disciplining, and control that social and cultural frameworks exert over individuals. while foucault faced the challenge through a cultural-critique and political activism, feldenkrais did it through somatically-based self-education and development. feldenkrais’ method is aligned with the third element in the constitution of the self-image: self-education; of the three the only one that is, in his words, ‘in our hands’ (2009: 4). it is in self-education that the possibility for individuality, agency, and personal freedom lies. self-education is the dynamic that constitutes identity and ‘the active force that makes for individuality and extends inherited difference into the realm of action’ (2009: 4). in other words, the organic endowment of each individual – their singularity, can be employed as a form of self-transformation by means of self-education. the feldenkrais method is, in fact, a system of self-education. self-education does not have content in and of itself; rather, its content is determined by the factors that prevent a more clear and precise delineation of individuality. self-education is, in this sense, a form of resistance to that which constrains, and a process of individuation that works through a dialogue with both the human and natural environment. it is a self-making of mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 9 the self. there are various forms of self-education at both the intellectual and the somatic level; feldenkrais’ method is one of them. but self-education is not a panacea in the process of individuation nor can it prevent the homogenization caused by disciplining practices, such as those indicated by foucault, or by any other means. self-education, as feldenkrais observed, often merely mimics the activity of others: even if he has emancipated himself from his educators and protectors, man does not strive to make himself any different from the pattern impressed upon him from outset. in this way society comes to be made up of persons increasingly alike in their ways, behavior and aims. (2009: 18) for feldenkrais the individual differences and personal identity of each human being are imprinted on the body. the uniqueness of the individual lies at the point of convergence between the history of the human body throughout evolution, and the personal history of each body. ‘heritage makes each one of us individually unique’ (2009: 4). a fundamental objective of the feldenkrais method is to avoid eliminating the differences between individuals, overshadowing their identities, and succumbing to a homogenization process and, in doing so, to foster the organic individuality of each person. restoring the organic individuality the feldenkrais method of somatic education uses various means to restore organic individuality; most importantly, the disassembling of habitual behavior. according to feldenkrais, habits are formed by ‘imposed education,’ and ‘individual propensities together set the trend for all our habitual behavior and actions’ (2009: 4). habits are survival mechanisms that contribute to the smoother running of the living organism without the need to expend much effort or stress, since their adoption is governed by the economy of the body’s energy. habitual behavior has the advantage of allowing people to engage in other activities while simultaneously undertaking routine tasks. and yet, this advantage becomes a disadvantage when regular and routine movements and practices are automated or become compulsive, thus blocking the possibility for reflection and awareness of our actions to the point of eliminating their creativity. habits can thus interfere with other activities, obstruct the acquisition of others forms of action and movement, and impede adjustment and attunement to changing situations. the somatic education proposed by feldenkrais is designed to create keen awareness of the movements of the different body parts, particularly in the skeleton. the purpose of this awareness is to make functional changes to movements in space and to improve muscular and skeletal organization. feldenkrais’ method thus generates forms of resistance to the habits and patterns of behavior and movement that have been imprinted over time in our daily and mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 10 professional practices and subsequently automated. this resistance to the uniformity of the habit is not antagonistic; it is neither confrontational nor rigid. on the contrary, resistance is made through suppleness, plasticity, and flexibility. it is about developing awareness of body movements and their possible transformations. it is this awareness of the ductility of the skeleton and of the possibility of a different organization of movements, i.e. seeing the skeleton as a whole whereby all of its parts or bones can join to intervene in any action, which allows for the restoration of individual functionality and personal autonomy. accordingly, the method contributes to the process of individuation and the constitution of our own selves, by awareness and transformation of our body image. it should be noted that acquired habits, whether internalized or adopted through the social weave or created by the economy of our movements, are not simple behavioral traits. habits are deeply wired behaviors in the brain and nervous system which take the form of neurological maps that allow the brain to always follow the same route without having to think, thus freeing it to think about other things (domany, van hemmen, and schulten 1991) in the somatic method of education, movement and awareness are vehicles which access those maps, creating new neural connections and patterns of movement. the somatic method can effectively break the most ingrained habits of our system of posture and movement, thus generating more efficient patterns of action, as well as recovering the body’s mobility, refining motor skills, and enhancing vitality and wellbeing. this is what the renowned neuroscientist karl pribram had in mind when he wrote that: ‘feldenkrais is not just pushing muscles around, but changing things in the brain itself’ (pribram quoted by fox 1978). an essential component of the feldenkrais method is that by teaching new paths of movement and action, the sentiment and bodily feeling that there are other ways to do the same activity is recreated. this is one of the ways in which the method intervenes in our image of the self; new forms of action and movement recreate the self-image and transform body image. feldenkrais’ method aims to restore individuality, not only by changing habitual movements but also by heightening awareness of the possibility of change – which is a central feature of creativity. the somatic practice designed by feldenkrais is a form of intervention that moves away from the standardization process to which individuals are exposed. foucault used the concept “care of the self” to describe practices in which individuals engage in order to recover their agency and autonomy. i propose regarding the somatic method of education conceived by feldenkrais as a foucauldian form of care of the self. the feldenkrais method as a practice of the self in foucault’s social and cultural framework the individual exists in a system of relationships of power, control, surveillance, and homogenization. it is a network of knowledge, practices, and discourse, which inevitably includes all individuals. the body is malleable, in foucault’s words, a ‘docile’ place where power is imprinted in some form or another (1979: 135). it facilitates the growth and expansion of complex social structures, which need not be made explicit in laws. mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 11 ideologies of domination and homogeneity are materialized and preserved through their coding in somatic standards. the body is, in this sense, a site of political struggle and central to subjectivity and agency. in answer to the question of how to regain agency and autonomy, in his later writings foucault proposed the ‘care of the self’ (1988a). his idea of the care of the self went back to ancient greece where “care of the self” had a moral significance. he explained that while the ancient motto “know thyself” has been adopted in modern times, we have forgotten that for the greeks this also implied “care of the self.” care of the self is a sensibility through which individuals are conscious of their own thoughts and attitudes of self-reflection and meditation and participate in practices aimed at raising awareness of the ideal state of the self. foucault defined care of the self in various ways and some of the definitions could be used also to describe the feldenkrais’ method, such as ‘a series of practices that are exercised by the self on the self’ and ‘by which one takes responsibility for oneself and by which one changes, purifies, transforms, and transfigures oneself’ (2005: 11-12). care of the self is not only an attitude towards oneself but also carries a sense of responsibility for others and for the world; it is ‘a certain way of considering things and having relations with other people,’ in other words, ‘an attitude towards the self, others, and the world’ (2005: 10). although feldenkrais’ method is not usually linked to an ethical commitment, some of his comments do hint at this. to be sure, he did not present a full analysis of society, but nevertheless he positioned his method in the social sphere and as a means of eliminating the suffering of others. feldenkrais regraded the social structure in which we live as going through constant changes and considered his method a way to minimize the difficulties of adjustment to these changes: while expecting hopefully that the environment will be changed by our collective efforts, we must also make sure that everything amenable to human influence in each individual is used to facilitate adaptation. this will not only eliminate much misery in the present generation but will also give a better chance to the next. (2005:11) the feldenkrais method, with its double technique of functional integration (fi) and awareness through movement (atm), is a transformational practice of the individual organism and body image. for foucault, the care for the self ‘is an exercise of self upon the self by which one tries to work out, to transform one’s self and to attain a certain mode of being’ (1988b: 2). in this sense, both foucault and feldenkrais offer practices of the self, which enable access to certain forms of self-understanding or awareness of one’s own truths that would otherwise remain hidden. when foucault wrote about the care of the self he was clearly not considering practices of somatic self-education such as the feldenkrais method. the method however, opens up a new horizon for the foucauldian vision of the care of the self. through the foucauldian prism, we can see how the feldenkrais method, in addition to promoting the growth of organic individuality mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 12 and changing things in the brain itself, may also be understood as an art of self-fashioning where agency blends with responsibility for oneself – a practice central to contemporary subjectivity. references cadava, e. connor, p. and nancy, j-l (eds.) (1991) ​who comes after the subject​ . new york: routledge cooter, r. (2010) ‘the turn of the body: history and the politics of the corporeal,’ ​arbor ciencia, pensamiento y cultura​ ​743​ , 393–405 coupland, j. and gwyn, r. (eds.) (2003) ​discourse, the body and identity​ . new york: palgrave macmillan doidge, n. (2015) ​the brain’s way of healing​ . new york: penguin domany, e. van hemmen, j. l. and schulten, k. (eds.) (1991) ​models of neural networks​ . berlin: springer verlag feldenkrais, m. (1984) ​the master moves​ . capitola, ca: meta publications feldenkrais, m. (1985) ​the potent self: a study of spontaneity and compulsion​ . berkeley: frog books feldenkrais, m. (2005) ​body and mature behavior: a study of anxiety, sex, gravitation and learning​ . berkeley: frog books feldenkrais, m. (2009) ​awareness through movement: easy-to-do health exercises to improve your posture, vision, imagination, and personal awareness​ . san francisco: harper one feldenkrais, m. (2010) ​embodied wisdom: the collected papers of moshe feldenkrais​ , ed. by beringer, e. berkley: somatic resources and north atlantic books foucault, m. (1965) ​madness and civilization: a history of insanity in the age of reason​ , trans. by howard, r. new york, vintage books foucault, m. (1979) ​discipline and punish: the birth of the prison​ , trans. by sheridan, a. new york: vintage books foucault, m. (1980). ​power/knowledge: selected interviews and other writings​ 1972-1977. new york: pantheon books mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 13 foucault, m. (1984a) ‘what is enlightenment’. in ​the foucault reader​ , ed. by rabinow, p. new york: pantheon books, 32–50 foucault, m. (1984b) ​the foucault reader​ , ed. by rabinow, p. new york: pantheon books foucault, m. (1988a) ​the care of the self: the history of sexuality​ . vol. 3, trans. by hurley, r. new york: vintage books foucault, m. (1988b) ‘the ethic of care for the self as a practice of freedom: an interview with michel foucault.’ in bernauer, j. and rasmussen d. (eds), ​the final foucault​ . cambridge, ma: the mit press, 1–20 foucault, m. (1990) ​the history of sexuality: an introduction.​ vol. 1, trans. by hurley, r. new york: vintage books foucault, m. (1994) ​michel foucault: power​ .​ essential works of foucault.​ vol. 3, ed. by faubion, j. d., trans. by hurley, r. new york: the new york press foucault, m. (1997) ​michel foucault: ethics, subjectivity and truth​ . ​essential works of foucault,​ vol. 1, ed. by rabinow, p. new york: the new york press foucault, m. (2003a) ​abnormal​ : ​lectures at the collège de france 1974-1975,​ trans. by burchell, g. new york: st. martin press foucault, m. (2003b) ​societies must be defended​ : ​lectures at the collège de france 1975-1976​ , trans. by burchell, g. new york: st. martin press foucault, m. (2005) ​the hermeneutics of the subject: lectures at the collège de france 1981-1982, ​ trans. by burchell, g. new york: palgrave macmillan foucault, m. (2008) ​the birth of biopolitics: lectures at the collège de france 1978-1979​ , trans. by burchell, g. new york: palgrave macmillan foucault, m. (2011) ​the courage of truth: the government of self and others: lectures at the collège de france 1983-1984​ , trans. by burchell, g. new york: palgrave macmillan fördeverein (2016) ‘förderverein für feldenkrais und somatisches lernern’. <​http://www.feldenkrais-foerderverein.de/​> [accessed 10 may 2016] fox, c. (1978) ‘the feldenkrais phenomenon’. ​quest​ ​7​ , dec/jan 1978-79 hanna, t. (1985) ​bodies in revolt: a primer in somatic thinking​ . novato: freeperson press husslein, u. (ed.) (2013) ​the feldenkrais library: an annotated resource directory on printed, taped and filmed materials​ . rev. edn. cologne: verlag punkt & anton mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 14 http://www.feldenkrais-foerderverein.de/ iff (international feldenkrais federation) (2016) ‘feldenkrais studies zotero group’ [online database] <​https://www.zotero.org/groups/feldenkrais_studies/items​> [accessed 10 may 2016] reese, m (2002) ‘foreword,’ in m. feldenkrais, ​the potent self: a study of spontaneity and compulsion. ​ berkeley: somatic resources/frog ltd, ix-xxxiv shustermann, r. (2008) ​body consciousness: a philosophy of mindfulness and somaesthetics. new york: cambridge university press turner, b. (ed.) (2012) ​the routledge handbook of body studies.​ new york: routledge mansbach • ​feldenkrais research journal, volume 5​ ​(​ 2016) 15 https://www.zotero.org/groups/feldenkrais_studies/items buchanan.pmd feldenkrais research journal • volume 1 (2004) article attending to the process of changing behavior: a reply to ives' commentary patricia buchanan indiana university beverly ulrich phd; university of michigan keywords dynamic systems theory, feldenkrais method®, kinesthesia, perception-action copyright ©: the copyright for this paper remains with the author(s). first published: research quarterly for exercise and sport, vol. 74, no. 2, p124-126, (2003) please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 124124124124124 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 buchanan and ulrich research quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sport ©2003 by the american alliance for health, physical education, recreation and dance vol. 74, no. 2, pp. 124–126 key words: dynamic systems theory, feldenkrais method®, kinesthesia, perception-action in our article, “the feldenkrais method®: a dynamic approach to changing motor behavior” (buchanan & ulrich, 2001), our stated objectives were to offer a tutorial on the feldenkrais method of somatic education based on the writings of moshe feldenkrais and suggest several parallels with dynamic systems theory. briefly, feldenkrais teachers and dynamic systems theorists believe that humans self-organize their behavior from the interactions among their individual resources, environment, and task requirements. both groups acknowledge that behavior often assembles into preferred or habitual patterns of varying stability. changing an existing behavior requires perturbation or a relative destabilization to create conditions for the reassembly of a related or different behavior. feldenkrais and dynamic systems theory explicitly view system behavior as emerging from the interactions of multiple subsystems and strongly believe in a continual coupling between perception and action. as a corollary to our objectives, we hoped to interest researchers in conducting well designed studies of feldenkrais and its fundamentals from an overt theoretical foundation. we briefly reviewed studies published in peer-reviewed journals and acknowledged the limitations of many of them before we proposed several studies formulated from a dynamic systems theoretical perspective. we do not believe anything in ives’ commentary substantively suggests we failed to hit our mark. ives had four major elements in his paper. he (a) provided a more detailed review of the literature, (b) concluded that most studies were not very well controlled or designed, (c) concluded that the empirical evidence supporting the effectiveness of feldenkrais is limited, and (d) suggested an alternative theoretical basis for understanding select instances in which feldenkrais seems to be an effective intervention. we will comment on each of these elements in relation to the stated purposes of our paper. the opening and major section of ives’ commentary is an extended literature review of feldenkrais-related studies. this is a welcome addition to the literature that our manuscript’s space limitations did not allow. he supported our conclusion that there is considerable room for improvement in many of the extant publications, a large portion of which are not printed in mainstream motor behavior journals. later in his closing, ives pointed to methodological factors of seemingly special application to feldenkrais studies. he expressed concern about practitioner skill level, subjective assessments, selection of measures, participant self-reports, and expectancy effects of both participants and researchers. while we agree that these are important considerations in research design, we view them as standard considerations for any intervention study that are not unique to feldenkrais research. nevertheless, we concur with ives’ encouragement of readers to seek out the original articles, review the articles, and form their own opinions regarding the quality of the experiments and the measured outcomes. we find ives’ summary of his review of the published research puzzling; he concludes both that feldenkrais is attending to the process of changing behavior: a reply to ives’ commentary patricia a. buchanan and beverly d. ulrich submitted: july 15, 2002 accepted: september 30, 2002 patricia a. buchanan is with the department of kinesiology at indiana university. beverly d. ulrich is with the division of kinesiology at the university of michigan. dialogue and commentary buchanan.pmd 4/15/2004, 12:42 pm124 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 125125125125125 buchanan and ulrich ineffective and effective. he separates the impact of feldenkrais into body and mind, with its impact on physiology (body) as ineffective and psychology (mind) as effective. we strongly disagree with this dichotomy and the implication that feldenkrais targets one or the other in isolation. other dynamic systems theorists (kelso, fink, delaplain, & carson, 2001; thelen, schöner, scheier, & smith, 2001), feldenkrais teachers (ginsburg, 1999; reese, 1999/2000), ecological psychologists (shaw & turvey, 1999; turvey & shaw, 1999), and neuroscientists (damasio, 1994; damasio, et al., 2000; freeman, 1999) have argued that physiological and psychological categories include many subsystems that interact, and, thus, affect each other. further, emergent behaviors arise from the coalescence of the organism’s subsystems (physiological, psychological, etc.), the environment, and task or goal demands. this point of disagreement emphasizes the need to understand researchers’ theoretical perspectives, as much as it is important to be aware of “therapeutic allegiances.” implicit in ives’ mind-body dichotomy is a hierarchical viewpoint that grants superiority and isolation to the brain. perhaps this is why ives and others are dubious of the role of kinesthesia in motor behavior, except under limited circumstances. unlike ives, we believe data support kinesthesia—the awareness of one’s position and movement—as a critical interface in perception-action and, therefore, of human-environment self-assembly of task-specific behavior (turvey, burton, amazeen, butwill, & carello, 1998; turvey & carello, 1995). depending on circumstances, one can be at different positions along a continuum of attending to features of kinesthetic information (gandevia & burke, 1992). people with diminished kinesthesia, whether due to the temporary effects of anesthesia for dental work or the long-term effects of pathology, have to be more attentive to the available perceptual information to perform tasks ranging from chewing to walking safely and effectively (cole, 1995; nougier & rossi, 1999). contemporary research also shows that learning to make sense of, make use of, and focus attention on select features of one’s rich kinesthetic resources is a developmental process (davids, 1988; gopher, 1993; lee, swinnen, & serrien, 1994; savelsbergh & bootsma, 1994; turvey & fitzpatrick, 1993). from infants’ early efforts to grasp interesting objects to put in their mouths to the many reaching actions adults perform throughout the day, kinesthesia plays an important role in developing a repertoire of reaching skills. infants explore an array of reaching-intended behaviors before establishing skillful, controlled, and adaptable reaching patterns (thelen, corbetta, & spencer, 1996). by the time some of these infants develop into college students participating in research studies (e.g., ives, abraham, & kroll, 1999; kelso, et al., 2001), they have practiced reaching for about 20 years under diverse environmental and task conditions. courtesy of this extensive apprenticeship, most of us can easily continue to read the words on this page and reach for a nearby cup to take a drink. performing such a familiar task requires little conscious attention to our actions. however, if we were learning a new phrasing on the piano keyboard, attempting to tap our fingers in a nonrepetitive sequence (jueptner, frith, brooks, frackowiak, & passingham, 1997), or developing a set of skills to expert level, it would be useful to be more aware of and attentive to kinesthetic clues about our actions (stein, 1992), which would concurrently increase brain activity in multiple regions (jueptner & weiller, 1998; stein, 1992). the result of such attentive practice is a wealth of task-specific information about one’s actions relative to surroundings that facilitates development of highly refined, stable, yet adaptable skills. we believe there is research support for the importance of attention and kinesthesia that varies with the individual’s level of experience, available resources (including motivation), and familiarity with the current task. our perspectives about kinesthesia and attention are consistent with dynamic systems theory and feldenkrais. conversely, ives was dubious of the role of attention and kinesthesia in motor behavior and disputed the efficacy of feldenkrais for changing motor behavior. he briefly suggested an alternative framework—self-regulation theory—for explaining the effectiveness of feldenkrais within the psychological realm. it seems quite likely that efforts to self-regulate one’s behavior would draw attention to one’s body position, actions, and other sensations. these features are not outside the scope of feldenkrais or dynamic systems. nevertheless, we encourage people to act on our suggestions: establish well designed, theoretically based studies to test the impact of feldenkrais techniques on behavior and publish in refereed journals. just as we outlined a framework for testing if and how feldenkrais can change behavior in ways best explained by dynamic systems theory, researchers with other theoretical perspectives should do the same. proponents of self-regulation theory must carefully design and conduct experiments to determine if feldenkrais can affect the psychological domain without impacting the physiological realm in a manner best explained by that theory. equally important would be to test the generalizability of both application (feldenkrais) and theoretical explanation (self-regulation, dynamic systems, or others) across behaviors that might range in complexity from simple, quiet standing to ambulating to negotiating a path around defenders during a soccer game. as we originally argued in our article, the results of research endeavors of this nature should be of interest to movement science theorists and clinicians alike. buchanan.pmd 4/15/2004, 12:42 pm125 126126126126126 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 buchanan and ulrich we appreciate ives’ interest in our article in which we provided an overview of the feldenkrais method, proposed parallels with dynamic systems theory, suggested theoretically driven research studies, and encouraged researchers to develop their own well designed experiments to test the validity of the feldenkrais method. ives’ commentary testifies that our efforts were at least partially successful: people have read and thoughtfully considered the implications of our discussion of the feldenkrais method. we hope researchers will take the next step and focus their attention on carefully designing studies of the impact of feldenkrais on motor behavior from expressly stated theoretical perspectives. referencesreferencesreferencesreferencesreferences buchanan, p. a., & ulrich, b. d. 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(1998). a review of differences between basal ganglia and cerebellar control of movements as revealed by functional imaging studies. brain, 121, 1437–1449. kelso, j. a. s., fink, p. w., delaplain, c. r., & carson, r. g. (2001). haptic information stabilizes and destabilizes coordination dynamics. proceedings of the royal society of london series b-biological sciences, 268, 1207–1213. lee, t. d., swinnen, s. p., & serrien, d. j. (1994). cognitive effort and motor learning. quest, 46, 328–344. nougier, v., & rossi, b. (1999). the development of expertise in the orienting of attention. international journal of sport psychology, 30, 246–260. reese, m. (1999/2000). a dynamic systems view of the feldenkrais method. somatics, 12(8), 18–26. savelsbergh, g. j. p., & bootsma, r. j. (1994). perception-action coupling in hitting and catching. international journal of sport psychology, 25, 331–343. shaw, r. e., & turvey, m. t. (1999). ecological foundations of cognition: ii. degrees of freedom and conserved quantities in animal-environment systems. journal of consciousness studies, 6(11–12), 111–123. stein, j. f. (1992). the representation of egocentric space in the posterior parietal cortex. behavioral and brain sciences, 15, 691–700. thelen, e., corbetta, d., & spencer, j. p. (1996). development of reaching during the first year: role of movement speed. journal of experimental psychology—human perception and performance, 22, 1059–1076. thelen, e., schöner, g., scheier, c., & smith, l. b. (2001). the dynamics of embodiment: a field theory of infant perseverative reaching. behavioral and brain sciences, 24(1), 1–86. turvey, m. t., burton, g., amazeen, e. l., butwill, m., & carello, c. (1998). perceiving the width and height of a hand-held object by dynamic touch. journal of experimental psychology: human perception performance, 24(1), 35–48. turvey, m. t., & carello, c. (1995). dynamic touch. in w. epstein & s. j. rogers (eds.), perception of space and motion. handbook of perception and cognition (2nd ed., pp. 401– 490). san diego, ca: academic press. turvey, m. t., & fitzpatrick, p. (1993). commentary: development of perception-action systems and general principles of pattern formation. child development, 64, 1175–1190. turvey, m. t., & shaw, r. e. (1999). ecological foundations of cognition: i. symmetry and specificity of animal-environment systems. journal of consciousness studies, 6(11–12), 95–110. authors’ notesauthors’ notesauthors’ notesauthors’ notesauthors’ notes the first author is a guild certified feldenkrais teacher. we thank esther thelen and patricia bate for their comments during preparation of this manuscript. please address all correspondence concerning this article to patricia a. buchanan, indiana university, school of hper, department of kinesiology, hper 112, bloomington, indiana 47405. e-mail: pabuchan@indiana.edu buchanan.pmd 4/15/2004, 12:42 pm126 feldenkrais research journal​ • ​volume 6​ (2018-2019) original research bewegungsqualität und musizierpraxis: zum verhältnis von feldenkrais-methode​®​ und musikalischer improvisation corinna eikmeier prof. dr. phil.; feldenkrais practitioner, hannover, germany correspondence: ​post@corinna-eikmeier.de abstract die qualität der spielbewegungen und das musikalische ergebnis beim musizieren sind eng miteinander verbunden. auch unterscheiden sich erstere beim improvisieren und bei der interpretation auskomponierter werke. ausgangspunkt der untersuchung war, dass körperliche empfindungen von improvisierenden musikern denen von teilnehmern an feldenkrais-lektionen ähneln. dem stand die schwierigkeit von interpretierenden musikern gegenüber, erkenntnisse aus feldenkrais-lektionen auf ihr instrumentalspiel zu übertragen. diese beobachtungen führten zu den folgenden forschungsfragen: ● gibt es spezifische handlungsweisen, die für das improvisieren bedeutsam sind? ● gibt es eine wechselwirkung zwischen den spezifischen improvisatorischen handlungsweisen und der bewegungsqualität beim musizieren? ● werden tugenden der improvisatorischen handlungsweise in der feldenkrais-methode implizit mitentwickelt? das forschungsdesign lehnt sich an die qualitative heuristik an und wurde durch prinzipien der künstlerischen forschung erweitert. methodische variationen waren forschungsgespräche, introspektion und das qualitative experiment. des weiteren wurde ein modell entwickelt, das improvisation als „autopoiese“ in der gegenwart beschreibt. aus dem forschungsprozess entwickelten sich die folgenden ergebnisse: ● das system der „autopoiese“ markiert die rahmenbedingungen für die improvisation. komponenten sind neben dem musizierenden selbst seine kommunikation mit den mitspielern und die daraus entstehende musik. die wahrnehmung hält die komponenten zusammen, mentale störungen wie fehlervermeidung oder kontrolle führen zu einer labilisierung der improvisation. ● ein vergleich von improvisatorischer handlungsweise und feldenkrais-methode zeigt, dass die dritte der oben gestellten forschungsfragen bejaht werden kann: auf einer übergeordneten ebene werden in der feldenkrais-methode tatsächlich improvisatorische tugenden mitgelernt. kriterien für eine improvisatorische bewegungsqualität lassen sich aus der feldenkrais-methode ableiten. published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:post@corinna-eikmeier.de https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ ● die in 49 experimenten angestoßenen variationen der bewegungsabläufe führten zu veränderungen in der improvisatorischen handlungsweise. den probanden gelang es zunehmend, retrospektion und prospektion auszublenden und, in der gegenwart agierend, neue wege einzuschlagen. ● die erkenntnis, dass bewegungsqualität und musikalisches ergebnis generell, also auch bei der interpretation auskomponierter werke, in einem wechselwirkungsverhältnis stehen, sollte angesichts eines ausgeprägten kontrollverhaltens in der klassischen musizierpraxis anlass sein, grundprinzipien der improvisatorischen handlungsweise erlebbar zu machen und generell in den instrumentalunterricht einzubeziehen. abstract when making music, quality of movement and musical outcome are closely connected. the quality of movement in improvisational play is different from that during the interpretation of composed works. the starting point for this study was that the physical sensations of improvising musicians resembled those reported by people who participated in feldenkrais method lessons. musicians interpreting composed works, on the other hand, found it difficult to apply what they had learned in feldenkrais lessons to their instrumental play. these observations led to the following research questions: ● can we identify specific modes of action that are important for improvising music? ● do musicians’ improvisational modes of action and quality of movement mutually influence each other? ● are certain modes of action that are beneficial to improvisational play cultivated through the feldenkrais method? the research design used in this study is based on the qualitative heuristic approach with additional principles borrowed from artistic research. methodological formats include research talks, introspection, and qualitative experiments. furthermore, a model was developed that describes improvisation as "autopoiesis" in the present. the research process yielded the following results: ● the "autopoietic" system marks the conditions for improvisation. besides the musician, communication with other players and the resulting music are also part of the process. the musician's perception brings all these elements together; mental issues like trying to avoid mistakes or control musical developments weaken the improvisational process. ● when comparing improvisational modes of action with the feldenkrais method, it becomes apparent that the third research question posed above can be answered with yes: on a superordinate level, the feldenkrais method does indeed cultivate modes of action beneficial to improvisation. criteria for an improvisational quality of movement can be deduced from the feldenkrais method. ● the variations of physical movement conducted in 49 experiments led to changes in improvisational technique. the subjects increasingly succeeded in discarding retrospection and prospection, and found new paths in the present. ● the finding that quality of movement and musical outcome mutually influence each other in general, even when interpreting composed works, should inspire efforts to incorporate basic eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 2 principles of improvisation into the way students are taught to play an instrument, thus enriching the interpretation of classical music, in which control is frequently overemphasized. copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 3 original research bewegungsqualität und musizierpraxis: zum verhältnis von feldenkrais-methode​®​ und musikalischer improvisation corinna eikmeier prof. dr. phil.; feldenkrais practitioner, hannover, germany einleitung der vorliegende artikel ist die zusammenfassung eines forschungsberichts, der 2016 in einer ausführlicheren fassung unter dem gleichnamigen titel veröffentlicht wurde . 1 ausgangsbeobachtungen der kontext des forschungsvorhabens war die klassische musikausbildung in der instrumental und gesangspädagogik im westlichen kulturkreis, in der interpretation ein wichtiger bestandteil ist. ein beachtlich hoher prozentsatz der professionellen musiker leidet unter beschwerden 2 des bewegungsapparates. als prävention wird von renommierten musikermedizinern die 3 ergänzende beschäftigung mit körpertechniken empfohlen. vertreter der somatischen lernmethoden spezialisieren sich auf die arbeit mit musikern. während meiner lehrtätigkeit im fach feldenkrais an einer musikhochschule beobachtete ich, dass viele klassisch ausgebildete 4 1 eikmeier, corinna (2010): bewegungsqualität und musizierpraxis. zum verhältnis von feldenkrais-methode und musikalischer improvisation. fernwald: musikautorenverlag burkard muth. eine kurzfassung dieses artikels: improvisieren mit einem improvisierenden körper. in: reinhard gagel, matthias schwabe (hrsg/eds.) (2016): improvisation erforschen – improvisierend forschen. beiträge zur exploration musikalischer improvisation// researching improvisation – researching by improvisation. essays about the exploration of musical improvisation. bielefeld: transkript. 2 der vergleich zu anderen musikkulturen, in denen traditionell durch improvisation und orale weitergabe gelernt wird, war nicht thema der forschungsarbeit und wurde daher nicht behandelt. die kreativen bereiche wie improvisation und komposition werden in der instrumentalund gesangspädagogik häufig als mittel zum zweck, um die interpretationen besser ausführen zu können, integriert. vgl. u. a. busch, barbara/metzger, barbara (2016): inhalte des instrumentalunterrichts. in: grundwissen instrumentalpädagogik. ein wegweiser für studium und beruf, s. 232-253 und ernst, anselm (1991): lehren und lernen im instrumentalunterricht. ein pädagogisches handbuch für die praxis. mainz: schott, kapitel: 2 lernfelder und unterrichtsinhalte, s. 44-69. 3 vgl. überblick über die statistiken in: hildebrandt horst (2002): musikstudium und gesundheit. aufbau und wirksamkeit eines präventiven lehrangebotes (= zürcher musikstudien, band 1). bern: u. a.: lang, s. 16. 4 fortlaufende lehrveranstaltung in den gruppenstunden »bewusstheit durch bewegung« und in einzelstunden »funktionale integration« für studierende aller studiengänge an der hochschule für musik, theater und medien, hannover. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 4 musiker die erfahrungen aus feldenkrais-stunden nicht direkt auf ihr instrumentalspiel anwenden können. in feldenkrais-stunden wird eine »improvisatorische bewegungsqualität« 5 erforscht. scheinbar lassen sich beim üben eines instruments gradlinig eingeübte bewegungsmuster nicht einfach verändern. die beschreibungen des körpergefühls beim improvisieren ähneln den beschreibungen von empfindungen, die viele menschen nach feldenkrais-stunden haben. die gleichen personen erinnern ihre bewegungsempfindungen 6 beim interpretieren eher negativ. die technischen spielbewegungen können nicht allein ausschlaggebend hierfür sein, da sie sich beim improvisieren und interpretieren nur marginal unterscheiden (geige spielen bleibt geige spielen). offensichtlich tragen die innere einstellung beim musizieren dazu bei, die wahrnehmung, das hören und die bereitschaft, sich ganz auf die gegenwärtige situation einzulassen. fragestellungen in vielen einschlägigen publikationen über musikermedizin und musikphysiologie wird die frage nach den unterschieden zwischen den verschiedenen arten der musizierpraxis nicht gestellt. 7 5 der begriff existiert in der literatur über die feldenkrais-methode in der form nicht. er wurde von der autorin in diesem forschungsprojekt durch die analogie zwischen der feldenkrais-methode und der improvisation geprägt. 6 im rahmen des dorothea-erxleben-stipendiums hat die autorin bereits von 2007-2009 ein projekt zum thema feldenkrais und improvisation durchgeführt. in diesem zusammenhang wurden mittels eines fragebogens improvisierende musiker nach ihrem körpergefühl beim improvisieren und interpretieren gefragt. aus heutiger sicht genügt der fragebogen nicht den wissenschaftlichen standards. er hat der autorin lediglich denkanstöße für das vorliegende projekt gegeben. 7 u. a. altenmüller, eckard (2006): neurologische erkrankungen bei musikern. heidelberg: springer. bastian, hans g. (hrsg.) (1995): erkrankungen vorbeugen und vermeiden. instrumentalspiel aus physiologischer, technischer und heilpädagogischer sicht [2. paderborner ibff-symposium]. mainz: schott. blum, jochen (hrsg.) (1995): medizinische probleme bei musikern. mit einem geleitwort von sir georg solti. stuttgart u. a.: thieme. gellrich, martin (1997): über den aufbau motorischer schemata beim instrumentalspiel. in: mantel, gerhard (hrsg.). 1998. ungenutzte potentiale: wege zum konstruktiven üben (= kongressbericht 1997 des forschungsinstituts für instrumentalund gesangspädagogik e. v. in zusammenarbeit mit der hochschule für musik und darstellende kunst frankfurt am main). mainz: schott. s. 131–151. hildebrandt, horst (2002): musikstudium und gesundheit. aufbau und wirksamkeit eines präventiven lehrangebotes (= zürcher musikstudien, band 1). bern u. a.: lang. hildebrandt, horst (2006): üben und gesundheit. ausgewählte musikphysiologische aspekte des übens und ihre besondere bedeutung für den ausbildungsund berufsalltag. in: mahlert, ulrich (hrsg.) (2006): handbuch üben. grundlagen – methoden – konzepte. wiesbaden u. a.: breitkopf & härtel, s. 67–97. klein-vogelbach, susanne/lahme, albrecht/spirgi-gantert, irene (2000): musikinstrument und körperhaltung. eine herausforderung für musiker, musikpädagogen, therapeuten und ärzte. gesund und fit im musikeralltag. mit einem geleitwort von natalia gutman. berlin u. a.: springer. klöppel, renate (1999): das gesundheitsbuch für musiker. anatomie, berufsspezifische erkrankungen, prävention und therapie. kassel: bärenreiter. puls, hartmut (2000): erfahrungen aus der körperarbeit mit musikstudentinnen. prophylaxe als lehrfach an der hochschule für musik „hanns eisler“ berlin. üben & musizieren, 17. jg. nr. 5, s. 27–33. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 5 für das im folgenden beschriebene forschungsprojekt waren diese unterschiede in der musizierpraxis und auffälligkeiten beim improvisieren bereits in den ersten beobachtungen relevant. aus diesem grunde wurde das improvisieren zum untersuchungsgegenstand. beim improvisieren sind tugenden gefordert, die für jede andere musizierpraxis ebenso wichtig, beim improvisieren jedoch unabdingbar sind. der terminus der »improvisatorischen handlungsweise«, der ebenso in interpretierender musizierpraxis anwendung finden kann, wurde definiert. von den ausgangsbeobachtungen wurden die folgenden zentralen fragestellungen abgeleitet: ● welche spezifischen handlungsweisen sind für das improvisieren bedeutsam? ● welche wechselwirkung gibt es zwischen den spezifischen improvisatorischen handlungsweisen und der bewegungsqualität beim musizieren? bezogen auf die feldenkrais-methode: ● welche der improvisatorischen handlungsweisen werden in der feldenkrais-methode implizit mit behandelt? ● welche vergleichsmöglichkeiten lassen sich zwischen den in der feldenkrais-methode angewendeten lernstrategien und den improvisatorischen handlungsweisen erkennen? der forschungsprozess sowohl improvisation als auch die feldenkrais-methode lassen sich auf grund der extrem hohen komplexität mit naturwissenschaftlichen beziehungsweise quantitativen messverfahren nicht befriedigend untersuchen. das forschungsdesign entwickelte sich im verlauf des forschungsprozesses auf improvisatorische weise. die forschungsmethodologie lehnt sich an die qualitative heuristik an, die im folgenden abschnitt beschrieben wird. als methodische variationen wurden forschungsgespräche, introspektion und insbesondere das »qualitative experiment« angewendet. schnack, gerd (2000): gesundheitsstrategien beim musizieren – übungen zur prävention und therapie von spielschäden. münchen u. a.: urban & fischer. schnack, gerd (2010): einen fruchtbaren boden bereiten. zur implementierung der musikergesundheit in die hochschulausbildung. üben & musizieren, 27. jg. nr. 1, s. 22–27. spahn, claudia (2011): musikermedizin. diagnostik, therapie und prävention von musikerspezifischen erkrankungen. unter mitarbeit von jochen blum. stuttgart: schattauer. wagner, christoph (1995): physiologische und pathophysiologische grundlagen des musizierens. in: blum, jochen (hrsg.). medizinische probleme bei musikern. mit einem geleitwort von sir georg solti. stuttgart/new york: thieme, s. 2–29. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 6 die qualitative heuristik „entdeckung ist ersatz oder erweiterung von bekanntem durch neues, ist also veränderung.“ 8 kinder sind in ihrer art, die welt zu entdecken, lebendige beispiele für heuristische forschung. sie beschäftigen sich mit banalen selbstverständlichkeiten und ergründen diese für ihr eigenes verstehen. „so erweist sich die geistige tätigkeit des forschers und erfinders wieder als nicht wesentlich verschieden von jener des gemeinen mannes. was letzterer instinktiv treibt, gestaltet der naturforscher zur methode.“ heuristische oder entdeckende forschung mit qualitativen 9 methoden basiert auf einer an der universität hamburg entwickelten methodologie , die in 10 vielen bereichen anwendung findet. dabei wird der forschungsprozess „als dialogisch gefasst, als angewandte dialektik.“ 11 grundregeln der qualitativen heuristik die methode der qualitativen heuristik folgt den nachstehenden grundregeln. regel 1:​ ​„die forschungsperson soll neuen konzepten gegenüber offen sein und ihr vorverständnis ändern, wenn die daten dem entgegenstehen.“ 12 beim vorgehen in einem forschungsprojekt kann diese regel zu heftigeren einschnitten führen, wenn die hypothesen sich nicht bestätigen. äußere faktoren wie förderungen und zeitpläne können unerwarteten erkenntnissen unangenehm im wege stehen. dies kann für die forscherpersönlichkeit eine herausforderung bedeuten. hypothesen, die der forscher zu beginn aufgestellt hat, können sich während des forschungsprozesses verändern. ebenso 13 wird gefordert, dass die forscherpersönlichkeit unerwarteten neuen erkenntnissen gegenüber offen ist. ernst mach bemerkt bereits 1905: „wir dürfen vor ungewohnten auffassungen, wenn sie auf sicheren grundlagen ruhen, nicht zurückschrecken. denn die möglichkeit, auf fundamental neue tatsachen zu treffen, hat nicht nur in den früheren forschungsperioden bestanden, sie besteht auch jetzt noch fort und hat an keinem tage aufgehört zu bestehen.“ 14 er stellt fest, dass häufig zufälle dazu führen, dass sich inkongruenzen zwischen vorstellungen und tatsachen zeigen und fühlbar werden. aber gerade diese führen ggf. zur lösung von 8 kleining, gerhard (2001): offenheit als kennzeichen entdeckender forschung. in: hoock, claudia/böhm, jan m. (hrsg.). methodologie qualitativer sozialforschung (= kontrapunkt, bd. 1). münster: kontrapunkt, s. 27–36 (= http://da ta.onb.ac.at/rec/ac06230553), s. 27 f. 9 mach ernst (1968) [reprografischer nachdruck von 51926]: erkenntnis und irrtum. skizzen zur psychologie der forschung. darmstadt: wissenschaftliche buchgesellschaft, s. 261. 10 vgl. kleining, gerhard (1982): umriss zu einer methodologie qualitativer sozialforschung. kölner zeitschrift für soziologie und sozialpsychologie, 34. jg. nr. 2, s. 224–253, s. 224 f. 11 kleining, gerhard/witt harald (2000): qualitativ-heuristische forschung als entdeckungsmethodologie für psychologie und sozialwissenschaften: die wiederentdeckung der methode der introspektion als beispiel. forum qualitative sozialforschung, 1. jg. nr. 1, urn:nbn:de:0114-fqs0001136, zugriff am 10. april 2014. 12 ebd. 13 vgl. mach 1968, s. 244. 14 ebd., s. 249. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 7 problemen. immerhin lässt sich sagen, dass jeglicher aufwand, forschend tätig zu sein und 15 experimente durchzuführen, nicht sinnvoll ist, wenn der forscher das ergebnis seiner experimente schon vorher kennt. die forscherpersönlichkeit muss solchen zufällen offen 16 gegenüberstehen, sie zu ihrem vorverständnis in beziehung setzen und aus diesen neuen erkenntnissen die nächsten schritte ableiten. es ergibt sich daraus eine improvisatorische grundhaltung der forscherpersönlichkeit. regel 1 weist einige parallelen zur „grounded 17 theory“ von glaser und strauss (1967) auf. sie schlägt einen flexiblen gebrauch der daten vor, wobei die theorie nicht zu beginn des forschungsprozesses präformiert ist, sondern sich erst im verlaufe des prozesses aus den daten ergibt. 18 regel 2:​ ​„offenheit des forschungsgegenstandes“ 19 diese regel steht in enger beziehung zu regel 1 und besagt: „der forschungsgegenstand kann sich im laufe der forschung verändern; die forschungsperson soll der veränderung folgen.“ 20 regel 3:​ ​„die forschungsdaten sollen den forschungsgegenstand unter maximal strukturell verschiedenen perspektiven abbilden.“ 21 dies bedeutet, dass die daten aus möglichst vielen verschiedenen perspektiven beleuchtet werden. die grenzen des forschungsgegenstandes werden dadurch größtmöglich erweitert. beispiele dafür sind die variation der forschungsmethoden oder der versuchspersonen. regel 4:​ während regel 3 die grenzen erweitert, werden sie durch regel 4 wieder geschlossen. letztere besagt: ​„die verschiedenen daten werden auf ihre gemeinsamkeiten hin analysiert.“ 22 unter gemeinsamkeiten sind hier auch analogien zu verstehen. aspekte, die sich nicht in die struktur integrieren lassen, weil sie inhaltlich zu weit von den forschungsfragen entfernt zu sein scheinen, werden außerhalb der grenzen angesiedelt. das ergebnis folgt der sogenannten 15 vgl. ebd., s. 252. 16 vgl. frey hans-jost (2005): versuch über das unvorhergesehene. in: fähndrich, walter (hrsg.). 2007. improvisation 6 [13 beiträge; 6. internationale tagung für improvisation, luzern 2005]. winterthur: amadeus, s. 107–129, s. 115. 17 vgl. kurt ronald (2011): improvisation als methode der empirischen sozialforschung. in: schröer, norbert/bidlo, oliver (hrsg). die entdeckung des neuen. qualitative sozialforschung als hermeneutische wissenssoziologie. wiesbaden: vs verlag, s. 69–84, s. 69 f. 18 vgl. kleining 2001, s. 27 f. 19 ebd., zit. nach: http://da ta.onb.ac.at/rec/ac06230553, zugriff am 12. mai 2015. 20 ebd. 21 ebd. 22 ebd. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 8 100%-regel. die daten fließen vollständig in das ergebnis ein. jede abweichung von 23 einzelbeispielen wird mitberücksichtigt, wodurch sich das ergebnis verändern kann. die maximale strukturelle erweiterung der grenzen (regel 3) wird durch methodenwechsel ermöglicht. in diesem projekt kamen forschungsgespräche mit experten, introspektion und qualitative experimente als methodische variationen zur anwendung. da vor allem das qualitative experiment eine besondere bedeutung im forschungsprozess hatte, werden im folgenden die wichtigsten grundprinzipien dargelegt. das qualitative experiment „der forschungsprozess ist dialogisch bestimmt – durch fragen, die die forschungsperson an den gegenstand richtet und die durch die befunde beantwortet werden sollen. auf das qualitative experiment bezogen heißt dies, dass die fragen an den gegenstand in experimente transformiert werden. die antworten (in form von experimentellen befunden) und deren analyse können zu neuen fragen führen und weitere experimente nach sich ziehen usw. es ergibt sich ein adaptives forschungsdesign, bei dem eine bereits bei ersten vorliegenden daten begonnene analyse zur anpassung der datenerhebung führen kann.“ in einem qualitativen 24 experiment vollzieht der forscher idealtypisch folgende schritte: „1. deskription des gegenstandes: dieser erste schritt ist wichtig, denn ohne eine genaue beschreibung des gegenstandes kann ein qualitatives experiment kaum aussagekräftige ergebnisse zu dessen struktur erbringen. 2. experimenteller eingriff, 3. deskription des gegenstandes nach dem eingriff, 4. schlussfolgerungen auf seine struktur.“ 25 unter experimentellem eingriff ist zu verstehen, dass eine komponente des zu untersuchenden gegenstandes verändert wird. in der anwendung dieses prinzips wurden in diesem projekt einzelne aspekte der bewegungen verändert und die auswirkungen auf die improvisationen bzw. das improvisatorische handeln beobachtet. die experimentellen techniken können nach den folgenden regeln konstruiert werden: reduktion – abschwächung:​ wesentliche merkmale eines gegenstandes werden ermittelt, indem elemente/funktionen entfernt oder abgeschwächt werden und geprüft wird, ob der gegenstand bestehen bleibt. 23 vgl. kleining, gerhard ( 2007): qualitative heuristik. analyse der befragung und berichte. 3. berliner methodentreffen qualitative forschung, 29.–30. juni 2007. http://www.berlinermethodentreffen.de/material/2007/texte/kleining.pdf, zugriff am 25. april 2015. 24 burkart, thomas (2010) qualitatives experiment. in: mey, günter/mruck, katja (hrsg.). qualitative forschung in der psychologie. wiesbaden: vs-verlag, s. 252–262, s. 252 f. 25 mayring, philipp (52002 [11990]): einführung in die qualitative sozialforschung. eine anleitung zu qualitativem denken. weinheim: beltz, s. 60. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 9 adjektion – intensivierung:​ dem gegenstand wird etwas hinzugefügt, seine elemente werden intensiviert, um seine struktur zu erforschen. substitution:​ gegenstandselemente werden durch andere ersetzt, um ihre strukturelle bedeutung zu erforschen. transformation:​ der gegenstand wird transformiert, um seine struktur zu erforschen. interessante transformationen sind negationen (gegenteile, umkehrung, spiegelbilder). 26 im folgenden wird der forschungsprozess meiner arbeit detaillierter beschrieben. phase 1 zunächst kamen in forschungsgesprächen experten der improvisation zu wort. die folgenden überlegungen wurden für das theoretical sampling getroffen: das erste forschungsgespräch fand zu einem sehr frühen zeitpunkt mit einer feldenkrais-kollegin und professionellen musikerin statt, die erste erfahrungen mit meinen übungen gemacht hatte und wenig improvisationserfahrung besaß. das zweite forschungsgespräch schloss sich erst zehn monate später an. die gesprächspartnerin hatte im vorfeld gedanken zur analogie zwischen feldenkrais und improvisation zum ausdruck gebracht. sie war ebenfalls feldenkrais-kollegin und professionelle musikerin mit improvisationserfahrung. die auswertung dieser beiden gespräche ließ es sinnvoll erscheinen, personen zu finden, die das thema nicht aus der sicht des feldenkrais-profis betrachteten. es folgten zwei gespräche mit musikstudentinnen, die in der lehrveranstaltung „elementare improvisation“ mehrere semester improvisationserfahrung gesammelt und in feedbackrunden signifikante veränderungen ihres musizierens beschrieben hatten. bei der auswahl eines gesprächspartners für forschungsgespräch 5 gab es zwei aspekte: 1. das männliche geschlecht sollte zu wort kommen. 2. die statements eines sehr erfahrenen experten der improvisation fehlten in den daten. durch forschungsgespräch 6 wurde das spektrum um zwei weitere gesichtspunkte erweitert: 1. der kandidat spielte sehr viel jazz. 2. da unter den ersten fünf gesprächspartnern kein bläser war, hoffte ich auf hinweise zum thema atmung. nachdem die ersten sechs gesprächspartner professionelle musiker gewesen waren, befragte ich als siebte person eine bratschistin, die erst im erwachsenenalter mit dem instrumentalspiel begonnen und von anfang an improvisiert hatte. die vorbildung und auch verbildung eines 26 vgl. burkart 2010, s. 252 f. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 10 professionellen musikers konnte sie nicht haben, und ich war neugierig, ob sich dadurch neue aspekte für die daten ergeben würden. forschungsgespräch 8 entstand sehr spontan. gesprächspartner war nun wieder ein professioneller musiker, der eine besondere improvisationsmethodik entwickelt hatte. er erzählte im informellen rahmen, dass er häufig einen feldenkrais practitioner zu seinen seminaren einlade, da die methode seiner meinung nach so gut zur improvisation passe. hiermit hatte ich eine außensicht auf die feldenkrais-methode. gesprächspartnerin 9 sah ebenfalls eine analogie zwischen feldenkrais-methode und improvisation. sie war noch von moshé feldenkrais selbst ausgebildet worden und verbindet im unterricht mit schauspielern feldenkrais-interventionen mit improvisationsaufgaben. forschungsgespräch 10 war eine diskussion während einer autofahrt. die gesprächspartnerin war professionelle musikerin mit sehr viel improvisationserfahrung. sie erzählte, dass sie entscheidende tugenden für das improvisieren beim feuerlaufen gelernt habe. als leitfaden dienten die folgenden themen, die mit den gesprächspartnern nicht systematisch, sondern in einer freien form kreuz und quer durchstreift wurden. 1. improvisation als ein sich selbst organisierender prozess welche aktive kontrolle haben die ausführenden in einer improvisation? mit welchen mitteln übernehmen sie die kontrolle? gibt es eine innere einstellung, die erlaubt, die kontrolle an den improvisationsprozess selber abzugeben? inwiefern ist das ein wunsch oder ziel für die innere einstellung beim improvisieren? in der systemtheorie und in der chaosforschung gibt es das phänomen der seltsamen attraktoren. diese stellen den endzustand eines dynamischen prozesses dar, der eine fraktale dimension hat. spielt dieses phänomen beim improvisieren überhaupt eine rolle? wenn ja, welchen einfluss hat es auf die handlungsweisen beim improvisieren? wird es als besonderer reiz oder herausforderung empfunden? gibt es das bedürfnis, mögliche unsicherheiten durch künstlerische eingriffe zu kontrollieren? gibt es eine körperliche komponente, die dem entspricht? welchen stellenwert hat die eigene erwartungshaltung für den verlauf einer improvisation? 2. wahrnehmung welche art von aufmerksamkeit benötigen wir, um den überblick über das entstehende kunstwerk und über die eigenen aktionen im gegenwärtigen moment zu behalten? was macht die konzentration beim improvisieren aus? gibt es bestimmte bereiche, in denen die aufmerksamkeit besonders intensiv ist? ist die wahrnehmung mehr auf das aktive handeln und die eigene befindlichkeit gelenkt oder mehr auf das musikalische geschehen? welche eigenschaften hat die innere haltung beim improvisieren? eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 11 3. umgang mit gewohnheiten werden gewohnheiten wahrgenommen? welche gewohnheiten erscheinen nützlich? wann behindern gewohnheiten die freiheit? wie kann man sinnvoll und konstruktiv mit den gewohnheiten arbeiten und sie manchmal auch überlisten? 4. bewegungsqualität beim improvisieren welche verbindung gibt es zwischen impulsen, die aus dem körper kommen und der musikalischen idee? wie wirkt die improvisatorische grundhaltung auf die bewegungsqualität ein? beispiele: ist der körper bewegungsbereit? beginnen die bewegungen bei einem nullpunkt oder einem neutralen punkt? fühlt sich der körper schwer oder leicht an? ist es einfach, das gewicht beim spielen zu verlagern? ist es möglich, die qualität und das tempo der bewegungen in jedem moment zu variieren? hängt das mit dem ausdruck zusammen? wird die spannung der muskeln aktiv eingesetzt? ist sie der qualität des musikalischen ausdrucks angemessen? wie flexibel wird die atmung benutzt? hat die atmung eine beziehung zum musikalischen geschehen? aus den ergebnissen der forschungsgespräche wurde die improvisatorische handlungsweise abgeleitet und definiert. 27 es stellte sich heraus, dass die gesprächspartner zur wechselwirkung zwischen ihrem improvisatorischen verhalten und ihren bewegungsempfindungen nur sehr allgemeine aussagen machen konnten. bewegungen werden nicht geplant, sondern einfach ausgeführt und sie funktionieren dann erstaunlich gut. phase 2 durch eine analogie zwischen der feldenkrais-methode und der improvisation wurde die »improvisatorische bewegungsqualität« definiert und gezeigt, dass in der feldenkrais-methode auf einer metaebene improvisatorische tugenden geübt werden. phase 3 im dritten schritt wurden improvisation und bewegung in den sogenannten qualitativen experimenten in insgesamt 16 verschiedenen versuchsanordnungen kombiniert. die experimentellen eingriffe betrafen einzelne bewegungsaspekte. das qualitative experiment findet wie auch andere qualitative forschungsansätze bewusst nicht unter randomisierten, kontrollierten bedingungen statt. deshalb war es möglich, intuitiv über die interventionen zu 28 27 siehe die ausführungen in abschnitt 5. 28 vgl. burkart 2010 s. 252–262. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 12 entscheiden und sie auch im einzelfall zu modifizieren. phase 1 der experimente war eine freie improvisation. in den meisten fällen gab es keine vorbereitung durch eine feldenkrais-lektion. anschließend habe ich je nach interesse der versuchsteilnehmer und aufgrund meiner neugier entschieden, welche der 16 versuchsanordnungen als einstieg gewählt wurde. die veränderungen bestanden in aufgaben zur bewegungskoordination. zu beobachten waren die veränderungen in den improvisationen der teilnehmer. in der auswertung der experimente wurden die grenzen der sprache deutlich. die personen waren häufig so involviert in ihr spiel, dass sie sich nicht verbal äußern konnten. an diesem punkt wurden aspekte von künstlerischer forschung einbezogen. die audioaufnahmen der experimente wurden zum datenmaterial und somit zum teil der forschung selber. 29 die rolle der forscherin die rolle der forscherin bedarf einer gesonderten reflexion. die motivation das projekt durchzuführen, entstand aus persönlichen erfahrungen direkt aus dem feld. eine scheinbar neutrale perspektive war durch mein vorwissen und meine persönliche betroffenheit nicht möglich. aus diesem grund wurden die folgenden perspektiven bewusst eingenommen und reflektiert: durchführung der experimente mit einer dokumentation in einem introspektionstagebuch, teilnahme an den experimenten auf augenhöhe mit den 30 versuchspersonen, auswertung der daten teilweise mit bewusst gesetztem zeitlichen abstand, der implizite einfluss meiner künstlerischen und pädagogischen aktivitäten, die indirekt den dokumentationsprozess des projektes geprägt haben. phase 1: die improvisatorische handlungsweise aus den daten der zehn forschungsgespräche wurde die im folgenden zusammengefasste definition für die „improvisatorische handlungsweise“ herausgearbeitet. „die improvisatorische handlungsweise, in diesem fall beschrieben für bewusst gewählte situationen im kontext von musikalischen improvisationsprozessen, setzt sich durch folgende merkmale von herkömmlichen handlungsbegriffen ab: es gibt kein vorherbestimmtes ziel der handlung. natürlich haben improvisierende musiker das ziel, qualitativ gute musik zu spielen. sie akzeptieren aber das risiko, dass das ergebnis offen ist und stellen den entwicklungsprozess der improvisation in den vordergrund. für die entstehung eines improvisationsprozesses bedarf es situationen, die zu einer kreativen handlung herausfordern. die lösung wird gleichzeitig mit dem spielen gesucht. beschränkungen sind als herausforderungen eine hilfe. sie können gesetzt sein oder sich im improvisationsprozess selber ergeben. während eines improvisationsprozesses entsteht ein ständiges wechselspiel 29 vgl. zu prinzipien der künstlerischen forschung klein, julian (2010): was ist künstlerische forschung? in: stock, günter (hrsg.). wissenschaft trifft kunst. berlin: akademie-verlag, s. 25–28. 30 das introspektionstagebuch ist vollständig unter forschung.corinna-eikmeier.de einsehbar. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 13 zwischen ausgangsund anschlussaktionen. eine ausgangsaktion muss so offen gespielt 31 werden, dass anschlussaktionen folgen können. für anschlussaktionen gibt es verschiedene strategien und fragestellungen, die sich auf die kommunikation im ensemble oder auf das musikalische material und dessen weiterverarbeitung, veränderung oder unterbrechung richten können. die oben beschriebenen fragestellungen beschäftigen den spieler zwar, wie es gespräche nach improvisationen zeigen. die entscheidungen müssen jedoch häufig in sehr kurzer zeit getroffen werden. eine improvisation ist ein sich ständig veränderndes gebilde und lässt keine ausgedehnten reflexionen oder gar kreative pausen zu. in improvisationen gibt es „magische momente“, in denen spieler und musik so zu verschmelzen scheinen, dass das unvorhersehbare der improvisation die spieler überrascht. intuitive handlungen können zu einer enormen klarheit führen. handlungsimpulse werden ohne zögern umgesetzt. voraussetzung dafür ist eine neutrale grundhaltung, aus der heraus in jedem moment eine handlung starten kann. zwischen dem spieler und der ausführung eines impulses gibt es keine reflexionen mehr. musikimmanente strukturen und logiken bestimmen ebenfalls den improvisationsprozess. es entsteht ein wechselspiel zwischen der führung von musikimmanenten strukturen und der steuerung durch die entscheidungen der spieler. es erscheint ein handlungsbegriff, der zwischen der ratio und der reinen intuition steht und der sich aus diesem grunde nicht zuordnen lässt, sondern für die bearbeitung der zentralen forschungsfrage mit diesen facetten stehengelassen werden soll.“ 32 umgang mit der musik bei musikalischen improvisationen spielen die gesetzmäßigkeiten der musik eine rolle. da es in diesem projekt keinen fokus auf einen spezifischen musikstil gab, wurden kriterien der musikimanenten gesetzmäßigkeiten allgemein beleuchtet. in den musikimanenten gesetzmäßigkeiten, mit denen der improvisator spielt, stehen die spannungen sowohl zwischen einzelnen klängen und tönen als auch von großen formalen entwicklungen stärker im vordergrund als dies beim interpretieren auskomponierter werke häufig der fall ist. sowohl jacoby als auch celibidache beschäftigen sich mit den spannungsverhältnissen der töne und klänge, dem unsichtbaren, dem, was sozusagen zwischen den zeilen steht. heinrich jacoby beschreibt die analysierbaren aspekte der musik als architektur, während die spannungsverläufe zwischen klängen von ihm als energieverläufe beschrieben werden. klänge an sich sind für ihn noch keine musik. sie können unter der voraussetzung, dass sie von energie durchflossen werden, zu musik werden. auch sergiu 33 celibidache beschreibt in seinem vortrag „über musikalische phänomenologie“, dass die bloße 31 zur definition von ausgangsund anschlussaktionen vgl. bertram, georg w. (2010): improvisation und normativität. in: bormann, hans-friedrich/brandstetter, gabriele/matzke, annemarie (hrsg.). 2010. paradoxien des unvorhersehbaren. kunst – medien – praxis. bielefeld: transcript, s. 21–40, s. 23. 32 aus eikmeier 2016, s. 101. 33 vgl. jacoby, heinrich (1984): jenseits von „musikalisch“ und „unmusikalisch“. die befreiung der schöpferischen kräfte dargestellt am beispiele der musik. hrsg. von sophie ludwig. hamburg: christians, s. 55. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 14 existenz eines klanges noch keine musik ist. „musik ist nicht etwas. etwas kann unter bestimmten einmaligen voraussetzungen musik werden. und dieses ‚etwas‘ ist der klang. also: klang ist nicht musik; klang kann musik werden.“ der improvisator entwickelt seine musik aus 34 der botschaft „zwischen den zeilen“, da er nicht auf eine vom komponisten vorgegebene architektur zurückgreifen kann, während der interpret diese innerhalb der bestehenden strukturen erspüren muss. die gesetzmäßigkeiten der energieverläufe, die immer eine zielrichtung haben müssen, sind unabhängig vom musikstil vorhanden. der improvisator kann im rahmen dieser gesetzmäßigkeiten mit den erwartungen spielen und spannungsverläufe verändern. durch emergenz entstehen in der improvisation neue strukturen, was sich 35 besonders sinnfällig bei wendepunkten oder schlüssen zeigt. damit sich diese strukturen herausbilden können, tauchen die spieler in „magische[n] momente“ ein. sie verbinden sich 36 so stark mit der musik, dass sie selber von der emergenz überrascht werden. es kostet viel kraft, sich emergierenden strukturen zu widersetzen und vollkommen individuell zu agieren. 37 die entscheidung, ob vollkommen isoliertes spiel als extreme form des eingriffes gewählt wird, ob die spieler den organischen entwicklungen der musik mehr folgen oder sie an gewählten punkten stören möchten, sind ästhetische fragen. es sind möglichkeiten, mit denen die spannung der musik verändert oder das unvorhersehbare in einer improvisation stärker zum spielball werden kann. kommunikation in der improvisation sobald mehr als ein musiker an der improvisation beteiligt ist, es sich also nicht um eine soloimprovisation handelt, wird die kommunikation im ensemble zu einem konstitutiven element. die musikalische logik wird gemeinsam eruiert und gesteuert, wobei sich die spieler nonverbal verständigen bzw. bestimmte kommunikationsformen verabreden. während der „klassische“ komponist sein werk alleine erschafft, entsteht eine ensemble-improvisation immer durch kommunikation und in einem kontext. ein improvisationsensemble ist in gewisser weise vergleichbar mit einem lebendigem organismus, der sich wandelt und sich selbst organisiert. ihm eigen ist eine prozesshaftigkeit, die sich durch die improvisationen selbst, aber natürlich auch die probenarbeit und die auseinandersetzungen über die qualität der improvisationen entwickelt. feste formationen können vorteilhaft sein, weil die verschiedenen möglichkeiten in ruhe gemeinsam ausprobiert werden können. sie können aber auch eine 34 celibidache, sergiu (22008 [12001]): über musikalische phänomenologie. ein vortrag und weitere materialien (= celibidachiana. eine edition der sergiu-celibidache-stiftung, hrsg. von patrick lang und mark mast: werke und schriften, band 1). augsburg: wißner, s. 10. 35 vgl. gagel, reinhard (2010): improvisation als soziale kunst. überlegungen zum künstlerischen und didaktischen umgang mit improvisatorischer kreativität. mainz: schott. 36 dieser begriff ist aus einem forschungsgespräch entnommen. die gesprächspartnerin verwendet ihn während des gesamten gesprächs, um ihr handeln in der gegenwart zu beschreiben. 37 ich habe in vielen versuchen ausprobiert, improvisationsgruppen zu vollkommen individuellem spiel zu bringen. das bedürfnis zusammen zu spielen, vor allem in einem gemeinsamen metrum, scheint so stark, dass es unmöglich ist, sich dem zu widersetzen. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 15 gefahr sein, wenn sich stereotype mechanismen in der rollenverteilung etablieren. damit ein improvisationsensemble als lebendiger organismus flexibel bleibt, müssen die mitglieder sich in verschiedenen organisationsformen bewegen können. dabei ist die rollenverteilung, klarheit 38 über formen von führen und folgen, formen von individuellem spiel und kollektiven entwicklungen wichtig. nur dann kann ein ensemble wirklich zu einer gruppe verschmelzen und ohne absprachen im gegenwärtigen moment den anforderungen der musik auf eine stimmige weise begegnen. die bedeutung der wahrnehmung „man kann nicht zweimal in denselben fluss steigen.“ heraklit ein sinneseindruck ist im kontext einer improvisation einmalig. für auditive wahrnehmung ist dies in alltäglichen kontexten nicht außergewöhnlich. jeder akustische eindruck erklingt nur einmal, z. b. in der gesprochenen alltagssprache. die grundeinstellung („registrierender apparat“) lässt sich auf die anderen dimensionen der 39 wahrnehmung ebenso übertragen. nur wenn die sinneseindrücke den musizierenden in seinem tiefsten inneren berühren, fließen sie sicher in sein spiel ein. sobald sie durch einbildung verfälscht werden, kann der entstehungsprozess einer improvisation massiv gestört werden. nur ein wahrhaftiger impuls ermöglicht verständigung. dies ist der fall, wenn er unmittelbar, also ohne zögern umgesetzt wird. ein sinneseindruck, der wirklich empfunden wird, verwandelt sich gewissermaßen zu einem impuls und bleibt nicht äußerlich, sondern berührt die person tatsächlich. er erhält damit die gleiche ehrliche unmittelbarkeit wie ein impuls des spielers selbst. der impulsgeber und der impulsempfänger, die klangeindrücke, die energieverläufe und die verbindungen unter den mitspielern verschmelzen zu einer einheit. die authentische wahrnehmung im zeitfenster der gegenwart ist gleichsam klebstoff für den zusammenhalt aller an der improvisation beteiligten komponenten und sie fungiert auch als antriebskraft für den entstehungsprozess der improvisation. improvisation als „autopoiesis“ in der gegenwart – ein modell aus den bislang erörterten zusammenhängen wird im folgenden improvisation als sich selbst entwickelnder, an die gegenwart gebundener prozess, definiert. der terminus „autopoiese“ wird metaphorisch verwendet und deshalb durchweg in anführungszeichen gesetzt, denn es würde in keinster weise wissenschaftlichen ansprüchen gerecht werden, sich direkt auf die 38 vgl. zu den verschiedenen organisationsformen eines improvisationsensembles eikmeier 2016, s. 120–124. 39 vgl. jacoby 1984, s. 64–67. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 16 neurobiologen humberto maturana und francisco varela zu beziehen. die folgende vereinfachte definition bildet die grundlage für das nachstehende modell. ein „autopoietisches“ system produziert sich aus sich selber, immer vorausgesetzt, dass genügend nahrung vorhanden ist. es muss grenzen haben und von anderen systemen zu unterscheiden sein. es besteht aus verschiedenen komponenten, die klar voneinander unterscheidbar sind und in ständiger wechselbeziehung und abhängigkeit stehen. das system lässt für den stoffwechsel substanzen durch seine grenzen hindurch. es ist durch „perturbationen“ von außen angreifbar und zerstörbar. da dieses modell eine große verwandtschaft mit dem improvisatorischen prozess hat, werden die bis hierher beschriebenen aspekte damit verbunden und zusammengefasst. nicht zuletzt auch die tatsache, dass in den bisherigen ausführungen der rote faden in der anbindung der improvisatorischen handlungsweise an die gegenwart bestand, soll dieser im folgenden in den mittelpunkt gerückt werden. rahmenbedingungen der improvisation die art der situation wird bestimmt, zum beispiel konzert-, probenoder unterrichtssituation. es wird geklärt, ob der improvisation konzepte oder vorgaben zugrunde liegen sollen. 40 die folgenden komponenten sind miteinander vernetzt und wirken in den künstlerischen entstehungsprozess der improvisationen hinein: • der musizierende (einschließlich seines instrumentes beziehungsweise der stimme), der sich bewusst zur improvisation als kunstform entschieden hat. • die musik mit ihren eigenen gesetzmäßigkeiten (unabhängig von einem festgelegten stil). • die mitspieler eines ensembles, sofern es keine soloimprovisation ist. • der spielort, sofern er in die improvisation eingebunden wird. indirekte komponenten der improvisation • anwesenheit des publikums • geräusche, die ungeplant von außen eindringen und von den spielern in die improvisation integriert werden (zum beispiel vogelgezwitscher oder ein aufdringliches handyklingeln). derartige akustische inspirationen werden erst dann als teil der improvisation betrachtet, wenn sie von den spielern aufgenommen und weiterentwickelt werden und nicht aus dem grunde ihrer schlichten existenz. • pertubationen vergleichbar mit der natur ist auch die improvisation als „autopoiesis“ störungen und gefahren ausgeliefert. störungen – wie zum beispiel vermeidung von fehlern, planung und kontrolle, 40 die klärung der rahmenbedingungen war für die experimente dieses projektes wichtig. in der realität sind sie nicht immer vor einer improvisation geklärt. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 17 angst vor schwierigkeiten oder der wunsch ein erfolgserlebnis zu wiederholen – bringen die spieler mental aus der gegenwart in andere zeitebenen. die reproduktion von erfolgserlebnissen bringt sie in ihren gedanken in die vergangenheit. fehlervermeidung und technische kontrolle bringen sie mental in die zukunft. • wahrnehmung als klebstoff eine authentische wahrnehmung der gegenwart hält die komponenten der improvisation wie ein klebstoff zusammen. jede störung schwächt die wahrnehmung und führt dazu, dass sich die handlung weniger auf den moment beziehen kann. • gegenwart als lebensraum in der gegenwart sind alle komponenten der improvisation verbunden. nur unter diesem umstand kann das unvorhersehbare auftauchen. unvorhersehbar ist nur, was für den konkreten moment einmalig ist. die improvisation wird unter diesen umständen zu einem spiel ohne äußeren zweck. die zeit gehört allein dem improvisatorischen prozess. 41 phase 2: die improvisatorische bewegungsqualität die themen der qualitativen experimente wurden aus den nachstehenden kriterien für optimale bewegung entwickelt. vor allem die frage, wie es zu bewegungsbereitschaft in jedem moment kommen kann und änderungen von bewegungen jederzeit möglich sind, ist für improvisatorisches handeln interessant. bewegungsbereitschaft wird durch eine ausgangsstellung begünstigt, aus der möglichst viele bewegungen ohne vorbereitung ausgeführt werden können. wer beispielsweise auf der vorderen kante eines stuhls sitzt, ist handlungsbereit, wenn er ohne vorbereitung aufstehen kann. befinden sich die füße aber unter dem stuhl oder sind weit nach vorne ausgestreckt, dann muss man sich vorbereiten, bevor man aufsteht. es sind also zwei bewegungen nötig, da die alte position nicht mit einer bewegung verlassen werden kann. neutrale position das prinzip der neutralen position lässt sich auf die position des ganzen körpers oder auch nur einzelner körperteile anwenden. aus einer neutralen position sind auf der stelle bewegungen und handlungen in jede richtung möglich. denn: „im neutralzustand sind wir weitgehend gleichgültig und weder in die eine noch in die andere richtung motiviert.“ zudem kann das 42 gewicht in jede richtung verlagert werden. „jede bewegung, die so erlernt wird, daß ein vorbereitendes neu-arrangement vorangehen muss, um sie ausführen zu können, bedeutet, daß das system schlecht organisiert ist.“ der vorteil einer neutralen position besteht darin, 43 dass von ihr aus erheblich mehr verschiedene bewegungen ohne vorbereitung möglich sind. 41 vgl. dazu eikmeier (2016), s. 167-180 42 feldenkrais, moshé (1989): das starke selbst. anleitungen zur spontaneität. frankfurt am main: insel, s. 242. 43 ebd. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 18 dynamisches gleichgewicht feldenkrais betont, dass ein dynamisches gleichgewicht immer einem statischen gleichgewicht vorzuziehen sei. er folgert daraus, dass es nie nur eine korrekte haltung geben kann. das 44 kriterium für eine gute haltung sei vielmehr, dass jede handlung aus ihr ohne anstrengung in jedem moment ausführbar sei. darüber hinaus sei eine haltung „dann gut, wenn sie nach 45 einer großen störung ihr gleichgewicht wiedererlangen kann.“ 46 im bezug auf die forschungsfragen des projekts ergaben sich folgende unterfragen, die experimentell bearbeitet wurden: werden insbesondere beim improvisieren bevorzugt dynamische positionen gewählt? verändert sich das spiel, wenn die positionen noch dynamischer werden oder künstlich stabil gehalten werden? motor und teleskop „jede korrekte handlung beginnt mit einer bewegung des beckenknochens, der sich so verschiebt, daß er die wirbelsäule und den kopf in die neue stellung bringt, ohne dabei die völlige bewegungsfreiheit des kopfes im geringsten zu beeinträchtigen. kontrolle über kopf und becken sind daher jeder korrekten handlung unabdingbar, und keinem von beiden lässt sich der vorrang zusprechen: beide müssen richtig gelenkt werden, wenn eine korrekte handlung erfolgen soll. bei manchen handlungen ist die stellung des kopfes auffallender und aufschlussreicher und der entscheidende faktor obendrein; aber ohne richtige kontrolle des beckens könnte sie gar nicht zustande kommen.“ 47 die frage, wo bewegungen beginnen bzw. von wo sie gesteuert werden, war eine inspiration für die experimentelle weiterführung des projekts. 48 die fähigkeit, den nacken kontinuierlich leicht bewegen zu können, ist für den menschen gleichermaßen wie für tiere eine grundvoraussetzung für reaktion. tiere beispielsweise im urwald bewegen beständig ihren kopf und sind somit bereit, unmittelbar auf jede gefahr zu 44 feldenkrais, moshé (2010): higher judo. groundwork. berkeley/california: north atlantic books. s. 22. 45 vgl.u.a. feldenkrais, moshé (1985): die entdeckung des selbstverständlichen. aus dem amerikanischen übersetzt von franz wurm. frankfurt am main: insel, s. 86 und feldenkrais, moshé (1994): der weg zum reifen selbst. phänomene menschlichen verhaltens. paderborn: junfermann, s. 128. 46 feldenkrais 1985, s. 74. 47 feldenkrais, 1989, s. 191. 48 vgl im onlinebereich die versuchsanordnungen 9-11. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 19 reagieren. abgesehen davon, dass menschen zum selben zweck einen beweglichen nacken 49 benötigen, ist die erkundung der umgebung mit einem festgehaltenen kopf nicht möglich. 50 auch beim musikalischen improvisieren ist der kontakt zur außenwelt ganz besonders wesentlich. die wahrnehmung findet in der gegenwart und im moment statt und der improvisator reagiert idealerweise unmittelbar auf die sinneseindrücke. daraus leitet sich die frage ab, ob sich eine forschende, improvisatorische handlungsweise positiv auf die beweglichkeit von augen und nackenmuskeln auswirkt. die frage wurde experimentell bearbeitet. atmung das thema atmung kann zum hauptthema einer feldenkrais-lektion werden. streng genommen ist jedoch atmung stets ein integraler bestandteil jeder lektion, weil sie nicht nur ein merkmal, sondern in vielen fällen auch ein zentrales kriterium für bewegungsqualität ist. so lässt sich an der atmung überprüfen, ob bewegungen und handlungen stimmig sind. übermäßige konzentration, anstrengung, fixierung auf ein ziel wie auch ein fehlendes interesse für die qualität des weges behindern die freie und ungestörte atmung. umgekehrt wird bei jeder qualitativen verbesserung der bewegungen auch die atmung positiv beeinflusst. es gehört zur erlebnissphäre eines musikers, dass der atem nicht nur einfach als selbstverständlich hingenommen und angenehm empfunden wird, sondern auch wesentlicher träger des ausdrucks ist. wolfgang rüdiger beschreibt diese verbindung wie folgt: 51 „bewusstes atmen aus dem geist der musik macht einerseits auf den körper aufmerksam, den es sensibilisiert, und intensiviert andererseits die klangund ausdrucksgestaltung vom einzelton und einsatzakkord über die musikalische geste bis zu großformalen spannungsverläufen. musikalisch-körperliche und körperlich-musikalische aspekte verschränken sich dabei.“ des weiteren sieht er den atem sowohl als „integrale brücke 52 zwischen körper und musik und als musikalisches phänomen, in dem sich prinzipien und parameter musikalischer gestaltung wie spannung und lösung, tempo, metrum, rhythmus, dynamik, phrasierung, artikulation und klangfarbe sinnfällig widerspiegeln. so ist musik die 49 vgl. feldenkrais, moshé (1990): die feldenkraismethode in aktion: eine ganzheitliche bewegungslehre. aus dem amerikanischen übersetzt von thomas kirschner. paderborn: junfermann, s. 54 f. 50 vgl. feldenkrais, moshé (2007): feldenkrais® professional training program. amherst massachusetts, week 1 year 1, 9–13 june 1980. paris: international feldenkrais federation s. 20. 51 langer-rühl, hilde/muhar, franz/coblenzer, horst (1970): zwerchfelldynamik beim atmen, singen und musizieren [film]. wien: österreichisches bundesinstitut für den wissenschaftlichen film. langer-rühl, hilde/muhar, franz (1980): atemführung und körperhaltung beim musizieren [film]. wien: österreichisches bundesinstitut für den wissenschaftlichen film. rüdiger, wolfgang (1995): der musikalische atem. atemschulung und ausdrucksgestaltung in der musik. mit texten von heinz holliger und nicolaus a. huber. aarau: nepomuk. 52 rüdiger, wolfgang (2007): der musikalische körper. ein übungsund vergnügungsbuch für spieler, hörer und lehrer. mainz: schott, s. 15. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 20 beste möglichkeit, ‚zu atem zu kommen‘, im doppelten künstlerisch-körperlichen sinne.“ 53 zusammenfassend beschreibt er, warum der atem einen „grundlegenden beitrag zur verschmelzung körperlich-seelischer und künstlerischer ausdrucksgehalte im musikalischen vortrag“ leistet. 54 dabei ist der atem für die folgenden verbindungen ein tragendes element: • einheit zwischen instrument und spieler • identifikation zwischen mensch und musik • einheit im werk (synthese in stimmiger interpretation) • sinnliche einheit zwischen interpreten und hörern • einheit zwischen körper und seele 55 umkehrbarkeit neben der atmung benennt feldenkrais die umkehrbarkeit als ein hauptmerkmal für eine optimale bewegung. damit ist gemeint, dass sie jederzeit gestoppt und in die gegenrichtung ausgeführt werden kann. umkehrbarkeit impliziert des weiteren, dass es in jedem moment möglich sein sollte, die bewegung in eine andere zu verwandeln. insbesondere die umkehrbarkeit ist auch für die improvisatorische handlungsweise von bedeutung. sie ist nur möglich, wenn eine bewegung optimal ausgeführt wird. um zu überprüfen, ob eine bewegung umkehrbar ist, muss sie extrem langsam ausgeführt werden. feldenkrais macht darauf aufmerksam, dass es bei umkehrbarkeit nicht allein um das verstehen, sondern vielmehr um dessen erleben geht. „umkehrbarkeit ist ein wesenszug 56 aller korrekten handlung, selbst des schlafs. wer gut koordiniert und reif ist – wie man dies unter menschen findet, die sich aus ihrem beruf haben ihr vergnügen machen können (und umgekehrt) –, kann einschlafen, wann er möchte und aufwachen, wann immer es nötig ist. gesunden tieren und menschen macht es nichts aus, geweckt zu werden, da sie jederzeit und ohne schwierigkeit zu schlafen aufhören und den schlaf wieder aufnehmen können. die fähigkeit, eine handlung, einen vorgang anzuhalten, wieder in gang zu setzen, ihn umzukehren oder ihn überhaupt fallen zu lassen, ist eines der empfindlichsten kriterien richtigen handelns und richtiger haltung.“ eine bewegung kann nur umkehrbar sein, wenn sie 57 mit dem geringsten kraftaufwand ausgeführt wird. umkehrbarkeit entspricht in der bewegung dem dynamischen oder labilen gleichgewicht. es bedarf keiner energiezufuhr von außen, um die bewegung auszuführen. 58 53 ebd. 54 rüdiger, 1995, s. 161. 55 vgl. ebd. s. 161 f. 56 vgl. feldenkrais 1989, s. 217. 57 ebd. s. 159. 58 vgl. ebd. s. 244. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 21 verbindung zur forschungsfrage: umkehrbarkeit ist ein zentrales merkmal der improvisatorischen handlungsweise. es ist zwar nicht möglich, eine improvisation umzukehren, vorstellbar ist jedoch, aus einer neutralen, umkehrbaren grundhaltung heraus auf die gegebenheiten des augenblickes eingehen zu können. dies wird dadurch begünstigt, dass das der umkehrbarkeit implizite moment, jederzeit in der lage zu sein, eine handlung nicht auszuführen oder zu stoppen, inbegriffen ist. bewegungsqualität als komponente für die improvisatorische handlungsweise die bewegungsqualität, die im zentrum der forschungsfrage steht, wurde mit den von feldenkrais beschriebenen kriterien vorläufig definiert. der improvisierende musiker, der in ständiger verbindung mit der musik, mit den mitspielern und natürlich auch mit sich selbst steht, muss alles, was er vorhat, in eine hochdifferenzierte bewegungsform umsetzen. das merkmal der umkehrbarkeit lässt sich beim musizieren leider nicht überprüfen. sobald ein musiker eine bewegung so langsam macht, wie es notwendig wäre, verändert sich die handlung an sich zu stark. es kann also nur das gefühl einer umkehrbaren handlung eine rolle spielen. die faktoren, die umkehrbarkeit überhaupt möglich machen (dynamisches gleichgewicht, organisation von becken und kopf, atmung) lassen sich beobachten bzw. künstlich verändern. das gefühl der leichtigkeit während einer umkehrbaren bewegung kommt zustande, weil überflüssige muskelaktivitäten vermieden werden. wenn dieses optimum gegeben ist, dann wäre der spieler auch in seinem bewegungsverhalten spontan und bereit, sich in den „autopoietischen“ prozess der improvisation einzubringen. die verbindung zwischen spieler, musik, mitspielern und dem ganzen prozess an sich ist sehr intensiv. es stellt sich daher die frage, ob angesichts dieser herausforderung die kriterien optimaler bewegung beim improvisieren erfüllt werden. bedenkt man, dass spontanes verhalten in verbindung mit improvisatorischem denken und reagieren mit einem bewegungsbereiten körper leichter ist, spielbewegungen sich mit der musik vereinen und die verschmelzung mit einem mitspieler oder den mitspielern so intensiv sein kann, dass die bewegungen automatisch in den prozess integriert werden, bot es sich an, die bewegungen des musikers beim improvisieren separat zu betrachten. demzufolge wurde die verknüpfung von bewegungsqualität mit den anderen komponenten der improvisation in den qualitativen experimenten untersucht. analogie zwischen der feldenkrais-methode und der improvisatorischen handlungsweise • es herrscht ein forschungsgeist im tun selber. • die situationen fordern eine kreative problemlösung. • befreiung von werturteilen ist die voraussetzung für entwicklung. • die qualität des tuns ist wichtiger als das ziel. • authentische wahrnehmung trägt die prozesse. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 22 • die sensibilität für kleine unterschiede ermöglicht qualität. • die kritische auseinandersetzung mit gewohnheiten ist wichtig, damit sich das lernen und handeln auf die gegenwärtigen situationen beziehen kann. • die akzeptanz von einschränkungen ist die voraussetzung für einen kreativen prozess innerhalb des gesetzten rahmens. • sprache innerhalb kreativer prozesse beruht auf der problematik, dass sich die gegenwart durch die errungenschaft des sprechens nicht einfangen lässt. entweder wird bereits vorher gedachtes reproduziert oder es wird aus einer distanz auf vergangenes zurück geblickt. häufig entstehen verallgemeinernde aussagen, die sich nicht auf die konkrete situation beziehen. • »fehler« werden neutral wahrgenommen und werden so zu neuen impulsen. • pertubationen durch fehlervermeidung, angst, vorplanung und ausschließlich kognitive denkprozesse behindern den bezug zur gegenwärtigen situation. • die handlungen können sich auf die gegenwart beziehen, sobald sie umkehrbar sind, das heißt, dass sie zu stoppen oder zurückzunehmen sind oder in eine andere handlung verwandelt werden können. • handlungsbereitschaft in jedem moment in jede richtung ermöglicht entscheidungen in der gegenwart und deren unmittelbare umsetzung in aktion. • das organische lernen darf unter keinen umständen von außen gesteuert werden. es ist extrem störanfällig und wird unterbrochen, sobald der lernende aus seinem zielungebundenen, in der gegenwart verhafteten tun herausgebracht wird. phase 3: aus dem qualitativen labor 59 im qualitativen labor wurden bewegungsaspekte der improvisatorischen bewegungsqualität mit der improvisatorischen handlungsweise konfrontiert. es gab insgesamt vier fiktive laborräume mit den folgenden themen : 60 1. muskelspannung 2. dynamisches gleichgewicht 3. impulse 4. atmung im folgenden wird aus jedem laborraum ein beispiel präsentiert. 59 im qualitativen labor fanden 49 experimente mit 16 versuchsanordnungen statt, die in vier themenblöcke, sogenannte laborräume aufgeteilt waren. 60 die auswahl der themen ist aus den erkenntnissen der kriterien für improvisatorische bewegungsqualität hervorgegangen. eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 23 laborraum 1 versuchsanordnung – käfer/boot​ die aufgabe bestand darin, einen imaginären käfer oder ein boot auf der horizonthöhe zu beobachten und dabei den kopf und die augen gleichmäßig zu bewegen. die bewegung sollte unabhängig vom musikalischen ausdruck immer weitergehen. beispiel​ die versuchsperson ist ein zwölfjähriger junge. er gehört zu den versuchspersonen, die keine worte finden, und somit muss die musik die ergebnisse transportieren. beim hören der dokumentation ist deutlich, wie sich die bewegung und der musikalische ausdruck zusammenfügen. das stück ähnelt einem langsamen trauermarsch. eine synchronisation von ausdruck und bewegung war in den experimenten häufig zu beobachten. in der darauffolgenden freien improvisation verwendet die versuchsperson wesentlich mutiger experimentelle klangfarben. der mut, neue möglichkeiten zu erproben, war in vielen 61 beispielen verteilt über alle versuchsanordnungen zu beobachten. laborraum 2 versuchsanordnung – dynamisches und stabiles gleichgewicht​ die versuchsanordnungen in diesem laborraum waren vergleichsweise einfach. die versuchspersonen wurden gebeten, ihre spielposition zu verändern und in der veränderten position frei zu improvisieren. beispiel​ unmittelbare »magische momente« traten in diesem laborraum auffällig oft auf. die personen waren offenbar durch die veränderten positionen verstärkt bereit, ohne verzögerungen zu reagieren, wodurch plötzliche wendepunkte der formteile und plötzliche schlüsse entstanden. es schienen keine denkprozesse zwischen dem handeln und reagieren und der unvorhersehbarkeit dieser magischen momente zu stehen. die versuchsperson ist die älteste teilnehmerin der experimente. sie ist 83 jahre und sehr energiegeladen. in dem beispiel sitzt sie mit einer pobacke auf einem stuhl. in der improvisation ist exemplarisch deutlich eine tendenz zu plötzlichen wendepunkten und schlüssen zu hören. dieses phänomen trat in diesem laborraum besonders gehäuft auf. zudem beschreibt die versuchsperson ein für sie vollkommen neues, unvorhergesehenes gefühl: »that was the first time, that i felt my heart beating. [...] it is probably trigging some places, where i love to be on my cello. i love certain parts of the sounds. it is a special exiting kind of thing. […] emotionally i was closer to the parts of my cello. the sound parts. the sound parts, that i like so much.« 62 61 vgl. experiment 12 phase 4 und 5. hörbeispiele: e12 phase 4 und e12 phase 5 unter http://forschung.corinna-eikmeier.de 62 vgl. experiment 24 phase 2, hörbeispiel e24 phase 2 unter ​http://forschung.corinna-eikmeier.de eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 24 http://forschung.corinna-eikmeier.de/ http://forschung.corinna-eikmeier.de/ laborraum 3 versuchsanordnung – der motor​ in den experimenten haben sich die versuchspersonen körperteile ausgesucht, von denen aus sie ihre bewegungen gesteuert haben. teilweise waren es proximale regionen, wie becken, bauchnabel oder lendenwirbelsäule. teilweise waren es auch sehr distale, schwerer zugängliche körperteile, wie zum beispiel ein ohrläppchen oder ein kleiner zeh. die musikalische aufgabenstellung war folgendermaßen: die impulse für die musikalischen aktionen sollten aus dem gespür für den gewählten körperteil und damit auch aus den bewegungsmöglichkeiten angestoßen werden. beispiel​ die versuchsperson ist professionelle opernsängerin. sie hat keine vorerfahrung in improvisation. zu beginn des experiments äußert sie, dass sie aufgeregt sei und auch ein wenig stress mit der improvisationssituation habe. in dem zweistündigen experiment entdeckt sie schritt für schritt ihre improvisatorischen fähigkeiten. die experimente dieses laborraums sind dabei ein baustein. exemplarisch soll hier eine bestimmte improvisation näher beleuchtet werden. die versuchsperson lässt alle impulse vom bauchnabel kommen. sie stellt fest, dass sie gewöhnlich eine ganze palette an vorbereitungen zum singen trifft. in diesem fall funktionierte das singen für sie unerwartet von selber. sie ist überrascht, dass ihr eine technische herausforderung, an die sie sekunden vorher noch nicht gedacht hatte, mühelos gelang. zudem brauchte sie sich nicht anzustrengen, sondern sie spürte einfach die kraft, ohne sie produzieren zu müssen. im hörbeispiel ist deutlich zu hören, wie sie mit einer selbstverständlichkeit die langen töne spannt. 63 an diesem beispiel wird der folgende zusammenhang exemplarisch deutlich: durch die aufgabe wird die wahrnehmung auf eine körperliche empfindung gelenkt. dadurch verstärkt sich die handlung in der gegenwart. die gewohnheit, technik zu kontrollieren, wird schwächer und sie singt mit ihrem ganzen selbst präsent und ausdrucksstark. laborraum 4 versuchsanordnung – paradoxe atmung der versuchsanordnung liegt die bekannte feldenkrais-lektion »paradoxe atmung« zu grunde, in der die atembewegungen von unterbauch und brustkorb als wippbewegung unabhängig von der atmung erforscht werden. beispiel die versuchsperson hatte zur zeit des experiments eine überlastungsverletzung (tennisellenbogen). sie ließ sich mit viel zeit auf die versuchsanordnung ein. die wippbewegung zwischen bauch und brustkorb war ihr sehr fremd und sie konnte sie zunächst nur langsam ausführen. während des experiments schien sie immer mehr interesse daran zu gewinnen, diese bewegung zu finden. nachdem wir über eine stunde ohne cello in 63 vgl. experiment 1 phase 3 hörbeispiel e1 phase 3.4 unter ​http://forschung.corinna-eikmeier.de eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 25 http://forschung.corinna-eikmeier.de/ verschiedenen positionen mit der bewegung und der stimme experimentiert hatten, konnte sie fast nicht mehr aufhören, die bewegung immer wieder auszuprobieren. nach einer kurzen pause schlug ich ihr vor, die bewegung beim cellospielen zu benutzen. wir nahmen die stimme hinzu und ließen für den moment künstlerische ansprüche außen vor. es entstanden mehrere wilde, kraftvolle episoden. die versuchsperson, die durch die schmerzen im ellenbogen vorsichtig war, ließ mehr und mehr die kraft durchfließen. ihr ellenbogen schmerzte dabei nicht mehr. sie konnte ihr spielgefühl verbalisieren: »es fühlt sich an, wie wenn ich drogen genommen hätte. (gelächter). und es war sehr nett, dass mein körper sich erinnert hat, wie man cello spielt. ich fühle mich so verletzt und wenn ich dann das cello spiele, dann fühle ich mich neben der spur. aber dieser fluss und die kraft haben mich zurück in ein stadium geworfen, wo ich mich erinnern konnte.« 64 ein implizites wissen erlaubt es ihr, ohne furcht vor ihrer verletzung zu spielen. die kontrolle, die sie als schutz aufgebaut hat, braucht sie nicht mehr. die kraft, die sie für die wilde und laute improvisation zur verfügung hat, hat nichts mit muskelanstrengung zu tun, denn das wäre zu der zeit für sie nicht möglich gewesen. überblick über die ergebnisse die auswertung der insgesamt 49 qualitativen experimente, von denen hier beispielhaft vier dargestellt wurden, ergab, dass durch verstärkung einzelner aspekte der improvisatorischen bewegungsqualität merkmale der improvisatorischen handlungsweise stärker wurden. in beispielen, in denen das verbale datenmaterial die veränderungen nicht befriedigend transportieren kann, wurden die hörbeispiele als datenmaterial einbezogen. in der künstlerischen form lassen sich vergleiche zwischen ersten improvisationen zu signifikanten unterschieden in stil und ausdruck der probanden im verlauf eines experiments erkennen. zusammengefasst ließen sich die folgenden tendenzen beobachten: die grenzen zwischen spieler, musik und kommunikation im ensemble verschmelzen. dadurch entsteht der zustand der »auflösung«, der von improvisierenden musikern in allgemeinen reflexionen beschrieben wird und während der experimente verstärkt erlebt wurde. in diesem zustand der »auflösung« hat kontrolle keinen platz. die spieler sind unmittelbar handlungsbereit. dies zeigte sich daran, dass impulse unmittelbar musikalisch umgesetzt wurden. in den unverzögerten, unmittelbaren aktionen entstanden viele unerwartete wendepunkte, in zeitlich hoher präzision. 64 vgl. experiment 26 unter ​http://forschung.corinna-eikmeier.de eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 26 http://forschung.corinna-eikmeier.de/ im umgang mit den musikalischen parametern war vor allem bei sekundären parametern wie klangfarbe und artikulation oder agogik ein differenzierter umgang zu beobachten. das gewohnte musikalische vokabular wurde häufig durch neue klangfarben und spieltechniken erweitert, sofern die entwicklungen der improvisationen dazu herausforderten. die stimmführungen wurden autarker. durch die synchronisation von bewegungsaufgaben mit den stimmungen und tempi der musik entstand eine homophonie zwischen ausdruck und bewegungsqualität. polyphonie zwischen musik und bewegung war eine herausforderung, die im prozess der experimente zu freierem handeln führte. durch die teilweise ungewohnten und verwirrenden versuchsanordnungen war es nicht mehr möglich, die spieltechnik »ordentlich« zu kontrollieren. häufig hatte gerade dieser kontrollverlust eine positive auswirkung auf die spieltechnik. biography dr. corinna eikmeier has studied violoncello, contemporary music, improvisation and did a feldenkrais training (vienna 1 from 1992-1995). she takes part in several interdisciplinary projects, and teaches feldenkrais method and improvisation at hochschule für musik, theater und medien hannover. from 2017-2018 she was a gestprofessor for music pedagogic at brandenburgische technische universität cottbus-senftenberg. she was a dorothea erxleben scholar, working on a project about feldenkrais and improvisation and developed a lot of improvisation exercises based on the principles of the feldenkrais method. the results are published under the title: “ungewohnte positionen. ein praktischer beitrag zu anwendung der feldenkrais-methode in der musikalischen improvisation”. she continued this as her phd project. the title of her dissertation is: “bewegungsqualität und musizierpraxis. zum verhältnis von feldenkrais-methode und musikalischer improvisation” (movement quality and music practice. about the relationship between feldenkrais method and musical improvisation). for further information: www.corinna-eikmeier.de eikmeier • ​feldenkrais research journal, volume 6​ (2018-2019) 27 http://www.corinna-eikmeier.de/ microsoft word 4-kovic_pdf.doc feldenkrais research journal • volume 3 (2007) article promoting dexterity in technical dance training using the feldenkrais method zoran kovich msc, cft, australia abstract professional dance training must equip dancers to work competently in the industry. the ability to manipulate technical dance skills is an essential requirement. referencing nicholai bernstein’s motor learning theory, it is proposed that feldenkrais method learning processes can be used in technical dance training to promote the development of dexterity. keywords feldenkrais method, dance training, dexterity, learning, dance skills copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 promoting dexterity in technical dance training using the feldenkrais method zoran kovich m sc. cft australia abstract professional dance training must equip dancers to work competently in the industry. the ability to manipulate technical dance skills is an essential requirement. referencing nicholai bernstein’s motor learning theory, it is proposed that feldenkrais method learning processes can be used in technical dance training to promote the development of dexterity. what sort of learning is important? …the learning that enables you to do the thing you know in another way, and one more way, and then three more ways, is the learning that is important. moshe feldenkrais, 1984. in 1973, i chose teaching as a profession and career. thirty-four years later, i am still passionate about learning and facilitating learning. from my first introduction to the feldenkrais method in 1987, i have always considered it part of the learning field, as opposed to the “therapeutic” field. my sole motive for commencing feldenkrais professional training in 1988 was the belief that the kind of learning processes i encountered in the method could be used to develop more effective approaches to technical dance training. this brief article outlines an approach i have been using with dancers studying in higher education dance programs. imagine yourself watching two classical ballet dancers, adam and bob, both with highly developed technical skills. observing them dance on stage, they appear to be equal in their virtuosity and performance quality. both perform all the steps technically correctly with a similar degree of ease and gracefulness. which dancer is better? now imagine seeing both dancers in rehearsal with a guest choreographer. the choreographer demonstrates a short sequence of moves as the dancers scrutinise her every motion. all her movements are based on classical ballet technique, but she has ingeniously incorporated a radically different use of “body weight” to that which is developed in classical ballet training. as you observe adam and bob learning the sequence, it becomes apparent that bob easily assimilates to the new choreographic style. adam, however, looks uncertain, confused, perhaps even a little clumsy. it is as if his skills vanish before your very eyes. what happened? both dancers are technically proficient, but one dancer is better able to quickly adapt his skills to new conditions. nicholai bernstein (1996) used the term “dexterity” to denote the ability to adapt motor skills to new conditions. dexterity is “…a motor ability to quickly find a correct iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 solution for a problem in any situation … the capacity of dexterity appears to be, not in the movements themselves, but rather in their interaction with the environment” (bernstein, 1996:210-211). in the above example, bob is more dexterous than adam because he is able to readily adjust his classical ballet technique to the new movement patterns and dynamics required to accurately perform the specific choreography. professional dancers must constantly adapt their dance technique to meet everchanging stylistic, choreographic and staging requirements. they need to do this well, not only for professional and artistic reasons, but also to cope efficiently with demanding physical workloads. dancers who can effectively manipulate their dance technique are better prepared to work competently and safely in the theatrical dance profession. for this reason, it would be advantageous to teach technical dance skills in a manner that promotes the development of dexterity; for “dexterity is exercisable”, that is, it is “…a capacity that can be developed and trained…” (bernstein, 1996:231) the aim of technical dance training is for dancers to learn a set of stable motor skills that collectively constitute a dance style’s movement “vocabulary”. today, dancers continue to learn technical dance skills primarily through imitation and daily repetitive practise. the years of practise needed to acquire technical proficiency attests to the difficulty of learning motor skills that require accurately reproducing specific body postures and movements (bernstein, 1996, reed & bril, 1996). that many dancers can and do achieve technical mastery through “traditional” dance training practices is not in question. the focus of this article is on exploring whether current dance teaching methods can more effectively and explicitly promote the development of dexterity. returning again to our two dancers, adam and bob varied in their ability to adapt their dance technique. assuming both developed their skills through “traditional” methods of classical ballet training, we could surmise that bob’s dexterity is not directly attributable to his dance training, but to some other source. what if classical ballet teaching methods were to include learning processes that aim to explicitly develop dexterity? “traditional” dance training practices may need to be re-examined with this aim in mind. a suitable arena for researching and implementing such an examination would be university-based dance programs. situated amidst a culture of academic study and research, higher education dance programs are well placed to lead the way in investigating and designing dance training practices that enable dancers to more efficiently and effectively manipulate their dance technique. since many higher education dance programs include somatic education studies such as alexander technique, bartenieff fundamentals, body-mind-centring, feldenkrais method, ideokinesis, etc. in their curriculum, one research path would be to investigate how dexterity is promoted in somatic education practices. there is no doubt that the learning processes in one of these somatic education approaches, namely the feldenkrais method, explicitly develops “motor wits”, a term bernstein uses to describe dexterity. this is especially true of the exploratory style of learning used in feldenkrais awareness through movement (atm) lessons. in atm lessons, an intentional act is repeated many times in order to perceive how it is done and explore the variety of ways it can be accomplished. attention is directed to kinesthetically perceiving differences between one way of doing the act and another. learners are advised how to conduct themselves in order to refine their perceptual discrimination and so pick up more sensory information by which to monitor, direct, and vary 3 what they are doing. movement constraints are stated to guide and demarcate the exploration. such constraints serve to shape the way an act may be accomplished and consequently the kinds of sensations that may be experienced and perceived. skeletal-articular relationships and muscular synergies intrinsic to an act are explored in different body positions, and in varied situations. the very fact that learners are explicitly invited to explore different ways of doing an act indicates that an aim of atm lessons is to promote the kind of learning that enables a person to generate alternative ways of enacting their intention. this kind of learning fosters the human capacity of free choice (feldenkrais, 1981) and enhances the ability to discover flexible and adaptable behaviour (buchanan & ulrich, 2001). the following quotes illustrate some of bernstein’s ideas on how to promote the development of dexterity. the first quote identifies several factors to consider when setting up training conditions. “…the most sensible and correct training would be organised in a way that combined a minimisation of effort with a large variety of well-designed sensations and that combined optimal conditions for meaningfully absorbing and memorising these sensations” (bernstein, 1996:181). ideas expressed in this quote closely parallel feldenkrais’s ideas on providing conditions for learning. of particular interest is bernstein’s phrase “well designed sensations”, suggesting movement training be designed so the learner experiences the sensations necessary to do a skill. as discussed above, atm lessons are designed to do just that. the next quote states clearly the purpose of repetition in training and that directed attention can enhance the learning process. most importantly, the phrase “to feel as fully as possible” emphasises that motor skill and dexterity are founded on the development of a comprehensive proprioceptively-based image of the act to be performed. “…it is very important for one to repeat the task many times in order to feel as fully as possible all the changing external conditions and all the adaptive reactions of the movement itself to the changes in the environment … sometimes up to 75% of this work proceeds subconsciously, but intelligent attention is able to accelerate it considerably.” (bernstein, 1996:185) the final quote illustrates bernstein’s unique perspective on motor skill training. the aim of training is to improve the process by which one finds ways of successfully doing an intentional act. “…[d]uring a correctly organised exercise, a student is repeating many times, not the means for solving a given motor problem, but the process of its solution, the changing and improving of the means” (bernstein, 1996:205). this view implies that intentional acts can be realised in different ways. the purpose of repetition is therefore not to perfect one particular way of doing an act but to practise finding various ways of accomplishing it. viewed from a bernsteinian motor learning perspective, atm learning processes unquestionably aim to encourage the ability to solve motor problems. based on bernstein’s theory and through feldenkrais method practice, it is proposed that a way dancers can explicitly develop adaptable, flexible, dance technique is by repeating 4 a technical dance skill many times while intentionally, and systematically, varying key movement elements associated with its correct performance. such training could readily be modelled on atm learning processes. atms could be designed, or existing atm lessons used, to explore technical skills of different dance styles. for example, plies are a foundational technical skill in classical ballet, and are practised in every class. movement constraints defining the correct technical execution of simple plie exercises performed at the barre1 include: • the lower limbs remain externally rotated to maximum range of motion at the hip joint • body weight is distributed evenly over both feet • the pelvis is “level” and its position remains constant • leg movement is continuous for the duration of the plie • the hip, knee, and ankle joints flex, and then extend, simultaneously while remaining aligned in the same plane of motion • the torso remains lengthened classical ballet plie in second position of the feet. let’s return to adam to see what kinds of atm-based training processes could be used to explicitly develop his dexterity. imagine adam doing plie exercises at the barre. instead of repeatedly practising “the correct” way of doing a plie in second position, he could intentionally find different ways of doing it. for example, he could vary the position and movements of his pelvis while attending to the effects in the rest of himself. the whole exploration could take place standing, or it could be elaborated over several sessions, using different body positions in which torso-pelvis-leg relationships are explored. alternatively, adam could explore distribution of his body weight between and over his feet, or the use of his torso, or the placement of his feet on the floor, or the alignment of his legs, and so on. admittedly, the intentional variations in any of these explorations would take him outside the parameters of “correct” classical technique (a technique which continues to expand and develop). however, adam can use the kinesthetic information obtained from actively perceiving what he is doing to either improve his classical technique, or break out of it, that is, to intentionally go outside its technical parameters when he so chooses, or when the choreography demands it. there are body movements and coordinations adam could explore that are not specifically proscribed in the classical ballet plie. for instance, he could intentionally vary his breathing as he plies. he could coordinate his descent and ascent with different breathing cycles. or he could use different breathing coordinations. he could imagine breathing into different parts of himself and notice the effect of such thinking on his plie. alternatively he could explore the way he uses his eyes, the use of his abdominal and pelvic floor muscles, and 5 even experiment with levels of muscle tensioning he uses in his limbs, torso, neck, and face. again, adam can use experiences emerging from these explorations to refine his classical technique or vary it. all technical skills fundamental to classical ballet could be explored in this manner. hypothetically, engaging in these kinds of training processes would enable adam to maintain and further refine his classical ballet technique while simultaneously developing his ability to adapt his technique to meet ever-changing stylistic, choreographic and staging requirements. the same approach could be used to systematically explore dance skills of different western theatrical dance styles. in short, stable technical dance skills and dexterity can both be developed through appropriately designed dance training. i have used the approach described above as a learning strategy in the higher education dance courses i teach. often i describe the approach as being akin to dance improvisation. improvising involves creatively exploring possibilities contained within a nominated theme, image or suggested structure. the analogy provides dancers with a useful point of reference and encourages them to perceive themselves as being engaged in a creative process – even when learning set technique. by improvising around and inside the movement parameters of a technical skill, dancers invoke their creativity to master technical skills and also become more competent in manipulating those skills, as well as in the improvising process. they can realise that there is room for variation even within the most tightly constrained dance skills. they also can become proficient in organising their movements to shift and flow within such constraints or, when they desire, to consciously, competently, and confidently venture outside technical constraints. to date the efficacy of this approach has been informally evaluated solely through observation of students’ performance, students’ written reports, and verbal reports of the students’ other dance teachers. drawing on 15 years experience using this approach, i have identified three factors that significantly influence learning outcomes. first is the dancer’s level of engagement with a learning process that is new and varies considerably from accepted “traditional” dance training methods. second is the amount of class time allocated for dancers to engage in this form of training, which in turn reflects the extent new dance training approaches are fostered in the curriculum. third is the degree of understanding, acceptance, and integrated use of the approach by the dance teaching faculty. preliminary educational research investigating how somatic education practices may be formally incorporated into contemporary dance training (holdaway, kovich & simmonds, 2002) suggests somatically informed dance training practices are likely to be more effective if they form the basis of a dance program’s curriculum. in so doing, students and teaching faculty would all participate in a common culture of learning and training. training for dexterity would be encouraged, researched, and pedagogically refined in such a culture. admittedly, this is an ideal scenario. nevertheless, i am certain that approaches to learning practised in the feldenkrais method have much to offer in the field of dance training. i know of many feldenkrais teachers, and other somatic educators, working in this area and am confident that somatically informed methods of dance training will continue to evolve and be validated, enabling new generations of dancers to safely, intelligently and creatively work in their chosen profession. 6 footnotes 1. classical ballet classes are organised in two distinct sections. technical exercises are first done at the “barre” (a fixed, horizontal wooden bar which dancers use for support), and then in the “centre” (in the centre of the dance or rehearsal studio without the aid of the barre). references feldenkrais m. 1984. the master moves. meta publications, capitola, california. feldenkrais m. 1981. the elusive obvious or basic feldenkrais. meta publications, capitola, california. holdaway g, kovich z, & simmonds j. 2002. somdance manual. university of western sydney, australia. unpublished manuscript. bernstein n a. 1996. on dexterity and its development. in m l latash & m t turvey (eds.), dexterity and its development. lawrence erlbaum, norwood, new jersey. pp. 3244. buchanan p a & ulrich b d. 2001. the feldenkrais method: a dynamic approach to changing motor behaviour. research quarterly for exercise and sport. american alliance for health, physical education, recreation and dance (aahperd). vol. 72, no. 4 (dec 2001). pp. 315-319. reed e s & bril b. 1996. the primacy of action in development. in m l latash & m t turvey (eds.), dexterity and its development. lawrence erlbaum, norwood, new jersey. pp. 431-451. author’s biography zoran kovich worked as a martial arts instructor, then as a professional dancer, and now teaches the feldenkrais method in sydney, australia. positive changes in his dance skills emerging from personal practice of mabel todd’s ideokinetic method prompted zoran to investigate and experience other somatic education approaches, leading him to commence feldenkrais training in 1988. since 1990, he has lectured in higher education dance programs, designing and presenting courses in feldenkrais method, somatic education, functional anatomy, kinesiology, and movement analysis. his academic background includes studies in social science, performing arts, and cognitive science. zoran is deeply interested in exploring links between theory and practice, especially in the area of training and learning. in 2004, he was accredited as an assistant trainer in the feldenkrais method. microsoft word 6-stephens_pdf_corr.doc feldenkrais research journal • volume 3 (2007) article future directions for research on the feldenkrais method jim stephens phd, pt, cfp, temple university abstract as we go into the future, we will be competing with other health care professions who are increasingly evidence based and increasingly effective in what they do. we must continue to do research on feldenkrais method so that people understand its effectiveness and so that we ourselves better understand the tools that we are working with and continuing to develop. research can become/ is becoming part of the conversation about how we use and develop the feldenkrais method (fm). future research should be based in and developed out of past research and established theory. in this paper, my purpose is to take a broad view of possible research questions and not limit the discussion to one or another particular area. i will reprint paper titles in bibliography form and where possible abstracts of published research to give a vibrant sense of the research that has been done. the research will be grouped into several different areas for convenience of discussion. each area will be approached as suggested above by first addressing functional outcomes, then mechanisms and finally theory. the references (abstracts) following each section are in rough alphabetical order within that section. keywords feldenkrais method, research methods, functional outcomes, research theory, qualitative, quantitative, motor control, research questions copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 future directions for research on the feldenkrais method jim stephens phd, pt, cfp assistant professor, physical therapy department college of health professions, temple university introduction. as we go into the future, we will be competing with other health care professions who are increasingly evidence based and increasingly effective in what they do. we must continue to do research on feldenkrais method so that people understand its effectiveness and so that we ourselves better understand the tools that we are working with and continuing to develop. research can become/ is becoming part of the conversation about how we use and develop the feldenkrais method (fm). research operates on several levels. because we are interested in the manner and extent to which fm can impact people to improve their function, research should be directed toward the assessment of functional outcomes associated with participation in awareness through movement (atm) and functional integration (fi). this has been a primary area of interest and research up to this point both for practitioners, researchers and people looking at fm from the outside. after a functional outcome has been demonstrated in some area (established outcomes), we can begin to ask research questions about how this happens. this process is the investigation of mechanisms (mechanisms) and is a much harder question as it involves multiple possibilities all of which may not be known or understood and a more abstract level of function. only a small amount of research has been done in this area. a third level of research directly addresses theories (theory), which are developed out of the relationships /between what we do and the physical, physiological, psychological and social laws that govern the behavior of entities in the world. although the outcomes of fm work depend on these relationships, very little of our research has ventured in this direction. future research should be based in and developed out of past research and established theory. in this paper, my purpose is to take a broad view of possible research questions and not limit the discussion to one or another particular area. i will reprint paper titles in bibliography form and where possible abstracts of published research to give a vibrant sense of the research that has been done. the research will be grouped into several different areas for convenience of discussion. each area will be approached as suggested above by first addressing functional outcomes, then mechanisms and finally theory. the references (abstracts) following each section are in rough alphabetical order within that section. iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 i. low back pain and chronic pain outcomes: this is the area where most research has been done on fm. there are many case reports and small studies all suggesting that fm can be effective in dealing with pain. in spite of this, maher (7) wrote in 2004 that fm is of unknown value or ineffective and should not be considered for interventions in chronic pain. as practitioners, we know that this is not the case. more research needs to be done to make this clear to other health care professionals. there are several problems with the research that has been done to this point. studies have been done without control groups (1, 11), or with a small number of subjects or single cases being reported (2, 9, 13). smith (12) reported no reduction of pain but used only a single 30minute lesson as an intervention. it is unrealistic to expect that this short an intervention would significantly impact chronic pain. yet this literature remains unanswered. lundblad (6) and malmgren-olsson (8) are models for how studies might be more effectively done. they have realistic control groups, large numbers of subjects and are carried out over extended periods of time. they each also assess multiple functional and quality of life outcomes as well as outcomes about pain itself. another aspect to consider is that all pain is not the same. mechanically induced lbp may be more responsive to fm than more physiologically induced pain from cancer. some types of pain are not understood well at all. fibromyalgia is in this category. some pioneering work has been done using fm with people with fibromyalgia (3, 5) with equivocal results suggesting that there may be effectiveness in this area but perhaps exactly how fm is used in this condition needs to be thought through more clearly. mark reese developed lessons and worked in his practice with people with fibromyalgia but none of the outcomes of that work were published. the lesson here is that we need to be more active in writing and sharing the results of our work. another important area for establishing outcomes is the prevention of injury. this has been suggested by stephens (43) but no work has been done directly in this area. discussion of clinical work with people in pain – learning how to rest has been presented by o’connor (10), but again no objective research has been published in this area. mechanisms: what are the underlying processes through which fm might be working to reduce pain? 1) perhaps there is reduced inappropriate effort or muscle tone (parasitic activity) that could lead to reduction in pain. this has been suggested by kegerris et al (39, 40) in work with people without chronic pain. this idea could be studied directly with people who do present with chronic pain using emg assessment of muscle activity or some similar technology. 2) perhaps there is reorganization of movement patterns that reduce stresses. this might show up as changes in biomechanical organization of movements using motion analysis before and after a series of lessons and might also be reflected in changes in emg activity. 3) perhaps there are physiological changes such as increase in endorphins or a change in the balance or autonomic nervous system (ans) activity away from greater sympathetic toward greater para-sympathetic activity affecting the perception of pain. changes like this have been suggested by kolt et al (11, 37). ans function and endorphin levels could be measured directly and correlated with atm or fi lessons in properly controlled studies. theory: the theory underlying these types of ideas is that a person performs optimally when intention and action are fully integrated and aligned. the experience of pain is linked to perception as well as physical trauma. we could learn something about how we might study this area by looking at the work of people who work with both sides of this issue. lewis (47) and giummarra (48) provide some recent examples of this. 1. alexander a. perceived pain and disability decreases after feldenkrais’ awareness through movement. masters thesis. cal state, northridge, june 2006. 3 movement method for motor learning was effective in decreasing pain perception and disability of adults who self-reported experiencing chronic low back pain. subjects, staff members of california state university northridge, were voluntarily recruited for this study using email and word of mouth. final sample (n=12) was comprised of males and females, aged 35 to 67 years (average age was 51.833). the intervention consisted of a total of eleven 45-minute awareness through movement classes offered over a 5-week period. participants were free to come to all 11 classes, and average class participation was 10.25. pain was assessed using the visual analogue scale and disability was measured using the oswestry disability index questionnaire, both administered pre and post intervention. multivariate analyses of variance showed significant differences (p < .05) pre and post testing and the investigation concluded that the feldenkrais method was effective in reducing pain perception and in decreasing disability in a population experiencing chronic low back pain. this research paper supports the use of the feldenkrais method for decreasing pain and increasing function in daily activities for adults experiencing chronic low back pain. 2. bearman d, shafarman s. feldenkrais method in the treatment of chronic pain: a study of efficacy and cost effectiveness. am. j. pain management. 9 (1): 22-27, 1999. a preliminary study was undertaken to determine both the efficacy and cost effectiveness of the feldenkrais method for treatment of medicaid recipients with chronic pain at the santa barbara regional health authority (sbrha). sbrha staff wished to offer treatment for chronic pain patients beyond what is provided for in the medicaid scope of benefits. conventional intensive chronic pain treatment programs costs range from $7,000 to $30,000 and are not covered by regular medicaid benefits. patients with chronic headaches and/or musculoskeletal problems were enrolled in the study. seven patients began the program; all completed it. patient satisfaction, function, and perception of pain were evaluated by using the national pain data batik (npdb) protocol of the american academy of pain management. participants reported more mobility and decreased perception of pain, both immediately after the program and in a one-year follow-up questionnaire. results compared quite favorable with npdb comparison groups. cost effectiveness calculations were based on medicaid costs for one-year periods preand post-intervention. patient costs dropped from an average of $141 per month to $82 per month. this represents a 40% savings. 3. dean jr, yuen sa, and barrows sa. effects of a feldenkrais awareness through movement sequence on fibromyalgia patients. a study reported to the ca-pta in 1997 also presented at the na feldenkrais guild conference in august, 1997. the purpose of this study was to describe the effects of a feldenkrais awareness through movement® (atm) sequences of fibromyalgia patients. subjects met twice a week for a one hour group atm lesson, and were instructed to follow through daily with practice tapes. after two months, subjects were placed on a one month home program. pre-test and post-test data, which included a modified fibromyalgia impact assessment (fia) questionnaire, a pain scale, photographical postural analysis, and observational video analysis of walking, were collected and analyzed on five fibromyalgia patients. a paired t-test on the modified fia and other descriptive analyses showed moderate improvement in the subjects. it was concluded that the feldenkrais method had potential value as a possible adjunct to the physical therapy treatment of selected fibromyalgia patients. 4. kendall sa. ekselius l. gerdle b. soren b. bengtsson a. feldenkrais intervention in fibromyalgia patients: a pilot study. j musculoskeletal pain. 9(4):25-35, 2001. objectives: to evaluate the effect of the feldenkrais intervention, in fibromyalgia patients., methods: twenty fibromyalgia patients started feldenkrais intervention done as one individual and two group sessions weekly for 15 weeks. nineteen started a group-based pain education program followed by a pool program. test and self-report questionnaires were administered at the start, at six month follow up, and at the end of intervention., results: after the feldenkrais intervention improvement in balance and trends to better lower extremity muscle function were shown, but the improvements were not maintained., conclusions: no sustained benefit of the feldenkrais intervention compared to a pool program was seen. methodological problems are discussed. 5. lundblad i. elert j. gerdle b. randomized controlled trial of physiotherapy and feldenkrais interventions in female workers with neck-shoulder complaints. [journal article, clinical trial] journal of occupational rehabilitation. 1999 sep; 9(3): 179-94. (46 ref) the present study aimed to investigate whether physiotherapy or feldenkrais interventions resulted in a reduction of complaints from the neck and shoulders (prevalence, pain intensity, sick leave, and disability in leisure and work roles) in 97 female industrial workers (not on long-term sick leave). range of motion of neck and shoulders, vo2, endurance score (i.e., summation of pain intensity 4 ratings during a static shoulder flexion), cortical control according to the feldenkrais methodology, and physiological capacity according to a dynamic endurance test of the shoulder flexors with simultaneous surface emg were also recorded. the workers were randomized to: (1) physiotherapy group (pt-group; treatment according to the ergonomic program of the pts of the occupational health care service), (2) feldenkrais group (f-group; education according to the feldenkrais methodology), or (3) control group (c-group; no intervention). preand post-tests were made at oneyear intervals. the two interventions lasted 16 weeks during paid working time. the f-group showed significant decreases in complaints from neck and shoulders and in disability during leisure time. the two other groups showed no change (pt-group) or worsening of complaints (c-group). the present study showed significant positive changes in complaints after the feldenkrais intervention but not after the physiotherapy intervention. possible mechanisms behind the effects in the f-group are discussed. 6. maher cg. effective physical treatment for chronic low back pain. [review] [52 refs] [journal article. review. review, tutorial] orthopedic clinics of north america. 35(1):57-64, 2004 jan. it is now feasible to adopt an evidence-based approach when providing physical treatment for patients with chronic lbp. a summary of the efficacy of a range of physical treatments is provided in table 1. the evidence-based primary care options are exercise, laser, massage, and spinal manipulation; however, the latter three have small or transient effects that limit their value as therapies for chronic lbp. in contrast, exercise produces large reductions in pain and disability, a feature that suggests that exercise should play a major role in the management of chronic lbp. physical treatments, such as acupuncture, backschool, hydrotherapy, lumbar supports, magnets, tens, traction, ultrasound, pilates therapy, feldenkrais therapy, alexander technique, and craniosacral therapy are either of unknown value or ineffective and so should not be considered. outside of primary care, multidisciplinary treatment or functional restoration is effective; however, the high cost probably means that these programs should be reserved for patients who do not respond to cheaper treatment options for chronic lbp. although there are now effective treatment options for chronic lbp, it needs to be acknowledged that the problem of chronic lbp is far from solved. though treatments can provide marked improvements in the patient's condition, the available evidence suggests that the typical chronic lbp patient is left with some residual pain and disability. developing new, more powerful treatments and refining the current group of known effective treatments is the challenge for the future. 7. malmgren-olsson e. armelius b. armelius k. a comparative outcome study of body awareness therapy, feldenkrais , and conventional physiotherapy for patients with nonspecific musculoskeletal disorders: changes in psychological symptoms, pain, and self-image. [journal article, research, tables/charts] physiotherapy theory and practice. 2001 jun; 17(2): 77-95. (55 ref) patients with nonspecific musculoskeletal disorders are often remitted for physiotherapy treatment in primary care. the rehabilitation effects for this patient group are generally poor and many of the treatment methods used have not been scientifically evaluated. the purpose of this study is to compare treatment effects of body awareness therapy, feldenkrais , and conventional individual treatment with respect to changes in psychological distress, pain, and self-image in patients with nonspecific musculoskeletal disorders. a total of 78 patients, 64 females and 14 males, with nonspecific musculoskeletal disorders were recruited consecutively to the different treatment groups in a quasiexperimental design. the patients were measured three times during the study period: before the interventions, after six months, and after one year. the results showed significant positive changes over time in all three treatment groups with regard to reduced psychological distress, pain, and improved negative self-image. there were few significant differences among the groups but effect-size analysis indicated that the group treatments using body awareness therapy and feldenkrais might be more effective than conventional treatment. 8. narula m, jackson o, kulig k. the effects of six week feldenkrais method on selected functional parameters in a subject with rheumatoid arthritis. physical therapy 72: (suppl.) s86,1992 9. o'connor m. webb r. learning to rest when in pain. [journal article, pictorial, research] european journal of palliative care. 2002 mar-apr; 9(2): 68-71. (18 ref) margaret o'connor and robert webb report on the usage of a lesser-known approach -the feldenkrais method -in teaching people to cope with pain on movement . 5 10. phipps a, lopez r, powell r (advisor), lundy-ekman l (advisor), maebori d (cfp). a functional outcome study on the use of movement re-education in chronic pain management. master’s thesis at pacific university, school of physical therapy, forest grove, oregon, may 1997. 11. smith al. kolt gs. mcconville jc. the effect of the feldenkrais method on pain and anxiety in people experiencing chronic low back pain. [journal article, research, tables/charts] new zealand journal of physiotherapy. 2001 mar; 29(1): 6-14. (54 ref) the aim of this pilot investigation was to evaluate the feldenkrais method's effect on pain and state anxiety in people experiencing chronic low back pain. participants (n = 26) were aged between 25 and 78 years, and were recruited from a community health centre, a rehabilitation hospital, and from the general community. the sample was divided into two groups: feldenkrais and control. the feldenkrais group experienced a 30-minute awareness through movement session whilst the control group listened to a narrative of the same duration. pain was assessed pre and post intervention using the short-form mcgill pain questionnaire. state anxiety was also measured pre and post intervention using the state scale of the state-trait anxiety inventory. multivariate analyses of variance showed that the feldenkrais intervention was effective in reducing the affective dimension of pain (p < .05), but not the sensory or evaluative dimensions, nor state anxiety. these findings are discussed in relation to previous research and some of the theoretical concepts assumed to underlie the feldenkrais method. the clinical implication of the findings involves the potential for the feldenkrais method to complement existing modes of pain management for people experiencing chronic low back problems. 12. stephens j. feldenkrais method: background, research, and orthopaedic case studies. [journal article, case study, tables/charts] orthopaedic physical therapy clinics of north america. 2000 sep; 9(3): 375-94. (46 ref) functional integration and awareness through movement are aspects of the feldenkrais method that have been used successfully in the rehabilitation of people with orthopaedic problems. these methods include approaches to motor learning that can be used to facilitate change and integration in postural and general musculoskeletal control. this article describes the background and development of the feldenkrais method, including its philosophic and scientific basis. an outcome survey of the use of the feldenkrais method is presented along with four case studies that demonstrate the integration of this method into physical therapy practice. the feldenkrais method is an excellent approach to use in the rehabilitation of people with orthopedic physical problems. ii. outcomes for people with neurological pathologies: cva (stroke), traumatic brain injury, multiple sclerosis, parkinson’s, spinal cord injury, and other. outcomes: initial work in this area was more qualitative and descriptive suggesting improvements in function and quality of life using either small, uncontrolled studies or case studies. (16, 15, 17, 18 19, 23, 24, 25, 49) the next step has begun to be taken by identifying specific outcome variables and assessing how they are affected within group over time or compared to a control group. these studies have used well accepted and validated outcome measures to document improvements in balance and mobility (13, 21, 22) and quality of life (21). more work remains to be done with all the different populations and pathologies to understand if there are groups or individuals who are more or less responsive to fm. mechanisms: several approaches have been made to the question of how these changes may be affected. many neurologically based pathologies leave people with impaired sensory processes and incomplete body images. connors (14) has begun to address the question of whether fm is useful in the process of trying to recover body image and has found some initial encouraging results. similar results were also reported for one person in the group studied by batson (13). johnson reported decreased perceived stress in her work with people with multiple sclerosis (20). many questions remain to be addressed. is it possible to establish sensory function following a neurological lesion using fm? what is the role of sensory and perceptual function in recovery of function? how is motor imagery changed by 6 neurological lesions? is it possible to recover the ability for motor imagery using fm? what is the relationship between motor imagery ability and recovery of function? some of these questions about motor imagery have begun to be studied by batson (not yet published) but much more remains to be done. if fm can impact the ability for motor imagery, can the rate and extent of recovery of function be improved in this way? if motor imagery is improved, is there carryover to differentiation of movements that had been lost in the stroke or brain injury? differentiation of movement can be easily assessed using a format such as the motor assessment scale, the wolf motor function test, or video motion analysis. theory: one of the theoretical issues being addressed by the above works has to do with questions about how body image (self image) is constructed and the relationships between body image and action/function. in using the name awareness through movement to describe one of his methods of working, feldenkrais suggested that movement has primacy in developing awareness and hence has an important role in construction of body image. an important question related to this idea is whether, in rehabilitation (or in development), movement would be an effective strategy for recovering sensory and perceptual functions of whether they can be recovered optimally through direct sensory experience only. another issue of interest raised by stephens (21) and possibly peculiar to fm is that in a complex intervention like atm that can be addressed to many people at the same time, that individuals may have very different responses and improve in different ways through the same lesson. thus to look for everyone to respond in the same way is to miss much of what is going on. it would be interesting to see this point confirmed by other research and it is important to keep this in mind when designing research and analyzing data. 13. batson g and deutsch je. effects of feldenkrais awareness through movement on balance in adults with chronic neurological deficits following stroke: a preliminary study. complementary health practice review, vol. 10 no. 3, october 2005 203-210 the feldenkrais method is a complementary approach to motor learning that purports to induce change in chronic motor behaviors. this preliminary study describes the effects of a feldenkrais program on balance and quality of life in individuals with chronic neurological deficits following stroke. two male (48 and 53 years old) and 2 female participants (61 and 62 years old), 1 to 2.5 years post-stroke, participated as a group in a 6-week feldenkrais program. pretest and posttest evaluations of the berg balance scale (bbs), the dynamic gait index (dgi), and the stroke impact scale (sis) were administered. data were analyzed using a wilcoxon signed-rank test. dgi and bbs scores improved an average of 55.2% (p = .033) and 11% (p = .034), respectively. sis percentage recovery improved 35%. findings suggest that gains in functional mobility are possible for individuals with chronic stroke using feldenkrais movement therapy in a group setting. keywords: feldenkrais; balance; stroke; complementary medicine 14. connors k and grenough p. redevelopment of the sense of self following stroke, using the feldenkrais method. poster presented at the feldenkrais annual research forum, seattle wa, august, 2004. 15. gilman m, yaruss js. stuttering and relaxation: applications for somatic education in stuttering treatment. j fluency disorders. 25(1): 59-76, 2000 16. ginsburg c. the shake-a-leg body awareness training program: dealing with spinal injury and recovery in a new setting. somatics. spring/summer, 1986 pp31-42. 17. goldman schuyler, kathryn. a systems approach to learning and change: cindy’s story. somatics 14(3): 14-23, fall/winter 2003-2004 this is a conversationally written report of the process and impact on feldenkrais work with a 45 year old woman with autism/cerebral palsy(?). it tracks the development of the strategy of the work, the dynamics of the process of change and concludes with some theoretical considerations and practical implications. 7 18. ofir r. a heuristic investigation of the process of motor learning using feldenkrais method in physical rehabilitation of two young women with traumatic brain injury. unpublished doctoral dissertation, union institute, ny, 1993. brief abstract only. documents improvements with feldenkrais intervention. videotape supports text 19. bost h, burges s, russell r, ruttinger h, schlafke u. feldstudie zur wirksamkeit der feldenkrais-methode bei ms betroffenen. deutsche multiple sklerose gesellschaft. saarbrucken, germany. 1994. (summary available in english translated by hans hartmann, sc.d.) 20. johnson sk, frederick j, kaufman m, mountjoy b. a controlled investigation of bodywork in multiple sclerosis. the journal of alternative and complementary medicine 5(3): 237-43, 1999. results show lower perceived stress after feldenkrais sessions compared to a sham intervention control group. 21. stephens j. call s. evans k. glass m. gould c. lowe j. responses to ten feldenkrais awareness through movement lessons by four women with multiple sclerosis: improved quality of life. [journal article, research, tables/charts] physical therapy case reports. 1999 mar; 2(2): 58-69. (43 ref) four women with multiple sclerosis who were ambulatory and worked full-time participated in 10 awareness through movement classes over 10 weeks. assessment before and after the series of classes included the incapacity status and the environmental status scales of the minimal record of disability, the fatigue severity scale, and the index of well-being. before each class and at the final data collection, each person was asked several questions about her medical and functional status. analyses of walking and supine-to-stand were done using the peak motus video motion analysis system. a follow-up interview was done with two women one year after the classes ended. three of the four participants experienced an increase in symptoms at some time during the 10 weeks; nonetheless, all made improvements. outcomes show that two broad areas of improvement were ease and steadiness of daily movement s, and sense of well-being. these outcomes suggest that awareness through movement is beneficial for some people with multiple sclerosis, although in different ways for each person. 22. stephens j. dushuttle d. hatcher c. shmunes j. slaninka c. use of awareness through movement improves balance and balance confidence in people with multiple sclerosis: a randomized controlled study. [journal article, clinical trial, research, tables/charts] neurology report. 2001 jun; 25(2): 39-49. (33 ref) this study examined the effectiveness of a structured, group motor learning process, awareness through movement (atm), on balance, balance confidence, and self-efficacy. twelve people with multiple sclerosis were randomly assigned to either atm or control groups. the atm group participated in 8 classes, 2 to 4 hours each while the control group participated in educational sessions, over 10 weeks. six outcome measures were used: the basic balance master modified clinical test of sensory interaction in balance (mctsib) and limits of stability tests; the activities-specific balance confidence scale; prospective falls; equiscale; and the multiple sclerosis self-efficacy scale. the atm group exhibited significantly improved mctsib scores indicating an average center of pressure position closer to theoretical center, had significantly fewer abnormal mctsib tests, and demonstrated improved balance confidence compared to controls. there was a trend toward improvement in all other measures in the atm group compared to controls. these results suggest that this type of motor learning intervention can be effective in improving a variety of physical and psychological parameters related to balance and postural control. 23. shenkman m, donovan j, tsubota j, kluss m, stebbins p, butler r. management of individuals with parkinsons disease: rationale and case studies. physical therapy 69: 944-955, 1989 mentions feldenkrais method as treatment option 24. shelhav-silberbush, chava. the feldenkrais method for children with cerebral palsy. pp116. ms thesis. boston university school of education, feldenkrais resources, berkeley ca,1988 25. wendell ll. some effects of the feldenkrais method on parkinson’s symptoms and function. unpublished case study by ll wendell client and marilyn johnson, feldenkrais practitioner. june 2000. this is a brief, interesting, single case study documenting observations on changes in function before and after a year of feldenkrais lessons. 8 iii. well elderly: mobility, balance, other. outcomes: the first research on fm was done by gutman in 1977, investigating the effects of atm lessons on a group of well elderly people. this work was well conceived with the use of 2 control groups but may have been poorly executed as changes in a no activity control group were significant and masked changes seen in other groups. this work did find that fm led to improvements in perception of quality of life. considering the research with well elderly has been so popular over the last 2 decades and that so many elderly people participate in ongoing atm classes, it is surprising that much more research has not been done in this area. an initial report (26) demonstrated improved mobility and several subsequent reports showed significant changes in balance (28) and mobility and quality of life (29). these last 3 studies were well done including large groups, random assignment to control and intervention groups and well-validated and reliable outcome measures. more work in this area is important. many questions remain. can differentiation of movement and coordination be improved? can quickness, speed and efficiency of movement be improved? is atm or fi or some combination a better way to improve function in elderly people? is there an optimal way of producing changes: weekly or more frequent lessons vs. short (half day) to moderately long (3-5 days) workshops. does improvement of function in this way affect longevity? does exposure to fm (over what period of time) affect an individual’s functional intelligence, problem solving ability, social activity or other psychological functions? also the organization of an activity like walking can be investigated using non-linear dynamic methods to describe step-to-step variability. (see stergiou et. al. 50-53) mechanisms: some of the same questions come up again as with neurological pathology. sensory capacity is known to decline with age. is it possible to alter this trend and is improved motor and sensory function then capable of altering the aging process? theory: a theoretical issue in this area has to do with learning. feldenkrais subtitled his book the potent self, learning to learn. is it possible to rekindle the learning mechanism of the young in the elderly? another issue based in dynamic systems theory relates to the dynamics and stability of attractors. is it possible to develop new attractors? can these processes be qualitatively and quantitatively described and mapped across time? 26. bennett jl, brown bj, finney sa, and sarantakis cp. effects of a feldenkrais based mobility program on function of a healthy elderly sample. abstract issues on aging 21(1):27, 1998, publication of geriatric section of apta. poster presented at csm in boston in february 1998. 27. gutman g, herbert c, brown s. feldenkrais vs conventional exercise for the elderly. j gerontology 32(5): 562-572, 1977 design problem control group which did nothing improved as much as the feldenkrais group. does suggest improved preception of quality of life in feldenkrais group 28. hall se, criddle a, ring a, bladen c, tapper j, yin r, cosgrove a, hu yu-li. study of the effects of various forms of exercise on balance in older women. unpublished manuscript healthway starter grant, file #7672, dept of rehabilitation, sir charles gardner hospital, nedlands, western australia, 1999. shows improvements in balance and function from tai chi and atm compared to a control group. good study! 29. stephens jl, pendergast c, roller ba, weiskittel rs. learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement. 9 international feldenkrais federation (iff), iff online research journal, http://www.iffresearchjournal.org/index2005.htm, november 2005. objectives: this study tested the hypothesis that an alternative movement learning method, awareness through movement, would produce improvements in coordination, mobility, economy of movement and quality of life in older adults. methods: a group of 31 older adults was studied using a prospective, repeated measures control group design. the sf-36 was used to assess health status quality of life. video motion analysis was used to collect data on walking and on a floor to stand transfer movement. results: coordination of the transfer movement improved significantly in the experimental group. vitality and mental health scores also improved significantly in this group. interesting differences between young-old and old-old changes were observed. conclusions: awareness through movement may be an additional effective method for pursuing the objectives of healthy people 2010. cardiac rehab, pediatrics iv. cardiopulmonary function. outcomes: an area that is often ignored in rehabilitation is cardiopulmonary function. saraswati (32) did ground breaking work in this area showing some improvements in breathing mechanics and air movement in 1989. this was followed up much later with qualitative work by brand (30) who suggested improvements in the process of cardiac rehabilitation following myocardial infarct using fm techniques. a follow-up, controlled study by lowe (31), while finding no significant quantitative differences in body perception or well being variables, did identify significantly more well being related comments by participants in the fm compared to other groups and found that those participating in fm but not progressive relaxation wanted to continue the intervention beyond the study. as in many cases the intervention by lowe was short (several days/fi lessons) and may have been much more effective if carried out for a longer time period. again experimenting with the length of the fm intervention is important. long-term studies could look at questions about post mi activity levels, mortality and longevity. some long-term assessment of post mi quality of life using sf-36 or some similar instrument would be interesting. mechanisms: we know almost nothing in this area. the key may be related to stress and methods of breathing. brand focused on these areas. however, physiological responses also need to be documented. what happens to blood pressure, heart rate, breathing rate, o2 saturation, healing rates? theory: the idea of functional integration suggests that optimal function is achieved when all systems contributing in an integrated way being optimally responsive to the control processes on a moment to moment basis. is cardiopulmonary function more (or optimally) responsive, or is the responsiveness of the system changed by fm work? this could be investigated using methods of non-linear dynamics to assess levels of variability in relation to normal daily activities and events that are stressful both physiologically and psychologically. (see stergiou et al. 50-53) 30. brand, cs. stress management in cardiac rehabilitation: observations on attention and emotion. paper presented at the annual conference of the feldenkrais guild of north america, los angeles, ca september, 1998. 31. lowe, bernd; breining, katja; wilke, stefanie; wellmann, renate; zipfel, stephan; eich, wolfgang. quantitative and qualitative effects of feldenkrais , progressive muscle relaxation, and standard medical treatment in patients after acute myocardial infarction. [peer reviewed journal] psychotherapy research. vol 12(2) sum 2002, 179-191. examined the effectiveness of the feldenkrais method of functional integration and of progressive muscle relaxation (pmr) compared with the standard medical treatment during the acute phase after 10 myocardial infarction. three patient groups (20 in each) received 1 of 3 treatment options: 2 sessions of feldenkrais therapy, 2 sessions of pmr, or no intervention. evaluations using quantitative and qualitative methods were performed an average of 3.7 and 7.8 days after ss' myocardial infarction, respectively. significant improvements, independent of the intervention, were found over the evaluation period in the perception of body dynamics body image scale and in the physical well-being and emotional well-being quality-of-life scales. a statistically significant, differential effect of any one intervention with respect to the control group did not arise in any of the quantitative questionnaire variables examined. however, subjective improvements of varying description were noted by 17 of 20 patients after the 1st feldenkrais therapy and by 13 of 20 patients after the 1st pmr treatment. the qualitative patient statements support using the feldenkrais method or pmr for particular cases in an acute medical setting and continuing treatment during rehabilitation or on an outpatient basis. 32. saraswati, s. investigation of human postural muscles and respiratory movements. m.sc. university of new south wales. 1989 v. psychological functions – imagery. outcomes: again, initial work in this area has been qualitative. (33, 34, 37) it has been suggested that fm improves some dimensions of body awareness. the different dimensions of body awareness (37) that are responsive remain to be elucidated. in a very well done study, laumer (36) demonstrated a positive change in a number of important variables in a group of girls with anorexia nervosa compared to a matched control group. the outcome measures used in this study had mostly to do with body perception and satisfaction. other variables need to be investigated. what impact is there on psychological variables such as anxiety and self-efficacy in this population? are patterns of social interaction changed? are problem solving skills improved in relation to management of body image issues? mechanisms: in a 10 week study, kerr (35) demonstrated that state anxiety was reduced in the fm group. this could help to explain the finding by laumer noted above. stephens (38) found positive changes in recent memory and positive social support that were highly correlated with decreased fatigue in a group of people with multiple sclerosis compared to a control group. the long-term effects of these interventions are important to study. are positive effects still seen a month or a year later? also it is important to evaluate the length of intervention needed to produce positive effects. if 10 atm lessons produce a good positive effect, are 25 lessons or 50 lessons necessarily better? are 5 lessons sufficient? theory: feldenkrais was interested in providing a method for people to become more adaptable to the real changes of life that occur. a question at this level is whether significant adaptive changes occur when working with fm. this is a difficult thing to document and seems necessarily qualitative in nature. an example of this type of change may be seen in goldman-schuyler’s cindy’s story.(17) it would be very interesting to approach this idea in a much more systematic way across a larger number of people exposed to some significant amount of fm. 33. deig, denise. self image in relationship to feldenkrais awareness through movement classes. independent study project. university of indianapolis, krannert graduate school of physical therapy, indianapolis, indiana. 1994 34. hutchinson, marcia g. transforming body image. learning to love the body you have. the crossing press. freedom ca 95019, 1985 developed from doctoral dissertation: "the effect of a treatment based on the use of guided visuo-kinesthetic imagery on the alteration of negative body cathexis in women" . boston university, 1981. 11 35. kerr ga. kotynia f. kolt gs. feldenkrais awareness through movement and state anxiety. [journal article, research, tables/charts] journal of bodywork and movement therapies. 2002 apr; 6(2): 102-7. (30 ref) the ability of the feldenkrais method to reduce state anxiety was investigated. specifically, both a single feldenkrais awareness through movement lesson and a 10-week feldenkrais awareness through movement programme were studied. participants volunteered to take part in one 1-hour class each week for 10 weeks. individuals who declined to participate in the 10-week programme were given the opportunity to participate in a single 1-hour lesson during week 5. participants were divided into two groups: new and returning students, based on previous experience with awareness through movement lessons. participants were administered the state scale of the state-trait anxiety inventory (spielberger et al. 1983) prior to the beginning of the first lesson (week 1--t1), immediately before and after the fifth lesson (week 5--t2 and t3), and after the final lesson (week 10--t4). findings indicated that state anxiety scores decreased significantly over a single lesson (t2 t3) for both new (n=13) and returning (n=42) students. in addition, state anxiety scores were significantly lower after the 10-week programme (t4) when compared with baseline scores (t1) for new (n=3) and returning (n=42) students, with new students experiencing a significantly greater reduction than returning students. these findings can be interpreted as further support for the efficacy of the feldenkrais method in reducing state anxiety. 36. laumer u, bauer m, fichter m, milz h. therapeutic effects of feldenkrais method “awareness through movement” in patients with eating disorders. psychother psychosom med psychol 47(5): 170-180, 1997; (published in german) full english translation available at: http://www.iffresearchjournal.org/laumereng.htm based on the movement-pedagogical concept of feldenkrais and the findings-of disturbed body perception by eating disordered patients this research aimed at studying the therapeutical effects of the feldenkrais method "awareness through movement" with eating disorder patients, 15 eating disordered patients treated at the roseneck hospital for behavioural medicine rated-by means of a questionnaire consisting of scales of the body cathexis scale (bcs), the body parts satisfaction scale (bpss), the questionnaire for body perception (fragebogen zum korpererleben; fke), the emotion inventory (emotionalitatsinventar; emi-b), the anorexia-nervosa-inventory for selfrating (anis) and the eating disorder inventory-2 (edi)-various aspects of their eating disorder before and after participating in a nine hour course of the feldenkrais method. the data of these patients were compared to those of the members of a control group, also consisting of 15 eating disordered patients who did not participate in a feldenkrais course. the participants of the feldenkrais-course showed increasing contentment with regard to problematic zones of their body and their own health as well as concerning acceptance and familiarity with their own body. other results were a more spontaneous, open and self-confident behaviour, the decrease of feelings of helplessness and decrease of the wish to return to the security of the early childhood, which indicates the development of felt sense of self, self-confidence and a general process of maturation of the whole personality. the outcome points to the therapeutical effectiveness of the feldenkrais method with eating-disorder patients within a multimodal treatment program. 37. ryding c. rudebeck ce. mattsson b. body awareness in movement and language: concordance and disparity. [journal article, research] advances in physiotherapy. 2004; 6(4): 158-65. (18 ref) background and purpose: body awareness scale-health (bas-h) is a physiotherapy scoring instrument that assesses the quality and harmony in posture and simple movement s. in the present work, we have studied the concordance between body awareness scores and described body experience to further refine the concept of body awareness . method: sixteen general practitioners were assessed according to bas-h and interviewed using a semi-structured method concerning their own body experience in relation to three themes. the interviews for the five participants who were found to have the most well-developed body awareness were compared, with the five that had the least developed body awareness . results: the participants in the group with well-developed body awareness described a more positive attitude towards the body, and they gave clearer descriptions about their experiences of emotions and conditions such as hunger and tiredness. however, there were important exceptions. body awareness has two dimensions-an outward/expressive dimension that is expressed in posture and movement and an inward/introspective dimension. summary hypotheses: the study was summarized in several hypotheses concerning the relationship between expressive and introspective body awareness. 38. stephens jl, cates p, jentes e, perich a, silverstein j, staab e, dushuttle d, hatcher c, shmunes j, slaninka c. awareness through movement improves quality of life in people with multiple 12 sclerosis. j neurol phys ther. 27(4): 170, 2003. abstract, poster presented at apta combined section meetings, nashville tn, february, 2004 purpose/hypothesis: to assess quality of life changes associated with a successful balance intervention in a group of people with ms. number of subjects: 12 people with ms mean age 54 yrs, mean kurtzke edss level 4.75 materials/methods: subjects were randomly assigned to 2 groups: awareness through movement intervention (atm) and control group (edu). the atm group participated in 8 awareness through movement sessions while the edu group participated in 4 educational sessions over 2 months. balance and mobility measures were performed before and after the intervention period. these results were published in neurology report 2001; 25(2): 39-49. to assess quality of life the msqli was administered before and after the intervention. the msqli has 10 sub-scales including: modified fatigue impact (mfis), pain effects, perceived deficits (pdq), and modified social support survey (msss).all scales are valid for people with ms with reliability scores ranging from .78 to .97. data analysis used kruskal walis anova for group comparisons and spearman rs for correlations. results: there were 3 significant group differences: 1) increase in pain effects in the atm group (p< 0.03); 2) decrease in perceived difficulty recalling recent events (pdq-rm) in the atm group (p< 0.035); and 3) improvement in perceived availability of others for companionship (msss-pos) in the atm group (p< 0.035). improvement on the pdq-rm was highly correlated with decreased fatigue impact. improvement in msss-pos was highly correlated with decrease in cognitive fatigue impact and a decrease in total pdq, retrospective memory and planning and organization subscale scores. conclusions: the larger picture that emerges is that an intervention that was successful in improving balance and mobility had other spin-off benefits that were physical, psychological and social improving quality of life. atm is intended to improve people's awareness and understanding of their bodies and to help individuals create alternative strategies for setting and achieving goals in their life. this spin-off impact may be present in other kinds of interventions but it has not been measured or documented. clinical relevance: in an environment where patients and payers increasingly demand significant functional outcomes and measurable improvements in quality of life, it is important to document not only the physical outcomes but also the outcomes that reflect quality of life. vi. more on mechanisms – what’s going on: some mechanisms underlying change have been discussed already in the preceding sections. some research has addressed the question of mechanisms directly. this has been done in a preliminary way at two levels in the process of motor control: muscle activity (39, 40) and length (43) and related changes that may be happening in the control areas in the brain itself. the study by nair (42) using fmri technology to assess brain activity changes needs to be done with a larger group of people and compared with other more standard rehabilitation techniques to discover if there is anything special about the responses to fm. it would also be very enlightening to take an atm lesson right into an fmri unit and track the changes produces in brain activity during a lesson involving movements of the tongue or fingers. how would these changes be different or the same in different people? what is different in older vs. younger people? how are the changes seen related to learning in a model such as that proposed by doyon et. al. (54, 55)? bruce (41) explored fm as a process of learning in a theoretical study. in the study of hamstring lengthening by stephens (43), the question of learning was raised but not answered. did the lengthening of the hs muscle being studied evolve slowly over time as might have been expected during a process of acquisition normally seen during motor learning? many people have difficulty with the concept of learning as applied to muscle length. demonstration of an acquisition curve and retention of the learned behavior of some reasonable period of time like a week would go a long way toward placing this phenomenon in the arena of motor learning. how many repetitions are needed for this learning to occur and over what period of time? stephens subjects did 15 minutes of atm daily over a period of 3 weeks. the number of repetitions varied widely from person to person. what is the 13 minimum number, done with an effective atm/learning approach that will produce the same or possibly a better outcome? would 2 trials per day for a week be enough? is there a limit to the length that can be achieved? what controls that limit? can this same approach be applied to any muscle group in the body by any person? how does this kind of intervention effect performance of running and jumping? are there changes in emg activity with this process as demonstrated by kegerris et al? 39. brown, e and kegerris s. electromyographic activity of trunk musculature during a feldenkrais awareness through movement lesson. isokinetics and exercise science. 1(4): 216221, 1991. 40. ruth s, kegerris s. facilitating cervical flexion using a feldenkrais method: awareness through movement. j sports phys ther.16(1): 25-29, 1992 41. bruce, f.m. making sense in movement : the dynamics of self-learning and self-change. [microform thesis or dissertation ] kinesiology publications, university of oregon eugene, or, 2004, 3 microfiche (234 fr.) the purpose of this study is to explore the relationship between self-generated movement and processes of self-learning and self-change. it is hypothesized that: 1) moving is a primary mode of interacting with a world that we construct through our interactions; 2) self-moving is a way of knowing, which structures both the knowing self and the perception of personal reality; 3) selfchange is a process of self-learning which changes the ways in which the self perceives and interacts with personal reality, the nature of which reality changes in a mutually causal relationship with processes of self-change. this study is a philosophical inquiry in narrative form, informed by my experience as a dancer and a practitioner of the feldenkrais method of somatic education. dynamical systems theory is employed as a concept-generating metaphor, by means of which personal experience is interwoven with theoretical approaches to cognition as embodied and environmentally embedded. a conceptual structure is developed in which the cognizing self, as a dynamical system, is defined as an environmentally dependent self-organizing, complex of structural change, absent any central controller. the cognitive domain encompasses all the possible functional interactions, where function is taken to comprise moving, sensing, feeling, and thinking. the integrated nature of function stipulates that: 1) each component of function represents and postulates the others and functions as a whole; 2) all human actions, including processes of abstract thought, are accompanied by distinct patterns of muscular activity. thus, a change in habitual patterns of movement is reflected in a change in habitual patterns of function, and a change in any other aspect of function is reflected in changes in patterns of movement . the implications for processes of learning and change are discussed, together with potential pedagogical applications. general note thesis (ph.d.) texas woman's university, 2003; includes bibliography (leaves 210223). available from kinesiology publications (formerly microform publications), iihsp, 1243 university of oregon, eugene, or 97403-1243 42. nair dg, fuchs a, burkart s, steinberg fl, kelso ja. assessing recovery in middle cerebral artery stroke using functional mri. brain inj. 2005 dec;19(13):1165-76. primary objective: to understand the temporal evolution of brain reorganization during recovery from stroke. research design: a patient who suffered left middle cerebral artery stroke 9 months earlier was studied on three occasions, approximately 1 month apart. this patient received interventions based on feldenkrais method twice a week for 8 weeks. methods and procedures: brain activation was studied using functional magnetic resonance imaging (fmri). during each session, the patient performed a finger-to-thumb opposition task, which involved one bimanual and two unimanual conditions. each condition consisted of overt movement of fingers and imagery of the same task. results: with recovery, greater recruitment was observed of the affected primary motor cortex (m1) and a decrease in activation of the unaffected m1 and supplementary motor area. in addition, the widespread activation of brain areas seen during the initial session changed to a more focused pattern of activation as the patient recovered. imagery tasks resulted in similar brain activity as overt execution pointing to imagery as a potential tool for rehabilitation. 43. stephens j., davidson j., derosa j., kriz m., saltzman, n. lengthening the hamstring muscles without stretching using "awareness through movement". phys ther 2006 86: 1641-1650. background and purpose. passive stretching is widely used to increase muscle flexibility, but it has 14 been shown that this process does not produce long-term changes in the viscoelastic properties of muscle as originally thought. the authors tested a method of lengthening hamstring muscles called “awareness through movement” (atm) that does not use passive stretching. subjects. thirty-three subjects who were randomly assigned to atm and control groups met the screening criteria and completed the intervention phase of the study. methods. the atm group went through a process of learning complex active movements designed to develop increased length in the hamstring muscles. hamstring length was measured before and after intervention using the active knee extension test. results. the atm group gained significantly more hamstring muscle length (+7.04º) compared with the control group (+1.15º). discussion and conclusions. the results suggest that muscle length can be increased through a process of active movement that does not involve stretching. further research is needed to investigate this finding. vii. theory: the question of theory has been addressed in each section of this paper. buchanan (44) has written a useful summary of the application of dynamic systems theory to the understanding of how fm may be working. others have addressed the underlying ideas of learning and awareness more directly. (45, 46) as we continue to develop the research base of fm, we will continue to test the theoretical and practical ideas we have and refine and broaden the understanding and application of the process of fm that seems so powerful. 44. buchanan pa. ulrich bd. the feldenkrais method: a dynamic approach to changing motor behavior. [review, tutorial] research quarterly for exercise & sport. 72(4):315-23, 2001 dec. this tutorial describes the feldenkrais method and points to parallels with a dynamic systems theory (dst) approach to motor behavior. feldenkrais is an educational system designed to use movement and perception to foster individualized improvement in function. moshe feldenkrais , its originator, believed his method enhanced people's ability to discover flexible and adaptable behavior and that behaviors are self-organized. similarly, dst explains that a human-environment system is continually adapting to changing conditions and assembling behaviors accordingly. despite little research, feldenkrais is being used with people of widely ranging ages and abilities in varied settings. we propose that dstprovides an integrated foundation for research on the feldenkrais method, suggest research questions, and encourage researchers to test the fundamental tenets of feldenkrais . [references: 50] 45. shelhav-silberbush, chava. movement and learning: the feldenkrais method as a learning model. phd dissertation, faculty of sociology and behavioral science. heidelberg university, germany. 1998. not yet reprinted or translated into english. published in german. controlled study with a group of learning disabled children in germany 46. vollmer, fred. how do i move my body? journal article] journal of mind & behavior. vol 19(4) fall 1998, 369-377. (from the journal abstract) what is it for me to do something is the question discussed in the present paper. it has been suggested that my doings are elicited by tryings, intentions, and other causal mechanisms. these theories do not offer any convincing analysis of what it is for me to act. insight is sought by looking at some case studies involving temporary loss of the ability to move one's body. what the case studies show, i conclude, is that when i move my body in the normal way, i do not first have to do something else that causes my body to move. normal actions are events bodily beings can generate spontaneously (directly). an essential condition for having this kind of control is inside (proprioceptive) awareness of the body. when inner awareness of the body is lost, control can be taken over by visual awareness . but then movement loses its spontaneous character and depends on planning and intense concentration. one can think of the self ("i") from which my actions flow, as the mental life to which they belong, or as the consciousness that controls them. 47. lewis js, kersten p, mccabe cs, mcpherson km, blake dr. body perception disturbance: a contribution to pain in complex regional pain syndrome (crps). pain. 2007 may 15; [epub ahead of print] 15 48. giummarra mj, gibson sj, georgiou-karistianis n, bradshaw jl. central mechanisms in phantom limb perception: the past, present and future. brain res rev. 2007 apr;54(1):219-32. 49. ann j. individuals with dementia learn new habits and are empowered through the feldenkrais method. [journal article, case study] alzheimer's care quarterly. 2006 oct-dec; 7(4): 278-86. (29 ref) 50. stergiou n, harbourne r, cavanaugh j. optimal movement variability: a new theoretical perspective for neurologic physical therapy. j neurol phys ther. 2006 sep;30(3):120-9. 51. buzzi uh, stergiou n, kurz mj, hageman pa, heidel j. nonlinear dynamics indicates aging affects variability during gait. clin biomech (bristol, avon). 2003 jun;18(5):435-43. 52. staessen ja, asmar r, de buyzere m, imai y, parati g, shimada k, stergiou g, redon j, verdecchia p; participants of the 2001 consensus conference on ambulatory blood pressure monitoring. task force ii: blood pressure measurement and cardiovascular outcome. blood press monit. 2001 dec;6(6):355-70. 53. byrne je, stergiou n, blanke d, houser jj, kurz mj, hageman pa. comparison of gait patterns between young and elderly women: an examination of coordination. percept mot skills. 2002 feb;94(1):265-80. 54. bellec p, perlbarg v, jbabdi s, pelegrini-issac m, anton jl, doyon j, benali h. identification of large-scale networks in the brain using fmri. neuroimage. 2006 feb 15;29(4):1231-43. epub 2005 oct 24. 55. doyon j, benali h. reorganization and plasticity in the adult brain during learning of motor skills. curr opin neurobiol. 2005 apr;15(2):161-7. review. feldenkrais research journal • volume 1 (2004) article evaluating research on the feldenkrais method from the outside. some observations and suggestions. jim stephens phd, pt, cfp; fgna research committee abstract as we debate the process and usefullness of research within our ranks, people are looking at us from the outside to try to evaluate the effectiveness of what we are doing in achieving the claims that we make. one of the ways we communicate our work is through the sharing of personal experience. another way is the presentation of formal research that documents the outcomes of our work and suggests the context within which it may be most effective. this article will review some of the criteria that people use when they look at our work from the outside and discuss some of the conclusions about research on feldenkrais method based on those criteria. we have made a good start in addressing the outcomes of the work that we do but we have a long way to go to address the full range of the work that we do. suggestions are made at the end for some next possible steps along the path of improving the research we do. keywords feldenkrais, evaluating research, qualitative, quantitative, peer review copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author evaluating research on the feldenkrais method from the outside. some observations and suggestions. by jim stephens, phd, pt, cfp. fgna research committee. abstract as we debate the process and usefullness of research within our ranks, people are looking at us from the outside to try to evaluate the effectiveness of what we are doing in achieving the claims that we make. one of the ways we communicate our work is through the sharing of personal experience. another way is the presentation of formal research that documents the outcomes of our work and suggests the context within which in may be most effective. this article will review some of the criteria that people use when they look at our work from the outside and discuss some of the conclusions about research on feldenkrais method based on those criteria. we have made a good start in addressing the outcomes of the work that we do but we have a long way to go to address the full range of the work that we do. suggestions are made at the end for some next possible steps along the path of improving the research we do. there is still a flourishing debate going on among practitioners as to whether it is possible, useful or even desirable to do research on feldenkrais method considering the strong individual and ideosyncratic nature of the work. yet we talk about and point to changes in function as an outcome of the process we engage in. the challenge then for us is to find ways to capture the nature of these changes that we point to in ways that are valid and reliable. when we present ourselves to the outside world, we must be able to speak in ways that people understand and find meaningful. how does the world evaluate research on the feldenkrais method? what are the criteria? what are the conclusions about our work? when national medical groups look at research and try to make recommendations for treatment based on what is in the literature they use several kinds of criteria. one kind looks at the type of design that was used as a measure of its usefulness. it ranks study designs by the reliability, validity and generalize-ability of the information which they can produce. several design factors make good information more likely. a control group provides baseline data, a group which can be used as a comparison against the experimental intervention. this kind of control group can eliminate spurious effects such as differences resulting from historical change, other normal experiences or normal processes of change within individuals. random assignment of subjects to groups attempts to ensure that there is no bias expressed in selecting the groups and that demographic factors are balanced between the groups. larger numbers of subjects, representing a wide range of the population in question provide greater generalize-ability. using these design criteria, studies can be stratified into five levels: level i a randomized controlled trial (rct) with large numbers of subjects (more than 30) over long duration (months to years); level ii a rct with smaller numbers (fewer than 30 subjects) and/or shorter duration; level iii prospective cohort design with no baseline control. this is a design which has a control group but no pre-intervention baseline measures for comparison in either experimental or control groups. (this type of design is often used for surgical procedures where data can be collected only after the surgery is done). level iv – cross-sectional controlled studies or retrospective cohort designs compare the performance of two different groups and assume that the differences noted are a result of some factor distinguishing the groups such as gender, age, race, training, etc; and level v includes case studies of any size. the rct is generally accepted to produce the most useful and valuable information. the case study method is generally considered the least useful or at least has a different kind of value when trying to extrapolate research results to a larger population. (the above criteria were used by the national ms council in developing guidelines for treatment of fatigue in ms.) 2 j.stephens/feldenkrais research journal 1 (2004) other kinds of research designs are commonly used. single subject designs are similar to case studies but have more strict design criteria. qualitative designs are used to map out the conceptual areas of a problem in early stages of understanding a research area. these are very good for capturing subjective responses and attitudes and developing a rich understanding of a persons experience but cannot be used to generalize to how others might respond. survey research is used to collect descriptive data across groups of subjects for example, “what kinds of problems do clients present to feldenkrais practitioners?”. each of these kinds of design has specific formal rules for how research is to be carried out. another kind of criteria used for evaluation of published research is whether a paper is peer reviewed. the peer review process assures that the paper has been evaluated, before publication, by people who are experts in the methodology and literature of that field. peer review addresses such questions as: do the subjects in the study meet specific entrance criteria? are they balanced between groups by age, gender, task performance, etc. at the outset? were they randomly assigned to groups? were the measurement methods described in an understandable manner? have the measurement methods been shown to be valid and reliable? did the experimental design allow for other possible explanations of the results to be ruled out? was the data analysis applied in a valid manner and was it appropriate for the design? bottom line: peer review related to methods and results is important. clinical research is done in an imperfect world. rarely does clinical research meet the highest standards of all of the above kinds of criteria. the ms council, mentioned above, identified 700 studies related to the topic of fatigue in ms and found only 86 of them useful for developing clinical guidelines for management of fatigue in ms. there were no level i studies available and only a few level ii studies which were drug studies. so members of the ms council who are experts in the field had to base their development of clinical guidelines on consensus interpretations of lower level literature. we are not the only ones who do not have level i literature to support our work. how does research on the feldenkrais method stack up against these criteria? a recent article by ives and shelley (work, 11: 75-90, 1998) provides an excellent review of research on the feldenkrais method up through 1996. they reported on a total of 42 research papers. of these, 26 were non-peer reviewed, qualitative, descriptive case presentations covering a wide range of types of people and problems. these studies were criticized for their lack of methodological rigor. protocols were insufficiently explained and standardized; there was no verification of information by triangulation, a method of comparing several different sources of information about the same question (e.g. computerized assessment of balance, assessment of different tasks requiring balance, and subjective report of balance performance). other appropriate case study methodologies such as subject verification and approval of published information were not used. moshe's work the case of nora was one of the reports reviewed here to which these criticisms apply. ives and shelley state that many of these reports make "extravagant " (p.85) claims which may fall into the category of speculation, which is not to say that they are not true, but methodologically unsound. in recent years, qualitative, case study methodology has become more rigorous and also much more respected if done following accepted guidelines. five of the reviewed studies were empirically based and nonpeer-reviewed. these studies used empirical measures rather than subjective interpretation, but were criticized for not testing or discussing the reliability and validity of the measurement tools, and for not having control groups. in the case of shelhay (movement as a model of learning. 1995) these criticisms may be unfounded, because only an abstract and not the full body of the work, which is published only in german, was reviewed. six papers were peer-reviewed case studies. half of these had serious flaws in methodology related to data collection and interpretation. the others were methodologically sound. these latter were papers by narula (1993) and schenkman (1989). (for references, refer to the research bibliography on the fgna web site: <www.feldenkrais.com/research>.) out of the total 42 studies reviewed only five were peer reviewed, randomized, controlled trials. all of these had methodological flaws which allowed their conclusions to be called into question. among the 42 studies, none were level i and only seven were level ii. most of the rest were level v, as described by the criteria of the national ms council. ives and shelley conclude that the papers reviewed do not 3 j.stephens/feldenkrais research journal 1 (2004) present a convincing picture to support the anecdotal claims and that the empirical studies have not shown convincingly that "any of the positive findings can be directly attributable to feldenkrais treatments." (p.85) they also conclude that "little evidence is provided that either acute or long term exposure to the feldenkrais method can promote changes that could not be obtained by using conventional treatments that may be simpler or more cost effective." (p.85) however they finally conclude that "the most support for the feldenkrais method comes not from any specific research findings but from the sheer number of reports that fit within a sound theoretical framework," and that more research on the feldenkrais method is warranted. (p.85) the ives and shelley work does not include critiques of papers that were published after 1996. the research designs used and the quality of publications have improved since then. twenty-nine research papers have been published in some form. of these, 22 were published in peer-reviewed journals and 16 of these were randomized controlled-trial designs. thirteen met level i criteria, 4 met level ii criteria. there were 6 case studies. most of these papers present evidence that suggests that when people engage in a process of feldenkrais lessons in their various forms, there are measurable and significant changes (improvements) in function in both physical and psychological dimensions. four papers illustrate this: 1) laumer et al., 1997; 2) bearman and shafarman, 1999; 3) lundblad et al., 1999 and 4) stephens et. al. 2001. these are all methodologically sound presentations that report findings that are not as easily achieved by conventional treatments and that are either simpler or more cost effective. many practitioners are interested in doing research. there are four obstacles which limit us: money and other resources; skill in research design and methodology; a place of our own to publish this kind of research; and a large critically educated audience. the question arises: how can we continue to improve the quality and expand the sphere of research on the feldenkrais method? i would like to present several suggestions. 1. we should have a journal which publishes research on the feldenkrais method, which is peer reviewed by feldenkrais practitioners and which meets rigorous methodological criteria. the question of peer review is interesting. we should be our own best peer reviewers. this journal should publish both quantative and qualitative research 2. there must be training in research methodology not only for people who want to do research but also to raise the level of critical reading for practitioners who read literature on the feldenkrais method and in other areas. it should be noted that the best research done to date has been done mostly in association with degree programs at universities. we should have the skills within our ranks at this point to provide this kind of training within the training programs. also there are now practitioners who are faculty in university programs which grant m.s. and phd degrees who can provide training opportunities. 3. the training programs themselves then could begin to provide opportunities for conducting methodologically strong, clinically useful research. frank wildman, osa jackson and mark reese have raised this idea in the past. i challenge the tab and trainers to take this need seriously and find a way to do it. 4. more money needs to be available for research. over the past few years, $2,000 to $3,000 has been available annually from the fgna. this has been used to support several small projects. there needs to be a larger commitment to research from the member practitioners of the guild, who need to demand a larger budgeted amount, say $15,000 to $25,000 each year. i challenge practitioners to make this commitment and this demand of the fgna, fefna and the iff. 5. now that the fgna through fefna has 501 (c)(3) status it should be possible to find benefactors who will contribute larger sums of money to support research. this should become one of the primary functions of the guild. feldenkrais research journal • volume 1 (2004) article kleines forschungshandbuch für einsteiger carolin theuring ma abstract die idee so eine einführung zu schreiben entstand bei einem feldenkrais & wissenschaf t-arbeitstreffen in münchen, initiiert und organisiert von roger russell, ulla schläfke und prof. klaus schneider im juli 2003. ca. 40 feldenkrais-leute trafen sich mit den beiden universitätsprofessoren und forschern beatrix vereijken aus norwegen und klaus schneider aus deutschland um ideen für forschungsprojekte auszuloten. wir arbeiteten sehr eifrig und motiviert, jedoch an einem punkt blieben wir plötzlich in der diskussion stecken. in dieser situation dämmerte mir, dass hauptberufliche wissenschaftler sich vielleicht nicht mehr vorstellen können, wie der gewöhnliche (feldenkrais) mensch denkt und der gewöhnliche (feldenkrais) mensch sich wahrscheinlich gar nicht vorstellen kann, was im kopf eines wissenschaftlers vor sich geht. um mehr verständnis und einsicht in wissenschaftliches arbeiten für die feldenkrais-leute von diesem arbeitswochenende herzustellen, suchte ich all meine unterlagen und bücher zu forschungsmethoden heraus und versuchte eine kleine einführung zusammenzustellen, die die zukünftigen treffen mit wissenschaftlern dadurch erleichtern soll, dass einige basiskonzepte erklärt werden. durch dieses neue iff research journal gehen wir wieder ein paar schritte weiter, wir sammeln und präsentieren diskussionsbeiträge und studien zu forschung in der feldenkrais methode. daher scheint hier wieder ein passender ort für dieses kleine forschungshandbuch zu sein um interessierten einsteigern, die bisher wenig kontakt mit forschung hatten, die zugrundeliegenden prinzipien ein bisschen näher zu bringen. keywords feldenkrais, science, research methods, quantitative, qualitative copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author kleines forschungshandbuch für einsteiger von carolin theuring warum überhaupt ein forschungshandbuch für einsteiger? die idee so eine einführung zu schreiben entstand bei einem feldenkrais & wissenschaf tarbeitstreffen in münchen, initiiert und organisiert von roger russell, ulla schläfke und prof. klaus schneider im juli 2003. ca. 40 feldenkrais-leute trafen sich mit den beiden universitätsprofessoren und forschern beatrix vereijken aus norwegen und klaus schneider aus deutschland um ideen für forschungsprojekte auszuloten. wir arbeiteten sehr eifrig und motiviert, jedoch an einem punkt blieben wir plötzlich in der diskussion stecken. in dieser situation dämmerte mir, dass hauptberufliche wissenschaftler sich vielleicht nicht mehr vorstellen können, wie der gewöhnliche (feldenkrais) mensch denkt und der gewöhnliche (feldenkrais) mensch sich wahrscheinlich gar nicht vorstellen kann, was im kopf eines wissenschaftlers vor sich geht. um mehr verständnis und einsicht in wissenschaftliches arbeiten für die feldenkrais-leute von diesem arbeitswochenende herzustellen, suchte ich all meine unterlagen und bücher zu forschungsmethoden heraus und versuchte eine kleine einführung zusammenzustellen, die die zukünftigen treffen mit wissenschaftlern dadurch erleichtern soll, dass einige basiskonzepte erklärt werden. durch dieses neue iff research journal gehen wir wieder ein paar schritte weiter, wir sammeln und präsentieren diskussionsbeiträge und studien zu forschung in der feldenkrais methode. daher scheint hier wieder ein passender ort für dieses kleine forschungshandbuch zu sein um interessierten einsteigern, die bisher wenig kontakt mit forschung hatten, die zugrundeliegenden prinzipien ein bisschen näher zu bringen. wissenschaft –forschung – experiment – labor diese begriffe lösen üblicherweise zwei ganz verschiedene reaktionen in einer versammlung von feldenkrais practitionern aus: ein teil wird sehr ärgerlich darüber, dass jemand versucht die feldenkrais methode durch forschung zu verwässern und zu verfälschen, der andere teil hingegen wird ganz aufgeregt und hektisch bei dem gedanken an studien und experimente, die endlich den beweis erbringen, dass die methode tatsächlich und wirklich funktioniert. die paar dazwischen, die ruhig bleiben, sind entweder die gewohnheitsschläfer dieser gruppe, oder es sind leute denen es wirklich egal ist, was passiert, außer, dass die 2 c.theuring/feldenkrais research journal 1 (2004) krankenkassen sofort anfangen sollen feldenkrais lektionen zu bezahlen oder aber sie sind wissenschaftler, die schon mal einen blick auf forschungsideen und die fragen, die vor uns liegen, geworfen haben. es sei hier offengelassen, ob sie aus purer vorfreude und vergnügen, oder aus frustration schweigen, das ist dann wohl eher die frage nach halb voll oder halb leer und hängt von der individuellen persönlichkeit ab. dieses kleine einführung möchte in grundbegriffe zeitgenössischer forschung einführen und ist für diejenigen gedacht, die noch nie in kontakt mit forschungsprojekten gekommen sind. um so etwas kurz und einfach zu halten muss man natürlich die materie ganz schön reduzieren, daher appelliere ich an das eigeninteresse und die eigenverantwortung des/der leser/in, immer im hinterkopf zu behalten, dass eigentlich alles viel komplexer ist, als hier dargestellt (wie immer...). warum eigentlich forschung? wissenschaft hat eigene regeln, prinzipien und vor allem auch eine eigene ausdrucksweise, durch die sie sich definiert, wie jedes andere professionelle feld auch. diese standards mögen auf den ersten blick vielen unserer feldenkraisischen sichtweisen widersprechen und unmut hervorrufen. der versuch die feldenkrais methode erfassbar zu machen bedeutet jedoch auf keinen fall, dass wir die methode verwässern oder unsere eignen standards verändern müssen, aber es bedeutet, dass wir versuchen einen dialog mit tonangebenden bereichen unserer gesellschaft zu beginnen; denn ob wir es so wollen, oder nicht: wissenschaftliche darstellbarkeit ist in unserer gesellschaft eine grundlage dafür, ernst genommen zu werden von medien, medizinern, politikern, behörden, krankenkassen, wissenschaftlern etc. forschung wird in vielen bereiche durchgeführt, z.b. in sozialwissenschaften wie psychologie, soziologie und pädagogik, in geisteswissenschaften, wie philosophie und geschichte oder in naturwissenschaften wie physik, biologie oder chemie. es gibt verschiedene forschungsmethoden, die je nach gebiet der forschung und forschungsfrage angewendet werden: quantitative methoden, mit denen mehr gezählt und gemessen wird; qualitative methoden, die mehr zur beschreibung eingesetzt werden. in beiden richtungen sollen neues wissen und neue erkenntnisse erlangt werden und beide richtungen sind relevant für forschungsprojekte im rahmen der feldenkrais methode, auch wenn sie auf sehr 3 c.theuring/feldenkrais research journal 1 (2004) verschiedenen grundlagen/verständnissen beruhen. grob kann man forschung auch noch in grundlagenforschung und anwendungsforschung, je nach untersuchungsgebiet und fragestellung unterscheiden. grundlagenforschung findet z.b. in einem labor statt, in dem der aufbau einer muskelzelle, die organisation von gedächtnis, oder mathematische formeln für die beschreibung einer wurfbewegung untersucht werden. anwendungsforschung beschäftigt sich mit fragen, die eher einen konkreten einfluss auf das tägliche leben haben können, z.b. wie ein medikament bestimmte zellreaktionen beeinflusst, wie eine maschine energie sparen kann, oder wie athleten ihre sprint–technik optimieren können. sowohl grundlagen-, als auch anwendungsforschung sind wichtig und notwendig um wissen über die welt in der wir leben zu gewinnen, sie gehen hand in hand. forschung ist immer auch durch den zeitgeist beeinflusst und wird gelegentlich dadurch verlangsamt oder, im gegenteil, vorangetrieben. denken sie nur daran, wie lange es dauerte, bis die gelehrten überzeugt waren, dass die erde keine scheibe ist, ... aber andererseits auch an den unglaublich schnellen fortschritt in der entzifferung der dna. in diesem sinne war moshe feldenkrais, mit seiner faszinierenden fähigkeit komplex und vernetzt zu denken seiner zeit voraus und auch heute hinkt die wissenschaft manchen seiner gedankengängen noch hinterher (und so mancher wissenschaftler seinen fähigkeiten). einige seiner annahmen jedoch erwiesen sich auch als nicht richtig, oder wurden weiterentwickelt . (siehe schleip, 2000) im folgenden teil werden nun quantitative und qualitative forschungskonzepte ein wenig genauer vorgestellt. quantitative forschungsmethoden quantitative forschungsmethoden haben den anspruch, den untersuchungsgegenstand möglichst genau zu erfassen, das schließt alle möglichen messverfahren ein: zeit, gewicht, größe, wegstrecke, länge, anzahl, standardisierte fragebögen etc., je nach fragestellung. durch die messung gewonnene daten werden mit statistischen verfahren analysiert. forscher formulieren zunächst eine hypothese (“hypothese” kommt aus dem griechischen von “vermutung”) und testen ihre gültigkeit dann durch verschiedene untersuchungen, z.b. überlegen sie sich experimente, benutzen fragebögen, machen tests im labor, oder gehen in 4 c.theuring/feldenkrais research journal 1 (2004) eine natürliche umgebung, etc., all das hängt davon ab, wie sie die hypothese formuliert haben und von forschung, die schon vorher dazu gemacht wurde. quantitative forschung wird auch empirische forschung genannt (“empirisch” kommt vom griechischen “auf erfahrung beruhend”). die art und weise, wie hypothesen für eine empirische studie formuliert werden, unterliegt regeln und unterscheidet sich grundlegend davon, wie man im alltäglichen leben erfahrungen und vermutungen äußert. die folgende tabelle zeigt daher zentrale unterschiede: alltagserfahrung empirischer forschung 1. art der aussagen, mit denen man sich beschäftigt beispiele für nicht-wissenschaftliche hypothesen: kriterien für die wissenschaftlichkeit von hypothesen: “es gibt”-sätze (z.b. “es gibt feldenkrais-lektionen, die beseitigen rückenschmerzen”) “kann”-sätze (z.b. “durch feldenkrais kann man aus einem gewöhnlichen golfspieler einen champion machen”) annahmen über objekte, merkmale, ereignisse, die weder direkt zugänglich sind, noch indirekt erschlossen werden können. (z.b. “die feldenkrais methode macht menschen glücklich”) – diese aussagen sind damit nicht unbedingt falsch, aber sie sind unwissenschaftlich, da sie weder widerlegbar, noch beweisbar sind. allgemeingültigkeit: die behauptung muss über den einzelfall, oder ein einzelnes ereignis hinausgehen, angestrebt wird generalisierbarkeit und das aufzeigen von gesetzmäßigkeiten. ausdruck in einem konditionalsatz: „wenndann“-satz, (z.b. “wenn eine mutter ihr baby mindestens 6 monate stillt, dann wird das kind weniger wahrscheinlich allergien bekommen.”), oder “je-desto”-satz (z.b. “je länger jemand feldenkrais unterricht nimmt, desto weniger kostet er seine krankenkasse.“) potentielle falsifizierbarkeit: es müssen ereignisse denkbar sein, die dem konditionalsatz widersprechen (z.b. haben manche kinder allergien, obwohl sie lange 5 c.theuring/feldenkrais research journal 1 (2004) gestillt wurden.) 2. wie präzise ist die verwendete terminologie? umgangssprachliche mitteilungen, z.b. „feldenkraisunterricht hilft den leuten zu entspannen. dadurch verschwinden ihre rückenschmerzen.“ ! mangel an präzision! einigung auf die bedeutung eines bestimmten vokabulars. -für die zentralen begriffe werden operationale definitionen erstellt: mit operationalen definitionen beschreibt man genau, was man damit meint, wenn man einen bestimmten begriff verwendet. moshe feldenkrais hat ja beispielsweise den begriff „entspannung“ abgelehnt, weil er für alle möglichen verschiedenen zustände vage benutzt wird und es dadurch nicht erlaubt einen bestimmten zustand genau zu beschreiben, so dass man genau weiß, um was es sich dabei handelt. 3. wie werden erfahrungen gesammelt und dokumentiert? unsystematische bis zu keiner, oder nur ausschnitthafte dokumentation. systematische dokumentation. versuch der “objektivierung”: die umstände unter denen ergebnisse zustande kamen müssen detailliert beschrieben werden, so dass sie von jedem überall unter den selben bedingungen wiederholt werden können. forschungsmethoden helfen das experimentelle vorgehen zu standardisieren vollständige dokumentation, mit nachvollziehbarkeit bis ins kleinste detail. einfach ausgedrückt: jeder soll überall in der lage sein zu verstehen, was du getan hast, um zu deinen ergebnissen zu kommen und jeder sollte auch in der 6 c.theuring/feldenkrais research journal 1 (2004) lage sein zu denselben ergebnissen zu kommen, wenn er deine experimente unter denselben bedingungen wiederholt. 4. auf welcher basis wird entschieden eine hypothese anzunehmen, oder abzulehnen? subjektive wahrscheinlichkeiten, die auf eigenen oder indirekten, durch andere quellen vermittelten, erfahrungen basieren. zur entscheidung werden verfahren statistischen schließens benutzt. es gibt ausgeklügelte versuche die ergebnisse von kleineren stichproben auf größere gruppen (populationen) zu übertragen. schutz vor irrtümern durch risikokalkulationen (bedingte irrtumswahrscheinlichkeiten). 5. wie wird die gültigkeit von aussagen beurteilt? ausgehend von der intuition eigenes weltbild einzelerfahrung anekdotisches wissen grosse skepsis gegenüber der generalisierbarkeit von einzelerfahrungen. forderung nah eindeutig interpretierbaren und generalisierbaren ergebnissen -nachvollziehbare gültigkeitsüberprüfungen 6. wie wird mit theorien umgegangen? bildung von “naiven theorien”, oft unkritisch, wenig bereitschaft zur falsifikation (falsifikation bedeutet die widerlegung einer theorie) qualitätssicherung: es findet ein permanenter prozess der überprüfung und ermunterung zur kritik statt. die zukunft einer theorie ist abhängig vom konsens der wissenschaftlichen gemeinschaft. ergebnisse werde in wissenschaftlichen journalen veröffentlicht und unterliegen strenger anonymer begutachtung. zudem herrscht reger austausch mit kollegen auf kongressen und 7 c.theuring/feldenkrais research journal 1 (2004) tagungen. ( aber natürlich birgt das auch den nachteil einer verlangsamung von “revolutionen”, denn neue ideen müssen einer sehr kritischen gemeinschaft präsentiert und durchgefochten werden, siehe „die erde ist eine scheibe…”) die gültigkeit und aussagekraft von untersuchungsergebnissen wird an weiteren faktoren festgemacht, zu denen z.b. die interne und externe validität (= gültigkeit) gehören. interne validität (= in sich logisch/richtig und gültig) eine untersuchung ist intern valide, wenn ihre ergebnisse eindeutig interpretierbar sind. veränderungen in den abhängigen variablen (z.b., dass der athlet schneller läuft) müssen eindeutig auf den einfluss der unabhängigen variablen (z.b. ein spezielles trainingsprogramm für läufer) zurückzuführen sein. externe validität (=gültigkeit über zeit und personen hinweg) externe validität liegt vor, wenn das in einer untersuchung gefundene ergebnis auf andere personen, situationen oder zeitpunkte übertragen werden kann. qualitative forschungsmethoden qualitative forschungsmethoden werden meistens in der sozialforschung (soziolgie, pädagogik oder psychologie ) angewendet. der anspruch hier ist nicht so sehr objektive ergebnisse durch wiederholbare messungen zu erhalten, sondern vielmehr komplexe soziale situationen oder phänomene durch techniken und methoden zu erforschen, die die individualität der beteiligten ausdrücklich erfassen und zulassen. häufig begibt sich der forscher hier direkt in das forschungsfeld und es gibt keine künstliche laborsituation, jedoch durchaus bestimmte forschungsmethoden und techniken, auf die man sich geeinigt hat, um einen gewissen wissenschaftlichen standard zu wahren. zu nennen sind hier z.b. : einzelfallstudie qualitatives interview gruppensituation 8 c.theuring/feldenkrais research journal 1 (2004) inhaltsanalyse teilnehmende beobachtung qualitatives experiment biographische methode auch in der feldenkrais welt gibt es schon qualitative forschungsarbeiten, „der fall doris“ von moshe feldenkrais selbst, ist das beste beispiel dafür. aber seitdem wurden auch viele andere fallstudien veröffentlicht, z.b. die dissertation von assistenztrainer robbie ofir, der detailliert die rehabilitation von zwei jungen, nach autounfällen schwer hirngeschädigten frauen durch die feldenkrais methode beschreibt. (ofir, feldenkrais resources) qualitative forschungsmethoden werden häufig also nicht so ernstzunehmende instrumente der “weichen “ wissenschaften, wie geistesund sozialwissenschaften bezeichnet. nichtsdestotrotz haben auch sie ihre große berechtigung und liefern einen wichtigen beitrag in der forschung, da sie sich mit den realen bedingungen befassen, nicht mit kontrollierten laborbedingungen, die das leben normalerweise ja auch nicht bereithält. auch können sie oft anstöße geben, wo man mit detaillierteren studien und messungen ansetzen kann. sie haben das ziel, hypothesen in einem relativ unerforschten untersuchungsbereich zu entwickeln und sie dienen der schaffung von theoretischen, als auch begrifflichen voraussetzungen, um überhaupt erste fragestellungen in einem unerforschtem bereich formulieren zu können. was bedeutet das alles für einen feldenkrais practitioner, der interesse daran hat an eigenen forschungsprojekten zu arbeiten? das bedeutet zunächst, dass jede noch so kleine fragestellung wichtig und interessant ist. um wirklich in einen forschungsprozess einzutreten, ist es nur wichtig: ...alles genau zu dokumentieren, so dass es auch von unbeteiligten, oder nach einiger zeit noch nachvollzogen werden kann. ...dass, wenn sie empirisch arbeiten wollen, sie die daten mit geeichten instrumenten erheben, (z.b. ein standardisiertes metermass, eine stoppuhr), was jedoch nicht zugleich hochtechnologisch heißen muss. (packpapier und tinte kann zunächst für fußabdrücke genauso herhalten, wie eine computergesteuerte gait mat!) 9 c.theuring/feldenkrais research journal 1 (2004) ...dass sie die fragestellung einfach halten, denn man kann in der regel nicht die entstehung des weltalls mit einer einzigen fragestellung aufklären, ebenso wenig die feldenkrais methode... ...dass sie die begriffe mit denen sie arbeiten genau definieren. „was meine ich , wenn ich von „entspannung“ rede? wie definiere ich, dass jemand nachher weniger schmerzen hat als vorher (z.b. in einem standardisierten fragebogen)? was meine ich, wenn jemand nach einer lektion golfschwünge mit größerem erfolg ausführt als vorher, die trefferquote? die zielgenauigkeit? die länge des schlages? “ …(= operationalisieren!) ...dass sie keine angst vor statistik haben. dafür gibt es computerprogramme, wie z.b. spss und experten, damit muss man sich nicht allein und von hand herumschlagen. …dass sie den austausch mit kollegen suchen, um die terminologie, d.h. die begriffe, die man verwendet zu klären um zu einer gemeinsamen sprache zu finden und neue ideen und anregungen zu sammeln. vielleicht sind manche experimente noch nicht so ausgereift und ein gespräch hilft da oft weiter. das forschungshandbuch für einsteiger wurde ursprünglich von carolin theuring für die teilnehmer des ersten feldenkrais & wissenschaft arbeitstreffens in münchen im juli 2003 zusammengestellt. dieses arbeitstreffen wurde vom feldenkrais zentrum heidelberg initiiert und organisiert und fand in der bundeswehrhochschule in neubiberg mit freundlicher einladung von prof. klaus schneider statt. herzlichen dank an roger russell und ulla schläfke vom feldenkrais zentrum heidelberg für ihre unermüdlichen anstrengungen wissenschaftler und feldenkrais lehrer an einem tisch zusammenzubringen! herzlichen dank auch an prof. beatrix vereijken und prof. klaus schneider für ihre bereitschaft und ihr interesse unsere neugier tatkräftig zu unterstützen! 10 c.theuring/feldenkrais research journal 1 (2004) literaturvorschläge: bortz, j. u. lienert, g.a. (1998). kurzgefasste statistik für die klinische forschung. berlin: springer verlag. feldenkrais, m. (1981). abenteuer im dschungel des gehirns. frankfurt a.m: suhrkamp. lamnek, s. (1995). qualitative sozialforschung, bd. 1/2. weinheim: beltz, pvu. ofir, r. (xxxx).motor learning using the feldenkrais method in physical rehabilitation with traumatic brain injury. feldenkrais ressources teacher’s catalogue, p. t12. schleip, r. (2000). lichtblicke im dschungel der gehirnforschung. von ‚body and mature behaviour’ (1949) bis zur gegenwart. feldenkraiszeit journal für somatisches lernen 1: 47-56. carolin theuring ist feldenkrais-lehrerin und lebt derzeit in münchen. nach ihrem m.a. in pädagogik, biologie und psychologie möchte sie nun noch eine promotion in entwicklungspsychologie anhängen, in dem versuch ihren forscherdrang weiter zu stillen. nebenbei arbeitet sie auch für die iff als koordinatorin der iff akademie. microsoft word 9-yeatman_pdf.doc feldenkrais research journal • volume 3 (2007) article freedom and the feldenkrais method anna yeatman phd, department of political science, university of alberta abstract the core proposition of this essay is that moshe feldenkrais is best understood as a practical philosopher of freedom. his intention is to open up a process of self-development wherein people are invited to explore what it means to claim their agency as their own, thus, free to engage in ways of being that reflect their individuality and its creative possibilities. for such freedom to be on offer, it has to be facilitated by others, because the individual always finds herself within an environment that is constituted by the presence of others. so how these others invite or do not invite the freedom of the individual is of consequence for their freedom or lack of it. moshe feldenkrais thought that for the most part individuals form their habitual patterns in adapting to other people's expectations and societal norms. freedom is misunderstood as will-power where the individual learns to meet such expectations and norms in some form of self-control. the essay explores moshe feldenkrais' conception of freedom through comparing it to that of a contemporary of his, also jewish, and also focused on the practice of freedom: the political thinker, hannah arendt. there is a profound convergence between feldenkrais and arendt on the practical question of freedom not just for individuals but for the relationships and the institutional order that they share. it is not just inevitable but desirable i think that i attempt to integrate my ways of being, in this case my long established practice as a political and social theorist with my much newer practice as a student of the feldenkrais method of self education. however, while what i offer here can be understood in this way, i think there is a case to be made for all of us thinking about the relationship of the feldenkrais method to freedom. keywords feldenkrais, philosophy, freedom, action, speech, plurality copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. 1 freedom and the feldenkrais method anna yeatman phd anna yeatman is a canada research chair (social theory and policy) in the department of political science, university of alberta (anna.yeatman@ualberta.ca). thanks go to mridula nath chakraborty for useful feedback on an earlier draft of this paper. background i am in the fourth year of my training (the victoria training led by jeff haller). i am doing this in my 59th year, having spent most of my adult life so far in an academic and highly intellectualized mode of being. i am also someone who has personally struggled to be free to live life in my own way rather than continue to live the way of being of my parents. i have been politically oriented to questions concerning self determination: how does the individual acquire the capacity for self determination, how do her fellows facilitate or hinder her in relation to the possibilities of self determination, and what is it that the institutional order of our society might do if it were to facilitate and encourage individuals in taking up the possibilities of self determination? i am writing a book, the politics of individuality, that explores these questions. i should add before i go on that my formal academic training is in social and political theory. when i call on the resources of my intellectual background, i am often thinking across seventeenth century civil philosophy (e.g. the civil philosophy of locke, hobbes, and spinoza), hegel’s investigation of subjective experience in relation to what he calls ethical life, the post-metaphysical philosophy of heidegger and arendt, and postfreudian psychoanalytic theory (especially the work of winnicott and those he has influenced). the frame of reference i bring to this diverse body of thought is an enquiry into the nature of freedom and its relationship to subjective experience. for example, i ask questions like: what kind of being in the world for the human subject makes freedom meaningful? (my answer to this question is that this being in the world has to be that of individuality which is not a given but an achieved possibility that can occur only under certain conditions.) how does the human subject need to develop and be facilitated in this development if s/he is to take up the opportunity of freedom? what is freedom as a set of practices? what kind of institutional order is needed in order to provide worldly support for individual practices of freedom? it is not just inevitable but desirable i think that i attempt to integrate my ways of being, in this case my long established practice as a political and social theorist with my much newer practice as a student of the feldenkrais method of self education. however, while what i offer here can be understood in this way – as satisfying my individual need for an integrated way of being – i think there is a case to be made for all of us thinking about the relationship of the feldenkrais method to freedom. the core proposition of this brief essay is that moshe feldenkrais is best understood as a practical philosopher of freedom. iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 considering moshe feldenkrais as a practical philosopher of freedom i consider moshe feldenkrais to be a practical philosopher of freedom. his intention is to open up a process whereby people are invited to explore their individual possibilities of being in the world in such a way as to enable them to live more freely. freedom denotes a highly developed quality of functioning on the part of the individual in how she works with her everchanging environment: she is able to move easily, fluently; she is able to open up options for how she may move; and she is able to develop awareness of herself as an individual who acts/moves so that she learns how to fit her action to her intention. feldenkrais does not consider movement to be the only modality of action. action includes also feeling, sensing, and thinking. however, it is through movement that the individual human being engages in a vital as well as dynamic relationship to its environment. it is by means of self movement that the human being positions herself in the world: as maxine sheets-johnstone (xxi) proposes, it is through such self positioning that the human being acquires a sense of “i” that provides the “foundation of our conceptual life, that is, the foundation of an ever-growing store of corporeal concepts, concepts such as ‘inside’, ‘heavy’, ‘light’, ‘open’, ‘close’, concepts having to do with consequential relationships, and so on.” in developing a method of facilitating awareness through movement (atm), moshe feldenkrais’s intention in the first instance is to invite the individual to be aware of herself as a center of animation (sheetsjohnstone’s phrase xv), and on the basis of this self-valuing, to learn to trust as well as to explore her experience of engagement with her environment. it is thus that i receive these two statements of his: “it is important to understand that if a man wishes to improve his selfimage, he must first of all learn to value himself as an individual, even if his faults as a member of society appear to him to outweigh his qualities” (feldenkrais 1990: 19). and: “i use the movements only to improve the process of self organization” (june 5 1980). in this conception, the human being is an individual subject who is free to develop or improve his or her ability, “that is, to expand the boundaries of the possible” (1990: 57). in what follows, i want to explore this conception of freedom and to do so, at least to some extent, in dialogue with the idea of freedom offered by hannah arendt. it is not arbitrary to link moshe feldenkrais (1904-1964) to hannah arendt (1906-1975). both of these extraordinary twentieth century thinkers were born around the same time in the part of europe associated with large jewish communities (feldenkrais in russia; arendt in germany). they must have shared the legacies of eastern european jewish intellectual culture as these played out in the time before world war i, a time still shaped by hope for revolutionary change of the kind that would make european society more democratic and egalitarian. this was the time of revolutionary social movements including the jewish bund. arendt (1970: 35) dates the end of this time with the murder of rosa luxemburg, a polish jew, in 1919 by “members of the ultra-nationalist and officially illegal freicorps”, an act of complicity between the social democratic government of the weimar republic and an historically new kind of ultra nationalist populism (arendt 1970: 35). beyond this shared legacy, i do not know enough at this point to point to specific currents of thought or figures of influence they may have shared. but one thing is clear: they shared the climate of thought that opened up with the critique of the western metaphysical dualism of subject and object, a critique associated especially with heidegger’s attempt to offer an account of philosophy outside the framework of metaphysics (see bambach 1995; dreyfus 2006), and more broadly with the development of systems theory. i identify this climate of thought with the following ideas: (1) it is not meaningful to think in terms of human nature because this presupposes a separation of the human subject from its world (the subject-object dualism): in reality the human being is positioned in a dynamic relationship to its 3 environment;1 (2) thus individuality does not denote some set of essential attributes of the singular human subject but refers to the dynamic patterning of the way of being that is the individual in relation to her environment;2 (3) there are instinctual bases for human conduct in relation to its environment but these are less important than the open horizon of possibility for human being-in-the-world that comes about because of the human capacity to think about reality and to develop self-awareness; (4) human being in the world is dynamically structured by individual agency in relation to an environment that is shared with other individuals so that the specific temporal-spatial positioning of the individual is articulated in relation to a wider shared temporal-spatial positioning (what heidegger calls facticity or historicity); (5) thus human awareness is contextually framed by the historicity of lived experience, both individual and inter-individual; (6) it is in how we as individuals take up (or fail to take up) the open horizon of future possibility that we shape our relationship both to our present and to our past;3 and finally, (7) intentionality is the type of agency that is involved in directing one’s movement towards something, a type of agency that is kinetic in nature thus entailing a “movement of meaning”.4 the idea of freedom that feldenkrais shares with arendt belongs to this climate of thought. here i can be only suggestive regarding this proposition, but let me offer it in two ways. firstly, both feldenkrais and arendt refuse to accept an account of freedom in terms of will; indeed both argue that will-power (the will-to-power) not only interferes with, but profoundly undermines, the individual’s capacity for free action. instead of the will, feldenkrais and arendt conceive freedom as the opening of new and, thus, unknown in the sense of unpredictable possibilities for the articulation of individual agency. for this to occur, the individual cannot be subject to force, in this case the internal force of the will. secondly, feldenkrais and arendt take for granted that individual conduct is deeply shaped by its environment and that the most significant aspect of the individual’s environment in this respect is her parents in the first instance, and the normative force of society in the second (mediated as this is usually by means of the first of these two forces).5 yet for neither 1 consider here this statement of moshe feldenkrais: “man’s life is a continuous process, and the improvement is needed in the quality of the process, not in his properties or disposition” (1990: 33). 2 “a man tends to regard his self-image as something bestowed upon him by nature, although it is, in fact, the result of his own experience. his appearance, voice, way of thinking, environment, his relationship to space and time – to choose at random – are all taken for granted as realities born with him, whereas every important element in the individual’s relationship to other people and to society in general is the result of extensive training” (feldenkrais 1990: 20). 3 bambach (1995: 220) presents heidegger’s phenomenological conception of temporality as one that is centered in subjective experience and that must therefore be opposed to an implicitly theological conception of “narrative, developmental time” as a sequence of stages: “because historical science was organized around the theme of narrative, developmental time, it tended to conceal the genuine meaning of temporality as a unity of what heidegger termed three temporal ecstasies: the phenomenon of the future as a ‘coming-toward’ [zukunft], the past as a ‘having been’ [gewesenheit] and the present as a ‘waiting-toward’ [gegenwart].” 4 bambach’s (1995: 231) discussion of heidegger’s notion of intentionality is to me highly resonant with feldenkrais work: “ ‘every lived experience’, heidegger argued, ‘directs itself toward something’; that is, it is not an intra mentem coordination of the physical and the psychical but a kinetic, dynamic center, a movement of meaning (sinn) which breaks with the cartesian, objectless subject who first must proceed outward toward the object.” 5 feldenkrais (august 4 1980) declares: “none of us want to do what our parents did – none of us!” i am not certain arendt would have identified with this statement partly because she was brought up by a mother who pride-fully identified as jewish which produced, of course, a sense of being outside “society”. in her portrayal of rosa luxemburg’s polish-jewish background – arendt’s mother was a great admirer of rosa luxemburg – arendt speaks of a distinctive milieu which “has now completely disappeared”. it is hard not to think she is also thinking of her mother’s milieu: “its nucleus consisted of assimilated jews from middle-class families whose cultural background was german…, whose political formation was russian, and whose moral standards in both private and public life were uniquely their own. these jews, an extremely small minority in the east, an even smaller percentage of assimilated jewry in the west, stood outside all social ranks, jewish or non-jewish, hence 4 feldenkrais nor arendt does it occur that individual freedom resides in a flight from the presence of other subjects. rather, they are interested in how the relationship of the individual to other individuals can be practically approached and thought of so that it invites and facilitates their freedom. let me take these in turn. freedom is not will-power how many times does someone who goes to atm classes hear the teacher’s encouragement to find a way of doing the lesson without engaging in effort? if one listens to atm classes on tape taught by moshe feldenkrais himself, he often says something like this: if you use effort, it is because you do not think you can do the movement. in encouraging the learner to engage in the lesson without effort, the teacher is engaging in a complex mode of facilitation of individual learning, one that is oriented to bringing the learner in relationship to possibilities of movement that lie beyond her habitual patterns of movement in the world. the habitual patterns are all too likely to have been shaped by will-power, by the individual feeling compelled to make herself act in ways that society (as mediated by her parents) think she ought to do. when the individual shapes her conduct in terms of norms, she uses her will to impose on herself, she loses connection with what it is that she has “naturally” the ability to do (sense, feel, think, and move). “natural” is a tricky term to use here. for feldenkrais, it refers to a cultural-social-evolutionary heritage of being human that is expressed in a repertoire of ability – how this group uses language, moves, makes artifacts, etc. – that is passed on from one generation to another. this does not mean that this repertoire of ability does not change or develop over time, or that it is in any way “simple” (feldenkrais 1990: 25). in using the term “natural” for this kind of acquired ability, feldenkrais is distinguishing it from ability, as it is either mediated by individual engagement in self-education, or by the professionalization of ability (here i am working with feldenkrais’s (1990: 40-49) conception of what he calls “strata of development”). when an activity is professionalized, the process itself is subject to method, systematization, and reflective specification. the paradox of such professionalization is that, while it may improve how we do things, it can also displace the individual’s confidence in her own capacity to learn how to be a human being in the world: “we may observe how natural practices have gradually given away to acquired methods, to ‘professional’ methods, and that society in general refuses to allow the individual the right to employ the natural method, forcing him instead to learn the accepted way before it will permit him to work” (feldenkrais 1990: 27). here feldenkrais, i think, is suggesting how scientism – the conception of science as the only true kind of knowledge – leads to the displacement of experience as the basis of learning and development.6 in feldenkrais work, the individual is invited to discover her own experience of movement and to use this experience as the touchstone for how she receives informed guidance from the teacher about how she might find direct skeletal connection with the ground for support. if a lesson is taught well, it invites the individual to put to one side habitual patterns of using her will to command herself and to open up an inner space where she can explore and listen to what may be for her entirely new possibilities for action. if it is our individual ability we are exploring, improving and developing, it is recognizable only in the absence of force. it is in had no conventional prejudices whatsoever, and had developed, in this truly splendid isolation, their own code of honor” (arendt 1970: 40-41). she goes on to say of this code of honor: “the hidden equalizer of those who always treated one another as equals – and hardly anybody else – as the essentially simple experience of a childhood world in which mutual respect and unconditional trust, a universal humanity and a genuine, almost naïve contempt for social and ethnic distinctions were taken for granted” (arendt 1970: 41). 6 “scientism means science’s belief in itself: that is, the conviction that we can no longer understand science as one form of possible knowledge, but rather identify knowledge with science”, habermas cited by bambach (1995: 27). 5 how we sense and become aware of ourselves moving that, as individuals, we develop a capacity for having an experience that is our own; that is, it expresses our unique being in the world, and it is neither confused with nor displaced by how others seem to want us to be in the world. when we free ourselves to become open to, and thus, in a very real sense, free ourselves to “have” our own subjective experience, we learn to discriminate our experience as distinct from what it is we may feel we “ought” to feel, sense, or do. on this basis, we can learn to trust our experience and to use it as a touchstone for what feels functional for us as an individual. moshe feldenkrais’s (1977: 57) own way of putting these points is as follows: these lessons are designed to improve ability, that is, to expand the boundaries of the possible: to turn the impossible into the possible, the difficult into the easy, and the easy into the pleasant. for only those activities that are easy and pleasant will become part of a man’s habitual life and will serve him at all times. actions that are hard to carry out, for which man must force himself to overcome his inner opposition, will never become part of his normal daily life; as he gets older he will lose his ability to carry them out at all. feldenkrais, always a respecter of reality, did not think we could get rid of our attachment to will; in fact, he valued enormously the human subject’s use of will to engage in selfimprovement. he (august 4 1980) offered the paradoxical insight that the more intelligent an individual, the more likely she is to be aware of her inferiority in relation to others (what it is they can do that she cannot);7 it is usually these individuals who are neurotically driven by a sense of inferiority who engage in the most remarkable and creative processes of selfimprovement. in awareness through movement, there are two passages where feldenkrais distinguishes between use of will for self education and use of will for self compulsion: ... we are speaking of the training of will power and self-control, but not for the purpose of gaining control over ourselves or over other people (feldenkrais 1977: 51). … we should differentiate clearly between improvement of ability and sheer effort for its own sake. we shall do better to direct our will power to improving our ability so that in the end our actions will be carried out easily and with understanding (feldenkrais 1977: 57). let me turn now to arendt. like feldenkrais, arendt sees each human being as unique; thus the birth of each new human is the beginning of something new. arendt conceived freedom as the principle of beginning. it is the interruption of automatic process and of habitual patterns of life. the human subject is free because s/he is a beginning, and thus is capable of the faculty of beginning (arendt 1977: 167). whether the human subject is willing to risk exploration and thus articulation of her individuality or uniqueness is another matter. arendt emphasizes the fragility of this aspect of human being in the world. she argues for it to flourish – for the individual to feel valued as an individual—a distinct kind of space has to open up for the articulations and explorations of individuality. she sees this space as “the political”, and she is acutely aware of how corruption and domination may shut down this space as she is also aware of how a societal insistence on conformity to norms may displace 7 my notes on what he said in this talk at this juncture read: it (a sense of inferiority) is an experience which is absolutely justified – if one looks at it, one is really inferior in this or that (so the most intelligent people have the strongest sense of inferiority) – someone will always be better at something than you are. 6 the space of the political entirely. moreover, even when the space of the political offers as the worldly space within which freedom can appear, individuals can still refuse to risk the disclosure of themselves in their action (arendt 1958: 180). arendt is aware of how her conception of freedom as both beginning and the articulation of individuality contravenes the established western (and as she sees it christian) account of freedom in terms of the will. she offers an account of how the i-will paralyzes the i-can very similar to the one we find embedded in the feldenkrais method: “historically, men first discovered the will when they experienced its impotence and not its power, when they said with [saint] paul: ‘for to will is present with me; but how to perform that which is good i find not’ ” (arendt 1977: 161). she emphasizes how the impotence of the will readily encourages tyranny both over self and over others: “tyranny at any rate, the only form of government which arises directly out of the i-will, owes its greedy cruelty to an egotism utterly absent from the utopian tyrannies of reason with which the philosophers wished to coerce men and which they conceived on the model of the i-think” (arendt 1977: 163). if feldenkrais can be said to put more emphasis on how a freedom of action enables the individual to have a sense of options for how they live, where he and arendt converge is on an account of freedom as the disclosure of possibilities of being that were not known prior to this point. such disclosure is structured as an intersection between what is personally real for the individual and the reality that the individual shares with other individuals. it is for this reason that the disclosure of possibility in the individual’s engagement in freedom to act is both idiosyncratic and illuminative of human possibility. the inter-individual space of freedom both arendt and feldenkrais think that if individuals are to practice freedom – and the emphasis should be on practicing freedom – they have to develop a capacity to think that does not lead them to seek to transcend their conditions of being but, instead, leads them to concretely engage with these conditions – testing the limits, expanding the boundaries of the possible, engaging with new beginnings, making new meaning. thinking of this kind is a worldly activity and it is for this reason it can be practiced only in relation to and in the presence of other individuals. to put this point directly: an individual can engage in the kind of thinking that creates an open horizon for her being in the world only if she explores the world that she shares with other individuals in such a way that each individual’s unique way of practicing freedom discloses possibilities not just to herself but to her fellows. for this to occur, these other individuals have to be present in several capacities: as those who invite the individual to disclose their possibilities of being; as those who facilitate such disclosure; as those who witness such disclosure; and who communicate their witness to the individual in such a way as to facilitate the individual knowing the truth of her being as it is disclosed. both arendt and feldenkrais have difficulty reconciling the inter-individual space they see as the essential condition of freedom with “society”. however, in developing their respective conceptions of an inter-individual space, they can be seen to offer the conception of a distinctive sociality that is shared between free subjects. free subjects are human beings who enjoy the status of being invited to stand forth and present to each other as individuals, that is, as unique beings who have their own distinct way of being in the world. arendt uses socrates to help her conceive this uniqueness: the individual’s being in the world follows from each individual having his ‘”own opening to the world” (arendt 2005: 15). arendt is entirely explicit about the necessity for this inter-individual space if freedom is to be possible at all. in a passage that reveals clearly her insistent association of freedom with the 7 “plural” condition of humankind, she rejects conceptions of freedom that celebrate an “inner freedom” as though the individual could be self-sufficient, and in this self-sufficiency, could discover such a thing: hence, in spite of the great influence the concept of an inner, nonpolitical freedom has exerted…it seems safe to say that man would know nothing of inner freedom if he had not first experienced a condition of being free as a worldly tangible reality. we first become aware of freedom or its opposite in our intercourse with others, not in the intercourse with ourselves (arendt 1977: 148). “plurality” is arendt’s term for the inter-individual sociality that if articulated as a worldly reality makes the freedom of individuals possible: “human plurality is the paradoxical plurality of unique beings” (arendt 1958: 176). like feldenkrais, arendt accepts that all organic life manifests “variations and distinctions” (arendt 1958: 176), but unlike other living species, it is only the human species that has evolved in such a way that it expresses this distinction thus enabling it to become apparent as a worldly reality. for arendt uniqueness is disclosed in speech and action: speech and action reveal this unique distinctness. through them, men distinguish themselves instead of being merely distinct; they are the modes in which human beings appear to each other, not indeed as physical objects, but qua men. this appearance, as distinguished from mere [she means automatic] bodily existence, rests on initiative, but it is an initiative from which no human being can refrain and still be human (arendt 1958: 176). she goes on to make the most interesting suggestion: “action and speech are so closely related because the primordial and specifically human act must at the same time contain the answer to the question asked of every newcomer: ‘who are you?’ “ (arendt 1958: 178). this is surely a fascinating provocation to the feldenkrais practitioner who in functional integration lessons uses hands to explore through touch the question of her student as she presents today: who are you, and what possibilities of being are you ready to explore today? as far as i am aware, there is little explicit exploration in the feldenkrais world of practice of the distinctive sociality that makes freedom in the feldenkrais sense possible. yet it is clear from the practice of the method that something like an arendtian conception of the distinctive sociality of plurality or inter-individuality is at work. this is evident in the one-on-one “functional integration” lessons where the practitioner engages in a socratic form of midwifery (what socrates called maieutic): the facilitation of the disclosure of the truth of the being of the other. i make this connection because socrates is, for arendt, a key historical figure who illuminated the nature of freedom: to socrates, as to his fellow citizens, doxa was the formulation in speech of what dokei moi, that is, “of what appears to me.” … the assumption was that the world opens up differently to every man according to his position in i; and that the “sameness” of the world, its commonness (koinon, as the greeks would say, “common to all”) or “objectivity” (as we would say from the subjective viewpoint of modern philosophy), resides in the fact that the same world opens up to everyone and that despite all differences between men and their positions in the world—and consequently their doxai (opinions)—“both you and i are human” (arendt 2005: 18). 8 the individual cannot articulate her opinion without being facilitated in this process by other individuals; she cannot know what it is that she has said or disclosed by way of truth except in the hearing of and listening to it by these others. moreover, socrates saw an even more active role for such facilitation: he saw himself as practicing the art of midwifery or maieutic (and see fiumara 1990, chapter 10 ) – “he wanted to help others give birth to what they themselves thought…, to find the truth in their doxa” (arendt 2005: 19). if functional integration can be thought of as the art of midwifery in relation to the disclosure of the individual’s possibilities for improvement of her ability, awareness through movement lessons can be thought of in the same way. here the practitioner uses her voice and attention to guide individuals in the exploration of their possibilities of movement. it is relatively easy, i think, to recognize this maieutic feature of feldenkrais practice, less easy to see that the other enabling condition of this practice resides in the availability of a space for such disclosure. here i am not referring to the chronic difficulties practitioners have in finding physical space for lessons – although this is surely a connected issue -but to the intangible political space that has to be on offer. arendt offered her account of freedom after she had both experienced and written about twentieth century totalitarianism (both nazism and stalinism). it is obvious that feldenkrais lessons would not make sense in a concentration camp as they would not in any situation of oppression, domination, or severe deprivation. my reasoning here is as follows: in any situation that is structured so as to put the individual onto alert because she is at risk of threats to her survival, she has to put all her attention into reacting in the interests of her survival to such threats.8 she cannot use her attention for purposes of self awareness. moshe feldenkrais was deeply aware of this point of course: human beings cannot explore their possibilities for self improvement if they are reduced to the conditions of bare survival. both feldenkrais and arendt were aware that human evolution has reached a point of reckoning: either we develop our ability to think or we risk using our advanced technological mastery of the means of survival to destroy both our selves and our world. it is to arendt and her work, however, we must look for an articulation of the point that freedom and politics, understood as a secure opening of a public space in which freedom can appear, are two sides of the same coin (arendt 1977: 149). 8 winnicott made a similar point in relation to the baby: the baby whose environment of care is unreliable and inadequate has difficulty in stabilizing a sense of its own distinct being in the world because it has to interrupt its sense of being in reacting to, and attempting to fend off, these external threats to its being. here are winnicott’s own words on the matter: “…it is when things do not go well that the infant becomes aware, not of the failure of maternal care, but of the results, whatever they may be, of that failure; that is to say, the infant becomes aware of reacting to some impingement. as a result of success in maternal care there is built up in the infant a continuity of being which is the basis of ego-strength; whereas the result of each failure in maternal care is that the continuity of being is interrupted by reactions to the consequences of that failure, with resultant ego-weakening. such interruptions constitute annihilation…” (winnicott 1990:52). 9 references arendt, h. (1958) the human condition, chicago: chicago university press. arendt, h. (1970) ‘rosa luxemburg: 1871-1919’, in men in dark times, london: jonathan cape, pp. 33-57. arendt, h. (1977) ‘what is freedom?’ in between past and future: eight exercises in political thought, new york: penguin books, 143-173. arendt, h. (2005) ‘socrates’ in j. kohn ed. the promise of politics, new york: schocken books. bambach, c. (1995) heidegger, dilthey, and the crisis of historicism, ithaca and london: cornell university press. dreyfus, h. (2006) ‘heidegger on the connection between nihilism, art, technology, and politics’, in c. guignon ed. the cambridge companion to heidegger, 2nd edition, cambridge: cambridge university press, 345-373. feldenkrais, m. (august 4 1980) videotape #68 ‘a sense of inferiority’, amherst training. feldenkrais, m. (1990) awareness through movement: health exercises for personal growth, west drayton: arkana penguin books. fiumara, c. (1990) the other side of language: a philosophy of listening, london and new york: routledge. sheets-johnstone, m. (1999) the primacy of movement, amsterdam/philadelphia: john benjamins publishing company. winnicott, d. w. ‘the theory of the parent-infant relationship (1960)’ in the maturational processes and the facilitating environment, london: karnac books: 37-56. feldenkrais research journal​ • ​volume 5​ (2016) review / hypothesis and theory / history between psychology and philosophy: a review of ​thinking and doing​ by moshe feldenkrais hillel d braude md, phd, feldenkrais practitioner​® director of research, mifne center, rosh pinna, israel correspondence: ​hdbraude@gmail.com copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 5​ ;​ ​ 2016. service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​, functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​ ®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international ​feldenkrais​ ®​ federation (iff) ​http://feldenkrais-method.org available online at ​http://iffresearchjournal.org/volume/5/braude mailto:hdbraude@gmail.com http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/braude review / hypothesis and theory / history between psychology and philosophy: a review of ​thinking and doing​ by moshe feldenkrais hillel d braude md, phd, feldenkrais practitioner​® director of research, mifne center, rosh pinna, israel introduction with the passage of time since his death, the relation between the man, dr. moshe feldenkrais (1904-1984), and the feldenkrais method​®​ comes more and more into relief. likewise, there is increasing interest among the feldenkrais​®​ community in feldenkrais’ personal biography, filled with the drama of a creative life lived in the shadow of two world wars, the destruction of european jewry, and the founding of the state of israel. two important books were published in 2015 that testify to the sculptural effects of time on feldenkrais’ legacy, i.e., the much anticipated biography of feldenkrais by mark reese, ​moshe feldenkrais: a life in movement​ , published posthumously, and the subject of this present review, ​thinking and doing​ . the latter is a reprint of the introduction to ​autosuggestion​ , feldenkrais’ hebrew translation of harry brooks’ (1922) best-selling study of emile coué, which feldenkrais published in tel aviv in 1929 as a young man of twenty-five. emile coué (1857-1926) was a french psychologist who popularized a method of self-improvement via self-hypnosis or autosuggestion. feldenkrais’ translation of ​autosuggestion​ testifies to his early interest in experiencing and mastering techniques of self-transformation. reading ​thinking and doing​ today is thoroughly informed by the retrospective knowledge of feldenkrais’ later development of his own method for self-improvement and healing. its primary interest today lies in providing insight into the personal and conceptual foundations of the feldenkrais method. my methodology in this review is to provide philosophical reflection on aspects of ​thinking and doing ​ that speak to the association between moshe feldenkrais and the method that he spent a lifetime developing. this reflective method is particularly appropriate, since as with few other disciplines, feldenkrais the person, and the development of his method exploring the physical basis of human conscious experience, are so intertwined. tracing the conscious and unconscious influences on feldenkrais’ development is akin to determining the “phenomenological clues” (​leitfaden​ ), which point back to various modes of consciousness (zaner 1981:173). reviewing ​thinking and doing​ with hindsight knowledge of the feldenkrais method is a bit like the detective who starts off with the clear knowledge of the villain, but who still needs to retrace the actual course of events leading to the fatal murder. (see, in this braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 2 volume of the ​feldenkrais research journal​ , sondra fraleigh’s application of the detective storyboard to examine her own unique approach to teaching eastwest somatics influenced by the feldenkrais method.) in what follows i provide a philosophical reflection on some clues regarding the feldenkrais method in relation to the publication of ​thinking and doing​ . feldenkrais only mentioned coué a few times in his later publications, including two of his books, ​body and mature behavior​ (1947), and ​awareness through movemen​ t (1972). in ​body and mature behavior​ , feldenkrais notes that: coué relied expressly on the unconscious to bring about all the desired improvements. he devised several means whereby he could bypass the conscious control and plant his ideas “directly” in the unconscious. he used the period before sleep when we are half conscious; whispering into the ear of the sleeping; rapid repetition – and so forth, with the idea of reaching the unconscious and avoiding the conscious critical faculty which does not believe in this or the other idea of “i can,” and rejects them (1949:3). in ​thinking and doing​ feldenkrais observes further that for coué the unconscious has an “executive power” in determining conscious action. for feldenkrais, this ability to consciously direct the unconscious for personal transformation completely inverts freud’s conception of the ‘mechanism of psychic life’ (2015:4). it is clear that this central therapeutic insight from coué already resonated deeply with feldenkrais in the 1920s, and was foundational for his development of the feldenkrais method. feldenkrais, as a highly original thinker, was not content simply to convey or even interpret coué’s ideas regarding autosuggestion, but needed to explore and translate these ideas concretely in the realm of physical action. as mark reese has observed, “when feldenkrais teaches his most important ideas, he can be counted upon to communicate their foundations through the most concrete forms of somatic experiences” (foreword, feldenkrais 1985:xvii). feldenkrais created an original educational and therapeutic system through applying coué’s insight to the field of human movement. the feldenkrais method is characterized by providing an embodied method of working with the emergent phenomenon of consciousness, or awareness (ginsburg 2010). already apparent in thinking and doing​ , feldenkrais’ original insight – awareness of movement provides a bridge between conscious cognition and the unconscious, is key to understanding the therapeutic and transformational force behind the feldenkrais method. by 1929, feldenkrais’ interest in coué and his developing expertise in martial arts provided the conceptual and physical foundations for his future somatic explorations and development of the feldenkrais method. the contemporary republication of ​thinking and doing​ is particularly important, because it indicates that the development of the feldenkrais method from its earliest origins was motivated by the ambition to provide a therapeutic approach towards healing the unconscious mind through conscious control of movement and posture. braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 3 thinking and doing thinking and doing ​ is a short monograph. feldenkrais’ two chapters, ‘the unconscious as executor’ and ‘last in deed, first in thought,’ are only 23 pages long. published together with thinking and doing​ is a contemporary introduction by reuven ofir contextualizing the initial publication of ​autosuggestion​ , a contemporary foreword by moti nativ, a republication of the original foreword to ​autosuggestion​ by professor hugo bergman (1930), and the preface by professors hans kreitler and shulamit kreitler (1977:109-129). the photograph on the cover, taken in the studio plastica on allenby street in tel aviv (from moti nativ’s private collection), depicts a young moshe feldenkrais at the height of his youthful prowess gazing wistfully into the future. the book cover, probably characteristic of the photographic portraiture of the epoch, conveys the sense of the young feldenkrais gazing forward, projecting his thoughts and actions into the future, while we, the presently informed reader, are peering backwards in time and into the mind of feldenkrais himself. feldenkrais dedicated his translation of ​autosuggestion​ to ‘the immigrants.’ these are, of course, feldenkrais’ fellow immigrants in pre-state israel, british mandate palestine. predominantly from eastern europe, these formerly downtrodden ​lumpenproletariat​ , intellectuals, talmudic scholars, and former hasidim, the devotional group from which feldenkrais himself derived, took upon themselves the task of rebuilding the jewish homeland. feldenkrais’ dedication is more than homage to his social group and context, but a clue to the task of personal and social renewal and transformation, to which he obviously hoped and expected ​autosuggestion​ would contribute. the zionist enterprise necessitated a conscious process of renewal at the individual and social level. firstly, this meant a physical renewal through manual labor and self-defense. in his foreword, moti nativ narrates the ironic story from a book by yehuda erez called ​the third aliya​ , where feldenkrais instructs his former teacher avigdor grinshpan, obviously also from eastern europe, to ignore the suffering arising from arduous physical labor. the physically powerful feldenkrais tells grinshpan that, ‘the work makes life sweet,’ unlike the perpetual study of torah, which, ‘drains your strength’ (feldenkrais 2015: vii). this story is telling about feldenkrais’ attempt to move away, or else to transform his spiritual roots, through physical activity, which was central to the zionist project but became especially pronounced and nuanced in feldenkrais’ somatic explorations. from coué, and even perhaps from his own hassidic roots (kaetz 2007), feldenkrais recognized that personal transformation additionally requires change at the level of the individual and social unconscious mind, hence his great interest in translating coué into the revitalized modern hebrew language. to some extent, feldenkrais’ concern with physical labor, martial arts, and movement, parallels edmund husserl’s call for philosophy to return to the “things themselves” in the method of phenomenology (husserl 2001:168). like phenomenology, braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 4 this return to the state of things as they are includes an emphasis on unconscious material, or in phenomenological terms, pre-reflective experience. key insights there are a number of key insights feldenkrais makes in ​thinking and doing​ regarding the unconscious that are worth emphasizing in this review in relation to the later development of the feldenkrais method. first, as already emphasized, is the importance of the unconscious for the ability for personal transformation. feldenkrais writes in this regard that, ‘it is imperative to demonstrate that the unconscious mind has a significant role to play in the actions of the conscious mind’ (2015:2). this insight explicitly informs the ability for self-transformation through awareness through movement​®​ (atm​®​) lessons, but equally informs the one-on-one dyadic interaction that occurs via functional integration​®​ (fi​®​). thus, ‘the unconscious mind is a veritable storehouse of memories and knowledge that can become available to us only through diligent observation, study, experience, and much effort’ (2015:2). secondly, is the evolutionary nature of the unconscious mind. feldenkrais writes that, ‘moreover our unconscious mind is the repository not only of our own personal memories and experiences, but also those of our fathers and forefathers over many generations of experience and repetition’ (2015:3). ​thinking and doing​ is replete with rabbinical and biblical quotations and examples. this reflects the archetypal influences on feldenkrais, who in his childhood received a hasidic upbringing, as well as perhaps his desire to speak in the language of his intended audience who would also, to a greater or lesser extent, be familiar with these examples. today, we might better speak of these inherited character traits in terms of genetic and epigenetic inheritance, and inherent neuroplasticity of the brain. it also refers to the natural intelligence of the evolutionary unconscious mind that seeks improvement through the inhibition or mastery of habitual responses. thirdly is the creative potential of the unconscious mind. feldenkrais notes that the unconscious mind ‘uses its treasured experience to reform, to reconfigure and create new varieties that are beyond the ability of most people using their mental faculties on a conscious level’ (2015:4). this harnessing of the creative potential of the unconscious is perhaps what feldenkrais meant by the term potency. the term potency was of obvious significance to feldenkrais. as moti nativ points out, in the first edition copy of ​autosuggestion​ that he gave to his future parents’ in-law, feldenkrais inscribed the words, ‘you have witnessed me in my distress, and this here is the beginning of my potency’ (feldenkrais 2015:x). feldenkrais’ later study of the domain of sexuality in relation to personal transformation is entitled ​the potent self​ (1985). potency, or its deficit impotence, refers explicitly to sexual prowess. the oxford dictionary primarily refers to potency as ‘the power of something to affect the mind or body.’ for feldenkrais, sexual mastery was indicative of the ability for personal braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 5 control more generally, the integration of the conscious and unconscious mind in the height of physical arousal, and intersubjective interaction. in ​the potent self​ feldenkrais defines potent activity as the: sort of behavior we encounter in well-matured persons… we gradually take responsibility for our own actions… in those planes of life in which our maturity is least developed, we continue acting compulsively; we do (or we do not do) things knowing perfectly well that we want the exact opposite. under these circumstances, impotence appears (1985:8). feldenkrais’ inscription points out that his integration of coué’s understanding of the unconscious with the study of physical movement was the key to his own sense of potency, and provided a powerful practical method for social uplift. here was the embodied means of transforming an individual’s biological and historical legacy for personal transformation in the present moment, to face the uncertain future with positivity and optimism. as emphasized, feldenkrais’ main innovation in transmitting the ideas of coué through his translation and explanatory chapters is in its embodied or somatic concretization. this becomes clear in reference to the three summary points of self-autosuggestion that feldenkrais provides: (a) they are always thoughts, the contents of which are actions that have been completed. (b) the thought is always singular. ​ the thought or image being at that moment actualized is the only one being accepted or rejected by the unconscious. (c) in all of these the element of will is absent as it relates to an urge or craving.​ (2015:8) it is likely that feldenkrais considered these aspects of autosuggestion characteristic of thoughts more generally. however, analyzing the relation between autosuggestion and thought more generally is too complicated a task for this present review. feldenkrais is clear that he believes self-autosuggestive thoughts cannot arise without the prior experience of muscular action, voluntary and involuntary. this implies that autosuggestion, straddling the boundary between conscious and unconscious thought, is essentially an embodied phenomenon, emerging from physical components, such as the skeleton and the nervous system, and the main task of moving against gravity. feldenkrais’ essential insight that self-autosuggestive thoughts arise on the basis of embodied movement – both our current bodily organization and our personal history of bodily movement, explains his emphasis on embodied movement as the means of self-improvement. this also explains the second essential characteristic of autosuggestions, i.e., the singularity of thought. since auto-suggestive thought is always a result of muscular activity, only individual thoughts can be accessed by the unconscious mind at a particular moment in time. the third characteristic, i.e., the absence of importance of the will, also underlies a key methodological braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 6 component of the feldenkrais method: to perform movements or actions with the least amount of effort. as emphasized in this review, it is feldenkrais’ ability to translate coué’s ideas into physical movements that transforms his introductory chapters into more than a simple introduction of the ideas of emile coué, but already sets the foundations for feldenkrais’ development of his own method for therapy and self-improvement. as with the french phenomenologist merleau-ponty, for feldenkrais, the body provides the access point for mediation between the subjective self and the world. between psychology and philosophy in the final section of this review i wish to reflect on the significance of the contributions to thinking and doing​ by the academic friends of feldenkrais: hugo bergman, and hans and shulamit kreitler. as mentioned, together with feldenkrais’ two chapters, the 1930 foreword by professor hugo bergman, and the 1977 preface by professors hans and shulamit kreitler are republished in ​thinking and doing​ . including support from these established academics was undoubtedly intended to provide intellectual legitimacy for feldenkrais’ translation and critical introduction of ​autosuggestion​ . yet, in the spirit of following phenomenological clues, i submit that these personal contributions reveal a crucial dimension about feldenkrais’ thinking in developing the feldenkrais method. as detailed in the foreword to ​thinking and doing​ , moti nativ narrates that bergman was an important intellectual presence for feldenkrais, with whom he maintained lengthy personal correspondence. samuel hugo bergman (1883-1975) was one of the most prominent jewish philosophers of the 20​th​ century, and an active member of the zionist labor movement. before emigrating from prague to british mandate palestine in 1920, bergman studied philosophy, mathematics and the natural sciences at the german karl ferdinand university. he studied philosophy with anton marty, who was one of the principal exponents of the philosophy of the phenomenological school of brentano. bergman’s rich philosophical career has been differentiated into an early stage focusing on philosophy and science, and a later stage focusing on philosophy and religion (see, bar-on, 1986). bergman was appointed the first director of the jewish national and university library, and from 1928 he lectured in modern philosophy in the philosophy department at hebrew university. in 1935 he became a professor in the department and was also elected the first rector of the hebrew university. bergman was an acclaimed teacher who inspired his students ‘with his spiritual eminence, clarity of thought and enormous range of knowledge’ in philosophy, religion, and the experimental sciences (bar-on 1986:1). it is, perhaps, no surprise that feldenkrais would have found an affinity with bergman, who was an older peer in the zionist labor movement, a charismatic intellectual personality, and who shared a mutual interest in the philosophy of consciousness, experimental physics, and the mind-body relation. in his foreword, bergman provides an intellectual background and summary to the work of coué. he relates braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 7 coué’s great principle, ‘imagination has higher priority and preference over willpower,’ to the philosophy of bergson who argued that imagination and instinct are deeper manifestations of the mind than willpower and intelligence (feldenkrais 2015:xix). in their preface, hans kreitler, who was at the time head of the faculty of psychology at tel aviv university, and shulamit kreitler, who is still presently an emeritus professor in the same faculty of psychology, point out that coué and thereby feldenkrais were pioneers in proposing that directed cognition can be therapeutic, as demonstrated by later experimental science into attention and expectancy. as mentioned in the foreword to ​thinking and doing​ by moti nativ, feldenkrais became acquainted with professor hans kreitler in the 1960s, and was a frequent guest in the kreitlers’ home. between 1965-1966, feldenkrais taught in the faculty of psychology at tel aviv university chaired by hans kreitler. the kreitler’s insight contextualizing ​autosuggestion​ is also of central importance for their own theory of cognitive orientation developed around the same time. cognitive orientation is a psychological approach used to describe the cognitive determinants of behavior. a main tenet of cognitive orientation is that cognitive contents, such as meanings, beliefs and values, guide human behaviour. moreover, ‘the processes involved in the guidance of behaviour, its elicitation, and performance are neither conscious nor voluntary’ (kreitler and kreitler 1991:4). without knowing whether feldenkrais’ intellectual influence played an important role in the development of cognitive orientation, the parallels between cognitive orientation and the feldenkrais method are clear. shulamit kreitler has applied the insights from cognitive orientation to develop a model of wellness that studies the relation between psychological processes and physiological phenomena manifesting in the context of disease, especially cancer. unsurprisingly, as mentioned by moti nativ, she has applied principles of the feldenkrais method in this practical work. the support of hugo bergman and hans and shulamit kreitler for feldenkrais’ manuscript points towards the ambition of feldenkrais, already heralded in ​thinking and doing​ , to develop a therapeutic methodology, at least of equal therapeutic merit to freudian psychoanalysis, through awareness of the body and movement. beginning with his integration of the martial arts and coué’s insights about the unconscious, it can, perhaps, be said that the feldenkrais method presents a somatic modality that explores and concretizes conceptual insights from cognitive psychology and philosophy through physical action and intention. in this way, it can be said that the feldenkrais method stands between psychology and philosophy as an independent somatic educational and therapeutic method. the conceptual relation between cognitive orientation and the feldenkrais method is clear. less obvious is the relation between feldenkrais’ thinking and the philosophy of bergman. i wish to suggest that the influence of bergman on the development of feldenkrais’ work was not merely personal, but also conceptual. moti nativ narrates that feldenkrais kept in constant contact with bergman and continued to share his life events with him. an autodidact and polymath like feldenkrais must have been impressed by bergman’s intellectual acuity, and expressed interest braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 8 in the intellectual life of his friend and teacher. others have pointed out the similarities between the feldenkrais method and concepts of kinesthesia and perception in the phenomenology of husserl and merleau-ponty (see for example, braude 2015: 124-134; fraleigh 2015: 3-23). if there is a philosophical basis to feldenkrais’ thinking, it is likely to have been directly influenced by the phenomenological philosophy of brentano as transmitted by bergman. a key aspect of bergman’s philosophical approach inherited from brentano was the systematic investigation of inner and outer perception. inner perception has the personal subject’s own intentional activity as its object; whereas outer perception is constituted by the external object of our sensations. undoubtedly, feldenkrais did not consider his work to be philosophical, eschewing philosophical abstraction for embodied experience and the simplest verbal description. yet the emphasis on the awareness of movement as the key to self-transformation reveals the philosophical association, if not the basis of the feldenkrais method in phenomenological concepts of intentionality and inner perception. the foreword by professor bergman and the preface by hans and shulamit kreitler testify to the intellectual independence of the feldenkrais method as a form of human praxis, standing alongside psychology and phenomenological philosophy. however, further historical and intellectual work is required to develop this insight further. conclusion thinking and doing​ reflects the rich intellectual and historical milieu in which feldenkrais came to maturity and that planted the seeds for his lifework in developing the feldenkrais method. it alludes also to the personal and societal struggles and conflicts associated with the zionist labor movement in which feldenkrais came to maturity. it is, perhaps, ironical that the core idea of “less effort” from coué found its place in the midst of this personal and social engagement. yet it was feldenkrais’ genius to develop a means of self-transformation by paying attention to the functional malleability of embodied perception. he embarked on this process by interpreting the core psychological ideas from coué and gave them a new life in terms of movement and intentionality. his personal associations with hugo bergman and hans and shulamit kreitler point to an intellectual influence and legacy of the feldenkrais method that deserves to be explored further. references bar-on, a. z. (ed.) (1986) ​on shmuel hugo-bergman’s philosophy​ . amsterdam: rodopi braude, h. d. (2015) ‘radical somatics’. in ​moving consciously: somatic transformations through dance, yoga, and touch​ ed. by fraleigh, s. indiana university press, 124-134 brooks, h. (1922) ​the practice of autosuggestion by the method of emile coué​ . new york: dodd, mead & company braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 9 feldenkrais, m. (1949) ​body and mature behavior: a study of anxiety, sex, gravitation, & learning​ . london: routledge & kegan paul feldenkrais, m. (1972) ​awareness through movement. ​ san francisco: harper collins feldenkrais, m. (1985) ​the potent self: a study of spontaneity and compulsion​ . berkeley: somatic resources & frog ltd. feldenkrais, m. (2015) ​thinking and doing​ . longmont, colorado: genesis ii publishing fraleigh, s. (2015) ‘why consciousness matters’. in ​moving consciously: somatic transformations through dance, yoga, and touch​ ed. by fraleigh, s. indiana university press, 3-23 fraleigh, s. (2016) ‘teaching through movement: a detective story’. ​feldenkrais research journal​ ​5​ [this volume] husserl, e. (2001) [1900/1901] ​logical investigations​ . volume 1. findlay jn (transl). abingdon, oxon: routledge ginsburg, c. (2010) ​the intelligence of moving bodies: a somatic view of life and its consequences​ . santa fe: awareing press kaetz, d. (2007) ​making connections: hasidic roots and resonance in the teachings of moshe feldenkrais​ . metchosin: river centre publishing kreitler, s. and kreitler, h. (1991) ‘cognitive orientation and physical disease or health’. european journal of personality​ ​5​ , 109-129 reese, m. (2015) ​moshe feldenkrais:​ ​a life in movement​ . san rafael: reese kress somatics press zaner, r. (1981) ​the context of self: a phenomenological inquiry using medicine as a clue​ . athens, ohio: ohio university press braude • ​feldenkrais research journal, volume 5​ ​(​ 2016) 10 microsoft word elgelid_book review_pdf.doc feldenkrais research journal • volume 3 (2007) article book review: a manual therapist’s guide to movement by gordon browne staffan elgelid phd, pt, cfp, university of central arkansas abstract gordon browne’s “a manual therapist’s guide to movement” is a book that attempts to bridge the gap between traditional/objective/scientific thoughts on movements and exercise, and a more integrative/subjective/awareness based model. for feldenkrais® practitioners reading this book, it should be noted that this book deals primarily with the movement aspect of the feldenkrais method. as noted in the title, mr. browne’s audience is primarily the physical therapist/manual therapist who works with an orthopedic clientele. mr. browne does not claim that this is the “whole” feldenkrais method or that this is a book that describes the feldenkrais method. the book can still be a tremendous resource for the feldenkrais practitioner who is interested in an explanation for what might happen from anatomical, biomechanical, neurological, and/or motor learning aspects during lessons. keywords feldenkrais, movement, manual therapy, feldenkrais lessons, clients copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 book review a manual therapist’s guide to movement by gordon browne staffan elgelid phd, pt, cft assistant professor in physical therapy arkansas state university gordon browne’s “a manual therapist’s guide to movement” is a book that attempts to bridge the gap between traditional/objective/scientific thoughts on movements and exercise, and a more integrative/subjective/awareness based model. for feldenkrais® practitioners reading this book, it should be noted that this book deals primarily with the movement aspect of the feldenkrais method. as noted in the title, mr. browne’s audience is primarily the physical therapist/manual therapist who works with an orthopedic clientele. mr. browne does not claim that this is the “whole” feldenkrais method or that this is a book that describes the feldenkrais method. the book can still be a tremendous resource for the feldenkrais practitioner who is interested in an explanation for what might happen from anatomical, biomechanical, neurological, and/or motor learning aspects during lessons. the book is divided into three sections and seven chapters. the sections and chapters build upon each other, but can also be used as freestanding chapters. each chapter has a number of experiential lessons (short awareness through movement® lessons) included that follow the general theme of each chapter. the movement lessons included in each chapter can also be found on a cd set that can be bought separately. the cd’s add enormous value to the book, since readers can do the lesson that pertains to the book section they just read. after doing the lesson, the reader can then go back to the book and read about some of the ideas and theories based on the central nervous system and biomechanics that pertain to the specific movements of the lesson. “a manual therapist’s guide to movement” is unique in the way it presents the lessons and then discusses possible mechanisms involved with each of the movement variations just described/performed by the reader. the first section of “a manual therapist’s guide to movement” discusses the background of the book and concepts in motor learning and motor behavior. this section includes a brief sketch of the author, the author’s reasons for writing this book and a brief biographical sketch of moshe feldenkrais. the author goes on to discuss different factors influencing motor learning and motor behavior, including sections on development, injuries, avoidance, cultural/emotional factors, pattern specificity, gravity, effort and other factors that influence motor learning and motor behavior. while each section is short, the sections give enough background to make the reader familiar with the concepts, and provide enough references for the reader who wants to delve deeper into any of the aspects. in section two, mr. browne goes on to introduce global patterns such as balance, trunk control and different ways to orient from the vertical. throughout section two, the author introduces concepts such as skeletal weight bearing, baselines (scanning), constraints, comparing iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 baselines and variations. these concepts are familiar to most feldenkrais practitioners, but are not necessarily familiar concepts to manual therapists. mr. browne does a very nice job explaining these concepts to the reader, and the reason why these concepts are important. feldenkrais practitioners can benefit from the authors’ explanations of how these concepts that feldenkrais practitioners perform all the time are important from a proprioceptive/awareness, neurological standpoint. the experiential lessons in section two follow a developmental/evolutionary pattern. from falling in different directions (flexion, extension, side bending and rotation), to orientation, balance, and finally a combination of orientation and balance, the lessons follow a sequence that is easy to follow and understand while doing the lessons and reading the explanations. the lessons focus on global patterns and do not introduce specific patterns, standing, walking or more developmentally advanced movement patterns. section three is divided into three chapters. the chapters follow a logical sequence that goes from connection of the legs to the pelvis, to the low back and finally to standing activities. section three includes sections on standing, posture, walking and more specific sections on dysfunctions such as low back pain, lumbar stabilization, joint replacements, sprains, strains, etc. to many feldenkrais practitioners, this might go against their belief that the feldenkrais method should not be used for specific dysfunctions, but, as the author points out in the preface, this book is primarily written for the physical therapist with an orthopedic clientele. many people with various orthopedic dysfunctions come to feldenkrais practitioners for pain relief and to find out how to improve their movements for better efficiency and performance, so the sections that deal with specific orthopedic conditions can be very helpful to deepen the feldenkrais practitioner’s understanding of orthopedic conditions from a movement perspective. the first chapter starts out by discussing posture, but quickly moves on to focus on the connection of the pelvis and the legs, and pushing through the legs to go from sitting to standing. the author uses several examples, in different positions, of how spinal and pelvic control is built from the ground up. the second chapter in the third section discusses lumbar and pelvic stressors and stability. when discussing different types of stresses (flexion, extension, side bending/rotation), the author gives examples on how to identify the stressors, by observing people’s body types and movements. the author then moves on to the concept of stability. the experiential lessons in this section do a nice job of taking the reader through a series of lessons that puts progressively more and more demands on the stabilizers of the trunk. the lessons range from stability on the floor to stability in gait. the third and last chapter in section three covers the organization of the lower extremity and how the lower extremities contribute to and influence lumbar and pelvic control, and our ability to move around with comfort and efficiency. many of the experiential lessons in this chapter focus on awareness of the feet and ankles. medial/lateral and heel/toe patterns are explored both in writing and lessons. the author clearly explains what happens in the feet, knees, ankles, hip and spine (lower extremity kinetic chain) when a person walks with the feet, knees and hips in different positions. at the end of this chapter, the author also discusses common conditions and muscles that can be influenced by a variety of lessons that have been presented in the book. 3 overall this book does what the author set out to do for the intended audience. that is, to bridge between traditional/objective/scientific thoughts on movements and exercise, and a more integrative/subjective/awareness based model for the physical therapist/manual therapist who mainly works with an orthopedic clientele. considering that many feldenkrais practitioners work with the same clientele, many practitioners could benefit from reading this book to gain a deeper understanding of motor learning, biomechanical and/or neurological aspect of movements. readers will get much more enjoyment out of the book if they buy the cd set that is sold separately from the book. the cd set will make it easier and more pleasurable to do the experiential lessons described and analyzed in the book. volume 2 of the “manual therapist’s guide to movement” is forthcoming and will cover the upper extremity and cervical spine. if the second volume is as complete and well written as volume 1, then feldenkrais practitioners and physical therapists/movement therapists have something to look forward to. manual therapist’s guide to movement gordon browne. pt, gcfp 2006 churchill livingston elsevier, philadelphia, pa isbn: 0 443 10216 3 frj 3 introduction 121922 feldenkrais research journal • volume 3 (2007) editorial introduction: choosing the path of slightly more resistance staffan elgelid phd, pt, cft; editor in chief keywords feldenkrais method, research copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org editorial introduction: choosing the path of slightly more resistance staffan elgelid phd, pt, cft; editor in chief editing my first volume of the iff-academy research journal, i want to build on the editorial written by carolin theuring in volume two of the journal “choosing the path of least resistance”, and have decided to name this editorial “choosing the path of slightly more resistance.” as our profession continues to evolve, so should our research and research journal continue to evolve. with that in mind, i made a suggestion to the iff academy that we should make the iff academy research journal peer reviewed. the academy agreed and we set out to find people with varied backgrounds who were willing to serve on the editorial board of the journal. we were looking for a board that came from different countries and had different backgrounds. i asked for input from a wide variety of practitioners and got names of practitioners who had seemed suitable. one name led to another and now i can proudly say that this is an extremely diverse and well qualified editorial board that compares with any editorial board of any journal. the members of the editorial board are (in alphabetical order, with some of their specialties): ● staffan elgelid (united states. physical therapy/rehab) ● zoran kovich (australia. dance/somatic education) ● franz mechsner (united kingdom. psychology, human movement control, cognition) ● ryan nagy (united states. psychology) ● lynette reid (canada. ethics/philosophy) ● claudia schlebusch (germany. physics) ● robert schleip (germany. somatic education/bodywork) ● anna yeatman (canada. research/social and political theory) once the editorial board was put together, we decided to have “the future of research in the feldenkrais method” as the theme for volume 3. approximately 25 feldenkrais practitioners, trainers, and academicians from 8 different countries were invited to write an article about the future of research in the feldenkrais method. the invitation also went out to two people who had knowledge about the feldenkrais method, but who were not practitioners, as a way to get the view from someone outside of the feldenkrais method. out of the 30, eight people agreed to write an article for the iff journal. the articles range from the very simple to the very elaborate. please note that the articles are written in very different styles. at this point in the evolution of the journal, the important part is to get people to write. therefore we will accept articles written in apa, ama or any other recognizable style. the important part is that each article represents a different idea about how to do research about the feldenkrais method and that the articles contain the author’s personal convictions. personally, while reading the articles, i got a sense that this is each author’s voice and conviction about where we need to go. i hope that all you readers will get the same sense of conviction. what about the future? so where do we go from here? i will collect input from the members of the editorial board as well as from the readers of this volume of the iff research journal regarding where we need to go next. i have some ideas for the next volume. a call for articles will go out to each national guild/organization sometime in the fall of 2008. i also hope that the series about the future of research will be continued in the next volume of the journal. i know some people were interested in writing for this volume, but did not have time this spring. maybe they will have more time next year. i also invite the readers to suggest possible authors for the future of research. we will also look for abstracts of articles about the feldenkrais method from other journals. if you have ideas for another theme for the journal, or have any other ideas, please let me know. as feldenkrais teachers we are doing many remarkable things on a daily basis, but we do not write them up for publication. the easiest was for most practitioners to get involved with research is to write up a case study. dr. alan fogel has been kind enough to write an article on how to write case studies. i hope that dr. fogel’s article can inspire practitioners worldwide to start documenting what we do in our practice. as an example of a case study in the style that dr. fogel has written about, dr. larry goldfarb has given us permission to publish one of his case studies. some of the exercises in dr. fogel’s article will refer to dr. goldfarb’s case study. as a result of dr fogel’s article i hope that we will see some case studies in volume 4 of this journal. i had better stop here or the “slightly more resistance” will lead to so much to do that there will be tremendous amounts of resistance. as the iff-academy research journal continues to develop, i am looking for more and more pieces to be added, but i hope that practitioners will drive it and that the growth of the journal will happen in an organic way and not with resistance. staffan elgelid phd, pt, cft feldenkrais research journal​ • ​volume 6 ​ (2018-2019) original research learning with the feldenkrais method​®​ of somatic education in the dance technique class: a case study jenny coogan bfa dance, phd candidate; professor for contemporary dance, palucca university of dance dresden contact: ​j.coogan@palucca.eu abstract as a dance artist, educator and feldenkrais​®​ practitioner i am committed to facilitating somatically oriented teaching and learning environments in professional dance education. this article illuminates action research conducted in the form of a case study with bachelor of arts students in a conservatory-modelled program in germany. embedded in a socio-constructivist epistemology the study sought to make the synergetic relationship between the feldenkrais method ​®​ and contemporary dance technique accessible for the students in ways to support the development of their physical competencies, personal agency, self-regulative and self-reflective processes. in addition, the study’s methods investigated how a collective somatic sensibility might enable the dancers to navigate more effectively within the interplay of contextualization and shared responsibility in the learning environment. the inductive methodology of grounded theory was used for the collection, evaluation and interpretation of the data. reviewing the data four categories emerged that bring different and interrelated perspectives to the complex processes of situational learning: environment, reflection; personal agency, and transferability. this paper locates the research in the context of german vocational education, identifies its methodological and pedagogical underpinnings and outlines the setting, participant group, and the planning and operationalization of the study. included is a description of the methods of data capture, its analysis and a critical reflection of the processes. keywords dance pedagogy, somatic approaches, feldenkrais method, dance technique, conservatory model, action research copyright ©:​ the copyright for this paper remains with the author(s). please cite:​ (first published in the) ​feldenkrais research journal, volume 6 ​; 2018-2019. service marks:​ the terms feldenkrais​®​, feldenkrais method ​®​, awareness through movement​®​, atm​®​, functional integration ​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal published by the international ​feldenkrais​®​ federation (iff) ​https://feldenkrais-method.org available online at ​https://feldenkraisresearchjournal.org mailto:j.coogan@palucca.eu https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 2 original research learning with the feldenkrais method​®​ of somatic education in the dance technique class: a case study jenny coogan bfa dance, phd candidate; professor for contemporary dance, palucca university of dance dresden introduction in the anglosphere fusions of dance and somatics have entered the mainstream of tertiary education. germany has a rich cultural heritage of non-dualistic thought, and numerous 1 somatic systems originated in this country. yet somatically oriented pedagogical practices in conservatory programs have been slow to be included in the german speaking countries as a 2 1 in the 1940s, the pedagogue margaret h’doubler brought the study of dance into the university setting in the united states. she integrated mabel todd’s somatic system of ideokinesis and the constructivist pedagogies of john dewey into the curriculum. the first conservatory-based dance department within higher education in the usa was established in 1951 by martha hill at the juilliard school, and ideokinesis was incorporated into the department’s program. the american dance festival’s director martha myers introduced somatic therapies into the festival’s program, and her seminal articles advocating for the reciprocity of dance and somatic practices triggered the adoption of somatic methods in the curricula of the american university dance programs that followed (coogan, 2016: 24-25). during the 1960s, the move into a postmodern era, where education and artistic practice were critically questioned, brought dance and somatics closer together (reed, 2015: 192). these somatic-based approaches to movement research and processes of socialization include judson dance theatre, contact improvisation, release techniques, and postmodern and contemporary dance. their development extends from both the research of the early twentieth-century dance artists mentioned above (eddy 2009; coogan, 2016, bales, nettl-foil 2008), and the work of the somatic and educational pioneers mabel todd, lulu sweigard, moshe feldenkrais, frederick m. alexander, gerda alexander, and margaret h’doubler. for the past ten years the british journal of dance and somatic practices, and the american journal of dance education have provided invaluable platforms for the dissemination of research within the field of somatic informed dance and movement. martha eddy’s (2009) article, “a brief history of somatic practices and dance” in journal of dance and somatic practices (1) 1: 5-27 is a prime example. other key publications include: sheets-johnstone, m. (1979) ‘the work of dr. moshe feldenkrais’, a new applied kinesiology and a radical questioning of training and technique,’ in contact quarterly 5/1 (fall 1979), 24-29; batson, g., schwartz, r. (2007) ‘revisiting the value of somatic education in dance training through an inquiry into practice schedules’, in journal of dance education, 7(2), 47-56; fortin, s., girard, w., lord, m. (2002) ‘three voices: researching how somatic education informs contemporary dance technique classes’, in research in dance education, 3(4), 155-179; myers, m., pierpont, m. (1983) in ‘body therapies: and the modern dancer’, in dance magazine, 57 (august), 1 –24; and kovich, z.(2007) ‘promoting dexterity in technical dance training using the feldenkrais method’ in feldenkrais research journal (3), 1-6. 2 tertiary dance education/training in germany (as well as in many other european countries) takes place in art and music conservatories called kunstand/or musikhochschulen. with few exceptions, practice coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 3 valuable curricular addition for supporting students to develop the competencies necessary to meet the twenty-first century challenges of the profession. therefore, this case study makes an original contribution to the emerging body of both empirical and published research in this context. it grew out of years of my own dance-somatic teaching practice with students at the palucca university where i work as professor of contemporary dance. this research was made 3 possible through a grant awarded for my own authored practice-led research proposal innolernentanz (ilt) , by the german federal ministry of education and research (bmbf). 4 the central focus of this study investigated the reframing of individual learning from the external direction of teachers to the students’ own internal reflection in ways that might invite the participating students to experience their education from a first-person perspective of empowered and somatic authority. its methods sought not only to encourage reflective thinking, self-regulation and personal agency but also explored ways in which a collective somatic sensibility might enable the students to navigate more effectively within the interplay of contextualization and shared responsibility in the learning environment. a scaffold for somatic learning in dance, one rooted in the feldenkrais method ​®​, offered the pedagogical frame for this research and guided the structure, content and pedagogical transmission of the research. traditional pedagogies in western-based theatre dance have been inclined to locate authority with the teacher and thereby cultivate a student’s desire to please an outside authority and to behave according to the environmental norms and regulations (johnson 1994: 60). teaching formats in this context tend to be primarily imitative and highly regimented. the body is often treated as an object to be formed through the dictates of the teacher. typically, students learn a specific dance technique, understood as codified vocabulary of movement held together by a and theory-based programs in dance continue to remain separate. the training/education of pre-professional performing dancers takes place in the conservatories. in the anglosphere both practice based (bfa and ba with honors) and theory based (ba) programs are offered within the same university. 3 the palucca university integrates a secondary school (grades 5-10) with ba and ma programs in dance and dance pedagogy, a ma in choreography, and a portfolio-organized meisterklasse (masterclass). 200 students are currently enrolled in its various programs. the ba program in dance transmits established canons and aesthetics of western theatre dance as well as hybrid mixes of contemporary practice. musicians accompany all studio practice. courses in dance history and analysis, music theory, laban movement analysis, and anatomy augment the studio practice. there are nine state subsidized institutions offering ba programs in dance, the profiles of most of these institutions are embedded in conservatory models of vocational training. these programs are all tuition free. 4 the ​innolernentanz​ research platform afforded me the opportunity to investigate my research agenda in dance-somatics through the rigors of qualitative academic research. ilt ran from 2012-2016 under the auspices of, ‘quality pact for teaching’ (qualitätspakt lehre), a joint program of the german federal government and states (länder) to improve study conditions and the quality of teaching in higher education. findings of the research in somatic learning can be found in the publication, ‘practicing dance: a somatic orientation (ed. coogan), logos verlag berlin 2016. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 4 system of kinaesthetic motion and associated with a particular aesthetic form. valuation lies on the correctness of the performance of the movement. most of the pedagogical practices found at the palucca university proceed in this culture of conservatory dance education. as an alternative, somatic based pedagogies in dance offer a non-valuation of one’s felt and embodied experience. the dancer pays attention to letting forms of movement emerge from within, whilst paying attention to the intimate relationships between sensory stimuli, perceptual interpretation, and motor processing (steinmüller, schaefer, and fortwängler 2001: 108). preferred formats for transmission are explorative, directive and task-based. these pedagogies have been validated for enabling students to develop a greater sense of autonomy and responsibility (green 2001). in addition, they establish a foundation from which dancers can develop performance skills and awareness for the ethical and social communication in diverse settings. more fundamentally somatic-dance pedagogies support the learners to attune to the deep self-logic of the nervous system’s balancing and self-regulating processes (fortin 2003, vieira and tremblay; johnson 1995). somatic practices were at first acknowledged as adjuncts to, or particularly recuperative support for, dance technique (brodie and lobel 2012; myers 1983). now they are seen as fundamental strategies for organizing technique (alexander 2015; fortin 1993) and for understanding the interplay between action and perception. as somatically orientated pedagogies are yet to be an integral part in germany’s state subsidized conservatory dance programs, it is not surprising that a cross-fertilization of somatic and more traditional teaching methodologies is still met with diverse and often contrasting forms of appraisal, or appreciation from both students and teachers alike. a familiar line of argumentation that i have often heard from educators in conversation contends that students’, during their formative stages of professional training, have neither the patience nor the cognitive and affective maturity to understand and to work with somatic investigations. rather, that a dance-somatic consciousness may become part of a dancer’s repertoire when dealing with aging and/or injury rehabilitation. a somatically infused dance pedagogy was a part of my own formative conservatory education at the juilliard school in new york city. i found this to be 5 decisively helpful in developing a reflective physical practice. my experiences working with somatically informed dance technique classes at the palucca university have led me to argue for this integration at the onset of conservatory education/training as processes of awareness, self-regulation and self-directed learning can be supported at any age or stage of maturity. the fact that many students complete the ba program at nineteen years of age, make it imperative that these emerging dance artists are encouraged and supported early in their studies to take responsibility for their actions so that their artistic, creative and self-regulatory potentials can begin to unfold before they are confronted with the realities of the professional world. 5 the bfa curricular program included somatic based improvisation with hanya holm; modern dance technique class informed by ideokinetic principles with betty jones and individual lesson in the alexander technique. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 5 professional field of dance performance the field of dance performance is characterized by interand transdisciplinary choreographic signatures and physical eclecticism. dance artists must be equipped to engage with the materials of creation in manifold situations and settings, and to cultivate a profile that is emergently responsive to the hybrid and fluctuating work environments. today’s dance artists are often tasked not only with being performers, but also with being creative collaborators, educators, curators, entrepreneurs, and lobbyists (coogan 2016:16). as the scope of the profession becomes ever more diversified, such challenges increasingly demand skills in the areas of critical thinking, problem-solving, collaboration, self-direction and -articulation, the aptitudes of adaptability and entrepreneurship, alongside artistry, curiosity, initiative, and the forming of a highly differentiated physical practice (delahunta and hoerster 2007: 224; sieben 2011: 145). in response to the professional landscape, conservatory education now faces the challenge of becoming more flexible both in its regulatory structures and in curricular frameworks (coogan 2016:17). this includes a re-evaluation of the idea of technique for the aspiring dance artists learning in these contexts. as artists increasingly create their own lineages, technique has become more personal and can be considered as a means for supporting individual decision-making processes (parviainen 2003: 162) and understood as both embodied practice and research (spatz 2015). this position aligns with somatic approaches to dance technique, which help artists harvest from an inner authority and trust their perceptions of the experienced and experiencing body, imbued with a consciousness that these processes unfold in ever-changing patterns of situated relationships (coogan 2016: 17). rephrased in the context of the feldenkrais method, technique is a way to navigate with relatively reliable pathways through specific situations. theoretical and methodological underpinnings qualitative, interpretative, transformative and constructivist this research was conducted within post-positivist paradigms that understand experience as socially constructed realities and are therefore determined, in part, by the researcher’s position in the world. this brings critical perspectives to the investigation and works toward change in the teaching, learning, and research processes. therefore, teaching and research often overlap (green and stinson 1999). my role in the study was multi-functional; that of researcher, primary facilitator/teacher, faculty member and leader of a six-person team of experts in the fields of dance, sociology, pedagogical psychology and education. 6 6 research associate nina patricia hänel shared teaching responsibilities with me and together with research assistants, anja balzer, fanny barz, and karin matko contributed to data capture and its analysis. professor jürgen van buer and professor susanne narciss offered invaluable support as expert coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 6 this study harvests from interdisciplinary thought evolved out of constructivist models, including enaction theory. enaction theory posits that knowledge is constructed through the sensorimotor dynamics of interactions between living beings and their environment, meaning that the individual is ‘the enactment of a world and a mind [resulting from the] history of the variety of actions that a being in the world performs’ (varela, thompson, and rosch 1992: 9). learning through the lens of the feldenkrais method is based on student-centred approaches that include problem-based and collaborative learning and teaching paradigms. thus, the feldenkrais method aligns with the epistemological underpinnings of radical constructivism that preclude the notion of an objective, or singular reality. knowledge is constructed from one’s own individual reality and is an ongoing, self-organized creation based on the relation of an individual’s past experiences to the present ones (von glasersfeld 1995). john dewey’s (1934) 20 ​th​ century progressive philosophy of education underscores these aforementioned propositions and is helpful in understanding the relationship between experience, reflection and learning. he identifies reality with experience, and experience as an interaction between the individual and the environment. learning is therefore a continuous and cyclical process, a spiral-like phenomenon that proceeds from the individual’s engagement with and re-adaptation to the larger environmental factors in the world. therefore, the new learning offers a more comprehensive understanding of patterns that might already be known. feldenkrais (1972) posits that learning proceeds from the intermingling of heritage, education and foremost, self-education. therefore, what is learned cannot be separated from how it is learned and how it is utilized (feldenkrais 1985; see also luhmann 1995). action research methodology provided the operational scheme for this study, and grounded theory provided the procedural frame for data capture and interpretation. phenomenological in nature, action research seeks to understand and interpret the meanings of individual human experience as it is situated in culture and society (robson 2011; giguere 2015). questions arise through rigorous processes of observation, participation, reflection, data gathering, analysis, and action planning that, in turn, lead to new cycles of thought informed by the learning that has taken place (giguere 2015; creswell 1998). among the defining factors of this methodology are: ongoing self-monitoring and self-reflection; privileging the voice of the participants; active participation; and the desire to create change (wilson 2009; wisker 2001). the inductive processes of grounded theory are analogous with the iterative processes of action-research; as a result, they are often employed in tandem. both methods of qualitative social research look to create procedures rather than to produce results. in grounded theory, an analytic appraisal of each piece of newly captured data is used to shape the development of subsequent data-gathering processes (corbin and strauss 2015). throughout the study, there was a constant interplay between the gathering of data, its analysis, and the generation of new data. this process led to revision and (re)evaluation in both the conceptual planning and the sequencing of the teaching modes for the study’s five phases. for example, as the skills of academic advisors. all participated as unobtrusive observers and critical friends throughout the research period. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 7 many incoming international students in the two teaching languages of this program, german and english, in the year of the study was so low the importance of language comprehension and its articulation had to be reduced. consequently, revisions in the language of the early questionnaires were undertaken. throughout the study students’ responses to surveys and interviews led the research team to simplify language and to substitute language with symbols and graphics to make the modes of data capture more visually accessible for the students. research setting students, faculty, and staff at the palucca university interact in close physical proximity. the campus is composed of an intimate cluster of three buildings that include eleven dance studios, secondary school classrooms, a library and archive, physiotherapy and seminar rooms, a cafeteria, administrative offices, a dormitory, faculty offices, changing rooms, practice rooms for musicians, and separate reclining lounges for dance faculty, musicians and students. this is a closed campus surrounded by garden spaces. the phrase, ‘palucca family’ resonates in the institution and expresses the sense of shared identity and belonging of its members (coogan 2016: 53). this is both a formative and a transformative environment for the individual subjects as it is one of a shared social collective life world and artistic practice that, in part, shape modalities of agency, habit and self-understanding (röttger-rössler and slaby 2018:2). to prosper, all must accommodate to the institutional conventions and its interpersonal forms of communication. the curricular program in ba dance includes rigorous daily technique classes in classical and contemporary dance, supplemented with a range of other studio practices, choreographic projects, and seminars in subject related fields. students train and learn together as intact class formations throughout the duration of their six semesters of study. collective efficacy is immediately recognizable. the aspirations of most graduates are to work under full-time contract in dance companies; a few choose to pursue freelance careers. 7 admittance to this program is highly selective and the common frame of reference is proficiency in classical dance. familiarity with contemporary dance is not a criterion for acceptance and therefore students begin the program with varying degrees of experience in this dance idiom. the case study was located in the students’ daily contemporary dance class and in afternoon workshop sessions scheduled intermittently throughout the semesters. during the eighteen 7 university dance departments are networked with a variety of public funded institutions that support the production, performance, and appreciation of the performing arts. dance artists can find work in resident dance companies within germany’s extensive system of federal and state theaters (​stadtund staatstheater​), as well as state and local cultural institutions, and venues that offer alternative formats for the creation, production, and dissemination of dance. this climate enables dance artists to launch and sustain their professional careers. the prospects of employment in germany, tuition-free education, and low enrollment levels have increased the internationalism and competitiveness of the ba programs in the nine state subsidized institutions. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 8 weeks of the winter semester, i was the primary teacher/facilitator for both the dance class and the afternoon workshop sessions. team teaching and a guest artist residency during this semester brought diversity into the teaching continuum. during the fourteen weeks of the summer semester, teaching responsibilities for this course were shared equally with a colleague who offered the students a more conventional contemporary dance technique class. though participation in the dance class was required, participation in the processes of data capture was based on consent. the regulatory ethical procedures for ensuring informed consent were fulfilled. all students agreed to participate in the study and contributed data in varying degrees throughout the academic year. issues regarding grade coercion were irrelevant as the examination for this course took place in the class of my colleague. participant group twenty-one students participated in this study, fourteen female and seven male ranging in age from fifteen to nineteen. nineteen students completed the study as two students 8 ex-matriculated to pursue other career objectives. ten nationalities were represented in the group and seven native languages were spoken. the curriculum allows the teachers to decide on both the material and delivery for their classes. there is no required academic component in the dance technique courses. typically, students are not asked to contextualize their practice through, for example, reading and writing assignments and/or in class group discussion or oral presentations. the methods of this study asked the students to recalibrate their physical practice through self-reflection and to participate in class dialogue, discussion and moments of spontaneous writing. afternoon sessions offered a platform in which the students could contextualize their practice by sharing responses to texts and video material that they read and/or observed and engaging in experiential introductions to the field of somatics in relation to their dance practices. many of the international students began their study with only rudimentary facility in german and english making the effectivity of language at the onset of the study challenging. verbal language had to be offered in combination with physical demonstration and tactile feedback. simultaneous translation between students was an ever-present factor in the class. midway through the study the english language competencies of the international students had improved to where it was possible to lead movement explorations through verbal cuing. this enabled the possibility to weave short lessons in awareness through movement​®​ into the dance training. 8 candidates in dance performance programs like at the palucca university can matriculate upon completion of secondary school at the tenth.grade level (rather than the twelve years required as a prerequisite for academic study). thus, candidates can begin a ba study in dance performance at the age of 15 or 16. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 9 feldenkrais informed contemporary dance practice the practice of somatically informed contemporary dance and the feldenkrais method interface in a variety of manners. both are movement based socially organized processes of shared and experiential learning. individuals create their meaning in ongoing negotiation and accommodation with the environment; be it in a dance class, in a one-to-one session in functional integration ​®​ (fi​®​); or in a group lesson in awareness through movement (atm​®​). the role of the teacher is that of steward or facilitator, one who sets parameters that encourage students to be their own decision-making agents and to assume ownership of their own learning processes and questions. thus, the facilitator must critically engage with ideas and perspectives beyond the realm of his/her own experience in accordance to the life worlds of the students. this allows the student-teacher relationship to move beyond the transmission of knowledge to a more collaborative learning environment that invites multiple channels of dialogue between all agents (freire 1993). the act of stewarding necessitates the recognition of what ‘is’ in order to support the curiosity, ease, efficiency, uncertainty and eventual satisfaction of the movers. awareness through movement lessons are meticulously structured sequences of movement designed to address a biomechanical function. awareness through movement lessons are built on permutations resulting from variation, repetition, the use of constraints, and changes in orientation in continual dialogue with gravity. these same strategies are used to compose a dance class. both the feldenkrais method and my teaching strategies in contemporary dance rely on an explorative quality of repetition of prescriptive movement or teacher-led directives. these frames are playful and allow for individual interpretation but are not grounded in purely improvisational practice. for me facilitating contemporary dance through a feldenkrais method lens is as much about proceeding with a particular approach to the teaching/learning situation as about the actual inclusion of awareness through movement lessons in the dance practice. the pedagogical approach put forward in this case study sought to offer the students a learning environment infused with the following fundamentals found in the feldenkrais method: ● engaging in creative self-questioning to unveil curiosity for learning, ● loosening the binds of control to allow space for ‘not knowing,’ ● replacing ‘right’ and ‘wrong’ with informed choice, ● imagining, both as a neuromuscular action and a metaphorical inspiration to unleash the possibilities of what movement can be, ● encouraging pleasure and playfulness, ● investigating the relationship of effort and ease, ● regarding resilience not as a matter of strength, but one of learning and recovery, to find balance in the ever-present fluctuations of life, ● inviting paradox to reduce the rigidity of belief and to welcome the multiplicity of perspectives and variations for learning, ● focusing of attention to engage with the possibilities for repetition, coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 10 ● returning a question with a question in order to listen more intuitively to one’s own felt experience. the class structure combined directive, imitative, explorative and task-based modes of transmission. during the study’s five phases the proportional distribution of these strategies varied. for example, in the first phase directive and imitative methods of transmission were paramount as these were the ones in which the students felt most comfortable. during the third phase, the emphasis focused on movement exploration with a focus on the strategies of the feldenkrais method, while in the fourth phase dominance was placed on a task-based, peer-assisted format. all strategies shared a focus on the direction of attention to sensory awareness and kinaesthetic feedback. through selfand peer observation students were asked to notice: ● gradations in effort and muscle tonus, ● congruency between breath and movement, ● the interplay between weight and gravity, and ● the availability of the pelvis as a center of motor function. class themes running through the course of the study were: ● slowing down to give time to assimilate the idea of the movement, ● sensing difference to differentiate and to integrate, ● using bodily constraints to inhibit movement along habitually organized routes, ● noticing the coordinative and performative effects of variation and changes in orientation, ● directing attention to the initiations and spread of kinetic chains through and beyond the body. classes explored developmental movement patterns to identify personal preferences and habits, and to reflect on how these might affect alignment, coordination and efficiency in executing complex dance material. working within these parameters, a repertoire of floor, standing, and locomotive material was generated and developed in length and complexity over periods of two to three weeks. as the year progressed, students began to create, develop and vary their own material in solo, duet and group constellations. the indirect pathways of learning in the feldenkrais method take the dancer off a direct path of goal achievement that is characteristic in pre-professional dance performance training. in this study students were asked to relax their expectations that training should always prioritize external modelling and a fast-paced assimilation of prescribed material. they were invited to slow down the execution of their movement in order to pay attention to the sensations and experiences that create space for body awareness and proprioceptive sensitivity. in the oscillation between the doing and the conscious reflection of action, one “learns to act while [one] thinks and to think while [one] acts” (feldenkrais 1972: 60). feldenkrais referred to this as coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 11 “reflection in action” (1981). a constant thread throughout the study for the research community was to engage with this experience of reflection-in action. research questions the following questions were steering this study: wherein lies the potential for the co-existence of a pedagogical practice oriented in the feldenkrais method with more traditionally based training practices in a conservatory environment? in contemporary studio practice, what strategies and methods might support young dancers in learning to locate themselves with self-efficacy in the inherently collectively organized structure of dance education? within a german conservatory environment, what conditions are necessary for dancers to find value in a somatically informed pedagogical practice, with particular emphasis on the feldenkrais method, as an integral component of contemporary dance ‘technique’? the study spanned the course of the entire academic year 2014-15, comprising a total of thirty-four weeks of intervention. the table below provides a structural overview of the study’s five phases. term breaks and examination weeks periods dictated the apportioning of time for each phase. phase duration facilitator data capture feldenkrais integration focus 1, 6 weeks jenny coogan, nina hänel daily 90-minute contemporary dance class; 6,120-minute afternoon workshop j.c and n.h all: biographical interviews; focus-group interviews; mixed-modal online questionnaire; quantitative survey of aims and objectives; video recordings researcher field notes somatic referencing body scanning and the physicality of breath; peer and self-observation in class and workshops; reduction of tempo to support kinaesthetic feedback; floorwork built out of segments of atm, particularly developmental movement patterns. orientation and contextualization creating common ground with a heterogeneous group of students with diverse backgrounds in contemporary dance; to provide a conceptual frame for understanding these dance styles through physical explorations, text and film analysis, movement explorations in workshop formats, and attendance of performance events; to introduce the field of somatics through physical practice in class and workshop formats. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 12 2,​ ​7 weeks team teaching, jenny coogan, nina hänel daily 90-minute contemporary dance class; 3 inter-disciplinary workshops guest artists j. jacobs, m. buckland with j.coogan m. buckland all: text responses to the weekly themes; video recordings focus-group: interviews; journal writing researcher field notes movement material devoted to the functional organization of the shoulder girdle: de-patterning and re-patterning of habitual ways of using the shoulder girdle; repetition, variation; self-reflection where introduced through a writing practice. the guest residency offered variations in movement material and strategies of their transmission. indirect leadership team teaching creating classroom situations that reveal how different perspectives in learning/teaching can occur simultaneously; to offer anatomically based movement explorations; to present a variety of learning strategies, including sensory and proprioceptive discrimination, analytical properties of observing and reflecting, and movement composition; to engage with interdisciplinary projects. to create a lively climate and culture of interaction encouraging the development of symmetrical exchange among all participants in the learning situation through team teaching and interdisciplinary projects. 3, 5 weeks daily 90-minute contemporary dance class; jenny coogan 2, 120-minute workshops with j.coogan and n.hänel all: video recordings; biweekly questionnaire; focus-group: interviews; journal writing researcher field notes atm integration in the class: differentiation and integration; movement initiation and kinetic chains through variation, permutations, shifts in orientation and perspectives. “to make sense out of sensation” (s. clarke) to improve self-organization and coordination; to use visualization to enrich understanding of anatomical principles; to find the endurance and concentration to persevere with the ‘same’ material to make more informed choices about one’s dancing; to understand that a change in movement function can change one’s awareness; to use movement sensation to track one’s own progress. 4, 4 weeks 2, 90-minute contemporary dance classes per week jenny coogan, nina hänel all: mixed-modal questionnaire, video recordings shared through social media focus-group: interviews; journal writing researcher field notes refinement of proprioceptive distinctions, particularly in regard to muscle tonic to improve performance and physical skills practice peer-assisted learning,​ ​performance qualities to support autonomy and self-reflection through a laboratory-like environment of peer-centered learning working on choreographic material; to take responsibility for individual composition and performance choices negotiated within the group; to collectively document the creative process in written and video formats; to improve performance and social skills. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 13 5,12 weeks 2-3 90-minute contemporary dance classes per week; jenny coogan, nina hänel; 4 workshops with j.coogan and n.hänel all: mixed-modal questionnaire; quantitative survey of aims and objectives met; digital recordings; final evaluation focus-group: interviews; journal writing researcher field notes feldenkrais as a choreographic tool social competencies in creating a duet; working with constraints for re-inventing the material offered​. integration and evaluation to work with an individual combination of the tools, methods, and strategies investigated during the course of the study; to embody dance and dance training from a somatic sensibility; to transfer learning from one situation to another independent of the practice in contemporary dance class; to encourage self-reflective and self-directed practice. phase one: orientation and contextualization this phase combined the familiar mode of imitative practice, through teacher demonstration which, in fact, is necessary for students to learn new motor skills, with unfamiliar somatic referencing strategies as body scanning and the physical experience of breath. much of the movement material was based on ‘floorwork’. integration of the feldenkrais method proceeded in which the movement patterns were constructed, de-and re-constructed, repeated with variations in time, spatial orientation, sequence and energy expenditure. awareness was directed to how each individual part contributes to the effective functioning of the whole and to the profound neuromuscular and performative effects of variation. students reported that this phase challenged them to focus on the subtlety of movement. one student recalled: to really focus on the details and not to focus on ‘ok, i want to do all that stuff:’ but to take one thing and then try to work on that and take the other thing and try to work on that. ... then i actually feel improvement and feel that i can work more precisely with things (focus group interview october 2014). as we all were in the process on getting to know each other, most students were open and curious to slow down and to explore the material through repetition. two students commented as follows: by working on this particular exercise so very slowly and really taking every section at a time – i remember we spent an hour and a half on one exercise – and at the end i really felt that i’m able to do this and i’m able to do that in a good and healthy and smooth way for my body. that was pretty impressive to me (focus group interview october 2014). another student reflected: coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 14 i felt like i was stepping on place in a way, but through these weeks and through the work and through the theory and through the understanding of what we're doing, in the end, i found that this is still very important work i need to do, and which is maybe a little bit neglected (focus group interview october 2014). frustration was voiced by international students who encountered difficulty in the reading and comprehension of textual material and in the amount of verbal exchange: ‘especially for those of us who don’t speak good english or even german, it’s difficult to read and speak and try to understand these things’ (focus group interview october 2014). the language difficulties were addressed by the research team through the simplification of verbal language in class and in questionnaires. phase 2: multiplicity of perspectives this phase sought to make the non-fixity of mind and movement evident through team-teaching both in the dance class and in interdisciplinary workshops, and with a guest residency. the introduction of a writing/notating practice with students of the newly formed focus group encouraged processes of self-reflection. journal writing proceeded in the students’ own native tongue. team-teaching identified shared objectives and made the continual processes of negotiation, immediacy, and spontaneity explicit. the two weeks of team teaching with dance educator, feldenkrais practitioner in training and member of the team, nina hänel was organized either as fluid leading and following, or through the division of roles in which one person attended to the group, while the other offered individual feedback. musicologist, monika buckland and i worked with the students’ compositionally combining music and dance improvisation-based scores. variations and permutations were of central focus for these workshops. students appreciated the horizontal pathways of communications, and one commented: for me it was sometimes just helpful to hear ideas and images with different and new words. every teacher teaches at least a little bit differently. small differences can have a big effect on my understanding of an exercise or principle. in addition, i had the feeling that the teachers felt comfortable in their cooperation with us (written response to the weekly question november 2014). during the two weeks of team teaching, students were confronted with a small amount of movement material that focused on the complex functional organization of the shoulder girdle, weight support and locomotion and its integration with the pelvis. this period of thematic specificity was followed by a two-week guest residency with dance artist, jason jacobs. the movement material and themes of jason’s lessons changed each day thereby breaking up the pattern of mindful repetition and variation that had been primary at the beginning of this phase. his lessons offered students the degree of variety and physicality with which they were familiar. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 15 students appreciated the variety of this phase and one student stated ‘what we are aiming for in the class is to touch and try everything without any prejudices’ (written response to the weekly question december 2014). phase 3: visualization and sensory discrimination this was the most challenging phase for all. fifteen-minute awareness through movement lessons were explored at the beginning of the class. the pacing of the class was slow and required the students to resist the tendency to focus on the movement’s outward representation, and to draw their attention to proprioceptive cues and the subtle dynamic variations of its execution. at the beginning of this phase, one student remarked, ‘i’ve done the movement so often, but now i have the feeling that i can feel every detail’ (focus group interview january 2015). attention was directed to coordination understood, as in the feldenkrais method, as the proportionally efficient relationship between gravity and energy expenditure. as students’ english language skills had improved, demonstration was not always essential, and classes were increasingly led through verbal cuing. students were encouraged to move away from dependence on the teacher and toward self-directed learning. however, during this phase students struggled to concentrate on the small amount of athletic movement material. midway through this phase one student articulated the general tenor of the group with this remark: ‘i don't feel like i'm moving enough, that it's getting me to the place that i want, that i see myself in’ (focus group interview february 2015). another student questioned, ‘it feels different, but i don’t know if one can see the difference from the outside’ (class discussion february 2015). at this point during the study some students began attending the class with less regularity and a general atmosphere of boredom and restlessness arose. this mood persisted even when more athletic movement was introduced. this phase marked the end of the first semester and a welcomed two-week semester break followed. for the duration of the second semester, daily teaching was shared with a colleague. the sharing of the teaching responsibilities brought greater diversity into the teaching and learning environment that helped to ease the sense of frustration. an atmosphere of openness and receptiveness returned. however, those students who had begun to attend this class sporadically continued to do so until the study’s completion. phase 4: peer-assisted learning; performance qualities both nina hänel and i facilitated each session of this phase. we adopted the role of mentors. each session began with a gentle warm-up of recurring material that prepared students to work in a laboratory-like environment with a complex sequence of choreographic material. in small groups, students explored this material with specific tasks that addressed: coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 16 ● differentiated use of energy expenditure, ● phrasing and musicality as processes of exertion and recuperation, and ● spatial orientation. students’ compositions grew in complexity and proprioceptive differentiation throughout the phase. the studies were captured digitally each week and shared so that the students had the opportunity for feedback, self-evaluation, and discussion with other class members between sessions. students appreciated the artistic freedom offered to them and began to feel confident in this situation of self-directed learning. they experienced the physical fullness of dance that was absent in the third phase and could explore their own creative inclinations. this endowed their daily training with a sense of artistry which was both personally and socially satisfying. they were asked to position and to negotiate their artistic decisions within the group, respect the ideas of others and articulate appreciation. this created a triangulation between self and other, or self and the world that brought students together in a social somatic sense of shared learning. one student elaborated: this was really great because we had the chance to learn from each other. the fact that we were in smaller groups, and that we had to show what we did with the others, gave me more confidence and really helped me to take more risks and to show what i have deep down in me (focus group interview march 2015). the feldenkrais intervention during this phase was not about movement functionality, but rather one that supported the unfolding of ownership and personal agency into a state of collective awareness. another student commented: the different focuses in each lesson were great because they showed that we could go even further—we have the skills to do it. it's just that we normally don't think of using them. and the teachers were really supportive during these classes, which was great. this made me feel more secure (focus group interview march 2015). phase 5: self-directed; reflective practice themes explored during earlier phases were revisited so that students could more clearly track their own progress in relation to the energetic and plastic qualities of movement, muscular efficiency, and affective commitment. the warm-up phase of the class was directed to having students make and take their own decisions. later they paired up to create their own compositions initiated from modular units of teacher-given movement material, underscored with rhythmical ostinati and polyphonic uses of the body. the students’ creations were modelled according to their own decisions. one dancer commented: coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 17 as soon as we put ourselves into a piece of work, it made a big difference to me because it kind of triggered my creativity or made me think: how can we make that work? we have this and we have that: how can we put it together? what possibilities do we have? (focus group interview may 2015) a flexible atmosphere of dialogue helped students to work with the material following their own creative interests and trusting in their own artistic identity. in review of the five phases of the study, i propose that the imitative practices employed during the first phase that concluded with a performance were a motivating factor for student engagement. during the second phase in which students encountered either a highly reflective or a highly physical practice, different appreciations of the work were articulated. the third and most challenging phase invited the students to practice ‘reflection-in-action’. this phase was met, after the initial lessons, with resistance. the fourth and fifth phases proved to be satisfactory for those students who persevered through the stage of difficulty. data analysis and overview of the results the prolonged research period of thirty-four weeks and the density of contact hours allowed the research team to observe changes in the environment and to gather, review, and interpret a diverse pool of data. throughout the study, student attitudes and reactions were collected and assessed by the team through questionnaires, semi-structured focus group and individual interviews, feedback sessions, in-class video recordings and researcher notes. questionnaires (web based and in paper form) included rating scales, graphics and space for individual text commentary. 9 ‘life world’ interviews were conducted with each student at the onset of the study and all students participated in group interviews and evaluations after the first and last phase of the study. as time and resources prohibited the possibility for individual interviews after each phase of the study, eight students representing a range of cultural and social backgrounds, dance experience, age and gender were selected to form a focus group. focus group interviews were conducted at the end of the second, third and fourth phases of the study. the research was conducted in one of the students’ multiple daily dance technique classes thus making it impossible to uncouple the learning that took place in the research environment with the other experiences of the dancers’ day. drawing relationships between the research questions and the coding system of grounded theory four primary categories emerged that bring different and interrelated perspectives to the complex processes of situational learning: environment, reflection, agency, and transferability. 9 refer to the appendix for examples of mixed modes methods of data capture. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 18 learning environment a somatic approach to teaching and learning heightens one’s sensitivity to personal and collective agency and affect. this makes the quality of the class climate a factor for successful learning that cannot be ignored. a supportive, safe and communicative learning environment proved to be the fundamental condition necessary for the students’ learning. students’ repeatedly identified the class atmosphere as primary in their ability to concentrate and to learn with comments as, ‘there needs to be a certain atmosphere in class that allows for concentration without disturbance’ (group interview at the completion of the study june 2015). classes proceeded with an attitude of shared responsibility and horizontal pathways of communication. this condition heightened the need for the whole group’s positive motivation in class, which many students acknowledged and expressed as follows: ‘it helps me so much if i have the feeling of we’re all going there together’ (group interview at the completion of the study june 2015). during the course of the study, students gained awareness of their responsibility as co-creators of the class climate and began to consider the consequences of their actions with greater sensitivity. a sense of awareness encapsulated their movement, their interaction with others, and the way in which they worked in the environment. one student expressed: ‘i feel like appreciating everybody else and being aware of the group helps the awareness of each individual to grow’ (group interview at the completion of the study june 2015). reciprocal methods of student-centered learning and peer tutoring were emphasized throughout the study and these created direct and intimate exchanges necessitating an environment of mutual trust and respect. not all students were able to work within this learning paradigm. some recognized divergent attitudes and offered comments such as the following: ‘i did notice some discrepancies among my fellow students. i felt that some in particular were rude and judgmental when it came to the new approach to teaching’ (group interview at the completion of the study june 2015). for some students the teaching/facilitating modalities were not accessible, as they were incongruent with their expectations for dance technique training. as stated earlier, midway 10 through the study four students began to participate with less frequency. their absence transformed the class climate into one in which students could finally profit more effectively from the study’s pedagogical offerings. one student expressed: ‘even within myself, letting go allows me to accept things more easily and faster, so for me atmosphere and energy in the group is pretty much everything’ (group interview at the completion of the study june 2015). 10 no student learning disabilities as dyslexia, autism, ads, or psychological disorders were evident to the research team nor were communicated from student to teacher. disabilities of this nature were not evident and were not put forward by the students. the students’ responses to the study’s teaching formats and modes of transmission were based on their ability to find access to ways of engaging in their contemporary dance technique class that were, for most, unfamiliar to them. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 19 the preceding statements and my observations of the group dynamics indicate the students’ desire to have proceeded forward as an integral and intact group. however, the recognition of those who completed the study articulated that a constructive and supportive environment was essential for learning somatically. therefore, the elimination of destructive and distracting factors, as in the absence of four students, was crucial for the rest of the student group to profit from this learning paradigm. reflection dewey (1997: 6-15) identifies three essential components in reflective thinking: openness or a freeing from prejudice; wholeheartedness, becoming absorbed in the material; and responsibility in facing the consequences of one’s own action. he writes that: “active, persistent, and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it, and the further conclusions to which it tends, constitutes reflective thought (1997: 6). throughout the study the students were asked to review their individual prejudices about the materials and procedures for engaging in a contemporary dance class and to be open, available and personally responsible for new learning. in focus group interviews, group discussions, and questionnaires, students were asked about their ability to navigate the changing modi operandi found in the study. at the onset of the study, one student expressed that: ‘for me, engaging in my contemporary class means trying everything, and even more so things that i am not used to, so that i can evolve more’ (focus group interview october 2014). initial responses as the one above were compared with responses made at later points during the study, such as this student’s statement: for me, to stay fully engaged and tuned into myself within this contemporary dance class, i need to understand. i need to be able to give context to what i am doing to facilitate the full potential of the exercise or concept (focus group interview february 2015). yet critical self-reflection also led to some uncomfortable realizations, such as recognition of the high expectations for recognizing improvement that one places on oneself as expressed by the following: ‘i expect from classes to do as much as i can. it’s just—i always kind of pressure myself to come back, and i expect to see improvement’ (focus group interview february 2015). this issue of self-expectation appeared to be challenging for many students, especially in an environment that aimed to reserve judgement. a student identified that: ‘it is important for me not to judge myself, but just to observe, experiment, and try as much as possible, thereby tackling problems in a constructive way’ (written response, mixed modal questionnaire march 2015). coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 20 responses demonstrated that a student-centred learning atmosphere was an important condition for developing self-reflection. those responses offered early in the study illustrate that reflection was channelled more toward improvement in physical skills. with time, students reported a growing recognition of the value of self-reflection in developing an ability for directing and evaluating one’s own learning processes that facilitated their availability and openness for novel teaching and learning situations. personal agency confronted with disruption to familiar ways of negotiating training situations, the group was brought into dialogue and discussion about both class content and the teaching methods. students formed and articulated diverse opinions and positioned themselves with personal agency in this new context. a student recounted: ‘i have discussed this class a lot with my colleagues, as this is a new situation for all of us, and everyone has a different opinion about it’ (focus group interview february 2015). later in the study a student noted: there was a more cooperative vibe between the students, which to be honest was much more enjoyable! also, there has been an increase in communication between my colleagues and me about the new concepts that we have learned in and out of the studio, which i personally find incredibly interesting (final full group interview june 2015). personal agency is crucial for artistic work. particularly in the fourth phase the research team noticed a direct correlation between personal agency and performance aptitude. one student reflected: within that directness there was quite a lot of freedom, which was really good. because i feel that gave you so much choice and opened up so many options, and it's interesting to see how different groups interpreted different things. it really shows what an artist is (written response, mixed modal questionnaire march 2015). these comments demonstrate that higher-order thinking processes had become more firmly rooted in students’ practice. one student noted: i'm actually doing something. i'm improving. and that's it. and even if people don't see that i have improved, i don't care, because i did. that's it. and that’s when you start to be more settled and to enjoy everything even more (final full group interview june 2015). transferability the idea of yielding to the methods and materials of the class accompanied the students throughout the entire case study. increasingly those who participated with a curious state of mind accepted that learning does not always follow a linear path and needs time to unfold as coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 21 reflected in the following statement: ‘i give myself the time i need. i not only use my body but also my imagination to learn’ (focus group interview february 2015). another student reflected: ‘when you learn things you either choose to take it on or you don't take it on, and sometimes things take longer’ (final full group interview june 2015). another student observed the need to evaluate the material, rather than to accept it blindly: sometimes it's good if you don't really take everything on from the beginning, because then you think more about it, and it stays with you more because you had a process with it (final full group interview june 2015). as described by the following comment some students began to recognize the impacts of the somatic work in their dance practice: if i think about applying somatics, it's just moving. if i want to do an exercise, i really think about myself and how my body moves through space and how i do something. i just feel like all the bumps in my phrases have smoothed out. that's a really cool feeling. like when we do floor phrases. i mean one of the first ones we did lasted two weeks. it was long, but i feel like when you're applying somatics, then things come fluidly, and you don't necessarily understand why it's fluid, but it just happens (final full group interview june 2015). another commented: i had some really strong sensations about it. it feels normal and integrated as well, so i am happy that i can feel it in my body. i can feel it even more actually when i do really physical things, for example in different classes. and then i try to find a different way to do it, and then i think “how would i do it if i were in jenny's class or in nina's class?” and then i kind of find a different impulse or different way, and then it sometimes actually works faster as well, as i try to think how i would approach it in a somatic kind of way (final full group interview june 2015). during the year students became less dependent on personal feedback or corrections. the hesitation at the beginning of the year to work in pairs or small groups was replaced with an eagerness to engage in cooperative learning and peer-tutoring frameworks, as they could work from a place of personal agency, knowledge transfer, self-reflection, and self-confidence. this all required time. critical reflection and summary dancers aiming for careers as performers often have explicit expectations and assumptions about dance training and technique, summed up by learning fast, pushing hard, sweating and being corrected. competition in the dance industry is intense and for many a performing career coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 22 is one of limited duration. accordingly, dancers typically identify their goals at an early age and strive to achieve them in the most direct way possible (buckroyd 2000). learning with the feldenkrais method proceeds along indirect pathways and makes evident that disruption of known patterns and acceptance of states of uncertainty spawn creativity. improvement is measured through pleasure and ease. these criteria stand in contrast to a prevalent position in conservatory-based dance practice that posits if the movement is pleasurable and easy, the dancer is either under challenged or his/her delivery of the movement is lacking in the necessary push and will power. clearly the focus of the study did not always align with the dancers’ expectations for technique class or with the skill set they already possessed. many encountered destabilizations and/or discomfort as their familiar modes of practice were disrupted. for some this produced motivational and/or cognitive dissonances, others faced periods of boredom. frustration and experiences of loss arose when known measures for weighing and balancing the physical sensations of effort and movement were recalibrated. the u-shaped trajectory of change (gershkoff-stowe and thelen 2004; stavy 2012) as described in the graph below aptly represents the developmental curve that many students experienced during this study. learners were asked for patience, open-mindedness and the facility to dwell in liminal moments of uncertainty. the persistence to move through states of disorganization in which known strategies and sometimes automatized patterns of behavior were questioned before new competencies formed was needed (stavy 2012). the study required stamina on the part of the entire research group to work through discomfort and to allow time for new skills to take hold. dewey reminds us that certain subprocesses are involved in reflective thought: “these are: a state of perplexity, hesitation and doubt; and an act of search or investigation directed toward bringing to light further facts which serve to corroborate or to nullify the suggested belief” (1997: 9). i believe that educators and educational institutions should be cognizant of the findings regarding u-shaped trajectories of change to encourage patience when coping with the difficult phases of reorganization, during which students might experience stagnation and frustration (krasnow and wilmerding 2015). without this understanding there is a risk that student engagement with unfamiliar opportunities for learning might be reduced or even halted before they have the chance to experience their possible benefits (narciss, s. and matko, k. 2016: 89). in this sense the research team would have appreciated a more genuine welcoming of the study’s teaching and learning methods as a constructive curricular contribution from the faculty and institution’s direction. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 23 figure 1: u-shaped curve of changes in competencies within training and instruction, adapted from slavy 2012: narciss, s., matko, k. (2016) in (ed) coogan, j. practicing dance: a somatic orientation, p. 85. the students who exited the study could not find value in the work and expressed that the physical material was not challenging enough, the class pacing too slow, and the amount of repetition and discussion tedious. these comments reveal that their expectations were not those put forward in the study. the affective responses of these students led to disrespectful behavior, communicated verbally and through aggressive body attitude and disengaged participation. however, the students were empowered with a voice and i had to accept the reality of how the voices of these young dancers between sixteen and eighteen years of age were expressed. i was challenged to be aware and in control of my own affective responses to the resistance i encountered. those who engaged with openness were aware of the change in the environment once the disruptive element disappeared, and one expressed: ‘for me it was really prominent to actually see … how certain concepts will click because a negative energy is brought out; it's just gone’ (final full group interview june 2015). every year there are students who participate in their contemporary dance technique classes with varying degrees of frequency. often students principally interested in the classical dance idiom do not endow the same attention, motivation, presence or interest to their contemporary dance course. throughout the six semesters of study, this course that meets daily is mandatory; however, there is no attendance requirement. therefore, faculty members must tolerate student coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 24 absence. the only requirement is to pass the practical examination at the end of the academic year. as the examination for the course in which the case study was located took place in the class of my colleague, these students experienced no consequence for their absence in my class. throughout the study i questioned to what extent i could accommodate the students’ desire for a fast paced purely physical studio practice without compromising my own teaching ethos. during the study’s early phases, students expressed a desire to “dance more” and to learn a greater range of movement material. this desire was met during the first phase in preparation for a performance of class material as part of an open-house event, and during the second phase through a period of a guest residency. the third phase was the most challenging and was met with the most amount of resistance. the dancers felt they were not moving forward quickly enough, and this was the phase in which the degree of power-driven physicality was most reduced. i had timed this phase to correspond with a month of daily rehearsals with a guest choreographer. i reasoned that the hours of daily rehearsal would balance the students’ desire for high powered physicality in their contemporary technique class. unfortunately, the choreographic project was deemed disappointing as only a few of the nineteen students were fully integrated into the creation. encountering frustration, i encouraged the participating students to recognize the cumulative progression and structure of the study’s five phases, and as the study continued, emphasis was directed to the assimilation and performance of virtuosic choreographic material. those students who persevered with the process reflected on uncomfortable or dissatisfactory moments during the study, but by its end acknowledged these situations as beneficial. one student said: it felt like especially for me when we were doing a lot of feldenkrais at that period of time that i didn't find it very beneficial at all. but now coming back and distancing myself from it, now i can actually see how it helps me and why certain things are easier now. but unfortunately, in that period of time i was just not so into it, but now i appreciate it a lot more. so i think that it is a good experimental phase, and i think that other people might feel the same (final full group interview june 2015). students recognized the integration of the feldenkrais method most clearly during the third phase when fifteen-minute awareness through movement lessons were often offered at the beginning of the class. however, they needed more direction in understanding how fundamentals of this method guided the entire study and were woven into all its parts. a period of orientation at the beginning of the study year in somatic-dance methodologies and experiential practice with the feldenkrais method, independent of the dance technique class, would have been useful for clarifying the conceptual underpinnings of the study and its pedagogical strategies. the supplementary afternoon workshops scheduled intermittently throughout the year were beneficial but too irregular. the dancers’ dense amount of coursework coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 25 and rehearsals (often from 8 am to 7pm) prohibited the scheduling of additional workshop sessions. 11 the feldenkrais method relies on the innate intelligence of the individual’s nervous system to learn. the teaching in this method helps the learners to ‘find out’ themselves, rather than being told exactly what to do or to imitate the movement form through the demonstration of the teacher or other fellow students. in this way the method refrains from explicitly determining what the learning might be and how it might be physically expressed. i aimed to create an atmosphere of allowing rather than declaring; one that conveyed authority without being authoritarian. my use of language was directive, conditional, and imaginative. questions were posed. situations in which i asked the students to make their own contextually informed choices or returned their questions with another, often proved difficult. the students wanted to be told exactly what to do and how to do it. at times, they responded to my questioning with phrases such as “tell me what you want” or, “don’t ask me what i want, or how i think i should do it”. these comments reveal that some students perceived the invitation to make their own choices as cognitively tiresome, time consuming and an indication that i was unclear about my intentions and aims. as the case study was embedded in a pre-professional dance performance program in which virtuosic motor skills are schooled, it is essential for the teacher, at times, to be explicit both through language and physical demonstration. in retrospect, the methods and materials of the study might have been more accessible for the students had i used more imitative and declarative formats throughout the study. at the beginning of the study the dancers’ processes of moshe feldenkrais’ reflection-in-action and those theorized by educationalist donald schön’s (2016) reflection-on-action, were yet to 12 be anchored in their practice. however, the link between agency and self-reflection grew throughout the year. a student acknowledged the nature of the learning process as follows: the movement themes of previous phases led up to the big movement pattern we dealt with over the last few weeks. that's why, even if the material might have been a little difficult to handle in the first place, it didn't totally overwhelm me. principles like the starfish, ideas about how to work and roll on the floor, or even whole steps were familiar to me and therefore made it easier for me to deal with the complexity of the phrase (focus group interview march 2015). 11 both nina hänel and i offered students individual lessons in functional integration upon request and free of charge. ten students took advantage of this opportunity that enabled them to better understand how to bring in strategies of the method into their own practice. 12 for each, learning from experience requires shuttling back and forth from observations, to examination and reflection on those observations, and then acting on those conclusions. the more people reflect on action, the better they get at reflecting and the more they can learn about themselves. coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 26 another reported that what had become important were issues such as ‘taking things and processing them. not only taking them in, but maybe questioning them, and answering them again’ (final full group interview june 2015). positive effects were often registered, acknowledged, and experienced with time – a summer break – or with new experiences in further years. at the end of the study a student exclaimed: i feel like somatics is kind of a thing… you have to understand. it can't be ‘ok, i get an explanation, and now i understand it.’ … you have to go through it; you have to do it and experience it (student and alumni interview october 2015). another student commented: what i experienced in feldenkrais was to focus totally on understanding what we were doing. and i would feel this sensation in feldenkrais, especially the ease, and try to keep this feeling. but that was hard and the feeling would disappear, so it took a while to apply this in my dancing. as the sensations became clearer and i noticed when the sensations changed and what is good for me, i could start to apply this approach in my ballet and contemporary classes (student and alumni interview october 2015). all participants in the study were invited to reconsider individual biases and presuppositions, and to encounter a juxtaposition of viewpoints and epistemologies in working processes with acceptance and empathy. the research team sought to respect the decisions of all, including those students who struggled to find value in the study. in retrospect i believe that the sharing of teaching responsibilities for this daily course should have begun at the onset of the study. greater variety in teaching methods for the course might have made this unfamiliar modus for studio practice more palatable and less threatening. the simultaneity of teaching and research was a first-time experience for both the students and me as teacher-researcher. therefore, it was essential for the research team to keep the students as the center of attention. in hindsight, the quantity of data collected during all parts of the study might have been overwhelming, leading students to experience competition with the research. however, the benefits for locating this qualitative action research in a mandatory curricular course class drew the entire community together in reflective, practice-led research. the comments of the participating students did not identify their age or relative immaturity as factors inhibiting them from finding access to the study’s offerings. this supports my persuasion that somatic approaches can begin at the onset of the dancer’s conservatory education. students’ comments identify that a somatically informed pedagogy informed by the feldenkrais method can support the development of these students’ personal and collective agency, and self-reflective skills and that this learning can be transferred to other areas of their lives. one student conjectured: ‘clearly that it is you who needs to figure it out, otherwise it is not going to be of any help’ (focus group interview october 2015). coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 27 another commented: i had some really strong sensations about it. it feels normal and integrated as well, so i am happy that i can feel it in my body. i can feel it even more actually when i do really physical things, for example in different classes. and then i try to find a different way to do it, and then i think “how would i do it if i were in jenny's class or in nina's class?” and then i kind of find a different impulse or different way, and then it sometimes actually works faster as well, as i try to think how i would approach it in a somatic kind of way (student and alumni interview october 2015). in addition, the data revealed that this manner of learning does not speak to everyone. clearly it was not accessible for those expecting and demanding a teacher driven highly physical practice. therefore, it is essential to offer students a range of teaching and learning methods and strategies so that all can move forward through direct and indirect pathways of learning. a student remarked: well the beginning of the year was difficult. i had never done something like this before, and you really have to be open, ready, and willing—otherwise it is not a good experience. it changed into a good experience for me. and i noticed that even at the end of the year some people in our class were still not open to accepting what was offered. you have to be open in order to accept it (final full group interview june 2015). the study’s methods did not seek to replace or to question existing ones in the palucca university, but rather sought to bring greater methodological diversity into the institution in a spirit of co-existence. a coherent curriculum, fluid communication and acceptance of difference among faculty members are of utmost importance for enabling the students to experience their vocational education from a multiplicity of perspectives in order to navigate with resilience through life’s ever-changing terrains, one that includes the professional field of performing dance. working somatically means to value difference, accept perspectives other than one’s own, and invite a space for everyone in the community to discover and to pursue their own truth. this state of awareness can help one to realign and reorient in new relationships, and to welcome serendipity. i conclude with a reflection of a recent graduate: i find it interesting that there is always a kind of rebellion against the introduction to somatics during the first year of the bachelor’s program. i remember hearing students pass on advice to the younger ones, telling them “don’t give up!”, “it will be worth it”, “make it happen!” and i think that’s kind of inherent in somatic practices, that there is a moment where you can decide to be open, which is not always so easy to take because you don’t get immediate rewards. the somatic way takes you out of normalcy, and you have to wait to get results (alumni comment at the student and alumni interview october 2015). coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 28 references alexander, k. (2003) ‘unravelling the dance: an exploration of dance’s underdeveloped relationship with its kinesthetic nature, with particular reference to skinner releasing technique’. in hargreaves, m. (ed.) ​new connectivity: somatics and creative practices in dance education. ​papers from laban research conference. london: laban centre, 19-22 brodie j., and lobel, e. (2012) ​dance and somatics. mind-body principles of teaching and performance ​. jefferson, north carolina and london: mcfarland & co inc. buckroyd, j. (2000) ​the student dancer​. london: dance books clarke, s., (2017) keynote address at the ​bodily undoing symposium​ bath spa university (author’s notes) coogan, j. (2016) (ed.) ​practicing dance: a somatic orientation. ​berlin:​ ​logos verlag berlin corbin, j., and strauss, a. (2015) ​basics of qualitative research: theory and procedures of developing grounded theory.​ thousand oaks: sage publications creswell, j. (1998) ​qualitative inquiry and research design: choosing among five traditions. thousand oaks: sage publications deese, j. (1966) ​the structure of association in language and thought​. baltimore: the johns hopkins university press delahunta, s., and hoerster, e.m. (2007) ‘rethinking tools: based on interviews conducted during mode05’. in ​reverse engineering education: dance, choreography and the performing arts​. ed. by delahunta, s. and hoerster, e. mode05, berlin: b-books verlag, 88-95 dewey, j. (1997) ​experience and education ​. new york: touchstone dewey, j. (1997) ​how we think.​ mineola: dover publications dewey, j. ([1934] 2008) ​art as experience ​. new york: perigree books feldenkrais, m. (1972) ​awareness through movement. ​new york: harper & row publishers feldenkrais, m. (1981) ​the elusive obvious​. cupertino: meta publications feldenkrais, m. (1985) ​the potent self: a study of spontaneity and compulsion​. san francisco: harper & row publishers coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 29 fortin, s. (1993) ‘when dance science and somatics enter the dance technique class’. kinesiology and medicine for dance ​ 15 (2), 88-108 fortin, s. (2003) ‘dancing on the mobius band’. in hargreaves, m. (ed.) ​new connectivity: somatics and creative practices in dance education. ​papers from laban research conference. london: laban centre, 3-10 fortin, s., vieira, a., and tremblay, m. (2002) ‘three voices: researching how somatic education informs contemporary dance technique class’. ​research in dance education ​ 3 (4), 155-179 freire, p. (1993) ​pedagogy of the oppressed ​. london: penguin gershkoff-stowe, l., and thelen, e. (2004) ‘u-shaped changes in behavior: a dynamic systems perspective’. ​journal of cognition and development​ 5 (1), 11-36 giguere, m. (2015) ‘dance education action research: a twin study’. ​research in dance education ​ 16 (1), 16-32 green, j. (2001) ‘socially constructed bodies in american dance classrooms’. ​research in dance education ​ 2 (2), 155-173 green, j., and stinston, s. w (1999) ‘post-positivist research in dance’. in ​researching dance: evolving modes of inquiry​. ed. by fraleigh, s. and hanstein, p. pittsburgh: university of pittsburg press, 91-123 johnson, d. h. (1994) ​body, spirit and democracy. ​berkeley: north atlantic books johnson, d. h. (ed.) (1995) ​bone, breath and ​gesture: ​practices of embodiment​. berkeley: north atlantic books krasnow, d., and wilmerding, m. (2015) ​motor learning and control for dance: principles and practices for performers and teachers.​ champaign: human kinetics luhmann, n. (1995) ​social systems. ​stanford: stanford university press myers, m. (1983) ‘body therapies and the modern dancer’. ​dance magazine ​ 57 (august), 1-24 narciss, s., and matko, k. (2016) ‘students’ perceptions and acceptance of somatic instructional opportunities: an analysis from a psychological perspective’. in ​practicing dance: a somatic orientation ​. ed. by coogan, j. berlin: logos verlag, 83-93 parviainen, j. (2003) ‘dance techne: kinetic bodily logos and thinking in movement’. ​the nordic journal of aesthetics​ 15, 159-175 coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 30 raman, t. (2009) ‘collaborative learning in the dance technique class’. ​research in dance education ​ 10 (1), 75-87 robson, c. (2011) ​real world research ​. chichester: john wiley & son ltd röttger-rössler, b., and slaby, j. (eds.) (2018) ​affect in relation – families, places, technologies. essays on affectivity and subject formation in the 21​st​ century.​ new york: routledge schön, d. (2016) ​the reflective practitioner: how professionals think in action ​. new york: routledge shapiro, s. (ed.) (1998) ​dance power and difference:​ ​critical and feminist​ ​perspectives on dance education ​. leeds: human kinetics sieben, i. (2011) ‘working somatically, supporting technique for contemporary dance’. in tanztechniken 2010​. ed. by diehl, i. and lampert, f. leipzig: henschel, 136-145 spatz, b. (2015) ​what a body can do ​, ​technique as knowledge​, ​practice as research​. new york: routledge stavy, r. (ed.) (2012) ​u-shaped behavioral growth ​. new york: elsevier steinmüller, w., schaefer, k., and fortwängler, m. (2001) ​gesundheit-lernen-kreativität​. bern: hans huber verlag varela, f.j., thompson, e., and rosch, e. (1992) ​the embodied mind: cognitive science and human experience.​ cambridge, mass.: mit press von glasersfeld, e. (1995) ​radical constructivism. a way of knowing and learning.​ new york: routledge walach, h., buchheld, n., buttenmüller, v., kleinknecht, n., and schmidt, s. (2006) ‘measuring mindfulness—the freiburg mindfulness inventory (fmi)’. ​personality and individual difference ​ 40, 1543-1555 wilson, m. (2009) ‘dance pedagogy case studies: a grounded theory approach to analyzing qualitative data.’ ​research in dance education ​ 10 (1), 3-16 wisker, g. (2001) ​the postgraduate research handbook​. new york: palgrave macmillan coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 31 biography jenny coogan born in the usa, coogan is based in germany where she is professor for contemporary dance at the palucca university of dance dresden. for nearly forty years she has worked internationally as a dance artist, educator and scholar, performing, choreographing, teaching, researching and publishing. she directed the repertory-touring ensemble, ​coogan dancers​, whose productions appeared throughout europe and in the usa. since 2011, she directs artrose​, an intergenerational community dance ensemble. coogan received a bachelor of fine arts degree in dance from the juilliard school in nyc, pursued postgraduate studies at the state university of new york at brockport and is currently a doctoral candidate at the centre for dance research at coventry university in the uk. coogan graduated from the berlin 1 feldenkrais training program in 2001. her research works with the feldenkrais method as a scoring practice and creative catalyst in both dance facilitating and dance making. coogan is the editor and principal author of the publication, ​practicing dance: a somatic orientation (2016, logos verlag berlin). coogan • ​feldenkrais research journal, volume 6​ (2018-2019) 32 appendices: examples of instruments used for data collection during the case study phase 3: feldenkrais in dance class the following questionnaire was distributed to students on a biweekly basis during phase 3 of the case study. it was filled in at both the beginning and end of their contemporary dance class. dear students, january 5, 2015 during this 3rd phase of the case study in which you are participating, time will be offered at the beginning of selected zt/mt classes for you to respond to the following questions listed below. reflecting upon these questions, that ask about your momentary mood and state of physical well being, might enable you to better “tune in” to today’s class. please respond to the questions by marking the boxes. 1. at the moment how confident do you feel in your ability to direct your attention to yourself? not at all� slightly� moderately� very� extremely� 2. at the moment how confident do you feel in your ability to distribute your attention between yourself and your environment? not at all� slightly� moderately� very� extremely� 3. how confident are you that you can maintain goal -directedness even when encountering difficulties in today’s class? not confident� slightly confident� moderately confident � confident� very confident� 4. how curious are you to explore unfamiliar movement patterns and possibilities in today’s class? not at all� slightly� moderately� very� extremely� 5. to what degree are your experiencing fatigue or alertness at the moment? very fatigued� moderately fatigued � neither-nor� moderately alert� very alert� 6. at the moment are your dealing with an injury? � yes � no 7. if you are dealing with pain, how intense is it at the moment on a scale of 1 – 100? 1 ───────────────────────────────────────── 100 8. to what extent do you feel confident in your ability to actively engage in today’s class? not confident� slightly confident� moderately confident � confident� very confident� coogan • feldenkrais research journal, volume 6 (2018-2019) a1 disk diagram dear students, on the accompanying disk-shaped diagram, please identify four points of interest or goals that are important for you in today’s class. write these in the four corners of the disk. use the symbol “i” in the four fields to correspond to the importance of these goals for you today, and use the symbol “c” to correspond to how confident you feel of your ability to achieve these goals. the closer you set your “i” and “c” to the center of the disk, the more relevant these goals are for you. next, using the symbols “m, a, t, ma, mt, ta”, please mark in the appropriate fields how you feel these criteria will help you to achieve your goals. the closer you set your sign to the center of the disk, the more helpful you feel the criterion is for you. please mark with my own facility alone will help me to address these goals. m the atmosphere of the class alone will help me to address these goals. a the teacher’s input in the class alone will help me to address these goals. t the combination of my own facility and the atmosphere of the class will help me to address these goals. ma the combination of my own facility and the teacher’s input will help me to address these goals. mt the combination of the teacher’s input and the atmosphere of the class will help me to address these goals. ta coogan • feldenkrais research journal, volume 6 (2018-2019) a2 coogan • feldenkrais research journal, volume 6 (2018-2019) a3 how to assemble your code: first letter of the first name of your mother: ……… (i.e. “m” for michaela) second to last letter of the first name of you father: ……… (i.e. “a” for stefan) day of your birthday: ….….. (i.e. “07” for 7th of june) first letter of your hometown: ……… (i.e. “d” for dresden) in case an “umlaut” (ä, ö, ü) is asked in one of the following questions, please enter the appropriate vowel (a, o, u); example: ä à a. coogan • feldenkrais research journal, volume 6 (2018-2019) a4 phase 4: student centered, self-organized learning dear students, march 24, 2015 now at the end of the 4 th phase of the case study in somatically orientated teaching and learning in dance, we kindly ask you to complete the following questionnaire by marking the appropriate smileys and adding, if you wish, your own commentary in the boxes below. code first letter of the first name of your mother: (i.e. “m” for michaela) second to last letter of the first name of you father: (i.e. “a” for stefan) i participated fully in of the 10 sessions. i participated partially in of the 10 sessions. i agree fully……………not at all. 1. small group work overall, working together in my small group with the material… helped me to learn the material more fully. offered me the possibility to express my own ideas. was enriching through the exchange with others. inspired me to try out the ideas of others. created a productive atmosphere. created an atmosphere of trust and acceptance. coogan • feldenkrais research journal, volume 6 (2018-2019) a5 the work in the small group supported my understanding of: fluid coordination phrasing the work in the small group supported my ability to apply these qualities in practice: fluid coordination phrasing the work in the small group helped me improve performance skills dancing the material. the work in the small group helped me improve performance skills dancing the material. commentary relating to the category of questions above: 2. digital feedback i used the video material as a tool to give feedback to myself. using the video supported my self-reflective and physical processes. sharing the video with others invited discussion. commentary relating to the category of questions above: coogan • feldenkrais research journal, volume 6 (2018-2019) a6 3. teaching format the non-changing format of the warm-up gave me the space to tune into myself. the teachers’ way of “mentoring” during the phase in small groups was helpful for me. the sharing, dancing and observing, with the whole group at the end of the class was for me: satisfying irritating important helpful scary enjoyable the format of these sessions encouraged me to explore different approaches in: learning given material, interpreting and performing given material. commentary relating to the category of questions above: coogan • feldenkrais research journal, volume 6 (2018-2019) a7 4. space and time factors the division of time between warming-up, learning and reviewing the material, working in the small group and sharing with others was appropriate. i would have preferred to have more time for: warming-up working on the phrase material altogether working on the phrase material in my small group sharing the dance with everyone. the amount of space in the studio for working in my small group was sufficient. commentary relating to the category of questions above: coogan • feldenkrais research journal, volume 6 (2018-2019) a8 5. last but not least could you make connections between the movement themes in this phase with movement themes introduced to you during other phases of the case study? do you have any issues that you think should have been addressed more intensively during this phase? can you express which format(s) for the final phase of this study you think would best support your own artistic development? hint: consider the teaching/learning formats you experienced thus far this academic year. we thank you for your participation! coogan • feldenkrais research journal, volume 6 (2018-2019) a9 phase 5 dear students! june 2015 the following questions aim at understanding how you perceive yourself, both in the context of your dance program, and in a more general way. we wish to learn how you feel about your dance practice, which learning strategies and tools you use to support your understanding, and how you deal with difficulties that arise. please provide an answer for every statement as best as you can. there are no “right” or “wrong” answers, nor “good” or “bad“ responses. this is about your personal point of view. thank you for your participation! code first letter of the first name of your mother: (i.e. “m” for michaela) second to last letter of the first name of you father: (i.e. “a” for stefan) day of your birthday: (i.e. “07” for 7th of june) coogan • feldenkrais research journal, volume 6 (2018-2019) a10 ra re ly o cc as si on al ly fa ri ly o ft en a lm os t al w ay s the questions below address your general experience of mindfulness, awareness and being in the present moment. i am open to the experience of the present moment. � � � � i sense my body, whether eating, cooking, cleaning or talking. � � � � when i notice an absence of mind, i gently return to the experience of the here and now. � � � � i am able to appreciate myself. � � � � i pay attention to what’s behind my actions. � � � � i see my mistakes and difficulties without judging them. � � � � i feel connected to my experience in the here-and-now. � � � � i accept unpleasant experiences. � � � � coogan • feldenkrais research journal, volume 6 (2018-2019) a11 � � � � � � � � � � � � � � � � � � � � � � � � no t a t a ll tr ue o f a lit tle b it tr ue o f m e m od er at el y tr ue o f m e tr ue o f m e ve ry tr ue of m e i am friendly to myself when things go wrong. i watch my feelings without getting lost in them. in difficult situations, i can pause without immediately reacting. i experience moments of inner peace and ease, even when things get hectic and stressful. i am impatient with myself and with others. i am able to smile when i notice how i sometimes make life difficult. in the following, you see statements about learning strategies you can use when you are studying dance, independent of specific styles. please consider how often you use these strategies during your general dance practice. when i study dance, i memorize what i need to learn by practicing the steps over and over again. � � � � � i study dance by thinking over the movement concepts. � � � � � when i encounter complex movement material, i make decisions about which parts of it i want work on first. when i learn complex movement material, i translate the underlying movement concepts into my own words. when practicing dance, i try to determine how well i have learned the topics that i need to know. if the information given to me concerning my dance practice is difficult to learn, i slow down and take more time. if i don’t understand the given information concerning my dance practice i ask my teacher for help. when i study dance, i memorize what i need to learn by thinking over the movement concepts. � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � by practicing the steps over and over again, i can memorize them. � � � � � coogan • feldenkrais research journal, volume 6 (2018-2019) a12 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � when studying in dance class, i try to connect new input to what i already know. i study complex movement material by giving myself mental cues in order to help me organize what i need to learn. i study dance by practicing the steps in order to memorize them. if i don’t understand the given information concerning my dance practice i look for support through media like videos, youtube and books. i make connections between how i solve one challenge with the way i could solve other challenges. when i’m learning new topics, i test myself to see whether i have understood the subject matter. if the given information concerning my dance practice is confusing for me, i go back and try to figure it out. if i don’t understand the given information concerning my dance practice i ask other students for help. when i encounter complex movement material, i use strategies to break it down into smaller components to understand it better. i connect what i learn in one dance class to what i am learning in other classes. when i study new topics in dance class, i ask myself questions to make sure i know what i have been learning. if i think i don’t know the given information concerning my dance practice well enough, i make sure i learn it before going onto the next step. when i study complex movement material, i try to help myself by recognizing the underlying movement concepts behind the steps. when i study dance, i mentally review the movement concepts in order to memorize them. when practicing dance, i check whether i can deal with the topics that i’m learning. if i’m having trouble solving difficulties in my dance practice, i try other ways to solve them. if i don’t understand the given information concerning my dance practice i ask for help to better understand the movement concepts. coogan • feldenkrais research journal, volume 6 (2018-2019) a13 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � to ta lly di sa gr ee ag re e a lit tle bi t m od er at el y ag re e st ro ng ly ag re e ve ry s tr on gl y ag re e the following statements concern your experiences in your contemporary dance program. please estimate to what extent you agree with these statements. in my contemporary dance program, i feel very strongly that the way i dance fits perfectly the way i prefer to dance. i feel that i execute very effectively the required exercises of my contemporary training program. in contemporary dance class, i feel that i associate with my fellow students in a very friendly way. in my contemporary dance program, i feel i have been making a huge progress with respect to the end result i am pursuing. in my contemporary dance program, i feel that the way i dance is definitely an expression of myself. in my contemporary dance program, i feel very much at ease with my fellow students. dancing in the style of contemporary dance i feel very competent. in contemporary dance class, i feel there are open channels of communication with my fellow students. in my contemporary dance program, i feel very strongly that i have the opportunity to make choices with respect to the way i dance. in contemporary dance class, i feel extremely comfortable with my fellow students. i feel that i can manage the requirements of the contemporary dance program in which i am involved. the contemporary dance program i follow is highly compatible with my choices and interests. coogan • feldenkrais research journal, volume 6 (2018-2019) a14 end evaluation july 3, 2015 for the end evaluation, the students toured through a parcour of five posters representing the five phases of the case study. on each of the five posters were the symbols pictured below. they were asked to recall their reflections, remembrances, and reactions to the different phases of the study by notations on post-it slips. this was the only opportunity for students to reflect and write about the entirety of the study in one session. after the note posting was complete, a group discussion followed in which students expanded upon their written responses. this interview has been, like all others previously, transcribed. this really caught me this was difficult for me this clicked for me i’m glad to have learned this this weighs on me coogan • feldenkrais research journal, volume 6 (2018-2019) a15 coogan • feldenkrais research journal, volume 6 (2018-2019) a16 these instruments were constructed by jenny coogan with the support of innolernentanz team members, dr. susanne narciss, karin matko, anja balzar, and nina hänel. the phase 5 mindfulness questionnaire was adapted from the freiburg mindfulness inventory questionnaire (walach et al. 2006). coogan • feldenkrais research journal, volume 6 (2018-2019) a17 feldenkrais research journal • volume 1 (2004) article zur eigenen sprache kommen: scientists meet feldenkrais teachers. überlegungen zu einem notwendigen dialog werner schacker dip. ed. abstract im dezember 2002 trafen sich führende wissenschaftler und feldenkrais-lehrer in paris zu einem dialog (1) . in einer entspannten, angenehmen und anregenden atmosphäre hörte sich eine gruppe von feldenkrais-lehrern aus aller welt vier tage lang interessiert vorträge an. das war ein wichtiger anfang, aber noch kein wirklicher dialog. ich habe mich von diesen vorträgen und gesprächen mit kolleginnen und kollegen anregen lassen, ein paar gedanken zum verhältnis feldenkrais und wissenschaft aufzuschreiben. dies ist eine persönliche antwort, die ebensoviel mit dem, was mir dort begegnet ist und was ich dort vermisst habe -, zu tun hat, wie mit meinem persönlichen und beruflichen hintergrund. andere würden andere antworten finden. so könnte ein weiterführender dialog entstehen. meine gedanken sind eher assoziativ und fragmentarisch als systematisch. sie wollen eine diskussion anregen, nicht etwas belegen und begründen. keywords feldenkrais, scientific method, experience, knowledge, embodied life, soma copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author zur eigenen sprache kommen scientists meet feldenkrais teachers. überlegungen zu einem notwendigen dialog von werner schacker im dezember 2002 trafen sich führende wissenschaftler und feldenkrais-lehrer in paris zu einem dialogi. in einer entspannten, angenehmen und anregenden atmosphäre hörte sich eine gruppe von feldenkrais-lehrern aus aller welt vier tage lang interessiert vorträge an. das war ein wichtiger anfang, aber noch kein wirklicher dialog. ich habe mich von diesen vorträgen und gesprächen mit kolleginnen und kollegen anregen lassen, ein paar gedanken zum verhältnis feldenkrais und wissenschaft aufzuschreiben. dies ist eine persönliche antwort, die ebensoviel mit dem, was mir dort begegnet ist und was ich dort vermisst habe , zu tun hat, wie mit meinem persönlichen und beruflichen hintergrund. andere würden andere antworten finden. so könnte ein weiterführender dialog entstehen. meine gedanken sind eher assoziativ und fragmentarisch als systematisch. sie wollen eine diskussion anregen, nicht etwas belegen und begründen. wissenschaft und feldenkrais ein feldenkrais-lehrer erwirbt in seiner ausbildung ein „wissen“, auf das er in seiner praxis zurückgreift und in einem lernprozess gemeinsam mit seinen klienten weiterentwickelt. es ist ganz offensichtlich von anderer art, als das, was traditionell in der „wissenschaft“ii als wissen gilt. das macht einen dialog schwierig und interessant zugleich. die feldenkrais-methode ist zuerst einmal eine experimentelle praxis, die von bestimmten expliziten und impliziten grundannahmen geleitet wird, in die eine reihe unterschiedlicher erfahrungen/konzepte/theorien.....iii eingegangen sind. das geschieht bis heute weitgehend unsystematisch, weitgehend ungeklärt und eher nach persönlichen vorlieben und zufällen. es herrscht, wie petzold das kritisch angemerkt hat, „eine relative stagnation, was forschung, theoretische modellentwicklung, klinische erprobung ... anbelangt.“(petzold 2001, s.233) zugleich gibt es einen gewissen druck, sich wissenschaftlich zu legitimieren, verbunden mit der hoffnung nach besserer gesellschaftlicher anerkennung. und, zumindestens bei mir, einen wunsch nach einem theoretisch plausiblen konzept für die feldenkrais-methode, das auf der höhe der zeit ist und unsere praxis vertieft und bereichert. gemeint sind hier nicht wirksamkeitsstudien, die sicher ihren wert haben und z. b. für eine etablierung im gesundheitssystem notwendig sind. solche studien helfen bei der entwicklung einer wissenschaftlich fundierten, dialogfähigen konzeption allerdings nicht viel weiter. ein nachweis der wirksamkeit bedeutet ja nicht notwendiger weise, dass man die wirkmechanismen verstanden hat. in „abenteuer im dschungel des gehirns“ hat moshè feldenkrais geschrieben, dass die arbeitshypothese dieser fallbeschreibung „irgendwo zwischen intuition und der glaubenslehre einer kommenden wissenschaft“ liegt (feldenkrais1981, s.7). von dieser kommenden wissenschaft sind wir immer noch weit entfernt. aber die bedingungen dafür sind besser geworden. eine solche wissenschaft lässt sich nur im dialog entwickeln. mir geht es hier um einige möglichkeiten und bedingungen eines solchen dialogs mit den unterschiedlichen wissenschaften und was feldenkrais-lehrer und wissenschaftler dabei voneinander lernen könnten. ich werde bei der feldenkrais-praxis beginnen, um dann zu skizzieren, wie sich daraus eine eigene sprache entwickelnde könnte. 2 w.schacker/feldenkrais research journal 1 (2004) unterschiedliche praxis-, erfahrungsund wissensformen die feldenkrais-methode ist eine praxis, eine praktische kunstiv, bewegung so zu nutzen, dass ein grundlegender lernprozess angestoßen wird. es wird immer wieder betont, dass es dabei nicht nur um mehr beweglichkeit im sinne einer physiotherapie geht, sondern um mehr selbstbewusstsein und reiferes verhalten. v natürlich gehen wissenschaftlich gewonnene erkenntnisse in diese praxis ein. aber die entscheidung, das eine oder andere zu tun, der nächste schritt, hängt nicht von externen regeln, äußerem wissen und bestimmten techniken ab, sondern von der lebendigen erfahrung zwischen den beteiligten im kontakt. das ist eine experimentelle situation. in dieser situation geht es aber nicht, wie in einem wissenschaftlichen experiment, um objektivierbare daten, sondern um den nächsten passenden schritt in einem lernund wachstumsprozess. das wissen, das sich dabei entwickelt, verdankt sich einem hohen grad der genauigkeit der wahrnehmung und der entwickelten bewusstheit.vi es ist zutiefst den existenziellen vorgängen verpflichtet, durch die hindurch es zustande kommt. alles was wir von anderen wissenschaften aufnehmen, müsste in dieses wissen integrierbar sein und an diese vorgänge zurückgebunden werden können. geht man vom ge-/erlebten leben aus, einer phänomenologie des spürens und erfahrens, dann sind begriffsordnungen unterscheidungssysteme zweiter ordnungvii. wenn wir versuchen mit begriffen ordnung zu schaffen, dann ordnen, systematisieren wir unser erleben, unsere erfahrungen. jede übertragung einer erfahrungsordnung in eine begriffsordnung ist prinzipiell ärmer als die gelebte erfahrung. die begriffsordnungen der naturwissenschaften sind denkbar weit von uns zugänglichen erfahrungen entfernt. zwischen dem erleben von angst und was man davon in worte fassen kann und einer wissenschaftlichen beschreibung dessen, was dabei in der daran beteiligten amygdalaviii vorgeht besteht ein nicht überbückbarer unterschiedix. die begriffsordnungen der (natur)wissenschaften sind deshalb nicht so einfach in die praxis eines feldenkrais-lehrers zu übertragen. jedes wort, jeder satz, jede bezeichnung, die wir finden, um eine erfahrung zu repräsentieren und zu verkörpern, macht diese erfahrung ärmer und deutlicher zugleich. deshalb müssen, die begriffe/konzepte und die sprache immer wieder zurückgebunden werden an das erlebte, erfahrene ..... an die prozess, und sich daraus wieder weiter entwickeln. es ginge also darum, aus dieser praxis heraus eine eigene sprache zu finden, die systematisch, methodisch, genau, empirisch, ....., und doch anders ist als die sprache einer dritte-person-wissenschaft. ich bin sicher, dass es bei den feldenkrais-practitioner einen reichen schatz von erfahrungen, wissen und wahrnehmungsfähigkeiten gibt, der noch gar nicht wirklich entdeckt und zur sprache gekommen ist. und der auch für wissenschaftler interessant ist. exkurs: körper/leib/soma die naturwissenschaften sind in den letzten zweihundert jahren dadurch erfolgreich gewesen, dass sie alles, was sie beobachten und womit sie sich wissenschaftlich beschäftigen, auseinander nehmen, isolieren, um es genau und exakt zu untersuchen und zu messen. das ganze soll dann aus den einzelteilen wieder zusammengesetzt werden. die naturwissenschaften behandeln den körper dementsprechend wie eine maschine, dessen einzelteile man getrennt untersuchen und dann irgendwie wieder zusammensetzen kann. das ist ein sehr erfolgreiches modell in unserer geschichte. unser lebendiger körper, wie wir ihn von innen erleben, kommt darin nicht vor. dieses erfolgreiche, aber auch begrenzte modell, hat durch den systembegriff eine grundsätzliche kritik erfahren, der den zusammenhang und die wechselbeziehungen eines ganzen in den mittelpunkt der aufmerksamkeit rückt. das ist ein zweites erfolgreiches 3 w.schacker/feldenkrais research journal 1 (2004) modell geworden und in der wissenschaft heute gar nicht mehr wegzudenken. und weil es etwas zu thematisieren erlaubt, was vorher ausgeblendet wurde, übt es eine gewisse faszination, auch auf feldenkrais-lehrer, aus. ich glaube, dass wir noch ein drittes modell brauchen.x denn in den beiden ersten modellen kommt auf unterschiedliche weise, unser lebendiger, gelebter, von innen gespürter körper/leib..... gar nicht vor. jedes dieser modelle trägt zum verständnis etwas bei. es geht also nicht darum zwischen ihnen zu wählen, sondern eher sie miteinander ins spiel zu bringen. ansätze zu einem solchen dritten modell und seine möglichen verbindungen zu den anderen modellen gibt es schon.xi ich möchte hier daran anknüpfend ein paar überlegungen zum lebendigen körper/leib vorstellen, um ein gefühl dafür zu entwickeln, warum es für die feldenkrais-methode notwendig ist, ein weiteres konzept vom menschlichen körperxii zu haben, als in den naturwissenschaften üblich. der lebendige körper/leib ist eine zeitgestalt. in ihm ist auf besondere, noch kaum verstandene weise, die geschichte der evolution, unserer gattung, die besondere geschichte unserer kultur in der wir leben mit unserer individuell gelebten geschichte verwoben. der leib ist gedächnis. er bewahrt die erinnerung an diese geschichte. gedächnis gibt es auf allen ebenen der evolution und ist nicht an ein bewusstsein gebunden. unser leib reicht tiefer als unser bewusstsein. er ist verkörperte geschichte, bis in die physiologie. in dem objektivierbaren körper ist das nicht auffindbar. lebendige „systeme“ sind bewegte beziehungsgefüge, die nur in beziehungen existieren und sich in und durch sie entwickeln. jedes beobachtbare verhalten und jede beobachtbare struktur zeigt/verkörpert.... die bis zu diesem zeitpunkt gelebte beziehungsgeschichtexiii. das gilt auch für ein nervensystem, das gehirn, wie für jedes andere organ. hüther nennt z.b. das gehirn ein sozialorgan.(hüther 2001, s.18)xiv wenn wir mit einem solchen „system“, dem lebendigen körper/leib arbeiten, dann kommt die antwort, die wir erhalten, wenn wir etwas tun/sagen.... aus dieser geschichte und bringt einen bestimmten prozess vorwärts oder blockiert ihn. jeder schritt ist die fortsetzung einer bestimmten geschichte. es ginge also darum, den lebendigen/gelebten körper/leib als bewegtes beziehungsgefüge wahr-zunehmen und auch theoretisch und konzeptionell ernst zunehmen. neue lebensmöglichkeiten, neue lebensund bewegungsmuster haben natürlich immer auch eine entsprechende neurophysiologische grundlage, aber diese erklärt/begründet/verursacht.... sie nicht. moshé feldenkrais hat in seinen konzeptuellen überlegungen einen wichtigen schritt getan, weg vom maschinenmodell des menschlichen körpers. „he put the human brain in the organism.“ (wildman s. 9) das hat, schon bei ihm, zu der tendenz geführt, über menschen zu sprechen, als wären sie ein (nerven-) system.xv in seiner theorie bleibt er damit dem dualismus seiner zeit verhaftet, auch wenn er ihn in seiner praxis überwunden hat. zur eigenen sprache finden. wenn wir in einen dialog mit anderen treten wollen, müssen wir sagen können, was uns in unserer arbeit wichtig ist, welche erfahrungen wir dabei machen und zu welchen erkenntnissen wir dabei kommen. wir müssen dazu unsere eigene sprache entwickeln und einüben. das ist nur im dialog möglich. wir stehen damit nicht allein und nicht ganz am anfang. andere methoden/verfahren/wissenschaften ... stehen oder standen vor ähnlichen problemen. die integrative bewegungstherapie von petzold oder die integrative bewegungslehre von moeglingxvi sind z.b. versuche, eine eigene sprache im gespräch mit verschiedenen disziplinen zu entwickeln. auch moshé feldenkrais hat seine methode im dialog mit den unterschiedlichsten gesprächspartnern entwickelt. wir müssen heute einen schritt darüber hinausgehen und die kluft zu überwinden versuchen, die weiterhin besteht zwischen dem in unserer praxis eingebettetem wissen und der darstellung dieses wissens. 4 w.schacker/feldenkrais research journal 1 (2004) wie lässt sich eine solche sprache finden, die die ganze subtilität unserer erfahrungen ausdrücken kann? ein erster wichtiger schritt ist sicher das schreiben von falldarstellungen, die schriftliche dokumentation unserer arbeit.xvii die praxis der video-aufnahmen, die sich inflationär ausgebreitet hat, hat die sprachliche dokumentation der arbeit ganz verdrängt oder gar nicht erst entstehen lassen. man stelle sich einmal vor, moshe feldenkrais hätte viel mehr fallbeschreibungen, wie „abenteuer im dschungel des gehirns“ geschrieben, statt die dokumentation seine arbeit den videos zu überlassen. das verbalisieren und schreiben ist entscheidend für jede seriöse erforschung subjektiver erfahrung. man muss allerdings erst lernen, möglichst nahe an der gelebten erfahrung zu bleiben, sich vor allen schnellen formulierungen zu hüten, geduldig dabei zu bleiben. dann kann sich eine sensibilität für die nuancen entwickeln, die zwischen erfahrung und ihrer verbalisierung existieren. es könnte sich eine sprache entwickeln, die aus der erfahrung kommt und immer wieder zu ihr zurück geht, statt ein kommentar über die erfahrung zu sein. das ist auch immer wieder ein schritt hin zu mehr bewusstheit. aber die sprache kann nicht nur ausdrücken was wir schon wissen, sondern wir können mit ihrer hilfe auch einen zugang zu dem finden, was in unserer praxis implizit da und vielleicht nur vage spürbar ist, was wir aber noch nicht sagen können, was vielleicht noch nie versucht wurde zu sagen. so entstehen neue „daten“ und konzepte, die dann mit den üblichen konzepten und daten verbunden werden können. der philosoph und psychotherapeut gendlin hat im rahmen der psychotherapie ein sehr interessante methode entwickelt, die er focusing nennt. er geht dabei von einer alltäglichen beobachtung aus, die jeder mensch immer wieder macht, häufig ohne diesen vorgang bewusst wahrzunehmen. ich schreibe z.b. jetzt einen satz hin und bleibe dabei stecken. ich habe ein unbestimmtes gefühl, das er so noch nicht stimmig ist. ich versuche es mit anderen wörtern, die ich auch verwerfe. sie sagen immer noch nicht ganz, was ich sagen möchte. dieses undeutliche gefühl – gendlin spricht vom „felt-sence“ – ist offensichtlich genauer, als das, was ich jetzt aufschreiben kann, enthält mehr, als ich bis jetzt in worte fassen kann. wie weiß ich dann, dass ich den passenden satz gefunden habe? ich spüre es in meinem körper! focusing ist der methodisch geleitete prozess, sich diesem „felt-sense“ zuzuwenden und das in ihm implizite weiter zu bringen.xviii was hier für das zusammenspiel von leiblichen empfindungen und sprache gesagt wurde, lässt sich natürlich auch auf bewegung übertragen. so gibt es ein impliziten gefühl für gute bewegung, für die stimmigkeit einer bestimmten bewegung in einer situation. gendlin überträgt dieses, aus der psychotherapeutischen situation heraus entwickelte modell, auch auf die entwicklung von theoretischen konzepten.xix dialog ein dialog lebt von unterschieden und von gegenseitiger anerkennung und respekt. er setzt die bereitschaft auf beiden seiten voraus, zu lernen, sich in frage zu stellen, vielleicht liebgewordene gewohnheiten aufzugeben. sind wir dazu bereit? wenn wir das eigene in unserer arbeit ernst nehmen, dann können wir in diesen dialog etwas wichtiges einbringen. dazu müssen wir es, wie gesagt, angemessen formulieren können. in den letzten jahren ist in den verschiedensten disziplinen der körper, die bewegung und die subjektive erfahrung neu entdeckt worden. oft allerdings in einem akademischen rahmen, ohne entsprechende körpererfahrung. feldenkrais-lehrer könnten einen selbstbewussten teil dieser bewegung sein, in die sie ihrer vielfältigen erfahrungen mit bewusstheit und bewegung einbringen. 5 w.schacker/feldenkrais research journal 1 (2004) vielstimmigkeit des dialogs die wirklichkeit ist vielstimmig. jede methode, jedes konzept, jede theorie bringt etwas anderes eigenes mit. so entsteht ein vielstimmiger chor, der mehr ausdrückt als eine einzelne stimme. für uns gibt es viele mögliche gesprächspartner. wir sollten nicht nur auf die naturwissenschaften setzen. unsere praxis ist gewissermaßen immer schon interdisziplinär und vielstimmig, denn wir haben es immer mit lebendigen menschen zu tun, die sich in die disziplinären grenzen und zergliederungen nicht einordnen lassen. das ist unsere stärke. unsere glaubwürdigkeit als feldenkrais-lehrer in diesem dialog wird auch davon abhängen, dass wir fähig sind, zu sagen, wie wir uns und die welt erleben, und dann auch zu leben, was wir sagen, und immer wieder bereit sind, zu lernen aus dem, was wir erleben. literatur feldenkrais, moshè. (1881): abenteuer im dschungel des gehirns. der fall doris. frankfurt am main: suhrkamp feldenkrais, moshè. (1985): die entdeckung des selbstverständlichen. frankfurt am main: insel. feldenkrais, moshè. (1989): das starke selbst. anleitung zur spontaneität. frankfurt am main: insel. gendlin, eugene t. (1993): die umfassende rolle des körpergefühls im denken und sprechen. in: deutsche zeitschrift für philosophie, 4/1993. berlin: akademie. gendlin, eugene t. (1999): focusing in der praxis. eine schulenübergreifende methode für psychotherapie und alltag. leben lernen 131. stuttgart: pfeiffer bei klett-cotta. hüther, gerald. (1997): biologie der angst. wie aus stress gefühle werden. göttingen: vandenhoeck & ruprecht. hüther, gerald. (2001): bedienungsanleitung für ein menschliches gehirn. göttingen: vandenhoeck & ruprecht. hüther, gerald. & bonney, helmut. (2002): neues vom zappelphilipp. ads: verstehen, vorbeugen und behandeln. düsseldorf/zürich: walter. johnson, don hanlon ed. (1997): groundworks. narratives of embodiment. berkeley: north atlantic books. ledoux, joseph. (1998): das netz der gefühle. wie emotionen entstehen. münchen, wien: hanser moegling, kaus (hrsg.) (2001, 2002):integrative bewegungslehre i-iii. kassel: prolog verlag. 6 w.schacker/feldenkrais research journal 1 (2004) petzold, hilarion (1988): integrative bewegungsund leibtherapie bd. i/1 und i/2. paderborn: junfermann. petzold, hilarion. (2001): überlegungen zu praxeologien – körperund bewegungsorientierte arbeit mit menschen aus integrativer perspektive. in: steinmüller, w./schaefer, k./fortwängler (hrsg.) (2001): gesundheit – lernen – kreativität. alexander-technik, eutonie gerda alexander und feldenkrais als methoden zur gestaltung somatopsychischer lernprozesse. bern: hans huber. wildman, frank : emotional learning: developing emotional intelligence. feldenkrais journal issue # 4 i learning, brain and movement: a dialogue between leading scientists and feldenkrais teachers. !2 15 dezember in paris. die beteiligten wissenschaftler waren: prof. esther thelen, prof. beatrix vereijken, prof. blandine bril, prof. klaus schneider, prof. alain berthoz. ii ich setzte hier wissenschaft in anführungszeichen weil ich hier auf unterschiede in den wissenschaften nicht eingehen kann. „die“ wissenschaft gibt es nicht! statt dessen gibt es selbst innerhalb der „exakten“ wissenschaften eine vielzahl konkurrierender konzepte, theorien, die, oft auf der gleichen datenbasis, zu ganz unterschiedlichen interpretationen und einschätzungen kommen. das gilt besonders für so junge disziplinen wie die kognitionsforschung oder die gehirnforschung. wer also hier nach orientierung und festem halt sucht, wird schnell enttäuscht werden. auch das ist ein grund, nach etwas eigenem für die feldenkrais-methode zu suchen. iii ich benutze hier, wie ich das von gendlin gelernt habe, öfter eine kette von wörtern anstelle eines einzigen wortes, um mich von keiner bestimmten formulierung einschränken zu lassen und um das offene, suchende und noch unfertige zu betonen. die fünf punkte lassen platz für andere mögliche wörter. platz auch für ihre eigenen wörter, vorstellungen und assoziationen. so kann etwas neues entstehen. (vgl. z.b. gendlin 1993) iv jede „kunst“ bildet ihren eigenen, vorwiegend praktischen, wissenskanon aus, der „am eigenen leib“, in praktischen zusammenhängen, erworben werden muss. er lässt sich nicht aus büchern lernen. man nehme als beispiel die kochkunst. es ist möglich ein außerordentlich guter koch zu sein, ohne etwas über lebensmittelchemie und chemische reaktionen im exakten naturwissenschaftlichen sinne zu wissen. sonst wären die lebensmittelchemiker die besseren köche. die kochkunst ist älter als die lebensmittelchemie und sicher elaborierter, differenzierter, feinerer unterscheidungen fähig. auch in dieser kunst hängt die qualität von einem differenzierten wahrnehmungsvermögen, einer verfeinerung, kultivierung und bildung der sinne wesentlich ab. natürlich wird ein guter koch auch etwas über chemische prozesse wissen wollen und dieses wissen wird dann auch in seine arbeit eingehen. v vgl. moshé feldenkrais (1985, 1989) vi darum geht es ja in der feldenkrais-ausbildung. das ist eine ganz andere berufliche sozialisation, als die eines wissenschaftlers. auch bei diesen gibt es natürlich hoch differenzierte formen der wahrnehmung, von deren unterscheidungsvermögen auch feldenkrais-lehrer lernen können. vii vgl. kersting, h.j.: „man sieht nur das, was man sieht“ (humberto maturana) beobachtungen zweiter ordnung zur „feldenkrais zeit“. (in diesem heft) viii die amygdala ist teil des limbischen systems und hat eine zentrale bedeutung für die entstehung von emotionen.. vgl. z.b.: hüther (1997), ledoux (1998). ix das ist nicht nur für uns ein problem sondern auch z.b. in der bewusstseinsforschung: wie können z.b. erste-person-daten mit dritte-person-daten verbunden werden. x vgl. gendlin xi vgl. z.b. die arbeiten von gendlin und varela. viele ihrer arbeiten kann man im internet finden. xii das gilt natürlich auch für entsprechend andere begriffe, die in der feldenkrais-arbeit von bedeutung sind, z.b. bewegung. wie muss bewegung verstanden werden, damit bewusstheit durch bewegung einen ausweisbaren sinn macht? bewegung als fortbewegung zu definieren reicht nicht aus. xiii wer die schriften von maturana kennt, wird vielleicht merken, dass diese formulierungen rückübersetzungen seiner überlegungen zu autopoietischen systemen sind. xiv „noch immer finde ich es spannend, was es in so einem gehirn alles zu zerlegen, zu messen und zu untersuchen gibt. aber ich glaube inzwischen nicht mehr daran, dass es uns auf diese weise jemals gelingt zu verstehen, wie ein gehirn, gar ein menschliches gehirn, funktioniert. im gegenteil: 7 w.schacker/feldenkrais research journal 1 (2004) diese art von forschung verleitet uns dazu, immer gerade das, was wir besonders gut zerlegen, messen und untersuchen können, als besonders wichtig für die funktionsweise des gehirns zu achten.“ (hüther 2001, s.9) xv interessanterweise war es auf dem kongress in paris eine renommierte wissenschaftlerin, prof. esther thelen, die feldenkrais-lehrerinnen darauf aufmerksam machen musste, dass sie nicht mit einem nervensystem, sondern mit einer person arbeiten. xvi moegling, k. (hrsg.) (2001 u. 2002), petzold (1988) xvii vgl. z.b. das projekt „groundworks. narratives of embodyment” von don hanlon johnson u.a. (johnson 1997). xviii das ist natürlich hier eine sehr verkürzte darstellung. eine gute einführung ins sein denken vermittelt das buch focusing in aktion (gendlin 1999). dort gibt es auch ausführliche literaturhinweise. zur funktion des leibes in der sprache schreibt er: (a) der leib ist (hat, fühlt, lebt ...) ein implizieren weiterer ereignisse. (b) der leib hat intentionalität, d.h., er hat (fühlt, weiß, ist, impliziert ...) situationen.. (c) der leib hat sprache auf implizite weise in sich. (situationen sind darüber hinaus ineinander implizit enthalten.) (d) die wörter stellen sich zum aussprechen ein, sie kommen zu uns auf eine leibliche weise, manchmal fließend, manchmal nach einem ..... wenn die wörter nicht kommen, sind wir blockiert und müssen auf sie warten. (gendlin 1993, s. 702) xix „wir brauchen nicht nur den felt sense und die begriffe, die in ihm schon implizit sind. wir brauchen auch die systematischen begriffe und begrifflichen zusammenhänge. viele von uns glauben, es gäbe ein entwederoder, als ob man durch begriffe/konzepte sofort die erlebte situation verlieren müsse. es ist aber umgekehrt: je schärfer die begriffe/konzepte, desto mehr können sie die erlebte situation fortsetzen und weiterführen. ob sie das tun, kann man aber nur wissen, wenn man beides, begriffe/konzepte und erleben, beibehält. wir brauchen neue systematische begriffe/konzepte, die so sind, dass sie das erleben beibehalten (...).“ (gendlin, 1999, s. 129) kurzbiographie: diplom-pädagoge. feldenkrais-ausbildung bei mia segal. ausund weiterbildung in gestalttherapie, hypnosetherapie (meg), energetische psychologie. arbeitet in freier praxis in darmstadt (als feldenkrais-lehrer seit 1989). feldenkrais research journal • volume 2 (2005) article understanding standing lawrence goldfarb phd, cft, university of illinois at champaign, urbana abstract using standing as paradigmatic example, this study considers current issues in the movement sciences in relationship to the practice of rehabilitation and movement re-education. the concepts of variety and constraint provide the foundation for inquiring into the anatomical, biomechanical, dynamical, and sensorial bases of bipedal stance. theoretical issues are related to rehabilitation medicine, clinical techniques, and pedagogical strategy. the rich empirical basis of movement re-education approaches serves as the basis for new research questions and offers clues to rethinking how learning occurs. keywords feldenkrais, standing, movement science, rehabilitation, movement re-education, qualitative copyright ©: the copyright for this paper remains with the author(s). first published: doctoral thesis, university of illinois at champaign, urbana, usa (1995) please cite: feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org title to 12.pdf 13-46.pdf 47-91.pdf 92-136.pdf microsoft word delman_pdf.doc feldenkrais research journal • volume 3 (2007) article feldenkrais research ideas russell delman cft, delman associates abstract there are two paths of research that i feel could be of great service to our community and to the world. the first is moving away from emphasis on objective, physically based criteria and toward subjective “whole person” reporting. the second involves sorting through our collective experience to help define the personal qualities that are predictive of success for the feldenkrais client. keywords feldenkrais method, subjective, focusing, therapy design, perception copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 feldenkrais research ideas russell delman cft delman associates there are two paths of research that i feel could be of great service to our community and to the world. the first is moving away from emphasis on objective, physically based criteria and toward subjective “whole person” reporting. the second involves sorting through our collective experience to help define the personal qualities that are predictive of success for the feldenkrais client. in the former, i am imagining incorporating and connecting with some of the scales of development that are already used in other disciplines that sort for qualities of inner development such as autonomy, open-mindedness, capacity to deal with adversity, flexibility in problem solving, curiosity, concern for others (compassion index), sexual satisfaction, intimacy in relationships, etc. our most important assertion is about the indivisibility of the human being and the prediction that a general maturing of consciousness would result from engaging in our work. other theoreticians have developed subjective scales for “selfdevelopment”, “maturation”, “moral development” for examples. can we tap into some of the questionnaires that are in use and have a track record from other domains and apply them to ours? in the second question, i am reminded of the early work of eugene gendlin that led to his model called “focusing”. as a clinical psychologist, teacher and philosopher, he wanted to determine if qualities in the patient were predictive of a successful outcome irrespective of the therapists’ methodology? he taped thousands of hours of therapy with a variety of therapists. graduate students were enlisted to listen to hours upon hours of sessions. success was determined by: 1) the patient thought the course of treatment was successful, 2) the therapist concurred and 3) the listeners, through both evaluating the tapes and reviewing profiles written by the patients, also agreed. all three perspectives had to say that the therapy was successful. gendlin and his colleagues found that the basic perceptual skills of the successful patients were so clear that they could predict upon listening to the first session whether the course of treatment was likely to be successful. he claims that it actually became easy and obvious to identify the patients who spontaneously had the skills needed to derive lasting benefit regardless of the specific theoretical framework of the therapist. while we in the feldenkrais world enjoy claiming that all people “with a brain” can derive benefit from our work and while i believe this is theoretically true, i wonder if certain skills/orientations of perception, thought, inner processing, kinesthetic awareness are consistently predictive of positive outcomes. as a corollary, are certain perceptual iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 orientations predictive of a low likelihood of success? are the skills that are positively correlated with success learnable (this was gendlin’s great discovery)? thank you for your interest. microsoft word 3_stephens_engl_pdf.doc feldenkrais research journal • volume 2 (2005) article learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement james stephens phd, pt, cfp, temple university, pa christopher pendergast ba, mpt, widener university, pa beth ann roller ba, mpt, widener university, pa robert scott weiskittel bs, mpt, widener university, pa abstract objectives: this study tested the hypothesis that an alternative movement learning method, awareness through movement, would produce improvements in coordination, mobility, economy of movement and quality of life in older adults. methods: a group of 31 older adults was studied using a prospective, repeated measures control group design. the sf-36 was used to assess health status quality of life. video motion analysis was used to collect data on walking and on a floor to stand transfer movement. results: coordination of the transfer movement improved significantly in the experimental group. vitality and mental health scores also improved significantly in this group. interesting differences between young-old and old-old changes were observed. conclusions: awareness through movement may be an additional effective method for pursuing the objectives of healthy people 2010. keywords feldenkrais, mobility, coordination, elderly, alternative learning method, awareness through movement copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement principal investigator and author for correspondence and reprint requests james stephens pt, phd physical therapy department temple university 3307 n. broad street philadelphia, pa 19140 phone: 215-707-8085 fax: 215-707-7500 email: james.stephens@temple.edu co-investigators and authors: christopher pendergast ba, mpt widener university chester, pa 19013 beth ann roller ba, mpt widener university chester, pa 19013 robert scott weiskittel bs, mpt widener university chester, pa 19013 2 abstract objectives: this study tested the hypothesis that an alternative movement learning method, awareness through movement, would produce improvements in coordination, mobility, economy of movement and quality of life in older adults. methods: a group of 31 older adults was studied using a prospective, repeated measures control group design. the sf-36 was used to assess health status quality of life. video motion analysis was used to collect data on walking and on a floor to stand transfer movement. results: coordination of the transfer movement improved significantly in the experimental group. vitality and mental health scores also improved significantly in this group. interesting differences between young-old and old-old changes were observed. conclusions: awareness through movement may be an additional effective method for pursuing the objectives of healthy people 2010. 3 introduction as people age there is increased risk of a variety of problems such as falling, injury, loss of mobility, social isolation and depression. the healthy people 2010 report has placed a new emphasis on quality of life and overall well being as opposed to longevity.1,2 a variety of programs involving physical activity are being developed to address these risks and problems with the goal of improving quality of life.3 in 1949, moshe feldenkrais suggested that some of these problems may be the result of learning less than optimal habits and postural responses and could be corrected by a process of exploratory relearning of basic movement skills.4 he developed a method of teaching called awareness through movement for this purpose.5 this teaching process can be used with large groups of people and even made available thru broadcast media.6 several studies in recent years have documented that use of awareness through movement can produce improvements in mobility7 and balance 8 in well elderly populations. the objective of this study was to assess the hypothesis that an awareness through movement training program would produce improvements in coordination, mobility, economy of movement and quality of life. methods we studied the question of whether an awareness through movement training program would improve the coordination and economy of movement and health status/quality of life in a well elderly population, using a prospective, pretest – posttest control group design. active, healthy adult volunteers between the ages of 60 and 90 who were residents of a retirement community were recruited to participate in the study. a letter was placed in residents' mailboxes and a column was written in a community 4 newspaper inviting residents to an open community dialog during which there was a presentation and discussion of the project. individuals were screened for inclusion criteria including age, ability to walk independently without an assistive device for 10 minutes, ability to walk on a treadmill at 2-3 miles per hour, and ability to get up from the floor without assistance. individuals were excluded from participation if they presented with musculoskeletal or neurological problems preventing independent mobility, had uncontrolled hypertension, a history of falling related to cardiac problems, orthopedic surgery within the past year or previous training in the feldenkrais method of awareness through movement. all participants meeting the selection criteria were ordered by age and gender and then alternately assigned to experimental (exp) or control (con) groups. these 2 groups were further stratified by dividing each equally into a younger and an older age group. all individuals received medical clearance to participate in the study from a physician. prior to screening, all individuals signed a consent form. the study was approved by the widener university committee for the protection of human subjects and by the research review committee at the kendall-crosslands retirement community in kennett square, pa. the study was conducted over a period of 8 days. on day 1, baseline data was collected from individuals in both groups. on days 4 and 5, all members of the exp group participated in a total of 10 hours of awareness through movement lessons while the con group went about their normal daily activities and meetings. on day 8, post intervention data was collected from both groups. 5 the awareness through movement intervention the atm classes were conducted in a large carpeted room with lighting and temperature to comfort so that all individuals in the group could participate simultaneously. individuals were seated in straight back chairs, standing, or lying on the floor on mats depending on the content of the lesson. lessons lasted about 45 minutes and were presented by 6 different instructors over the 2-day period. a lesson consists of a period of movement exploration during which an instructor guides participants through a process of movement exploration by suggesting a variety of possible movement alternatives and directing attention to a range of possible sensory and perceptual experiences. the lesson may be structured around a simple movement (e.g. rolling to the side) which is not identified as a goal of the lesson. the movement serves as a structure for the participant to explore and appreciate a range of sensory experience and to work with a variety of strategies for organizing the suggested actions. ten lessons in all were presented: 1) leg movements sitting in a chair, 2) body image and pelvic movements sitting in a chair, 3) lengthening of the body in supine, 4) flexion movements in supine, 5) rotational movements in sidelying, 6) rotational movements transferring from a chair to standing, 7) sliding the leg to the side in supine, 8) rolling from supine to sit, 9) rolling from supine to prone, and 10) standing and walking. there was no lesson in this sequence that dealt with the problem of coming to standing from supine, a dependent variable in the study. these lessons were based on a set of lessons titled “innovations in therapeutic movement for older adults”.9 6 outcome variables and data collection procedures outcome data were collected in 4 areas: 1) responses on the sf-36 health status measure, 2) coordination in performance of a supine to stand movement, 3) energy consumption in treadmill walking, and 4) subjective feedback. 1) the sf-36 (ver.2) was administered by interview to all participants in both pre and post intervention data collection sessions and scored using the criteria provided by the medical outcomes trust.10,11 2) assessment of coordination of the supine to stand movement was done using video data. participants were asked to perform 4 repetitions of the movement from a supine position to standing at their normal pace. the last 3 movements were recorded on video and the path of movement of the head was analyzed with the peak motion analysis system (peak performance, englewood, co).12,13 time to complete the movement and the number of acceleration units which the movement was composed of were selected as variables describing coordination or skill in the movement.14 3) participants were videotaped during the last minute of a 4-minute treadmill walk at their preferred speed that was determined during screening. a 10-second video clip was randomly selected from the last 30 seconds of video for data analysis. average vertical displacement of the sacrum during walking was determined using the peak5 motion analysis system. the vertical displacement data were used to calculate a relative measure of energy expenditure.15 4) subjective feedback about awareness of changes in performance of selected daily activities was collected from the experimental group during the post intervention data collection using a written questionnaire. 7 data analysis a clearer picture of the outcomes emerged by considering the possible impact of age as a separate variable. the 2x2x2 design used three (intervention groups, age groups and time) factors with a repeated measure on the factor of time pre and post intervention.16 a general linear anova model was used with 2 between subject variables for parametric data from treadmill and supine to stand performance. to analyze the sf-36 data, which is non-parametric, the data was collapsed across the age variable and analyzed using friedman's 2-way anova. all statistical analyses were conducted using spss v10.1.17 internal consistency of the sf-36 scores was high as determined by cronbach's alpha coefficients.18 peak 5 video data were analyzed for average sacral vertical deviation and movement units using software written in labview by michael coleman. results forty-four residents expressed interest and agreed to participate in the screening process. thirty-two subjects met the selection criteria. after group assignment, one subject was moved from experimental to control group due to scheduling problems. another dropped out of the experimental group for personal reasons. the final experimental group included 14 individuals: mean age 79 years, mean activity level19 of 2.7 , mean resting heart rate 69 bpm, mean weight 67 kg, mean walking speed 165 ft/minute. the final control group included 17 individuals: mean age 77, mean activity level of 2.6, mean resting heart rate 72 bpm, mean weight 68 kg, mean walking speed 187 ft/minute. differences between group means for all these characteristics were statistically insignificant except for walking speed. ninety-seven percent of participants were white. 8 participants were between the ages of 68 and 89. there were 12 men and 19 women. all were well educated, in good health and living independently, a robust group.20 table 1 a and b show the outcomes for sf-36 assessment. two of the 8 sf-36 subscales showed significant change across the 8-day period of the study. there was a 34% background of improvement in these subscales in the control group. however in the experimental group the range of change was greater than 8% for the mental health variable and 12% for the vitality variable. table 1c shows the outcome for the assessment of economy of walking on a treadmill. this variable assesses the up and down movement of the center of mass which is highly correlated with energy consumption (r = 0.9).15 a decrease in the up and down movement, a smaller average deviation, reflects less work and therefore greater economy of movement. we observed a decrease in sacral deviation of about the same magnitude across time in both experimental and control groups. this suggests that there is a learning effect occurring with people who do not spend a lot of time walking on the treadmill. this was in spite of allowing people to practice a prescribed amount after screening and before the first data collection. a learning effect may account for some of the change seen in the control group in the supine to stand task as well. table 1 d and e show the outcomes for assessment of the supine to stand task. decreasing time of performance is considered an aspect of skill acquisition.21 a higher level of skill in this task has been documented in a normal adult as compared to an age matched population with multiple sclerosis.12 a decrease in the number of movement units that make up a complex movement is also considered to indicate an increase in coordination in performance of that task 14 as we have observed previously with a 9 population with multiple sclerosis.12 here we observed significant changes as an interaction of group x age x time in both variables. in both measures there is a decrease in the younger group and an increase in the older group. the specific categories of subjective feedback (table 2) were asked about because they are areas in which people might experience change in behavior as a result of participating in awareness through movement lessons.13 it is interesting to note that there was no report of performance becoming worse or more difficult. of greatest interest is the fact that 93% of people who participated in awareness through movement reported that the supine to stand transfer was easier. this was in spite of the fact that the change observed was equally divided between those who decreased time and movement units and those who increased time and movement units. the last two categories, breathing and sleeping, lend reliability to the subjective data because both of these were areas in which we expected significant changes based on previous clinical experience and no changes were reported. discussion it has been shown that perceived control is positively related to health status in the old/old.22 a primary finding of this study is improvement of the sf-36 vitality and mental health subscale scores in the experimental group. we take this to reflect an increased sense of well being resulting from participation in awareness through movement. this has been observed previously in work with people with multiple sclerosis 13 and with a well elderly group.23 in a previous study with people with multiple sclerosis,24 we observed significant improvements in balance performance and balance confidence. in a related, unpublished qualitative study, (personal 10 communication, dominique dushuttle, may 2000, research meeting) themes from a focus group suggested that improved sense of well being is related to two issues: 1) improved physical function and confidence, and 2) an expanded sense of the choices available in problem solving engendered by the awareness through movement process. the supine to stand performance outcomes of the under 78 or "young/old" experimental group support our hypothesis that use of awareness through movement can improve coordination. this was also supported by the subjective feedback that the floor transfer was easier for almost everyone in the experimental group. however the bifurcation of response seen with the "old/old" (78 and over) group is puzzling. possibly people realized an option to move more slowly and carefully in an activity that would be complex, unfamiliar and difficult for most 80 year olds. possibly the learning process was different in the "old/old" group. it has been suggested that there are differences in implicit learning between young and old that could account for differences in performance.25,26,27 the changes observed may be transient due to the newness of the learning.28 possibly there were changes in sensory function, biomechanics or the postural control process requiring a different solution to a similar problem.13,29,30,31 the beneficial effects of exercise on various physiological and psychological parameters related to maintaining mobility and independence have been well established.3,32,33,34 this study suggests that an approach such as awareness through movement, which improves coordination, vitality, balance and well being may be a useful adjunct to enable older people to optimize the benefits of exercise and therefore might be widely used as a preventative as well as a restorative intervention in pursuit of the objectives of healthy people 2010. 11 the population that was studied was not only socioeconomically advantaged but also generally robust. the available rehabilitation literature suggests it's effectiveness with other groups;9,24 however, it remains to be determined if the awareness through movement approach could contribute as much for other populations which might be less advantaged in a variety of ways. references 1. drewnowski a, evans wj. nutrition, physical activity, and quality of life in older adults: summary. jgerontol a biol sci med sci. 2001; 56 spec. no2 (2):89-94. 2. dipietro l. physical activity in aging: changes in patterns and their their relationship to health and function. jgerontol a biol sci med sci. 2001; 56 spec. no2 (2):13-22. 3. province ma, hadley ec, hornbrook mc et al. the effects of exercise on falls in elderly patients: a preplanned meta-analysis of the ficsit trials. jama. 1995; 273(17): 1341-1347. 4. feldenkrais m. body and mature behavior: a study of anxiety, sex, gravitation, and learning. new york, ny: international universities press; 1949: 66-78. 5. feldenkrais m. awareness through movement. new york, ny: harper and row; 1972: 3-65. 6. kegeles j. providing awareness through movement lessons on a local access cable channel in worcester, ma. platform presentation at the research forum, annual conference, feldenkrais guild of north america; tamiment, pa; august 1997. 12 7. bennett jl, brown bj, finney sa, and sarantakis cp. effects of a feldenkrais based mobility program on function of a healthy elderly sample. issues on aging, a publication of geriatric section of apta. february 1998; 21(1): 31 8. hall se, criddle a, ring a, et al. study of the effects of various forms of exercise on balance in older women. unpublished manuscript healthway starter grant, file #7672, dept of rehabilitation, sir charles gairdner hospital, nedlands, western australia, 1999. 9. wildman f, stephens j, aum l. feldenkrais method. in novey dw ed. clinician’s complete reference to complementary and alternative medicine. st. louis, mo: mosby publishers; 2000: 393-406. 10. brazier je, harper r, jones nm et al. validating the sf-36 health survey questionnaire: new outcome measure for primary care. brit med j. 1992; 305: 16064. 11. hayes v, morris j, wolfe c et al. the sf-36 health survey questionnaire: is it suitable for use with older adults? age and aging. 1995; 24: 120-125. 12. stephens jl, crandall g. measurement of coordination of a complex movement in normals and subjects with multiple sclerosis using the peak-5 2d system. phys ther.1995; 75 suppl.(5):r91 13. stephens jl, call s, evans k et al. responses to ten feldenkrais awareness through movement lessons by four women with multiple sclerosis: improved quality of life. physical therapy case reports. 1999; 2(2): 58-69. 13 14. kluzik j, fetters l, coryell j. quantification of control: a preliminary study of the effects of neurodevelopmental treatment on reaching in children with spastic cerebral palsy. phys ther. 1990; 70: 65-78. 15. kerrigan dc, viramontes be, corcoran pj et al. measured versus predicted vertical displacement of the sacrum during gait as a tool to measure biomechanical gait performance. am j phys rehabil. 1995; 74: 3-8. 16. portney lg, watkins mp. foundations of clinical research: applications to practice. norwalk, ct: appleton and lange; 1993: 373-395. 17. spss base 10.0 users guide. new york, ny: prentice hall; 1999. 18. cronbach lj, gleser gc, nanda h et al. the dependability of behavioral measurements: theory of generalizability for scores and profiles. new york, ny: wiley; 1972: 251ff. 19. lieper ci, craik rl. relationships between physical activity and the temporal distance characteristics of walking in elderly women. phys ther. 1991; 71:791-802. 20. garfein aj, herzog ar. robust aging among the young-old, the old-old, and the oldest-old. jgerontol b psychol sci soc sci. 1995; 50(2): s77-87. 21. schmidt ra, lee td. motor control and learning: a behavioral emphasis 3rd ed. champaign, il: human kinetics; 1999: 15-40. 22. menec vh, chipperfield jg. the interactive effect of perceived control and functional status on health and mortality among young-old and old-old adults. jgerontol b psychol sci soc sci. 1997; 52(3):p118-126. 23. gutman g, herbert c, brown s. feldenkrais vs conventional exercise for the elderly. j gerontology . 1977; 32(5): 562-572. 14 24. stephens j, dushuttle d, hatcher c, shmunes j, slaninka c. use of awareness through movement improves balance and balance confidence in people with multiple sclerosis: a randomized controlled study. neurology report . 2001; 25(2):39-49. 25. harrington dl, haaland ky. skill learning in the elderly: diminished implicit and explicit memory for a motor sequence. psychol aging. 1992; 7(3): 425-434. 26. howard jh, howard dv. age differences in implicit learning of higher order dependencies in serial patterns. psychol aging. 1997; 12(4): 634-656. 27. wishart lr, lee td. effects of aging and reduced relative frequency of knowledge of results on learning a motor skill. percept mot skills. 1997; 83(3 pt 1): 1107-1122. 28. bellgrove ma, phillips jg, bradshaw jl, gallucci rm. response (re-)programming in aging: a kinematic analysis. jgerontol a biol sci med sci. 1998; 53(3): m222-227. 29. woollocott mh, shumway-cook a, nashner lm. aging and postural control: changes in sensory organization and muscular coordination. int j aging hum dev. 1986; 23(2): 97-114. 30. lord sr, ward ja. age-associated differences in sensori-motor function and balance in community dwelling women. age aging. 1994; 23(6): 452-460. 31. slobounov sm, moss sa, slobounov es, newell km. aging and time ti instability in posture. jgerontol a biol sci med sci. 1998; 53(1): b71-78. 32. daley mj, spinks wl. exercise, mobility, and aging. sports med. 2000; 29(1): 112. 33. gardner mm, robertson mc, campbell ac. exercise in preventing falls and fall related injuries in older people: a review of randomized, controlled trials. br j sports med. 2000; 34(1): 7-17. 15 34. hertel kl, trahiotis mg. exercise in prevention and treatment of osteoporosis: the role of physical therapy and nursing. nurs clin north am. 2001; 36(3): 441-453, viii-ix. 16 table 1 changes in dependent variables by group, age and time a sf36 vitality variables group age time mean s.e. % change n con pre 64.1 4.3 17 post 66.9 5.5 +4.3 17 exp pre 64.0 2.9 14 post 71.7 3.7 +12.0 14 significant change in group*time: p=.04 significant change in group*time: p=.02 b sf36 mental health variables group age time mean s.e. % change n con pre 82.8 2.9 17 post 85.5 2.9 +3.2 17 exp pre 83.3 2.3 14 post 90.2 1.7 +8.3 14 significant change in group*time: p=.01 c sacral deviation (inches) variables group age time mean s.e. % change n con pre 1.35 .10 17 post 1.25 .08 -7.6 17 exp pre 1.05 .11 14 post .985 .09 -5.8 14 d supine to stand time (sec) variables group age time mean s.e. % change n con 78 and up pre 9.34 1.60 8 post 8.85 1.39 -5.2 8 under 78 pre 5.08 1.51 9 post 4.82 1.31 -5.1 9 exp 78 and up pre 8.29 1.60 8 post 9.60 1.39 +15.7 8 under 78 pre 8.61 1.85 6 post 7.75 1.60 -10.1 6 significant change in group*age*time: p=.05 17 e supine to stand time (movement units) variables group age time mean s.e. % change n con 78 and up pre 11.87 2.38 8 post 10.12 1.81 -14.7 8 under 78 pre 5.55 2.24 9 post 5.77 1.71 +4.0 9 exp 78 and up pre 10.25 2.38 8 post 12.37 1.81 +20.6 8 under 78 pre 10.66 2.75 6 post 9.33 2.09 -12.5 6 significant change in group*age*time: p=.06 table 2 subjective feedback from experimental group category with % yes responses 1. feel taller 29% same height 71% feel shorter 0% 2. walking easier 43% walking same 57% walking harder 0% 3. floor transfer easier 93% transfer same 7% transfer harder 0% 4. breathing fuller 7% breathing same 93% breathing shallower 0% 5. sleeping better 0% sleeping same 100% sleeping worse 0%   feldenkrais research journal​ • ​volume 5​ (2016)    original research      feldenkrais method​®​ and independent dance practice:  cultivating personal presence and responsiveness in a mutually  shared creative practice    rhiannon newton  ba, dancer and choreographer, sydney, australia  zoran kovich  msc, feldenkrais practitioner and trainer, sydney, australia  julie­anne long  phd, lecturer in dance and performance, macquarie university, sydney, australia  corresponding author: ​zoran kovich,​ ​po box 1025, epping, new south wales, 1710, australia.  zorankovich@yahoo.com.au    abstract  this article relates how the personal, professional, and creative concerns of an independent dance artist are  tended to through feldenkrais method​®​ practice. through a series of case studies, told both from the  perspective the dance artist and the feldenkrais method teacher, aspirations, sensibilities and processes  shared by both artist and teacher are highlighted.  keywords  feldenkrais method, contemporary dance, choreographic research, intention, awareness  copyright ©:​ the copyright for this paper remains with the author(s).  please cite:​ (first published in the) ​feldenkrais research journal, volume 5​;​ ​2016.  service marks:​ the terms feldenkrais​®​, feldenkrais method​®​, awareness through movement​®​, atm​®​,  functional integration​®​, and fi​® ​are service marked terms of the international ​feldenkrais​®​ federation (iff)  and feldenkrais professional guilds and associations in many countries. in keeping with academic  conventions, they will not be service marked in the entire text as may be required in nonacademic use, but  only for the first and most prominent use of the terms. in recognition that these phrases are formal terms  referring to specific practices within the method, and to the method as a whole, capitalization of all the words  in each term has been retained.      published by the international ​feldenkrais​®​ federation (iff) ​http://feldenkrais­method.org  available online at ​http://iffresearchjournal.org/volume/5/newton­et­al        mailto:zorankovich@yahoo.com.au http://feldenkrais-method.org/ http://iffresearchjournal.org/volume/5/newton-et-al   original research      feldenkrais method​®​ and independent dance practice:  cultivating personal presence and responsiveness in a mutually  shared creative practice    rhiannon newton  ba, dancer and choreographer, sydney, australia  zoran kovich  msc, feldenkrais practitioner and trainer, sydney, australia  julie­anne long  phd, lecturer in dance and performance, macquarie university, sydney, australia    ‘to me, teaching which is not personal is not teaching.’ (feldenkrais 1980).  ‘our internal processes, provoked by present external influences or by ... previous  experiences of the outside world, change our intentions to act as well as the way we  act. you are as good as you wish; you are certainly more creative in imagining  alternatives than you know.’ (feldenkrais 1984).  the feldenkrais method is an expression of the founder’s boundless wonder about, and  investigations into, what it is to live humanly. in close parallel, each independent dance artist’s  creative work is a unique, creative expression of their personal investigations. the kind of  somatic inquiry inherent in feldenkrais method practice offers dance artists a set of investigative  processes that are closely akin to nature of their work. this is an account of an independent  dance artist’s personal engagement with feldenkrais practice over a series of sessions  spanning six months. it is related through the dance artist’s (rn) first­hand narration of the  sessions, and from the feldenkrais method teacher’s (zk) point of view.  situating rn’s feldenkrais sessions within a culture of dance practice  australia has many cultures of dance practice. rn’s work as an independent dance artist  resonates with a community of practice established at omeo dance studio (omeo) – a culture  in which critical movement inquiry and choreographic research was the central focus. the  following overview of the nature of dance practice at omeo dance studio situates rn‘s  engagement with feldenkrais practice within a broader context. in doing so it offers insights into  what the feldenkrais approach to somatic inquiry afforded her as a person and independent    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  2     dancer/choreographer.  established by dancer/choreographer rosalind crisp, the primary focus of omeo dance studio  (1996­2006) was on supporting investigative dance practices in response to the philosophy,  structures, patterns, behaviours and complexity of the local independent dance sector in  sydney. omeo’s identity was strongly aligned with crisp’s dance practice, and also with the  community of like­minded dance artists and their associates who made and showed work there.   having access to a studio space provided crisp with the right conditions for developing her  work, giving her time and space necessary for choreographic practice and for intensifying  inquiry into movement vocabulary:  my inquiry into dance is addressed through the body, through my body and through the  bodies of the dancers who collaborate with me. we are engaged in a corporeal practice  of using multiple sources interchangeably to propose an unstable body, one that is  continuously reforming and deforming, without resolution. (cited in long 2010: 120).  this concern with the unknown and unstable body required an investment over time. this was  only possible due to crisp’s commitment to an ongoing practice and ongoing access to space  and place without the constant demand of public presentation.  when talking with independent dance artists there are two aspects that continually arise in the  articulation of what a ‘practice’ is. one is the regularity of being in the studio, be it everyday or  once a week. the relationship of a dancing body with space is fundamental to the dance  practitioner’s existence and a primary constituent of their craft. second is that the process is not  necessarily product orientated. as with rn, a number of artists are interested in finding ways to  generate and support a dance practice that is much less about making shows than about  learning something new. they privilege notions of playing as a way of learning and deepening  understanding of one’s own body, quite apart from processes of production.  in an attempt to define their practice, dancers often refer to what it is not—it’s not training; it’s  not rehearsing; it’s not something that can be defined as a product. they frequently talk about  practice as work—with the body and of the body; work, whose purpose is to delve into the body;  to ‘go back down into the body and keep it in the body’ (saunders cited in long 2010: 124).  congruently, references to getting in touch with the body, listening to and seeing how the body  feels, lead to images of clearing and cleaning the body not only in order to be ready to practice  but also as an essential part of the practice itself. these definitions of personal practice  resonate with the descriptions of rn’s feldenkrais sessions working with zk and reveal the  mutually beneficial dialogue of their shared practice.   omeo was also a place from which friendships and artists’ networks could grow through a  sharing of practice. to maintain an evolving practice, artists work in sufficiently close proximity  to one another, sharing common resources, engaging in mutual co­operation and easy    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  3     exchange of ideas—their bodies moving, sweating, talking, looking, laughing and  resting—always growing, changing and rearranging. where coherence of a community and a  practice is measured through sporadic transformative changes, meaningful communication and  effective relationships between individuals and their environment are paramount.  rn and zk’s shared practice has a quietly confident distillation and mindfulness in the specific  choices each makes in the moment. there is an easy balance between somatic and verbal  engagement between rn and zk, as well as an implied understanding of the need to discover  strategies for negotiating tension and challenges through accumulating knowledge of both  bodies.    the feldenkrais sessions  session 1  rn: it is our first meeting. i describe in detail my work and most recent creative processes. i  am interested in the progression from a cognitive act (imagining, reading, conceptualising) to an  embodied act (moving, practicing), and especially want to address my difficulty in bridging the  gap between thinking about and doing. zoran notes i gesture to my head when talking about  thinking and to my gut when talking about doing. i also mention sensations of tightness and pain  in my right shoulder, aches in my right knee, feeling powerful through my right side but less so  through my left. many of these are imbalances i associate with an injury and the subsequent  surgical reconstruction of my left anterior cruciate ligament in 2010.  zoran invites me to stand, look out the window, and transfer my weight from one leg to the  other. as i focus on the task my consciousness of being watched fades. i can sense my  certainty over the right leg, and notice that i keep varying how i bring my weight over the left.  zoran confirms this, and adds his observation – the distance between my right shoulder and hip  remains relatively constant, irrespective of which leg i stand over. this is unlike the left side of  my torso, which freely changes in length with each weight shift. we talk about this and agree to  explore how the right hip and shoulder relate to one another.  i lie on my back and zoran begins investigating movements of my left arm and scapula. as i  attend, rosalind crisp’s words, ‘doing the work of letting go’ come to mind. i feel small glitches  and experience limitations. zoran says he is feeling for the ‘gliding’ action of my scapula. this  simple adverb triggers a textural idea that connects clearly to my movement memory. i feel a  noticeable shift in the ease with which my left arm and shoulder move in relation to their  surrounding parts.  working now with my right arm, the shoulder feels denser, thicker. it is difficult to distinguish the  exact location and direction of movements. zoran touches the lower corner of the right scapula  and starts initiating arm movements from there. i am unaccustomed to this and become aware    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  4     that i cannot respond with my automatic arm­shoulder­torso movement patterns. i guess  confusion is a good space for generating new, functional connections. being in unknown  territory expands my awareness enabling other, less tracked, paths to emerge.  on the right side it seems we are undoing and creating options, whereas on the left we are  finding not yet established connections. towards the end of the session we discuss how each  side (or ‘part’) has knowledge to offer the other.  zk: feldenkrais practice is personal. enabling rhiannon to satisfy her intentions is foremost  in my mind, and this involves tending to her means of manifesting intentions in the world – her  animation as an agentive being. i attend closely to rhiannon as she speaks, attuning myself to  her words and vocal tones; her meaningful expressions and gestures; the way she moves and  shapes herself. as rhiannon walks to the window i wonder how she will interpret the intent. i  watch empathically, openly accepting what is offered. from the background of my bodily  knowledge a perception emerges. a recurring pattern of movement weaves through rhiannon’s  many enactments, but she is not aware of it.  i tailor the session to foster rhiannon’s awareness of herself. she is more articulate through the  left side of her torso, so we begin there. through touch she is invited to feel her body. as i  calmly, slowly move her she is at leisure to sense the quantitative and qualitative aspects of her  motion. non­vocally i propose, i inquire, i acknowledge, all so that rhiannon may experience  and know. we do many movements for perceptual contrast, each variation adding another  impression like daubs of paint in a pointillist painting. to promote conscious discernment we  proceed at a pace that rhiannon can effortlessly manage. intermittently, i vocalise my thoughts  and intentions, and we share what each is sensing. the inquiry expands matching rhiannon’s  growing attunement to herself and what she feels is possible moment by moment.  session 2  rn: zoran asks, “do you trust your left leg?” to explore this question we focus on my left  side, attending to the left foot, it’s relation to the floor, and how it’s movements translate through  my body.  i lie prone on the floor. the left knee is bent and the lower leg points to the ceiling. zoran  supports my ankle and rests a flat, light, timber board on the sole of the foot, creating what he  calls an ‘artificial floor’ for it. suspended in the air my foot is liberated from it’s usual, gravity  laden, mode of contacting the floor. i notice it is very sensitive in this orientation.  we begin with small movements, forwards, backwards, then side­to­side. i aim to keep the  board parallel to the floor. to maintain the foot’s contact with the board my ankle has to be  articulate. the outer side of the ankle easily lengthens as it is taken sideways, away from the    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  5     centerline. this feels very familiar. other directions feel less natural but this changes gradually  over time and the ankle moves more easily.  we progress to circular movements. as these increase in size i can sense the involvement of  my knee, thigh and hip. circling the leg away from the centerline is restricted and triggers a  feeling of fear. i remember my knee injury. it is the very motion i trained out of my body to avoid  aggravating my once torn meniscus. i feel the muscles around the front of my hip grab. the  thought of letting the leg go, to swing through its full range of motion, feels frightening. it is  interesting that these protective pathways still exist even though the leg is not bearing my body  weight, and the meniscal tear is long since repaired. i guess i don’t yet trust this leg. however,  in these circumstances i feel like i can begin to.  i am interested in the way the sense of ease in my ankle is connected to feelings of length and  openness in the front of my working hip. i am left thinking about the pathways that we train out  of our practice in dancing and injury rehabilitation processes. the mandate of always tracking  my knees over my toes comes to mind and i wonder about how this creates limitations and  perceived danger­zones in our body.  zk: between sessions i reflect on our session and think about how we might proceed.  reading about rhiannon’s experiences and perceptions greatly aids this process.  the situation i create for rhiannon is designed to promote her re­experiencing ways of moving  that are within her capacity but that have been inhibited – in her case through injury, then  feelings of uncertainty and subsequent physical retraining. lying down she is relieved of having  to continuously mobilise herself to remain upright in standing. she is also relieved of the  unrelenting intrusion of body sensations associated with her current way of standing –  sensations that would prompt her to re­instate ways of holding and moving herself that feel safe  and correct through familiarity. it is mistaken to think she can override somatic feelings deeply  associated with the physiology of being unsafe.  willfulness and strident, determined physical exercise only serve to veil such feelings. i do not  expect rhiannon to relinquish what she does until she feels it is safe and appropriate to do so.  the processes i use enable her to monitor and consciously register when such conditions arise  – and at the moment they do she immediately becomes open to new propositions and  possibilities.  session 3  rn: we agree to progress themes investigated in the previous session. zoran asks about the  daily exercises and stretches i do. one stretch in particular – lying with a foam block under my  sacrum to lengthen my lower back – appears to spark in zoran an idea of how we might  proceed.    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  6     lying on my back, with both legs bent, i fold the left leg toward my chest, then unfold it,  returning the foot to the floor. we spend some time just exploring this apparently simple action. i  notice that i automatically stabilise my pelvis to lift the leg, and realise that i am trying to create  a stable, still base from which to isolate the movement of my left leg. zoran speaks about  alternative possibilities. after a bit of experimenting i let the pelvis move in response to the  change in weight distribution. this way feels surprisingly gentle and efficient. i allow the lower  back to curve away from the floor as i start to lift – something i have definitely trained away from  doing – then let the back curve towards the floor as i bring my leg to my chest. we also  experiment with folding my leg through different trajectories. i notice that directing the knee  closer to the centerline helps the lifting action.  the activity develops to include unfolding my leg towards the ceiling, and then directing the  knee towards the floor as i refold the leg. i automatically assume the pathway should occur in  parallel, and this hinders bringing my knee to the floor. zoran encourages me to experiment. i  fold the leg at different angles seeking pathways where the joint glides most easily. i discover  that the most appropriate angle is quite wider than i anticipated. the ease with which the hip  folds makes it easy to support the weight of my leg, and i am now actually able to easily touch  the floor with the knee.  zoran places a weighty, hardcover book on the sole of my left foot, and i continue to fold and  unfold the left leg, all the while balancing the book on my foot. we then switch the book to my  left hand. i rest my left leg and do an analogous movement with my left arm. zoran draws my  attention to the spiral­like movement of my arm. i try to bring this idea of spiraling to the folding  of the leg. it helps, but the action feels far less elegant.  with the book again on the sole of my foot, i use the unfolding action of the leg as an impetus  for rolling onto my side. as i experiment, it becomes clear that, to mobilise my pelvis, i need to  direct the limb differently than i anticipated. i experience terrible moments of ‘stuck­ness’ and  ‘need for force’. these are very recognizable sensations from dancing. it is very interesting to  realize that a slight, perhaps 15­degree, change of angle allows me to accomplish my intent with  no need for excessive force. once coordinated, this action becomes a quite thrilling and  satisfying ride.  we elaborate the action by including the arms. co­coordinating the leg and arm to roll and  return invites a more global kind of body listening. this is very much about timing. i realize i  need to time the sequence of action so that the weight of each limb progressively assists the  rolling motion. the delicateness and specificity of the mechanics excites me, in an almost  choreographic way. it is a search for mobile equilibrium.  i enjoy our final conversation in which we talk about the physical ‘work’ that had been done. my  hamstrings feel long from the repeated extensions, but at no point through the session had i  thought about ‘stretching my hamstrings’. my buttocks and abdomen feel strong and supportive.    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  7     all this without having had to concentrate on, or visualize, my muscles laboring as i would in a  more gym­based, exercise context.   zk: rhiannon’s positive experiences invite further exploration, and we do so in a different,  yet related, context so that what she learns encompasses a wider range of body orientations  and situations. one of rhiannon’s daily exercises stimulates my imagination. i wonder about the  bodily implications of her preference for lying over a foam block, especially in regard to the  particular leg­pelvic­torso relations it sets­up. my somatically­founded mental musings give rise  to a way of continuing to promote rhiannon’s trust of her left leg.  as i watch rhiannon repeatedly fold her legs in the same way, i acknowledge that her range of  kinetic expression is constrained by her learned, automatic, ways of moving. to liberate herself  rhiannon must first become aware of habits of thought and action that ensnare her. so, the  conditions we create in the session favour her attending to how she composes her actions.  rhiannon is encouraged to take her time, perceive and reflect on what she is doing, and to  playfully explore alternative enactments. we find ways of moving that promote proprioceptive  acuity so that she may make finer and finer perceptual distinctions. she is supported to  increasingly cultivate her discernment when choosing ways of moving that suit both herself and  the intention.  placing a weighty book on her left foot affords rhiannon the opportunity to once again engage  with an ‘artificial floor’, but in a novel way. the book’s weight pressing onto the sole enables her  to more definitely sense the foot’s position and movements. as she dynamically balances the  book on her foot, every change in tilt of the book produces a different pattern of pressure on her  sensate flesh, a different direction of pull against her skin caused by friction between the two  surfaces. the task of balancing a book on her foot constrains the number of ways rhiannon can  fold and unfold her leg. this constraint narrows the range of exploration, increasing the  probability that she will move in certain ways and not others. all together the situation is  designed to precipitate the kinds of experiences that may enable rhiannon to know alternative  ways of being and moving that expressly better serve her conscious intentions.  session 4  rn: in this session we work with a long roller.  lying on the roller – with legs bent, feet and  hands on the floor – my aim is to rest calmly on the roller, allowing myself to roll off it rather than  straining to stay on it.  we begin, alternately folding one leg toward the chest then the other. with every move i feel the  roller shifting underneath me, informing me which way my weight is going. in this set up i  discover my connection to the ground through the stabilizing leg. lifting the left leg is quite easy.  i am able to effectively make small adjustments to my relationship with the floor and roller.    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  8     lifting the right leg i feel quite unstable. i feel that i am tensing a lot through my hip and torso  and this creates more instability on the roller.  we explore pushing through the left foot as i lift the right leg, allowing the push to propagate  through my body and roll me on the roller. this feels like a very practical solution. however, it  also runs counter to my idea of hovering, or floating, on the roller and being able to isolate  movement at my joints without the roller moving. we explore different levels of pressure, at  different angles, through my left foot. i am surprised by the sensitivity of the surfaces of my foot,  and by the repercussions i feel through my left hip and lower back. i experience that strange  feeling of being confused within my own body, which i know is connected to a blocked area, or  the action of holding.  when i try lifting the right leg again i am able to move more easily over the roller. i have a  feeling of more detail and clarity through my left foot. i have more options. allowing my weight to  pour down through the stabilizing leg into the floor, and allowing the roller to move beneath me,  gives me more ability to respond and counterbalance the shift in weight caused by lifting the leg.  the actions gradually become more complex involving the arms and legs, cross­laterally and  homo­laterally. i enjoy ‘giving in to’ the movement of the roller. as i learn to coordinate my limbs  and torso to counterbalance and suspend me, i come to trust that allowing myself to follow the  roller’s movement will not necessarily lead to falling off it.  i think back to something i was reading recently about the difference between ‘stability’ and  ‘rigidity’ in relation to social constructs and governance. the metaphor seems relevant to what i  am discovering here. rigidity implies willful stillness, holding and resisting in the face of  changing circumstances. the idea of stability acknowledges that there is implicit movement  within a system. balancing and counterbalancing on the roller to maintain my stability, i find the  movement implicit within myself.  zk: i set up a situation in which rhiannon can directly experience how she mobilises herself  – especially through her torso – to lose, regain and maintain her equilibrium. lying on a long  roller creates such a situation. the game­like nature of the task, and my manner of being with  rhiannon, are intended to evoke a sense of non­seriousness. dealing with the roller’s instability  also requires engaged attentiveness, and for rhiannon this brings to the fore her assumptions  about the act of balancing. her playfulness, curiosity and meta­cognitive realisations enable her  to find, within the situation, a range of different solutions to the task.  the roller’s physical properties aid the process. its cylindrical shape offers a reduced scope of  motion enabling me to produce a certain degree of situational constancy, which in turn reduces  rhiannon’s anticipation. its length allows rhiannon to fully rest her head, torso and pelvis upon  it. it’s degree of firmness is such that it: easily molds to the contours of her body, affording her  fuller support; deforms just enough to reduce instability because more of it’s base­surface area  rests on the floor; remains round enough to permit rolling motion. finally, its small diameter    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  9     (12­15 cm) ensures that rhiannon is close to the floor. knowing that she can readily roll off the  roller whenever she wishes, and without harm, affords her the feeling of being safe.  session 5  rn: when working alone, assuming the dual role of choreographer and   dancer, i often find myself keeping my head quite upright and stiff as i move. it is as if my  thinking, choreographic brain needs to be stationary whilst i direct the dancing body beneath.  we agree to investigate the movement of the head in relation to the trunk.  lying down on a large, thick, foam platform, my head supported on a separate cushion, i let my  arms be moved. zoran initiates these movements from my shoulders. the right side feels lighter  to move and capable of more differentiated articulation. the left shoulder and ribcage feel  heavier and tend to move more as a block. zoran proceeds to tactually ‘map’ my scapula,  clavicle, and ribcage. it is interesting to sense and imagine this part of myself. it is not an area i  have a clear anatomical image for, or very precise control over.  zoran moves the left arm away from, and towards, my centerline, bringing my attention to the  sequencing of the movement: the arm being pulled pulls the scapula/clavicle; the clavicle pulls  the sternum, sternum moves the ribs, the ribs move the spine; and vice versa. we address more  directly the action of the scapula/clavicle. zoran suggests i think of my arm movements in  connection with the movement of the ‘small arm’ of the clavicle. he speaks about how the ribs  and torso are affected by clavicular movements. gently pulling on each finger of my lengthened  arm, he invites me to feel how these quite distal movements translate through to my ribs and  torso.  i notice that my thoughts are darting around somewhat and ask, ‘what should i be thinking  about?’ zoran’s reply leads me to conclude that i am to remain alert, and that thoughts related  to the outside world will progressively fade as i engage more in what’s happening in the  session.  supporting my head in his hands, we begin exploring small movements of my head. at times i  feel the fuller support of two hands. at other times i feel only the contact of one hand behind my  head, whilst the other references movements of the ribcage or sternum in relation to the head  movements. this is quite intense work. the way i am lying on the foam platform, the way zoran  holds my head, and the kinds of movements we are doing, inhibits customary ways i engage the  front surfaces of my body, particularly my neck. remaining in a very open state, i soon realize  that the familiar ways i coordinate myself to move my head actually hinder, rather than assist,  the movements zoran is proposing. eventually i find a gentle, and what feels like quite  lengthened, engagement through my waist that seems to support the action. zoran notices the    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  10      change and acknowledges it in an encouraging way. we converse about my head movements  having a follow­through effect to my pelvis.  i mention that i am becoming quite aware that my left lower back muscles are engaging. zoran  asks me to push and pull through my left heel. initially the flow of motion catches in my lower  back. we explore different angles and directions of motion of the leg until i feel the push­pull  action echoes easily up through my spine to my head.  we return to working directly with the head. after a while zoran asks me to place my hands, with  fingers interlaced, behind my head and we continue. the way the movement translates through  my ribs towards my pelvis becomes much clearer and enjoyable. i again have the sensation of  the body muscularly ‘working’, but efficiently. this subtle tone and variety of movement in my  torso feels quite delicious.  when i stand up my chest feels very open and spacious. opening the front of the chest and  arching the upper back feels quite indulgent, slightly ‘ballet­esque’, and is definitely something  that i have not been allowing myself to enter into recently.  zk: i know that rhiannon is able bodied, even more so than non­dancers.   however, like all people, she tends to have particular ways of posturing and moving herself to  enact her thinking. unfortunately for rhiannon the postures and movements she enacts in her  role as choreographer constrain her movement as a dancer. the solution does not lie in  physically correcting the postures and movements she uses in one role or the other. rather, a  solution lies in rhiannon getting to know, intimately and in ever finer detail, how she enacts her  behaviours so that she can knowingly transform between one role and the other.  in the session i explore a repertoire of movements that i anticipate will offer rhiannon a different  sense of how movements of her head can flow through her spine and rib cage to her pelvis and  legs. the context i set up is designed to promote particular movements of the head, shoulders,  rib cage and spine, and not favour those associated with the way rhiannon usually uses herself  to think when choreographing. speaking evocatively, the movements we do involving the arms,  shoulder girdle and chest are akin to clearing up traffic congestion at a busy intersection –  namely the thoracic inlet where the cervical spine, first rib and shoulder girdle meet. once the  metaphorical traffic jam is cleared then movement can flow freely, as intended, through the  body.  session 6  rn: i tell zoran about the contemporary dance classes i have been doing, and   that i am able to access ease in moving when i have time in class to practice being aware of  myself. however, as the phrasings and ranges of movement get more extreme, my muscles  start to grab. yes, i have done lots of repetitions and am starting to feel tired, but i also feel like    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  11      something runs out in my attention, or patience for working efficiently. i do a sideways lunge and  then a rebounding leg lift as an example of a movement in which i feel my power and stability  run out. as i demonstrate, i notice myself clenching, particularly my back muscles. we discuss  the psoas muscle and it’s role in the movement i demonstrated, especially how it connects the  lower and upper body.  as i lie on my back, zoran lifts my right leg slightly off the ground, and slowly carries it sideways,  parallel to the floor, away from my left leg, until it is about 45­degrees out to the side. he seems  surprised by how easily my leg moves. i am invited to imagine the right leg getting lighter. i turn  this image of lightening the leg into an interesting exploration for myself. i have the sensation of  distributing a light tone through large surfaces of my body, so as to not force one part or joint to  carry the load of lifting the entire weight of my leg. i experiment for some time and notice  different sequences of muscle activity as i steer towards a more global, lighter tone. i tell zoran  that i definitely feel my inner thigh working, and that this feels like a constructive place to work.  zoran adds that the psoas muscle is also working to lift my leg, and repositions my leg so that it  lines up with the line of action of the psoas muscle. i attend to feeling how my leg lightens even  more in this new relationship. zoran then lowers my right leg to the floor and we pause for a  moment.  leaving my left leg lying as it is, i bend my right leg and stand the foot on the floor. from here i  slide my left heel downwards. as the heel ‘creeps’ along the floor the leg first lengthens away  from the hip, and then lifts in a quite turned out position. i feel my lower left ribs being drawn  gently in the direction of the heel. zoran uses his hands to encourage a gentle arching of the  lower back, especially along the right hand side. the back muscles remain soft, inactive, despite  the spine having arched. we try a few permutations of this action. it feels like a really subtle but  strong work­out for my inner thigh, something i have, in the past, struggled to access without  feeling like i am over using my lower back muscles or clenching my abdominal muscles.  we then change to the other side. as i slide the left heel along the floor i feel the leg lifts more  lightly than the right. perhaps this is because of the fewer repetitions we have done on this side.  or perhaps it is because usually my left hip feels less dense and ‘cluttered’. as we progress we  notice that lifting the leg in this way leads to a spiraling action in my spine, connecting with the  ribs and opposite shoulder. it is quite exciting to reach this very global action and get a sense of  the connectivity of lower and upper body, particularly right out to my ‘limby’ extremities.  as we are ending i comment jokingly that i feel like i’ve been ‘good’ at doing this lesson. instead  of being confronted with my blind spots, as i felt i had been somewhat in the previous session, it  is nice to feel that my natural responses can open up new possibilities for movement, and that  these responses signpost connections learned through our sessions together.  zk: rhiannon is a reflective, mindful, engaged, resilient learner. her dance class stories  attest to this. even though she is not yet able to ‘access ease of movement’ throughout a dance  class she is deliberately practicing the methods and ideas she is encountering in our sessions.    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  12      as i observe rhiannon demonstrating a dance action, i wonder how she ‘holds’ her leg in  relation to her pelvis and torso. even though repetitions of an act are never identical, i know that  the dis­satisfaction she feels is associated with the particular way she coordinates this specific  act. to assist rhiannon become aware of those particulars i craft this session around a specific  awareness through movement lesson in which leg­torso relationships are investigated in ways  immediately relevant to rhiannon’s concerns.  like two jamming jazz musicians we improvise around the kinetic melody inherent in the atm. i  extemporise using set phrases from the atm in ways that fit with my perceptions of how  rhiannon is moving. then she responds, first expressing her understanding of the kinetic  theme, then elaborating upon it. as we play on, unexpected, nuanced phrasings arise.  rhiannon appears to relish the new sensations resounding through her body. these become a  felt reference for alternate, more satisfying ways she can coordinate herself.  there is an art inherent in somatic inquiry. practicing the art is not always easy, nor is it always  pleasant. calm, abiding, hopeful, resolve is called for at such times, in friendly alliance with an  openness to review methods and try out new ones. a sense of wonder is the beating heart of  the art. through her sessions rhiannon has come to know more about herself, the ways she  manifests, and can manifest, the meaningful acts in her life. her feelings of being ‘good’ at doing  this are indeed well founded.  postscript  rn: reflecting on our sessions it occurs to me that each were, in themselves, very creative  acts, akin to improvisational or choreographic processes in which the cultivation of personal  presence and responsiveness is essential to the discovery of a logic for the material at hand.  each session was an open, responsive, mobile exchange. we were perpetually re­calibrating to  incorporate, and respond to, the most recent shift of the other. most importantly, every session  involved trusting in intuition and the intelligence of an idea conceived of in the moment. intuition  and aliveness are key to my engagement with dance. our sessions nurtured my ability to calmly  and openly remain in the moment of sensation – moments of not exactly cognitively knowing  what i am doing, where the process is going, or what it will come to be.  references  feldenkrais, m. (1980) ​amherst feldenkrais professional training program (1980–1981).​ paris,  france. international feldenkrais federation    feldenkrais, m. (1984) ​the elusive obvious​. cupertino: meta publications  long, j. (2010) ​walking in sydney looking for dancing: an auto­ethnographic mapping of the  place of independent dance​. unpublished phd thesis. sydney: the university of new    newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  13      south wales       biographies  rhiannon newton, ba  studied dance at the west australian academy of performing arts, edith cowan university.  she is an established independent contemporary dancer with a history of working in europe,  israel and australia. her emerging choreographic practice is grounded in investigations of  improvisation and the role of repetition in dance.  julie­anne long, phd   holds an ma (hons) in performance university of western sydney nepean and a phd from the  university of new south wales. she has worked in a variety of dance contexts as dancer,  choreographer, mentor, dramaturge, curator and producer. she is lecturer in dance and  performance at macquarie university, sydney, australia.   zoran kovich, msc  studied cognitive science at the university of new south wales investigating cognition and  human movement. formerly a professional dancer, zoran lectured in undergraduate dance  programs for 19 years, and has over 30 years experience in the field of somatic education. he  currently works in his sydney private practice, and australian feldenkrais training programs.  po box 1025, epping, new south wales, 1710, australia. ​zorankovich@yahoo.com.au          newton ​et al.​ • ​feldenkrais research journal, volume 5​ ​(​2016)  14    mailto:zorankovich@yahoo.com.au microsoft word 2_guimond_engl_pdf.doc feldenkrais research journal • volume 2 (2005) article “who's there? / who goes there?” point of view of the feldenkrais method® of somatic education odette guimond phd abstract referring to seminal texts and influential authors in the field of biology of cognition, the author discusses connections between mind and body, insisting on the critical role of the body in the acquisition of knowledge viewed as a biological phenomena. she reviews in that context the principles of the feldenkrais method of somatic education whose goal is essentially to restore the integrity and unity of sensorial, affective and intellectual levels of the self. this approach designed to enhance body awareness and consolidate body image through sequences of movements and functional integration is said to be most beneficial to actors and artists in their search for creativity but it may benefit as well individuals who seek improvement of their health and personal growth. keywords feldenkrais method, somatic education, body awareness, movement, body, mind, learning copyright ©: the copyright for this paper remains with the author(s). first published in french: prisme, psychiatrie, recherche et intervention en santé mentale de l’enfant, no 37, montréal, hôpital sainte-justine, 2002. please cite: feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 “who’s there? / who goes there?” point of view of the feldenkrais1 method® of somatic education* odette guimond the famous introductory line from shakespeare’s hamlet, held for centuries to be a universal masterpiece, has caused much ink to flow. to how many commentaries and lectures has it not given rise even outside the realms of theatre and literature? psychoanalysis has mined the constituent ambiguities of this work, as it has the masterpieces of greek theatre. how can one not be fascinated both by the structure of the work and by the central role given to theatre, notably in the play-within-the-play, the presentation of the mousetrap before the king? this is hamlet’s ultimate strategy for observing on the face of the spectator suspected of murder the revelation of his true identity; however, in so doing, hamlet is himself forced to contemplate his own choices. translated by eileen mcgurk the french translation of the first line of bernardo, one of the guards on the ramparts of elsinore where the shade of the ghost takes shape, conjures up either the phenomenon of being (“qui est là” / “who’s there?”) or of movement (“qui va là” / “who goes there?”). for my purposes, i prefer the second. it throws greater light on the fact that the question of identity is organically related to the awareness of the body moving in space. even if gerald m. edelman is convinced that artists can take no more than an amateur’s interest in the phenomenon of consciousness,2 antonio r. damasio (2001), on the other hand, bases himself on various works, certified teacher in the feldenkrais method® of somatic education since 1991, the author is also an actor and director and graduate of the conservatoire d’art dramatique de montréal in 1976. she completed her doctorate in french studies at the université de montréal in 1987 with a thesis on l’acteur et le corps apparent. since 1977, she has taught at universities and schools of theatre studies and directed a theatre company for more than fifteen years. in 1995, she founded autopoïésis, an arts school to integrate the feldenkrais method® into the training, research and professional development of artists. address: 1012, mont-royal est, bureau 107, montréal (québec) h2j 1x6 e-mail: oguimond@videotron.ca web site: //pages.infinit.net/oguimond * translator’s note : this article is a translation of «qui va là? point de vue de la méthode feldenkrais d’éducation somatique » in prisme, psychiatrie, recherche et intervention en santé mentale de l’enfant, no 37 (corps culture identité), montréal, hôpital sainte-justine, 2002, pp. 98-106. isbn: 2-922770-34-06; issn: 17-1-7599. the reference to the opening line of hamlet in the second paragraph recalls the many occasions on which one shakespearean character challenges another with either “who’s there?” or “who goes there?” was shakespeare’s choice a conscious pointer to hamlet’s ambiguity concerning his identity? 2 including those of shakespeare, to bring the public up to date on advances in the areas of neurology and psychiatry.3 the popular scientific works of gerald m. edelman such as a biological theory of consciousness or how matter becomes imagination, those of antonio r. damasio, descartes’ error or the feeling of what happens, those of israel rosenfield such as an anatomy of consciousness support the reflections of francisco j. varela, biologist and specialist in cognitive sciences,4 and agree with the research of the founders and practitioners of various methods of somatic education5 over the last hundred years or more, especially the feldenkrais method®. this method has attracted the attention of varela and other scientists for some time, even during the lifetime of moshe feldenkrais, doctor of physical science and judoka.6 the body, metaphor for the mind? the mind, metaphor for the body? an article like that of carl ginsberg on “the somatic self revisited”7 proposes important paths not only in what pertains to the contribution of somatic education to the domain of consciousness, but also to the way that it envisages the question of identity. in fact, somatic education is interested in the learning of awareness of the body moving in space and in relation to its environment, including through this the context of learning, the culture of the individual. from now on, the question is no longer so much knowing who goes there as it is taking an interest in the process by which a living being knows, recognizes who he is and what his choices are to act more effectively and with minimum effort in a given situation, with maximum harmony and quality, sensitivity and awareness, indeed creativity. for a long time, this question, associated to the cognitive process, was treated as if the “body” were not involved in the cognitive process, which was called “mental”, as if the head were not part of the body or the body devoid of a head. it must have required tremendous freedom of spirit, or perhaps more simply a quality of observation and scientific reflection free of philosophical or religious baggage, for medical research to reach the point of proposing in recent times that the brain be considered a bodily organ, and that that which had been referred to for centuries as the mind, in fact emerged from the functioning of the nervous system8 (edelman and tononi, 2000). such has been the fundamental hypothesis of somatic education and especially of moshe feldenkrais since the 1940s, allowing escape from the duality of reductionist thinking that has been imposed since descartes. if the scientific dream that drives research on consciousness results, for example, in edelman’s production of sophisticated artefacts (“conscious” robots, that is, robots capable of learning and not only programmed from 3 without) whose function would be to objectively and quantitatively validate the functioning of a living organ like the brain, that of somatic educators emanates, above all, from their subjective experience and relies more on qualitative data. themselves often confronted with a health problem or more generally with a question of survival, like artists, they call upon their creativity to learn to feel more and more from within themselves the functioning of their organism and their environment and to guide their students in a similar learning process. just like artists, they have created and learned to master, in the course of long and demanding years of learning, extremely precise techniques, supported by objective knowledge, but based on a definition of consciousness as sensory and lived experience: in short, from the perspective of qualia, a stumbling block for present-day scientific research. for somatic education, the cognitive processes are the same as the autopoietic biological process as defined by humberto maturana and francisco j. varela in autopoiesis and cognition, the realization of the living in the 1970s.9 in this process, a living being constantly recreates its own functional identity, through the incessant movement of its parts and its structure. the brain and the rest of the body are but one, in fact, the brain nourished and affected by the movements, sensations and experiences of the entire nervous, skeletal, muscular and digestive system … maturana and varela were the first biologists to clearly propose the hypothesis that knowledge was a biological phenomenon and open the debate on this topic in the scientific world. how does the ground recognize you? if a mirror exists that cannot lie and that reveals not appearance but identity itself, it is the relation to gravity. didn’t moshe feldenkrais say that the greatest discovery of freud was his use of the couch? in somatic education, the quality of the contact with the ground and the capacity to subtly change this relationship at every stage of movement, that is, of life itself with every breath, are a means of revealing the person and, for moshe feldenkrais, the quality of the function of the nervous system. imprints on the ground, so revealing for police or scientists interested in the past of living species, are at the heart of somatic education. but rather than discover only traces of a spent past, hidden or disclaimed, somatic education unlocks in this relationship to gravity the manifestation of the present moment, simultaneously revealing traces of a memory and the means by which a person manages, or doesn’t manage, to transform his intentions into actions, to organize himself in space and time. moreover, the ludic connection with the ground, the need to touch as first means of communication allow for starting up again the profound mechanisms of learning, survival and creation. moshe feldenkrais constantly invokes three principal themes: the inextricable unity of mind and body, the primordial importance of the relationship to gravity and the skeletal power that it incorporates, the body image (otherwise described as neuromuscular patterns) as reference to the 4 self that becomes clearer and therefore changes during lessons in somatic education. he has written many books, including those with provocative titles, awareness through movement (1972, 1977) or the elusive obvious (1981). in 1948, he had already published body and mature behaviour: a study of anxiety, sex, gravitation and learning (1981), a surprising synthesis for the time, even for those with a global view of the human being. the following year, in 1949, he wrote the potent self, proposing the learning of spontaneity as opposed to compulsion, which would not be published until 1985, a year after his death. there are two ways developed by moshe feldenkrais to guide learning. group lessons in awareness through movement® are made up of movement sequences prepared to develop a better neuromuscular organization. connected to specific functions, these movements are presented in an unaccustomed, non-linear way to stimulate creativity, to change habits and to find alternatives that are comfortable, based on an individual’s own sensory reference points. in individual lessons of functional integration® the student can be guided by the touch, as well as the verbal instruction, of the teacher who explores with him new options for movement. it is a touch that listens and accompanies, a touch suggesting neuromuscular patterns that were either forgotten or had never previously existed in the collection of movements of the student, a contact that helps to define vague areas in the person’s perception of himself. what the teacher does is to hold a dialogue with the student through movement. to sum up, the feldenkrais method® rests on an in-depth (and primarily experiential) understanding of several fundamental principles: organization of the body in movement in the gravitational field; self-regulated functioning of the nervous system; total integration of the person on the sensory, emotional and intellectual levels; the primacy of body image in the control of behaviour. the conditions created by our method are aimed at our learning capacities. it is a strategic approach that is interested in the “how” rather than in the “why” of things. it uses reduction of effort and of speed; increase of keen sensitivity; a search for comfort and ease; an absence of models to imitate; the search for personal markers of quality; a graduated progression through the complex; an all-encompassing vision of the whole body and the whole person in movement. the principal strategies of the method are articulated around an approach that gives the student a sense of security, an approach as indirect as possible to sites of pain or trauma or to “problem” areas, with the perspective of addressing the whole person, the intelligence of the nervous 5 system, that which is healthy within the person, and not his biased perceptions. how do you know who you are or where you’re going? the perspective of somatic education is both older and newer than is imagined; more important and more a bearer of organic solutions than is believed, confronted by issues that are too deep and shared by too many human beings to be simply individual, cultural or pathological. people are interested with good reason in the chemical make-up of human function and in what the study of brain lesions can teach us about the function and indeed the very nature of living phenomena. but my practice and teaching in the area of theatre and somatic education continue to teach me that, fundamentally, human beings cannot achieve total freedom and fully become creators without this constant recognition of their habits of movement in the gravitational field, of their behavioural preferences, of their own way of doing and perceiving. and this, not to run away from themselves and conform to some ideal model, both inaccessible and unreal, but to make peace with themselves and take ownership of who they are and what they do. the awareness of one’s neuromuscular patterns is fundamental and fosters not only the improvement of what one loves to do but also brings to it creative variations that can even be qualified as profound behavioural changes. in the theatre, we use words, many words. we even learn them “by heart”. we “play” them. we try to remember that a human being wrote them and that they exist to return us to ourselves and to let us communicate with other human beings. read a sentence that moves you, whether you do not know why it moves you or even if you feel that you do know why! name three typical words, three qualifiers or images that the sentence makes you think of. repeat the sentence out loud and listen to it resonate within you while discovering exactly where the images come from that you learn to differentiate one from the other. what do you do to clarify these images inside yourself? how do you know what you feel? these images will translate quickly through a pattern of movement whose reference points are known to you alone, that allow you to repeat them until they become second nature. play at running the gamut among the three patterns of movement that will be integrated into a single form, something you could not have expected. it is both simple and fun! there you are, in contact with a new character that you may not even have recognized as an aspect of human nature within you… and of your identity. pick out a verb, two, three action verbs that are connected to the person with whom you wish to share this sentence that will create a relationship between you. do your scales, run the gamut. listen from inside yourself to how you react to the construction of movement of the other who responds to your 6 intention, to his relationship to you, to the reply that wells up and changes with the rhythm of the changes in your own movements. you have just created a dialogue, a fundamental relationship between two human beings. now, what did you have to say that was so important? was it in the words? you have just managed to clarify this relationship and perhaps to enrich it in an unexpected way, for how do you know what you know so well about yourself and your intentions? you have only to give a moment of attention to what you feel and to what you are doing in movement and to let yourself be guided by that within you that knows. my own journey in somatic education, equal to what is dear to me in artistic experience, has taught me, like so many others, to burn masks rather than disappear behind that which is imposed. in a learning context, to quote the expression proposed by antonio r. damasio10 recently, it is to this freedom in the construction of differentiated characters, to this mobility in experiencing one’s own identity that the awareness of sensory markers in the construction of a behaviour associated to “somatic markers” leads. this is what actors have been doing since the first intuitions of stanislavski. but with the tools that somatic education offers, one can go much deeper in this type of research and with greater precision and pleasure. in theatre, that is something extremely precious. in everyday life, it is priceless. abstract referring to the seminal texts and influential authors in the field of biology of cognition, the author discusses connections between mind and body, insisting on the critical role of the body in the acquisition of knowledge viewed as a biological phenomenon. she reviews in that context the principles of the feldenkrais method of somatic education whose goal is essentially to restore the integrity and unity of sensorial, affective and intellectual levels of the self. this approach designed to enhance body awareness and consolidate body image through sequences of movements and functional integration is said to be most beneficial to actors and artists in their search for creativity but it may benefit as well individuals who seek improvement of their health and personal growth. 7 references damasio a.r. the feeling of what happens: body and emotion in the making of consciousness. new york: harcourt brace 1999, 2000. damasio a.r. descartes’ error: emotion, reason and the human brain. new york: grosset/putnam, 1994, harper collins 1995. edelman g.m. the remembered present: a biological theory of consciousness. new york: basic books 1989. edelman g.m., tononi g. a universe of consciousness: how matter becomes imagination. new york: basic books 2001. feldenkrais m. awareness through movement: health exercises for personal growth.. new york: harper & row; toronto: fitzhenry whiteside 1972, 1977; hammondsworth, middlesex, england: penguin books 1972-1977. feldenkrais m. the elusive obvious. cupertino, ca: meta publications 1981. feldenkrais m. body and mature behaviour: a study of anxiety, sex, gravitation and learning. new york: international universities press 1981. feldenkrais m. the potent self: a guide to spontaneity. san francisco: harper and row 1985. ginsberg c. “the somatic self revisited,” newbury park, ca: sage publications, reprint of the journal of humanistic psychology 1996; 36:124 –140. rosenfield i. the strange, familiar and forgotten: an anatomy of consciousness. new york: alfred a. knopf 1992. varela f.j., thompson e., rosch e. the embodied mind: cognitive science and human experience. cambridge, ma: mit press 1991. notes 1 feldenkrais,® awareness through movement® and functional integration® are trademarks registered in canada by the feldenkrais® guild of north america and protected in québec by the association québecoise des professeures et des professeurs de la méthode feldenkrais® affiliated to the latter. the use of these terms is reserved to practitioners who have completed professional training in the method over a period of four years and who have met the criteria for certification of each of the associations. these latter are members of the international feldenkrais® federation. 2 see the conclusion of the book by gerald m. edelman and giulio tononi, how matter becomes imagination. there we read, for example, “but there is one fascinating point that, here and now, bears on the exhaustiveness of the scientific pursuit. it concerns whether all meaningful relations at the level of consciousness constitute objects for scientific study. think, for example, of meaningful sentences in ordinary language or, even better, of poetic exchanges as they are enacted by sentient humans. our conjecture is that they are, here and now, not fit objects for scientific study except in some trivial sense.” p. 222. 3 see, for example, “wordless storytelling is natural. the imagetic representation of sequences of brain events, which occurs in brains simpler than ours, is the stuff of which stories are made. a natural preverbal occurrence of storytelling may well be the reason why we ended up creating drama and eventually books (...) be that as it may, the marvel is to think that the very first brains that constructed the story of consciousness were answering questions that no living being had yet posed: who is making these images that have just been happening? who owns these images? ‘who is there?’ as in the stirring first line of hamlet, a play that so powerfully epitomizes the bewilderment of humans regarding the origins of their condition. the answers had to come first, by which i mean that the organism had to construct first the kind of knowledge that looks like answers. the organism had to be able to produce that primordial knowledge, unsolicited, so that a process of knowing could be founded (...) telling stories, in the sense of registering what happens in the form of brain maps, is probably a brain obsession and probably begins relatively early both in terms of evolution and in terms of the complexity of the neural structures required to create narratives. telling stories precedes language, since it is, in fact, a condition for language (...)” in a.r. damasio, the feeling of what happens: body and emotion in the making of consciousness, pp.188-189. 4 see, for example, francisco j. varela, evan thompson and eleanor rosch, the embodied mind: cognitive science and human experience. 8 5 among the founders of proven methods, frederick matthias alexander, the late 19th –century australian actor realized to his horror that he would lose his voice on stage during performances and could find no specialist to help him to correct the problem. he was left to his own devices to undo his habits of behaviour rather than remain a victim of his own stress. at the same time as moshe feldenkrais was developing his fundamental ideas, a german doctor, lily ehrenfried, who had emigrated to france created the gymnastique holistique®: even if she could no longer practise medicine, she could at least search for ways to keep people from becoming sicker. her aim was maintenance of health, prevention of illness and education. taking her inspiration, like lily ehrenfried, from the works of elsa gindler (a 1920s pioneer), gerda alexander, a dancer in denmark who had taught jacquesdalcroze rhythmic dance in her youth, created her méthode d’eutonie centred on good muscle tone when at the age of 25 she contracted rheumatoid arthritis. more recently, thérèse bertherat, a kinesiotherapist in france of the mézières school, created the antigymnastique and taught the french-speaking public that the body has its reasons. in the usa, bonnie benbridge cohen, who also began as a dancer and therapist, continues her research on body-mind centering. this list is far from being exhaustive. 6 the feldenkrais method® carries the name of its author, a russian-jew born in 1904. moshe feldenkrais reached palestine alone at the age of 14 and contributed to the building of his country. from 1928, he studied in paris where he became at one and the same time doctor of physical science and engineer. among other things, he worked in the juliot-curie laboratory. an accomplished sportsman, he was very active in promoting the development of judo in france and in england in the 1930s and 1940s. this long work of learning and teaching a martial art was a very important source of inspiration in the elaboration of his method and without doubt in his interest in the work of actors. the other determining factor was a serious knee injury that forced him to take an interest in his rehabilitation, in the connection between movement and the functioning of the nervous system and in the inextricable unity of the psyche and the soma. actually, the prognosis for knee surgery at the time forced him to make a choice: either he would walk normally once again or he would find himself with still greater limitations. he decided to forego surgery and find his own way to walk as normally as possible again. the synthesis of his previous experiences, mixed with a great curiosity about biology, neuro-physiology, psychology and perinatal development, allowed him to take over his own rehabilitation. this personal discovery led him to elaborate his research and the method of work that resulted. he taught in europe, in the united states, in australia and in israel where he died in 1984. 7 in the summary of the presentation of this article, we read, “confusions as to how we use the concepts self, personality, sub-personality, and so on persist. updating a previous contribution, the notion of identities, as distinct constructions and organizations of the somatic being, is introduced. in this way, it is possible to account for the observation that people exhibit, or experience within themselves, varying personalities in different contexts and, at the same time, acknowledge the underlying unity of being of the person.” (ginsburg, 1996) 8 see, for example, gerald m. edelman and giulio tononi in a universe of consciousness: how matter becomes imagination, “as living systems, we are also subject to evolutionary constraints not considered by the laws of physics. consciousness, while special, arose as a result of evolutionary innovations in the morphology of brain and body. the mind arises from the body and its development; it is embodied and therefore part of nature.” p.215. 9 autopoiesis, the organization of the living was originally published in chile under the title maquinas y seres vivos. editor univ. s.a., 1972. published subsequently with humberto r. maturana, biology of cognition (1970) in a work that brought together the two essays: maturana humberto r., varela francisco j., autopoiesis and cognition, the realization of the living, d. reidel publishing co.: dodrecht, holland and in boston studies in the philosophy of science, 1980, vol.42. 10 antonio r. damasio posits the hypothesis of somatic markers in chapter 8 of descartes’ error: emotion, reason and the human brain. damasio uncovered, among other things, the importance of the emotions in all decision making. we read, for example, “in short, somatic markers are a special instance of feelings generated from secondary emotions. those emotions and feelings have been connected, by learning, to predicted future outcomes of certain scenarios. when a negative somatic marker is juxtaposed to a particular future outcome the combination functions as an alarm bell. when a positive somatic marker is juxtaposed instead, it becomes a beacon of incentive.” p.174. microsoft word artist statement_louise kames_pdf.doc feldenkrais research journal • volume 3 (2007) article artist statement: pages turned, 2001, etching/relief print, 19.75" x 23.5" louise kames mfa, professor of art, clarke college, iowa abstract pages turned recalls my family’s history with the prairie in the midwest united states. three generations farmed the land, producing crops, dairy products and a deeply rooted network of relationships. in 1969 the family homestead and 6,500 acres of surrounding farmland was purchased to build fermi national accelerator laboratory, a federally funded site to study subatomic particle physics. in 1975 fermi laboratory staff and volunteers began to restore 1,000 acres to native grasslands. their hope is to produce an ecosystem that closely resembles the prairie that my family settled a century earlier. printmaking is an appropriate art form to layer ideas and imagery related to the native prairie, the cultivated land, the displacement of family, the opening of the earth’s surface to build an “atom smasher” and a return to restored prairie. the print, pages turned, joins my family’s property deed, an image of the corncrib, prairie plants, including the coneflower seedpod, with the physics formula for top quark. keywords feldenkrais, printmaking, art, prairie copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 artist statement/title picture louise kames pages turned, 2001, etching/relief print, 19.75" x 23.5" pages turned recalls my family’s history with the prairie in the midwest united states. three generations farmed the land, producing crops, dairy products and a deeply rooted network of relationships. in 1969 the family homestead and 6,500 acres of surrounding farmland was purchased to build fermi national accelerator laboratory, a federally funded site to study subatomic particle physics. in 1975 fermi laboratory staff and volunteers began to restore 1.000 acres to native grasslands. their hope is to produce an ecosystem that closely resembles the prairie that my family settled a century earlier. printmaking is an appropriate art form to layer ideas and imagery related to the native prairie, the cultivated land, the displacement of family, the opening of the earth’s surface to build an “atom smasher” and a return to restored prairie. the print, pages turned, joins my family’s property deed, an image of the corncrib, prairie plants, including the coneflower seedpod, with the physics formula for top quark. louise kames mfa professor of art clarke college iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 radu feldenkrais research journal • volume 4 (2008) article isra – breaking the myth dorit dinur msc, ma (history of art) keywords feldenkrais method, case study copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org isra– breaking the myth dorit dinur. isra is a woman in her thirties, a psychologist in training who knows herself well and verbally expresses herself quickly and clearly. she runs her own marketing company. the board of the israeli guild considered hiring her as a consultant, therefore i offered her an fi lesson as an example and as an experience that i thought would enable her to understand what we talk about in the feldenkrais method. when she came into my studio i asked her how she felt. she smiled widely and said that everything was wonderful, she had no problems. she next told me that since she had founded her company three years ago she had no longer been physically active, and that her conscience was uneasy about her lack of activity. i asked her how she would feel if it were completely ok to do no physical fitness, and if no one would preach at her for her lack of activity. . her reply was that this was an ideal and unimaginable situation. the concept that there is a right thing to do, like isra’s belief that she should get more physical exercise, is widespread. many people believe this idea, and they are relying on some external authority instead of listening to their own needs. also, ika said that since the age of 13 she has experienced pain in her right leg. at that age, she was diagnosed with a benign blood tumor but received no suggested treatment; rather, she has been living with the pain. i took the opportunity in this one lesson to engage in a dialogue with her in order to teach her more about herself. i love it when curiosity is built within the person i work with. we started our lesson when she stood up. i asked ika questions about her standing and about her preferences. for example, i requested that she check different possible distances between her feet. she knew that it was more comfortable for her to stand with a very wide distance between her feet. while changing weight from the left to the right foot and back, she clearly felt more comfortable standing on her left leg, and conjectured that this was because of the old pain in her right leg. we also checked her turning of the head, which was easier to the left. when i say we checked, i mean that i instructed her to turn her head to look backwards and while she turned i put my hands lightly on her arms, her pelvis, and her shoulders to guide her. when she looked over her shoulder she tended to turn a great deal, and i asked her to reduce the effort. then she proudly told me that she used to have a large range of motion and that she was flexible and free in her joints. it can see that in her wide range of turning. i noticed that isra couldn't feel the amount of effort she used, and that she had an image of herself as moving freely. usually people come to me with a limited range of movement. how can i help her when her rotation is so big already? her next remark was that she felt exposed. feeling exposed may be the result of an unsafe situation that arises when you are tested or judged and where right and wrong are being evaluated. asking her a question may have put her in a test situation, a situation that might reveal that she doesn't know the right answer. this is the reason that i stopped asking her questions. i intuitively didn't address this remark. i asked her to sit down. ika was surprised when i asked her to turn her head backwards while she was sitting on the bed. she discovered the same pattern as in standing. it was easier to turn her head to the left than to the right. i observed that it was true, and affirmed that her ability to perceive the difference was remarkable. her surprise marks the beginning of her curiosity; ika saw the connection between turning her head in standing and sitting. in response to her awareness, i plan to show her more connections. i asked her lo lie on the table. she chose to lie on her left side, with her legs extended. what do extended legs mean? this position means that she lies down and makes an effort to balance herself; she is probably uncomfortable and doesn't know it. this position means extension in her legs and lower back. i resolve to show her different ways of lying on her side. i intend to encourage ika to explore balance, support and comfort. when i asked her to bend her knees, it felt more comfortable for her to lie like this. she said this was how she reclined at home, only she didn't think that this position was allowed in my studio. it happens sometimes that a person feels constrained by the situation in the lesson. she has a preconceived idea of how she should behave an idea of right and wrong which may be the result of her education. in the feldenkrais method, i create conditions for her to experience without telling her what is right, so that she will rely on herself. later in the lesson isra asked me if it was ok to fall asleep from time to time and we discussed it. here, again is the question of right and wrong. i understand her doubt and her need for reassurance that it is ok to be herself. the question of sleep has several aspects. one aspect is that when a client falls asleep it is a sign of letting go and of deep relaxation. this relaxation (according to chava shelhav) means that the nervous system is open for learning. the learning is happening in the right side of the brain, which is nonverbal and inconsequential. when i talk to a client and get an answer it shows me that the person is half awake. another opinion (yochanan ryverant) is that if i want the student to learn, to feel, to sense, s/he needs to be awake. however, i never wake anyone in fi or in atm lesson. falling asleep also means that the client needs the rest. it may signal something about the quality of their sleep. we explored several positions of her legs, for example, bending in the knees and hip joints in different angles. i asked her to feel the differences between these positions. when she changed positions, there was movement in her hip joint, pelvis and lower back. i put my hands on her right hip joint and lower back, escorting her change of position. she realized that there was a connection between her legs changing position and the movement of the hip joints and lower back. "i never thought about it", she acknowledged. touching her makes it possible for her to observe. here i have another clue as to how curiosity is developed. she realized how the movement of her leg was connected to the movement of her pelvis. she never thought about her pelvis being involved in the image of herself and her legs. i decided to clarify this issue for her. i let her compare putting the right leg in front and back of the left leg. my intention was to emphasize the involvement of the lower back and pelvis. she chose to put her right leg in front of the left. since i started with turning the head in standing, i checked her ability to globally roll when lying on the side. she could roll easily. at this moment i felt that her ability to roll is the result of her attempt to help me and not due to freedom of movement. i decided to differentiate the movement by breaking it into small portions. i touched her right shoulder first, then her right hip joint. then i added the movement of her right knee in the direction of her pelvis. her reaction was to help me by doing a jumpy movement. is she trying to do the "right" thing by helping me? does she know it? how shall i teach her not to do the "right" thing? i decided to show her variations in order to teach her not to help. while i was rolling her, i asked her: 1. to help me 2. to resist. then she performed the movement without me. i described the movement out loud in words. after a short while she allowed me to do the movement for her without her participation. she reported that it was a “weird” sensation. i think when she said “weird” she meant new sensation. what is new to her? i want to find out. later she told me that the idea of moving without pain or without effort is very new to her. while isra was on her left side, i lifted her right ankle and foot so as to show her that it moved with the pelvis and hip joint. i also moved her shoulder in different directions while touching her along the spine to demonstrate the connection between the movements of the shoulder and the spine. here i let her sense, i didn't say anything. my idea was to make a connection between the function of turning her head and the use of the spine, the movement of the pelvis, leg and shoulder. shortly after that she started to move by herself. to me, this was a sign that she needed a change [adjustment] of position. i asked her to lie on her back. she asked me what i had been doing before. i chose to talk with her again and explain. i use her questions to draw her attention to herself, to the possible differences in sensation between her two sides, to her asymmetries. these are examples of awareness. this is an opportunity for me to suggest that awareness is a tool for life. awareness is taught by posing questions, especially for clients with curiosity; it opens up a new field of interest in themselves. i will go on to explore the function of standing, leaning on her feet. we noticed her standing at the beginning of the lesson, now i will address it while she is lying on her back. isra is lying on her back now. i compressed through each of her feet to simulate standing on one foot. after a few compressions, i asked her to help me by shortening and elongating first one leg, then the other, and then the two legs alternately. she noticed the role of the pelvis in bearing weight on each foot, and said it reminded her of walking. she also said she noticed the twisting of her spine. when she mentioned walking, i said that it was a good idea and that soon we would check the same function in standing. i didn't understand her use of the word “twisting” here, but i decided not to ask her to clarify her meaning. i assumed she meant that she felt her spine as force went through it. isra rolled to lie on her right side now. i initiated the global movement of rolling her whole trunk back and forth and then differentiating the trunk. this time i pointed these options out by asking her to pay attention to her upper and lower back in separate rolling and in the entire movement. i helped her feel her spine by touching the vertebrae gently, one by one. ika commented that it was quite an experience to feel her spine without pain. i also exposed her to the possibility of different ways to move: big and small, slow and fast. as the lesson was about to end i let her roll on her back. there were some surprises in store for both of us. she commented that she felt straight and the sensation was comfortable; she also said that she had no idea that such straightness was possible. she said that it was nice to stretch out and lie quietly on her back, to breath deeply and feel full contact with the mattress. she asked me if it was indeed possible that after such short and small movements the change could be so prominent. she couldn't believe her own sensations and she needed verification from me that it was really happening. i think letting go of the constant effort enabled her to feel all that change. the next step was to verify her sensations and check them in sitting and standing; in other words, to integrate her movements. when she sat on the table, she was again surprised at how straight her back felt. she told me that keeping her back and shoulders straight had been a constant effort. now she felt that being straight and upright was easy and natural. when she turned her head backwards left and right in sitting, she moved only her head. this came as another surprise to her. she used to overdo the movement using her entire back, hands, and pelvis with a lot of effort. when i asked her to turn her entire body, she did so with a smaller range of movement than at the beginning of the lesson. the idea of a definitive range was pleasant to her; isra’s realization that turning may be small and easy was the reason for her wide smile. i assume that the experience of movement without effort, movement with support, gave her a sense of quality that she now looked for in sitting. i also think the effect of small movements was a new sensation to her and she enjoyed that. the next step toward integration involved standing on both feet. isra leaned more on her right leg. though it wasn't her habitual way of standing, it had become possible and comfortable. she looked backwards to both sides, and discovered the limits and the ease of her movements. when she was ready to leave my studio, she said that our lesson was a huge and unexpected experience for her, a total change in the basis of her thinking and the axiom by which she, and many others, live their lives. while saying this she shifted her weight back and forth to her right leg; i noticed her movements and told her so. she smiled at me and observed that in feldenkrais we are breaking myths on many levels and changing basic conventions. i kept silent, deciding to let her go and be with herself. i offered to talk with her later in the week to explore more possibilities for our marketing project. this one lesson revealed so many directions to explore further. i stayed with the idea of giving her a small taste and some small beginnings, noticing that it doesn't often happen that a student realizes so many issues in one session. her lesson was a combination of fi with a verbal dialogue between us. she was impressed by the small amount of movements, by finding connections among body parts in the movements, and with sensing herself. she was able to listen and communicate her sensations, be curious, and find new options for comfort. she was happy to learn that there isn't any right and wrong, and that everything turns into a question with possible answers that she herself will find. we also addressed the concept of effort, which may influence other areas of her life. i explored the function of rotation by breaking it into small movements, connecting and integrating it again in different postures at the end of the lesson. isra was able to move less with less effort and be pleased with the results. this happens when she uses more of herself and senses herself more clearly. isra’s parting sentence is a summary of what i myself have already experienced, but her exact phrasing, “breaking of myths,” is brilliant in my opinion. when clients come in with an acute or disturbing problem, they want a solution or instant relief. they have an expectation and a measure to know how was it. this lesson had no specific target to achieve. it was a purely educational situation that led into exploration. i hope for more teaching experiences of this kind. i hope that people will come to learn not only because they hurt. i hope they will be open to their sensations and let change happen. a person who is attentive to himself will be sensitive to others. dorit dinur. chair of the israeli feldenkrais guild member of the eurotab since 2006 www.feldenkrais4u.co.il dorit@feldenkrais4u.co.il http://www.feldenkrais4u.co.il/ mailto:dorit@feldenkrais4u.co.il microsoft word 7-strauch_pdf.doc feldenkrais research journal • volume 3 (2007) article epistemology and the feldenkrais method ralph strauch phd, cft, somatic options, los angeles abstract research takes place within a paradigm, which rests, in turn, on an epistemology, or theory of knowledge. good research paradigms for the feldenkrais method do not exist, in part because conventional scientific epistemology does not adequately represent forms of knowledge important to the method. this article discusses this inadequacy and explores one possible approach to developing a non-conventional epistemology to address it. keywords feldenkrais method, epistemology, research design, research paradigms, knowledge copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 epistemology and the feldenkrais method ralph strauch phd, cft somatic options pacific palisades, ca abstract — research takes place within a paradigm, which rests, in turn, on an epistemology, or theory of knowledge. good research paradigms for the feldenkrais method do not exist, in part because conventional scientific epistemology does not adequately represent forms of knowledge important to the method. this article discusses this inadequacy and explores one possible approach to developing a nonconventional epistemology to address it. introduction in the structure of scientific revolutioni, thomas kuhn describes science as a process organized around paradigms which he defines as consensual frameworks for deciding what questions are legitimate and what means are legitimate for answering those questions, agreed on by the community of researchers within which the research occurs. most research takes place as part of what he calls normal science, guided by well established paradigms that define and provide a framework for exploring the questions that the discipline involved finds relevant. examples of paradigms would include newtonian mechanics, copernican astronomy, wave optics, and organic chemistry. in any field there are anomalies questions that the existing paradigm is unable to answer and data that it is unable to explain. as long as there are not too many anomalies they can be pushed off to the side and ignored, and the process of normal science can go on unimpeded. eventually, though, the anomalies build up to the point that they can no longer be ignored. the existing paradigm breaks down, and after a somewhat chaotic period of transition, the discipline adopts a new dominant paradigm. kuhn calls this period of transition scientific revolution. the transition from newtonian to relativistic mechanics would be an example. he notes that process by which a new paradigm emerges can be as much a political process as a scientific one, where personalities and persuasive abilities play more of a role than do purely scientific considerations. in the feldenkrais community, we don’t yet have good paradigms within which to do normal science. one way around this dilemma is to work within existing paradigms from other fields, such as medical research paradigms for assessing the effectiveness of drug therapies or other treatment interventionsii. there is some value in research that fits the feldenkrais method into such conventional research paradigms, particularly when it comes to marketing and to gaining legitimacy with the medical community. but such research often requires treating the method as a simpler and more routinized process than it really is. statistical assessments of the effects of the method for some specific medical condition, in particular, iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 are likely to view any awareness through movement (atm) or functional integration (fi) used in the research as routinized procedures following fixed protocols that can be replicated with other subjects to produce the same effects on the targeted condition. such research may certainly be used to argue that the feldenkrais method is effective in whatever situations that effectiveness was demonstrated, but it is unclear that it will provide information of value to the continued development of the method. carl ginsburg has written about some of the issues involvediii. if we really want research that can significantly add to our deeper understanding of what we do and how we do it, we need to develop paradigms to guide that research that capture the richness and complexity of the method. this, in turn, may require even more fundamental thinking about the epistemology — the theory of knowledge, the deeper agreement on the nature of knowledge and the means for determining its validity — upon which those paradigms rest. our work is best understood through ways of knowing and validating knowledge not recognized by the conventional epistemology that underlies contemporary science, so we may need to develop our own broader epistemology as well. the nature of conventional scientific epistemology conventional scientific epistemology requires knowledge to be objective, codified, unambiguous, and reproducible, in the following senses: • objective means that the knowledge adheres to the world “out there.” it describes objective characteristics of the phenomenon being described, independent of who is observing that phenomenon. • codified means that the knowledge is completely encoded in external symbolic (verbal or mathematical) form, separate from the knower. if you understand the words, you should understand the knowledge. conversely, if you can’t put what you know into words such that other people can understand and reproduce it from those words, it isn’t knowledge. • unambiguous means that there is one right answer. given two competing explanations for the same phenomenon, only one can be right. • reproducible means the phenomenon being described will look the same to every observer, and each time it is looked at. i’ll refer to knowledge that meets these criteria as conventional knowledge — that is, knowledge that has been encoded in language or other symbolic form and can be duplicated by others. scientific epistemology does not value non-verbal ways of knowing or non-verbal knowledge that may be difficult to transmit unambiguously from one person to another. individual scientists often step outside these boundaries in discovering and creating new knowledge. subjective non-verbal understanding and intuition can be invaluable parts of the individual creative process, but the collective process discounts and obscures this. well known examples include einstein’s image of riding on a light beam and kekule's dream of a snake swallowing its tail, which led to the understanding of the chemical structure of the benzene ring. but these intuitive discoveries became acceptable knowledge only after they were codified and logically validated. one of the most important personal lessons i learned in graduate school, from the world-class mathematician who was my mentor, was to approach mathematical research as an intuitive rather than a logical activity. new mathematical knowledge flows from the mathematician's intuitive gestalt for the abstract structure he works with. the codified logical form that knowledge eventually takes on comes later — a means of recording and transmitting the 3 knowledge, but not of discovering it. the formal system does its best to obscure the underlying process on which it depends for its existence. knowledge in a feldenkrais context much of the knowledge on which the feldenkrais method depends is conventional knowledge. it can be and is codified within conventional epistemology. this includes, for example, knowledge about anatomy, neurology, some understanding of functional connection, etc. but there is also much that can’t be so codified — much which is non-verbal and perhaps ultimately impossible to put into words. as practitioners we depend on our ability to sense, connect, and communicate at deep intuitive levels. i’ll refer to these ways of knowing as nonconventional knowing or non-conventional knowledge. different practitioners use nonconventional knowing in different ways and to different degrees; no single way of doing it is “right.” different practitioners have different images of what we do and how we do it. we don’t all share the same descriptions of our knowledge, even when we share a deeper gestalt for what we know. non-conventional knowing does not fit within conventional scientific epistemology. it could even be argued, in fact, that this epistemology evolved specifically to reject and exclude nonconventional knowing, because it was seen as tantamount to mysticism and superstition. scientists who draw on non-conventional knowing as a source of insight must translate what they discover into conventional codified form in order to get their work recognized; they must move beyond and obscure the non-conventional source. as feldenkrais practitioners, we don’t have the option of obscuring our non-conventional sources and pretending that our work is independent of them. we must stay in touch with these realms, using intuitive information and communications throughout our work. elements of non-conventional knowing conventional scientific epistemology requires that knowledge be objective, codified, unambiguous, and reproducible. let’s look at how the non-conventional knowledge important to a feldenkrais practitioner might fail to meet those criteria, and why we might need a non-conventional epistemology to encompass them. let’s consider the process a physician might go through in diagnosing and treating a patient and compare it with how a feldenkrais practitioner might interact with a functional integration student. the physician works within a paradigm organized around the diagnosis and treatment of pathology. he begins by identifying and collecting measurable objective data about the patient. when enough data has been collected the physician makes a diagnosis — identifying the patient as belonging to the class of people who exhibit a particular pathology. the data that the physician uses to reach his diagnosis are conventional facts, described by objective, codified diagnostic criteria. the diagnosis is also an objective, codified description identifying the diagnostic category to which the patient is assigned. diagnosis is followed by treatment, which consists of applying an objective, codified protocol that has been accepted as appropriate for that diagnosis. throughout this process, the physician is applying and is guided by conventional knowledge — objective, codified facts that should look the same to any trained observer, and lead to the same unambiguous conclusions (diagnosis) and actions (treatment), no matter who does them. faced with the same patient, in other words, competent physicians should come to the same diagnosis and apply the same treatment. it may not always work out that way in practice, but that’s what the system sees as the ideal. 4 now consider a feldenkrais practitioner engaged in a functional integration session. she also makes an assessment of her student’s situation, but in a far more subjective manner than the physician. she is looking less for specific indicators of specific conditions than for things that may appear out of balance somehow. she may look for a particular set of indicators, or she may simply respond to “what pops up.” she takes in information through a variety of sources and uses that information to guide her interactions with her client. some of what she responds to may be readily describable in conventional terms — “his breathing was restricted,” for example, or “he couldn’t properly bear weight on his right leg.” but she may also sense larger and more diffuse patterns of connection or activity that have no conventional description, responding to them and integrating them into her interaction to the client without ever verbalizing them, even to herself, or bringing them fully to consciousness. there are no standards of treatment for the feldenkrais method, tying specific diagnoses to specific treatment protocols, as there are in medicine. different practitioners might approach the same student very differently. some might address the student’s presenting problem very directly, some less directly, and some not at all — preferring to work with the student more globally and see what emerges. this individualized approach and lack of reproducibility is an important aspect of the method. a two-phase process of first collecting information and then deciding what to do about it, akin to but somewhat looser than medical diagnosis and treatment, may sometimes be present in functional integration, or it may be completely absent. sometimes the practitioner only collects information — continually asking, in effect, “what’s happening here now?” but without acting on the answer, as a physician might. instead, she simply notices and moves on. bringing information to awareness produces change, so the next time she comes back to the same place to ask the same question, the answer will be different. the practitioner’s skill in this process lies not in action she takes as a result of what she finds, but in her ability to select a trajectory along which to move while asking ”what’s happening here now?” that will produce beneficial change for the client. the reproducibility and lack of ambiguity so important to conventional knowledge are not present here. the same practitioner, asking the same somatic question, may find a different answer every time she asks. different practitioners will not only find different answers to the same question, they are likely not even to ask the same question, or even to be in agreement about what kinds of questions to explore. and yet all may produce good results, and the results may have more in common than the different approaches which produce them. the beginnings of a non-conventional epistemology so what might a non-conventional epistemology that would allow some of these nonconventional ways of knowing to be taken into account look like? how would it differ from the conventional epistemology used in contemporary science? i don’t have complete answers to those questions, but research that i did in the 1970s concerning the application of subjective judgment in combination with formal analysis to “squishy” public policy and planning problems suggests one way of conceptualizing the issueiv. think about the problem of a human actor faced with some substantive situation in the real world that he needs to address, and the relationships between the actor, the situation, and whatever models of the issue he uses in his decisionmaking. (i’m using the word model here to include all kinds of representations — physical or mathematical models, verbal descriptions, visual or other imagery, etc. — which the actor might use to encapsulate his knowledge and understanding of the situation.) 5 conventional epistemology, in effect, restricts the actor to a single codified model — the externally agreed-upon “truth” describing the situation. it tells him to equate the situation with that model in his decisionmaking process. he should substitute the model for the actual situation and act in the manner specified by the model. he is, in effect, treating the model as a surrogate for the situation, within the meaning discussed below. and since there is a single agreed-upon truth that describes the situation, any other actor should understand the situation in the same way and choose the same action. in the medical diagnosis and treatment paradigm discussed earlier, the codified model would include diagnostic criteria and approved treatment protocols for relevant medical pathologies. the physician’s job can be seen as one of matching diagnostic criteria with the patient's symptoms to reach a diagnosis, then applying a relevant treatment protocol. there may be additional complications in practice, but in principle, this is what’s involved. non-conventional epistemology, on the other hand, must allow the possibility that the actor may understand or describe the situation in more than one way. these might include codified models like those used by conventional epistemology, visual or kinesthetic imagery, gut feelings and other intuitive feelings, and other non-conventional forms. these are shown as a stack of varied models in the figure. none will necessarily be surrogates in the sense that the single model does in conventional epistemology. rather, they may all serve as perspectives, feeding and enriching the internal gestalt through which the actor interacts with them and ultimately makes decisions about the situation. different actors may use different models and different internal gestalts, leading to different ways of acting in the same situation to better understand the distinction i’m making here between a model as a perspective rather than a surrogate, think about two-dimensional images of three-dimensional objects, such as the picture of the cars shown here. the object being represented — the car in this case — has a greater dimensionality than the representation being made of it, the two dimensional picture. it’s not possible to create a twodimensional image that unambiguously captures the object, because two dimension images simply aren’t rich enough to serve as three dimensional surrogates. yet two dimensional representations can still provide very useful models of three dimensional objects. this is because we know there’s more to the object than what the picture shows. we use the picture to inform and enhance a richer internal understanding of the object being depicted. this internal understanding is what i referred to above as the actor’s internal gestalt. we can use a number of different views, from different perspectives, to give us a richer gestalt than we could obtain from any one viewv. that internal gestalt can be further enriched by additional models of other kinds — audio recording of engine noise, descriptions of performance and the driving experience, for example, for the car depicted here. issue codified model actor conventional epistemology issue internal gestalt varied models actor unconventional epistemology 6 objective codified descriptions of the kind required by conventional epistemology are no more capable of fully describing the rich and complex interactions that occur between feldenkrais practitioners and our clients than two dimensional images are capable of fully capturing three dimensional objects, though they may usefully serve as perspectives on those interactions. a non-conventional epistemology along the lines described above might offer a useful way thinking about and modeling those interactions, and a base upon which paradigms for describing the feldenkrais method might be developed. i haven’t fully articulated such an epistemology here, certainly. but i hope this article at least illuminates the possibilities and suggests directions for further research. i kuhn, thomas. the structure of scientific revolution. chicago: university of chicago press, 1962. i recapitulate kuhn’s main arguments in my chapter on “science as a perceptual process” in the reality illusion: how you make the world you experience. los angeles: somatic options, 2000. http://www.somatic.com/real_illus.html iistephens, jim, “evaluating research on the feldenkrais method from the outside. some observations and suggestions,” iff academy feldenkrais research journal 2004 vol 1, http://www.iffresearchjournal.org/stephenseng.htm iiiginsburg, carl, “reply to jim stephen’s first version of this article from 1999,” iff academy feldenkrais research journal 2004 vol 1. http://www.iffresearchjournal.org/ginsburgeng.htm ivtwo examples of this research can be found on my website at http://www.somatic.com/articles.html#rand: strauch, ralph. risk assessment as a subjective process, the rand corporation, santa monica, ca p-6460, march 1980, and strauch, ralph. ‘squishy’ problems and quantitative methods. policy sciences vol. 6 (1975): 175-184. v some of these ideas are also discussed in more depth in the reality illusion, op. cit. microsoft word 2-browne_pdf.doc feldenkrais research journal • volume 3 (2007) article the future of research in the feldenkrais method gordon browne pt, gcfp, balance point physical therapy abstract this article reflects on the nature of research into the feldenkrais method, from the perspective of a physical therapist. the fm has enormous potential for helping people with movement difficulties ranging from musculoskeletal pain to neurological disability to geriatric deterioration; all of which are also of concern to the medical profession. i would like to see much of fm technique and philosophy adopted by medical professionals, even though with the adoption will come some adaptation. i suppose the nature of future fm research depends on what we want the future of the fm itself to look like. do we stay pure and focused, separate and distinct from folks with whom we have common cause? or do we want the fm to have a prominent place in the everyday practice of medicine and fitness? keywords feldenkrais method, research outcomes, teaching, research design, movement benefits copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 the future of research in the feldenkrais method gordon browne pt, gcfp balance point physical therapy i would like to thank staffan elgelid and the rest of the editorial staff at the iff research journal for the invitation to participate in this forum on the future of feldenkrais research. i must confess to feeling a bit out of my league here, as i’m no expert on research methodology, historical feldenkrais research or current topics of discussion among people in the know. but, since iff is looking for eclectic, i’d be happy to put in my two cents worth! perspective i would like to comment mainly from my perspective as a clinical physical therapist and will address primarily the awareness through movement (atm®) portion of the method. as a health care professional working directly with people and with obligations to insurance companies, referring physicians and professional practice standards, i have dual concerns. one is that i provide the best quality care that i can for each individual, and the feldenkrais method (fm) has been a marvelous addition to the care i provide. but i am also answerable to other interested parties that reasonably request some specifics on what i do, why i do it and what evidence i have to back up my methods. for those of us who would like to see fm/atm accepted by and integrated into the health care system, having some research to back up our methods would be nice. boiling it down, research for medical folk comes down to outcomes studies. come up with some proof that what we do facilitates positive outcomes throughout a wide range of presenting problems (reduced pain, improved transitions, steadier gait, better balance, fewer falls, increased range of motion or strength, faster run, higher jump, finer manual control, etc.) and we can gain more widespread acceptance by health care professionals. the first five research items at the end of this article list some examples of outcomes based research using fm/atm in treatment of chronic pain, neck/shoulder pain, elderly wellness, fibromyalgia and non-specific musculoskeletal pain. this is good stuff, and i’d like to see more of these. however, if you look through the next eleven items of that list you will see just a few examples in an avalanche of outcomes research singing the praises of yoga and tai chi in the treatment of everything from asthma to zits. though we are massively outspent and outnumbered by the yoga and tai chi folks, we could probably eventually amass enough of these kinds of outcomes studies to get, like yoga and tai chi have, the benign acceptance of health care providers. but i don’t think that this is enough. what we should be striving for is the integration of fm/atm concepts, techniques and individual movement sequences into standard health care practice. to do that, health care practitioners need to comprehend and be able to use these concepts and specific movement sequences in their own practice. iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 the black box one observation a health care professional might make about all of these studies is the “black box” factor. identify potential uses for your favorite intervention, feed some folks through the magical movement mill and out they pop at the other end with a positive change. but what happened when they were in that black box? what movements were done and why? what are the characteristics of those particular movements that are different from the exercise i’m prescribing now and are the outcomes from those movements demonstrably better? what did i learn in that study that i can take into my own practice and use with my patients? what can i do to help these people other than sending them elsewhere; and to people whose philosophy and methodology i don’t understand? most health professionals won’t be taking a lengthy fm training or spending years learning the deep mysteries of yoga or tai chi. they might have warm and fuzzy feelings for all three of these integrated movement systems based on outcomes research, but most won’t know enough about them to feel confident referring out to them or teaching them to their patients in lieu of simpler, more logical, seemingly more scientific and more traditional therapeutic exercise. for fm/atm to infiltrate and subvert current medical orthodoxy, we need to explain to these folks exactly what we are doing, why we are doing it, how research supports it and how they can learn to do it themselves in two days or less. we should do research that encourages people without a fm training to use modifications of our work! random or discriminating? i have always been a bit queasy about the very nature of a randomized study. in a randomized study, you take a group of people and, accounting for factors like age and gender, divide them randomly into two or more groups. for example, take one hundred people with back pain and give half of them spinal extension and half of them spinal flexion movements; who has the best outcomes? the flaw is in the assumption that everyone has back pain of the same origin and that one treatment should, by golly, fit all. what if instead of randomly, group members were chosen for their individual needs? if joe’s back hurts to extend, put him in the flexion group. if suzie’s back hurts to flex, shuffle her over to the extension crowd. why not conduct a careful assessment, be discriminating and take into account individual needs? as basic as this idea of providing specific solutions to each individual’s particular movement needs might seem to fm practitioners and to most health care practitioners, this idea doesn’t seem to have been reflected in the research until recently. check out the last three items on the research list for studies that support customized treatment and the use of tailored movement education approaches for each person. we should jump on this bandwagon. perhaps we should be focusing our research money, time and energy into investigating feldenkraisian concepts; like the concept of individualized movement solutions to individual movement problems instead of standardized movement solutions for each medical diagnosis; or the importance of intension and kinesthetic attention; or reciprocating movements; or relationships of parts to the whole. perhaps we should put aside our principle of having no principles and make up some provisional principles so that we can better interact on common ground and in common language with the medical community. perhaps we should think of articulating and investigating both what we teach and how we teach it. 3 what we teach these are obviously some partial lists and i’m confident that brighter minds than mine can help round out the field. i appreciate the diversity of thought and philosophy within the fm community and respect that there might be entirely different lists of provisional principles out there; i’ll show you mine if you show me yours. • pattern specificity. we teach lessons that explore relationships among different body parts. a movement or exercise that emphasizes a differentiated relationship of hip flexion and back extension is fundamentally different from an exercise that emphasizes a global relationship of hip extension and back extension, even though both feature back extension. other important differentiated relationships include hip external rotation and knee internal rotation; thoracic extension and cervical flexion; and shoulder external rotation and forearm pronation. articulate the differences between global and differentiated patterns of movement or posture, explain how a fm/atm intervention can address that pattern, use research to contrast a traditional global exercise with a fm differentiated movement and make it simple enough that novices would feel confident in trying it out on their patients tomorrow. • even distribution of movement. we teach lessons that illustrate the joys of well integrated, whole-body, evenly distributed patterns of movement. many common musculoskeletal repetitive stress injuries are created by ignoring this important concept. health care professionals understand that many neck and low back problems can be attributed to localized vertebral instabilities; hence the current infatuation with pilates and the concept of core strengthening/core stability. could we describe this fm concept of even distribution of movement in a way that fits this instability model, give some possible fm/atm solutions and back it up with some research? • proportional use of synergists. we teach lessons that encourage the bigger muscles in the body to do more of the work and the smaller muscles to do proportionally less. compare the use of the big hip muscles vs. use of the belly muscles in controlling the position and stability of the pelvis in low back pain. contrast quadriceps/vastus medialis strengthening vs. hip abductor training in controlling patellar glide in knee pain. relate posterior tibialis tendonitis to underused hip rotators. pick a system (spinal, legs, arms) and find a distal repetitive stress injury, then look for a proximal slacker. make the connection, propose a fm/atm solution, contrast with a traditional approach and look for evidence. how to teach • kinesthetic self-awareness. we spend a lot of time getting people to pay attention to what they are doing while they are doing it. kinesthetic self-awareness training is a fundamental characteristic of the fm. can we prove that awareness is important in the acquisition or improvement of motor skills? does paying attention during exercise make a difference in balance, incidence of falls, reduction of pain or length of stride? there might already be some “cognitive exercise” research out there that backs this up, perhaps we can piggyback • reciprocating movements. we teach a lot of reciprocating movements; rolling up and down; looking left and right; stepping forward and back; breathing in and out. can we explain this characteristic of fm/atm as a way of balancing antagonistic muscles and re-calibrating a truer middle, then back it up with evidence? will postural ease or muscle antagonist balance improve more as a result of an exercise system that features reciprocating movements, or does repetitive movement in just the “right” direction do the same thing? 4 • change of venue. we teach the same patterns or relationships of movement in a number of different positions, different relationships to gravity and with varying functional intent. can we explain this characteristic as a way of helping an individual better perceive and improve balance or efficiency of habitual movement and postural patterns, then back it up? is there better motor control carry-over from one activity to another (lumbar stability in vacuuming or pull starting a lawn mower; scapular coordination in pushing open a door or moving from hands and knees to side sit) after a series of fm/atm interventions in comparison to traditional therapeutic exercise and “imitate and repeat” ergonomics instructions? • other fm characteristics that relate to how we teach might include: going slowly and gently, the use of constraints and specific language cues, introduction of deliberate error and judgment based on choice. tall order i realize i’m probably asking for a lot here. research design for any of these ideas sounds like a nightmare and i’m glad i’m a clinician instead of a researcher! but i think that in order for us to get beyond the magical movement mill label and get our foot in the door, we will need to back up the concepts we use, not just the technique. pilate’s technique and philosophy is making headway among both physical therapists and the general public because they have sold a concept: core stability. individual yoga postures have been morphed into therapeutic exercise and fitness classes in dribbles and drabs, but the overall lack of any coherent concept or philosophy that appeals to western minds has limited its inroads. tai chi is rooted in traditional eastern thought and so tight lipped about the whys and wherefores of the movements they do that it also has little chance of becoming a significant factor in western medicine or exercise. pilate’s concepts are metastasizing into and integrating with medical thought and popular fitness while yoga and tai chi are outside the system looking in. where do we want the fm to be? the fm has enormous potential for helping people with movement difficulties ranging from musculoskeletal pain to neurological disability to geriatric deterioration; all of which are also of concern to the medical profession. i would like to see much of fm technique and philosophy adopted by medical professionals, even though with the adoption will come some adaptation. i suppose the nature of future fm research depends on what we want the future of the fm itself to look like. do we stay pure and focused, separate and distinct from folks with whom we have common cause? then let’s do black box outcome studies to gain respectability for our closely held technology and maintain our exclusive franchise. or do we want the fm to have a prominent place in the everyday practice of medicine and fitness? then let’s show how we can modify the fm to accommodate for medical or fitness system realities, let’s reinforce the concept of individualized movement education for different pattern types and let’s do studies that articulate and research fm concepts or specific techniques and that helps people outside our tribe to play with our stuff. 5 references 1. bearman d, shafarman s. the feldenkrais method in the treatment of chronic pain: a study on efficacy and cost effectiveness. american journal of pain management 1999 jan; 9(1):22-7. 2. lundblad j, elert j, gerdle b. randomized controlled trial of physiotherapy and feldenkrais interventions in female workers with neck-shoulder complaints. journal of occupational rehabilitation, sep 1999; 9(3):179-94. 3. stephens j, pendergast c, roller ba, weiskittel rs. learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement. feldenkrais research journal #2. 2005. 4. gard g. body awareness therapy for patients with fibromyalgia and chronic pain. disability and rehabilitation. 2005 jun 17;27(12):725-8. 5. malmgren-olsson eb, branholm ib. a comparison between three physiotherapy approaches with regard to health-related factors in patients with non-specific musculoskeletal disorders. disability and rehabilitation. 2002 apr 15; 24(6):308-17. 6. li f, harmer p, fisher kj, mcauley e. tai chi: improving functional balance and predicting subsequent falls in older persons. medicine and science in sports medicine. 2004 dec;36(12):2046-52. 7. twang ww, hui-chan cw. effects of exercise on joint sense and balance in elderly men: tai chi versus golf. medicine and science in sports medicine. 2004 apr;36(4): 658-67. 8. xu d, hong y, li j, chan k. effect of tai chi exercise on proprioception of ankle and knee joints in old people. british journal of sports medicine. 2004 feb;38(1):50-4. 9. wolf sl, barnhart hx, kutner ng, mcneely e, coogler c, xu t. reducing frailty and falls in older persons: an investigation of tai chi and computerized balance training. journal of american gerontological society. 2003 dec;51(12):1794-803. 10. hart j, kanner h, gilboa-mayo r, haroeh-peer o, rozenthul-sorokin n, eldar r. tai chi chuan practice in community-dwelling persons after stroke. international journal of rehabilitation research. 2004 dec;27(4):303-4. 11. bastille jv, gill-body km. a yoga-based exercise program for people with chronic poststroke hemiparesis. physical therapy. 2004 jan;84(1):33-48. 12. galantino ml, bzdewka tm, eissler-russo jl, holbrook ml, moqck ep, geigle p, farrar jt. the impact of modified hatha yoga on chronic low back pain: a pilot study. alternative therapies in health and medicine. 2004 mar-apr;10(2):56-9. 13. oken bs, zajdel d, kishiyama s, bourdette d, carlsen j, haas m, hugos kc, kraemer df, lawrence j, mass m. randomized controlled trial of yoga and exercise in multiple sclerosis. neurology. 2004 jun 8;62(11):2058-64. 14. williams ka, petronis j, smith d, goodrich d, wu j, ravi n, doyle ej jr., gregory juckett r, munoz kolar m, gross r, steinberg l. effect of inyengar yoga therapy for chronic low back pain. pain. 2005 may;115(1-2):107-17. 15. kolasinski sl, garfinkel m, tsai ag, matz w, van dyke a, schumacher hr. iyengar yoga for treating symptoms of osteoarthritis of the knees: a pilot study. journal of alternative and complementary medicine. 2005 aug;11(4):689-93. 16. dibenedetto m, innes ke, taylor ag, rodeheaver pf, boxer ja, wr hj, kerrigan dc. effect of gentle iyengar yoga program on gait in the elderly: an exploratory study. archives of physical medicine and rehabilitation. 2005 sep;86(9):1830-7. 17. long a, donelson r, fung t. does it matter which exercise? a randomized control trail of exercise for low back pain. spine. 2004 dec 1;29(23):2593-602. 18. descareaux m, normand mc, laurencelle l, dugas c. evaluation of a specific home exercise program for low back pain. journal of manipulative and physiological therapeutics. 2002 oct;25(8):497-503. 6 19. wang wt, olson sl, campbell ah, hanten wp, gleeson pb. effectiveness of physical therapy for patients with neck pain: an individualized approach using a clinical decision-making algorithm. american journal of physical medicine and rehabilitation. 2003 mar;82(3):203-18. feldenkrais research journal • volume 1 (2004) article a beginners’ guide to science carolin theuring ma abstract the idea for this beginners guide came to my mind during a meeting in munich, germany, initiated and sponsored by roger russell, ulla schläfke and prof. klaus schneider in july 2003, where two university professors, beatrix vereijken from norway and klaus schneider from germany, sat down with something like 40 feldenkrais practitioners to collect ideas for research projects in connection with the feldenkrais method. so we were discussing and working and everybody was very motivated, but at one point we got suddenly stuck. in this situation it occurred to me that full-time researchers don’t know how the ordinary (feldenkrais) person thinks and the ordinary (feldenkrais) person has no idea of the thinking of a scientist. to create a little bit more understanding for the feldenkrais people in this project i pulled out all my notes and books from my research method classes and tried to give a little introduction to them, to facilitate the dialogue with the scientific world we are facing. now with the iff academy research journal we again move a little bit forward on this road with collecting and presenting a lot of thoughts and studies about the feldenkrais method. it seems to be the right place for this beginners guide to science again, to introduce the basic concepts lying behind the studies. keywords feldenkrais, science, research methods, quantitative, qualitative copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author a beginners’ guide to science by carolin theuring, why a guide for beginners? the idea for this beginners guide came to my mind during a meeting in munich, germany, initiated and sponsored by roger russell, ulla schläfke and prof. klaus schneider in july 2003, where two university professors, beatrix vereijken from norway and klaus schneider from germany, sat down with something like 40 feldenkrais practitioners to collect ideas for research projects in connection with the feldenkrais method. so we were discussing and working and everybody was very motivated, but at one point we got suddenly stuck. in this situation it occurred to me that full-time researchers don’t know how the ordinary (feldenkrais) person thinks and the ordinary (feldenkrais) person has no idea of the thinking of a scientist. to create a little bit more understanding for the feldenkrais people in this project i pulled out all my notes and books from my research method classes and tried to give a little introduction to them, to facilitate the dialogue with the scientific world we are facing. now with the iff academy research journal we again move a little bit forward on this road with collecting and presenting a lot of thoughts and studies about the feldenkrais method. it seems to be the right place for this beginners guide to science again, to introduce to basic concepts lying behind the studies. science – research experimentlaboratorium these terms usually evoke two completely opposite responses in a gathering of feldenkrais practitioners: one part turns rather red from rage that someone dares to spoil the feldenkrais method with measurements, whereas the other part turns rather busy and excited by the thought of studies and experiments and finally a proof that the method really really works. the folks in between, that stay quiet, are either the habitual sleepers of the group, or really don’t care as long as the health insurances start to pay for feldenkrais sessions now, or they are scientists that already entered the field and took a glimpse on the sort of questions lying ahead of us. i will leave open if they are quiet from delight or from frustration, that’s the question of half empty or half full and up to the individuals’ character. this little guide attempts to introduce basic lines of contemporary research and is written for someone who has never had any contact with research projects. to keep it short and simple reduces the matter and i leave it to the reader’s responsibility to imagine that everything is far more complex (as always). why research in the first place? science has its own rules and principles, and above all its own terminology with which it is defining itself like every other professional field elsewhere. these standards may on first sight contradict many of our feldenkraisian views and thus cause our dislike. however the endeavour to make the feldenkrais method measurable does not imply at all that we have to water it down or change our standards, but it does mean that we try to start a dialogue with the leading institutions in society, because like it or not: 2 c.theuring/feldenkrais research journal 1 (2004) scientific presentation in our society is the basis for being taken seriously by all kinds of institutions, by media, by physicians and politicians, health insurance companies, scientists etc. research is done in a lot of fields, e.g. in social sciences like psychology, sociology and pedagogy, in humanities like philosophy or history and in natural sciences like physics, biology or chemistry. there are different research methods, which, according to the field of research and the question at hand, are being applied: quantitative methods count and measure more, qualitative methods describe more. both of them strive for increasing knowledge and both of them are relevant for research projects with the feldenkrais method although they are grounded on a very different base. research can be roughly divided into basic research and applied research according to the field of investigation and the question at hand. basic research, for instance, takes place in a laboratory that examines how a muscle cell is structured, how memory is organized, or how the biomechanics of a throwing movement can be described in mathematical terms. applied research is concerned with questions that rather have a concrete influence on everyday life, e.g. how a medicine affects certain reactions in a cell; how an engine can save energy; or how athletes can learn to optimize their sprint style. basic research as well as applied research is important and necessary to gain knowledge about the world we live in, they go hand in hand. research is always also influenced by the zeitgeist and may be slowed down by it, or the opposite, propelled forward. just remember how long it took to convince the scholars that earth is not flat...but on the other hand look at the incredible fast progress in deciphering the dna. moshe feldenkrais, with his fascinating ability to think complex and to connect everything, was ahead of his time, and still today science is behind some of his trains of thought (and many scientists behind his abilities). some of his assumptions though have been proven to be incorrect, or have been even taken further. (look also schleip, 2000). in the following i will introduce quantitative and qualitative research concepts in more detail. quantitative research methods quantitative research methods claim to measure the subject as exactly as possible – this includes every possible means of measurement: time, weight, size, distance, amount, standardized questionnaires, etc. depending on the question – and the data are analyzed with statistical procedures. researchers come up with hypotheses (“hypothesis” comes from greek “assumption”) and test their validity through different sorts of investigation, e.g. they design experiments, use questionnaires, stay in a lab, go to a natural environment, etc. depending on their hypothesis and the research that has been done on it before. quantitative research is also called empirical research (“empirical” comes from greek “based on experience”). the way that hypotheses for an empirical study are formulated follows rules and is crucially different from how our everyday experience is expressed in daily life. 3 c.theuring/feldenkrais research journal 1 (2004) the following table shows you the central differences: everyday experience empirical research 1. the way of turning observations in hypotheses examples for non-scientific hypotheses: criteria for scientific hypotheses: “there are”-sentences (e.g. “there are feldenkrais lessons that take away back pain.”) “can”-sentences (e.g. “with the feldenkrais method you can make an ordinary golf player a champion”) assumptions about objects, characteristics, events, that can neither be experienced directly, nor figured indirectly. (e.g. “the feldenkrais method makes people happy.”) – these statements aren’t necessarily wrong, but they are unscientific because they can neither be verified nor falsified! general applicability: the statement has to have validity beyond the singular incident. it aims to the possibility of generalization and to show regularities within. expression of a conditional sentence: “if…”sentences (e.g. “if a mother breast feeds her baby at least 6 months, the child will have less risk for allergies.”), or “the… the…”sentences (e.g. “the longer someone participates in feldenkrais lessons, the lower he costs for his health insurance.”) potential possibility for falsification: there have to be events thinkable that contradict the conditional sentence. (e.g. -there are obviously children with allergies who were breastfed.) 2. how precise is the terminology used? colloquial information, e.g. “feldenkrais lessons help people relax. therefore their back pain disappears.” ! lack of precision! agreement on the meaning of a selected terminology/vocabulary. finding operational definitions for crucial terms: with operational definitions you describe exactly what you mean by using a specific term. moshe feldenkrais denied the term “relaxation” because it is used for all sorts of different conditions and not used in a way that allows specifying one condition. 3. how is experience collected and documented? unsystematic to none or only fragmentary documentation. systematic documentation. attempt to “objectify” the circumstances under which results emerge have to be described in detail, so that they can be repeated by anybody else under the same conditions. research methods help to standardize the experimental procedures 4 c.theuring/feldenkrais research journal 1 (2004) complete documentation with comprehensibility down to the detail. simply said: everybody everywhere has to be able to understand what you did to get to the results and everybody anywhere should be able to get to the same results as you did, if he follows your conditions. 4. on what basis do you decide to accept or refuse your hypothesis? subjective probabilities that are based on your own experiences, or indirect ones gained through other sources. use of procedures of statistical reasoning. intricate attempts to come from random tests to whole populations. protection against errors through risk calculation (conditional error probability) 5. how do you judge the validity of assertions? proceeding from intuition your view of life your singular experience anecdotic knowledge great scepticism towards generalizing singular experiences demand for results that can be unmistakably interpreted and generalized comprehensive verification 6. how do you deal with theories? formation of “naïve theories”, often uncritical, little willingness for falsification quality management: permanent process of verification and criticism. the future of a theory depends on consensus of the scientific community. results are published in scientific journals and underlie strict and anonymous review. furthermore there is an active discourse with colleagues on congresses. (with of course also the disadvantage of slowing down “revolutions” because new ideas have to be fought through and presented to a very critical community; see “the earth is a disc…”) the validity and soundness of results of experiments is pinned down on further factors that include internal and external validity: internal validity (= logical, correct and valid in itself) an examination is internally valid when its results can be interpreted unambiguously. changes in the ‚dependant variables‘ (e.g. the athlete that wants to run faster) have to be clearly attributed to the influence of the ‚independent variables‘ (e.g. a special training program for runners). external validity (=valid beyond time and people) 5 c.theuring/feldenkrais research journal 1 (2004) external validity is assumed when the results drawn from a study can be generalized to other times, persons and situations. qualitative research methods qualitative research methods are mostly used in social research (sociology, pedagogy, or psychology). its foremost claim is not to gain objective results with repeatable measurements, but rather to examine complex social situations or phenomena with techniques and methods that allow and report expressively the participants‘ individuality. often the researcher goes directly into the field of research, and there is no artificial laboratory situation, yet distinct research methods and techniques do exist, which have been agreed upon to ascertain certain scientific standards. these include e.g.: single case studies qualitative interviews group situations content analysis participating observation qualitative experiments biographical methods the feldenkrais world has already seen the release of papers that make use of qualitative research methods; “the case nora” of m. feldenkrais himself is the best example. also many other case studies have been published since, e.g. assistant trainer robbie ofir wrote two case studies for his phd in which he describes in detail the rehabilitation with the feldenkrais method of two young women both severely brain damaged after car accidents. (ofir, feldenkrais resources) qualitative research methods are seen often as less serious tools of the 'soft’ sciences like social sciences or humanities. nevertheless, they have great legitimacy and provide an important contribution to research because they look into the real conditions, not controllable laboratory conditions which are usually not found in life, and because they can often give impulses as to where detailed studies and measurements could be done. their aim is to develop hypotheses in a relatively unexplored field and they serve the making of theoretical as well as conceptual prerequisites to be able to put into words first hypotheses in an uncharted territory. what does all that mean for a feldenkrais practitioner with interest in doing little research projects? it means that any question, however small, is important and interesting at that point. in order to go into an actual research process it only matters: that everything is documented exactly so that it can be understood by outsiders, or after some time has gone by; that, if you want to work empirical, data are being taken with calibrated instruments (e.g. standardized tape measure, stop watch), which does not necessarily mean high 6 c.theuring/feldenkrais research journal 1 (2004) tech (wrapping paper and ink will do for a foot print as much as a computer controlled gait mat!); that the questions are reduced. you can explain the creation of the universe with a single examination no more than the feldenkrais method (... not sure which one is going to be more difficult anyways...); that the terms with which you work are defined exactly. what do i mean if i talk about ‚relaxation‘? how do i define that someone has less pain after as compared to before (e.g. with a standardized questionnaire)? what do i mean when somebody after a lesson performs their golf swings more successfully – the score? better ability to aim? the amplitude of the swing? etc. (=operationalisation); don’t worry about statistics! there are computer programs for that, like spss, and experts so that you don’t have to fight through the numbers alone; that you stay in an exchange with colleagues to clarify the terminology, to find a common language and to collect new ideas. maybe some experiments are not yet ready and talking about it will help overcome difficulties. carolin theuring originally put this beginner’s guide to science together in german for the participants of the first feldenkrais & science meeting in munich, july 2003. this meeting was initiated and sponsored by the feldenkrais zentrum heidelberg and hosted by prof.klaus schneider at the military university in neubiberg. many thanks to my friend and feldenkrais practitioner kai schaper for translation of the first original draft and to dr. barbara pieper, assistant feldenkrais trainer and iff board member for giving useful input on the content. many thanks also to roger russell and ulla schläfke for their restless work to bring scientists and feldenkrais people at one table together. – and of course to prof. klaus schneider and prof. beatrix vereijken for all their interest and commitment they bring towards this big adventure. please don’t hesitate to send any comments and suggestions or corrections to: c.theuring@email.de literature (sorry, it’s mainly german books, but ask the next college student nearby and you will find out about it in your language.) bortz, j. u. lienert, g.a. (1998). kurzgefasste statistik für die klinische forschung. berlin: springer verlag. feldenkrais, m. (1977). the case of nora. new york: harper&row. lamnek, s. (1995). qualitative sozialforschung, bd. 1/2. weinheim: beltz, pvu. ofir, r. (xxxx). motor learning using the feldenkrais method in physical rehabilitation with traumatic brain injury. feldenkrais ressources teacher’s catalogue, p. t12. schleip, r. (2000). lichtblicke im dschungel der gehirnforschung. von ‚body and mature behaviour’ (1949) bis zur gegenwart. feldenkraiszeit journal für somatisches lernen 1: 4756. carolin theuring is feldenkrais practitioner, currently living in munich. after receiving her m.a. in education, biology and psychology, she is currently striving towards a ph.d. in infant development. she also contributes to the work of the iff as iff academy coordinator. microsoft word 4_eisenberg_french_pdf.doc feldenkrais research journal • volume 2 (2005) article la recuperation psychocorporelle comme axe de base pour la formation aux valeurs environnementales interculturelles rose eisenberg universidad nacional autónoma de méxico facultad de estudios superiores iztacala c. chávez universidad nacional autónoma de méxico facultad de estudios superiores iztacala v. cuevas universidad nacional autónoma de méxico facultad de estudios superiores iztacala j. gutiérrez universidad nacional autónoma de méxico facultad de estudios superiores iztacala s. rosas universidad nacional autónoma de méxico facultad de estudios superiores iztacala a.m. landázuri universidad nacional autónoma de méxico facultad de estudios superiores iztacala abstract sont présentés les résultats des études qualitatives descriptives sous l'angle de la recherche action participative, sur les retentissements qui ont résulté de l'incorporation de leçons de prise de conscience par le mouvement (pcm) de la méthode feldenkrais (mf). il s’agissait d'un groupe interprofessionnel de femmes qui ont eu comme objectif de chercher comment faciliter sur soi même, les processus de la formation aux valeurs environnementales et la prise d'engagement inhérente. cet groupe a été formé et ai fait la recherche dans la recherche active et participative (participative action research) ça ai été orienté a mieux comprendre des procesus du trainement dans l´environnement qui peuvent favoriser l`incorporation des valeurs environnementaux dans l`aspect du sujet biopsychosociale et concernent aux activités professioneles avec des groupes humaines dans les champs de la santé et l`environnement. une étude longitudinale a consisté en une analyse du discours des journaux de bord de groupes de 75 sessions de travail au cours des années 2000 et 2001. l’étude transversale analysait les discours de questions ouvertes au sein d'une enquête appliquée à 7 personnes d'un groupe de 9, dans l'année 2001. nous considérons que la mf est un soutien pédagogique ou la personne ne peut plus facilement: "se rendre compte", dans son action, des patrons internes qu'elle souhaite modifier pour améliorer la qualité de sa vie dans son environnement aussi bien personnel psycho corporel que social, construit et naturel, et chercher activement des alternatives. le published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org groupe a cherché à mieux comprendre les processus de formation de l’environnement qui peuvent favoriser l'incorporation des valeurs environnementales de base: le respect de soi-même au sein de son milieu environnemental interne (psycho corporel), qu'externe (naturel, construit et social); la stimulation de la créativité pour résoudre les problèmes environnementaux personnels et collectifs; l'amélioration de l'auto estime et de la tolérance envers soi et l'entourage; comme sujets biopsychosociaux ainsi qu'au sein de leur activité professionnelle avec des groupes, l'identification des limites personnelles et l'importance du travail d'équipe pour les surmonter. il faut apprendre à lire les micros phénomènes pour mieux comprendre les réalités de notre société. zimmermann, 1998 keywords feldenkrais, mind-body, awareness, somatic, consciousness, psycho-corporal recovery, environmental values training copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 la recuperation psychocorporelle comme axe de base pour la formation aux valeurs environnementales interculturelles. eisenberg, r.; chávez, c.; cuevas, v., gutiérrez, j.; rosas s., y landázuri, m.a universidad nacional autónoma de méxico facultad de estudios superiores iztacala av. de los barrios no. 1 los reyes iztacala, c.p. 54090 tlalnepantla, estado de méxico. tel (5) 56231176, fax (5) 56231193, wieder@servidor.unam. il faut apprendre à lire les micros phénomènes pour mieux comprendre les réalités de notre société. (zimmermann, 1998) resume sont présentés les résultats des études qualitatives descriptives sous l'angle de la recherche action participative, sur les retentissements qui ont résulté de l'incorporation de leçons de prise de conscience par le mouvement (pcm) de la méthode feldenkrais (mf). il s’agissait d'un groupe interprofessionnel de femmes qui ont eu comme objectif de chercher comment faciliter sur soi même, les processus de la formation aux valeurs environnementales et la prise d'engagement inhérente. cet groupe a été formé et ai fait la recherche dans la recherche active et participative (participative action research) ça ai été orienté a mieux comprendre des procesus du trainement dans l´environnement qui peuvent favoriser l`incorporation des valeurs environnementaux dans l`aspect du sujet biopsychosociale et concernent aux activités professioneles avec des groupes humaines dans les champs de la santé et l`environnement. une étude longitudinale a consisté en une analyse du discours des journaux de bord de groupes de 75 sessions de travail au cours des années 2000 et 2001. l’étude transversale analysait les discours de questions ouvertes au sein d'une enquête appliquée à 7 personnes d'un groupe de 9, dans l'année 2001. nous considérons que la mf est un soutien pédagogique ou la personne ne peut plus facilement: "se rendre compte", dans son action, des patrons internes qu'elle souhaite modifier pour améliorer la qualité de sa vie dans son environnement aussi bien personnel psycho corporel que social, construit et naturel, et chercher activement des alternatives. le groupe a cherché à mieux comprendre les processus de formation de l’environnement qui peuvent favoriser l'incorporation des valeurs environnementales de base: le respect de soi-même au sein de son milieu environnemental interne (psycho corporel), qu'externe (naturel, construit et social); la stimulation de la créativité pour résoudre les problèmes environnementaux personnels et collectifs; l'amélioration de l'auto estime et de la tolérance envers soi et l'entourage; comme sujets biopsychosociaux ainsi qu'au sein de leur activité professionnelle avec des groupes, l'identification des limites personnelles et l'importance du travail d'équipe pour les surmonter. 1) introduction: i.i relation esprit corps ou récupération environnementale psycho corporelle. pour l’éducation et la formation pour la santé de l’environnement, l’inclusion du corps humain qui fait partie de l’environnement naturel, n’est pas une pensée habituelle. d’un autre côté, on étudie généralement la santé humaine de façon séparée de la santé de l’environnement. le fait de redécouvrir et de réincorporer dans l’être humain l’autoconscience de soi même (esprit-corps), pour qu’il reconnaisse son environnement externe (naturel, construit, social) n’a pas été envisagé comme excellent pour la formation de l’individu et dans la formation de l’environnement en général. depuis descartes, l’être humain s’est scindé en deux grands territoires: esprit et corps. cette division a déterminé, en bonne partie, que le travail intellectuel soit surévalué et soit perçu séparément du corps de la personne pensante. a l’époque actuelle et en reprenant certaines idées de montford (1987), nous observons que le travail intellectuel comme activité prioritaire pour augmenter la productivité et faire détoner l’innovation technologique, “a perdu toute vision d’ensemble des activités sociales dans lesquelles il est inséré (et qui) ne peut être qu’un travail aliéné, l’aliénation du travail intellectuel” qui ne signifie pas nécessairement une meilleure qualité de vie pour la société. certaines des conséquences multiples de cette aliénation qui implique l’absence de perception de l’ensemble de soi-même (esprit-corps) et de ses liens avec le milieu environnant externe, sont mises en évidence dans le cadre psycho-socio-corporel humain. rien de moins que dans le journal la jornada (dpa 2002), l’organisation mondiale de la santé (oms) a publié qu’elle dédie toute l’année 2002 à la promotion du mouvement et le 7 avril 2002 journée mondiale de la santé a commencé la campagne en faveur du mouvement ayant pour devise “pour ta santé, bouges toi!” bouger, réduit le risque de développement de maladies cardiaques, du diabète, du cancer du côlon et des douleurs lombaires, en plus de diminuer le stress, l’anxiété, la dépression et de favoriser l’interaction et l’intégration sociale. 1.2 la méthode feldenkrais face à l’aliénation intellectuelle. face à cette aliénation intellectuelle, la méthode feldenkrais (1972) au moyen de sa modalité de “autoconscience par le mouvement” facilite les processus d’auto exploitation qui permettent de développer l’attention, l’imagination et la perception interne de soi même et par soi même à travers un mouvement guidé. le créateur de cette technique moisés feldenkrais (1904-1984), a utilisé sa formation comme ingénieur et physicien, avec des études en neurosciences, en théories de l’apprentissage et des arts martiales orientales, pour développer un système unique d’auto éducation qui améliore et élargit le fonctionnement humain à travers l’expérience. elle facilite en plus la reconnaissance de l’importance de l’espace et du milieu environnant externes pour aller au-delà de la vision fréquente centrée sur un “je” limité à la superficie de la peau. cette méthode s’intéresse à la relation esprit-corps et dans “l’in-corportation environnementale”, comme base pour la perception et le développement de la conscience en tant que plate-forme pour l’action ; elle octroie une place centrale à la socialisation, à l’autorégulation et à l’apprentissage afin de favoriser la capacité de la personne, pour se prendre en charge elle-même et son développement dans divers milieux. 1.3 relation entre le milieu environnant et la méthode feldenkrais. dans la méthode feldenkrais la conscience est considérée une caractéristique personnel qui est partie des mécanismes d`régulation des êtres vivantes. d`accord avec canter (1988) dans l`étymologie, l`expression « l´environnement » est un expression qui parle de « un enveloppe » où le sujet est contenu. c`est ne pas juste un enveloppe, c`est beaucoup plus, c`est le lieu pour l´action d`individuel. on n`essaie pas d`être réductionniste où matérialiste lorsqu` on considère le somatique (soma= esprit + corps) le centre de la mf, parce que cet une intégrateur de l`individu vivant, incorpore d´accord avec le terme anglosaxon. si on réunis cette idée du soma avec le concept d´éducation, une position et méthodologie sont affirmées : l´utilisation de la mf pour le somatique développement dans l´environnement interne et externe de l`individu. joly (1995) considère que l’image du corps en particulier et la sensation expérimentée du corps, n’émergent pas à l’intérieur d’un vide ou d’une capsule, sinon comme un tout continu à l’intérieur du milieu environnant immédiat. nous considérons que les apprentissages et la conséquente acquisition de valeurs, constituent une partie de l’histoire de la vie des individus et modèlent le développement de la conscience du milieu environnant individuel et collectif. la stratégie pédagogique psycho corporelle utilisée pour améliorer la perception et l’action environnante interne et externe dont les “limites” sont la peau et les membranes des organes des sens qui se présentent vers l’extérieur comme médiatrice pour identifier les difficultés et les succès à incorporer des valeurs en soi même. dans cette recherche on n’essaie pas de centrer la formation pour apprendre les techniques de la mf dans ses deux tendances, mais on cherche à provoquer des processus formatifs intégraux dans l’éducation pour la santé et l’environnement. on reconnaît l´existence des propositions pédagogiques et des alternatives faites pour différents auteurs qui profondément dans l´écologie avec le but de éveiller, comprendre óu améliorer la conscience de la interaction humaineenvironnementale a travers des sentis. mais la mf est centrée dans le développement de la perception de soi comme une partie de l´environnement, associée comme une résultat. l´analyse de la action personnelle envisagée au environnement externe à travers l´analyse des mouvements du corps qui sont faites pour des gens en formation. l’optique de la formation à travers cette méthode est déterminée par quatre grands axes (joly, 1995). a) le mouvement (et non l’attitude ou la structure). b) la conscience du corps vivant et sensible (pas le corps objet qui est communiquée depuis l’extérieur). c) l’apprentissage (mais non la thérapie). d) l’espace ou l’environnement (mais non l’isolement sur soi même). 1.4 la conscience somatique et les types de consciences sociales. en relation aux expériences vécues et aux cadres d’interaction des sujets envers eux mêmes et avec leur environnement, nous avons adapté à la formation de l’environnement, depuis la (mf) et la (rap) ; la division que propose colette (1975) sur les types ou les niveaux de conscience que peut acquérir l’être humain dans son histoire éducative. ainsi nous avons un premier niveau de conscience qui se nomme conscience soumise ou “naïve” et qui se décrit comme ingénue, induite, c’est “la culture du silence” qui ne perçoit pas la relation dialectique entre la nature et l’histoire de l’être humain. exemple: conservons les arbres! sans donner plus de référence. dans la conscience précritique, la conscience est en alerte, émergeant dans certaines occasions, comme une conscience rebelle à une situation de l’environnement, mais acceptant les déterminantes signalées par un système établi. exemple: pourquoi dois-je conserver les arbres, qu’est ce que j’ai à voir moi avec cela, pourquoi dois-je le faire? dans la conscience critique intégrative, se trouve le passage du “perçu” à son analyse, avec la volonté de l’individu de déterminer son propre futur personnel ainsi qu’environnemental externe, en tenant compte de ses propres forces et de ses potentialités afin de se situer à l’intérieur d’une position d’action, face à une situation déterminée ou à une crise de l’environnement. exemple: “ah! je comprends que les arbres sont importants pour l’existence des animaux, ils peuvent être les manger et leur servir de refuge; ils me donnent de l’ombre, ils interviennent dans la régulation de la température, de l’humidité, du soutien des sols, de la réduction des bruits et de la pollution ; ils font partie d’un paysage agréable qui symbolise la vie ; je vis de ses fruits, de ses troncs. je comprends le pourquoi des messages alarmants sur les conséquences de leur diminution ou disparition”. la conscience critique libératrice, invite vers une mobilisation culturelle, dans laquelle il existe une clarification de la propre position personnelle sur soi même, sur les personnes et l’environnement, avec un compromis ou une responsabilité civique individuelle et collective qui se manifeste dans des attitudes et des actions concrètes face à une situation environnementale concrète. exemple; “maintenant, j’ai effectué des recherches pour savoir quels sont les arbres qui sont autochtones de ma communauté, et comment les conserver et les planter en accord avec l’époque de l’année, je prends une partie de mon temps, de ma pensée et de mon énergie physique pour me compromettre et agir, en plantant ou en conservant les arbres de ma communauté”. 1.5 des conflits a propos de prendre une responsabilité et faire aussi des engagements sur moimême et mes endroits prochains présentement on fait le lien entre « la conscience critique libératrice » et les trois niveaux proposés pour kohlberg (1992), donc, le développement de la personnalité est capable de s’engager en face des problèmes environnementaux ou des crises. on est d’accord avec kohlberg sur la responsabilité d’engagement en face des risques environnementaux, dans ce point de voie il y a trois stages a passer : le preconventionnel ou premoral, ou « tout c’est a moi » le conventionnel, ou le « je » se trouve dans les expectatives d’une autre, « je suis bien si je fais ce que m’on dit » le post-conventionnel, ou il n’y a pas des normes concrètes, seulement des principes de la justice, réciprocité, égalité et le respect pour des droits humaines et individuelles. dans une étude récente flores et pérez expliquent la faison dans la quelle les auteurs: kuhn, braun y beribeau, diaz-aguado y medrano (enrichissent la vision de kohlberg du développement moral, en ajoutant des procès socioculturelles en adition a les conflits et situations spécifiques ou las décisions morales sont faites. 2) antécédents et univers d’étude : afin d’ébaucher le contexte de la recherche, nous résumons l’origine et les caractéristiques de notre groupe comme univers d’auto étude. en décembre 1999, dans une réunion de professeurs universitaires de l’université nationale autonome de mexico (unam) campus iztacala, sur l’arrêt de travail qui avait lieu à l’unam, nous nous sommes retrouvées avec un groupe de collègues femmes (biologistes, psychologues, médecins, infirmières, pédagogues) qui travaillions et étions en train d’effectuer des recherches autour de l’éducation et la formation environnementale et pour la santé. etant donné notre impuissance face à l’arrêt de travail, nous avons eu l’idée de nous réunir afin de suivre des leçons d’auto conscience par le mouvement qui étaient réalisées antérieurement par une personne du groupe et en même temps, de débattre autour de la situation de l’arrêt de travail par lequel passait notre institution. après avoir réalisé une leçon de atm (45 à 60 min) et d’analyser la situation de l’arrêt de travail, nous avons proposé de faire des séminaires de recherche action participative (iap), pour analyser à niveau interprofessionnel, les succès et les difficultés dans nos activités et projets de recherche personnelles en santé et en environnement. des normes pour l’utilisation du temps, des débats, des leçons de atm ont surgies peu à peu ainsi que pour la présentation et la discussion des projets personnels, et pour l’analyse d’articles de base. de là, surgit le projet de formation des valeurs environnementales et techniques: analyse de ses processus dans un groupe interprofessionnel et interculturel. cela nous a permis de formaliser l’analyse de nos propres ressources interprofessionnelles et interculturelles, en utilisant les carnets de bord pour l’enregistrement des processus vécus par le groupe, réalisés de manière rotative. associé à la pratique des leçons d’auto conscience pour le mouvement (atm), s’est incorporée comme dynamique méthodologique du séminaire, la recherche action participative (iap), comprise en accord avec kemmis et mc. taggart, (1988) comme une forme d’une enquête introspective collective, entreprise par des participants en situations sociales, ayant pour objet d’améliorer la rationalité de ses pratiques sociales ou éducatives, ainsi que la compréhension de ses pratiques et des situations dans lesquelles celles-ci ont lieu. le fait de faire appel à la iap et aux leçons de atm (recherche action personnelle)comme stratégies pédagogiques dans l’action, pour provoquer la formation valorisante environnementale, permet de stimuler de manière simple, et dans “ici et maintenant” de faire conscience essentielle du “soi même” ou du “je” dans l’action avec soi même et dans son interaction avec l’environnement externe social, construit et naturel. action requise pour comprendre les difficultés qui surgissent de chercher la qualité de vie personnelle dans l’acte réel, et ainsi de mieux comprendre ce que nous cherchons à éveiller dans autrui (un autre, les autres et l’autre) pour améliorer la qualité de vie collective. un exemple quotidien: diverses campagnes favorisent l’économie d’énergie en nous demandant d’éteindre une ampoule électrique quand on n’a pas besoin de lumière. cependant, cet acte si simple à réaliser, ne l’est pas tant, ni à l’intérieur du domicile, ni dans les milieux de travail ou de loisir, car cela implique de “se bouger”. 4) pour tout ce qui précède, nous considérons la formation aux valeurs environnementales comme le processus d’intériorisation et de développement bio-psycho-social du sujet plongé dans ses différents domaines d’action pour la perception, l’identification et l’épreuve de stratégies dans l’action concrète et proche, pour le maniement des problèmes environnementaux, sous une perspective intégrale dans l’environnement individuel et collectif. 7) recherche longitudinale : analyse du discours de 75 carnets de bord de groupes. on a appliqué la technique d’analyse du discours (boutin, g., 1997) à 75 carnets de bord, élaborés pendant 2000 et 2001 par les participantes, lesquels décrivent les processus vécus dans les séminaires de 5 heures par semaine. on a identifié les suivantes 5 grandes catégories thématiques qui sont apparues : a) projets de recherche ; b) carnets de bord ; c) méthode feldenkrais, d) processus de groupes ; e) thèmes traités. dans cette étude, sont seulement rapportés et commentés les résultats relatifs au point c) méthode feldenkrais 7.1.3 conclusions de l’étude longitudinale une réflexion précaire fut donnée sur les résonances de la mf pendant l’année 2000, alors que en 2001 la fréquence de réflexion augmenta et qu’il se manifesta un lien de la mf avec l’action, tant à niveau personnel comme professionnel. nous primes conscience de la difficulté pour la réalisation des activités du séminaire face aux pressions institutionnelles (horaires, problèmes de reconnaissances des recherches qualitatives, réalisation de rapports, intégration des disciplines et professionnellement). des questionnements surgissent dans le sens que la formation environnementale n’avait rien à voir avec la corporéité ou avec le travail interprofessionnel, aussi bien pour certaines des participantes, comme dans divers départements académiques d’appartenance de certaines d’entres elles. cela rendit évident la vision institutionnelle (tant par le groupe que en dehors) comme si la question environnementale serait seulement un travail intellectuel ou purement instrumental mais non interprofessionnel. cela fut évident pendant le deuxième année, ou certaines des participantes abandonnèrent le groupe, en expliquant qu’à l’intérieur de leur domaine d’affectation académique, leurs autorités ne considéraient pas cette activité comme scientifique afin qu’elle puisse être évaluée de manière institutionnelle (cela ne comptait pas comme des points) ; et dans d’autres cas parce leurs chefs immédiats n’acceptaient pas que cette activité puisse avoir une relation avec la santé environnementale. on insistait sur le fait d’intégrer le dit travail dans des projets disciplinaires. les autres participantes décident alors de reconnaître la valeur des atm et du séminaire et choisissent de continuer avec les restructurations quant au travail intellectuel puisque la pratique de la mf est considérée comme remarquable. c’est pendant cette période que sera appliqué le questionnaire de l’étude transversale que nous décrirons à la suite. 8) recherche transversale. analyse du discours de 7 participantes qui répondent, de façon anonyme, une enquête. 8.1 resultats en relation aux axes analysés dans l’étude transversale les réflexions apparues nous indiquent, dans un “ici et maintenant” une partie des résultats rencontrés dans l’analyse des carnets de bord face au discours des personnes enquêtées, comme nous pouvons l’observer dans les grandes catégories et sous-catégories thématiques qui apparaissent dans le cadre 2. en synthèse la mf a aidé à éclaircir la perception du micro environnement personnel et interne à travers le mouvement (1.2 et 1.3 et .iii.1), elle permet que la personne s’identifie comme faisant partie de l’environnement et les processus de changements nécessaires pour réaliser des actions pro environnementales (i.1, ii.2, ii.3). cela est appliqué comme alternative pour diminuer la tension quotidienne (iii.2) et favorise la pratique de valeurs comme la tolérance, l’acceptation des limites personnelles, pratiquer diverses alternatives pour résoudre des problèmes (iii.3). bibliographie boutin, g, (1997) “la collecte, l’analyse des données et la rédaction du rapport de recherche”. dans l’entretien dans la recherche qualitative. chapitre 6. presses de l’université du québec (en original 129-146 pp.) canadá. canter, d. (1988). "action and place: an existential dialectic" en canter, m. kramplen y d. stea (eds.) environmental perspectives, aldershot, avebury cohen m.j. (1995). well mind, well earth. 97 environmentally sensitive activities for stress management, spirit and self esteem. world peace university press. colette h, (1975) conscientisation: expériences, positions dialectiques et perspectives. document de travail, inodep/3, ed. idoc.francel'harmattan, francia, p 130-131. dpa (2002) "preocupa a la oms la falta de ejercicio físico",la jornada, sociedad y justicia, p.38, 6/iv, méxico. elizalde a., max-neef m., hopenhayn m. (1997) "desarrollo a escala humana fragmento 1986." en ecoeconomía y desarrollo, ediciones de l’universidad, buenos aires. feldenkrais, m. (1972). l’autoconscience par le mouvement. méxico. paidos pag.12 -flores a, c., perez n,o. (1991). "análisis psicológico-cultural del razonamiento moral de niños y adolescentes mexicanos, un estudio exploratorio" tesis de licenciatura en psicología, unam iztacala, méxico. joly y, (1995) "la recherche et la pratique du corps vécu: un point de vue par la méthode feldenkrais de education somatique". publié dans la revue association pour la recherche qualitative vol. 12. hiver. pag. 87 à 101. département des sciences de l'education, université du québec canadá. kemmis, s., y mc. taggart., (1988) cómo planificar en la investigación acción. laertes, barcelona. chapitre 1. kohlberg, l. (1992) psicología del desarrollo moral. editorial desclée de borower. montford g. g.,(1987) educación recursos y prioridades, journal excelsior sección metropolitana, año lxxi, tome vi, numéro 25, 771 pag. 1 y 2m, du mercredi 30 de décembre. pozner, p. competencias para la profesionalización de la gestión educativa. argentina. 2000. consultado en línea: http://www.iipe-buenosaires.org.ar/ zimmermann, m. (1998). psicología ambiental y calidad de vida. colombia. textos universitarios. zimmermann, m. (2001). ecopedagogía para el nuevo milenio. colombia. textos universitarios. microsoft word taylor_pdf.doc feldenkrais research journal • volume 3 (2007) article research and the feldenkrais method: sharing a different vision with the world matt taylor phd, pt, ryt, dynamic systems rehabilitation abstract the practice of the feldenkrais method affords both teacher and student new lenses through which to experience the world. the perspectives gained by participating in a feldenkrais lesson expand both parties’ awareness while fostering creativity and efficient action. the understanding and sharing of this phenomenon is critical in our world today as human beings face increasingly complex and urgent challenges that require such creative action. as an outsider looking in, there appear to be many important opportunities for the feldenkrais community to contribute to the body of human knowledge through research. stephens and ginsburg provide excellent summaries of the technical aspects and limitations of research on the feldenkrais method. this article acknowledges those issues, but will address practical observations for consideration. looking beyond the obvious studies of relative measurable movement improvement and direct comparison trials of intervention types, the feldenkrais method has many opportunities to influence traditional movement research and also bridge movement into the various social sciences. how this might be done, including possible study suggestions and questions will be addressed first. additionally, suggestions are offered on how research on the feldenkrais method can enrich our language and transform traditional movement paradigms by articulating and documenting new forms of inquiry. keywords feldenkrais method, movement research, paradigms of movement, somatic education copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 research and the feldenkrais method: sharing a different vision with the world matt taylor phd, pt, ryt dynamic systems rehabilitaton the practice of the feldenkrais method affords both teacher and student new lenses through which to experience the world. the perspectives gained by participating in a feldenkrais lesson expand both parties’ awareness while fostering creativity and efficient action1. the understanding and sharing of this phenomenon is critical in our world today as human beings face increasingly complex and urgent challenges that require such creative action. as an outsider looking in, there appear to be many important opportunities for the feldenkrais community to contribute to the body of human knowledge through research. this article is influenced by three levels of experience. the first is as a consumer having attended many feldenkrais workshops and personally experiencing the results of both awareness of movement (atm) and functional integration. the second level of experience is as a physical therapist of 25 years having employed certified feldenkrais practitioners and introduced atm lessons to patients as a form of therapeutic intervention and reading many of the classic feldenkrais texts as personal professional self-development. the third experience is over 10 years as a senior level yoga therapist, having trained predominantly in the integrative yoga therapy tradition that includes somatic education in all levels of its training. in the two somatic/mindfulness based rehabilitation clinics that the author directs, the shared principles of somatic movement education are used daily in both client care and personal development. stephens2 and ginsburg3 provide excellent summaries of the technical aspects and limitations of research on the feldenkrais method. this article acknowledges those issues, but will address practical observations for consideration. looking beyond the obvious studies of relative measurable movement improvement and direct comparison trials of intervention types,4, 5 the feldenkrais method has many opportunities to influence traditional movement research and also bridge movement into the various social sciences. how this might be done, including possible study suggestions and questions will be addressed first. additionally, suggestions are offered on how research on the feldenkrais method can enrich our language and transform traditional movement paradigms by articulating and documenting new forms of inquiry. traditional movement research and social sciences the decision to use a feldenkrais lesson in our clinic is driven by a number of factors, including expediency both then and at home (i.e. one activity vs. multiple exercises to address all of the movement components), immediacy of results, and to provide an environment for learning vs. repetition. research into each of the above areas would provide valuable new perspectives on the clinical reasoning process of traditional exercise prescription. the impact in traditional physical rehabilitation settings of limited visits and restricted access to visits by third party payers has placed a premium on new solutions. routinely our clients present with 20 – 40 previously prescribed exercises that require too much time, give no immediate iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 benefit, and are by their report dreadfully boring. documentation of both the qualitative and quantitative experience of feldenkrais atm lessons could provide important new resources toward solving these issues in traditional movement settings. closely related to this is the question of compliance to home lessons. as a significant issue in traditional movement settings, is the feldenkrais method experience any different? certainly there are challenges in methodology as atm lessons by definition should lack standardization, but if students grasp the playful, inquiring nature of the movement, do they still get down on the floor any more often or effectively than individuals prescribed therapeutic exercise? if so, why? if not, why not? how do students learn to explore on their own? what do they discover when they do? what is their decision making process to comply with the lesson frequency and is there a difference in prioritization of time vs. traditional therapeutic exercise given the many other options competing for their attention? all of these questions might provide new insights when articulated from the multiple systems perspectives of the feldenkrais method compared with the more linear approach of traditional western movement science. this multiple systems perspective can serve as a bridge into the social sciences as well, utilizing many tools of measurement regarding quality of life, satisfaction and personal efficacy6 that is available in the social sciences. how does increasing efficiency of movement influence these areas of human experience? should mental health and spiritual counselors and therapists be screening gross movement inefficiencies as part of their intake process for referral to movement educators? to the feldenkrais practitioner the answer is obvious, but who has documented or published the evidence to influence the social scientists and practitioners to modify their practice? would this open up important new referral sources for somatic educators? can the feldenkrais method contribute to the development of the language of awareness in such a way that it bridges professions that are discovering the integral nature of consciousness and perception that is available within the feldenkrais method? is the feldenkrais community up to the larger challenge of moving the collective awareness along those important incremental steps of learning through the rigor of meeting the student (professions) where they are in their traditional understanding? should the feldenkrais community be up to the above task, a final important point that requires investigation and substantiation for both traditional movement providers and the social sciences is the concern regarding increased, limited accessibility to care. part of this problem is due to the economic constraints of the one-on-one model of care so dominant in the western medicine. what would be the influence of the feldenkrais method demonstrating the efficacy of atm lessons for various diagnosis specific groups where students obtain measurable benefit at marginal cost as has already been demonstrated for some groups?7,8 all of these questions point to what seems to be one part of feldenkrais’ role in the transformation of human consciousness and society that is presently underway. enriching and transforming paradigms of movement clear and well-articulated research of the feldenkrais method will be an important component in transforming paradigms of movement/action/relationships in our communities and the world. feldenkrais practitioners ask embodied questions in a disembodied world. they recognize the importance of their own personal practice of development and awareness in the student-teacher interaction. recording and describing such a phenomena would revolutionize the subtle, but stark dehumanized process underway in traditional movement/health care professions. there provider and receiver are hurried, unconsciously violent to themselves by the unmitigated stress of work productivity levels and spiritless interactions with those with whom they are supposing to be caring for in their suffering. as each reader knows, once awareness has been expanded beyond the old limitations, it is difficult, if not impossible to ever return to that previous limited perspective. as a fellow 3 somatic educator who “can’t go back”, hopefully each of you will take on the above mentioned opportunities as your response-ability to changing our world. be it through research, financial contributions to those that do the research, or raising local awareness, the time is now to take ‘skillful action9’. 4 references 1. guimond, o: “who’s there? / who goes there?” point of view of the feldenkrais method® of somatic education, feldenkrais research j, 2; 2005 2. stephens, j: evaluating research on the feldenkrais method from the outside. some observations and suggestions. feldenkrais research j, 1; 2004 3. ginsburg, c: on research. feldenkrais research j, 1; 2004 4. lundblad i, elert j, and gerdle b: randomized controlled trial of physiotherapy and feldenkrais interventions in female workers with neck-shoulder complaints. j of occupational rehabilitation, 9 (3); 1999: 179-94 5 gutman g, herbert c, brown s. feldenkrais vs conventional exercise for the elderly. j gerontology 32(5); 1977: 562-72 6. stephens jl, call s, evans k et al. responses to ten feldenkrais awareness through movement lessons by four women with multiple sclerosis: improved quality of life. physical therapy case reports 2(2): 1999: 58-69 7. stephens j, dushuttle d, hatcher c, shmunes j, slaninka c. use of awareness through movement improves balance and balance confidence in people with multiple sclerosis: a randomized controlled study. neurology report 25(2) 2001: 39-49 8. stephens j, pendergast c, roller ba, weiskittel rs: learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement. feldenkrais research journal 2; 2005 9 the bhagavad-gita 5:10 professor spillmann feldenkrais research journal • volume 4 (2008) article professor s. john tarr bm, mm keywords feldenkrais method, case study, stroke, motivation copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org professor s. john tarr this series of 11 lessons took place over 2 and one half months. i will not describe the individual lessons in much detail in favor of expressing my thinking over a longer period of time. i am also using this case study to discuss a process that didn’t work out as i had intended, and to describe my response and change in strategy as a result. professor s. suffered a stroke about five years ago. he was unconscious for a week and lost the feeling in his right arm and leg. he also suffered from limited peripheral vision to the right and could not see the right side of his body (hemianopsia). after three and a half months, he had regained the ability to walk without a cane. he had been living quite well until approximately two and a half years prior to our lessons, when he fell during physical therapy and broke the head of his right femur. following his injury he had a hip replacement and since then had experienced considerable difficulty with walking. stairs and uneven terrain became especially difficult for him. he received three fi’s from a colleague two years ago, but stopped coming because he was terrified of climbing the stairs to her practice. at that time, i was practicing one day a week in a room without stairs. he had a prescription from his doctor for twelve fis and so he came to see me. lesson 1 professor s. came to his appointment accompanied by his partner ms. b. who drove and helped him get around. she asked if she could stay in the room during the lesson. perhaps she wanted to make sure there would be no more accidents. i asked him what he was interested in and what he hoped would come out of the fi’s. he reported that the previous fi’s had been very helpful, but he didn’t want to climb the stairs. he further explained that he hoped to improve his ability to walk, especially during the upcoming summer holidays. i had observed him as he came in to my office; he seemed to have a difficult time maneuvering and needed much help from his partner. based on my assessment, i decided to have him lie down on his back, which he said was the most comfortable position for him, so i could start with some simple movements, including lifting his shoulders and rolling his head. as i lifted his arms and brought them to his forehead, he began to breathe more deeply and seemed to relax a bit. i went to his feet and wanted to push through them to compare the feeling of connection through his skeleton on both sides. his right side was much less responsive than the left. i asked him if he noticed any differences and he said he couldn’t. i noticed that didn’t seem very interested in the process. i continued with the lesson and when finished, he got up and appeared to move around more easily. he also said he enjoyed the lesson. lesson 2 professor s. reported that he hadn’t noticed any changes during the week, but wanted to continue with fis. he seemed quite resigned and uninterested nonetheless. i worked with the idea of his right side and leg being able to bear weight more easily. i had him bend his knee slightly while i was holding his leg and gently push against my resistance. again, i didn’t feel like he was very interested in the lesson, but he said it was relaxing and enjoyable. lesson 3 before he arrived, i had decided to ask him if he felt he was receiving some benefit from the lessons. although he couldn’t say what was benefiting him, he wanted to continue. ms. b. piped in and said she hoped that he could walk more easily so that they could walk together in the mountains. “werner please, i’d like to be able to go walking with you.” she seemed more interested than he was and i suspected that he was coming to please her, and not because he really wanted to walk better. i wondered if it was worth continuing and said so, but they both expressed a desire to continue. i said we could try a few more lessons and see if there were any improvements. i continued with the idea of pushing through his legs and asked him to roll his head a bit to one side and the other while i gently pushed through his feet. i also concentrated on seeing if he could access more kinesthetic sensation on his right side (which was not in his field of vision) through light patting on his arm, leg, and the right side of his chest. lesson 4 ms. b. reported that he had been taking her hand more (instead of the cane) when they went walking. she seemed to think this was a sign of progress. she also said he was looking around and appearing more interested in the environment. after hearing her observations, i had him lie on his right side and used rolling movements; my intention was for him to fill out more of the sensation of his right side as well as begin to roll his chest opposite his pelvis in order to explore the possibility of contralateral movement in walking. lesson 5 professor s. seemed more alert and interested today. i felt it would be good for him to work on transferring weight from side to side as well as lengthening and shortening of the sides of his torso to facilitate this function. i had him begin by sitting on the table (he was past the phase where he just wanted to lie down) and lifting one side of his pelvis and then the other. i then had him lie on his back and continued with the theme of weight shifting by pushing through his legs. after finishing that part, i had him come up to a sitting position and walk back and forward with his pelvis a little. i explained that doing so would require him to use lateral flexion and slight rotation, which he would need later on for walking. lesson 6 two weeks passed before the next lesson because professor s. and ms. b. had been traveling to art galleries in germany. ms. b. reported that he was walking much better and faster. to begin our session, i had him lie prone and use the artificial floor with his knee bent. i had him feel me moving his feet in various orientations and then asked him to mimic what i was doing. towards the end of the lesson, he mentioned that he was indeed interested in eventually walking without a cane. eventually. he also said he missed dancing. i suggested that he experiment with shifting his weight side to side in rhythm to music while sitting. i thought it might be more pleasurable and interesting for him and possibly stimulate some kinesthetic memories from dancing. he agreed that this was a good idea and said he would try it out. at this point i felt like we were making some good progress and he seemed very motivated and interested. lesson 7 when my client came into my studio and sat down, he again seemed less interested and motivated. he hadn’t tried “dancing” either. ms. b. sat and read the newspaper quietly. i had him hold his knees with his hands and shift his weight on his back by rolling a bit side-to-side. i thought the trauma of falling might be interfering with his progress, but when i mentioned it, he didn’t seem interested in considering the possibility. i suggested that he consider using two hiking poles when walking to give him more balance and to encourage the contralateral pattern in walking. again, he seemed passive and uninterested. lesson 8 professor s. seemed a little more motivated during at this visit, so i worked with him sitting on the table. i had him slide one knee forward and then the other, feeling the differences. i wanted to continue simulating contralateral movements and had him push his left arm and right knee forward against me and visa versa. i varied this theme by having him use small firm rollers as poles while sitting, pressing one foot in to the floor and pushing down on the opposite roller. lesson 9 this lesson was a turning point in our work together. when ms. b dropped off professor s., she said needed to do some shopping and would come back in an hour. after she left, professor s. seemed more communicative and open with me. i decided to ask him the question that had been nagging me since the second lesson. “was he really interested in walking more?” he answered that he wasn’t really interested in walking anymore. when the weather was nice, he felt obligated to go walking, but actually he would really prefer reading his art books in his study. “there is was so much to be read,” and he told me that he had walked so much in his lifetime that he didn’t feel the need to continue. he had never owned a car in his life (in fact ms. b’s mercedes was the first car he’d ever really ridden in so much) and had regularly walked an hour downhill to the train station to go to work, and then back up after work. he had hiked all over the swiss mountains and enjoyed walking very much, but now he felt he had had enough. he also admitted that he was coming in order to placate his partner. ok, so my suspicions were confirmed; where do we go from here? i sensed that he appreciated being able to tell me that he didn’t care about walking so much. i felt as if we understood each other and could communicate better. i asked him how we could use the remaining three lessons to his benefit. he replied, “i would like to walk with you outside behind the building just once without the cane, that’s all.” behind the building, there was a small black top parking lot surrounded by walls and bushes, which probably offered him a sense of security. i wasn’t sure why he wanted to do this, but now he seemed really sincere and interested now and i was relieved to have had this discussion. because this conversation had taken up most of the lesson time, i described what i thought would be necessary for him to walk outside and explained my plan. he seemed quite happy with the my idea and we ended the lesson with some review of side bending and weight-shifting sitting on the table. lesson 10 ms. b. dropped off professor s. again and left. he appeared animated and interested, saying he was looking forward to walking. i had him face the wall and sidestep along using his hands for balance and support. i thought this would be a safe way to practice shifting weight from one leg to the next. after doing this a few times, i noticed that he held his shoulders very still, even rigid, and that his rigidity appeared to be hindering his ability to transfer weight from one leg to the next. while he lay on his back, i lifted his shoulder blades from underneath; then i had him turn his head with the shoulder in the opposite direction of the shoulder i was lifting. when this movement became clearer and easier, i had him first lengthen his left arm towards the ceiling and then his right. i asked him to look with his eyes to the right and left. because looking to the right was difficult for him, i suggested that he imagine looking to the right. this time he said he could feel the difference between his right and left sides. he got back up and we worked on breathing while sidestepping along the wall. after a rest, he wanted to try walking around the table without his cane; i walked behind him with my arms near his sides for safety. he said he was quite pleased and was enjoying himself. after making the appointment for next week he said, “next week we’ll walk outside.” lesson 11 when professor s. arrived, ms. b. dropped him off and didn’t even come into the room. his mood seemed light and alert. he said he was looking forward to our little walk outside. i had him review sidestepping along the walls in the room. when this movement felt comfortable, he rested sitting on the table. he told me about his research in color theory, and said that he had published an article in an art journal. when he was ready again, i suggested that he slowly walk backwards with me around the table. i felt it would benefit him to experience more awareness in his feet and ankles and less in his visual perception. because he knew that the floor was completely smooth, he would not have to worry about tripping over anything. by walking backwards, he would be able to set his heels fully onto the floor and feel the sense of weight in his ankle and foot as he shifted weight in preparation for the next step. slowly, carefully, he began as i guided him around the room. as this movement became more familiar, his arms and shoulders softened; i mentioned to him that he could now pay attention to his breathing. he realized that he was stopped his breathing when he transferred his weight towards his right leg and foot. after a rest, i suggested he take smaller steps and coordinate his exhalation with the beginning of weight shifting. this breathing pattern seemed to work and he said he felt more secure now going onto his right foot. while he was resting, he said he felt ready to go outside. so off we went. once we were outside, he stopped and looked around, surveying the little parking lot for any irregularities. when he was satisfied that the surface was smooth he gave me his cane. i stood behind him and lightly placed my hands on his pelvis for security. he began to take a step forward but seemed very tentative and tensed up his shoulders. we stopped and i gave him his cane back so he could rest. he said that, indeed, his fear of falling was interfering with his walking, but he was determined to try again. he gave me the cane and we started again. this time he relaxed his shoulders and breathed out as he shifted his weight. after a few steps, his gait became more fluid and secure. he asked me to take my hands away from his pelvis, but to stay behind him. we continued like this for some time, walking around and around. he then said that he had had enough and we went back inside. he was beaming and seemed very pleased with himself. he told me that he was very grateful for this opportunity and didn’t feel he needed to come for the twelfth lesson. we said our goodbyes and ms. b. picked him up. about two weeks later i received a package in the mail from professor s. he had sent me a copy of the art journal with his article and a letter thanking me for the lessons. conclusion in conclusion, i was reminded of just how important a student’s motivation is to the effectiveness of the lessons. although i think the first eight lessons were useful in preparation for walking, they would have been much more productive if i had initiated the discussion of whether or not he really wanted walk much earlier. unfortunately, i was not sure how to do this when ms. b. was present. since then, i am as thorough as i can be when interviewing a new student in the first lesson. with the help of communication courses, i have developed strategies to sound out what the expected outcome of our work together should be and what is expected of me. i find communication especially useful when someone comes in because his or her spouse or partner says he/she should come in. additionally, i engage the students much earlier with short atm sequences and questions about what they are feeling and sensing. john tarr info@hartmanntarr.ch john.tarr@dynamicmusician.com mailto:info@hartmanntarr.ch mailto:john.tarr@dynamicmusician.com feldenkrais research journal • volume 1 (2004) article la investigación y la práctica del cuerpo vivido: un punto de vista por el método feldenkrais® de educación somática yvan joly ma; feldenkrais institute for somatic education inc., québec, canada abstract la educación somática es un nuevo campo disciplinario que se interesa en el cuerpo viviente, en la conciencia mediatizada por el cuerpo biológico y en su movimiento del cuerpo vivido dentro del espacio. el método feldenkrais y todos los enfoques de educación somática, tienen necesidades propias de investigación cualitativa para ser reformulados, para definir sus bases teóricas y científicas, para medir los efectos de sus prácticas y para comprender y mejorar los procesos de formación de los practicantes y enseñantes. hay que evidenciar la paradoja misma de una investigación verbal sobre el cuerpo no verbal, y si se desea hacer una investigación cualitativa de calidad, el investigador debe de someterse, él mismo, a la experiencia de la toma de conciencia de su cuerpo. y para ello la educación somática propone una única forma de investigación cualitativa. keywords somatic education, feldenkrais, consciousness, awareness, qualitative research copyright ©: the copyright for this paper remains with the author(s). first published: revue de l'association pour la recherche qualitative (1995), vol. 12, pp. 87-99. please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 1 (2004) ® 2004 by the author "la investigación y la práctica del cuerpo vivido: un punto de vista por el método feldenkrais® de educación somática" © 2001, yvan joly traducido por dra.rose eisenberg wieder, investigacion en educacion médica y formación ambiental universidad nacional autónoma de méxico-campus iztacala email: wieder@servidor.unam.mx titulo original en francés: la recherche et la pratique du corps vécu: un point de vue, par la méthode feldenkrais® d'éducation somatique. publicado en la revista del: association pour la recherche qualitative vol. 12. invierno 1995. pág. 87 a 101. département des sciences de l'education, université du québec à hull, c.p.. 1250, succursale b, hull, québec, j8s 3x7 introducción: desde mi punto de vista el punto de vista que yo quisiera presentar aquí, surge de mi experiencia como practicante, formador e investigador en educación somática y especialmente, como profesor del método feldenkrais1 de "toma de conciencia del cuero por el movimiento". yo quisiera aquí compartir alguna de mis ideas, algunas relacionadas con mis "aventuras" y sobre todo exponer algunas de mis preguntas tal como yo las sazono, haciendo investigación después de 20 años dentro del medio de la práctica, y por que no, dentro del medio de mi práctica en educación somática. tomen en cuenta que mi presentación no tendrá, ni una envergadura o pretensión académica propiamente dicha. si "el cuerpo tiene sus razones", la práctica del cuerpo y la reflexión sobre la práctica del cuerpo por un practicante, tienen también sus propias razones. en el marco del presente congreso de la asociación para la investigación cualitativa sobre "el cuerpo de la investigación", yo agradezco al comité organizador que me permita representar la perspectiva de profesionales y de profesionistas de la educación somática. he aquí alrededor del tema "el cuerpo de la investigación", una bella ocasión para construir puentes entre los medios universitarios y el medio de la práctica profesional; y sobre todo, entre las personas que hacen la investigación, aquell@s que llevan a cabo la práctica y aquell@s que hacen investigación sobre la práctica. en los párrafos siguientes, abordaré los cuatro puntos siguientes: 1 yvan joly. m.a. maestría en psicología. y practicante-formador del método feldenkrais. formado inicialmente en psicología en ciencia cognitiva en la universidad de montreal, después de 1971 a 1980 realiza investigación aplicada y desarrollo organisacional. desde 1980 realiza práctica privada en educación somática en montreal y dirige actualmente el instituto feldenkrais de educación somática. yvan joly ha estado a cargo de cursos en una decena de departamentos universitarios en quebec y ha sido formador-invitado en quince países. es autor de numerosos reportes de investigación y de artículos en revistas. yvan joly, m.a. (ps.), institut feldenkrais d'education somatique,107 avenue de touraine, st-lambert, québec, j4s 1h3 email: yvanjoly@compuserve.com 2 y.joly/feldenkrais research journal 1 (2004) a)el campo de la educación somática y el método feldenkrais b)las necesidades de la investigación de las prácticas en educación somática, c)los límites de una investigación verbal sobre el cuerpo vivido d) el cuerpo de la investigación y el cuerpo del investigador. trataré de mostrar que los métodos de educación somática presentan, para la persona que se interesa a la investigación cualitativa, una amplia reserva de posibilidades. el campo mismo tiene necesidad de ser investigado y articulado. los procesos somáticos necesitan ser nombrados y expresados. l@s practicant@s de la educación somática tienen por fin la necesidad de crear un lenguaje a la altura de la experiencia somática. esto presenta en sí mismo una interesante paradoja y es un reto excepcional para la investigación, ya que lo esencial de la experiencia somática no es del orden de lo verbal. además, los métodos de educación somática presentan a la investigación cualitativa, una ocasión única de inmersión dentro de la experiencia fenomenológica de ser un cuerpo; aquel de la investigación y aquel del investigador o de la investigadora. "los investigadores en ciencias cognitivas que no son reduccionistas consideran que la conciencia y la experiencia son fenómenos irreductibles imposibles de ignorar. por lo tanto se le debe dotar a este fenómeno, de un método de exploración" (várela, 1993). en su libro titulado "la inscripción corporal del espíritu", várela se vuelca hacia el budismo y la meditación para apoyar su investigación sobre la “enacción2” de la fenomenología de lo mental. yo considero que la educación somática presenta un rico abanico de métodos de exploración de la fenomenología del cuerpo y que con justicia ellos deberían tener un lugar importante dentro de la producción y la formación en investigación cualitativa. he aquí el intercambio de experiencias satisfactorias que yo quisiera aquí facilitar entre el dominio de la investigación cualitativa y el campo de la educación somática. a) el campo de la educación somática y en especial el del método feldenkrais. la educación somática es un campo disciplinario en emergencia que se interesa en el movimiento del cuerpo dentro de su ambiente, en la conciencia corporal propiamente dicha y en la capacidad de ese cuerpo vivido para educarse en tanto que cuerpo vivido. este campo se sitúa en la intersección de las artes y de las ciencias que se interesan en el cuerpo viviente, y es dentro de los dominios de la salud (rehabilitación, psicología, actividad física), del desempeño deportivo, (entrenamiento y competencia de punta), de las artes y (de la interpretación y de la creación), de la filosofía (incorporación del espíritu, constructivismo), de la educación y de la enseñanza en general (bases corporales concretas del aprendizaje) y aún más dentro de los dominios mas de punta como la fenomenología, la biomecánica, la meditación, la biología y la sistémica, las ciencias cognitivas y las ciencias del movimiento ("movement sciences"). esta lista impresionante de tangentes disciplinarias demuestra bien la complejidad del nuevo dominio en emergencia. y todas ellas, sin nombrar la treintena de métodos específicos en donde los practicantes del mundo occidental se reclaman para enseñar la educación 2 enacción es un termino consagrado sobre todo a francisco varela, como una forma de hablar de la ”cognición encarnada”,como propuesta o forma de nombrar esta experiencia de conocer en tanto que cuerpo viviente o cuerpo perceptivo (ver, la inscripción corporal del espíritu, varela et al). siendo más precisos, varela (p.234) define, o mas bien, parafrasea la definición diciendo: el enfoque de la enacción se compone de dos puntos: la percepción consiste en una acción guiada por la percepción; las estructuras cognitivas emergen de los esquemaas sensoromotores recurrentes que permiten a la percepción, ser guiada por la acción. 3 y.joly/feldenkrais research journal 1 (2004) somática3. "mas allá de sus particularidades, los diversos métodos comparten una meta fundamental semejante: aprender a afinar el sentido kinestésico y el propioceptivo para actuar con una eficacia, un placer, una expresión aumentada y un dolor mínimo" (agrupamiento de quebec para la educación somática, 1994). dentro de la expresión "educación somática", la palabra soma es la más importante. su sentido aquí se aleja del uso corriente donde somático se opone a lo psíquico. de hecho nosotros rehabilitamos aquí la noción de soma bajo la perspectiva de la palabra griega que desde hesíodo, significa cuerpo viviente. por lo tanto aquí, nuestra perspectiva es el cuerpo total, tal como es vivido, en continuidad sistémica con su medio ambiente. es thomas hanna, fundador de la revista americana somatics 4 y que es el origen reciente de esta corriente que nombra y que pone en valor el cuerpo vivido. él propuso una definición de la somática: "es el arte y la ciencia de los procesos de interacción sinergética entre la conciencia, el funcionamiento biológico y el medio ambiente" (hanna, 1989:1). con hanna, muchos autores e investigadores se interesaron en el cuerpo vivido.5 en la incorporación (enbodiment), (varela, 1993a, 1993b, 1994),en la autorregulación de los sistemas vivos (maturana y varela, 1990) y en la anatomía de la conciencia (rosenfield, 1992, 1993). dentro del vasto campo de la somática, que incluye prácticas de origen oriental, el bio-feedback (retroalimentación), la imaginaria mental6, los enfoque reiquianos, las psiconeuroinmunología y todo el cuerpo-mente, existe un subconjunto bien preciso de métodos que comparten una perspectiva de educación somática. "la educación somática se distingue de la mayor parte de los enfoques psicocorporales que utilizan el cuerpo, porque pone en evidencia las emociones reprimidas y las relaciones no completadas. esto pudiera ser "la somatoterapía", como lo indica el titulo de una revista francesa. ¿la palabra terapia, etimológicamente no significaría el tratamiento de las disfunciones y las enfermedades?. sin embargo el arte y la ciencia de los educadores somáticos no reside en la patología y la sintomatología, la etiología y la sanación, sino en el proceso de aprendizaje sensoromotor, el desarrollo del potencial kinestésico y descubrimiento, dentro del movimiento, de mejores opciones estratégicas (joly, 1994:14)". como ejemplo de método, hablemos un poco del método feldenkrais, (feldenkrais, 1971), que es aquel que yo práctico y enseño desde hace 20 años. éste fue puesto en marcha por moshe feldenkrais (1904-1984), que era ingeniero físico entre otras cosas, dentro del laboratorio de física nuclear de juliot-curie. feldenkrais era un adepto también al judo, fue primera cinta negra europea y discípulo de la enseñanza de gurdjieff. su método propone una mejor conciencia del cuerpo en movimiento en el campo de la gravedad. feldenkrais se interesó en el movimiento humano y a su papel en el desarrollo de nuestras habilidades y en la gestión de nuestras acciones. este método se práctica en grupo o individualmente, bajo la dirección oral o manual de un profesor. este profesor ha seguido una amplia formación para adquirir conocimientos "objetivos" sobre el cuerpo en movimiento, tal que lo percibe una tercera persona (anatomía del movimiento, fisiología, biomecánica, física del cuerpo); pero de igual manera, sobre todo este profesor se somete a un proceso riguroso de exploración subjetiva del movimiento tal y como lo vive en su yo mismo. esta rehabilitación de la subjetividad educada dentro de la práctica profesional, constituye sin duda la característica única del dominio de la educación somática: el interventor o el intervenido deben de apoyarse sobre su propia experiencia, o sobre sus propias experiencias personales, en el sentido de experimentar, para poder construir su propia competencia profesional. bajo esta visión, cada uno de los grandes métodos de educación somática posee sus estrategias pedagógicas propias para formar a sus profesores. pero veamos un ejemplo concreto en una puesta en situación. 3el re-agrupamiento de quebec para la educación somática construyó desde 1992 una red, que más allá de los enfoques específicos, tiene como meta el establecer el campo mismo de la educación somática. seis enfoques son representados: la técnica de f.m. alexander, el enfoque global del cuerpo y la antigimnasia, los fundamentos de bartenieff , la centración mente-cuerpo, el método feldenkrais mr, la gimnasia holística. 4 la revista americana somatics, es una fuente única de referencia para el dominio global de la somática. "somatics" es publicada dos veces por año desde 1976, por el instituto novato, 1516 grand avenue suite, 212 novato, ca 94945. 5 sobre este tema ver: the news letter of the study project in phenomenology of the body, elizabeth a. behnke, p. o. box 0-2, felton c. a. 95018 u.s.a 6 la imaginaria mental es una técnica que consiste en evocar imagines visuales, auditivas, sensoriales, etc., para utilizar la imaginación, el pensamiento, la capacidad de representarse para actuar sobre el cuerpo, sobre las emociones, sobre la salud, etc. es así como simonton ha utilizado la imaginería mental en el tratamiento del cáncer, etc. 4 y.joly/feldenkrais research journal 1 (2004) 1ra. experiencia o puesta en escena. tal como esta usted, sentado sobre una silla o en un sofá, tome conciencia de su posición y de las sensaciones que usted siente en este momento en su cuerpo. usted puede cerrar los ojos o dejarlos abiertos a su conveniencia. alguna de estas dos opciones le permitirá realizar una exploración más fácil. lleve ahora su atención a su respiración, y note su ritmo. ¿cuánto tiempo dura la inspiración, la expiración, y las pausas entre una y otra?. ¿en que parte del tronco se despliega la respiración?. después, lleve su atención a sus apoyos sobre la silla, sobre el piso y sobre el dorso de la silla si es el caso. note si sus apoyos del lado derecho e izquierdo de su cuerpo son parecidos. note si la cabeza le parece que esta inclinada, vertical, o hacia un lado. no cambie nada de lo que esta usted observando. y en efecto, puede ser que sea difícil de sentir y no actuar o cambiar. para continuar la descripción concreta del trabajo cotidiano del o la practicant@ en educación somática, yo podría decirle que dentro de mi práctica privada, en la misma semana yo puedo encontrar: a un niño que sufre de parálisis cerebral, un obrero de la construcción en rehabilitación de su espalda, un cantante en búsqueda de flexibilidad vocal, un músico que sufre de dolores crónicos cuando juega o cuando toca el violín, un pintor que tiene un bloqueo que le impide crear, un golfista profesional que busca un método de enseñanza para facilitar el aprendizaje a sus debutantes, un enseñante que sufre de ansiedad y esta agotado, una madre de familia que busca reorientarse después que sus hijos ya son grandes, un bailarín agotado por su entrenamiento técnico, un niño disléxico, hasta un caballo que tiene problemas de comportamiento en el momento en que es transportado en un remolque. lo que hay en común en todos estos clientes -estudiantes, ¡no es seguramente la sintomatología!. sino que es el enfoque por medio del cuerpo vivido, dentro de la conciencia en movimiento, donde todas estas personas se agrupan en la educación somática. la practica de la educación somática se apoya en la capacidad del o la prácticant@ de sentir su propio cuerpo en movimiento, así como en la capacidad de percibir por observación, por el tacto y por proyección, lo que pasa dentro de la vivencia de la otra persona, como si uno pudiera vincular su propia vivencia sobre la vivencia de otro sistema vivo y de realizar una obra de educación según las estrategias propias a cada método. por lo tanto, una gran parte de este trabajo educativo se apoya en la capacidad intuitiva del o la practicant@; yo entiendo por ello, la capacidad de pensar fuera del campo de las palabras, dentro de este universo preverbal de lo sensoromotor, dentro de la intimidad de la conciencia del cuerpo vivido. he ahí todo el interés de este enfoque. allí reside igualmente toda la dificultad de la práctica misma, semejante a aquella de la formación de los futuros prácticant@s. y ¿qué decir de la dificultad de conducir una investigación sobre este universo fuera de lo campo verbal?. ¡y sobre esta paradoja sobre la que justamente estamos tratando de hablar!. b). las necesidades dentro de la investigación de las prácticas en educación somática 5 y.joly/feldenkrais research journal 1 (2004) como sucede en toda disciplina joven las necesidades dentro de la investigación de la educación somática son muy amplias. voy a identificar aquí algunas y no necesariamente dentro de una orden de prioridad. 1.el campo de la educación somática tiene necesidad de formularse, de nombrarse. los modelos teóricos están relativamente pocos desarrollados. el lenguaje es poco preciso. las mismas palabras son utilizadas por los y las practicant@s de diferentes formaciones, y aquel que haya leído un poco sobre este campo, rápidamente retoma o se percata que el vocabulario es casi intercambiable pero que, en dentro de la acción educativa concreta, los practicantes poseen gestos de acción muy diferentes. por lo tanto, hay una gran necesidad primera: aquella de clarificar el lenguaje, los conceptos, los métodos, el marco teórico. al respecto hay que mencionar aquí la investigación de odette guimond (1987)7 que, en su tesis de doctorado, no solo desarrolló una reflexión importante en torno a la importancia del movimiento y sobre su sentido en el juego y la formación del actor, sino también, de manera general, para la educación somática. algunas investigaciones semejantes aportan un flujo enorme de agua al molino de la conceptualización. detrás de la "puesta en lenguaje" (en el sentido de su implementación verbal o forma de expresarlo en palabras) de cada uno de los métodos, sin lugar a dudas se esconde un sustrato común a todos los métodos, es precisamente esto lo que constituye el campo a definir. además, entre los diferentes métodos, hay sin duda también para quien conozca mas de un método, diferencias enormes en el plano de las concepciones y de la pedagogía: "para uno será mas directivo, es decir correctivo, para el otro, más explorador; uno pondrá el acento sobre la utilización del espacio, el otro, sobre la interiorización del movimiento; uno preferirá el movimiento en el piso, el otro en la vertical. el lenguaje, la imaginación, la interacción entre los participantes, la comunicación para el tacto y la expresión emotiva o artística interesarán mas o menos a los diferentes educadores somáticos" (joly,1994:12). en términos de la teoría de conjuntos, frente a la variedad de los métodos, el conjunto común definirá el campo mismo de la educación somática. faltarán las características propias de cada método en el plano conceptual y pedagógico. a este respecto, la investigación no está mas que en sus principios. el rigor en la investigación es necesario para establecer las fronteras del campo y marcarlas. 2.la eficacia misma de la educación somática está por demostrarse sobre bases rigurosas, yo diría científicas, y solo puede hacerse si uno incluye, dentro de la visión de la ciencia, lo vivido en el plano de lo ¡subjetivo!. evidentemente, uno podría de forma tradicional y en doble ciego, medir la eficacia de una intervención en educación somática frente a una clientela que tiene, por ejemplo, esclerosis en placas, o frente a deportistas que se sometieron a una variedad de intervenciones escogiéndose los sujetos al azar, y controlando el efecto placebo. tales investigaciones podrían ser pertinentes, y todas las dificultades metodológicas y éticas tendrían que sobrepasarse, ciertas investigaciones de tipo objetivante y cuantitativo serán sin duda útiles, además de necesarias, para asegurar la credibilidad del campo, por lo menos en ciertos medios. pero por multitud de razones, este tipo de investigación no ha sido todavía muy popular en el campo somático. mi propia experiencia y mi primera formación en tanto que metodólogo hubieran podido llevarme hacia esta dirección. pero sobre todo, me resistía a este tipo de investigación, porque no me parecía que los métodos procedieran de la 7 guimond, odette (1987). l'acteur et le corps apparent. université de montréal, département d'études françaises. thèse de doctorat. 6 y.joly/feldenkrais research journal 1 (2004) misma fuente frente a los procesos a los cuales interesaba investigar. yo también tuve que pasar muchos años para reapropiarme de mi vivencia y hacerle un lugar riguroso dentro de mi práctica y dentro de mi vida, para poder querer resistir a los enfoques de investigación que no eran mas que objetivantes y cuantificantes y que limitarían la importancia del proceso mismo. la evaluación de la eficacia del proceso de la educación somática, mas allá de la especificidad de los métodos utilizados, ¿puede ser medida con criterios externos, objetivantes?. sin duda, pero no solamente. hay que reconocer bien, que cada intervención con cada persona es única. la educación somática o el método f o a o b o c no funcionan con "la esclerosis en placas" o con "el dolor de la espalda", pero con las personas precisas y esto casi sin tomar en cuenta a la sintomatología. y, dentro de la eficacia de la intervención, la comunicación establecida entre él o la practicant@ y su "estudiante" es el factor mas importante. por lo menos ¡esta es la creencia de los y las practicant@s!. ya que las misma estrategias ¡no serán utilizadas con personas que tengan los mismos síntomas!. por lo tanto, ¿cuál es el valor de un estudio de evaluación de un método en el tratamiento de una enfermedad o en el mejoramiento de un gesto deportivo particular si uno no toma en cuenta la mediatización?. sin conocer todo el campo metodológico, yo me pregunto si uno no debería reconocer desde el inicio, que los métodos cualitativos y mas específicamente los métodos fenomenológicos, son los más aptos para esclarecer o para dar luz a las linternas del campo somático, e incluso para la apreciación de la eficacia. se han llevado investigaciones de este tipo como el de sylvie fortin (1994) dentro del departamento de danza de la universidad de quebec, y son ejemplo de la aplicación de los métodos cualitativos para el estudio de la educación somática y su impacto dentro de un campo particular llamado la danza. fortin es a la vez una practicante y una universitaria y además, ella esta presentando una conferencia dentro del marco del presente congreso. 3."lo vivido", ya que es necesario de nuevo llamarlo por su nombre, de las personas que hacen un proceso en educación somática es un campo muy poco investigado y documentado. algunos pioneros, como charlotte beaudoin (1994) del departamento de educación física de la universidad de laval, se interesan en este rubro. eh aquí un tipo de investigación fenomenológica muy pertinente para las personas dentro del proceso, y muy rico para aquellas que las acompañan en el plano profesional. el hecho de participar en este tipo de investigación tal cual, debe además, enriquecer la experiencia de todos los interlocutores. pero hay un reto metodológico muy grande en este tipo de investigación, y es aquel de dar cuenta por medio de la palabra, del camino vivido somáticamente. el valor de este tipo de investigación ¿no estaría apoyado en gran parte, en la capacidad de los sujetos para formular su propia experiencia de manera verbal?. esta pregunta será abordada dentro de una próxima sección, ya que ésta surge también en diferentes tipos de investigación, y no solamente cuando se trata de investigaciones sobre el proceso. considero que la cuestión de la relación entre lo vivido y el verbo, es el centro mismo de la problemática de la educación somática. 4. el proceso de comunicación verbal y sobre todo el no verbal que se establece entre dos personas durante una sesión de educación somática, podría parecer muy misterioso al observador no experto o ingenuo. ¿qué es lo que puede ayudar a la o él practicant@, a decir esto aquello, a tocar aquí o allá, hacer una pausa, a recomenzar, a parar?. los estudiantes en formación siempre están curiosos de saber qué es lo que piensan los formadores cuando ellos hacen sus demostraciones. ¿cuál es el objetivo que persiguen, en virtud de cuáles principios el 7 y.joly/feldenkrais research journal 1 (2004) formador actúa?. las respuestas a todas estas preguntas forman parte de un proceso cognitivo complejo, esencialmente conectado con el presente de la experiencia presente, y se articulan apoyados en las experiencias pasadas. el practicante puede tener imágenes, escuchar algunas palabras, sentir una sensación, una emoción, inspirarse de un concepto, llevar la atención a su propia comodidad, a sus propias sensaciones (¿cómo sabe de antemano que estas sensaciones tienen un origen en él o en la interacción con el otro, por que ellas se originan del otro?). en la investigación al respecto, una percepción importante fue hecha en quebec por yves st-arnaud del departamento de psicología de la universidad de sherbrooke y por yvan joly del instituto feldenkrais de educación somática de montreal, en la aplicación de un modelo metodológico para conceptualizar la práctica somática (starnaud, 1993, st-arnaud et joly, 1992). este modelo inspirado en la ciencia acción, presenta de antemano una gran generalidad y no se restringe solamente a las prácticas somáticas. consiste esencialmente en un intercambio a propósito de un cuestionario elaborado a partir de una concepción de la práctica. este cuestionario sirve también para revisar las intervenciones grabadas sobre una banda de vídeo y el practicante debe luego explicar, describir su vivencia cuando hacían sus gestos profesionales. sus estrategias pedagógicas surgían claramente. y es el investigador metodólogo que las retransmite enseguida al practicante; el esfuerzo de formulación en la acción y la reflexión sobre la acción, son de una gran riqueza. el haberme sometido yo mismo a este proceso, me permitió testimoniar su valor. mi comprensión de mis intervenciones se mejoró bastante y mi capacidad de formularme y de explicarle a los otros, dio grandes pasos. mi práctica lo resintió a todo lo largo de los meses de la investigación (es más difícil decir si esto sigue siendo importante con el paso de los meses) y mis actividades de formación tomaron gran partido de está experiencia. considero que este tipo de investigación merece, ser retomada y seguida, quizás de manera específicamente metodológica para las prácticas en educación somática. y aún aquí, hay una gran fuente de investigación a crear para incluir toda la vivencia somática, además de la verbalización. ¿habría algún medio para darse cuenta de toda esta complejidad de la vivencia interactiva en educación somática sin el reduccionismo de la palabra?. 5.la última necesidad de investigación que quisiera mencionar, es aquella que trata de los programas de formación, en cuanto a su proceso y en cuanto a su eficacia. el proceso mismo de formación de los futuros educador@s somáticos está apenas constituyéndose. y esto aún si ciertas escuelas han formado ya varias centenas de prácticant@s. los modelos de formación podrían ser aún más precisos, y podrían estar mejor validados. ¿cuál es el perfil de la competencia (ya que la expresión esta a la moda) que uno busca y que uno quisiera encontrar al final? ¿cómo establecer criterios para terminar los estudios o evaluar el fin de los estudios? ¿cómo los formador@s determinan que un(a) estudiant@ esta en medida de practicar sin supervisión? ¿cómo, el sujeto formador, establece su relación pedagógica con el sujeto estudiante? ¿cuáles datos objetivos deberían de ser incluidos en la formación? ¿cómo valora uno el logro de los objetivos en el plan del proceso subjetivo que el estudiante debe hacer con él o con ella misma? ¿cuál es el camino crítico previsto para los estudiantes?. recordemos que en educación somática, ¡uno debe poder tocar la cabeza de una persona y sentir la vivencia del sujeto tocado!. es verdad que los modelos de formación de todas las escuelas utilizan en grados diversos, modelos de relación maestr@ aprendiz. ¿será este el mejor modelo? ¿y si el campo de la educación somática hace su incursión dentro de los medios 8 y.joly/feldenkrais research journal 1 (2004) universitarios, cuáles serían las condiciones pedagógicas que la institución debe respetar para guardar lo vivido del sujeto como parte central o corazón del proceso? ¿cómo reconocer que el proceso de los estudiantes necesita una inmersión somática, y cómo incluir ello dentro del curriculum y dentro de la evaluación?. muchas de estas cuestiones de formación, dentro del dominio de la práctica profesional, han sido abordadas por el grapp (grupo de reflexión y de acción sobre las prácticas profesionales)8, que se reunieron en quebec con formadores, practicantes y profesores de diferentes instituciones universitarias y también algunos practicantes y formadores del campo de la actividad privada. este grupo se dedicó, desde 1987 a estudiar las relaciones del saber académico y el saber práctico; sobre las relaciones entre la teoría y la práctica y sobre todas las cuestiones de la formación de practicantes en los campos de la educación, de la psicología, de la sociología, de la consultoría, e igualmente del campo de la educación somática. es importante reconocer que la educación somática no es la única que tiene como preocupación el campo de la formación de profesionales practicantes. pero, fue el caso de la grapp, donde la educación somática tuvo mucho que aportar para crear experiencias de exploración y de aprendizaje sobre el campo de lo vivido incorporado en la acción. relativo a ello, nosotros hemos podido contribuir a la reflexión de nuestros colegas del grapp sobre la intuición y sobre los mecanismos del pensamiento no verbal. al respecto, nuestros colegas formadores, universitarios y practicantes nos han influenciado enormemente ampliándonos la visión de los métodos y de las problemáticas en las relaciones entre la acción y la reflexión. he aquí un tipo de investigación que nos fue muy útil. c.los limites de una investigación verbal sobre el cuerpo vivido sumerjámonos ahora dentro de lo vivo del sujeto que es lo que más me preocupa, es decir, lo vinculado a las relaciones entre la palabra y el cuerpo vivido. de antemano desearía recordar aquí algo de semántica general propuesta por el iniciador de la misma, korsybski (1966:25). 1.una mapa, no es el territorio (las palabras no son las cosas que representan). 2.una mapa no cubre todo el territorio (las palabras no pueden cubrir todo lo que ellas representan). dentro de mi mitología personal, yo digo que las palabras, con relación a lo vivido, son ¡como la bandera sobre la punta del iceberg!. la mayor parte del iceberg de la conciencia esta debajo de la línea de flotación. después hay una parte del iceberg que uno puede ver, que uno lo puede "sentir", diría yo. sobre la punta del iceberg hay un pequeño símbolo para la comunicación y la identificación. ¿cual es la relación entre estos niveles "de lo vivido"?. empleo deliberadamente la palabra "niveles", y propongo al mismo tiempo la cuestión de jerarquía de los niveles, y respondo que, desde el punto de vista de la educación somática, el nivel más alto, el más importante, es el nivel de la experiencia y que la experiencia no puede ser reducida a aquello que uno puede decir de ella. evidentemente la trampa sería, desde mi punto de vista, el que se lleve aquí un debate verbal sofisticado e intelectualmente alto sobre la semántica, la semiología y sobre el imperio de los sentidos. no se preocupen. no es ni de mi competencia ni de mi interés hacerlo. yo solo deseo resaltar aquí un malestar que resiento con frecuencia en cuanto se aborda la investigación sobre el cuerpo: casi siempre estas se desbordan en palabras. uno ya no siente más la experiencia. evidentemente para un cierto tipo de comunicación, como lo estoy haciendo ahora aquí, nosotros 8 para ponerse en contacto con el grapp, (grupo de reflexión y de acción sobre las prácticas profesionales) contactar al departamento de comunicación, universidad de quebec en montreal). gran cantidad de textos y documentos del seminario fueron presentados y discutidos ahí. 9 y.joly/feldenkrais research journal 1 (2004) utilizamos las palabras. pero, ¿cuantos libros, cuantos textos que tienen como interés la fenomenología del cuerpo y la experiencia vivida, se manifiestan por una flotación sostenida de abstracciones, separadas de la vivencia de investigador, apenas asociada con la vivencia del sujeto estudiado?. entendámonos bien: no se trata de evacuar la palabra y el símbolo oral o escrito. yo también soy de aquellos que defienden, a veces y con mucho brío, el punto de vista que ¡"una experiencia que no se nombra no existe". se trata mas bien de mantener entre otros, el vínculo y la proporción entre la bandera sobre el iceberg y el mismo iceberg con la parte que esta sumergida!. ¿pero puede ser que después de todo, se trate simplemente de revisar el uso del lenguaje?. pues bien no, ello no es suficiente para mí. evidentemente, después de haber visto una película, podemos hablar de ella desde diversos niveles y formas. ciertas formas de lenguaje, ciertos estilos de expresión, se desprenden mas o menos de la experiencia vivida una vez que la película fue vista, y que expresan mas o menos la vivencia. de igual manera, para una investigación en educación somática, es mas apropiado el estar cerca de la experiencia, aún cuando uno desee hacer una teoría de la educación somática. sin embargo mi propósito tiene como meta el llevar mas lejos el debate. puesto que, si desde un principio les solicitamos a los sujetos hablar de su experiencia somática es, pedirles que la disocien!. sobre todo si uno les pide hacerlo durante el curso de la experiencia (por no decir de la experienciación). después de hablar en retrospectiva de una experiencia somática que uno tuvo, ahora uno se tiene que apoyar sobre la memoria para evocar ésta experiencia, por lo tanto el sujeto habla de otra cosa que de su experiencia vivida. permítame distinguir desde el punto de vista de la experiencia somática y de su expresión tres aspectos. además, para dar cuenta de mi propósito concreto, permítanme algunos instantes de ustedes para tener la posibilidad de someterlos a la vivencia siguiente. segunda vivencia o puesta en situación. por favor siéntese confortablemente... ........ tómese algunos instantes para hacerlo. haga eso ¡ahora¡.... antes de que continue leyendo. bien gracias. ......ahora puede continuar leyendo. note los ajustes que tuvo a hacer para responder a la solicitud anterior. si desde su punto de vista no realizó ningún cambio, continúe leyendo como si nada hubiese pasado. a) ¿cuánto tiempo estuvo usted reflexionando para decidir qué es lo que tenia que cambiar en su postura, en su relación con la silla, y después, cuanto tiempo le tomo realizar los ajustes? b)¿ estuvo usted comunicándose consigo mismo interiormente, durante, antes o después del cambio? c)¿que fue justamente lo que cambio? d) ¿puede usted regresar a tomar su posición inicial, aquella que le parecía sin duda, menos confortable? e) ¿esa posición le parece que es diferente, ahora que usted lo reconsidera? 10 y.joly/feldenkrais research journal 1 (2004) f) si usted cambió de posición, ¿quiere decir que usted no estaba cómodo antes? ahora ....regrese a la segunda posición, aquella que usted escogio para estar mas cómodo. g) ¿cuales son los índices que usted tomó en consideración para cambiar o para no cambiar su posición? h) ¿eran sensaciones, imágenes interiores, emociones, sabores, olores, sensaciones táctiles o cutáneas, palabras escuchadas o dichas a usted mismo, una sensación de fatiga, de tensión, una respiración particular, o que otra cosa? i) una vez que siente usted mejor en esta posición, ¿como sabe usted que ése es el caso? finalmente, considere algunos instantes una de estas dos posibilidades: a) o bien usted ya respondió a todas las preguntas, y ahora usted esta libre, b) o bien ahora usted tiene que escribir sus respuestas para que sea usted leído. la distinción que yo deseo aportar aquí, después de esta experiencia personal, es proporcionar una evidencia de los diversos modos de experimentar. este tentativa de educación somática tiene como objetivo principal el descubrimiento de la noción concreta de "comodidad" "confort" en posición sentada y de ahí, hacia un mejoramiento de la capacidad de autoregulación de la persona incorporada en la interacción con su medio ambiente. he aquí lo que piensa hacer el profesor en general. de antemano está lo que el profesor piensa hacer con su presencia, su entonación vocal, sus pausas, su elección en el vocabulario. después está lo que el estudiante vive y aprende. también esta lo que el estudiante piensa vivir y aprender, que es, por lo tanto, lo que él o ella tienen conciencia. finalmente, está lo que el estudiante puede o quiere decir verbalmente de su experiencia. he aquí a vuelo de pájaro, algunas distinciones dentro del campo de la educación somática. dentro de la práctica de la educación somática, lo que me importa como profesor, es que mis estudiantes puedan autoregularse en movimiento, en la acción, e incluso que ell@s sean capaces de cambiar de posición de manera regular, para mantener esta experiencia de confort en posición sentada, durante una conferencia o una lectura, aún si esta lectura o esta conferencia sea particularmente cautivante. en el proceso de este aprendizaje somático, puedo orientar la progresión o avance de mis estudiantes por medio de un enfoque del descubrimiento guiado por la palabra, como el que acabo de presentar. las respuestas que los estudiantes aporten a mis preguntas son, con frecuencia, aquellas que se reserva el estudiante sin que las comunique al profesor. por otro lado, yo podría guiar el aprendizaje somático de mi estudiante por el toque de mis manos, sintiendo por extensión de mi propia experiencia, la naturaleza de la experiencia somática de comodidad del estudiante, e ir guiando su aprendizaje y su exploración somática por el toque de mis manos. en los dos casos, la expresión verbal del estudiante no es necesaria y casi siempre desconecta al estudiante de sus sensaciones, sobre todo en los momentos intensos y densos del nuevos descubrimiento. además, en ciertos casos, hasta yo me podría 11 y.joly/feldenkrais research journal 1 (2004) disociar de mi propio discurso de la experiencia somática que esta en proceso, (por ejemplo hablando de la lluvia, del buen tiempo que hay o de mi última jugada de mi deporte preferido) como si yo tomara a cargo la verbalización de un cierto nivel disociado para permitir al estudiante asociarse mejor, somáticamente hablando. evidentemente también es posible, tanto para el estudiante como para mí, el confirmar por la palabra, es decir amplificar por la verbalización una experiencia somática particular. pero de nuevo, esta verbalización, la mayor parte del tiempo, no es esencial en el proceso de aprendizaje somático. y de nuevo nosotros nos encontramos frente a la pregunta inicial: ¿qué ha sucedido entonces en la investigación sobre el proceso durante la educación somática? d.el cuerpo de la investigación y el cuerpo del investigador antes de que deje a mi lector o lectora tener impresión difusa de que hasta ahora fueron transportados en un barco hacia la cuadratura del circulo, permítame anunciarles el color que pudiera tomar la relación "somática y palabras" en los párrafos que presento a continuación. de hecho considero que nosotros tenemos necesidad de desarrollar métodos de investigación que incluyan el estado de conciencia del investigador dentro de la metodología. en los años 70's ciertos investigadores se dieron cuenta de la necesidad de hacer investigación de la consciencia-dependiente "conscioussnes-dependant research" (de la investigación que toma en cuenta el estado de conciencia de investigador). considero que esto es necesario, entre otras cosas para el estudio de los estados de conciencia modificada por la absorción de substancias psicotrópicas. ¿hasta donde podríamos ir, en la comprensión de estos fenómenos de modificación de la conciencia si, para quedarnos objetivos, los investigadores se quedaban al exterior de la experiencia, tomando "en frío" las medidas fisiológicas, netamente las modificaciones observables del comportamiento y registro de los sonidos y los propósitos frecuentemente deshilachados de sus sujetos? yo les confieso el haber perdido la pista de esta hendidura metodológica y quizas algunos de ustedes pueden estar mejor informados sobre los recientes desarrollos dentro de esta orientación de la investigación. por lo menos uno siempre podría decir que, ésta estrategia de investigación ha justificado bellas experiencias de alucinación para algunos investigadores audaces. pero éste no es mi propósito. me parece suficiente subrayar que, en cuanto a mí y para la educación somática, sería especialmente apropiado desarrollar dicha perspectiva, al realizar una investigación que incluya el estado de conciencia del investigador y por ello quiero decir, que incluya su subjetividad en movimiento. hagamos otra experiencia antes de ir mas lejos. tercera experiencia o puesta en situación lean lo que sigue tratando de comprender el texto, al mismo tiempo, no hagan ningún movimiento que se le sugiera. o mejor todavía, lean este texto a un colega que hará los movimientos y observen su comportamiento al mismo tiempo que están leyendo. tomen de nuevo una posición confortable al estar sentado. después fijen un punto en el horizonte. cierren los ojos, después levanten la cabeza hacia el techo, y abra los ojos para notar en esta posición de la cabeza, otro punto mas alto que el primero. después regresen a la posición de inicio. 12 y.joly/feldenkrais research journal 1 (2004) mantengan la vista fija sobre su primer punto en el horizonte frente a ustedes y comiencen a hacer con la punta de su nariz y la cabeza círculos en el espacio. comience por pequeños círculos y después aumente la circunferencia de los círculos en una espiral que va agrandando progresivamente, y repitiendo para regresar en medio. algunas veces, tres o cuatro, lentamente, en un sentido y después en el otro. después cierre los ojos, y lleve la cabeza al techo y abriendo los ojos determine si su punto de referencia a lo alto es el mismo o rebasó el primer límite. avance usted ahora hacia la parte anterior de su silla para despegar su dorso. en esta posición, ponga las manos juntas sobre la coronilla de la cabeza, manteniendo los codos abiertos a cada lado. ahí, manteniendo la cabeza y codos fijos en el espacio, ruede su pelvis sobre la silla, de adelante hacia atrás (ciertamente diríamos: bascule pelvis sobre los isquiones, sobre los huesos de la pelvis). haga esta basculación de pelvis varias veces, 7 a 8 veces lentamente, manteniendo los codos y la cabeza fijos en el espacio. note los movimientos del tronco, de la columna, de la caja torácica, del dorso y del vientre, en caso de que los sienta. pare. ponga las manos sobre las caderas, cierre los ojos manteniendo la vista hacia el techo levantando la cabeza, y después abra los ojos y note donde se sitúa ahora su punto de referencia en lo alto, y si usted mira hacia lo alto el mismo punto o más alto sobre la pared, o sobre el techo. siéntese de manera cómoda y descanse algunos instantes. si usted estuvo escuchando el juego de la puesta en situación anterior, sin hacer los movimientos tal y como los he propuesto ¿cuál es su experiencia? ¿cómo puede hacer una investigación sobre el proceso de movimiento para colectar las impresiones de un@ estudiante, para comprender el método y la lógica de la secuencia, para medir y después comprender la eficacia y el mejoramiento de la amplitud del movimiento en algunos y la falta total de variación en otros? ¿cómo ayudar a los practicantes que han concebido estas exploraciones de movimiento, a mejorarlas? a manera de conclusión la perspectiva cualitativa propia de la educación somática se apoya sobre un estado de absorción dentro de la experiencia sensoro-motora y kinestésica, y la mayor parte de los sucesos experienciales son del orden pre-verbal. la búsqueda cualitativa más interesante y la más difícil de hacer en la educación somática, es aquella que precede lo verbal. esta requiere, de parte del investigador, sumergirse dentro de un universo de subjetividad donde la palabra y la reflexión nos ofrecen de manera ocasional algunas señales. en este universo de investigación, la experiencia somática vivida debe estar en primera línea. el riesgo que corre en este caso él o la investigadora, es el de perder la seguridad de las fronteras entre la investigación y la práctica, entre la experiencia y la reflexión, entre lo vivido y su relación analítica, mediatizada de manera razonada y articulada. “la humanidad debe aprender a vivir dentro de un mundo fluido, sin referencias fijas ni fundamentos últimos” (varela, 1993: 132). ¿qué investigación haremos y con cual metodología? . se trata de una investigación cualitativa a conciencia y ante todo hay que hacer esta investigación dentro de la complejidad del “yo” de cada uno. 13 y.joly/feldenkrais research journal 1 (2004) mi deseo, en consecuencia, es que la investigación cualitativa en educación somática se apoye, cada vez mas, sobre ésta base amplia y compartida de experiencia de inmersión directa renovada dentro de la vivencia corporal. desde ahí, quizá nosotros podamos inventar metodologías cualitativas que incluyan la vivencia respiratoria, y toda la vivencia neurovegetativa, la vivencia sensorial cutánea y muscular, la vivencia postural y toda la vivencia kinestésica, es decir, la vivencia vestibular, y todas las dimensiones de la conciencia del cuerpo en el espacio, que son la base misma de nuestra experiencia de sujeto. para terminar, retomare las palabras de israel rosenfield “el cerebro no funciona independientemente del cuerpo, él se encuentra dentro” (rosenfield, 1992:139). “el patrón de la adquisición de la imagen del cuerpo, y de manera asociada, el conocimiento de objetos, sugiere que tan central es la imagen corporal a nuestra comprensión del mundo. la noción del espacio, de los objetos, y de nuestra autoreferencia, depende de la imagen corporal y ello no puede separarse". (rosenfield, 1992:62). "la imagen corporal inconsciente es la referencia de nuestra subjetividad" (rosenfield, 1993:148). "es el movimiento que crea el sentimiento de continuidad de lo vivido" (rosenfield, 1993:147). al leer este autor y un cierto número de obras citadas aquí y allá, uno tiene la verdadera impresión de estar en presencia del inicio de una importante corriente de reapropiación de la vivencia corporal dentro de la investigación científica de punta. la educación somática ofrece un método excepcional de inmersión en la experiencia misma de la calidad de la conciencia. la investigación nos espera desde ese punto. con el placer de que ustedes la crucen con o sin señales. 28 de octubre de 1994. resumen la educación somática es un nuevo campo disciplinario que se interesa en el cuerpo viviente, en la conciencia mediatizada por el cuerpo biológico y en su movimiento del cuerpo vivido dentro del espacio. el método feldenkrais y todos los enfoques de educación somática, tienen necesidades propias de investigación cualitativa para ser reformulados, para definir sus bases teóricas y científicas, para medir los efectos de sus prácticas y para comprender y mejorar los procesos de formación de los practicantes y enseñantes. hay que evidenciar la paradoja misma de una investigación verbal sobre el cuerpo no verbal, y si se desea hacer una investigación cualitativa de calidad, el investigador debe de someterse, él mismo, a la experiencia de la toma de conciencia de su cuerpo. y para ello la educación somática propone una única forma de investigación cualitativa. bibliografía beaudoin, c. (1994), l'expérience d'intégration des apprentissages en éducation somatique selon une perspective phénoménologique. (la experiencia de integración del aprendizaje en educación somática según una perspectiva fenomenológica). mimeo. universidad laval, departamento de educación física. feldenkrais, m. (1971). autoconciencia por el movimiento. buenos aires, madrid: paidos. fortin, s. (1994). 'when dance science and somatics enter the dance technique class". kinesiology and medecine for dance, 15(2), 88-107. 14 y.joly/feldenkrais research journal 1 (2004) hanna, t. (1989). la somática. parís: interediciones. (en méxico, editorial yug) joly, y. (1994). "l'éducation somatique: au delà du discours des méthodes (la educación somática; mas allá de los discursos del método). asociación francesa de practicantes del método feldenkrais. boletín de bienvenida, 12-19. korzybski, a. (1966). ). le rôle du langage dans les processus perceptuels. newyork: the international non-aristotelian library. . maturana, h., verla, f. (1987). the tree of knowledge: the biological roots of human understanding. boston: new science library. regroupement québécois pour l' éducation somatique (l994). brochure de présentation du regroupement et des approches représentées. rosenfield, i. (l992). the stange, the familiar and the forgotten: an anatomy of consciousness. new-york: alfred k. knopf. rosenfield, i. (l993). "pourquoi le cerveau n'est pas un ordinateur". science et vie, no 184: les secrets du vivant. st arnaud, y. (l993). "guide méthodologique pour conceptualiser un modèle d'intervention". f. serre, (éd.) . recherche, formation et pratiques en éducation des adultes. editions du crp, université de sherbrooke, chap. 8. st arnaud y. , joly, y. (l992). agir consciemment: conceptualisation du modèle d'une pratique en éducation somatique. (actuar conscientemente: conceptualización del modelo de una práctica en educación somática). miméographié. département de psychologie, université de sherbrooke. varela, f., thompson, e., rosch, e. (1993). l'inscription corporelle de l'esprit: sciences cognitives et expérience humaine. (la inscripción corporal del espíritu: ciencia cognitiva y experiencia humana). parís: seuil. varela, f. (1993). "rencontre avec francisco varela (encuentro con f. varela)". sciences humaines, no. 31. varela, f. (1993), “varela chauffe la tête (varela calienta la cabeza)”. actuel, no. 3132. case studies feldenkrais research journal • volume 4 (2008) editorial editorial: case studies. what kind? who will write them? for whom? staffan elgelid phd, pt, cfp; editor in chief keywords feldenkrais method, case studies, research methods copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org case studies. what kind? who will write them? for whom? dear reader, the articles in volume 4 of the international feldenkrais federation’s on-line research journal focuses on case studies. every feldenkrais practitioner has a case study that is worth publishing. for a variety of reasons, most practitioners do not take the time to share the wealth that case studies can provide to the rest of our community. several questions arose when i started thinking about case studies as the theme for this volume. who do we write the cases for? who do we want submitting articles to the journal? what makes a good case study? who do we write the cases for? our own community? other researchers? other professionals? i believe this basic question determines who will submit articles to the journal and what kind of cases the journal accepts. in some journals, it is very difficult to get case studies published, and therefore mostly academically based researchers submit articles for publication in those journals. unfortunately, this frequently means that most of the articles are of interest to the researcher and not as valuable to the general practitioner, and this can create a split between the researchers and the practitioners. if we want our members to read and get ideas from the material that is published in the iff research journal, making articles difficult to get published might not be the right way forward. cliff smythe has written an article for this volume where he describes different types of case studies. i believe that the table that cliff has included in his article makes a great case for the inclusion of different levels of case studies. from the simplest cases that are easy to write up, to very elaborate forms of case reports that people with more research and writing experience can submit. who do we want submitting articles to the journal? do we want to encourage our practitioners to submit articles, or are we more interested in having a few select practitioners, and researchers from other fields submit articles. most of the cases reported in volume 4 of the journal were written as part of the application process to become an assistant trainer. the practitioners who were contacted showed an incredible generosity in sharing their material, and we ended up with more articles than we had space for. there is a wealth of knowledge in all the cases that have been written in these assistant trainer applications, so why are these case studies not being published? imagine the learning opportunities and inspiration that could come from sharing case studies from the world wide feldenkrais community. i know several practitioners who will not write up cases for publication because they think it is too difficult. i personally would like to have everyone from new graduates, to experienced practitioners, to people in academia feel welcome to share their information in the iff research journal. the difficulty lies in how to find the right balance between encouraging our members to write while at the same time maintaining a high quality journal that other researchers and professions will seek out for information. the third question that i am often being asked is, what makes a good case study ? how does the writer decide what kind of case is interesting to write about? i believe that the articles in volume 4 of the iff research journal displays a wide variety of cases, reported from a variety of viewpoints. the cases include description of thought processes, description of outcomes, as well as more mechanical descriptions of the lessons. there is something unique, and therefore valuable about each case, whether it is the reason they came to the feldenkrais practitioner, the approach the practitioner took, or the outcome. i believe that many journal editorial boards and professions ask themselves the above questions and try their best to balance the interest of the researcher, academician, and practitioner with the needs of the profession as a whole. by allowing a wide range of cases to be published in the iff research journal, i believe that we can ensure that many practitioners will submit articles and take ownership of the research and sharing of information, instead of just a few practitioners with advanced skills submitting manuscripts for publication. with time more and more practitioners will write and publish and that will ensure a bright future for the dissemination of research on the feldenkrais method. staffan elgelid phd, cfp, pt staffan@learnandperform.com feldenkrais research journal • volume 4 (2008) article shelly candy conino chapel hill, ny keywords feldenkrais method, case study copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org shelly candy conino “i gave her your name and number, but i don’t see what you could possibly do with her”, said the mother of another child with whom i was working. based on this reluctant referral, shelly, perfectly coifed, impeccably dressed, and escorted by her attentive mother, shuffled in for a “visit”. we had agreed to one session, during which we would all assess each other. it went very well. martha, shelly’s mother, did all the talking, since twenty year old shelly was nonverbal. shelly had been diagnosed with autism before she was a year old. she had never communicated at all. she had not been able to establish even a yes/no system. her doctors estimated that her intelligence level was equal to that of a two month old infant. shelly was engrossed by her interior world, and fascinated with the tiny orb of space surrounding her hands. she was clearly enjoying her precious world, and would lash out or hit anyone who tried to contact her. in fact, her mother hoped that i could help with the hitting problem, since changing, and dressing her had become an ordeal. feeding her was no problem, especially if it involved dessert. martha assisted shelly to sit on my table, and stayed with us during the session. shelly was delightful, smiling and seemingly listening as i explained feldenkrais work to her. i confidently led her through a body scan and then used my hands to help her clarify the differences in the two sides of her pelvis on the seat, and her feet on the floor. i sat beside her, knelt in front of her, worked from behind her, all to link her internal sense, the external sense from my hands, and my voice together in some sensible and non-threatening way. she became more relaxed, let her hands rest on her lap, and never once tried to hit me. her mother was thrilled, i was comfortable, and we agreed to weekly sessions. the next week shelly and her mother arrived with great enthusiasm. martha mentioned that she had talked to shelly about this from time to time during the week, and always my name elicited a smile. i asked martha to make herself comfortable in another room, because i would like shelly and me to focus only on each other. martha was perfectly happy to relax for an hour, and left shelly and me standing in the middle of my room. i invited her to my table, and, since she had never responded to a direction or a request in her life, i was comfortable with her non-response. i moved toward her, to assist her to my table, and she backed up toward it. i moved again from a different angle, and she backed up again. i talked to her about this magic, and we played with it a bit, her moving a little right, a little left, in response to my forward move. i talked to her about noticing her response, while she enjoyed her hands. it was fun, until she was close enough to the table to sit down. as i talked to her about sitting and moved toward her to assist, she instead turned around and stepped up onto the table. ooooops! she was standing close to the left end of the table, facing me. she was also smiling triumphantly. she was no longer focused on her hands, but had turned her head to the right, sliding her eyes to the far left to look at me. my instinctive reaction was to reach out to her, but that made her balance shift backward, and if she were to take a step back, she would fall off the table. i felt that i had to be close enough to her to prevent her from harm, but how to get close enough? as feldenkrais practitioners, we learn to “meet the client where they are”. so i did. i stood up on the table with her, facing the same direction. i tried to turn and face her, but that inspired her to step further from me. so we stood there, she and i, for 50 minutes. i tried the body scan again, but there was no response. i tried to get closer to her again, but there was that troublesome stepping in the wrong direction. finally, i talked to her about the way i was feeling. i explained that part of our work was to distinguish her boundaries, what was her, what was outside of her, and the nature of her power to affect the inside and the outside (this, of course was a moot point by then). after 50 minutes, i advised her that i was getting a little panicked. for me, it could be a bad scene if her mom came down the hall, found us both standing motionless on the table, looking off into some unknown horizon, and clearly without an obvious strategy for dismounting. i told her about how awful and awkward that moment would feel, inside me, and that on top of that i would have to ask her mom to pay me, and then i would have to look martha in the eye and ask her if she would like to schedule another appointment. i told shelly that if we were going to work together long term then we needed to figure out a way to relate so that this would never happen again. we would need to listen carefully to each other’s cues, and take turns being in charge. i told her that i was going to hold out my hand, and wait for her to take it, and then we would sit down on the table together. she smiled, took my hand, and her mom found us sitting on the table together. i advised shelly’s mother that the doctors were wrong about her intellect, and that we had agreed to work hard together. shelly and i spent most of the first six months exploring our relationship in space. she never again agreed to enter my teaching room, but would sit or lie down in various other rooms and spaces, or wander about my house when she felt the need to rest. she very quickly established the space, which we named the “limited access room.” her settling down there meant (and still does today!) that her tolerance to touch was miniscule. for many weeks, she offered me her back only, and turned away if i moved even the tiniest bit to her side or front. at first she would not be touched anywhere with my hands. she would get up and walk away, or have a temper tantrum, or lash out at me. i remembered reading about temple grandon. she invented a hugging machine because she could feel calm and think more clearly if she felt a uniform pressure around her. so shelly and i made great progress working with our backs touching each other, and later my front to her back, my legs interacting with her legs and pelvis, and slowly over many weeks introducing my forearms onto her sides, and finally my hands into the space that her hands occupied. i was very interested in using my hands to touch her, and she was very alert and resistant to my goal. one day i was sitting behind her, with my arms and legs surrounding her, both of us having reached a giggling exhaustion by “butt walking” forward and backward, watching our hands flap about in response. i asked her to put her hand in my hand. as i mentioned, she had not ever followed a direction, except that awkward first session that she spent standing on my table. so i asked, and she ignored me. it seemed, though, that she was processing my request. so i waited. i remained motionless, waiting for a long five minutes. her mom watched for five long minutes, until shelly simply put her hand in mine. shelly and i spent many sessions after that working on the concept of conversation. every lesson was first focused on establishing response choices. for example, how many choices could we establish for movements, which could communicate, “don’t touch me”? how many movements could communicate, “i’m finished for today”? what options were there for signaling a need for a rest? she gradually developed a repertoire of communication skills, which did not rely solely on hitting pr scratching. we slowly moved into more complex and proactive responses to questions like, “what will we do together today?” at the same time, i started to read poetry to her, during her rest or “hands off” periods. this was intended to spark an appreciation of language in her. it was also intended to serve my next teaching project, rhythm and pacing. at that point shelly had a wider variety of responses, but one could still wait five minutes for it to appear. while that worked in a feldenkrais lesson, i explained to her that in the real world, other people would continue to assume that she was unable to comprehend well enough to respond. i had learned the value of musical or drumming/tapping rhythms while working with other young people, so i used those during our lessons along with the poetic rhythms during the rest. we discovered that she could respond quickly if the movements or questions were molded into a set of 17 or 21 beats. we started there and very gradually expanded her rhythmical repertoire to smaller and faster sets of beats. once she could feel the rhythm in various kinds of questions and directions i started to focus our lessons specifically on response time and leadership. at the beginning of each session, she could make a choice about which one of us would be in charge first. one of us would lead, one of us would follow. this taught her a lot about power and change. the person who was the follower was allowed to take over whenever she chose. the former leader would have to relinquish the lesson leadership and begin to follow. shelly went to a couple of workshops on facilitated communication. she started to work with a local teacher and i went to observe and assess how my lessons could support her work with this teacher. when i saw what was going on, we started a series of fundamental lessons on reaching, since moving her hand to the keyboard was a colossal struggle for the communications teacher. at last she could reach the keyboard without a struggle, but she would only type meaningless (to us) sequences of words. she wasn’t saying anything. that started us on a series of walking lessons, each one evoking a different style. we had to weave these back into our beginning lessons about choices, until she finally accepted that she had a choice about what parts of her she could express through her writing. the stories about shelly go on. i had more dismal failure lessons with her, and lots of brilliant lessons with her, and some boring and mediocre lessons as well. but, three years after we began our work together, shelly had learned to communicate by typing. this was the first message she sent to me: lot fire move my body you get near my joy love lot shelly candy conino chapel hill, nc candyconino@gmail.com mailto:candyconino@gmail.com frj 7 ménasé feldenkrais research journal • volume 7 (2023) hypothesis and theory learning to embody: the feldenkrais method® stéphanie ménasé phd, guild certified feldenkrais practitioner, and painter contact: stephanie.menase@free.fr abstract the feldenkrais method introduces a revisited understanding of what body inscription can do in the fields of learning, re-learning, and remediation of capacities, in particular by stimulating the plasticity of the nervous system and by promoting the training and reactivation of our perfectibility. the feldenkrais method can help to clarify or reconsider what corporeality can do in this project of possible and continued learning. how can the feldenkrais method support such a purpose of quality and accuracy in our action by the means of a learning process that involves, and often is based on, a person's ability to move? what does this tell us about the way human beings develop and learn? this contribution seeks to highlight modalities at work in the feldenkrais method, described as a process that favors precise, adapted action, or allows the freedom necessary for the realization of any human project, with in particular emphasis on the learning component of our projects. keywords corporeality, experiential process, presence, feldenkrais method, feldenkrais’ perspectives, nervous system, skills development, learning copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi®are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:stephanie.menase@free.fr https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org hypothesis and theory learning to embody: the feldenkrais method® stéphanie ménasé phd, guild certified feldenkrais practitioner, and painter this text was written, following the formal constraint of a contribution, for the international colloquium: awareness in the teaching situation: body, gestures, speech.1 my purpose was to present to teacher-researchers, mainly lecturers and university professors in pedagogy, certain aspects of the feldenkrais method from my experience of teaching the method. insisting on the modalities of embodiment in the teaching function of this discipline, i attempted to describe some of the principles of the method, its purpose and to evoke some applications. the thesis that i have defended: that the feldenkrais method introduces a revisited understanding of what body inscription can do in the fields of learning, re-learning and2 remediation of capacities, in particular by stimulating the plasticity of the nervous system and by promoting the training and reactivation of our perfectibility.3 the teaching of the feldenkrais method is a discipline that is rooted in the possibilities that our corporeality offers us. we are embodied beings and it is this that we must relearn as our primary agent of communication with the environment. our speech must also become the expression of our relationship with the world and it is as a whole that we are interacting with others. it is the incarnation of our experience that gives substance, that is to say consistency, to what we can transmit to others, it is our very experience as an incarnated being that makes our experience operative. the feldenkrais method practitioner, in order to teach what he has planned, must4 4 productive as in the title, productive thinking (1945) by gestalt psychologist max wertheimer, mentioned by moshe feldenkrais as an important text during the san francisco feldenkrais training in 1975. see also: feldenkrais, 1977: the case of nora. productive as an operation, as an underlying process, for example in a calculation or in the way one lends one's experience to a formula in order for it to have meaning. for example, the cogito, "i think, i am", requires that one operates the experience itself so that the words and the significance acquire a meaning. so this idea of operative, productive involves 3 perfectibility: the capacity to change and improve in response to inadequacy, which can also incorporate evolvability: the ability to adapt to new situations. 2 corporeal inscription : inscription, inscribed, similar to the usage, for example, in geometry, "the incircle or inscribed circle of a triangle", etc. also like a sign lets in a surface, in a medium – like inscribing signs on a clay table, or engraving figures on stone or wood, or in any other support. see: varela thompson and rosch, 1993. 1 prise de conscience dans la situation d’enseignement: corps, gestes, parole, conference directors : bernard andrieu and emmanuelle maitre de pembrocke, at the university of créteil, may 25 and 26, 2016, lirtes / imaginer / tec. some additions have been made to the original french version. ménasé • feldenkrais research journal, volume 7 (2023) 2 draw on his own experience – which involves variations other than his own – and in particular the experience he has developed of kinesthetics. it is from there that he starts to help another person, mainly through touch in functional integration®, or to a group of people, through speech in awareness through movement®, to continue the examination through movement of each person's own way of organizing their movement, of the commitment of this specific way and to encounter possibilities of doing it differently. the feldenkrais method has its foundations in this sensorimotor dimension, and its informative and organizing capacities of the learning circuits. we can therefore also say: the feldenkrais5 method is a pedagogy that takes as its source the capacities of each individual to feel and to move. this pedagogy uses movement and the articulation of movement as the medium of learning and the principle of the development of the individual. in our development in general, an intention is enough to provide a complicated series of impulses that preside over or program all our movements. the feldenkrais method uses this functioning to help individuals connect (or match) their thoughts and sensations, their feelings, and with their actions and reactions. most often we have forgotten that during our development we had to learn all sorts of things and go through many stages, that we had to develop abilities that were not given to us. to do this, two factors came into play: our own organization and the interaction of the environment (merleau-ponty 1961: ch. 2). we have deepened our species-related learning within the animal kingdom, but because the human central nervous system (cns) is so complex, it has allowed us to do very high-level and strictly individual (ontogenetic) learning. the feldenkrais method is a way to promote learning of any kind by stimulating the processes coextensive with our psychomotor development, using the scripts at play in neurological development. the purpose of the feldenkrais method, through simple movements, repeated gently, according to a slow rhythm and taking as a reference the motor development in children, is to stimulate our central nervous system (cns), whatever our age, by exploiting and awakening its plasticity and to refine the quality of sensory information. inscribing specific pathways at the level of synaptic networks makes a variation of movement possible; organizing discriminations between similar but slightly different movements will constitute the differentiation necessary for a specific movement (and other factors such as the intervention of inhibition processes, or disinhibitions, depending on the circumstances). the synaptic circuits are set up little by little and become more complex according to the actions that solicit them. thus, the more the destinations are differentiated, the more possible variations the person will have at his disposal and the more he will be able to incarnate his singularity. it is in the repetition of an 5 the term learning circuit emphasizes a process that requires not only the capabilities of the nervous system but also other factors and dimensions of learning, that are not strictly electrical, chemical, or mechanical but the manifestation of a wider complex system. an insight-based processing. many thinkers defend the process by which only insightful reasoning could bring true understanding of conceptual problems and relationships. productive thinking is characterized by shifts in perspective which allow the person solving to consider new, sometimes transformational, approaches. ménasé • feldenkrais research journal, volume 7 (2023) 3 action, of a movement that the child learns little by little to forge an experience and that his movement adjusts to his intention, the purpose of his action. the feldenkrais method approach emphasizes the way in which a movement is performed. in short, it uses processes of differentiation, asymmetrical explorations, and trains the capacities of sensorimotor imagination or simulation of movements (feldenkrais 1997). the method aims to clarify our body schema or self-image (schilder 1968) and to encourage or allow potentials buried under habits to emerge or dysfunctions to be attenuated or even erased in favor of a more functional and better inhabited organization (feldenkrais 1997). in the case of severe dysfunctions, the feldenkrais method seeks to solicit relearning processes that can reorganize the functions at the level of the nervous system. there is a continuous interaction between motor and sensory activities. sometimes, and even often, an inability to move a limb is linked not only to a motor deficit but also to a sensory disorder and it is here that the feldenkrais method manages to put in place efficient remediations, even at the level of self-image and sense of self. consider a case: a person has a problem putting on his shoes congruently. for a feldenkrais method practitioner, the important thing is to remedy this disorganization, and the determination that it is due to mental confusion or apraxia does not help to understand or practically solve the dysfunction. we can make the hypothesis that it is the evidence of choosing the shoe for the corresponding foot that is blurred or disintegrated; we wonder if this difficulty is accompanied by other disturbances. in this person's case, we know that he has an orientation disorder. several factors ‒ such as redrawing by touch the shape of the feet (with the big toes towards the median line of the body and being able to meet each other towards the interior; with the two small toes towards the exterior, etc.); the study of the passage and the trajectory of the impulses from the underside of the foot through the skeletal structure ; and different movements that enrich the image (gestalt) – completing an adequate perception and a functional synthesis, helped this person to regain the ability, without having to think about it, to determine which shoe fits which foot. this kinesthetic learning can then give way to spontaneous functioning. we have reintegrated function through representation in a sensory and motor mode, and in so doing, we have stimulated the corresponding connections in the neurological system or help to ‘wire’ it in a more functional way. this redefinition of his feet allowed his system, globally organized, to adopt an action adapted to his project: to put on his shoes in order to have the best balance once he had shoes on.6 we could just as easily have proceeded by guiding him through words and by proposing different explorations through movement. in any case, it seems crucial to us, in these explorations, in this learning or re-learning, that the person starts from himself, from his actuality, 6 "putting proper shoe on proper foot", similar cases can also be found in feldenkrais’ studies and works: the case of nora (1977), a women recovering from a stroke (2nd ed., 1993, 12); and individual lesson given, june 28, 1980, by feldenkrais at the amherst feldenkrais training program: larry #1, a man that had had several heart attacks. ménasé • feldenkrais research journal, volume 7 (2023) 4 and not from an external and abstract model or a theoretically-applied model without any link with his own experience. i could have chosen many other experiences and each time i would have emphasized that the feldenkrais method works in many ways. it is not a miracle method, nor is it a set of devices to be applied, rather it is a pedagogy of experiential research focused on better functionality, which often requires time and perseverance. in this man's case, reconnecting through touch the sensation of the foot, its shape, its extent, its articulations, that is to say also its motor possibilities in relation to the whole leg, its symmetrical relation to the other leg, its relation to the whole, etc. allowed him to restore his ability to choose the correct shoe for the corresponding foot. other elements put us on the path of this hypothesis of a disturbed body schema, but other observations could have led us to consider another necessary track to clarify or reorganize his movements. it is very likely that the restoration of the foot in the organization of the whole also affected other disorganizations: either that it made it possible to bring them to light, or that it indirectly reabsorbed them, or reduced them. the functional development is not only an epiphenomenon in the capacities of learning in general. often, the discoveries that individuals make with regard to their motor capacities remove unnoticed inhibitions that were disturbing other kinds of learning. if, from our body and its sensorimotor connections, we can develop skills that apparently have nothing to do with them (this complex system of a sensitive body capable of movement), it is from the fact that our motor abilities are the most direct expression of our degree of maturation and the most accessible manifestation of the processes of organization, adjustment, and self-regulation put forward by the works on neuroplasticity (varela, thompson and rosch, 1993; reese 2015: 307-309; buzsáki 2019). the loss of this ‘image of a part of the self’ can cause countless other disturbances and take the form of other demonstrations. there are unnoticed secondary benefits in restoring or complementing the body schema; thus the person can regain a greater inner calm and consequently also a greater availability for other things, a form, for example, of freedom of mind. if, as we defend, our corporeality is what without which we would not have a world, it is essential and urgent to reconnect with our own sensations of embodied beings (merleau-ponty 1964). as long as the experience is not lived, it (this experiential process) can remain empty and sound7 empty. this is why i insist on the fact that my presentation has no demonstrative pretension but only provides an introductory aim to encourage people to practice this method and to confront 7 lived experience: i mean any manifestation that generates changes in our perception, in our thinking, in our way of relating to anything, whether it is other people, other situations, other ways of thinking and being able to understand them, and or that integrates or incorporates itself into our modes of action, as opposed to a strict theoretical idea without any connection or reference to the sensory level or implication for our incarnation. ménasé • feldenkrais research journal, volume 7 (2023) 5 themselves with this type of learning of their own functional patterns. the training, by this method, to shift, for example, attention from the foreground to the background, and then to navigate from one to the other, allows us, little by little, to pay attention distinctly, and yet simultaneously, to both at the same time. and this new disposition, or skill, makes it possible to widen our field of presence, and to develop the perception of oneself in volume; this three-dimensional embodiment can, in its turn, contribute to the recognition of the proper field of others, for instance. from there, other developments can also be enabled (or supported). in the feldenkrais method, one practices a precise and oriented flow of attention. however, the feldenkrais method does not advocate an intellectualization of our actions; the idea on the contrary, is to let the spontaneous emerge in a more and more relevant and acute presence (ménasé 2003). the benefit is to embody a higher functionality in action, and not to develop a greater self-observation in intention which, in the face of an audience, would lead to an8 unfortunate splitting between the purpose itself (to develop a high quality of presence) and the way of not performing it actually. however, in order to develop this kind of presence-awareness (developed for example through the practice of the feldenkrais method), one must first have spent a certain amount of time with oneself observing oneself in action, i.e. in movement. as moshe feldenkrais comments, "the most talented individuals improve by becoming aware of themselves in action, and their talent is born from the freedom they derive from this, to choose between different modes of action" (feldenkrais 1997: 121). the ambition of this method is to find ways for each individual to find what is unique in him or herself and thus make an essential contribution, not only to him or herself, but to society. for this, it is necessary that teaching be understood as an embodied method of knowledge and experience. 8 in french, i have contrasted en action with en intention, to emphasize that it is not an empty will, nor a formal or ideal tendency. ménasé • feldenkrais research journal, volume 7 (2023) 6 references buzsáki, g. (2019) the brain from inside out. oxford: oxford university press feldenkrais, m. ([1977]1993) the case of nora. body awareness as healing therapy. 2nd ed. california, berkeley: somatic resources frog ltd feldenkrais, m. ([1981]1997) l'évidence en question [the elusive obvious]. trans. by a collective of french practitioners. paris: l'inhabituel ménasé, s. (2003) passivité et création. paris: presse universitaire de france merleau-ponty, m. (1961) le visible et l'invisible. ed. by lefort, claude. paris: gallimard merleau-ponty, m. (1964) l'œil et l'esprit. ed. by lefort, claude. paris: gallimard reese, m. (2015) moshe feldenkrais. a life in movement. vol. 1. san rafael: reesekress somatics press schilder, p. ([1950]1968) l'image du corps [the image and appearance of the human body]. trans. to french by gantheret, f. and truffert, p. paris: gallimard varela, f., thompson, e. and rosch, e. (1993) inscription corporelle de l'esprit. trans. to french by havelange, v. paris: seuil wertheimer, m. (1945) productive thinking. new york: harper biography initially a researcher in philosophy and editor of several of maurice merleau-ponty's manuscripts and numerous articles relating to the ontology unfolded in his latest work, stéphanie is the author of a book passivité et création [passivity and creation], exposing how our activities are doubled with passivity and showing the consequences of such an understanding on subjectivity, on freedom and on what can be a creative action. prior to her training in the feldenkrais method (in 2009), her field of study has been the work and legacy of moshe feldenkrais, notably through the vast repertoire of his lessons, both in their practical dimension and in their underlying scientific and cognitive presuppositions and contributions. she has participated in the publication of materials as well as in the reorganization of the zotero database of feldenkrais references (iff research working group). she continues to practice for herself and has a sustained practice (in french and english) in various contexts. as a painter, she regularly participates in individual and group exhibitions. ménasé • feldenkrais research journal, volume 7 (2023) 7 microsoft word 4_eisenberg_span_pdf.doc feldenkrais research journal • volume 2 (2005) article la recuperación psicocorporal del académico como eje básico para la formación valoral ambiental rose eisenberg universidad nacional autónoma de méxico facultad de estudios superiores iztacala c. chávez universidad nacional autónoma de méxico facultad de estudios superiores iztacala v. cuevas universidad nacional autónoma de méxico facultad de estudios superiores iztacala j. gutiérrez universidad nacional autónoma de méxico facultad de estudios superiores iztacala s. rosas universidad nacional autónoma de méxico facultad de estudios superiores iztacala a.m. landázuri universidad nacional autónoma de méxico facultad de estudios superiores iztacala abstract se presentan resultados de un estudio cualitativo descriptivo, en dos vertientes: longitudinal y transversal, sobre las resonancias que surgieron, del incorporar lecciones de autoconciencia por el movimiento (atm) al interior de un grupo interprofesional de mujeres para facilitar los procesos de formación ambiental técnica y valoral y la toma de compromiso que ésto implica. este grupo se forma e investiga a si mismo, bajo el enfoque de la investigación acción participativa. busca comprender mejor los procesos de formación ambiental que puedan favorecer la incorporación de los valores ambientales básicos, tanto como sujetos biopsicosociales como dentro de su actividad profesional con grupos humanos, en los campos de la salud y el ambiente. la innovación que se reporta, es la incorporación de lecciones de autoconciencia por el movimiento (atm) como estrategia pedagógica que puede coadyuvar, a través del movimiento pensado y realizado, a reconocer y actuar en pro de nuestro ambiente interno y externo. este re-aprendizaje esencial e imprescindible, pero con frecuencia olvidado, favorece una reorientación de nuestra propia percepción y acción ambientales, como sujetos actuantes sobre nosotros mismos y sobre nuestras acciones respecto al ambiente externo social, construido y natural. el estudio longitudinal consistió en el análisis del discurso de bitácoras grupales de 75 sesiones de trabajo en el 2000 y 2001. el transversal analizando los discursos de preguntas abiertas en una encuesta aplicada a 7 de 9 personas en el 2001. como principales resultados, se observa que el mf facilita el identificar y comprender las dificultades que published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org surgen en torno a los procesos de cambio personales, necesarios para actuar y buscar mejorar la calidad de vida en los ambientes individuales y colectivos con los que interactuan las personas. keywords feldenkrais, mind-body, awareness, somatic, consciousness, psycho-corporal recovery, environmental values training copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 la recuperación psicocorporal del académico como eje básico para la formación valoral ambiental. eisenberg, r.; chávez, c.; cuevas, v., gutiérrez, j.; rosas s., y landázuri, a.m. universidad nacional autónoma de méxico facultad de estudios superiores iztacala av. de los barrios no. 1 los reyes iztacala, c.p. 54090 tlalnepantla, estado de méxico. tel (5) 56231176, fax (5) 56231193, wieder@servidor.unam. resumen se presentan resultados de un estudio cualitativo descriptivo, en dos vertientes: longitudinal y transversal, sobre las resonancias que surgieron, del incorporar lecciones de autoconciencia por el movimiento (atm) al interior de un grupo interprofesional de mujeres para facilitar los procesos de formación ambiental técnica y valoral y la toma de compromiso que ésto implica. este grupo se forma e investiga a si mismo, bajo el enfoque de la investigación acción participativa. busca comprender mejor los procesos de formación ambiental que puedan favorecer la incorporación de los valores ambientales básicos, tanto como sujetos biopsicosociales como dentro de su actividad profesional con grupos humanos, en los campos de la salud y el ambiente. la innovación que se reporta, es la incorporación de lecciones de autoconciencia por el movimiento (atm) como estrategia pedagógica que puede coadyuvar, a través del movimiento pensado y realizado, a reconocer y actuar en pro de nuestro ambiente interno y externo. este reaprendizaje esencial e imprescindible, pero con frecuencia olvidado, favorece una reorientación de nuestra propia percepción y acción ambientales, como sujetos actuantes sobre nosotros mismos y sobre nuestras acciones respecto al ambiente externo social, construido y natural. el estudio longitudinal consistió en el análisis del discurso de bitácoras grupales de 75 sesiones de trabajo en el 2000 y 2001. el transversal analizando los discursos de preguntas abiertas en una encuesta aplicada a 7 de 9 personas en el 2001. como principales resultados, se observa que el mf facilita el identificar y comprender las dificultades que surgen en torno a los procesos de cambio personales, necesarios para actuar y buscar mejorar la calidad de vida en los ambientes individuales y colectivos con los que interactuan las personas. 2 1) introducción: 1.1 la relación mente cuerpo o recuperación ambiental psicocorporal. en la educación y formación para la salud ambiental la inclusión del cuerpo humano como parte del ambiente natural, no es un pensamiento habitual. por otro lado, generalmente se estudia a la salud humana desvinculada de la salud ambiental. el hecho de redescubrir y reincorporar en el ser humano la autoconciencia de si mismo (mente-cuerpo), para que reconozca su ambiente interno biopsicosocial, y se identifique como un elemento en interacción constante con un ambiente externo (natural, construido, social) no se ha considerado como relevante para la formación del individuo y en la formación ambiental en general. desde descartes el ser humano se ha escindido en dos grandes territorios: mente y cuerpo. esta división ha determinado en buena parte, que se sobrevalore el trabajo intelectual y se perciba separado del cuerpo de la persona pensante. en la época actual y retomando algunas ideas de montford (1987) observamos que el trabajo intelectual como actividad prioritaria para aumentar la productividad y detonar la innovación tecnológica, ”ha perdido toda visión de conjunto de las actividades sociales en que está insertado, (y que) no puede ser sino un trabajo enajenado, la enajenación del trabajo intelectual” que no necesariamente significa una mejor calidad de vida para la sociedad. algunas de las múltiples consecuencias de esta enajenación que implica la ausencia de percepción de conjunto del si mismo (mente-cuerpo) y de sus vínculos con el ambiente externo, se evidencia claramente en el ámbito psico socio corporal humano. nada menos, en el periódico la jornada, (dpa 2002) la organización mundial de la salud (oms) anunció que dedica todo el año 2002 a la promoción del movimiento y el 7 de abril que es el día mundial de la salud, 2002 se inició la campaña en pro del movimiento con el lema "¡por tu salud, muévete!". se comentó que el moverse reduce el riesgo de desarrollar enfermedades cardiacas, diabetes, cáncer de colon y dolores lumbares, disminuye el estrés, la ansiedad, la depresión yademás promueve la interacción y la integración social. 1.2 el método feldenkrais frente a la enajenación intelectual. frente a esta enajenación intelectual, el método feldenkrais (1972) a través de su modalidad de “autoconciencia por el movimiento” facilita los procesos de autoexploración que permiten desarrollar la atención, la imaginación y la percepción interna de si mismo y por si mismo a través del movimiento guiado. el creador de est técnica moisés feldenkrais (1904-1984), utiliza su formación como ingeniero 3 y físico, con estudios en neurociencias, en teorías del aprendizaje y artes marciales orientales, para desarrollar un sistema único de autoeducación que, mejora y amplia el funcionamiento humano a través de la experiencia. además favorece el reconocimiento de la importancia del espacio y ambiente externos para rebasar la frecuente visión centrada sobre un "yo" limitado a la superficie de la piel. este método se interesa en la relación mente-cuerpo y en la “in–corporación ambiental”, como base para la percepción y desarrollo de la conciencia y como plataforma para la acción; otorga un lugar central a la socialización, a la autorregulación y aprendizaje para favorecer la capacidad de la persona, de hacerse cargo de ella misma y de su desempeño en diferentes ámbitos. 1.3 relación entre ambiente y el método feldenkrais en el método feldenkrais la propia conciencia es considerada como una característica de lo vivo, ella forma parte de los mecanismos de autorregulación de los seres vivos. en los términos de canter (1988) el ambiente, es una expresión que etimológicamente hace referencia a la "vaina" que envuelve al sujeto, no sólo es el continente de la acción del individuo, es al menos, el lugar-para-laacción del individuo. el enfoque somático (soma=mente+cuerpo) del mf está lejos de ser reduccionista o materialista, es más que nada integrador de la persona viva “in–corporada”. es, la incorporación de la vida, como lo nombran los anglosajones. cuando a esta noción de soma, se le agrega la de educación, entonces uno afirma una toma de posición y una metodología, en este caso la del mf para el desarrollo somático en sus ambientes interno y externo. de igual manera joly (1995) considera que la imagen del cuerpo en particular y la sensación experimentada del cuerpo, no emergen dentro de un vacío o cápsula, sino como un continuo dentro del entorno ambiental inmediato. consideramos que los aprendizajes (formal, informal o no formal) y la consecuente adquisición de valores, constituyen parte de la historia de vida de los individuos y moldean el desarrollo de la conciencia ambiental individual y colectiva. la estrategia psicocorporal utilizada para mejorar la percepción y acción ambiental interna y externa (cuyos "límites" son piel y membranas de órganos de los sentidos que dan al exterior) es innovadora, ya que utiliza al método feldenkrais como mediador para identificar las dificultades y los logros de incorporar valores en si mismo. en esta investigación no se busca centrar la formación para aprender las técnicas del mf en sus dos vertientes, sino se trata de provocar procesos formativos integrales en la educación para la salud y el ambiente. reconocemos que existen propuestas y alternativas pedagógicas por diversos autores que abordan la ecología profunda, (por ejemplo cohen (1989) y zimmermann, (2001)); para despertar, 4 comprender o mejorar la conciencia de las interacciones del ser humano ambiente, a través de los sentidos. sin embargo el método feldenkrais se centra en el desarrollo de las percepciones de sí mismo o misma, como parte del ambiente, asociando por consecuencia, el análisis de el actuar personal frente al ambiente externo a través del análisis del propio movimiento corporal realizado por la persona misma que se encuentra en proceso de formación. el enfoque de la formación a través de este método está determinado por cuatro grandes ejes (joly 1995): a) el movimiento (y no la postura o la estructura).b)la conciencia del cuerpo vivo y sensible (no el cuerpo objeto aprendido desde el exterior).c)el aprendizaje (y no la terapia).d)el espacio o ambiente (y no el aislamiento sobre si mismo). 1.4 la conciencia somática y los tipos de conciencias sociales. en relación a las vivencias y ámbitos de interacción de los sujetos consigo mismos y con su entorno, adaptamos a la formación ambiental, desde el (mf) y la (iap); la división que propone colette (1975) sobre tipos o niveles de conciencia que puede adquirir el ser humano en su historia educativa. así tenemos un primer nivel de conciencia que la llama conciencia sometida o "naíf" y la describe como ingenua, inducida, es "la cultura del silencio" que no percibe la relación dialéctica entre la naturaleza e historia con el ser humano. ejemplo: ¡cuidemos los árboles! sin dar mayor referencia. en la conciencia pre-crítica, la conciencia está alerta, emergiendo en ocasiones, como conciencia rebelde a una situación ambiental, pero aceptando las determinantes señaladas por un sistema establecido. ejemplo ¿porqué tengo que cuidar los árboles, qué tengo que ver yo en ello, porqué tengo que hacerlo?. en la conciencia critica integradora, se da el pasaje de lo "percibido" a su análisis, con voluntad del individuo de determinar su propio futuro personal y ambiental externo, contando con sus propias fuerzas y potencialidades para ubicarse dentro de una postura de acción, frente a una determinada situación o crisis ambiental. ejemplo “¡ah!, entiendo que los árboles son importantes para que existan los animales, pueden ser su alimento, refugio; me dan sombra; intervienen en la regulación de la temperatura, de la humedad, del sostén de los suelos, reduce el ruido y la contaminación; forman parte de un paisaje agradable que simboliza vida; vivo de sus frutos, de sus troncos. entiendo el porqué los mensajes alarmantes sobre las consecuencias de su disminución o desaparición". la conciencia critica liberadora, invita hacia una movilización cultural, donde exista una clarificación de la propia postura personal sobre si mismo, sobre las personas y el ambiente, con un 5 compromiso o responsabilidad cívica individual y colectiva que se manifieste en actitudes y acciones concretas frente a una situación ambiental concreta. ejemplo: “ahora que he investigado que árboles son autóctonos de mi comunidad, y como cuidarlos o plantarlos de acuerdo a la época del año, tomo parte de mi tiempo, mi pensamiento y energía física para comprometerme y actuar, plantando o cuidando los árboles de mi comunidad”. 1.5 los conflictos en la toma de responsabilidades y compromisos hacia mi persona y hacia mi entorno cercano. asociemos ahora esta "conciencia crítica liberadora" con los tres niveles que propone kohlberg (1992), para que el desarrollo de la personalidad logre alcanzar un razonamiento o compromiso moral avanzado frente a problemas o crisis ambientales. consideramos que la responsabilidad o compromiso frente a estos riesgos ambientales implica pasar, de acuerdo a kohlberg por las siguientes etapas: la preconvencional o premoral, donde "todo es mío" (del sujeto). en el convencional el "yo" se ubica en las expectativas del otro, "estoy bien si hago lo que dice el otro que haga"; el postconvencional donde no hay normas concretas, sino principios de justicia, de reciprocidad, de igualdad y respeto los derechos humanos como personas individuales. en un estudio de revisión mas reciente, flores y pérez.(1991) explican que autores posteriores (kuhn, braun y beribeau, diaz-aguado y medrano) enriquecen la visión del desarrollo moral de kohlberg, agregando que es conveniente el tomar en cuenta, los procesos socioculturales preexistentes, además de los conflictos reales y las situaciones específicas donde se toman las decisiones morales. es decir que para promover el que el individuo de manera voluntaria, realice acciones proambientales, tendría que pasar por dichos procesos, para que, de acuerdo a su contexto de acción, logre identificar lo que significa para si mismo y para su comunidad de pertenencia, calidad de vida y medios para alcanzarla o mejorarla. retomando algunos elementos propuestos por elizalde y cols (1997) definiremos la calidad de vida, como el proceso dinámico y personal para encontrar un delicado equilibrio entre las necesidades existenciales que son :ser, tener, hacer y estar, y los valores concretos asociados a ellos, como son: subsistencia, protección, afecto, entendimiento, participación, ocio, creación, identidad y libertad; dentro del contexto que proponen los derechos humanos a nivel individual y colectivo. 6 1.6 la autoconciencia por el movimiento en la formación valoral ambiental. la toma de conciencia de estas necesidades existenciales del ser, tener, hacer y estar, en la búsqueda de calidad de vida, tienen relación con los procesos que plantea el mf. las lecciones de autoconciencia por el movimiento (atm) se basan en escuchar solicitudes verbales para realizar micromovimientos o movimientos amplios. son secuencias motoras para reeducar la autoimagen del participante, que buscan provocar mejoras en la calidad de sus habilidades funcionales, su coordinación, su postura, su autoimagen y finalmente su actuar en su vida cotidiana. estas lecciones hacen emerger, tarde o temprano, estos cuestionamientos frente a las necesidades existenciales y valorales. las lecciones plantean un va y viene entre las fases siguientes: el movimiento solicitado, la sensación que desencadena su acción, los sentimientos y pensamientos que van despertándose al pensar y trasladar a la acción, el movimiento. las lecciones se realizan generalmente en el piso y con los ojos cerrados. tienen como esencia, el imaginar la acción y realizarla de manera honesta, no imitando, sino encontrando de forma progresiva el modo personal de hacerlo, identificando y respetando a su vez, los límites que marca la tensión o dolor en su "ser" evitando el competir consigo mismo o con los demás. en esta autoeducación el reconocer el error (ir mas allá de la tensión o dolor) de manera personal, es central para el aprendizaje. los movimientos abarcan, desde funciones simples hasta actividades altamente complejas y sofisticadas, existen dos vertientes. en la integración funcional (if), el profesor sugiere al alumno, a través de un toque manual suave pero preciso, la posibilidad de reconocer estructuras corporales y su movimiento, liberar tensión o encontrar movimientos posibles y sencillos, que de manera personal, se consideraban difíciles de realizar. 2) antecedentes y universo de estudio: con el fin de bosquejar el contexto de la investigación, resumimos el origen y características de nuestro grupo como universo de autoestudio. en diciembre de 1999, en una reunión de académicos de la universidad nacional autónoma de méxico (unam) campus iztacala, sobre el paro que venía viviendo la unam, nos re-encontramos un grupo de colegas mujeres (biólogas, psicólogas, medicas, enfermeras, pedagogas) que trabajamos y estabamos investigando en torno a la educación y formación ambientales y para la salud. dada nuestra impotencia frente al paro, surgió la idea de reunirnos para hacer lecciones de autoconciencia por el movimiento que impartía con anterioridad una persona del grupo y a la vez, debatir acerca de la situación del paro laboral que atravesaba nuestra institución. 7 inicialmente nos reunimos en la sala de un consultorio, 6 a 8 mujeres una vez por semana. después de realizar una lección de atm (45 a 60 min) y analizar la situación del paro, se propuso hacer seminarios de investigación acción participativa (iap), para analizar a nivel interprofesional, logros o dificultades en nuestras actividades y proyectos de investigación personales en salud y ambiente. poco a poco fueron surgiendo normas para el uso del tiempo, de los debates, de las lecciones de atm y para la presentación y discusión de los proyectos personales, y también para el análisis de artículos base. de ahí surge el proyecto formación valoral ambiental técnica y valoral: análisis de sus procesos en un grupo interprofesional e intercultural. esto permitió formalizar el análisis de nuestros propios procesos interprofesionales e interculturales, utilizando las bitácoras para registro de los procesos grupales vivenciados, realizadas de manera rotativa. 3) la hipótesis de base de este trabajo es el considerar que: mientras no se experimente o vivencíe en sí, las dificultades o logros en la organización y voluntad personal, para llevar a cabo acciones consistentes proambientales y para la salud del formador, dentro de su entorno cotidiano, difícilmente lograra entender los procesos individuales o colectivos por los cuales aparecen dificultades o logros en su acción educativa proambiental y para la salud. asociado a la práctica de lecciones de autoconciencia por el movimiento (atm), se incorporó como dinámica metodológica del seminario, a la investigación acción participativa (iap), entendida de acuerdo a kemmis y mc. taggart., (1988) como una forma de indagación introspectiva colectiva emprendida por participantes en situaciones sociales, con objeto de mejorar la racionalidad de sus prácticas sociales o educativas, así como su comprensión de esas prácticas y de las situaciones en que éstas tienen lugar. el recurrir a la iap y a lecciones de atm como estrategias pedagógicas en la acción (investigación acción personal), para provocar la formación valoral ambiental, permite estimular de manera sencilla, y en el "aquí y ahora" la sensibilización (hacer conciencia) esencial del "si mismo" o del "yo" en la acción consigo mismo y en su interacción con el ambiente externo social, construido y natural. acción requerida para entender las dificultades que surgen al buscar la calidad de vida personal en el acto real, y así comprender mejor lo que buscamos despertar en la "otredad" (el otro, los otros y lo otro) para mejorar la calidad de vida colectiva. un ejemplo cotidiano: diversas campañas promueven el ahorro de energía solicitando apagar un foco cuando no se requiera de luz. sin embargo, este acto tan obvio de realizar, no lo es tanto ni al interior del domicilio ni en los ámbitos de trabajo o recreación, ya que implican “moverse”. 8 4) por todo lo anterior, consideramos a la formación valoral ambiental como el proceso de interiorización y desarrollo biopsicosocial del sujeto inmerso en sus diferentes campos de acción para la percepción, identificación y prueba de estrategias en la acción concreta y cercana, para el manejo de los problemas ambientales, bajo una perspectiva integral en el ámbito individual y colectivo. 5) objetivo se presentan los resultados de un estudio cualitativo descriptivo, longitudinal y transversal, que investiga las resonancias de la incorporación del método feldenkrais (mf) en su modalidad autoconciencia por el movimiento al interior de un grupo interprofesional de mujeres que laboran en proyectos de educación ambiental y para la salud; a partir de la construcción y re-construcción del sí mismas y de su entorno. 6) metodología se realizó un estudio cualitativo descriptivo, longitudinal y otro transversal, que investigó las resonancias de la incorporación del método feldenkrais (mf) en su modalidad autoconciencia por el movimiento, al interior de un grupo interprofesional de mujeres docentes e investigadoras en educación y formación ambientales y para la salud. 7) investigación longitudinal: análisis del discurso de 75 bitácoras grupales. se aplicó la técnica del análisis del discurso (boutin, g.,1997) a 75 bitácoras grupales, elaboradas durante 2000 y 2001 por las participantes, las cuales describen los procesos vivenciados en las seminarios de 5 horas semanales. se identificaron las siguientes 5 grandes categorías temáticas surgidas: a) proyectos de investigación, b) bitácoras, c) método feldenkrais d) procesos grupales, e) temáticas tratadas. en este estudio solo se reporta y comentan los resultados relativos al c) método feldenkrais. universo de estudio. las características del grupo investigado y a la vez investigador del sí mismo, elaborando y analizando las bitácoras que se realizaron de manera rotativa, fueron las siguientes: la edad fluctúo (entre el 2000 y 2001) entre los 28 y 63 años, con una media de 47 años. cerca de dos tercios del grupo (10 de 14) se formaron o se están formando en el área de las ciencias 9 biológicas y de la salud; y cerca de un tercio (5 de 14) se formaron o continuaron su formación, en los campos relacionados con la pedagogía y ciencias de la educación. 7.1 resultados del estudio longitudinal. las subcategorías temáticas detectadas al analizar de manera colectiva el discurso para detectar la existencia o ausencia de relaciones entre el mf con la toma de conciencia ambiental, en 75 bitácoras realizadas de enero 2000 (38) a octubre del 2001 (37), fueron: 1) frecuencia de realización de lecciones de atm; 2) quienes condujeron las sesiones; 3) registro del tipo y contenido de las lecciones; 4) posibilidad de identificar el tipo de lección; 5) si se comentan o no las resonancias y 6) análisis del tipo de resonancias en las participantes. encuentros: 7.1.1) falta de registro inicial de las resonancias de manera paradójica, aunque en la mayoría de las sesiones del 2000 se realizaban lecciones de atm, en la mayoría (25 de 37) no aparece en las bitácoras reflexiones en torno a las resonancias de las mismas, en las participantes al seminario, situación que sorprendió al grupo y el cual dedujo algunas explicaciones posibles a este fenómeno: a) la solicitud de reflexión sobre las lecciones se daba por la conductora, en tres momentos: inmediatamente después de haber realizado la lección, en el momento del descanso (café) o iniciando el trabajo meramente intelectual. también surgían reflexiones de las lecciones en las reuniones de convivencia fuera del contexto del seminario. b) la designación de la responsable para la toma de datos de las reflexiones del atm no se hizo en las primeras 12 sesiones porque no se había formalizado. c) debido a que la metodología de trabajo de los seminarios de investigación, fue desde la investigación acción participativa (iap), de cada sesión se realizaba una bitácora de los sucesos grupales redactada a veces voluntaria o a veces de manera impuesta. la resistencia a realizarlas se daba por el hecho de que es difícil, al mismo tiempo, participar, observar, y escribir lo relevante de los procesos grupales y después redactar de manera personal o en parejas la bitácora, para ser leída y constatada o modificada por el grupo en la sesión siguiente. esto también implicaba utilizar un promedio de 2 a 3 horas fuera tiempo fuera del seminario. d) dentro de las sensaciones y sentimientos que despertaban las lecciones de atm, en los inicios no encontramos que se refirieran vínculos entre la psicocorporeidad y la formación ambiental, sino que ésta se consideraban prioritariamente un ejercicio intelectual. aparece una dificultad inicial de vincular las vivencias con la formación y con el actuar en la vida cotidiana en el ambiente externo. esto último se corroboró al encontrar que las causas por las que en 5 sesiones 10 que no hubo clase de atm, se debió a que de manera inconsciente, se da mas prioridad a realizar trabajo puramente intelectual para cumplir con la entrega de reportes u otras actividades institucionales. es decir, en la adquisición de valores se vincula poco la percepción personal de nuestra biología, de nuestras emociones y sensaciones, con los procesos de trabajo intelectual. todo esto dentro de una institución de educación superior y dentro de un proyecto de investigación. 7.1.2) procesos o etapas vivenciadas. al realizar el análisis del discurso de las bitácoras, logramos reconocer cuatro etapas en la práctica de las lecciones de atm: en la primera se relatan sensaciones de asombro, al reconocer el cuerpo (o soma) en contacto con el sentido de gravedad en el suelo, con una asimetría (lado izquierdo o derecho corto, largo, o pesado, o contraído, duro etc.) que a través de las lecciones tendía a equilibrarse. también se describen sensaciones de relajamiento, disfrute, disminución de tensión, descubrimiento de movimientos implícitos en la vida cotidiana que no habíamos percibido. se mencionan dificultades en la coordinación de movimiento con respiración, coordinación de movimientos piernas brazos, sensación de pesadez en las extremidades y muñecas y dificultad para seguir las instrucciones debido a cansancio, establecimiento de un ritmo y estrés. durante la segunda se mantienen las sensaciones de disfrute y se expresan comentarios de pérdida y lamento por algunos miembros que llegan tarde y no hacen atm. en la tercera hay cambios en la conducción de las lecciones por ausencias de la conductora con formación profesional durante varias lecciones. frente a estas ausencias (4 a 8 sesiones), el grupo propone que las lecciones las conduzca alguna de persona del grupo que voluntariamente se ofrecían a darla, previo estudio psicocorporal de la misma. cada conducción en general, facilitó la relajación, pero se mencionaron dificultades al realizarlas por en ocasiones no se cuidada el ritmo o velocidad de las instrucciones a realizar, o sin orientación o sugerencia a veces manual, a alguna participante, para no exigirse o lastimarse; o porque hacía pocos cambios en la modulación del tono de voz, o existía la preocupación por solo dictar o leer el ejercicio (solo se enfocaba a cumplir de manera tradicional la tarea), sin una previa experimentación y aprendizaje psicocorporal de la lección (de nuevo la dificultad de ligar mente-cuerpo) por la conductora en turno. en ésta etapa se observa la evolución de un bebe varón, hijo de una de las participantes. durante seis sesiones consecutivas se pudo observar, comentar y practicar algunos movimientos desde los cuatro a los 10 meses de edad, encontrando asociaciones con lecciones de atm realizadas, o redescubriendo nuevas opciones de movimiento en todo el cuerpo. 11 en la cuarta etapa, se evidencia una situación de presión para terminar informes académicos y demandas institucionales. al mismo tiempo dentro del grupo se cuestiona a la conductora el ritmo de trabajo impuesto y la pertinencia de continuar dentro de un programa de apoyo institucional que exige el mayor tiempo del seminario para “cumplir” con el trabajo intelectual. a la vez se suscitan una serie de debates; proponiéndose nuevas opciones de trabajo de grupo (eliminación de bitácoras, continuación de las actividades al ritmo que el propio grupo establezca, (sin presión institucional, para justificar el apoyo económico). razones por las cuales en esta etapa disminuyeron las lecciones de feldenkrais; no se hizo reflexión sobre ellas y predominó la tarea intelectual. es decir, surge una paradoja: se investiga con el tiempo necesario y sin autopresiones, o se continua con un ritmo de vida dispuesto solo a cumplir con las presiones externas. de ahí que el grupo continua aún buscando un equilibrio entre esta situación sacudida o jalonada en varios puntos. 7.1.3.conclusiones del estudio longitudinal se dio una precaria reflexión sobre las resonancias del mf durante el año 2000, en tanto que para el 2001 aumenta la frecuencia de reflexión y se manifiesta una vinculación del mf con la acción, tanto a nivel personal como profesional. se hace conciencia de la dificultad para la realización de las actividades del seminario frente a las presiones institucionales (horarios, problemas del reconocimiento de investigaciones cualitativas, realización de informes, integración de las disciplinas y profesional). surgen cuestionamientos en el sentido de que la formación ambiental no tiene que ver con la corporeidad o con el trabajo interprofesional, tanto por algunas participantes, como en varios departamentos académicos de pertenencia de algunas de ellas. esto evidencia la visión institucional (tanto por el grupo como fuera) como si la cuestión ambiental fuera solo un trabajo intelectual o instrumental puro no interprofesional. esto se hace patente durante el segundo año, en donde algunas participantes abandonan al grupo, al explicar que en su área de adscripción académica, sus autoridades no consideran a dicha actividad como científicas que deben ser evaluadas de manera institucional (no cuenta como puntos) ;y en otros casos porque los jefes inmediatos no aceptan que esa actividad tenga una relación con la salud ambiental. se insistía en insertar dicho trabajo en proyectos disciplinarios. las demás participantes reconocer el valor del atm y del seminario y deciden continuar con reestructuraciones en cuanto al trabajo intelectual ya que la práctica del mf se considera relevante. es en este periodo cuando se aplica el cuestionario del estudio transversal que describimos a continuación. 12 8) investigación transversal. análisis del discurso de 7 participantes que responden, de manera anónima, una encuesta. en agosto del 2001 la conductora de las lecciones de atm, propone al grupo de 7 participantes presentes, el responder de manera anónima, una encuesta con preguntas cerradas y abiertas para estudiar de manera directa, cuales resonancias personales les han surgido en su práctica de lecciones del método feldenkrais dentro de sus procesos de investigación y formación ambientales. los ejes que se estudiados en la encuesta fueron: a) la pertinencia o no del uso de mf en la formación ambiental, b) si existe o no, relación o asociación de mf con educación ambiental, c) cuáles ecos o resonancias personales le dejaron las lecciones. 8.1 resultados con respecto a los ejes analizados en el estudio transversal las reflexiones surgidas constatan, en un "aquí y ahora" parte de los resultados encontrados en el análisis de las bitácoras frente al discurso de las personas encuestadas, como lo podemos observar en las grandes categorías y subcategorías temáticas que aparecen en el cuadro 2. en síntesis mf coadyuva a clarificar la percepción del microambiente interno personal y externo a través del movimiento, (1.2 y 1.3 y iii. 1), permite que la persona se identifique como parte del ambiente y los procesos de cambio necesarios para realizar acciones proambientales (i.1, ii.1, ii.2, ii.3). lo aplican como alternativa para disminuir la tensión cotidiana(iii.2) y favorece el practicar valores tales como tolerancia, aceptación de límites personales, practicar diversas alternativas para resolver problemas (iii.3). a continuación presentamos fragmentos de los enunciados que aparecen en las encuestas, agrupados a su vez en otras subcategorías. i.1 analogías con resolución de problemas ambientales. (p) personas 2 p1 en el transcurso de las sesiones se relacionan temas de interés grupal con este método, principalmente en el análisis del proceso para la solución de problemas internos y externos p6 considero que no solamente es pertinente sino muy importante, ya que con el método feldenkrais nos hemos dado cuenta que hay varias formas para poder realizar un movimiento del mismo modo que tenemos que buscar diferentes opciones para resolver problemas ambientales. 13 i.2 la relacion con el "si mismo" o soma vivido (3 personas) p 2 adentrarnos a nosotros mismos p3 (porque me ha ayudado) a estar en contacto con mi cuerpo y mi pensamiento. darme tiempo para trabajar con mi cuerpo y mi entorno. me ha ayudado mucho a relajarme. p4 las sesiones de feldenkrais nos da la posibilidad de una mejor percepción, tanto de lo que nos rodea como de nuestro propio cuerpo, de nuestro microambiente. es increíble sentir que unos movimientos tan sutiles provoquen un efecto total en el cuerpo i.3 la vinculación consciente mente cuerpo (2 personas) p7 se me hizo pertinente ya que se toma en cuenta el cuerpo en su totalidad, y no solo la cabeza (pensamiento intelectual) por lo cual uno se puede sensibilizar a partir de uno mismo. p4 (las sesiones de feldenkrais nos da la posibilidad) de poder asombrarnos de descubrir estas sensaciones que no son nuevas pero que nunca nos percatamos de ellas i.4 la percepcion de procesos individuales o grupales (4 personas) p2 hizo posible una mayor y mejor comprensión de los diversos procesos vividos p3 son una forma de introducción a un trabajo donde la relación con el otro debe ser cordial, respetuosa, comprensiva, tolerante y "objetiva". p4 le ha dado cohesión al grupo. p5 ha sido pertinente y necesario ya que, después de cada sesión, uno empieza con mas ganas y la mente mas abierta. está la inquietud de compartir experiencias con las demás. ii. 1 permite identificarse como parte del ambiente (4 personas) p2 todo es parte del ambiente. p3 porque la manera en que percibo mi cuerpo, puedo percibir mi entorno. el sistema organismo (mi persona) es parte del sistema familiar, laboral, social, etc. y todos juntos constituyen el ambiente. p5 nosotros formamos parte del ambiente p7 el cuerpo forma parte del ambiente, interactua con el ambiente. en muchas ocasiones (el cuerpo) es el reflejo externo en que nos encontramos, o somos parte de la historia del ambiente al que estamos expuestas (os). 14 ii. 2 es un medio para conocer cuerpo y movimiento vinculado al ambiente (3 personas) p3 por lo tanto, la educación ambiental serian todas las acciones que nos permitan conocer, identificar, modificar, proteger, prevenir daños al el medio ambiente y todos los elementos inherentes. p5 el hecho de que conozcamos nuestro cuerpo, nuestros movimientos y sentimientos, hace que logremos de alguna manera, conocer nuestro ambiente, en nuestro propio punto de vista p7 por lo tanto, la actividad del conocimiento personal del atm si tiene mucha relación con la educación ambiental ii. 3 se relaciona con los procesos u opciones de cambio (4 personas) p1 es indirecta. si influye en la toma de decisiones debido al proceso de los movimientos se mantiene una filosofía que puede aplicarse en las cuestiones ambientales p3 si yo quiero cambiar mi entorno, tengo que comenzar analizando mi persona p4 nuestro propio cuerpo, tampoco podríamos darnos cuenta de lo que nos rodea, si no aprendemos a tener estima por nuestro cuerpo tampoco lo tendremos por el ambiente. hay que tener una relación con el medio, saber que en la medida que lo degradamos, nos degradamos a nosotros mismos p6 considero que no solamente es pertinente sino muy importante ya que con el método feldenkrais nos hemos dando cuenta que hay varias formas para poder realizar un movimiento; del mismo modo tenemos que buscar diferentes opciones para resolver los problemas ambientales iii. 1 reconocimiento del soma vivido (3 personas) p1 me ha ayudado a reconocer mi cuerpo. p2 mayor sensibilidad. aprendí a poner mas atención a los movimientos que realizo p5 por poder conocer mi cuerpo, mi mente, mi respiración. iii. 2 prácticar la tolerancia, análisis de alternativas, aceptando límites (5 personas.) p1 (me ha ayudado) a hacer autoconciencia de mis movimientos antes de realizarlos, evitando así lastimarme o perder energía innecesaria. p2 (aprendí) ser mas tolerante. (aprendí) a no exigirme mas del o que puedo dar. p3 (aprendí) a analizar cualquier decisión a tomar. p5 ha hecho que pueda controlarme, ser mas tolerante. 15 p6 a ser tolerante. a cambiar mi forma de pensar y actuar. me ha servido mucho en mi vida personal, familiar y en general, he aceptado que tengo límites. iii. 3 poder relajarme 3 personas p1 (me ha ayudado) a relajarme. p5 poder relajarme en cuanto sienta alguna presión. p6 a (para) relajarme. 9) discusión: de los dos estudios realizados para investigar las resonancias del método feldenkrais en la formación ambiental técnica y valoral, mediante la técnica del análisis del discurso aplicado a las 57 bitácoras grupales( estudio longitudinal) y a las respuestas a la encuesta, proporcionadas por 7 personas (estudio transversal en base a enunciados personales en un "aquí y ahora"), se desprenden conclusiones de dos tipos: unas en el sentido metodológico y otras sobre las propias resonancias. en el sentido metodológico, aunque el análisis de las bitácoras aportaron datos importantes, y se encontraron correlaciones entre los resultados obtenidos del estudio longitudinal y transversal, consideramos que durante los seminarios semanales, la recuperación de las resonancias de realizar lecciones de atm en las mismas, tendría que ser mas rigurosa. al respecto surgen varias posibilidades: a) grabar los comentarios que surjan de las personas que participaron, el momento posterior a la lección, en el momento mismo en que se soliciten opiniones. b) invitar a que las participantes anoten o recuerden los comentarios que les surjan en momentos posteriores a la lección, para compartirlos cuando se reúna el grupo y grabarlas o anotarlas. c) realizar cada 4 lecciones, un momento de reflexión, invitando a que las participantes a que respondan preguntas abiertas realizadas expreso o que escriban lo que deseen con respecto a si las lecciones de atm o if han tenido o no, resonancias en su vida profesional y/o cotidiana. d) si es posible y la persona lo permite, durante la recuperación de los discursos que la persona diga su nombre, para identificar las características de la persona que hace el comentario oral o escrito. en el momento de reportar resultados, por ética el nombre no aparecerá, sino una clave para poder identificar, en el universo de estudio, las características de la persona en cuanto a edad, ocupación, género, u otro dato que se considere relevante. en el sentido cualitativo las resonancias principales fueron las siguientes: durante el análisis de las bitácoras se observa la dificultad inicial de asociar el ejercicio intelectual dentro del movimiento corporal y al cuerpo-mente (soma) como parte del ambiente. otra duda que surgió fue el alcance posible de las lecciones de atm para lograr, la deseada toma de conciencia liberadora (en el sentido de colette, 1975) o etapa postconvencial (en el sentido de 16 kohblerg (1992) en la acción proambiental personal y frente al ambiente externo. esto se fue logrando, gracias a la vinculación de el mf con la formación valoral ambiental desde el método del la investigación acción participativa. es decir, que el análisis grupal de nuestra planeación acción y reflexión de nuestras propias actividades, el análisis de nuestros conflictos y procesos individuales, grupales y profesionales, nos permitió una visión de conjunto a la vez que personal, de la complejidad que significa un cambio de hábitos y/o de valores ambientales y para la salud. nuestro grupo de investigación como cualquier otro, tiene metas, dudas, conflictos, avances, pero se diferencia de otros, en el sentido de su preocupación central. esta no es sólo la tarea sino de manera paralela, en hacer y sentir de la persona, del grupo mismo (ambiente social) constituido por personas que se necesitan entre sí y que se "embarcan" en una tarea común, que es la formación ambiental valoral y técnica. para este grupo el reconocimiento de su microambiente o soma, y la diversidad de sus vinculaciones valorales, actitudinales y conductuales frente al macroambiente (social, construido y natural) durante los seminarios fue central. la relevancia de las atm y la filosofía valoral implícita, permeó a las participantes a través de las historias de vida, experiencias individuales en los diferentes ámbitos de interacción de los sujetos, el enfrentamiento y análisis de conflictos, la profundización y análisis de conceptos, pertinencia de uso de lenguaje y de enfoques multidisciplinarios en torno a los proyectos de investigación individuales sobre salud y ambiente. promovió la percepción del si mismo y de la acción del individuo en el ambiente externo para comprender la dificultad de asumir un compromiso voluntario y facilitar el cambio buscando mejorar la calidad de vida individual y colectiva contemplando el actuar humano desde un nivel macro "las políticas neoliberales están llevando a capitalizar la naturaleza y el hombre mismo, reduciendo los valores de la vida a su valorización en el mercado. la calidad de vida implica un proceso de reapropiación y autogestión de las condiciones de vida de la población, a través de sus necesidades sentidas y valores subjetivos. una extrapolación hacia el sujeto implica un proceso de autoconocimiento, construcción y reconstrucción constante en respuesta a nuestras necesidades y valores así como al uso de recursos tanto biológicos como psicológicos para resolverlas. la sostenibilidad en la calidad de vida implica tener una vida de calidad para transmitirla a generaciones futuras y brindarles recursos que les permitan adaptarse a condiciones nuevas" (leff e., 2000) nosotros no podemos modificar de manera inmediata las condiciones de nuestro ambiente externo, pero a través del atm hemos podido redescubrir las necesidades de nuestro propio cuerpo y el valor de este como unidad biopsicosocial. como ejemplo escrito de la dificultad de ver lo obvio (la unicidad mente-cuerpo-ambiente) retomamos una prueba que aporta cohen (1995). en este momento el lector puede percibir las palabras 17 que esta leyendo pero, en general, tenemos poca conciencia del espacio en blanco que hay dentro de ellas y en su derredor. usted como lector, está consciente de las palabras y frases no del espacio entre ellas, aunque no pueden existir una sin la otra. ambos son la realidad. este fenómeno ocurre porque nosotros aprendemos a enfocarnos en lo que la sociedad nos enseña como importante; debido a que las palabras son importantes nosotros ignoramos el espacio que hay entre y dentro de ellas aunque sean tan reales como las palabras. por ello hemos incluido la práctica de la educación somática a través del método feldenkrais como elemento innovador. joly (1995) define a la educación somática como un " campo disciplinario en emergencia que se interesa en el movimiento del cuerpo dentro de su ambiente, en la conciencia corporal propiamente dicha y en la capacidad de ese cuerpo vivido para educarse en tanto que cuerpo vivido. por lo tanto incluimos en la formación ambiental, el cuerpo total de la persona en formación, tal como es vivido, en continuidad sistémica con su medio ambiente. 18 bibliografía boutin, g, (1997) “la colecta, el análisis de los datos y la redacción de reporte de investigación”. en la entrevista de investigación cualitativa. capítulo 6.presses de l’université du québec (en original 129-146 pp.) canadá. canter, d. 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(2001). ecopedagogía para el nuevo milenio. colombia. textos universitarios. case studies feldenkrais research journal • volume 4 (2008) article a possible typology of case studies in the feldenkrais method cliff smyth iff president; feldenkrais center for movement education, san francisco abstract in this article the author argues for the unique value of case studies for the development of practitioners’ understanding of the feldenkrais method, and for the development of the feldenkrais community’s research agenda. case studies have a wide-ranging potential to provide insight into a practice, and the author outlines some of the varying research possibilities which may be achieved for different audiences. finally, the author proposes a preliminary schema for case study based research. a possible typology and corresponding criteria and descriptors are outlined and mapped against types of research study designs. this article is based on a presentation at the research forum at the fgna conference in seattle, washington in 2004. keywords feldenkrais method, typology, case studies, documentation, observation copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 a possible typology of case studies in the feldenkrais method 1. cliff smyth a tension exists in neurology between those who believe that the most valuable lessons about the brain can be learned from statistical analyses involving large numbers of patients and those who believe that doing the right kind of experiments with the right kind of patients – even a single patient – can yield much more useful information. this is really a silly debate since its resolution is obvious: it's a good idea to begin with experiments on single cases and then to confirm the findings through studies of additional patients. (ramachandran and blakeslee, p. xiii) why case studies? case studies are used in a great variety of fields and reflect a wide range of research methods, styles of reports, purposes, etc. a case study can be described as a study of a single system, person, event, program, etc. they may include qualitative, quantitative or a mix of different kinds of data. moshe feldenkrais was familiar with and often referred to thinkers who make powerful use of case studies and histories (including a.r. luria, konrad lorenz, sigmund freud, charles darwin, jean piaget, milton erikson, amongst others). he used ‘teaching stories’ extensively in his writing and in the training programs he conducted in san francisco and amherst. the wonderful and informative book the case of nora (feldenkrais, 1977) was just the first of a series of case studies he had planned. interestingly the early volumes of the feldenkrais guild of north america’s journal of the feldenkrais method featured many case studies. a few of these were also included in the iff journal, which published two volumes completely composed of case studies. perhaps it is understandable, in those early days of practitioners (other than feldenkrais himself) writing about the method, that they chose the narrative case study as an accessible form. as a professional community it would seem that we still place value on case studies, and to some extent support a culture of writing case studies. this may be reflected in the fact that case studies are part of the requirements for advancement to become a teacher of feldenkrais teachers – in the assessment requirements to become a feldenkrais assistant trainer and trainer candidate. observation and documentation are fundamental to the development of any practice, including science. the natural sciences are based on hundreds – or thousands – of years of naturalistic observation before the development of the repeatable studies, sophisticated instrumentation and the formulation of the laws we associate with the ‘hard’ sciences. it is hardly surprising that the typical 2 narrative case study, with its emphasis on observation and description, was a common form in the early days of our reflection on the new kinds of human knowledge generated by the practice of the feldenkrais method. some approaches afforded by case studies case study based research affords some unique possibilities not always offered by other approaches. in choosing to emphasize some of these possibilities, the author-researcher makes some key decisions as to what kind of research is done and what kind of case study will be written. for example: case study research can be a practical, accessible form of research. as alan fogel has said, ‘research is not so far away…’. 2. when writing a narrative or a reflective case study, it is close to what we already do in practice, such as reflecting on our practice, take notes, etc. most such case studies will not need a lot of preparation, large team, lots of funding, etc. case study research suits the complexity of professional practice. professional practice is always unique. case study research can capture things about the practice of the feldenkrais method that other kinds of research may not (jarvis, 1999), such as our ‘reflection-in-practice’ (schön, 1983). a case study can allow for the study of complex relationships between the practitioner and student, the person and their environment, their history, ‘variables’ in the ‘intervention’, ‘clinical’ decision-making, etc. here reflection is emphasised. sometimes a single case can be as valuable as a population study. in some areas of knowledge more understanding can be gained from studying unique cases than population studies, averages, etc. (ramachandran, 1998; sacks, 1995). both the study of a single person and the situation, or the study of a single ‘intervention’, can be very illuminating. here the singular throws strong light on the whole field of enquiry. in a case study, a researcher's experience can be included as part of the research process. feldenkrais practice almost always involves the presence of a live teacherpractitioner. 4 consistent with anthropological, qualitative and phenomenological approaches to research, a case study can include the practitioner’s own experience, potentially bringing forth deep reflection on the process. (meriam, 1998; joly, 2004). description and reflection are central to this approach. the subject’s (client’s or student’s) experience may also be included. such a case study may include sections of a journal or interview material from a client. a project could also be done collaboratively with clients or students using a ‘new 3 paradigm research’ model (reason and rowan, 1981). the aim is again reflective, providing multiple perspectives on the phenomena under study. it can trace the progress of the person or process. the feldenkrais method involves learning and development. case study research can capture a variety of changes over time and explore their interrelationship. this could be done in a narrative form, or as a single case research design, for example, using an a (pre-test), b (intervention), a (post-test) design to administer a variety of appropriate measures (eg. quality of life questionnaires, range of motion tests, etc.). intentions and audiences the intentions we have for our case study research, and the intended audience, will have a major influence on the kinds of case studies written. two of the most common questions of our feldenkrais students and clients are ‘what is it like?’ and ‘how will i benefit?’. if we are thinking about informing the public about the feldenkrais method, case studies using everyday language, and a narrative form, can provide effective description of the process and outcomes of the method. for research into our own practice, case studies by teacher-practitioners can afford both the writer and reader: – a better understanding of the feldenkrais method itself, and our practice; – a chance to improve our own and our colleagues practice; – a way to clarify relationships between theory and practice. for research into our own practice, a mix of description of actual practice, with reflection on different aspects of the theory underlying the method, may be the most effective form for a case study. for research into the method and the outcomes of its use, case studies can provide information and ideas toward further and better research, including better research questions, methodologies, tools and measures, etc. to paraphrase alan fogel, ‘if you don’t know what the intervention is you won’t be able to know what outcomes to measure’. 4 researchers with whom we hope or plan to collaborate may get a better feel for the method from the ‘thick description’ of a descriptive case study. they may also get ideas for appropriate research strategies from a case study using, for example, a mix of documentation of the intervention, outcomes surveys and qualitative data such as interviews with students or clients, as well as any quantitative data collected and the tools used to collect it. sources of data 4 the types and sources of data chosen for any case study will have a major impact on the type of study written. and conversely the type of case study one intends to write critically affects the data collection processes needed. some possible sources of data for feldenkrais case studies could include: 1. practitioner notes, diary, interviews and dialogues with co-researchers, or commentaries on documentation, eg. joly project (joly, 2004). ‘new paradigm research’ puts forward the value of the including the voices of other researchers (such as other practitioners) and participants (such as clients or students). for example, a case study written by barbara pieper, includes contributions both from her as the practitioner and the client. 5. 2. client or student diaries, evaluations, interviews, questionnaires, standardized measures (for example of mood, of locus of control), or quality of life measures (such as the sf 36 and many others) 3. objective measures of client or student movement (eg. video/digital motion analysis) 4. audio-visual documentation (eg. video of functional integration, eg. joly project (joly, 2004) 5. relevant literature, for example: feldenkrais documents (eg. published awareness through movement lessons that relate to described functional inetegration), feldenkrais concepts, other case studies, empirical studies, research and theory from other domains (eg. neuroscience, biomechanics, psychology, education, linguistics, the arts, philosophy, etc). interestingly, in the study of anthropology, field (case) notes are written into anthropological monographs in the context of the ongoing development of anthropological thought and development of anthropological theories (geertz, 1973). in this way, case studies are ‘the literature’ of that discipline. another approach is to collect different kinds of data. one example of the use of mixed measures in feldenkrais research can be found in the single case research design developed by stephens, et al. that study involved a literature review, brief descriptions (case histories, biographies and demographics) of participants, qualitative feedback from participants (self-reports), video motion analysis of movement activities, documentation of awareness through movement class themes and content (in the form of excerpts from transcripts of audio recordings), standardized measures of impairment, indexes of well being, and questionnaires with open-ended questions. it also included pre-program (base 5 line) and end of program testing and data collection. that is, the methodology used an ‘aba’ (pre-test, intervention, re-test) design. a possible typology of feldenkrais method case studies in this possible typology four kinds of existing or putative feldenkrais case studies have been identified: x narrative/naturalistic; x reflective x mixed measures (qualitative and quantitative) case stuy with single or multiple cases x single system research design (experimental model), and mapped against a set of criteria or descriptors: x selection of subject(s) x number of subjects x researcher x research questions x data collection x practitioner experience x relationship to theory and other sources x reflection on language/terminology x style of ‘argument’ in the case report x style of published report x main uses x examples in the feldenkrais literature to map out the characteristics, possible uses and benefits, of each type. narrative /naturalistic reflective mixed measures (qualitative & quantitative) case study (single or multiple cases) single system research design (experimental model) selection of subject(s) subject selected by researcherpractitioner subject(s) selected by researcherpractitioner probably selected against criteria probably selected against criteria number of subjects usually one one or more single (n=1) or multiple single (n=1) or multiple researcher single practitioner; peer reviewed for publication single practitioner; peer reviewed for publication; possibly include multiple researchers (practitioners & others); reviewed multiple researchers (practitioners & others); 6 client-student explicitly (eg. pieper, in this journal) by peers & people in other fields for publication reviewed by peers & people in other fields for publication research questions likely to be no theory-testing intent may be explicit or generated by the study research issues discussed & explored; may include a formal literature review hypothesis explicit & stated; formal literature review data collection practitioner observation & note taking; client reports of situation as reported by the practitioner; data treated as nonproblematic practitioner observation & note taking; readings of relevant literature. possibly documentation, eg. photos quantitative or qualitative, or a mix; may include pre-test & post-test data, as well as collection throughout or at end of intervention, documentation of process base line data established before intervention, plus data collection through or at end of intervention, eg: ababa, etc. may include multiple interventions, eg. abacad, etc. practitioner experience essential included, may be explicitly reflected on may be included, but likely to be formal documentation of practitioner input more likely to be formal documentation of practitioner input relationship to theory & other sources mostly implicit, & sometimes explicit, reference to ideas of the feldenkrais method explicit reference to theory from feldenkrais method & other domains (eg. neuroscience, medical or arts literature) reflection on theory, generation of research questions from documentation, measurement & discussion testing of theory or predictions from base line reflection on language/ terminology language & terms treated as nonproblematic language & terms may be reflected upon terms defined terms defined style of ‘argument’ in report ‘arguments’ about process, outcomes, efficacy, variables mostly made through narrative structure & description; use switching between descriptive & reflection/ interpretation; assumptions made explicit (‘bracketed’), may include researcher blends reflection on documentation of the intervention, outcomes of qualitative & quantitative measures presentation of statistical results (eg. over time, baseline, before & after interventions) & interpretation of those results 7 of literary tools. reflection on process; use of documents (joly, 2004) style of published report richly descriptive switches from description to reflection on theory/theory generation combines literature review, presentation of documentation & results of measurements, discussion of results combines literature review, presentation of results of measurements, discussion of results main uses basic documentation /research into practice, promoting the method reflection on practice & relationship to theory; suggestive of further research themes documenting outcomes; identifying further research themes & tools documenting outcomes; identifying further research themes & tools examples in the feldenkrais literature many case studies in feldenkrais journals feldenkrais (the case of nora, 1977), rywerant the feldenkrais method, 1983), beringer in ‘heather’ and ‘self-imaging’ (1997, 2001), ginsberg ‘roots of functional integration’ (1987, 1988, 1992) stephens, et al, 2002 some final reflections the above is only a very preliminary schema, but i hope it provides a rough guide to where we have been and where we might go in terms of case study based research. like all travel guides it can only be of value of if it is used and updated with input from the users. please send me any feedback on this typology and its possible uses. i am a believer in the value of writing case studies for the development of ourselves as practitioners. i also believe case studies have ongoing value for the development of our understanding of the feldenkrais method and the development of our research agenda. i would love to see the further publication 8 of already written and new case studies as part of this journal or as a separate project of the international feldenkrais professional community. perhaps there are some practitioners interested in working on such a project? in the mean time: reflect, take some notes on a client or a session or a class, talk with a colleague, rough out some ideas about a research project… * * * please send me your feedback and suggestions. i can be contacted through my websites www.feldenkraissf.com or www.learningforhealth.com. cs. notes 1. this article is based on a presentation at the research forum at the fgna conference in seattle, washington in 2004, and therefore an audience primarily of feldenkrais practitioners. i was only able to review case studies in the english language. i look forward to ideas and responses from feldenkrais teachers who write or teach how to write case studies in other languages. thanks to pat buchanan and jim stephens for their assistance with editing the original presentation. thanks to deborah bowes and staffan elgelid for editorial suggestions for this article. 2. & 4. from my notes of alan fogel’s talk at the symposium on research and the feldenkrais method, ‘movement and the development of the sense of self’, seattle, august 2004. 3. some people, for example, experience awareness through movement from recordings. some controlled studies of the effects of the feldenkrais method have chosen to use a recorded awareness through movement lesson as a way to ‘standardize the intervention’. 5. published in this volume of the feldenkrais research journal. references in preparation for this presentation and article i read all the published case studies from all editions of the journal of the feldenkrais method and the iff journal up to 2004. other references include: aldridge, david, ‘single case research design for the clinician’, complementary medical research, 1988; 3 (1), pp.37-46. (available at: www.musictherapyworld.net/modules/archive/papers/list_all.php?orderby=title). beringer, elizabeth, ‘self-imaging’, the feldenkrais journal, no. 13, 2001, pp. 33-38, feldenkrais guild of north america. beringer, elizabeth, ‘feldenkrais: introduction’ and ‘heather’, pp. 81-99 in hanlon johenson, don (ed.), groundworks: narratives of embodiment, north atlantic books, berkeley, california/california institute of integral studies, san francisco, california, 1997. http://www.feldenkraissf.com/ http://www.learningforhealth.com/ http://www.musictherapyworld.net/modules/archive/papers/list_all.php?orderby=title 9 blampied, neville m., barabasz, arreed and barabasz, marianne, single case research design for the science and practice of neurotherapy, journal of neurotherapy, (1-2) 2, 1996. (available at: http://209.85.173.132/search?q=cache:zigiill4euuj:www.isnr.org/uploads/(14)1.pdf+,+single+case+research+design+for+the+science+and+practice+of+neurotherapy&hl= en&ct=clnk&cd=1&gl=us). emerson, robert m., fretz, rachel i., and shaw, linda l, writing ethnographic field notes, university of chicago press, chicago and london , 1995. epstein, julia, altered conditions: disease, medicine and storytelling, routledge, new york and london, 1995. feldenkrais, moshe, the case of nora: body-awareness as healing therapy, harper and row, new york, 1977. fogel, alan, ‘documenting cases as a participant observer: a manual for somatic awareness practitioners’, feldenkrais research journal, vol. 3, 2006-2007, iff academy, international feldenkrais federation. geertz, clifford, the interpretation of cultures: selected essays, basic books, ny, 1973 (see: ‘part 1: thick description: toward an interpretive theory of culture’). ginsburg, carl, ‘the roots of functional integration, part 1’, the feldenkrais journal, no. 3, 1987, pp.13-22, ‘the roots of functional integration, part 2’, the feldenkrais journal, no. 4, 1988, ‘the roots of functional integration, part 3’, the feldenkrais journal, no. 7, 1992, pp. 34-47, feldenkrais guild of north america. jarvis, peter, the practitioner-researcher: developing theory from practice, jossey-bass, san francisco, 1999. johnson, don hanlon (ed), ‘body making’, pp. 1-13, groundworks: narratives of embodiment, north atlantic books, berkeley, california/california institute of integral studies, san francisco, california, 1997. johnson, don hanlon, ‘body practices and human inquiry: disciplined experiencing, fresh thinking, vigorous language’, chapter in: berdayes, vincent, esposito, luigi and murphy, john w., (eds), body in human inquiry: interdisciplinary explorations of embodiment, hampton press, 2004. (available at: www.donhanlonjohnson.com). joly, yvan, ‘the experience of being embodied: qualitative research and somatic education: a perspective based on the feldenkrais method’, feldenkrais research journal, no.1, 2004, iff academy, international feldenkrais federation. kazdin, alan e., single case research designs: methods for clinical and applied settings, oxford university press, new york, 1982. merriam, sharan b., qualitative research and case study applications in education (revised and expanded from case study research in education), jossey-bass, san francisco, 1998. barbara pieper, ‘i zu dritt in erwartung erzählte und reflektierte praxis als entwicklungsprozess’, feldenkrais research journal, no. 4, 2009, iff academy, international feldenkrais federation. (read by the author in an english translation.) http://209.85.173.132/search?q=cache:zigiill4euuj:www.isnr.org/uploads/(1-4)1.pdf+,+single+case+research+design+for+the+science+and+practice+of+neurotherapy&hl=en&ct=clnk&cd=1&gl=us http://209.85.173.132/search?q=cache:zigiill4euuj:www.isnr.org/uploads/(1-4)1.pdf+,+single+case+research+design+for+the+science+and+practice+of+neurotherapy&hl=en&ct=clnk&cd=1&gl=us http://209.85.173.132/search?q=cache:zigiill4euuj:www.isnr.org/uploads/(1-4)1.pdf+,+single+case+research+design+for+the+science+and+practice+of+neurotherapy&hl=en&ct=clnk&cd=1&gl=us http://www.donhanlonjohnson.com/ 10 ramachandran, v.s. and blackslee, sandra, phantoms in the brain, william morrow and co, ny, 1998 (see: preface, pp. xi-xvii). reason, peter (ed), human inquiry in action: developments in new paradigm research, sage publications, london, 1998. reason, peter and rowan, john (eds), human inquiry: a sourcebook of new paradigm research, john wiley and sons, chichester & new york, 1981. rywerant, yochanon, the feldenkrais method: teaching by handling, keats publishing, new canaan, connecticut, 1983. sacks, oliver, an anthropologist on mars, vintage/random house, ny, 1995 (see: preface, pp. xv-xx). schön, donald a., the reflective practitioner: how professionals think in action, basic books, new york, 1983. smith, douglas w, ‘annotated bibliography of single-subject design’. (available at: http://silcom.com/~dwsmith/critical_assessment/annobib.html). stephens, james, call, susannah, evans, kristin, glass, melissa, gould, cathy and lowe, jennifer, ‘responses to ten feldenkrais awareness through movement lessons by four women with multiple sclerosis: improved quality of life, ‘ physical therapy case reports, volume 2, no. 2, march 1999, pp 58-69.. yin, robert k, case study research: design and methods, sage publications, thousand oaks, california, 1994. zucker, donna m., ‘using case study methodology in nursing research’, the qualitative report, volume 6, number 2, june 2001. (available at: www.nova.edu/sss/qr/qr62/zucker.html). http://silcom.com/~dwsmith/critical_assessment/annobib.html microsoft word goldfarb_pdf.doc feldenkrais research journal • volume 3 (2007) article accidentally on purpose lawrence goldfarb phd, cft abstract in this article the author leads the reader through a reflection on interactions and a lesson with a client. the reflections expertly provide a window into the thinking guiding a lesson, illustrating its effect on a client. keywords feldenkrais, movement evaluation, somatics, movement habits, observation copyright ©: the copyright for this paper remains with the author(s). first published: http://www.mindinmotion-online.com/media/pdf/acconpurp.pdf ©1993-94 please cite: feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 accidentally on purpose lawrence wm. goldfarb, ph.d., c.f.t. harlan leans on his daughter's arm as he hobbles into my office. gingerly, he lowers himself onto my low feldenkrais® table, his daughter supporting his right elbow. he feels for the table with his left hand, lowers himself with his left buttock leading, and settles into an awkward sitting position, his right hip slightly lifted and his right shoulder lowered. his right side appears shorter and he looks shifted to his left. "my hip hurts," harlan declares, staring at me, "and my back, it hurts here, a little." he points to his right low back. "you know, i don't like to complain. the pain's not so bad. it's just when it interferes with getting around that i get to worrying." "ever since dad fell, about seven or eight months ago, he's been having problems. he has a terrible time getting up and sitting down . . ." "especially getting in and out of the car. it's a bother—no—it's a struggle. i can barely do it on my own." "the doctor told him there's nothing wrong with his hip and back. . ." "except for some mild arthritis." "right. can you help him?" harlan is in his late sixties and, although he is suffering, he looks at me with bright clear eyes. from the moment he entered my office, his determination to walk, to sit, to keep moving despite obvious discomfort impresses me. "give me a few moments to look at you. i want to see if your problem relates to how you're moving and holding yourself. do you mind if i sit next to you and touch your back?" "not at all." i place my right hand softly on his back, forming my hand to the contours of his ribcage and spine, noting the texture of the underlying muscles. sensing how the muscles on the right side of his spine bulge through his shirt, my hands inform my mind's eye. feeling the distribution of muscle tightness in harlan's neck, shoulder girdle, back, and hips, i discern the greater postural action of the muscles on the right side. this gives me a clue to the underlying configuration of his skeleton, which i examine by gently tracing the skeletal contours and locating the bony landmarks of his spine, ribs, and pelvis. i sense the habitual asymmetry of harlan's spine as it curves to the left so that the ribs on the right side are closer together than those on the left. iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 however, movement, not posture, interests me. how is his way of moving related to his way of holding himself? placing one hand on either side of his ribcage and nestling my fingers between his ribs, i gently shift his torso ever so slightly toward his left hip. he responds to my suggestion willingly, moving easily and fluidly. hinting that he shifts to the right, i sense reluctance: he responds haltingly and then stops. i stay in the range defined by his willingness, repeating these small shifts around his left hip several times to confirm what i notice. after moving harlan gently side to side—or trying to—several times, i understand that he is not about to roll easily onto his right buttock. it isn't that he can't, or that i couldn't push him there, it's just that he actively avoids it. each time i suggest going to the right, the movement becomes more difficult, as if we are moving up a steep incline. like most of my students, by the time harlan made it to my office he had applied all the resources he could marshal and found no remedy. he appeared at my doorway resigned to his dilemma, having concluded that something is wrong, that he must be physically damaged or defective. rather than searching for what's broken or wrong, i am curious about what's happening—how harlan moves—and how his way of moving makes his problem necessary. from the moment he entered my office, i looked at how he moved, noticed an asymmetry in his gait, and saw how unevenly he moved as he sat. at the beginning of the evaluation, i observed his way of moving, looking to confirm or deny my initial impression. first, comparing his muscles right and left and then contrasting his movements side to side, i correlated what i saw with what i felt, fathoming a pattern, a stubborn consistency in the midst of all the fluid changes of everyday movement. no matter what, harlan sits on his left hip. having determined this, i now have an idea of how harlan's pain and immobility relate to his movement. i have found an invariant, a constant pattern, a consistent manner of moving and not moving that makes him more limited than his skeleton requires him to be. only the beginning of the evaluation is complete—i have some idea of what he does involuntarily and, thus, can't help doing. this is only the beginning of the evaluation because understanding how harlan's habitual pattern causes his predicament is not enough. experience has taught me that what is most obvious to me as observer—what i can't help noticing—is invisible to the mover. blinded by the familiarity of his habitual movements, he is condemned to repeat the conditions that make his discomfort inevitable. my job as teacher begins by understanding the student's problem in terms of the pattern of her or his movement, that is to say, in terms of the way movements are limited and constrained. but change can only come when the student changes his or her perception. until harlan is aware of how he is moving, he will have no choice in the matter, he will not be able to do—or not do—as he wishes. unless he becomes aware of how he is moving, unless he perceives how he is moving and of how else he can move, he won't be able to change. in his book somatics, my colleague thomas hanna suggested the metaphor of amnesia to explain when we humans become habituated to—and, therefore, unaware of—some aspect of our movement. the pattern is neither gone nor forgotten; some part of harlan's nervous system continues to produce this behavior with remarkable consistency. rather than forgetting the past, this psychosomatic process is more like an active disregard. something is happening—harlan is doing something intentionally but unconsciously—and, at the same 3 time, he does not notice that he is doing it. he is ignoring himself, blinding himself to his own intentions and actions. perhaps the hypnotic phenomenon of negative hallucination is a better way to describe a form of intentional neglect: the subject does not perceive something that is there or, another way of saying it, hallucinates that something is absent. how can i help harlan become aware of his habitual pattern without contributing to his feeling that something is terribly wrong with him? placing my hand palm down on the table, to the right of his right buttock, i slide it slowly underneath and reach under his sitting bone without resistance. on the left side, however, my hand cannot slide underneath his buttock. "do you notice how i can slip my hand under your right buttock here, like this?" "so?" "notice how i can't slip my hand under your left buttock?" "well, i'll be damned. i never did notice that. how come you can slide your hand under my right side but not under my left?" "because you're shifting over onto the left side of your pelvis." having said that, i bring my left hand to rest gently on top of his head. "this isn't happening by chance or by accident. and it isn't something happening only in your pelvis or your lower back. let me show you." i slowly tilt his head a little to the right. his right ear moves toward his right shoulder, his shoulder lowers toward his hip, and the hip rises ever so slightly from the table. his right side shortens; he shifts his weight further onto his left buttock. now i begin to take his head gently to the left. his head returns to its home position and then something funny happens: as i continue to tilt harlan's head just a little further to his left, his back stiffens. leaving his weight on his left sitting bone, he keeps his back straight and he tilts his torso, as one piece, to the left. "hmmm . . . i do feel different when you tilt me to the right and to the left. the movement to the right feels easy. to the left, it feels more difficult, heavier." this is a strange moment, one i cherish. suddenly, harlan's experience of himself is open to question. this isn't me as teacher telling or showing him something he didn't know. instead a new experience of the self emerges from the shadows. curiosity appears in our midst and, in that moment, the possibility for change is born. whether he knows it or not, harlan has made the transition from passive patient to participating student. my hands find the spaces between the top of his pelvis and the bottom of his ribs. i sense how his back and belly muscles are taut and contracted on the right; while on the left side of his waist, those muscles are softer and inactive. "feel these muscles, on your right side, here." harlan startles as i press into his tensed trunk muscles. "notice how much softer the ones on the left side are. see, it doesn't feel uncomfortable if i touch these, does it?" "sure feels different on the right when you're touching me, like you're shining a light into a dark corner. how come i never noticed this before?" 4 "well, you just got used to it. where i grew up in upstate new york we had a saying: 'you can't smell the manure on the farm.' psychologists call it habituation: when something happens over and over, you stop noticing." "do you think this might have something to do with my fall? all my hip troubles started back then. it's like i'm limping, keeping my weight off the side i fell on, isn't it?" "yes, that's right. you hurt yourself and, without thinking about it, you changed how you move. that change became automatic. even though the injury has healed, you keep moving the new way without noticing that you are doing so. that kind of habit is what i call unconscious and on purpose." "and that change in my way of moving and holding myself meant that i kept moving crooked. that's the root of my problem." "yes. even if you had some kind of physical problem, the way that you are moving is only making things worse." "how can i change that?" "well, you have already begun to change. you were moving in a way that you were unaware of and didn't have control over. now that you have a glimmer of awareness into what you are doing, you begin to have the possibility of changing it." "before you helped me feel and understand what i was doing, i thought i hobbled around because of my problem or my age. now i can start to feel that my way of moving has something to with why i have pain. i am beginning to think if my movement changes, then what i do and feel might change." "exactly," i say, content that, once again, the evaluation process has done its job. much like putting the edge of a jigsaw puzzle together first, doing an evaluation sets the frame for the session, giving us a big picture, and letting us know how the pieces fit together. the evaluation allows me to figure out how harlan's way of moving makes the problem necessary and shows harlan how his way of moving has something to do with his difficulty. as such, the evaluation sets movement as the context for our work together and creates a basis for common understanding, a foundation upon which the rest of lesson can be built. "harlan, how about lying down on the table, on your side," i say. harlan takes his shoes off, asking which side he should lie on. after i say it's up to him, he lowers his trunk slowly until his left elbow is on the table. placing his right hand on the edge of the table, he lowers his left shoulder to within a few centimeters of the surface. after hovering briefly, his shoulder drops with a soft thud, his head touched down, his legs lift, his knees bend, and, a moment later, he is lying on his side with his right leg resting on his left. his choice of lying on the left side makes sense to me: this position naturally lengthens the left side as the left shoulder spreads away from the left hip under the weight of his body. this configuration allows the right side to maintain its habitual shortened configuration. sitting behind harlan, i rest my left hand on his right shoulder, saying, "i am going to move you a little. i want to find out in which directions you move most easily. if i do anything that feels uncomfortable or that you don't like, let me know and i will stop immediately. the idea 5 in this kind of work is that suffering is optional--in other words,you don't have to feel worse to feel better." my left hand forms to harlan's shoulder, my palm resting over the blade and my fingertips curving around toward his chest. i move his shoulder girdle slowly forward a few times, feeling the viscosity of the movement. my hand asks, "how is it to move in this direction? is he willing or reluctant?" i wait, without insistence, for his response. next i bring the shoulder blade back, sliding the inner edge toward the spine. even in these small motions, i can feel the pull of opposing muscles the instant they begin to limit the shoulder's range of motion. neither in this direction nor the previous one is my motion much larger than the thickness of a matchbook. checking his shoulder's willingness to glide up toward the ear, i sense resistance, as if i was trying to run through water. in contrast, bringing the shoulder down toward the pelvis is easy, the motion well oiled. the shoulder glides toward the pelvis, more easily than in any of the other directions i check. had i found something else, i would have had to rethink my hypothesis, but what i observe fits with the global pattern of the right side shortening. with the fingers of my right hand touching the crest of his hip bone in front and my thumb reaching back around back, i inquire into the movement of his pelvis. after testing all the directions, i find that harlan's pelvis is most willing to move in the way that fits with his overall inclination, that is to say, it moves up, toward the right shoulder. keeping one hand on harlan's pelvis and placing the other on his shoulder, i put these movements together now, bringing his shoulder and hip toward one another several times. when i contrast this with bringing shoulder and hip apart, the quality of the movement changes from fluid to halting, from willing to reluctant. "that's the same thing i was doing sitting--contracting my right side. funny, i'm still doing it when i'm lying down." "do you notice how these muscles feel?" i ask, pressing into the tightly contracting muscles that run along the left side of the spine from the shoulder down to the lower back and pelvis. "can you compare them to the ones on the right? feel here, on the left, they are yielding, softer, while the ones on the right are harder. this is the same thing we found in sitting. why are your muscles working when you're lying down? in this position, they don't need to hold you up but they seem to be working anyway." harlan tries to stretch his right hip and shoulder apart. he struggles and stops, "just makes me feel tighter. i don't seem to be in charge of these muscles anymore." "let me show something." i bring my stool to the other side of the table and sit in front of harlan. straightening my index finger, i extend my right hand toward his, saying, "please grab hold of my finger with your hand. yes, that's it, wrap your hand around and get a good grip. now hold on as tight as you can." harlan has a powerful grasp, his large fingers engulfing mine and pressing my captive index finger into the palm of his hand with surprising strength. as i earnestly struggle against his finger's powerful grip, he squeezes harder and the tip of my index finger turns a darker crimson. 6 "what can i do to get out of this grip? i can try to pry your fingers off but you're pretty strong" i demonstrate the futility of my efforts. "besides, struggling puts me in direct conflict with you, making this a contest of wills and battle of strength, like arm wrestling. but how about if i do this instead?" i put my left hand around harlan's fist, my fingers over his, and squeeze. i accompany and amplify harlan's grip until, all of a sudden, i sense his grasp relax. my finger slides out easily. "what happened? that was strange--all of a sudden my hand relaxed." "what happened is that i did more of what you were doing and you let go." i bring my stool back to the other side of the table. as i continue to explore harlan's movement disposition, i explain, "before, the more i struggled against you, the harder you resisted my efforts. but when i took over the work your muscles were doing, they let go." "why does that work?" "the idea is that your muscles are governed by your brain. they didn't decide to tighten up on their own. how tight they are depends on what's happening in your nervous system, on what you notice, and what you want. while i continue to touch and move you, let me tell you a story. several years ago, when i was giving a lecture for the biofeedback department at san francisco state university, i noticed that the students in the back row were pretty sleepy. the classroom was like one of those theaters where the stage is at the bottom and the rows rise toward the back. as i continued to speak, i realized that the sleepiness was spreading down the rows." at the same time that i am telling the story, i continue to explore the ramifications of harlan's pattern, investigating the micro-movements of his ribcage and spine. each place i put my hands, i ask how this rib or vertebrae fits into the overall scheme of things, how its movement correlates to the overall bias that we found. i am not trying to change him, not trying to correct what i find. i am following the dictum, "think globally, act locally." in each locale, i accompany him, going with what is easy and looking for how to make it even a little easier, a little more fluid. by making manifest how all of him--right side as well as left, head and neck as well as spine and ribs, legs and feet as well as pelvis--is involved, the pattern becomes clearer and, somehow, as it becomes clearer, the pattern begins to lose its grip. "i was beginning to wonder about my lecture's effect when it hit--the heat. the vent in the back of the room had been blowing out hot air without pause and the thick wave had finally reached my head. wondering what to do, i watched as a student in the back of the room tried to adjust the thermostat but couldn't--it was locked to prevent tampering. so the student then opened the back door, allowing cold outside air to rush into the room. it seemed like a good idea, but it wasn't. the cold air rushed over the thermostat. this meant the thermostat registered that the room as too cold and signaled the furnace to keep working away." having facilitated the smaller movements nested within the larger constellation, i begin to correlate movement in place--for example, the pelvis--with motion somewhere else--the midback or shoulder. each time another part comes into play, the right side shortens more easily and the movement begins to echo throughout harlan. again, i place one hand on his shoulder and the other on his hip. when i bring shoulder and hip together, i can feel everything participating; interestingly enough, when i return to the starting position, his shoulder and hip 7 keep moving, coming ever so slightly farther apart than before. as if the compulsion has released, the right side is beginning to show the first signs of being able lengthen. "in my lecture i had been discussing how the brain governs the muscles, so i thought that the room's heat wave might provide a good analogy. i pointed out that in selfregulating systems it is impossible to change the behavior--the output--of the system directly. the more you try to alter its behavior, the more it resists. since the system's behavior is a consequence of what it senses, one way to elicit change is to change what happens at the sensor and in this case it meant doing something to the thermometer. i asked someone to close the door and someone else to go the bathroom, soak some paper towels in hot water, and lay them over the thermostat. once the box warmed up, the heat shut off." "i get it. the hot towels do the same thing as squeezing my hand to get me to let go." "that's right. it is also the same approach i've been taking when i move you around. feldenkrais used to talk about using the muscles to fool the brain. after you follow the pattern by supporting the muscles in their contractions, doing the work for them, the nervous system senses that the muscles have nothing left to do. now something new can happen. you might call this strategy "following in order to lead." as i say this, i begin to move harlan's right shoulder toward his head while moving his right hip away from his shoulder. his right side elongates a little, easily, and the left side of his waist begins to arch slightly from the table. "hey, that's different. my back feels much better." i slowly help harlan come to sitting. after giving him a few moments to re-orient, i feel the muscles along his spine and repeat the side to side shifting movements from the evaluation. the muscles on the right side are now softer and his movement is more symmetrical. he is more symmetrical. i take a few moments to explore the movements that are now possible for him, especially bringing his shoulder forward and beginning to explore turning to the right. by accompanying and amplifying harlan’s habitual constriction we made a dead-end into an intersection. "i'm sitting more evenly now. my right butt is touching the table." "try lifting your buttock and keeping your right side shortened. can you feel all the work you were doing before? good. now let your hip down. it's no longer out of your control; once you can reproduce the tightness and intentionally let it go, you are no longer stuck." "well, i'll be damned." tova – "be gentle" an ongoing quest to the self feldenkrais research journal • volume 4 (2008) article tova – ‟be gentle”: an ongoing quest to the self dorit dinur msc, ma (history of art) keywords feldenkrais method, case study copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org tova – "be gentle”: an ongoing quest to the self dorit dinur. tova (56) is a big woman who talks loudly; has abrupt, large movements; difficulties in breathing, in bending over her knees, in putting on her shoes and in walking. when she first came to see me for feldenkrais lessons it took her one hour to get from her apartment, which is located in the next block to my studio. tova came to my atm classes for about two months. at first, she could not lie on her stomach, or even on her side. it was only possible for her to lie on her back, and then only while breathing heavily and loudly. she had difficulties following my instructions and she complained about not being able to concentrate for more than a few moments. therefore she only followed small parts of the lesson, and she used big jumpy movements. when there was an atm on the stomach she angrily left the room, but still she returned to the next lesson. after a while i found out that tova has been taking psychiatric drugs for many years, drugs whose side effects are known to affect the ability to sense and be aware of the body. she herself reported, that one of the worst side effects was, that her breathing became heavy, and she didn't have enough air. her inability to follow instructions may have two possible origins. one is her difficulty in concentrating and being quiet. the other is her partial lack of body awareness, especially difficulty in knowing and naming certain body parts and weak spatial/directional acuity. after two months of atms, tova realized that group participation was not working for her and she started to take fi lessons with me twice a week. she has continued to do so for almost three years now. "to be gentle is what i dream about," she said after her first fi, "only i don't know how." tova was impressed with my demeanor-,the way i talk, the way i move, the way i listen--and she desired "to be like that: more feminine, gentler." tova has lower back pain, constant pain in her left foot and knee and a significant difficulty in breathing. she is also an overeater. she constantly looks for help from both traditional medical and alternative methods. that is what i have learned from her during our lessons. at our first fi, and in subsequent sessions, she lay heavy as a stone; i found myself straining to move her. each part and every direction was difficult for me and impossible for her. although i did very little, i ended the lessons with pain in my shoulders and felt in despair. however, tova was happy with the outcome of the fi lessons and she kept coming to the sessions. i think that more than the relief of pain, she enjoyed the nonjudgmental atmosphere and my listening to her. it took me several lessons to discover that if i let go of my ambition to move her, i may end the lesson without pain and despair. that is how i decided to assist tova in achieving a more comfortable position while lying on her back. i tried different ways of support, including using pillows, towels, rollers and mattresses. being comfortable was a new sensation for her. her daily being was painful, stressful, and uncomfortable in ways that we had just begun to explore. the idea of exploring and finding comfort was challenging to her. i further on focused on making very small and slow movements together with her. i used alternate ways of touching tova in order to give her a clear sense of herself. today, tova can easily bend over to put her shoes on. she noticed this change all by herself and proudly told me so. it is much easier for her to get to my studio and she walks around the neighborhood with pleasure. when i realized that we were going to have a long-term relationship, i asked myself how to work so that i can listen to her requests , still repeating themes but not to the point of boredom for both of us. i want to stay interested and fresh every time. so i allow myself to be more creative with the lessons, and apply the method to her needs. we had a lesson about eating and another one about singing and dancing. i also taught her how to hug gently and not squeeze, since she is hugging me after every lesson. i have learned that two issues are of great interest to tova. one is acquiring knowledge of her own skeleton by touching. the second issue centers around the pace of movement. she was very enthusiastic and curious when i drew her attention to her body by alternating between showing her my "little plastic skeleton" and touching through her bones. with the aid of the "little skeleton" i pointed to her body parts and named them: scapula, pelvis, spine, etc. in accordance with the movement and the lesson. it came as a great revelation to her that she has all those parts and even more, and that there is a complex relationship between movement and the bones of her body. soon she started to move those skeletal parts consciously, and took great pleasure in it. touching is most important to tova. she needs touch to feel and sense herself. in many psychiatric illnesses, patients don't feel themselves. according to my understanding the slow and gradual pace (velocity) of movement is one component of gentleness, a quality that tova admires and seeks to develop in herself. in order to teach tova to slow down and control her speed, i have encouraged her to attend to her breathing while moving. i started by exploring the breathing with her, using parts of atm lessons that deal with respiration. for example, i asked her to breathe through her nose, through her mouth and through both. after this experiment she realized that she could use both. we experimented on holding the breath, coughing, shouting, and expanding the belly or chest. all these experiments, accompanied by explanations of the breathing mechanism, were very interesting to her. in the breathing exercises, i encouraged her to use her hands to feel herself, and i also put my hands on her sternum, ribs, scapulae, etc. to help her feel the movements involved in breathing. all of these ideas are taken from alexander yanai atm lessons. after exploring the breathing with her, i encouraged her to pay attention to her breathing while moving. while she lies on her back with both legs standing, i ask her to move her right knee to the right. initially, she jumped her knee to the right stopping her breathing. i guided her knee while attending to her breathing, and i described her breathing to her. then i asked her to do the movement as quickly as possible. i asked her to move slowly to the right and quickly back to the middle. finally, i asked her to pay attention to her breathing while guiding the movement with her knee. to symbolize how to pace movement, i showed her ways of opening a door. this image emphasizes the gradual movements of things external to her. also i wanted to show her that opening the door slightly also creates an opening. i mean that there is no need to open wide. this example showed her that she doesn't need to use big movements. i demonstrated these variations and gradations of movement to show tova possibilities and clarify ways to control her bodily movements. she was astonished to discover that she can control the speed of her movements that she can gradually start and stop a movement. it is a new experience for her, which she has since applied to her breathing and to her speaking. tova has recognized that this quality of gradual change and her ability to slow down are enabling her to become gentler. the process of learning to control the speed of her movements also applies to tova’s eating habits. because she is an overeater we are addressing her eating habits in our fi lessons. i asked her to bring food to one lesson. then i had her set the table. while she ate, i posed questions about her way of eating. i suggested she take bites of different sizes, use her other hand to put the food in her mouth, put the food next to her lips and remove it, and smell the food. i asked her to keep the food in her mouth and refrain from biting and swallowing. i instructed her to move her food to different places in her mouth. as she experimented, she chewed slowly, lightly, and hardly at all. these options were all new to her and the lesson provided her with a a playful and interesting experience. later she told me that this lesson changed the way she eats. many times, when the change is gradual and slow, people tend to forget how it has been and they don’t notice it. tova has not forgotten. tova’s fi lessons have also greatly benefited her emotional state. she told me that our lessons help her to be content and positive about her life, her body and her ability to solve problems. the lessons help her think better. she says that she receives a "brain massage". we have acquired some habits in our fi lessons. our typical lesson begins with her telling me what is new in her daily life. she says that my studio is the only place where she is heard patiently and treated with no judgment. tova says that she can be herself without fear of being ridiculed. her experience with other caretakers has been different. she has a good sense of time, and she does it for no more than 10 minutes. i am very interested in what she tells me, and spare the time to listen and talk to her. at the beginning, she got excited while telling her weekly stories, and i would remind her to breathe, to pause, and to slow down. now i don’t have to remind her anymore. she talks more calmly and she breathes more freely. tova can lie on her side and occasionally on her stomach and even laughs about this, reminding me that it was once impossible for her to assume these positions. at present, we work on separation of the jaw movements from the lip muscles, neck, and head. what was impossible for tova a year ago is now almost easy. since tova has been coming in every week for 3 years now, i frequently ask myself what can i show her that is not mere repetition, how to make the fi lessons fresh and interesting to me and to her. i see changes in the way she moves, walks, bends over, climbs the stairs to my studio, speaks, moves her ribs, spine, and pelvis.., i am always looking for new issues as they arise. tova loves to sing and attends a singing club. recognizing her love of music, i asked her to choose a favorite song so we could sing it together in a lesson. when we sang, i realized that tova has no sense of low and high tones; in other words, she can't sing. she doesn't differentiate between high and loud, between low and quiet. we began a lesson based on feldenkrais ay #5, "equalizing the nostrils". in this lesson tova had to produce low and high tunes through her mouth, her nose and each nostril. at the beginning of the lesson she could not clearly differentiate high and low tones. however, at the end of the lesson, a combination of atm and fi, she realized what singing is for the first time in her life. one time tova was deeply depressed. she came to my studio crying and expecting me to help her. i responded by saying i would teach her ways to help herself. we then focused on her ability to feel differences in her body. because she felt despair, i called her attention to the differences in her two sides, left and right, up and down, front and back. i emphasized bilateral awareness as a tool and gave her home assignments to find differences in her daily feelings, and describe them. this practical way of sensing herself conveys the idea that her emotional state isn’t always the same. no medical or mental doctor has ever given her such an insight. after the lesson she was eager to go home and begin monitoring the changes in her emotions. my ideas arose according to tova’s needs. my choice here is to share some of my approaches and focus not only on movement but also on tova’s feeling state. i realize that the way i work with tova is taken directly from dr. feldenkrais ideas, while i only make connections to her situation. tova continues to take lessons. dorit dinur. chair of the israeli feldenkrais guild member of the eurotab since 2006 www.feldenkrais4u.co.il dorit@feldenkrais4u.co.il http://www.feldenkrais4u.co.il/ mailto:dorit@feldenkrais4u.co.il thesis8r.doc feldenkrais research journal • volume 2 (2005) article feldenkrais and body image staffan elgelid phd, pt, cfp, university of central arkansas abstract this study compared four subjects’ body image scores, as measured by a semantic differentiation scale, before and after a series of awareness through movement lessons. four subjects were chosen to participate in this study based on their initial score on a semantic differentiation scale. the four subjects met with the researcher twice a week for 45 minutes each time to receive either tutoring or awareness through movement lessons. subject one received awareness through movement lessons during the whole six week session. subject two received awareness through movement lessons for the first three weeks and one-on-one tutoring during the last three weeks. subject three received one-on-one tutoring the first three weeks and awareness through movement lessons during the last three weeks. subject four received one-on-one tutoring during the whole six week session. the subjects completed a semantic differentiation scale before the study began, after three weeks, and at the end of the study. the results indicated that a person who received awareness through movement lessons scored higher on a semantic differentiation scale designed to measure body image, than a person who received one-on-one tutoring. the results also indicated that although the score on the semantic differentiation scale decreased slightly three weeks after the person stopped the awareness through movement lessons, the score did not revert back to the initial level. keywords feldenkrais, body image, awareness through movement,physical therapy, semantic differentiation scale copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 feldenkrais and body image by hans staffan elgelid a thesis presented to the department of physical therapy and the graduate school of the university of central arkansas in partial fulfillment of the requirements for the degree of master of science in physical therapy conway, arkansas december 1999 2 abstract this study compared four subjects’ body image scores, as measured by a semantic differentiation scale, before and after a series of awareness through movement lessons. four subjects were chosen to participate in this study based on their initial score on a semantic differentiation scale. the four subjects met with the researcher twice a week for 45 minutes each time to receive either tutoring or awareness through movement lessons. subject one received awareness through movement lessons during the whole six week session. subject two received awareness through movement lessons for the first three weeks and one-on-one tutoring during the last three weeks. subject three received one-on-one tutoring the first three weeks and awareness through movement lessons during the last three weeks. subject four received one-on-one tutoring during the whole six week session. the subjects completed a semantic differentiation scale before the study began, after three weeks, and at the end of the study. the results indicated that a person who received awareness through movement lessons scored higher on a semantic differentiation scale designed to measure body image, than a person who received one-onone tutoring. the results also indicated that although the score on the semantic differentiation scale decreased slightly three weeks after the 3 person stopped the awareness through movement lessons, the score did not revert back to the initial level. chapter 1 introduction body image has been defined in many ways during the 20th century. such definitions range from temporary body states and schematas,1 to a picture of the body that forms in the mind,2 an integration of the self in three spheres,3 and an internalized, learned representation of the body.4 the literature also emphasizes that body image is a dynamic concept, 5 and that new elements that are added to the body image can enhance or detract from a person’s body image.6 body image changes have been found throughout the life span as the individual grows and matures.7 differences in body image between gender have been noted,8 as have disease specific body image disturbances. 9 10 11 body image has been labeled as body schema, perceived body, self-concept, self-esteem, and self-image.8 given that body image spans such a wide range of definitions and areas, and involves a subjective component,12 even today there still is no clear definition encompassing the whole concept of body image.13,14 most of the literature about body image has been published in the areas of nursing, neurology, psychology, occupational therapy, and physical 4 education. a literature search did not reveal any published articles about body image in journals traditionally covering the field of physical therapy. in the author’s experience working with clients in rehabilitation with amputations, burns, cerebrovascular accidents, and chronic pain, a significant change appears to occur in body image in all these diverse client groups. this observation is based on the author’s experience of watching the clients move in and interact with their environment. unless physical therapists find a way to address issues of altered body image, the author believes that the client may leave rehabilitation with an incomplete body image which could affect functional outcomes and life satisfaction. in the case of chronic pain, unless physical therapists manage to bring awareness to the distorted or missing parts of the client’s body image, the author believes that the client is likely to return to rehabilitation at some time in the future. the growing field of somatic education, including the feldenkrais method, the alexander technique, and eutony, acknowledges the importance of the client’s self-image. the founders of these fields, moshe feldenkrais, f.m. alexander, and gerda alexander even consider self-image to be central to their methods.15 16 17 feldenkrais stated that self-image consists of movement, sensation, feeling and thought, and that each one of these components will be present in any action.15 physical therapists can and 5 should be involved in bringing awareness to the client’s movements and sensations thereby affecting the client’s self-image. one possible reason that self-image has not been well researched in the field of physical therapy could be that body image is a dynamic concept that involves subjective interpretations and also is socially and culturally influenced.18 as body image spans such a wide range of definitions, the study of body image might best be performed in a multi-field fashion. an exact measurement technique of the body image concept is difficult to find, both because body image includes a subjective component,19 and because the different fields researching body image have different ideas about what aspect of body image is important to measure. purpose the purpose of this study was to investigate how the feldenkrais method influences the body image of a person, as measured by a semantic differentiation scale. theoretical framework this study is built around feldenkrais’ idea that humans act in accordance with their self-image. in his book awareness through movement15 feldenkrais describes the self-image as consisting of movements, sensations, feelings and thoughts, and states that each one of those 6 components will be present in any action. without all four of these components, life is endangered. the feldenkrais method is a method of education, and a central educational theme in the feldenkrais method is that individuals limit their potential by limiting their movements and developing habits of moving, thinking and interacting with their environment. a child’s self-image changes rapidly as the child progresses from rolling, to crawling, to standing, to walking and to other learned movements.15 as individuals develop a certain movement repertoire they tend not to vary their repertoire or the way they perform these movements, because learning and education usually ends when they have achieved an objective. the objective could be to pass a test for a grade, improve speech to the point of understanding, or achieve some other goal that the individual or society has deemed important. since humans tend to learn only until the objective is achieved, they seldom use their brain cells and body to explore different patterns and combinations beyond the habitual patterns. therefore the individual’s self-image will be less than complete, and less than the individual’s potential self-image, because the individual’s self-image is made up only of those patterns and combinations that they actually use. so a person’s self-image is the result of his personal experience. central to feldenkrais’ thinking was that a systematic correction of the image is quicker and more effective than corrections of a single action. therefore the feldenkrais method, whether awareness 7 through movement or functional integration, deals with the whole person and not with correction of single movements.15 the feldenkrais method consists of two different kinds of lessons. awareness through movement (atm) is the verbally directed form of the feldenkrais method. an atm lesson consists of gentle exploratory movement sequences organized around a specific human function such as walking, reaching, bending etc. with the intention of increasing awareness of multiple possibilities of action. atm lessons are usually taught to a group of students.20 functional integration (fi) lessons consist of a practitioner using words and non-invasive touch to guide an individual student to an awareness of existing and alternative movement patterns. the teacher communicates to the student how he or she organizes him or herself and suggests additional choices for functional movement patterns. in fi the intent of the touch is to communicate, not to correct.20 research question does the person receiving three to six weeks of awareness through movement lessons observe a change in body image, as measured by a semantic differentiation scale? assumptions since the study of body image is centered around a vague concept, some assumptions were necessary prior to beginning this study. 8 1) the assumption was made that the measurements chosen by the author measure body image. part of the problem of finding a good test for body image is that the study of body image is multi-disciplinary, and researchers have difficulty deciding what aspects of body image are important to measure.19 2) the assumption was made that “healthy” people do not have a complete body image.19 limitations the following limitations of the study have been identified. 1) no control of the subject’s activities was attempted. 2) the feldenkrais method does not have any protocol or standard sessions, so a feldenkrais lesson will vary depending on the practitioner who is giving the lesson. this study can, therefore, not be duplicated or generalized to a larger population, but can only be used as a guideline. significance of the study various somatic education approaches, including the feldenkrais method, the alexander technique, and eutony consider a person’s self-image to be central to how the person functions in the environment.15,16,17 nurses, physicians, psychologists, and occupational therapists all seem to be 9 aware of some importance of the client’s body image, based upon published studies in their peer reviewed journals regarding body image. in the field of physical therapy very little time seems to be spent doing research about the client’s body image, at least judging by journals in the field. since, according to moshe feldenkrais,17 movement and sensations are part of the client’s concept of body image, physical therapists are in a position to deal with the client’s concept of body image. if physical therapy interventions do not bring awareness to the missing or distorted pieces of the client’s body image, then this author questions if the clients have been helped. there is a great chance that the client will go out and perform the same actions, in the same habitual way as before rehabilitation and with the same results unless the client’s body image has changed as a result of the rehabilitation. the feldenkrais method, the alexander technique, and eutony suggest that through handling and movement a client’s awareness of areas of the body that are not included in their self-image can be improved. if physical therapists and other health care workers learned from these and other fields of somatic education, they might improve the outcome of rehabilitation of their clients. 10 chapter 2 literature review definition of body image no specific definition of the term body image exists.21 many fields of study including biology, sociology, anthropology, endocrinology, dermatology, orthopedics, orthodontic dentistry, psychology, and plastic and reconstructive surgery have studied body image.22since the concept of body image spans so many fields of interest, the concept of body image has been defined in many ways.19 the most common definition in the literature was developed by schilder,2 and stated that body image is “the picture of our body which we form in our mind. that is to say the way the body appears to ourselves.” bruch used terms such as body image, body awareness, body identification, body structure, bodily self, body perception, and social body concepts as interchangeable.23 body image definitions also have included self-confidence, self-esteem, and selfimage.15 definitions of body image included both direct perceptions (visual, tactile, and proprioception) of the body, and the emotions, attitudes and reactions of the individual.24 definitions of body image spanned the conscious and unconscious, the external and internal, reality and fantasy,25 as well as cultural and social forces.23 freud26 claimed that “the ego is first and foremost a body ego.” adler, jung and reich were other psychoanalysts who wrote about body image.21 11 head1 was the first researcher who used the term body image. he noted that to make fluid movements and to adjust body positions implied integrated cognitive awareness of shape, size and form of the body. to him, the body image was a set of body blue prints that constantly changed with learning. he stressed the dynamic relationship between temporary body states and schemas built over time. head primarily studied the impact of brain and body damage on the central body schema and ignored body image in normal development. schilder2, in his studies, included both pathological and everyday conscious and unconscious sensations from the body. he believed that the body image protected the sense of an integrated self, and placed body perception and experiences at the center of human awareness. winnicott27 stressed that the sense of body worth had its origins in infancy through the three functions of holding, handling and mirroring that the mother carries out. holding gives the baby a sense of security. handling turns the baby into a provider of pleasure and gratification. mirroring creates a sense of physical beauty through the mother’s expression that mirrors to the baby.27 debea3 felt that the integration of self occurred in three spheres of body image. the three spheres according to debea were, spatial integration 12 between different parts of our body, and between the self and others, temporal integration connecting self-awareness over time, and social integration comparing self-perceived self with the self as seen by others. some authors consider the body image to be a part of the self-image,12 while others consider the self-image to be synonymous with body image.23 sims considered the body to be unique in that it is experienced both inside and outside the individual and is both self and object.28 some authors claim that the body image is more than the body itself.12,29 clothing, glasses and other things that humans use in connection with their bodies are included in the concept of body image.29 body image also is conceptualized in a particular social context.29 body image can be divided into an external envelope of the body and the internal volume or space of the body.29 according to cleveland and fisher,30 the physical is considered the body envelope; the relationship of an individual to others and to objects around the body is the body space; the perception of the body envelope comes from the skin and visual information. the same authors also believe that body volume or space arises from the deep proprioceptors of the body, and movement and physical activity is therefore important in the formation and maintenance of body image.30 13 price31 investigated body image from a nursing standpoint and developed a three-part definition of body image. those three parts consisted of: 1) body reality. body reality is the way individuals perceive and feel their bodies. body reality is seen and measured objectively, and relates to body make-up and proportions, and does not contain value judgements. body reality is the way the individual’s body really is. body reality is not a static concept, but changes with aging. 2) body presentation. body presentation is how the body responds to the individual’s commands. this response includes fashion, how the individual moves, and how the individual poses to the world. the body functions as an expression of the individual’s wishes, intentions and feelings. an individual can control his/her body presentation to a certain extent. 3) body ideal. body ideal is an internal standard by which an individual judges him/herself and others. this ideal affects how the individual thinks he/she should look and how the individual thinks others should look and act. the individual is measuring reality and presentation against a standard in his/her head and includes body contours, comfort, size, weight, odors, coordination, strength, reliability and control. price also developed ten assumptions that underpin and map the body image.12 14 1) body image is dynamic, and consists of body reality, body presentation, and body ideal. 2) change in the body image is brought about by a change in the environment. the environment is both real and tangible, internal and external to the human body. 3) body image is adjusted regularly in health as well as illness or injury. 4) humans interact with their environments. humans try to affect and a re affected by the environment. this interaction is partly to sustain a satisfying body image. 5) the body image is sustained in a changing environment through adjustment of body reality, body presentation, and body ideal, through the use of coping strategies and a social support network. 6) when the components of body image are balanced, a sense of well being/health exists. failure to balance components of the body image results in altered body image/illness. 7) body image is affected by the environment and contributes to the personal self-image. 8) self-image is negotiated in society, so that the individual can develop a sense of self-worth. the body image is an important part of this negotiation. 9) individuals can only sustain a normal body image in a limited range of environmental change. when this environmental range is exceeded, an altered body image results. 15 10) when the individual has an altered body image, he needs professional nursing care to assist him in achieving a state of body image equilibrium. a literature search of journals traditionally covering the field of physical therapy did not reveal any articles about body image as it related to physical therapy. this lack of research is surprising, since researchers in the field of nursing have published articles about what body image consists of,31 and the assumptions that underpin and map the body image.12 in a hospital, physical therapists and nurses often work with the same clients, so why have physical therapists no t studied body image as in-depth as nurses have? if body image changes throughout the life span, and both physical therapists and nurses work with clients throughout the life span, it seems that both physical therapists and nurses would benefit from studying ways to change the client’s body image. body image changes throughout the life span. head1 wrote that the body image developed throughout life, and started to form as soon as the pre-toddler started to explore his body, its boundaries and contours. horowitz6 believed that new elements are added to the body image throughout life. according to schilder,2 body image seemed to develop in parallel with sensory and motor development. he also wrote that the touches of others, and the interest that others take in the different 16 parts of the body will be very important in postural development of the body. weiss32 felt that early tactile and proprioceptive stimulation in the womb, infancy, and childhood provided the stimulation and basis for the development of the body self. kulka33 et al. suggested that movement helped the infant develop a sense of self. the development of body image in the child. according to bleasing and brockhous,7 as the child grows, develops, and experiences itself and interacts with the environment, the child forms a concept of his own body. that concept is unique to each child, and is derived from his individual sensorimotor and affective experiences. the child’s experiences are constantly integrated, and the body image is therefore plastic and changes as the child needs to re-organize. the child needs to have a relatively stable body image to perceive others and to test reality. without this stability, the child will possibly experience anxiety and have difficulty interacting with the environment. on the other hand, if the body image is too stable, then the child will not be able to adjust his/her body image with the changes that occur with growth, development and interactions with the environment.7 17 the oral stage. birth – one year old. in infancy the child is initially focused on the oral zone.34 during the first year of life, the infant learns to differentiate his body image from the outside world. during this stage, the child develops trust and mistrust.34 if the child develops a sense of trust, he develops a good self-concept. a mistrustful child tends to develop a poor self-concept and sees himself as bad.7 the toddler stage. 1 -3 years of age. during this stage, a continuation of the differentiation of the self from the environment occurs.34 parental figures are important during this stage, because the parental attitudes form an impression of the child’s concept of himself, his body and his functions. the child might think of his body as good or bad, clean or dirty, loved or disliked.7 the pre-school stage. 3 -6 years of age. at this stage the child starts to focus on the genitalia.34 in the western culture, this focus could lead to punishment and therefore anxiety and guilt. the genitals could be a site of conflict between pleasure and anxiety that could lead to a body image disturbance of the genitals.7 gender typing and identity also is important at this stage. aggressiveness, competitiveness, muscular build, and independence are characteristics that are regarded as important for boys in western culture. for girls, a 18 different set of characteristics is important. if the child does not have the attributes that are appropriate for his gender, the child might develop a body image distortion.7 school age. 6-12 years of age. according to erickson,34 this stage is when the child develops industry or inferiority. the school-aged child is testing his skills against a group of peers. if the child cannot speak or perform as well as other children, or if the child has any other limitations, the child might think of himself as inferior to other children. this period contains rapid growth, and at this age, the child tends to focus on his body and how he looks to others, while the younger child tends to be more focused on himself.7 as this section of the literature review indicates, the child goes through changes in body image as he/she grows. as the child starts to mature, changes in body image according to the gender also start to develop.35 body image and gender most studies in the literature about body image and gender tend to focus on what parts of the body are attractive. women tend to more nearly equate body with self. men’s role and sta tus are more defined in terms of achievement than body attributes. for a woman, the body awareness tends to involve boundary regions, while for the male, the body tends to 19 reflect experiences pertaining to the digestive aspect.35 secourd36 and jourard studied college students and found that women are in some cases dependent on perceived and demonstrated attractiveness to male irrespective of skills, interests and values. no woman in that study rated all her body parts positively, and the feeling of not attaining the body ideal might be responsible for a sense of insecurity. in a study by wittreich37 and grace, the subjects were wearing distortion glasses while viewing themselves through distortion lenses. according to wittreich37 and grace, perceptions that arouse anxiety in the individual are least likely to be observed among the changes that occur while viewing their own mirror image while wearing distortion lenses. the results of the wittreich37 and grace study indicate that women reported fewer changes in the legs and feet, and that changes in the legs and feet are therefore more marked with anxiety for women than for men. women tend to view the legs as a symbol of attractiveness that is dependent on the judgement of others, men, on the other hand, tended to view their legs as means of locomotion, agility, and strength. men therefore showed less anxiety involving changes in the legs. according to fisher,35 the more aware we are of a body part, and the more confident we are in that body part, the less likely we are to notice changes in that body part. so wittreich37 and grace’s study about women noticing less changes in their legs, and therefore being more anxious about changes in their legs makes sense. fisher noted that women are more aware of facial changes and less anxious about the 20 function of the face than men.35a study by weinberg38 found that men’s bodily concerns were related to psychological insecurity. in a study on medical inpatients, schwab39 and harmeling found that males were more satisfied with their bodies than females. this satisfaction was independent of the illness. a study by gray40 found that women tend to perceive themselves as appearing heavier than they were, while males saw themselves as lighter than they actually were. although no material was found regarding special problems relating specifically to either gender’s body image in the physical literature, physical therapists have started to notice that women have special needs, and the american physical therapy association has a section devoted to women’s health. this focus might eventually translate into studies differentiating differences between men and women in areas such as body image. the literature indicated that body image changes and disturbances occur throughout the life span,7and also differences between the genders develop.35,36 but how can we classify something as a body image disturbance, and how have researchers tried to define a body image disturbance? 21 what is a body image disturbance? body image disturbance, or altered body image is as difficult to define as is body image. that is, body image disturbance has many definitions and theoretical underpinnings. body image disturbance is a nursing diagnostic category approved by the north american diagnosis association.41 corbell42 defined body image disturbance as arising when one fails to accept the body as it is. a conflict exists between the way the body is perceived and the way the person pictures his body mentally. price12, as discussed previously, defines body image disturbance as a disturbance or alteration when the internal and external environment changes outside the range where the person can sustain his normal body image. murray43 believed in a developmental component to a healthy body image. she wrote that the success of the individual in coping with the changing demands of each area of the body as it becomes dominant is necessary for the development of a mature body image. if the person cannot integrate each body zone, the person will have an immature and incomplete body image that will interfere with normal adult living. according to cleveland and fisher30 the individual not only has to adapt to normal changing patterns of body image such as aging, pregnancy, etc. but also to altered body image due to trauma, pathological and degenerative changes. what is a body image problem for one person might not be a problem for another person. a healthy body image is an 22 adaptable body image.30an increased flexibility in a person’s range of internal and external environment leads to a decreased chance of a body image distortion.30 kolb5 categorizes body image disturbance as arising from one of the following five categories of illness: 1) disorders following neurological disease. these diseases can affect any part of the nervous system and are connected with movement and posture. 2) disorders occurring with changes in the body structure secondary to acquired or induced toxic and metabolic disorders. 3) disorders caused by other somatic diseases occuring either early or late in life. 4) disorders after acute dismemberment. 5) psychiatric conditions, including psychoses, psychoneuroses and psychopathic states. pain also can be the cause of different body image disturbances. according to lederman13, people deal with pain in three ways that can cause a body image disturbance. the person can focus too much on the painful area thereby enlarging it. the person can diminish the painful area thereby making it smaller, or the person can totally segregate the painful area from the body. 23 none of the above definitions are written by physical therapists, and no definitions of body image disturbance were found in a literature search of journals that traditionally cover the field of physical therapy. this lack of published material is highly surprising, since the physical therapist works with clients with specific dysfunctions such as chronic illnesses, myocardial infarctions, and brain lesions, and body image disturbance has been shown to occur in the previously mentioned dysfunctions.9,11,44 body image disturbances in specific dysfunction body image and unilateral neglect. unilateral neglect typically denotes a deficit affecting the awareness of the body half and extrapersonal space contralateral to the side of the brain lesion.44 unilateral neglect has been labeled hemi-neglect, spatial neglect, extinction, imperception, hemi-inattention, unilateral spatial agnosia, or visuospatial agnosia.45 the right parietal lobe seems to be the most common lesion site for unilateral neglect,46 but other sites also have been identified with unila teral neglect.44 many neurological theories have been proposed to explain unilateral neglect.44 the most promising seem to be central representational disorder and attentional dysfunction. central representational disorder is associated with inadequate body schema, representational mapping and spatial presentation.44 villardita 47suggested that unilateral neglect is an attentional dysfunction, because unilateral neglect is modality specific, and attention is selective. unilateral neglect 24 can occur in tactile, visual or auditory spheres but is not necessarily represented in all three spheres at the same time. heilman48 and colleagues divided unilateral neglect into four categories. 1) hemi-inattention, is a neglect of sensory input, auditory, somesthetic, or visual, to the body side contralateral to the side of the brain lesion. hemi-inattention is an attention arousal disorder according to the authors. 2) extinction or simultaneous stimulation is a limited attention situation. as the neurons involved in attention recover, minimal response to stimuli contralateral to that side is possible, but this side ceases to be the focus of attention when the ipsilateral side is stimulated at the same time. 3) akinesia is a non-motor deficit in starting a movement, and involves lesions of the frontal lobe as well as sensory association, limbic, or reticular areas. 4) hemi-spatial neglect is neglect of the space contralateral to the side of the brain lesion. if van deusen’s44 idea that central representation is correct as an explanation for unilateral neglect, and the central representation disorder is associated with an inadequate body schema, representational mapping, and spatial presentation then a logical conclusion is that physical therapy treatment is needed to address those aspects. 25 body image and eating disorders. a group of clients that physical therapists treat, in which the therapist might not be as aware of the body image component, are clients with eating disorders. patient’s with anorexia and bulemia often are seen by physical therapists. usually these clients are treated for disorders such as tmj dysfunctions and neck and back dysfunctions and not the eating disorder. results of body image studies with anorexia have been inconsistent.44 patterns that have emerged are: 1) size estimation and image distortion measures produce different results. fries49 found that body perception measurements differed significantly between anorexic subjects and control subjects. button, fransella and slade50 found no significant difference between anorexic and control subjects. 2) failure to correctly estimate width of one’s body or its parts was not unique to those with anorexia.50,51 3) perception of body size was qualitatively different for those with anorexia than for control subjects in terms of meaning for the patient. in a study by touyz and beaumont, 52 no difference between anorexic and control subjects as far as overor underestimating their body shapes was noted. however, a qualitative difference in 26 underestimating self-weight between anorexic/severely underweight subjects and control subjects of normal weight occurred.52 4) overestimation of body size was associated with a poor prognosis and greater pathology in anorexia nervosa50,53 a study by waller,54 hamilton and shaw suggested that news and entertainment media reinforce cultural and social norms of thinness. that study found that females with an eating disorder increased their body size estimation following exposure to magazine pictures of thin models, while the control subjects were not manipulated by the same pictures. if this study by waller,54 hamilton and shaw is correct, it seems reasonable to assume that a physical therapist who sees a large population of females with eating disorders needs to be careful about the reading material to which he exposes his clients, and to be aware of possible changes in the clients’ body image. physical therapy clients with anorexia are on one end of the spectrum, but clients on the other end of the spectrum, physical therapy clients with obesity, also have the potential for having a disturbed body image. 27 body image and obesity. many obese people have negative feelings about the body that may contribute to negative self-esteem and negative comments about the body.55,56 the onset of obesity, presence of emotional disturbance and a negative evaluation of obesity by others during the formative years seem to determine if a disturbed body image will, or will not be present. a person who becomes obese in adolescence is more likely to have a body image disturbance than a person whose onset of obesity occurs in childhood or as an adult. emotional disturbances also are most frequent in the adolescent group, and body image disturbance is the most dominant feature of the emotional disturbance.55 body image disturbances also have been reported in the literature in patients with a colostomy,10 after a myocardial infarction,11 with phantom limb pain,44 rheumatoid arthritis,57 and mastectomy.58 physical therapists may see clients with any of the above physical disturbances. the question in the author’s mind is if physical therapy treatments would be more effective if a way was found to affect the client’s body image disturbance. if having negative feelings about the body may contribute to negative self-esteem,55,56 maybe the client’s body image influences the client’s overall behavior. 28 body image and behavior body image influences behavior, because having a belief that one is attractive leads to social self-confidence and skill.59 clifford60 found that individuals with facial deformity are more likely to be socially withdrawn. this withdrawal might be a defense mechanism of hiding a deformity and can have an adverse impact on the person’s self-image.59 measuring body image many different methods have been used to assess body image. interview methods,23 rorschach tests,31 tilting chamber,61 visual size estimation,62 tactile size estimation,63 contour drawing scale,64 the draw-a-person test,65 video confrontation,24 figure rating scales,66 questionnaires,20 clay figures,18 and semantic differential scales44 are among the different measurement techniques that have been used. van deusen44 categorized assessment tools in four groups: 1) self report tools and other paper and pencil tests. these groups of tools included semantic differentiating scales, picture selection instruments, and responses to statements. semantic differentiating scales ask the subjects to scale their body parts between bipolar adjectives such as complete -incomplete, negative-positive etc. using ten different pairs of osgood’s evaluative adjectives.67 picture selection instruments are used to determine if body shape images selected by the patient representing their own bodies are within normal limits. 29 responses to statements such as “i feel good about my body” is the last category of self-report tools. 2) computer related instruments. an increase in computer assisted measurements of body image has been reported in the literature. most of these studies have been performed on patients with neurological disturbances rather than on patients with psychological disturbances, since testing for psychological disturbances usually requires subjective input.68,69 3) psychophysical measures. these measures include size estimation and image distortion techniques that allow comparisons between perceived body size and the subject’s actual body size. these tests are primarily used for patients with eating disorders. 4) functional tools. these tools are being developed by rehabilitation specialists for patients who have neural-based disturbances. these tools are used in an attempt to relate everyday performance to body image disturbances.44 silhouettes and contour drawings seem to be gaining in popularity and are the most popular tool for assessing the subjective element of body image disturbance.70 in these studies, subjects select the figures they think most accurately describe their present self and their ideal self. the difference between the responses is used to estimate the subject’s degree of 30 dissatisfaction.66 in 1995, at least 21 sets of contour drawing tests existed.66 many of these tests had not demonstrated validity or reliability.66 the draw a person test (dap) was developed in the 1940s. this test is built on the assumption that an individual’s spontaneous drawings of a human figure represent a projection of the individual’s own body image.20 machover was the researcher who did most of the early work on the dap test.65 modifications of the dap have included blindfolded drawing,71 and the “inside-of-the-body test” that includes the subject’s internal organs.72 three formal measurements can be taken of the dap. they are: area, which is considered to reflect self-assessment in relation to the environment; height, which is interpreted as an indication of feelings of relative self-significance; and centeredness, which is considered to be related to the subject’s general security level and the subject’s orientation toward reality.73 fisher and cleveland30 reviewed studies using figure drawings as a measure of body image. fisher and cleveland’s main conclusion was that the draw a person test may be valuable but was used in an impressionistic manner. fisher and cleveland found difficulties differentiating which aspects of the drawing were linked to body image, which to drawing skills, and which were due to how the drawing was obtained. 31 gerda alexander utilized clay as a measurement of body image.17 initially she used clay to make students aware of their own body images. she found that missing elements, lack of body feeling, disordered movements and inadequate feelings, organic sickness, and physical adjustment were visible in clay. she also noticed that the same defects would show up in the student’s modeling no matter how often the student modeled in clay, and that the student only succeeded in modeling when the missing body awareness was awakened and all sympathetic system disturbances were removed. she claims that the students themselves understood that they were modeling their own self-image, and that their whole personality was shown in the model. some students consistently had too much clay, while others never had enough no matter how much clay they started with. some students modeled a figure directly out of the clay, while others divided the clay into six parts on which they first worked and then put together as a whole person.17 assessing body image always has been considered difficult,74 because body image is an abstract concept dealing with attitudes, the mind, and interpersonal values.74 body image measuring techniques also have been difficult to assess, because some techniques might be measuring mental health and social behavior as much as body image. different fields also may attempt to measure different aspects of body image and for different purposes. a psychologist might look at body image to measure the 32 development of an individual. a sociologist might look at body image to learn about the client’s social interactions. a psychiatrist might be interested in body image to find clues to mental illnesses.74 body image and somatic education the field of somatic education, including the feldenkrais method, the alexander technique, and eutony all mention the importance of the client’s self-image. the founders of these fields, moshe feldenkrais, f.m. alexander, and gerda alexander, even considered self-image to be one of the central parts of their methods.15,16,17 in his book awareness through movement,15 feldenkrais writes about the self-image as consisting of movements, sensations, feelings, and thoughts, and that each one of these components will be present in any action. without all four of these components, life is endangered. the feldenkrais method is an educational method, and a central educational theme in the feldenkrais method is that humans limit their potential by limiting their movements and developing habits. a child’s self-image changes rapidly as the child goes from rolling, to crawling, to standing, to walking and to other learned movements. feldenkrais believed15 that as individuals develop a certain movement repertoire, they tend not to vary that repertoire or the way they do these movements very much. feldenkrais also discussed learning,15 and believed that learning and 33 education usually ends when an individual has achieved his objective. the objective could be to pass a test for a grade, improve the speech to where he can be understood, or some other goal that the individual or society has deemed important. because humans tend to learn to their objectives, they seldom use their brain cells and bodies in many different patterns and combinations. therefore, according to feldenkrais15 the self-image will be smaller than the potential, since the self-image is made up from patterns and combinations that each individual actually uses. so a man’s selfimage is the result of his own experience. central to feldenkrais’ thinking was that a systemic correction of the image is quicker and more effective than corrections of a single action. therefore the feldenkrais method, whether awareness through movement or functional integration, deals with the whole person and not with correction of single movements.15 the feldenkrais method consists of two different kinds of lessons. awareness through movement (atm) is the verbally directed form of the feldenkrais method. an atm lesson consists of gentle exploratory movement sequences around a specific human function such as walking, reaching, bending etc. with the intention of increasing awareness of multiple possibilities of action. atm lessons are usually taught to a group of students.20 functional integration consist of a practitioner using words and non-invasive touch to guide an individual student to an awareness of existing and alternate movement patterns. the teacher communicates to the student how he or she organizes him or herself, and suggests 34 additional choices for functional movement patterns. in functional integration the intent of the student is to communicate, not correct.20 if, as this literature indicates, changes in body image occur as we grow and mature7,between the genders,8 as well as disease specific image disturbances,9,10,11and if the feldenkrais method is proven to influence a client’s body image, then a logical conclusion would be that the feldenkrais method could benefit patients with a body image disturbance. should the above assumptions prove correct, physical therapists then must start considering somatic education methods, such as the feldenkrais method, as a valuable treatment tool. 35 chapter 3 methods population and sample eighteen subjects volunteered for the study. all eighteen subjects completed a semantic differentiation scale (see appendix) designed to measure body image. the four subjects with the lowest scores on the semantic differentiation scale were chosen to participate in the study. the reason for choosing the subjects with the lowest score was that they had the most room to improve the score on the semantic differentiation scale. a high score on the semantic differentiation scale indicates more satisfaction with the person’s body image, and, therefore, there is less room for improvement. protection of subjects rights all subjects that participated in this study signed an informed consent form (see appendix) prior to participating in the first awareness through movement class. setting the awareness through movement lessons took place during the summer of 1999 in a classroom in the physical therapy department at the university of central arkansas. 36 treatment the treatment for subjects one, two and three was awareness through movement lessons. the awareness through movement lessons were chosen from the 1992-1996 professional feldenkrais training. all awareness through movement lessons work on the body as a whole system. feldenkrais believed that a systematic correction of the image is quicker and more effective than corrections of a single action.15 the lessons chosen for this study addressed all areas of the body to achieve a systematic effect of the body image. measurement methods each subject’s concept of body image was measured using a semantic differentiation scale. the four subjects that were chosen to participate in the study completed a semantic differentiation scale before the first awareness through movement lesson, after three weeks, and after the last lesson. the subjects also wrote about their concept of their own body image before the first awareness through movement lesson, and after the last awareness through movement lesson. the researcher was present when the subjects wrote about their body image, both before and after the awareness through movement lessons. at the conclusion of the study the subjects had a chance to say anything they wanted to about their concept of body image and ask questions about what the study was trying to measure. the semantic differentiation scale was constructed using ten 37 pairs of osgood’s evaluative adjectives.70 the adjectives were chosen from osgood’s list of 15 evaluative adjectives.70 van deusen44 used a semantic differentiation scale using similar adjectives to measure body image in subjects with rheumatoid arthritis. for the current study, van deusen’s scale was modified by the substitution of light-dark for the previous impaired-unimpaired. the terms impaired-unimpaired were deemed inappropriate for the healthy college students used in this study. data collection the four subjects were numbered according to when they scheduled their first atm/tutoring session. the first subject to schedule an appointment was labeled one, the second two and so on. subject one received six weeks of feldenkrais lessons. subject two received feldenkrais lessons during the first three weeks, and then was tutored one on one by the researcher during the next three weeks. subject three received tutoring during the first three weeks, and then feldenkrais lessons during the last three weeks. subject four received tutoring during the whole six week period. each awareness through movement lesson was administered for 45 minutes two times per week. tutoring in academic subjects served as the placebo intervention for the study and was chosen so that any change in body image following awareness through movement lessons would be attributed to the lessons rather than the one-on-one attention received by the subjects. 38 data analysis since this project was essentially a single subject study, no traditional statistical analysis was performed. the scores on the semantic differentiation scale for weeks 0, 3 and 6 were compared. comparisons were made between subject’s scores on the semantic differentiation scale to see if there was a difference between the subjects that received, versus the subjects that did not receive, awareness through movement lessons. the study also examined trends in scores on the semantic differentiation scale over the six week period for each subject. the written description of the body image that the subjects wrote before and after the awareness through movement lessons was used as part of the description of that particular subject’s idea of body image. since this study was a single subject design, it was important to identify the subject’s idea about body image. reliability a coefficient alpha test was performed on the 18 pre-test semantic differentiation scale scores to test the reliability of the semantic differentiation scale. the coefficient alpha for the 18 pre-test semantic differentiation scale scores was 0.750. according to nunnally and bernstein75 a coefficient alpha above 0.70 is considered moderate and sufficient for use. 39 chapter 4 results the average score on the semantic differentiation scale was 45.1, with scores ranging from 30-60. the four subjects with the lowest scores on the semantic differentiation scale were chosen to participate in the study. the average score for the four chosen subjects was 32.5, with scores ranging from 30-37. the four subjects completed a semantic differentiation scale at weeks 0,3,1and 6. for a summary of the scores see figure 1. subject one subject one received six weeks of awareness through movement lessons and scored 30 on the semantic differentiation scale before the lessons started. after three weeks of lessons, subject one scored 44 on the semantic differentiation scale. after three more weeks of awareness through movement lessons, subject one scored 46 on the semantic differentiation scale (see fig.1). subject two subject two received three weeks of awareness through movement lessons, followed by three weeks of tutoring. subject two scored 30 on the semantic differentiation scale before the lessons started. after three 40 weeks of lessons, subject two scored 49 on the semantic differentiation scale. after the three weeks of tutoring, subject two scored 46 on the semantic differentiation scale (see fig.1). subject three. subject three received three weeks of tutoring, followed by three weeks of awareness through movement lessons, and scored 33 on the semantic differentiation scale before the tutoring started. after three weeks of tutoring, subject three scored 46 on the semantic differentiation scale. after three weeks of awareness through movement lessons, subject three scored 53 on the semantic differentiation scale (see fig 1). subject four subject four received six weeks of tutoring, and scored 37 on the semantic differentiation scale before the tutoring started. after three weeks of tutoring, subject four scored 42 on the semantic differentiation scale. after another three weeks of tutoring, subject four scored 36 on the semantic differentiation scale (see fig. 1). 41 figure 1 0 weeks 3 weeks 6 weeks subject one 30 44 46 subject two 30 49 46 subject three 33 46 53 subject four 37 42 36 30 32 34 36 38 40 42 44 46 48 50 52 54 56 0 w eek s 3 w eek s 6 w eek s time se m an tic d iff er en tia tio n sc al e subject 1 subject 2 subject 3 subject 4 42 the subjects’ impression of body image the subjects were asked to write about their concept of body image before and after the six week study. the results for each subject are provided in the following paragraphs. subject one subject one received six weeks of awareness through movement lessons. before the study, subject one wrote that body image: “is a way to tell how a person feels about themselves. i feel mine to be boring and at times very unattractive. i think it can change slightly, depending on a person’s mode.” subject one’s initial writing was very short and generalized. after the awareness through movement lessons, subject one’s writing was more personalized about her own body image: “ body image is very much associated with body awareness. i am now more aware of what my body will and won’t do….i am now more frustrated with my body , because i am aware of what i can and can’t do. but i am working on (body image) it more, and have an idea of where i would like to be.” 43 subject two subject two received three weeks of awareness through movement lessons, followed by three weeks of tutoring. initially, subject two wrote about body image as something that is mostly formed by others: “i think body image is formed largely by others. others may make a comment about a part of your body….but it is also formed by the way you interpret the actions of others. i do not think it is formed very much by a person’s own visual observations about their own body.” after the study, subject two emphasized a more intrinsic view of body image: “a person can emphasize good or bad aspects of their body image. it depends on that person what they see. this image can change if the person wants or allows it to." subject three subject three received three weeks of tutoring followed by three weeks of awareness through movement lessons. subject three wrote mostly about the negative aspects of the body image: “although many people tell me i have a wonderful figure, i hate it………i once thought that my uncoordination stems from not wanting the awareness of my body in space.” subject three also mentions that she is very competitive: “mentally i am very competitive. i want to be the best, and i want to be in control. i think my obsession (i will admit “it”), has become an obsession 44 with my body image stems from wanting to control and to be the best…….i am aware of my poor body image which even makes me more obsessed with it. i can not find a concrete reason as to why?” after the study, subject three wrote: “i have learned, or rather re-learned, that i have no coordination. my body has many different minds that for whatever reason choose not to function together….for example, my left and right side don’t work together. rather they do work together, but they don’t function in harmony.” subject three also mentioned the frustration with not being able to do simple cross-body tasks: ”i am very frustrated and upset when i fail. i hate not being able to accomplish such simple tasks such as moving to the right, while looking to the left.” subject three did mention that there was an increase in awareness after the awareness through movement lessons: “i am much more aware of my body when i want to be. i don’t necessarily walk around thinking about my body, but when i do, i am able to notice even the smallest of differences.” subject four subject four participated in six weeks of tutoring and did not receive any awareness through movement lessons. before the study, subject four wrote: “the first time i really started to think about my body image was when i was 10 years old. it was when i realized that i needed a bra, but no 45 one else in the 4th grade did. i became self-conscious……i became very quiet-meaning i kept to myself. but all along i was aware of how i looked and pretended not to care. now i realize my body image is unhealthy and i need to change it.” so initially subject four wrote about body image from a very personal standpoint. after the study subject four wrote: “it seems that media controls how many (especially younger people) feel about their body image; i wish it wasn’t that way; it needs to be more personal without being social. body image is just one part of self-image. i can’t remember not feeling awkward and clumsy. i don’t think it matters. i must look to the present and the future of my life and see what is important. i think a way to success/happiness is how one feel about oneself.” 46 chapter 5 discussion this study suggested a change in body image, as measured by a semantic differentiation scale, in the three subjects that received awareness through movement lessons. all subjects recorded an increase in their score on the semantic differentiation scale after the first three weeks. this increase occurred regardless of whether the subject received awareness through movement lessons or not. this initial increase could possibly be due to the novelty of the increased one-on-one attention that all four subjects received. after the study was completed, the score on the semantic differentiation scale of subject four, who did not receive any awareness through movement lessons, had returned to slightly below the baseline level. in the case of subject two, who received awareness through movement lessons for the first three weeks, but not for the second three week period, there was a very slight decrease in the semantic differentiation scale score between the first three weeks and the second three weeks. the score after week six was higher than baseline level. for subject one, who received awareness through movement lessons for the whole six week period, and subject three, who received awareness through movement lessons during the last three weeks of the study, the score on the semantic differentiation scale continued to increase during the second three week period. 47 feldenkrais wrote that the body image is never static, and changes from action to action.15 he further stated: “the parts of the body that are easily defined in the awareness are those that serve man daily, while the parts that are dull or mute in his awareness play only an indirect role in his life and are almost missing from his self-image when he is in action.”15 the subjects that participated in the awareness through movement lessons did score higher on the semantic differentiation scale, at the conclusion of the study, than the subject that did not receive lessons, even though the subject that did not receive the lessons had a higher base score on the semantic differentiation scale. these higher scores could come from the fact that awareness through movement lessons involve the whole body, and take the person through different combinations of movements than to what the subject is accustomed. this makes the person use the body in different positions, and by the use of certain body positions as constraints, the person has to move areas that they habitually do not move. the constraints also force the person to move the areas of the body that they normally move, but to move in a novel way. the person might have to reverse origin and insertion, or oppose two body parts that normally move in the same direction. if as feldenkrais claims in his book “awareness through movement”,15 “the way a man holds his shoulders, head, and stomach; his voice and expression; his stability and manner of presenting himself-all are based on his self-image”, then it would make sense that 48 learning how to move and hold the shoulders, head, and stomach would also change the person’s general body image. all three subjects that received awareness through movement lessons showed changes in the score on the semantic differentiation scale, while the subject that did not receive lessons only showed an initial i ncrease, and then a return to the base level. based on the four subjects that participated in this study, there is an indication that, as measured by a semantic differentiation scale, awareness through movement lessons may affect a person’s body image. the reason for this positive increase in body image is difficult to understand, since the semantic differentiation scale is a very general instrument. pons, preston and garraghty76 have found that the brain has plastic properties, and that after amputations the part of the somatosensory cortex that corresponds to the amputated limb reorganizes to include another area of the body. this re-organization has been reported to occur in a time span of four weeks77, so the time frame of this study could provide time for a change in the organization of the cortex. however, reorganization after an amputation is very precise to the area of the amputated limb, and the awareness through movement lessons that the subjects in this study completed were general lessons involving the whole body. since the semantic differentiation scale also is a very general instrument for measuring a general idea of body image, it is very 49 doubtful that the changes in body image came from a re-organization in the somatosensory area. the subjective experience the writings on body image that the subjects did before and after the study did not give a clear indication of their experience of body image, or of any connection between what the subjects experienced and what the semantic differentiation scale suggested. subject one wrote that: “i am now more frustrated with my body, because i am aware of what i can and can’t do.” this change is interesting in light of the fact that the scores on the semantic differentiation scale went up throughout the study for subject one. even though the subject felt more frustrated with the body, the scores on the semantic differentiation scale indicated a more positive body image. subject one also wrote that: “body image is very much associated with body awareness.” this statement could indicate that the awareness through movement lessons increase the person’s body awareness and that automatically changes the body image in a positive way, even if the person feels more frustrated with the body. subject two’s initial concept of body image seemed to be very influenced by others. subject two wrote: “i think body image is largely formed by 50 others….but it is also formed by the way you interpret the actions of others. i do not think it is very much formed by a person’s own visual observation about their body.” after the study, subject two had a more intrinsic view of the formation of body image. “a person can emphasize good or bad aspects of their body image. it depends on what that person what they see. this image can change if the person wants or allows it to.” this shift suggests a change in thinking about body image. feldenkrais has been quoted as saying: “i am not after a flexible body. i am after a flexible brain.”78 if a person is moving in new ways, the brain has to work in a different pattern. according to feldenkrais, that change in brain pattern will change the person’s thinking and acting in the world. subject two’s writing suggests a shift in thinking from an extrensic to an intrinisic view of body image. this shift could indicate that the body image has changed, or that subject two became aware of the ability to change the body image, as a result of having been taught awareness through movement lessons. subject three initially wrote about the negative concept of body image. after the study, subject three indicates that: “i have learned, or rather relearned, that i have no co-ordination….i hate not being able to accomplish such simple tasks such as moving to the right, while looking to the left.” subject three did indicate an increased awareness though: “i am much more aware of my body when i want to be. i don’t necessarily walk around 51 thinking about my body, but when i do i am able to notice even the smallest of differences.” subject three was the subject that had the largest positive change in the scores on the semantic differentiation scale. however, subject three, like subject one, experienced an increase in frustration about her own inability to perform certain movements that came through in the writing, but there was still a positive increase in the score on the semantic differentiation scale. subject four initially wrote about body image from a personal experience: “the first time i really started to think about body image i was 10 years old…..now i realize my body image is unhealthy and i need to change it.” after the study subject four wrote: “it seems the media controls how many(especially younger people) feel about their body image. i wish it wasn’t that way; it needs to be more personal without being social.” she went on stating that: “i can’t remember not feeling awkward and clumsy. i don’t even think it matters.” even though subject four went from a more intrinsic to a more extrensic view of body image, she does not mention much about increased awareness, or possibilities of changing one’s body image. subjects one, two and three who received awareness through movement lessons either mentioned increased awareness, or ability to change the body image. since subject four did not receive any awareness through movement lessons, one would not expect any changes in awareness or how to change the body image. the possibility exists that 52 subject four’s change, from a more intrinsic to a more extrensic view of body image, was caused by this study. subject four knew that this study was about body image. maybe the mere act of participation in a study on body image makes one increasingly aware of what forms and influences one’s body image. since there was no indication of subject four having an increased awareness of body image or awareness of being able to change the body image, subject four’s change was attributed to either a heightened awareness about what forms or influences body image, or a natural fluctuation in thoughts about body image. further research a need exists for further research in the field of body image and feldenkrais, or any other form of somatic education. this study has limited value for the general practitioner of physical therapy. until the american physical therapy association has a specialization for somatic educators, or for physical therapists interested in psychosomatic issues, the number of studies by physical therapists investigating body image will be limited. for the general physical therapist practicing in the united states, there probably would be more interest in a study that would indicate if the feldenkrais method could increase a person’s awareness of a specific body part, or decrease the awareness of a certain body part. to be able to perform a study that is more specific to body parts, a different measurement method must be used. body image is a subjective 53 experience that is difficult to measure. to ask a person what parts of themselves they are not aware of is probably of no use. if one is not aware of something, one can not indicate one’s lack of awareness, because then one is aware of whatever one claims not to be aware of. so to measure what parts of the body a person is unaware of, the person must perform something that indicates a lack of awareness of a certain area of the body. gerda alexander17 used clay modeling as a way to find out about a person’s body image. she had the person model themselves with their eyes closed for 15 minutes. she looked at what method the person used to put together the figure, thickness of the figure, and what was missing. she had the person do this before and after the eutony sessions.17 clay modeling could very easily be used before and after feldenkrais sessions, to measure changes in body image. however, clay modeling requires interpretations by the researcher. the field of physical therapy in the united states appears to be avoiding body image research, as indicated by the lack of articles in journals traditionally covering the field of physical therapy. this lack could possibly be because of the problem with interpretation and qualitative vs. quantitative research. if we, as physical therapists, want to find out if the feldenkrais method can improve someone’s sense of a certain body part, we have to allow more artistic, interpretive, and qualitative studies to be performed and published. it could be of great help to a patient to be more aware of an ankle that 54 they keep spraining, or a neck that aches due to the person having no awareness of the neck. to do research on body image and feldenkrais, we need to interpret clay models, draw a person tests etc. body image is at least partly an internal, subjective experience31, and in the author’s opinion, to research a subjective experience, the client must be allowed to express that subjective experience through drawing, modeling, or writing. the researcher must then interpret this act of creation of the subjective experience. physical therapy clinicians, faculty, and students need to 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graduate review. 1978;june:7-14 microsoft word 2_guimond_french_pdf.doc feldenkrais research journal • volume 2 (2005) article qui va là? point de vue de la méthode feldenkrais® d'éducation somatique odette guimond phd abstract referring to seminal texts and influential authors in the field of biology of cognition, the author discusses connections between mind and body, insisting on the critical role of the body in the acquisition of knowledge viewed as a biological phenomena. she reviews in that context the principles of the feldenkrais method of somatic education whose goal is essentially to restore the integrity and unity of sensorial, affective and intellectual levels of the self. this approach designed to enhance body awareness and consolidate body image through sequences of movements and functional integration is said to be most beneficial to actors and artists in their search for creativity but it may benefit as well individuals who seek improvement of their health and personal growth. keywords feldenkrais method, somatic education, body awareness, movement, body, mind, learning copyright ©: the copyright for this paper remains with the author(s). first published: prisme, psychiatrie, recherche et intervention en santé mentale de l’enfant, no 37, montréal, hôpital sainte-justine, 2002. please cite: feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org iff academy feldenkrais research journal 2 (2005) ® 2005 by the author issn 1817-4000 article publié à l'origine dans prisme, psychiatrie, recherche et intervention en santé mentale de l'enfant, no 37 (corps culture identité), montréal, hôpital sainte-justine, 2002, pp.98-106. isbn: 2-922770-34-06; issn:17-1-7599. qui va là? point de vue de la méthode feldenkrais® d'éducation somatique odette guimond abstract referring to seminal texts and influential authors in the field of biology of cognition, the author discusses connections between mind and body, insisting on the critical role of the body in the acquisition of knowledge viewed as a biological phenomena. she reviews in that context the principles of the feldenkrais method of somatic education whose goal is essentially to restore the integrity and unity of sensorial, affective and intellectual levels of the self. this approach designed to enhance body awareness and consolidate body image through sequences of movements and functional integration is said to be most beneficial to actors and artists in their search for creativity but it may benefit as well individuals who seek improvement of their health and personal growth. la célèbre réplique introductive à cet hamlet de shakespeare, considéré depuis des siècles comme un chef d'oeuvre universel, a fait couler beaucoup d'encre. combien de commentaires et de lectures n'a-t-elle soulevés, en dehors même du champ des études théâtrales et littéraires! la psychanalyse s'est nourrie abondamment des ambiguïtés constitutives de cette oeuvre, comme des chefs d'oeuvre du théâtre grec. comment ne pas être fasciné en effet à la fois par la structure de l'oeuvre et par la fonction centrale accordée au théâtre, notamment par la mise en abyme de la représentation de la souricière devant le roi, cette stratégie ultime de hamlet pour observer, sur le visage du spectateur soupçonné de meurtre, la révélation de sa véritable identité et pour se retrouver ainsi confronté luimême à ses propres choix? la traduction française que l'on donne de la première réplique de bernardo (<who's there?»), l'un des gardiens des remparts d'elseneur où se dessine l'ombre du spectre, fait parfois appel au phénomène de l'être («qui est là?») ou à celui du mouvement (« qui va là?»). en ce qui me concerne, je préfère la seconde. elle met à mon sens davantage en lumière le fait que la question de l'identité est organiquement reliée à la prise de conscience du corps en mouvement dans l'espace. si gerald m. edelman reste convaincu que les artistes ne peuvent s'intéresser au phénomène de la conscience qu'en amateurs 2, antonio r. damasio (2001), d'un autre point de vue, s'appuie sur différentes oeuvres, entre autres sur l'oeuvre de shakespeare, pour faire connaître au grand public les avancées dans les domaines de la neurologie et de la psychiatrie 3. les ouvrages de vulgarisation de gerald m. edelman, comme biologie de la conscience ou comment la matière devient conscience, ceux de antonio r. damasio, l'erreur de descartes ou le sentiment même de soi, ceux d'israël rosenfield, comme une anatomie de la conscience, recoupent les réflexions de francisco j. varela, biologiste et spécialiste des sciences cognitives 4 et rejoignent 2 les recherches que mènent depuis plus d'une centaine d'années les fondateurs et les praticiens de plusieurs méthodes d'éducation somatique 5, particulièrement de la méthode feldenkrais®. celle-ci a depuis longtemps attiré l'attention de varela, comme de plusieurs autres scientifiques, et cela du vivant même de moshe feldenkrais, docteur en sciences physiques et judoka 6. le corps, métaphore de l'esprit? l'esprit, métaphore du corps? un article comme celui de carl ginsburg, portant sur « the somatic self revisited » 7, donne des pistes importantes non seulement à propos de l'apport de l'éducation somatique dans le domaine de l'étude de la conscience, mais également sur la façon dont elle envisage la question de l'identité. c'est qu'en effet l'éducation somatique s'intéresse à l'apprentissage de la prise de conscience du corps en mouvement dans l'espace et en relation avec son environnement, incluant de ce fait le contexte d'apprentissage, la culture de l'individu. dès lors la question n'est plus tant de savoir qui va là, mais de s'intéresser au processus par lequel un être vivant sait, reconnaît qui il est et quels sont les choix qui s'offrent à lui pour agir le plus efficacement et avec le minimum d'effort dans une situation donnée, c'est-à-dire avec un maximum d'harmonie et de qualité, de sensibilité et de conscience, voire de créativité. cette question, associée aux processus cognitifs, a longtemps été envisagée comme si «le corps» ne participait pas au processus de la cognition, un processus dit «mental», comme si la tête ne faisait pas partie du corps, ou que le corps était dénué de tête. il aura fallu une liberté d'esprit assez marquée, ou peut-être plus simplement une qualité d'observation et de réflexion scientifiques dénuées de préjugés philosophiques ou religieux, pour que la recherche médicale en arrive à proposer récemment que le cerveau soit considéré comme un organe faisant partie du corps, et que ce à quoi on réfère depuis des siècles comme étant l'esprit émerge du fonctionnement du système nerveux 8 (edelman et tononi, 2000). telle est également l'hypothèse de base de l'éducation somatique et particulièrement de moshe feldenkrais depuis les années '40, qui permet d'échapper au dualisme d'une pensée réductionniste qui s'est imposé depuis descartes. si le rêve scientifique qui nourrit les recherches sur la conscience aboutit par exemple chez edelman à la production d'artefacts sophistiqués (des robots «conscients», c'est-à-dire capables d'apprendre, et non pas programmés de l'extérieur) dont la fonction serait de valider objectivement et quantitativement le fonctionnement d'un organe vivant comme le cerveau, celui des éducateurs somatiques émane avant toute chose de leur expérience subjective et repose davantage sur des données qualitatives. souvent confrontés eux-mêmes à un problème de santé ou plus généralement à une problématique de survie, ils font, tout comme les artistes, appel à leur créativité pour apprendre à sentir davantage de l'intérieur le fonctionnement de leur organisme et de leur environnement et pour guider leurs élèves dans un processus d'apprentissage similaire. tout comme les artistes, ils ont créé et appris à maîtriser, dans un parcours exigeant de longues années d'apprentissage, des techniques extrêmement précises et nourries de connaissances objectives, mais qui reposent sur une définition de la conscience du point de vue de l'expérience sensible et vécue. bref du point de vue des qualia, question sur laquelle achoppe la recherche scientifique actuelle. les processus cognitifs, pour l'éducation somatique, ne font qu'un avec le processus biologique d'autopoièse tel que défini par humberto maturana et francisco j. varela dans autopoiesis and cognition. the realization of the living dans les années 197o 9, selon lequel un être vivant recrée constamment sa propre identité fonctionnelle, à travers le mouvement incessant de ses composantes 3 et de sa structure. le cerveau et le reste du corps en effet, ne font qu'un, le cerveau se nourrissant et s'affectant de mouvements, de sensations, d'expériences de tout le système nerveux, squelettique, musculaire, digestif... maturana et varela ont été les premiers biologistes à poser clairement l'hypothèse que la connaissance était un phénomène biologique et à lancer le débat sur cette question dans le milieu scientifique. comment le sol vous reconnaît-il? s'il existe un miroir qui ne puisse pas mentir, et qui soit révélateur non pas des apparences mais de l'identité même, c'est bien la relation à la gravité. moshe feldenkrais ne disait-il pas que la plus grande découverte de freud était l'utilisation du divan? en éducation somatique, la qualité du contact avec le sol et la capacité de modifier subtilement cette relation à toutes les étapes du mouvement, c'est-à-dire de la vie même, à chaque seconde de la respiration, sont un révélateur de la personne et, pour moshe feldenkrais, celui de la qualité du fonctionnement du système nerveux. les empreintes au sol, si révélatrices pour des policiers ou des scientifiques qui s'intéressent au passé des espèces vivantes, sont au coeur de l'éducation somatique. mais plutôt que d'y découvrir uniquement les traces d'un passé éteint, caché ou dénié, on décèle dans la relation à la gravité, en éducation somatique, la manifestation du moment présent, c'est-à-dire à la fois les traces d'une mémoire et la façon dont une personne arrive ou non à transformer ses intentions en actions, à s'organiser dans le temps et l'espace. de plus, le rapport ludique avec le sol, le recours au toucher comme mode premier de communication permettent de remettre en mouvement les mécanismes profonds d'apprentissage, de survie et de création. moshe feldenkrais fait constamment appel à trois grands thèmes: l'unité indissociable du corps et de l'esprit, l'importance primordiale de la relation à la gravité et le pouvoir squelettique qui s'y rattache, l'image du corps (autrement appelé le schéma corporel) comme référence à soi qui se clarifie et donc qui se modifie au cours des leçons d'éducation somatique. il a écrit de nombreux livres dont la conscience du corps (1971) ou l'évidence en question (1997), portent des titres évocateurs. déjà il publiait, en 1948, l'être et la maturité du comportement (1993), une étude sur l'anxiété, l'apprentissage, la sexualité et le rapport à la gravité. une synthèse surprenante pour l'époque, et cela même pour ceux qui avaient une vision globale de l'être humain. il écrira, l'année suivante, en 1949, the potent self (en français: la puissance du moi, 1990) qui propose l'apprentissage de la spontanéité (opposée à la compulsion) et qui ne sera publié qu'un an après la mort de son auteur. il existe deux modalités développées par moshe feldenkrais pour guider l'apprentissage. les leçons de groupe de prise de conscience par le mouvement'® sont composées de séquences de mouvement élaborées pour développer une meilleure organisation neuro-motrice. reliés à des fonctions spécifiques, ces mouvements sont présentés de manière inhabituelle, non linéaire, afin de stimuler la créativité, de changer ses habitudes et de trouver des alternatives qui soient confortables, basées sur ses propres repères sensoriels. dans les leçons individuelles d'intégration fonctionnelle'®, l'élève peut également, en plus des consignes verbales, être guidé par le toucher du professeur qui explore avec lui de nouvelles options en mouvement. c'est un toucher qui écoute et qui accompagne. un toucher suggérant des schèmes moteurs oubliés ou qui n'existent pas encore dans le répertoire de mouvements de cette personne. un contact qui aide à préciser des zones floues dans la perception que la personne a d'elle-même. ce que fait le professeur, c'est entretenir un dialogue avec l'élève par le mouvement. en résumé la méthode feldenkrais® repose sur une 4 compréhension approfondie (et d'abord expérientielle) de plusieurs principes fondamentaux: l'organisation du corps en mouvement dans le champ de la gravité; le fonctionnement auto-régulé du système nerveux; l'intégrité indissociable de la personne aux plans sensoriel, émotif et intellectuel; la primauté de l'image du corps dans le contrôle du comportement. les conditions créées par notre méthode misent sur nos capacités d'apprentissage. c'est une approche stratégique qui s'intéresse au «comment» plutôt qu'au « pourquoi » des choses. elle utilise la réduction de l'effort et de la vitesse; l'augmentation de la sensibilité fine; la recherche du confort et de l'aisance; une absence de modèle à imiter; la recherche des indices personnels de qualité; une progression graduée dans la complexité; une vision globale de tout le corps et de toute la personne en mouvement. les principales stratégies de la méthode s'articulent autour d'une approche sécurisante pour l'élève, la plus indirecte possible par rapport au lieu de la douleur, du trauma ou du «problème», dans la perspective que l'on s'adresse à l'ensemble de la personne, à l'intelligence de son système nerveux, à ce qui est en santé en elle, et non à ses perceptions biaisées. comment savez-vous qui vous êtes et où vous allez? le point de vue de l'éducation somatique est à la fois beaucoup plus ancien et beaucoup plus neuf qu'on ne l'imagine. beaucoup plus important et porteur de solutions organiques que l'on ne croit, face à des problématiques qui sont trop profondes et partagées par trop d'humains pour qu'elles soient seulement individuelles ou culturelles, ou de nature pathologique. on s'intéresse avec raison aux composantes chimiques du fonctionnement humain et à ce que l'étude des lésions du cerveau peut nous apprendre sur le fonctionnement et la nature même du phénomène vivant. mais ma pratique et mon enseignement dans le domaine du théâtre et de l'éducation somatique continuent à m'apprendre que, fondamentalement, les êtres humains ne peuvent assumer leur liberté et devenir pleinement créateurs sans cette reconnaissance au jour le jour de leurs habitudes de mouvement dans le champ de la gravité, de leurs préférences de comportement, de leur propre manière de faire et de percevoir. et cela non pas pour fuir leur être propre et se conformer à un modèle idéal, inaccessible tout autant qu'irréel, mais pour faire la paix avec euxmêmes et assumer ce qu'ils sont et ce qu'ils font. la prise de conscience de ses schèmes neuromoteurs est fondamentale et permet non seulement d'améliorer ce que l'on aime faire, mais aussi d'y apporter des variations créatives, que l'on pourrait parfois qualifier de changements profonds dans son comportement. au théâtre, on utilise des mots, beaucoup de mots. on les apprend même «par coeur». on les «joue». on tente de se souvenir qu'un être humain les a écrits et qu'il sont là pour nous renvoyer à nous-mêmes et communiquer avec d'autres humains. lisez une phrase qui vous touche, même si vous ne savez pas pourquoi, ou si vous croyez savoir pourquoi! nommez trois mots caractéristiques, trois qualificatifs ou images auxquels cette phrase vous renvoie. répétez cette phrase à haute voix et écoutez-la résonner en vous en laissant se préciser d'où viennent concrètement les images que vous apprenez à différencier l'une de l'autre. qu'est-ce que vous faites pour préciser ces images à l'intérieur de vous? comment savez-vous ce que vous sentez? ces images se traduiront vite par un schème de mouvement dont vous seul connaîtrez les repères, qui vous permettent de les répéter jusqu'à ce qu'ils deviennent habituels. jouez à faire une gamme entre les trois schèmes de mouvement qui vont s'intégrer dans une forme que vous n'auriez pu prévoir. cela est simple et très amusant. vous voilà mis en contact avec un nouveau personnage dont vous ne pouviez peut-être même pas savoir qu'il constituait l'un des aspects de l'humanité en vous ... et de votre identité. 5 identifiez un verbe, deux, trois verbes d'action, qui sont reliés à la personne à qui vous désirez dire cette phrase, avec laquelle vous entrez par elle en relation. faites des gammes. écoutez de l'intérieur comment vous réagissez à la construction du mouvement de l'autre qui répond à votre intention, à sa relation envers vous, à la réponse qui surgit et qui se modifie au rythme des modifications de vos mouvements propres. vous venez de créer un dialogue, une relation fondamentale entre deux êtres humains. qu'aviez-vous donc à dire de si important? était-ce dans les mots? vous venez de clarifier cette relation et peut-être, de l'enrichir de manière insoupçonnée. car comment savez-vous ce que vous savez si bien à propos de vous-mêmes et de vos intentions? vous n'avez qu'à prêter un moment attention à ce que vous sentez et à ce que vous faites en mouvement, et à vous laisser guider par qui, de l'intérieur de vous-même, sait. mon propre cheminement en éducation somatique, parallèlement à ce qui m'est cher dans l'expérience artistique, m'a davantage appris, à moi comme à bien d'autres, à brûler des masques qu'à disparaître sous celui qui est imposé. c'est à cette liberté dans la construction de personnages différenciés, à cette mobilité dans l'expérience de son identité, que renvoie la prise de conscience de repères sensoriels dans la construction d'un comportement, associés à des «marqueurs somatiques», pour reprendre l'expression proposée récemment par antonio r. damasio 10, dans un contexte d'apprentissage. c'est ce que font les acteurs depuis les premières intuitions de stanislavski. mais avec les outils qu'apporte l'éducation somatique, on peut aller beaucoup plus en profondeur dans ce type de recherche, avec beaucoup plus de précision et de plaisir. au théâtre, cela est extrêmement précieux. dans la vie quotidienne, cela est inestimable. ________________________________________________________________________________ professeure certifiée de la méthode feldenkrais®1, d'éducation somatique depuis 1991, l'auteure est également comédienne et metteure en scène, diplômée du conservatoire d'art dramatique de montréal en 1976. elle a complété son doctorat en études françaises à l'université de montréal en 1987, portant sur l'acteur et le corps apparent. elle enseigne depuis 1977 dans diverses universités et maisons d'enseignement théâtral et a dirigé une compagnie de théâtre pendant plus de 15 ans. elle a fondé en 1995 autopoïésis, école d'art destinée à l'intégration de la méthode feldenkrais® à la formation, à la recherche et au perfectionnement des artistes. adresse: 1012, mont-royal est, bureau 107 montréal (québec) h2j1x6 courriel: oguimond@videotron.ca site web://pages.inflnit.net/oguimond ________________________________________________________________________________ références damasio ar. le sentiment même de soi. paris: odile jacob, 1999. damasio ar. l'erreur de descartes. paris : odile jacob, 2001. edelman gm. biologie de la conscience. paris: odile jacob, 2000. edelman gm, tononi g. comment la matière devient conscience. paris : odile jacob, 2000. feldenkrais m. awareness through movement, health exercices for personal growth. new york : harper & row; toronto: fitz henry whiteside, 1972, 1977; hammandworth, middlesex, england, pengouin books, 1972-1977; publié en français sous les titres suivants: la conscience du corps. paris : robert laffont, 1971; la santé en 12 leçons. paris, marabout service #211, 1972, et actuellement réédité sous le titre: énergie et bien-être par le mouvement. paris: dangles, 1993. 6 feldenkrais m. l'évidence en question. paris, l'inhabituel, 1997. paru d'abord sous le titre: the elusive obvious. cupertino, meta publications, 1981. feldenkrais m. body and mature behavior, a study of anxiety, sex, gravitation and learning. new york: nt univ press, 1981; publié en français sous le titre l'être et la maturité du comportement, une étude sur l'anxiété, le sexe, la gravitation et l'apprentissage. paris: espace du temps présent, 1993. feldenkrais m. the potent self, a guide to spontaneity. san francisco: harper & row, 1985, traduit en français sous le titre : la puissance du moi. paris: robert laffont, coll. réponses, 1990. ginsburg c. «the somatic self revisited». newbury park ca: sage publications, reprint of journal of humanistic psychology 1996; 36 :124-140. rosenfield i. une anatomie de la conscience. paris: flammarion, 1993. varela fj, thompson e, rosch e. l'inscription corporelle de l'esprit, sciences cognitives et expérience humaine. paris: seuil, 1993. notes 1. feldenkrais®, prise de conscience par le movement® et intégration fonctionnelle® sont des marques déposées au canada par la feldenkrais® guild of north america et protégées au québec par l'association feldenkrais® québec, affiliée à cette dernière. l'usage de ces termes est réservé aux praticiens ayant complété une formation professionnelle à la méthode échelonnée sur quatre années, et qui répondent aux critères de certification de chacune des associations. celles-ci sont réunies au sein de la fédération feldenkrais® internationale. 2. voir la conclusion du livre de gerald m. edelman et giulio tononi, comment la matière devient conscience. paris: odile jacob, 2000. on peut y lire par exemple: « reste un point fascinant qui tient au caractère exhaustif de la quête scientifique. toutes les relations douées de sens au niveau de la conscience constituent-elles des objets pour la recherche scientifique? prenez, par exemple, les phrases sensées du langage courant ou même les échanges poétiques qui ont lieu entre humains sensibles. il nous semble, ici et maintenant, que ce ne sont pas là de bons sujets pour la recherche scientifique, sauf au sens trivial.» (p. 263) 3. voir par exemple : «raconter des histoires sans paroles est naturel. la représentation en images de séquences d'événements cérébraux, qui se produit dans des cerveaux plus simples que les nôtres, est le matériau dont sont faites les histoires. c'est peut-être bien parce que l'on s'est mis à raconter une histoire où les mots n'étaient pas encore là que l'on a fini par créer des pièces de théâtre et finalement des livres (...) quoi qu'il en soit, il est merveilleux de penser que les tout premiers cerveaux qui ont construit l'histoire de la conscience répondaient à des questions qu'aucun être humain n'avait encore posées: quel est celui qui fabrique ces images qui viennent juste de se produire? qui possède ces images? «qui est là?», comme dans le premier vers émouvant de hamlet, pièce qui illustre si puissamment la stupéfaction des humains, lorsqu'ils se penchent sur les origines de leur condition. les réponses devaient venir d'abord par quoi j'entends que l'organisme avait à construire, initialement, le genre de connaissance qui ressemble à des réponses. l'organisme devait être capable de produire cette connaissance primordiale, qu'on n'avait pas sollicitée, afin qu'un processus de connaissance puisse se trouver fondé (...) raconter des histoires, au sens d'enregistrer ce qui arrive sous la forme de cartes cérébrales, voilà qui est probablement une obsession du 7 cerveau et qui commence probablement tôt, à la fois en termes d'évolution et en termes de structures neurales requises pour créer des récits. raconter des histoires vient avant le langage, puisque c'est, en fait, une condition du langage (...) in: a. r. damasio, le sentiment même de soi. 1999: p. 192193 4. voir par exemple francisco j. varela, evan thompson, et eleanor rosch, l'inscription corporelle de l'esprit, sciences cognitives et expérience humaine. paris: seuil, 1993. 5. parmi les fondateurs de méthodes qui ont fait leurs preuves, frederick matthias alexander, cet acteur australien à l'origine de la technique alexander, à la fin du xixe siècle, constate avec horreur qu'il perd la voix sur scène, au cours de sa performance, sans qu'aucun spécialiste ne puisse lui venir en aide. il est amené à devoir déjouer par lui-même ses habitudes de comportement plutôt qu'à demeurer la victime de son stress. en même temps que moshe feldenkrais développe ses idées fondamentales, le docteure lily ehrenfried, médecin allemande immigrée en france, crée la gymnastique holistique ®: si elle ne peut plus pratiquer la médecine, du moins cherche-t-elle à ce que les gens ne deviennent plus malades. elle mise sur le maintien de la santé, sur la prévention et l'éducation. s'inspirant aussi, comme lily ehrenfried, des travaux d'elsa gindler (pionnière qui a marqué les années '20), gerda alexander, au danemark, danseuse ayant enseigné ta rythmique de jacques-dalcroze dans sa jeunesse, crée sa méthode d'eutonie, axée sur la recherche du «bon tonus», quand elle se voit atteinte à 25 ans d'arthrite rhumatoïde. plus récemment, thérèse bertherat en france, kinésithérapeute dans la lignée des recherches de mézières, crée l'antigymnastique et fait savoir au grand public francophone que le corps a ses raisons. aux états-unis, bonnie benbridge cohen, elle aussi danseuse et thérapeute à l'origine, poursuit toujours ses recherches autour du concept du body-mind centering. cette liste est loin d'être exhaustive. 6. la méthode feldenkrais® porte le nom de son auteur, un juif né en russie en 1904. moshe feldenkrais a gagné la palestine par ses propres moyens à l'âge de 14 ans et contribué à l'édification de son pays. a partir de 1928, il a étudié à paris, où il est devenu simultanément docteur en sciences physiques et ingénieur. il a travaillé, entre autres, au laboratoire des juliot-curie. sportif accompli, il a été très actif dans l'implantation du judo en france et en angleterre dans les années '30 et '40. ce long travail d'apprentissage et d'enseignement d'un art martial a été une source d'inspiration très importante pour l'élaboration de sa méthode et sans doute en ce qui concerne son intérêt pour le travail de l'acteur. l'autre facteur déterminant a été une blessure grave au genou, blessure qui l'a forcé à s'intéresser à sa rééducation, au lien entre le mouvement et le fonctionnement du système nerveux, et à l'unité indivisible de la psyché et du soma. en effet, à son époque, les pronostics d'une opération à son genou l'ont mis en situation de faire un choix : soit il remarcherait normalement, soit il connaîtrait peut-être encore plus de limitations. il fit donc le choix de refuser l'opération chirurgicale et de trouver par lui-même comment se remettre à marcher le plus normalement possible. la synthèse de ses expériences antérieures, mêlée à une grande curiosité entre autres pour la biologie, ta neurophysiologie, la psychologie et le développement périnatal, lui a permis de prendre en charge sa propre rééducation. cette découverte personnelle le mena à élaborer sa recherche et la méthode de travail qui en est issue. il a enseigné en europe, aux étatsunis, en australie et en israël où il est mort en 1984 7. dans le sommaire de présentation de cet article, on peut lire: «confusions as to how we use the concepts self, personality, subpersonality, and so on persist. updating a previous contribution, the notion of identities, as distinct constructions and organizations of the somatic being, is introduced. 8 in this way, it is possible to account for the observation that people exhibit, or experience within themselves, varying personalities in different contexts, and at the same time acknowledge the underlying unity of being of the person» (ginsburg, 1996) 8. voir par exemple gerald m. edelman et giulio tononi, in comment la matière devient conscience: «en tant que systèmes vivants, nous sommes également soumis à des contraintes évolutives indépendantes des lois de la physiques. la conscience, bien qu'elle soit très particulière, est le produit d'innovations évolutives touchant la morphologie du corps et du cerveau. l'esprit naît du corps et de son développement; il est incarné et fait donc partie de la nature. »(p. 255) 9. autopoiesis, the organization of the living a été publié à l'origine au chili sous le titre: the maquinas y seres vivos. edit. univ. s.a., 1972. publié ensuite avec maturana humberto r., biology of cognition (1970) dans un ouvrage qui regroupe les deux essais; maturana humberto r., varela francisco j., autopoiesis and cognition. the realization of the living, d. reidel pubi. co., dordrecht : holland, et dans boston studies in the philosophy of science, 1980, volume 42. 10. l'hypothèse des marqueurs somatiques est posée par antonio r. damasio au chapitre viii de l'erreur de descartes. damasio a mis en lumière, entre autres, l'importance des émotions dans toute prise de décision. on peut lire par exemple: « en bref, les marqueurs somatiques représentent un cas particulier de la perception des émotions secondaires, dans le cadre duquel ces dernières ont été reliées, par apprentissage, aux conséquences prévisibles de certains scénarios. lorsqu'un marqueur somatique négatif est juxtaposé à un résultat prédictible particulier, il joue le rôle d'un signal d'alarme. lorsque cette juxtaposition concerne un marqueur somatique positif, celui-ci devient au contraire signal d'encouragement.» (p.240) feldenkrais research journal • volume 7 (2023) original research place, workplace, and mindful movement sue erica smith charles darwin university; sue.smith@cdu.edu.au emma schuberg barnes charles darwin university; emmaschuberg@gmail.com jon mason charles darwin university; jon.mason@cdu.edu.au julia broome feldenkrais practitioner; jbroome7@optusnet.com.au this article was originally published in learning communities: international journal of learning in social contexts. 20, 2016. the pdf version of the article follows. the html version can be found at researchgate: doi: 10.18793/lcj2016.20.02. abstract this paper explores how mindfulness exercises and body awareness can support teacher well-being. combining narrative inquiry and participatory action research this paper documents perspectives of participants and researchers involved in trialling mindfulness in movement practices for teachers in the northern territory in australia. these practices were introduced as part of a pilot study focused on teacher well-being and in response to what we perceived to be the lack of attention given to intrapersonal development in well-being matrices. through these cycles of workshops and inquiries, we came to learn embodied awareness practice that is situated within a sense of place became an important support for teacher resilience. although nearly one hundred teachers have participated in these programs, we draw upon the narratives told by one early career teacher as an exemplar of how these practices might play out in the workplace. the auto-ethnographic accounts that intersperse this paper offer insight into the visceral tensions embodied in re-location, location, and the complex (and at times) alarming challenges faced by a beginning teacher in a middle school. here knowledge, skills and embodied learning must be marshalled and enacted amid the dynamics of what is self-described here as the contact zone of the classroom. these personal narratives of lived experience provide insights into how this form of intrapersonal learning can have benefit for teacher well-being. the paper concludes by raising questions that might direct the profession to formally pursue applications of mindfulness in school well-being agendas. keywords mindfulness, embodiment, well-being, teaching, intrapersonal, feldenkrais, mindfulness based stress reduction (mbsr) published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:sue.smith@cdu.edu.au mailto:emmaschuberg@gmail.com mailto:jon.mason@cdu.edu.au mailto:jbroome7@optusnet.com.au https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org copyright ©: the copyright for this paper remains with the author(s). please cite: feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. 4 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome place, workplace, and mindful movement sue erica smith charles darwin university sue.smith@cdu.edu.au emma schuberg barnes charles darwin university emmaschuberg@gmail.com jon mason charles darwin university jon.mason@cdu.edu.au julia broome feldenkrais practitioner jbroome7@optusnet.com.au keywords: mindfulness, embodiment, well-being, teaching, intrapersonal, feldenkrais, mindfulness based stress reduction (mbsr) abstract this paper explores how mindfulness exercises and body awareness can support teacher wellbeing. combining narrative inquiry and participatory action research this paper documents perspectives of participants and researchers involved in trialling mindfulness in movement practices for teachers in the northern territory in australia. these practices were introduced as part of a pilot study focused on teacher well-being and in response to what we perceived to be the lack of attention given to intrapersonal development in well-being matrices. through these cycles of workshops and inquiries, we came to learn embodied awareness practice that is situated within a sense of place became an important support for teacher resilience. although nearly one hundred teachers have participated in these programs, we draw upon the narratives told by one early career teacher as an exemplar of how these practices might play out in the workplace. the auto-ethnographic accounts that intersperse this paper offer insight into the visceral tensions embodied in re-location, location, and the complex (and at times) alarming challenges faced by a beginning teacher in a middle school. here knowledge, skills and embodied learning must be marshalled and enacted amid the dynamics of what is self-described here as the contact zone of the classroom. these personal narratives of lived experience provide insights into how this form of intrapersonal learning can have benefit for teacher well-being. the paper concludes by raising questions that might direct the profession to formally pursue applications of mindfulness in school well-being agendas. introduction teachers are busy people in what has long been known to be a stressful profession (kyriacou & sutcliffe, 1978; borg & riding, 1991) and it is a profession that is also prey to the more serious condition of burnout (hakanen, et al., 2006; farber, 1984, 1991, 2000; maslach, et al., 1996; shaufeli & bunk, 2003;schaufeli, et al., 2002). yet paradoxically, at a time when student well-being has come to the fore with social and emotional learning (sel) embedded into the general capabilities of the australian curriculum (acara, 2013), and the prevalence of ancillary well-being packages (such as kidsmatter, mindmatters, beyondblue and response ability), professional development that supports teachers’ well-being and resilience (and their learning communities | special issue: new connections in education research | number 20 – october 2016 5 facility to bring these qualities into their teaching) is adopted ad hoc in schools, and within these the emphases are primarily on interpersonal communications. intrapersonal learning is overlooked, often considered to be ‘private’. we argue here that intrapersonal awareness is pivotal to both the successes of these student well-being programs and directives, and is intrinsic to teachers’ well-being. mindfulness exercises have provided a technology to bring this domain of learning to the fore with increasing uptake in the secular domains of work (dane & brummel, 2013; aikens et al., 2014; van gordon et al., 2014), psychotherapy (surrey, 2005; shapiro & carlson, 2009; germer et al., 2013), and self-development (brown & ryan, 2003; segall, 2005; rasmussen & pidgeon, 2011). this paper reports on activities that were part of a broader research project in which we sought to explore how these intrapersonal exercises might be employed with teachers to support their well-being and resilience. broadening applications of mindful inquiry as indicated there is a significant and growing body of literature either associated directly with mindfulness training or relevant to it. a plethora of books and journal articles situated within the fields of education, management, neuroscience, psychology, philosophy, and the health sciences broadly speaking (ager et al., 2014; burrows, 2013; clark et al., 2015; frank et al., 2013; hassed & chambers, 2014; jennings, 2015; kabat-zinn, 2005; macdonald & shirley, 2009; russell & tatton-ramos, 2014; shoval, 2011; webster-wright, 2013). it is pertinent here that much of this literature is having an impact within the schooling sector and mindfulness training is gaining legitimacy as a practice for both teachers and students (ager et al., 2014; hassed & chambers, 2014; jennings, 2015). recent research focused on mind-body disorders (clark, et al., 2015) provides evidence suggesting there is “an important axis of variation for well-being, in which skillful cognitive control covaries with a capacity for skilful movement” (p. 1). in elaborating on this claim, evidence is presented both from mind-body disorder as well as optimized mind-body functioning that can be facilitated by physically-grounded mind training through feldenkrais techniques (feldenkrais, 1964; 1981; 1984). the process of exploring experience of movement using a feldenkrais approach, provides a basis for mindful attention and also facilitates improvement in mind-body functioning. the value of feldenkrais awareness through movement has been investigated in other domains including leadership and management. in these movement explorations, the student learns how to find ease in moving in many different ways and in this process learns multiple things simultaneously. at a level of tacit learning, s/he recognises the value in generating situations that foster discovery, rather than seeking the “correct” answer, creating a possibility for new learning or a felt understanding to emerge (goldman-schuyler, 2010). the four authors in this paper bring together various perspectives; those of teacher educators, a physiotherapist and feldenkrais specialist, and an early career teacher. for the academics and the health professional, there is a shared background in meditative practice that spans many decades. during this time, we have watched with interest how mindfulness training we learned and experienced through an interest in buddhism has entered, it seems, the public imaginary. at times, however, this mainstreaming has also been the cause of some consternation because over exposure and misplaced hype has somehow dislocated the term. the origins of mindfulness are attributed to the buddha in the satipatthana sutta. traditionally it is taught systematically: mindfulness of body, of feelings, of thoughts and of mind. mindful awareness becomes the foundation for the cultivation of wisdom, and hence, as affect and effect draws sharpened attention, so too do the ethical implications of body/mind activity draw increasing awareness. secular and beginning mindfulness practices cultivate calmness, focused attention 6 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome and present awareness that disrupt propensities for (negative) judgmental thoughts. these are healthy outcomes, and needed too. yet from our perspectives, the scope was potentially diminished without grounding in a yoga (body/mind) tradition and an ethical framework that requires critical engagement and mindful activity based on interconnections, interdependence, and where loving kindness to self and to others is both natural and logical. nevertheless, while secular mindfulness training does not directly embrace ethical frameworks as siegel (2007) has reminded us, there is evidence to suggest this type of intrapersonal engagement supports changes in the brain that facilitate improvement in quality of interpersonal engagement. over the past three years the two of us engaged in teacher education have pursued a research agenda that connects mindfulness, well-being, and teachers’ professional learning. these can be fuzzy constructs but for the purposes of this paper well-being is defined as “when individuals have the psychological, social and physical resources they need to meet a particular psychological, social and/or physical challenge. when individuals have more challenges than resources, the see-saw dips, along with their wellbeing, and vice-versa” (dodge et al., 2012, p. 230). this dynamic construct is akin to resilience. mindfulness definitions, too, have many permutations but in essence these exercises engage purposeful non-judgmental, present attention (kabat-zinn, 2009). as we explain later in this paper, attention to teachers’ wellbeing, and the use of mindfulness exercises, have a legitimate place in teacher professional development programs. in cycles of teacher professional development, and reflective participatory action research, we have sought to adapt our programs to the stated needs of our participants. from data gathered from our initial workshop it was clear locality, our remote tropical australian locality in particular, provided both positive and negative impacts on teacher well-being, and the construct of ‘place’ was incorporated into our programs. as our programs evolved, the timepoor participant teachers requested mindfulness techniques that could be employed amid the dynamics of teaching a lesson. our inquiry moved to include embodied mindfulness that drew upon the nuanced body learning in feldenkrais lessons. an early career art teacher, with mythopoetic flourish, adds her auto-ethnographic account to the processes and discussions within this paper. participatory action research prior to the commencement of the project, we were granted university ethics approval to pursue the teacher well-being study with teachers in the northern territory, australia. permission was also granted by the department of education to conduct focus groups with teachers and to advertise a weekend symposium through their communications networks. this work aligned with a national focus on the competency and professional learning as determined by the australian professional standards for teachers (aitsl, 2012). among others these standards outline teachers are required to engage in professional learning to improve practice (standard 6.2) and engage with colleagues to improve practice (standard 6.3) to which we have argued that interpersonal and intrapersonal well-being and resilience (aligning with the sel domains) can be linked to professional development and programs that service this agenda. a senior education department official conceded that providing for teacher well-being falls within the ambit of duty of care. the teacher focus group interviews that were conducted in three schools, indicated an urgent need to build well-being into professional learning. in response, we hosted 70 participants to a personal resilience and positive connections weekend seminar and workshop at our university in darwin. the teachers were animated by the opportunity to connect with each other and share strategies and grumbles. intrapersonal well-being was introduced through learning communities | special issue: new connections in education research | number 20 – october 2016 7 mindfulness exercises focused on maintaining attention and presence: non-judgmental awareness of breath, of body, of walking, and when eating. for most of the attendees, mindful walking provided the readiest entry into the practice. teachers explained in their professional lives, movement was part of their job, and the shift to silence and the seemingly oft-times lack of proficiency that mindfulness invites was disconcerting for some. thus, while the cultivation of stillness is commonly associated with meditation practice, focusing upon mindfulness in movement appeared to align better with teacher daily routines. mindfulness is a meditation technique, and while there are countless meditation techniques that explore the intrapersonal domain, they can generally be classified into three kinds of mental exercise or discipline: mindfulness using attention; imagery using intention; and, reflective contemplation using inquiry (gawler & bedson, 2011). such a classification does not preclude a combination of techniques and contemporary interventions in educational settings. hassed & chambers (2014), for example, demonstrate the benefits to learning and performance through combining mindful inquiry and attention training through a wide variety of techniques. mindfulness practices taught to teachers and students include mindfulness of the body through cultivating stillness and mindfulness using simple movements or yoga postures (meiklejohn et al., 2012). a well-recognised mindful movement practice in a buddhist framework is walking meditation (hanh, 1985; prakhinkit et al., 2014), a practice used for development of concentration that also helps to bring mindfulness practice into daily, embodied activity. research studies have shown that heightened awareness of body states enhances both intrapersonal and interpersonal attunement (siegal, 2007; 2008; 2009; teper, et al., 2013), which in turn can impact on well-being. an individual’s awareness of another person’s state of mind depends on how well one knows one’s own state. in the brain, messages from systems below the cortex such as heart rate, breathing and muscle tension, the limbic system’s colouring of emotion, are sent to inform the cortex of the state of mind. this is the reason, from a brain perspective, that people who are more aware of their bodies are also more empathic. when one can sense his/her own internal state, a pathway opens to resonate with others. mirror neurones in the brain provide the facility to sense behavioural intentions and emotions of others. the better one can sense one’s own bodily sensations, the better the ability to resonate with another yet remain differentiated; important for maintaining a sense of objectivity (siegel, 2009). as our participants repeatedly indicated, finding time within the daily routine at school to pause, consider, and perhaps nurture one’s own well-being can be challenging and just an added stressor in the workplace. it is also the case that for us – as researchers and practitioners navigating various pathways in our respective careers – making the time for such activity is not easy as it often demands effort and discipline. creating the conditions for reflection upon one’s well-being in the workplace can almost seem counter-intuitive – occupying one’s mind with yet another mind-based activity does not seem like ‘time out’. rather, the teachers we engaged with were interested in techniques that could be employed on the move, in the classroom, and in response we looked to kinesthetic approaches. following the initial weekend seminar and workshop we offered a mindful movement workshop that combined feldenkrais body awareness exercises and mindfulness practice. the outwardly imperceptible, nuanced movements and curious attention towards these that this method affords, posed a viable route to bring mindful attention into the embodied workplace. over the next year, we delivered afterschool mindfulness and movement workshops to teachers at two schools, and to some 100 teachers in total. teachers were keen to introduce mindfulness practices into their classes, but as jennings (2015) and hassed & chambers (2014) have cautioned, and we too from our personal experiences concur, teachers themselves need to 8 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome personally gain experience in the practice to ably guide their students. at one school, a core group of teachers who completed an eight-week cycle of workshops began to introduce ‘mindfulness moments’ into their classes. in this paper the voice of one early career teacher / higher degree candidate who elected to embark on this mindfulness journey provided prose that attempts to both capture the situated and nuanced intrapersonal and embodied focus of our study as (mythopoetically diarised) lived experience in place and body. throughout our conversations with many teachers the impacts on our well-being by virtue of our remote – and very remote – location in the northern territory of australia became apparent. for, as power & bennet (2015) had reminded us, the idea of place has an established significance in australian social research. the narrative prose included below hearkens to mobeley (2011) who iterates the central role of reflection, enhanced through mindfulness in-service learning – a potent antidote to mindless pre/judgments – and is heartened by shann (2015, p.128) who positions mythopoetic story writing as means for affective engagement with research. our bid for affective reader engagement within this research is a bid to engage further with a beginning teacher’s experience and how embodied mindfulness becomes a means for reinhabiting self by returning to senses and a sense of being alive (gruenwald, 2006). the opening narrative borrows from sommerville’s (2012) framework of place: where stories create relational bonds to place, where the body is central to the experience of place, and crucial to the narrative to follow, where the learning site becomes a ‘contact zone’ of contested stories. the raw, reflexive and mindful narrative gives play to how too the natural environment directly influences the deep natural world of the psyche within (tacey, 1995). the time of teaching is also a time of personal learning that is invariably replete with rapid bodily sensations and cat’s cradles of thoughts that moved ellsworth (2005) to ask, “what is it then, to sense one’s self in the midst of learning as experience, in the moment of learning, in the presence of a coming of a knowing, in this interleaving of cognition and sensation/movement?” (p. 136). mindfulness becomes a technology whereby these questions of existential importance might begin to find resolution that is located in body and in place, and even in the classroom workplace. the teacher connects we packed up and shipped out from the south, leaving behind the weight of memory, place and obligation, to push into an unknown land. the beating aorta of this country in winter, throbbing beauty, led us northward. we relocated ourselves in this new territory, to breathe in the red dust, shake it off in hot springs, and dream in a stunning sunset sky full of possibilities. a deep sense of place overcame us. when we arrived at the edge of the continent, we were greeted by shimmering ochre and cadmium sands. tantalising cobalt waters beckoned to us, but we were driven back by seen and unseen predators: massive crocs, sharks, box-jellyfish, the invisible irukandji and midges. relentless heat and humidity ripen perfect conditions for things that gnaw and bite. conditions cultivate cold-blooded and other heartless creatures: sandflies, fish with big teeth. other locals with teeth and determination prevail survivors of japanese bombardment, 1974’s ‘tracy’ (the devastating cyclone), corporate cowboys and middle-school students. learning communities | special issue: new connections in education research | number 20 – october 2016 9 resilience and cunning are pre-requisites to defy and outlast this place and its ecologies: the weather is its own prevailing intransigent and untamed wild-thing entity; time itself seems to have sung a dreaming lullaby that causes curious slippages here – an ancient traction pervades. modernity as a frontier sits uncomfortably and belligerently in this landscape. this defiant, porous frontier presents intriguing daily contradictions and border collisions of place, people and purpose. cultures and mindsets clash: the ancient and original inhabitants; the well-established south east asian influence; brash bogan bureaucrats; transient intelligentsia; fickle fly-in-fly-outers; and remnants of the hippy generation who were lured here decades ago and have become the ‘keepers of the last of the wild things’… not to forget the mocking local newspaper, representing the last bastion of the sheer bloody-minded and ‘gone-troppo’ aussie yarn-spinner before they step off the shore into the arafura, slipping into the warming currents to bali and beyond. this somewhat motley civilisation is built on the back of a floating economy: exchange is made for precious resources being shipped offshore by foreign barons. there are many uncomfortable costs to determined western presence in this asia-fringed region. the us military base and annual international ‘war-games’ attempt to fill the skies and seas to conjure mirages of ironic ‘stability’. in a strange twist of symmetry, i was to have my own ‘stability’ and sense of place challenged, physically, professionally and personally. the teacher educators reflect place, body-consciousness and stress reduction we also considered how the ‘place’ of online connectivity might help in developing an ongoing conversation about managing stress through mindfulness. but in our early attempts at doing this we discovered very quickly that time-poor teachers did not wish to engage this way when exploring strategies that might nurture their well-being and preferred an actual time-out option of a physically located workshop or class; engaging online somehow represented continuity of workplace and its associated stressors rather than a retreat from it. in addressing the problem of managing stress arising from a contemporary culture that chronically fragments our attention through overstimulation, shusterman (2008) presents “body consciousness” as a “philosophy of mindfulness and somaesthetics” that provides a proven pathway to stress reduction, improved performance, and personal insight (pp. x-xii). for shusterman, somatic philosophy and the body-mind disciplines such as the alexander technique and feldenkrais provide ways in which to observe and break habits that might be detrimental to well-being. while not focused on the somatic connection, the literature on mindfulness based stress reduction (mbsr) likewise reports mindfulness training can be a successful intervention in ameliorating the effects of anxiety, depression, and stress in the workplace (flook et al., 2013; gold et al., 2010). 10 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome the feldenkrais practitioner explains moshe feldenkrais, an engineer and physicist, whose keen interest in martial arts and sports underpinned his passion for understanding human movement and learning, the feldenkrais method that he developed drew from all of these experiences. his interest heightened following his experience of personal injury. through a commitment to initially finding a way to improve his movability, and subsequently the ability of others, he developed an intrapersonal inquirybased approach to learning and improving performance. he worked extensively with adults and children with neurological and developmental disabilities, and those with complex and chronic problems. neuropsychiatrist norman doidge considered feldenkrais to be one of the first neuroplasticians (doidge, 2015) by his use of attention and non-habitual movement patterns to engage the brain’s innate capacity to change habitual patterns and initiate more efficient movement that is attuned to the situated environment. feldenkrais lessons facilitate change in neuro-muscular organisation; movement becomes more evenly distributed throughout the body so no one part of the system is over-burdened and from this change a feeling of ease can develop. a number of movement traditions also engage attention and awareness in meditative movements, such as t’ai chi and yoga. what distinguishes the feldenkrais method from other movement paradigms is that it is designed to interrupt movement habits and facilitate the discovery of new ways of carrying out various functions. it does not involve learning a specific sequence or moving to achieve a particular goal, rather the intention is to evoke new learning through attending to the process, moving slowly, doing less and thereby increasing sensitivity and ability to make finer distinctions, with resultant improved ability to sense details of the self and one’s surroundings. the person becomes more aware of what they are doing, not what they think they are doing (beringer, 2010). that, as such, is mindful activity. he saw the mind and body as a unified functional and biological system, a system that has four aspects: thinking, feeling, sensing and moving. … [and] that the unity of mind and body is an objective reality. they are not just parts related to each other, but an inseparable whole while functioning. a brain without a body could not think… the muscles themselves are part and parcel of our higher functions. (feldenkrais, 1964, p. xi) and we have no sensation of the inner workings of the central nervous system. we can feel their manifestations only as far as the eye, the vocal apparatus, the facial mobilisation, and the rest of the body provoke our awareness. this is the state of consciousness! (p. 29) the teacher embarks on embodied mindfulness training feldenkrais – training, placefulness this challenge to stability has a prequel. i found myself within a week connecting in a different way to place through feldenkrais training. it became a serendipitous re-positioning, offering embodied mindfulness practice that not only connected me with place but became a crucial resource to draw on during the classroom territory i was to step into. taking part in a one-day workshop on short mindfulness learning communities | special issue: new connections in education research | number 20 – october 2016 11 meditations and gentle movement, i found myself lying prone, feeling the ground beneath me, asking: how was my body connecting to this place? what was my mind/body aware of? my lungs filling up like billows, the ribcage expands to embrace the breath and expel tension. attention to the breath, attention to posture and position and presence, these were the things that echoed back to me often while anticipating the classroom. the linking of mindfulness to feldenkrais body learning provided a vehicle for the awareness in action that the teachers in this study were seeking. it served to bridge what can become overly cognitive experiences in mindfulness to grounding in body and place. because, for any moment in time, two relationships are always present in experience – connection with air through breathing, and relationship to gravity, our base of support. these both provide reference points that can be brought to awareness to help re-connection to the present moment and experience the interdependence of body and mind. breathing is a movement of the body, of the diaphragm, chest and abdomen, and varies in response to demands of position, task, degree of effort and emotional state. it is directly affected by the withdrawal response, a primitive protective reflex of survival in response to negative events that might threaten. these may lie anywhere on a scale from vague apprehensions, gnawing anxieties to overt dangers. the withdrawal response is a neuromuscular response to stress expressed in tightening of muscles around the eyes and forehead, neck, shoulders and the abdomen. it also effects breathing, either as shallow breathing or held breath (hanna, 1988). these patterns can all become unconscious habits over time, as reflected in the body pattern of anxiety. developing awareness of the breath enables recognition of anxiety responses and provides scope to change this expression of anxiety in the body and breath, with the potential to also change the quality of emotional affect (kerr et al., 2002; payne, & crane-godreau, 2015). similarly, developing awareness of relationship to the ground when moving, through sensing skeletal support can enable intentional connection to the ground. the process reduces tension and can provide more ease and clarity in movement and greater flexibility in how the individual responds to the environment (feldenkrais, 1964). …the point of my work is to lead to awareness in action. or the ability to make contact with one’s own skeleton and muscles and with the environment practically simultaneously… (feldenkrais, 1964, cited in beringer, 2010, pp. 36-37) this training, conducted during the term break, and practiced by our participant prior to school commencing appears to have provided some intrapersonal strategies that put her in good stead. as is the case for many beginning teachers she was, like chang (2009) had warned, typically underprepared for the “the dramatic range of intense emotions they will experience so they may enter the profession” (p. 212). the teacher and personal identity explored place – classroom contact zone, focus on mindful breathing then term four arrived – i did not anticipate that the classroom would evoke the contact zone i experienced as a junior army cadet; i did not anticipate the similarities between the classroom and my cadet experience. 12 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome it’s a preparation moment prior to engagement in the contact zone. the strategy is reviewed, supplies are distributed, stations are readied. contact! the class swarms in, fast and furious, and another ‘typical’ live-action sequence plays out. midskirmish, at about half past year 8, i start to feel the onslaught of an internal conflict: the anxiety attack. as i start to be taken up in a wave of panic, everything around me seems to click over into slow-motion. the whirl of the kids and my presence in the classroom dissipates. i focus on my breath. slow, deep breaths, in order not to fuel the rising tide of that overwhelming wave. i focus on my breath. i tell myself: this will pass. i focus on the breath. i say: this is not a heart attack. i focus on the breath. i think about asking a trustworthy student to go into the next classroom to request a brief visit from the teacher: just in case i pass out and the students jam 2b pencils and pieces of broken eraser up my nose while i’m unconscious. i focus on the breath, and as i am mindfully breathing, the dizzying heart-rate is slowing, i find myself re-surfacing into the rowdy classroom. the anxiety attack is over. now to engage again back in the zone… feldenkrais – reprieve, reflect, re-pattern during term time, i was offered respite from the contact zone, a place for awareness. these were mind and movement sessions in a neutral space, that became tactical exercises. the training sessions helped me connect slowly again with the ground beneath me, aware of feet, placement and breathing. it helped me reflect and devise new tactics. the new tactic was a disruption that attempted a re-patterning, whilst anticipating the classroom. the disruption was a trigger for me, and the trigger was drinking water. it reminded me to focus on the breath and bring my awareness back to my body. while i drank water, this trigger helped me ask, what was i embodying? how was my body positioned? what was i mindfully or absentmindedly playing out in classroom contact? placeless – disconnection, fracture, re-connect while on-leave, in a non-place, i lost my footing. on a steep and slippery slope, in gripless shoes, with hands full, mind elsewhere, body disengaged and placeless, the full impact of the fall was taken by the fibula. fractured leg and ankle. a trauma surgeon intervenes. hardware holding me together – internally and parasitically. i am now part-machine, after a life free from broken bones, i cracked and have a steel plate, a dozen screws and large nail as structural truss. hyper full-of-mind now, every small step is pre-meditated, minutely assessed and over-anticipated. i learn to walk again slowly, into uncertain months and rocky terrain. feldenkrais and physio try to revive and re-connect patterns between brain, breath and body. with shifting ground beneath me, i return to darwin… and gradually into the classroom. placefulness – re-adjust, re-pattern as i initially return into the classroom, i am aware of how vulnerable i still am. i realise that the physical and psychological rough and tumble of the middle school is too confronting at this time. i seek other opportunities outside the teaching profession. i contact recruiters, submit applications, attend interviews. but i know learning communities | special issue: new connections in education research | number 20 – october 2016 13 that even though i can entertain this reality, a change of profession, i have invested much in re-training and creative energy in the education space. i seek wise counsel from seasoned education mentors and professionals, and continue to pursue connections with holistic education philosophies and practice. it is hard to deny that as a teacher, if i am to prevail in uncertain conditions and shifting times, i need to align myself with supportive, placeful, holistic realities in education. if i need to cultivate resilience through connection to place, mind and body awareness and health, what do students need to cultivate in their own virtual, dis-embodied and digitally-obsessed worlds? and how will teachers do this? intrapersonal learning that develops holistic connections and supports teacher well-being and professional longevity, should be acknowledged within the australian professional standards for teachers (aitsl, 2012). i am hopeful that embodied mindfulness and thoughtfully constructive professional ways of well-being can address holistic connection to place, healthy mind-body, and learning. discussion within the broader literature we also find that di nucci (2013) offers a playful antidote to the sometimes over exposed or over appropriated usage of the term mindfulness by considering a close antonym – mindlessness: thinking is overrated: golfers perform best when distracted and under pressure; firefighters make the right calls without a clue as to why; and you are yourself ill advised to look at your steps as you go down the stairs, or to try and remember your pin number before typing it in. just do it, mindlessly. …our mindless self is our true self because it is not mediated by thought. being mindless is, in short, a good thing. let us not be ashamed of it; let us cultivate it. (di nucci, 2013, p. 10) such a position opens a whole other facet to this discussion and is introduced principally because it actually misses the point of mindfulness training. the core concept within di nucci’s notion of mindlessness is really automaticity, an essential transition in learning that frees an activity from conscious control. the brain, particularly in the pre-motor cortex, forms what are called functional body maps, linkages of groups of neurons related to a particular function, e.g., walking, reaching, driving a car etc. as a baby learns through transitions to the upright and mobile state, change in the brain takes place. this creates freedom to either simply be present in the moment, with whatever sensations and thoughts arise, or to allow the conscious mind to engage in other “pastimes”. mindful movement, however, is to do with attunement of mind and body, and places emphasis upon the physicality of mindfulness training. teachers too need this type of embodied capacity to move and to act with common sense. it is also informed by efforts at cross-disciplinary thinking. thus: at first glance, contemplative mindfulness and critical inquiry seem at opposite poles of a reflective spectrum, yet eastern and western philosophers have described a dual dimension to reflective thought that incorporates both. ‘mindful inquiry’ offers an holistic re-conceptualisation of reflective thinking, which holds mindfulness and inquiry in a dialectic inter-relationship (webster-wright, 2013, p. 557). 14 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome similarly, mindfulness training and mindful inquiry open ethical imperatives. as seen throughout the narrative, calm and focused non-judgemental attention provides pause for active choice rather than reactive response, highlighting that behavior is closely linked with optimized intrapersonal functioning. ethical practice in teaching, however, is currently only conceived in terms of professional responsibility (aitsl, 2012). both the mindful inquiry and embodied learning that have been introduced here to teachers represent ways of learning where tools to develop awareness of the unity of body and mind are learned and practised, and in some cases, such as in the prose presented here, a deeper sense of learning is experienced. many teachers are stressed, burning out and vulnerable, and this can be especially so for teachers beginning their careers – yet, how are the relevant authorities dealing with this? initially we took a liberal interpretation of the current professional standards by seeking to address teacher well-being, and the intrapersonal, as an ever-present domain that has an impact upon performance. arguably, it is through a critical reading of the professional standards that neglect of the intrapersonal can be seen as an abrogation of professional responsibility. each participant in our study has his or her own personal narrative and unique situated experience, but as the beginning teacher featured in this paper concluded in an interview following the workshop, “the supports and technologies that were made available presented a different way of learning and filled a need for deeper fulfillment, beyond professional standards, towards authentic being”. such a comment alludes to bigger issues concerning the scope and outcomes of teacher professional development because the current (2012) version of the aitsl professional standards for teachers is framed around competencies rather than capacity and performance. thus, while effective teaching and learning performance is explicit in the standards, the intrapersonal domain of teachers is not flagged as a topic of professional learning. addressing the intrapersonal is perhaps an ambitious form of learning in a time-strapped, outcome-and-performance-based environment and while there has been a meteoric rise in secular mindfulness training the wider and longer term implications of body, emotion, ethics and regular practice might mean we are seeing an exotic shower before the burn. indications from our research, however, are otherwise and point to the need for sustained advocacy to establish teacher well-being professional development programs that include intrapersonal learning is warranted and legitimate facet of professional as well as personal wellbeing. the existing problems for teachers, and in turn students, represent what feldenkrais described as a vast field in mind-body relationship yet to be explored. as he explained: there can be no improvement without change. though help can be given when things go wrong, we cannot relax our effort before teachers throughout the world will learn to develop in their students awareness of the unity of body and mind so that higher achievements than merely correcting faults can be arrived at. training a body to perfect all the possible forms and configurations of its members changes not only the strength and flexibility of the skeleton and muscles, but also makes a profound and beneficial change in the self-image and the quality of direction of the self (feldenkrais, 1964, cited in beringer, 2010, pp. 43 44). this approach is a potentially rich field for further inquiry, and a useful start to changing behaviour. the voices in this paper all tell stories while combining to present a common and coherent picture that has identified needs and links to strategies to meet them. learning communities | special issue: new connections in education research | number 20 – october 2016 15 it is also relevant that within the growing discourse on 21st century skills (or competencies), given the range of conceptualisations, there is arguably a natural fit for mindfulness training. thus, educational theorists such as gardner (2011), has identified the “disciplined mind” and the “ethical mind” as two of “five minds for the future” needing attention and development within educational settings. mindfulness practice serves both of these directions. questions arising and conclusion as we bring this discussion to a close, we find a number of questions emerge from these interrelated narratives that will be important for us to probe deeper as we continue to scope the implications of our research agenda connecting mindfulness training with teacher professional learning. indeed, it has been our purpose to identify such questions rather than to reach ‘conclusions’ that bring closure to the issues raised. thus, the following questions point to the need for continued investigation into the issues addressed in this paper: 1. what are the relevant authorities doing to address issues of teacher well-being and teacher burnout? 2. does mindfulness training and intrapersonal development properly sit within teacher professional learning requirements? if so, then how can it best be situated and promoted? 3. what movement-based awareness practices might be most suited to adoption in schools? 4. in what ways might ‘place’ and ‘placelessness’ be further explored as considerations for intrapersonal well-being? 5. in what ways could policy development concerned with teacher professional practice bring into better alignment the well-being, learning, performance, and competencies of teachers? in conclusion, a number of key issues remain prominent for educational authorities to consider. well-being is a rich and complex topic to explore given that it is experiential, highly nuanced, and sometimes a personal and private matter. by illustrating this through an auto-ethnography of a pre-service teacher, we have come to the view that further research into teacher wellbeing is both warranted and timely. secondly, we think a critical reading of the professional standards for teachers reveals neglect of the intrapersonal domain. as such, this omission can be interpreted as an abrogation of professional responsibility. 16 place, workplace, and mindful movement | sue erica smith, emma schuberg barnes, jon mason & julia broome references ager, k., bucu, a., albrecht, n., & cohen, m. 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(2013). the eye of the storm: a mindful inquiry into reflective practices in higher education. reflective practice: international and multidisciplinary perspectives, 14(4), 556–567. doi: 10.1080/14623943.2013.810618. view publication stats https://www.researchgate.net/publication/310665574 frj 7 rahir feldenkrais research journal • volume 7 (2023) reflections on practice / hypothesis and theory tools for the practice of acting julie-kazuko rahir la manufacture, haute école des arts de la scène – hes-so, lausanne, switzerland contact: juliekazuko.rahir@manufacture.ch / julierahir@yahoo.fr abstract in 2020, i started a research project entitled 'theatre and feldenkrais: which tools from the feldenkrais method® are most pertinent to an actor’s work?’ (rahir 2020). this took place within the framework of la manufacture’s research department as part of the university of applied sciences and arts in western switzerland and in partnership with the feldenkrais association of switzerland, the autopoïesis art school in montréal and the institut de formation feldenkrais – ifeld in lyon. we indexed different principles contained in the feldenkrais method proved to be effective in prompting creative acting. we then attempted to make assumptions about how those principles might be applied on stage in order to determine whether we could turn them into what we henceforth called tools for actors. this article is based on an earlier french version of this paper. keywords acting, actors, feldenkrais method, theatre research, tools for actors copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi®are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:juliekazuko.rahir@manufacture.ch mailto:julierahir@yahoo.fr https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org reflections on practice / hypothesis and theory tools for the practice of acting1 julie-kazuko rahir la manufacture, haute école des arts de la scène – hes-so, lausanne, switzerland context in 2020, i carried out research entitled ‘theatre and feldenkrais: which tools from the feldenkrais method are most pertinent to an actor’s work?’ (rahir 2020). this took place within2 the framework of la manufacture’s research department as part of the university of applied sciences and arts in western switzerland and in partnership with the feldenkrais association of switzerland, the autopoïesis art school in montréal and ifeld (institut de formation feldenkrais) in lyon. in addition to the many aspects of the feldenkrais method inherent to an actor’s sensory experiences – that probably explain why it is often taught in theatre schools, especially in the english-speaking world – i had the intuition that the feldenkrais method contains a bountiful reservoir of tools providing fresh performance possibilities for actors. i hence wanted to build bridges between my everyday acting practice and my personal somatic experiences. i began by surveying the opinions of actors and directors who have used the feldenkrais method in their creative work. firstly, this involved reading and using original sources (written by moshe feldenkrais and aimed directly at actors) and secondary sources (published articles, books and doctoral theses). secondly, it involved experimenting with recordings of the classes3 given by moshe feldenkrais himself to actors working with the british theatre director peter brook. in addition, this meant complementing writings on actors and the feldenkrais method by4 broadening my bibliography and interviewing three theatre professionals who link their performance practices to the method: yoshi oida, the famous japanese actor who participated 4 feldenkrais, m. ([1973] 2017). 3 the instructive authors of the sources selected in 2019-2020 were richard allen cave, mara della pergola, odette guimond, dianne hancock, kene igweonu, michael purcell, alan questel, stuart seide and victoria worsley. see the bibliography available at the following address in the online research directory: https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3% a2tre%20et%20feldenkrais.pdf 2 http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais 1 this article has been translated from french. i would like to thank meriel kenley, performing arts researcher, for her careful reading and corrections. see the french version online : https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%2 0des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf rahir • feldenkrais research journal, volume 7 (2023) 2 https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%20des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%20des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf in moshe feldenkrais’ 1973 workshop at the bouffes du nord theatre; the french actor, director and feldenkrais method practitioner lionel gonzalez; and odette guimond, an actress, director and feldenkrais method practitioner from montréal.5 insofar as the project’s objective involved the everyday practice of actors and their performance, i concentrated on documentary sources originating from theatre professionals who applied the feldenkrais method themselves and not feldenkrais practitioners who taught the method to actors. thanks to the study of these sources, i realized there are different ways of applying the feldenkrais method to acting. awareness through movement® can be used as a regular warm-up, collective lessons can be separate from the work on the play, exercises for actors6 7 can be inspired by the feldenkrais method and a theatre practice can be revolutionized by the8 somatic point of view.9 in collaboration with french actor and director christian geffroy schlittler, i subsequently integrated these reflections into our experiment of the theatrical work. we did not focus on the warm-up potentialities of awareness through movement. our aim instead was to collect principles stemming from the feldenkrais method amidst our experiences of awareness through movement and then, being inspired by these principles, to create new theatrical tools. together, we indexed different principles contained in the feldenkrais method proved to be effective in triggering creative acting. we attempted to make assumptions about how those principles might be applied on stage in order to determine whether we could turn them into what 9 i would quote professional theatre makers such as the director stuart seide, odette guimond, victoria worsley, and alan questel since the feldenkrais methodology seems to have permanently influenced their theatrical work. for further information on different uses of the feldenkrais method, see the following research report: https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a 9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf 8 for instance: victoria worsley, odette guimond, and alan questel, as well as the very recent publication from scott illingworth (2020). 7 some practitioners consider such lessons as being improper to bring a conducive state of acting – the actor becoming over “relaxed” and not “lively” enough (yoshi oida), almost flirting with a state of “sleepiness” (lionel gonzalez). in these cases, the lessons will either be specifically used with the intention of “cleansing” the actor of their movement habits, but also as a way to acquire a better knowledge of the body in connection with the mind (yoshi oida); or be used in the perspective of an unconscious work permeating throughout the entire rehearsal, allowing that “something might happen without the actor thinking of it” (lionel gonzalez). see the interviews with yoshi oida and lionel gonzalez mentioned here above. 6 as authors like richard allen cave, mara della pergola, diane hancock, kene igweonu, and victoria worsley demonstrate. 5 rahir, j-k, 2020. these interviews are available online at: https://soundcloud.com/recherche_manufacture/theatre-feldenkrais-lionel-gonzalez ; https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20en tretien_yoshi_oida.pdf ; https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20% 20entretien_odette_guimond.pdf rahir • feldenkrais research journal, volume 7 (2023) 3 https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf https://soundcloud.com/recherche_manufacture/theatre-feldenkrais-lionel-gonzalez https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20entretien_yoshi_oida.pdf https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20entretien_yoshi_oida.pdf https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20%20entretien_odette_guimond.pdf https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20%20entretien_odette_guimond.pdf we henceforth called tools for actors. to bring this about, we used our practical understanding of theatre, called upon our diverse acting skills, our memories of rehearsals and performances, and challenged our habits as actors. this also involved observing how the feldenkrais method can provide substance to theatrical creativity in the immediacy of rehearsals and performances as well as exactly how this awareness through movement can help an actor generate their own creative resources throughout the preparation and interpretation of the actor’s score. as this research continues, an exploration of the range of potential tools is currently underway10 in collaboration with performers and partners from a number of different institutions: the feldenkrais association of switzerland, the autopoïesis art school in montréal, the océan nord theatre in brussels, the agence louis-françois pinagot theatre company, in switzerland, the feldenkrais association of geneva and the geneva school of music. which tools? although the word tool is not part of the feldenkrais method’s lexicon and never appeared in my feldenkrais method training, if one understands a tool as leading to an action or allowing an11 operation that would otherwise be extremely tedious, then it seems to me that the term is accurate to describe what the feldenkrais method allows in the practice of acting. however, it is a word that brings to mind craftsmanship – the craftsmanship of actors striving to nurture the conditions necessary for their creativity to blossom, displaying all the possible variations of their movements, gestures and words, sharpening their perception, and anchoring their performance practices in the present. the tool we refer to is not a ‘passive’ instrument but rather a “vector of potential” (rasmi 2018: 15). these tools help actors to conduct research of the awareness of the present moment by12 concentrating on the acting process rather than focussing on starting points and endings, which is often the case in rehearsals. from this point of view, an actor’s work consists of either attempting to produce the precise result asked of them by the director or identifying a starting point from which they could begin their interpretation of the role, two approaches that we would consider to be static and different from the dynamic research that the feldenkrais method’s tools help enable. a directory of tools each tool is first defined according to the principles of the feldenkrais method and then followed 12 an expression used by jacopo rasmi (2018), in his preface titled “manuel d’immédiation”, [‘a manuel for immediation’] 11 from 2013 to 2017, i received my feldenkrais training under the direction of yvan joly. i would like to take this opportunity to say how much yvan joly taught me. meeting him was crucial for me in my reflection process for this research. 10 the second phase of this research project, entitled ‘heightening sensibility: for theatre practice inspired by the feldenkrais method’ began in august 2021 and will take two years (rahir and geffroy schlittler 2023). see: https://www.manufacture.ch/fr/5231/rendre-sensible rahir • feldenkrais research journal, volume 7 (2023) 4 https://www.manufacture.ch/fr/5231/rendre-sensible by an example of what it might allow actors to explore during their performance. this directory intends to launch some further reflection on possible practices, but it is not extensive. i thought of it as base material for future work with actors. amplitude of action doing a movement in one’s imagination can sometimes be suggested by some practitioners of the feldenkrais method during an awareness through movement lesson. this sensitive experience of a movement in one’s imagination is particularly manifest for a beginner student, after the completion of a large movement or gesture. then, the goal is to progressively reduce the amplitude of the movement and observe whether or at what point the reduction causes perceptions of the movement to ‘disappear’. for example, if someone tries to feel the sensation of lifting their head from the floor, should they make a big, bold movement with their head, or can the mere idea of lifting their head provide us with the sensation of that action? any keen observer who has tried to reduce a large movement to such a small one, so small that it is no longer visible, will have noted that there is actually no limit to the perception of movement. the kinaesthetic and proprioceptive sensations of the movement, even when they are no longer visible from the outside, are perceptible to the actor. indeed, the more the movement’s amplitude is modulated, the more the actor’s sensorial information gathering will be precise and differentiated (‘doing less is doing more’ as was often stated in my feldenkrais method training). in this way, a physical action and an imagined action in the field of somatics are not experienced as two opposing propositions but rather as two nuances in the amplitude of the same movement. this is corroborated by neuroscientific theory. an action or movement is far more than a mere motor event: an action is also “the process of preparing or simulating a motor action. imagining to get up from a couch is already a form of action as it activates nearly all the motor regions of the cerebral cortex” (lachaux 2015: 31). furthermore, the simple act of13 perceiving a chair, for example, implies that we possess a perceptual pattern of the act of sitting down on that chair in a particular way (berthoz 2013). thus, “most of our thoughts that evoke14 a bodily movement are actions too” (lachaux 2015: 31). in the acting practice, we believe that an actor who has experimented with the fact that an imagined action and a physical action are just two amplitudes of the same movement will no longer see a dichotomy between what is visible and invisible on the stage, what is internalised or externalised by them, and what is a part of the physical or psychological domain: by affirming that the continuum of physical actions—that is to say the life-line of the human body – holds a very important place in the development of a character, that it gives birth to an internalised action, a [process of] feeling, stanislavski called upon 14 the excerpt has been translated from french to english for this article. all quotations from french language sources were translated by the author for this article, except where identified. 13 this quote and the following quotes from lachaux (2015) have been translated by darren hart specifically for this article. rahir • feldenkrais research journal, volume 7 (2023) 5 actors to understand that the link between a psychological existence and a physical existence cannot be broken and that, consequently, during a creative process, the analysis of human beings’ internalised and externalised behaviours should not be separated. (knebel 2006: 48).15 the pursuit of the amplitude of action allows the continuous line for the actor evoked by the russian director and teacher, maria knebel (1898-1985), quoting her master teacher stanislavski (1863-1938). a continuous line implying to be lively at all times, to permanently bring in coexistence the possibility of making an action or not, until the completion of the movement. a score – as the result of a composition – stems from numerous decisions by the actor. yet, an actor needs to confront and question their choices over and over, in order for the acting to stay lively. being in the movement of writing the score means for the actor to work with what they previously diminished and amplified and to reinvest meaning in the movements they internalize or externalize. an actor who acknowledges that they are responsible of the choice of amplifying or not an action possesses the tools to open up a new acting potential. what if each gesture of the role was indexed – may it be small or generous, visible or invisible, and dealt with as if all were equivalent? this would be a way to invite the actor to play with all the possible amplitudes of their gestures, to distinguish subsequently the gestures of the part which they choose to represent through a generous amplitude, those which they choose to reduce, those which are so faint that they will not be visible for an observer but will serve as an impulse, a desire. in this manner, thought livens up until becoming a “motion-thought” (seide 2009); a potential16 action; a desiring force. the actor’s thought is then experienced and performed as a sensation leading to action (“i want to do this, i am doing this”) and not as a static idea (“i need to think about this, i need to be that”), as a desire activating a movement (“i would like, i have the desire of”) rather than a command they would give themselves. what is at stake is to wonder what action is desired by the part, what triggers movement and if all the thoughts of the role can be completed as actions. reversibility when practising the feldenkrais method, a movement is considered reversible “if it is possible to interrupt it at any moment and reverse its direction, start moving again in the original direction, or decide to do a totally different movement instead” (feldenkrais 1993: 103). the concept of reversibility seems very useful in acting: the attention brought to the movements of the actors – and the undoing of those movements, can clarify the issues of a scene. this is true for all the sorts of movements and movement amplitudes: equally the movement of the “mental 16 expression used by director stuart seide (2009) about the feldenkrais method. 15 the italics are in the original text of maria knebel (2006). translated from french to english by the author. rahir • feldenkrais research journal, volume 7 (2023) 6 gesture” and the physical movement of the actor (lachaux 2015: 31).17 for example, one can think of the relationship between the lovers in le misanthrope by molière. if the actor’s on-stage goal is to represent alceste’s overwhelming desire to approach célimène while telling her exactly the opposite, we might suggest to the actor playing alceste that he explore the reversibility of his physical movements towards célimène. seeking to represent the action and the counter-action, alceste might continuously strive to put physical distance between himself and célimène, whereas he would seek to come closer to her through the script (how he articulates his lines, his desire to persuade her). alternatively, alceste’s ‘mental gesture’ would be striving to convince célimène that he was keeping his distance and was not interested in her, whereas his feet, as if his shoes were magnetised, would advance towards her hopelessly. reversibility could also be represented by an exploration of the back and forth of a single acting gesture (whether mental or physical). continuously readjusting the direction of that gesture and its intention, alceste would thus have to make his choices in the present moment and feed the tension he feels around célimène in this game of two-way movement. should he continue his physical movement in her direction, or should he retrace his steps? delay delay, as it is defined by moshe feldenkrais (1993), is “the possibility of hindering the act, that is to say to extend the time span flowing in between the intention and the enactment, [and this] allows the human being to gain knowledge of themselves” (61). using delay as an acting tool for theatre consists of giving oneself the possibility of pausing during the execution of a movement – at a moment defined beforehand or chosen while acting on the spur of the moment. moreover, what the feldenkrais method delay involves is the exploration of the gap it is creating there and then: what happens when i am delaying my movement? when am i suspending it? in theatre, delay can occur under different forms. the tradition of lazzi in the commedia dell’arte could provide an example for a delay of a substantial duration. the lazzi allow the actor to improvise an interlude in the middle of a scene. time is expanded in order to postpone the resolution of the action. another example of delay could be a simple firm breath in between two words, a pause taken in the narration, or a suspended gesture within the action. as an actress, before i discovered delay as per the feldenkrais method, i sometimes did not manage to ‘inhabit’ some full-stops, pauses and suspensions that the staging would impose on me. since i could not understand the necessity of such disruptions, i used to find it difficult to invest in them and act as if they were natural to me. i could not manage to live this kind of 17 jean-philippe lachaux defined our mental actions as being “mental gestures”: “most of our thoughts evoking bodily movements are also actions” (lachaux 2015: 31). rahir • feldenkrais research journal, volume 7 (2023) 7 external incentives as something else than a dichotomy: here, i am asked to embody a character, and there i am asked to stop, so i am not embodying anymore; here i am acting, there i am not acting anymore. like an on/off button. more than giving the actor the possibility of freezing in between their intention and their action (which would rather be the role of a pause than a full-stop), the delay brought about by using the feldenkrais method allows the actor to stretch as one pleases the thread between the intention and the action, to investigate this moment of the interval, to play with their desire of achieving the action before doing it effectively… even playing with these back-and-forth sways in between the desire and the accomplishment of the desire (as such, activating the tool of reversibility). enabling to weave a thread of meaning, of acting, of continuous movement between what is not visible and what is becoming visible (as such, this tool is of course linked to the amplitude of the action), the delay engorges the perception in the actor within the expectation. their immobility seems animated by thought: what am i doing when i am doing this? how does my urge for action come into being? what does it compel, free, put in tension? what does it put me through? delay, as i experienced it in awareness through movement lessons, has helped me to set myself free of this restricted and binary attitude to commit this latent period that seems fascinating to me today since it overflows with possibilities. moreover, the notion enlightened me on writings of great theatre practitioners that i had understood until then only under a theoretical angle and gave me practical clues on how to further explore those hints. for instance, it seems to me that the notion of delay echoes perfectly with the quests of the russian director vsevolod meyerhold (1874-1940) and the italian director, researcher and teacher eugenio barba (1936). indeed, for the prior, theatrical work is declined in an alternation between acting and pre-acting (which he also calls predigra): the pre-acting is a springboard, a moment of tension which resolves itself in the acting. the acting is a coda, whereas pre-acting is the present moment piling up, developing, and waiting to be resolved. […] we are not interested as such in acting, but in the predigra, the pre-acting, because the longing generates for the spectator a superior tension than the one provoked by something they already received or pre-digested. theatre, precisely, does not rely upon that. the spectator wants to dive into these expectations of the action. (meyerhold cited in barba 2004: 97-98). eugenio barba (2004) dedicates a whole chapter of his book the paper canoe to try to describe (in his practice, but also summoning testimonies of other artists) this “dynamic preparation of the action for the actor” which he calls “sats”. “here the action is thought of / done by the entire organism, which even in immobility reacts by tensions and “where the energy can be suspended in an immobility in movement” (barba 2004: 96). rahir • feldenkrais research journal, volume 7 (2023) 8 the attentional journey i have coined the expression ‘the attentional journey’ to describe the following tool extracted from the feldenkrais method. i was inspired by yvan joly when he used to talk about the intentional ‘journey’ during my feldenkrais method training in lyon (2017). according to moshe feldenkrais, for awareness to arise during an action, the person’s ‘concentration’ must be18 focussed on: “1) each part of the action itself, 2) what is felt during that action, 3) the total body image, and the effect of the action on the body image” (feldenkrais 2010: 102). their journey through the different strata of the action takes place with the help of sensory information collected in different ways, but particularly through kinaesthetic and proprioceptive sensations. yet these are sensations that we have little or no conscious awareness of: they provide us with the essential ability to perceive the movement needed to survive and develop our abilities to learn and become autonomous (barrat 2017). by focussing our attention on kinaesthetic and proprioceptive sensations, we can train ourselves to adjust our movements at any moment during the action, thus improving on what we normally do unconsciously and automatically.19 on stage, an actor could train their capacities to explore actions as part of their attentional journey. the journey begins with an observational phase: actors become aware of what is stopping them from acting and thinking by eliminating any superfluous elements or tensions, comfort and by favouring their subjective, ‘egocentric’ point of view rather than conforming to a20 model (berthoz 2013: 108-110). subsequent phases consist of actors playing with the different phases and types of attention (petitmengin 2001). for example: the attention with which actors observe their own actions21 results in new perceptions of those actions (by observing the transition between two elements and by observing the effect that this observation induces on the acting); by being capable of focussing on several key objects simultaneously; by varying a particular focus from narrow to 21 expressions used by claire petitmengin (2001), such as “preliminary phases” and “types of attention”, in her description of “interior gestures” for implementing “intuitive experiences”. 20 according to alain berthoz (2013), “the personal space is composed by the space of the self (egocentric). it is perceived by the internal senses and is in principle located in the limits of the own body” (p. 108). the “egocentric frame of reference” contrasts with the allocentric frame of reference which consists in using the relations between objects with each other or in relation to an external reference to your body” (p. 110). (the original text is in french). 19 see some of contemporary scientific research (e.g. edith ribot-siscar, a researcher at inserm, lnc, aix-marseille université) described in the documentary by vincent amouroux (2019). 18 i here use moshe feldenkrais’ term of ‘concentration’ which appears in the interview of feldenkrais by richard schechner (feldenkrais 2010). during the work with actors, we like to differentiate the expressions ‘focussing on’ or ‘calling one’s attention to’ which each qualify a different sensitive experience of the actor’s work. for the french neuroscience researcher and feldenkrais method practitioner, pauline hilt, with whom i have led a two-day laboratory, ‘being focussed’ characterises the fact of being able to maintain one’s attention on one element which they are concerned with, whereas the attention can be drawn by different elements, even in an unintended, if not unconscious, way (research laboratory, module “perception”, may 2022, lausanne). in the feldenkrais method, according to pauline hilt, one develops an “intentional and sustained” attention (hilt, personal communication, may 14 and 15, 2022). rahir • feldenkrais research journal, volume 7 (2023) 9 wide; or by varying the intensities and rhythms of that focus. far from over-stretching the actor’s concentration, their attentional journey helps them develop fluidity of movement through their focus and constant capacity to adjust to the variety of points of view and their increased understanding of what they feel. with the aid of the feldenkrais method’s somatic framework, actors can find ways to be able to reinvent how they observe themselves carrying out actions. variation the feldenkrais method’s objective is often not to teach students how to do something new, but rather to teach them how to do something they can already do, but in different ways. these tools can be applied to the performance of any theatrical score, whether the text must be followed closely or there is a framework offering room for improvisation. tools allow actors to explore the different possibilities for action that they can either repeat from one performance to the next or use to approach a scene from several dramaturgical angles. the core of the actor’s work is centered around the question of repetition – but without ever seeming mechanical, always seeming alive (according to the widespread expression in our profession). however, their job is largely to repeat every night the same scene, the same words, the same action, within one same play. the tool of variation enables us to offer the actor the ability to concentrate themselves on the past decisions that they needed to do during rehearsals to compose their score (the decision of a move, an intonation, a gaze, etc.). also to focus on those they must make quickly during a performance. in order to be a ‘lively actor’, at work, it would appear that they must not act as per final rehearsal decisions. they must be able to remember that each action has been chosen among a variety of possibilities, to be aware of their past decisions, but also of those actions they did not take, to challenge them in accordance with the present moment, to ‘update’ them immediately, instead of repeating the scene or the action as if they had always been that way, forgetting that as an actor they had to makes choices in the past that allowed them to attain the opening night. variation as a tool from the feldenkrais method interests me for its power of broadening the options for the actor, and especially in contextualising these actions every single time as chosen in the midst of a multiplicity of other possible actions (thanks to variation). still, the variation present in the feldenkrais method practice allows the actor to experiment for themselves that for each possible change for a same action, they can experiment a new point of view on the action. this new point of view will obviously imply other impacts on this action. for example, by varying the focus of their attention each time they come on stage, actors will notice modifications in the intention of their actions. they will thus be empowered with new possibilities of how to make their entrance. intentional movement in the feldenkrais method, each lesson of awareness through movement is part of a precise framework, one that we might compare to the foundations of a house. for example, it might be rahir • feldenkrais research journal, volume 7 (2023) 10 a precise position: ‘sit on the floor, knees bent, with the soles of your feet on the ground. place your hands below your kneecaps.’ from this initial position, a structure grows on which the student and the feldenkrais method practitioner will be able to improvise. the teacher might then describe a very precise intentional movement involving certain constraints, such as, ‘straighten your arms without moving the position of your hands.’ from this starting point—from this intentional movement and its constraints—their research can start to develop and the student can begin to explore the possible variations available within this framework. in theatre, practicing an intentional movement invites the actor to look for a point of view from which the acting will be able to unfold. this will act as a reference point during the exploration, a reference point to come back to if the actor gets lost in the process. if the actor begins with an intentional movement, then they do not need to think of a result or a goal that would need to be reached. it is the starting point that will need to be extended, its role is to make the actor forget about the arrival in order to engage in every step. the actor will henceforth be able to focus on the different variations and take interest in the process, in the way of doing and not what should be done. the frame suggested by this initial movement and the different variations of the process allow the actor to unfurl themselves in acting areas that no one could predict beforehand (neither them, nor the director). this quest is so often delved into during the devising work of a rehearsal: a creative framework is sought which can trigger the emergence of an unpredictable creative potentiality, offering the group the pleasure of surprise, beyond all habits. eliminating unnecessary effort when practising the feldenkrais method, the more one is able to perceive their sensations as they carry out a movement, the better they will be able to judge its quality and effectiveness and thus adjust any conflicts in its organisation in real-time. to improve the perceptions of movement, it helps to reduce any unnecessary efforts. moshe feldenkrais used the famous example of the piano and the fly to illustrate this practice. if someone is carrying a piano and a fly lands on it, they will not be able to tell any difference in the weight. by contrast, if a large dog were to jump onto the piano, they would feel the extra weight immediately. perceiving the weight of a fly requires reducing the number of other stimuli present or transporting something far lighter than a piano. in the same vein, only the reduction of the muscular tension will allow an22 actor to perceive anything other than the superfluous ‘noise’ of their efforts to carry out a23 particular movement. hence, if their movement is not muffled by the superfluous, the actor will be able to benefit from sufficient calm to detect the subtle sensorial changes that will arise throughout the entire action. within a complex score, the actor can be under the impression that there is an overload of 23 worsley (2016) and yvan joly (during his 2016 classes at lyon’s institute for feldenkrais training), have both compared stimuli to “noise” that can hinder any connection to one’s senses. 22 feldenkrais was referring to the fechner–weber law. see feldenkrais 2010: 101. rahir • feldenkrais research journal, volume 7 (2023) 11 elements that need to be addressed. often the actor thinks: “with a bit of training, the execution will become natural”. this way of proceeding might work, but is it for the best? operating in this way and learning how to stack actions and acting instructions makes one lose the opportunity of doing less to do better. it is precisely in this case that it seems relevant to delineate accurately in the actor’s score an acting zone where it is possible to seek the least effort. for example, the desire to do the least possible to convince one’s partner of the validity of one’s argument; watching one’s partner or using one’s body with the least possible effort; making the least possible effort to maintain one’s balance, aided by gravity, the floor, walls and furniture. instead of trying to focus one’s attention on every little thing that has to be done, we propose instead that the actor does the opposite and focuses their attention on what they can ‘let go of’ and what they do not have to do. finding a way to complete a sequence of actions and expend the least effort without having the impression of making mundane theatre, or failing to perform well, will require that the actor examines every element in that sequence. they will also have to pick out any element that takes on too much weight and is compensated for by the other elements becoming background elements. choosing a sequence of actions—or a “line of actions” as stanislawski termed it (autant-mathieu 2007), that the actor will be able to perform with the least possible effort necessitates a work of deconstruction. this consists of unfolding the different parameters that make up a dense sequence of performance actions. it should be noted that this exercise in deconstruction is often very beneficial, for example, in a ‘line rehearsal’: not to learn one’s lines off by heart but rather to master a complex score and tease out its substance or express it in performances on stage. the proportional distribution of movement one can think of the example of the lesson by moshe feldenkrais (1994-2004) taught at alexander yanaï (ay#50), which involves exploring the movement of lowering and raising the head and involving the spine in a proportionate manner. there, one must look for – and hence focus permanently on, a way in which each vertebra is involved in the movement evenly, that is to say, without it doing more or less work than the next vertebra. in order not to strain the vertebrae which have been accustomed to very little movement amplitude, one rather needs to concentrate on aligning the work of those vertebrae which move the most with those which move the less. in drama classes, one regularly encounters young actors who furrow their brows or create tension around their eyes to show that they are interested or listening. instead of asking a drama student to stop staring at their partner, we could suggest a new way of organising their listening gesture by trying to distribute their movements proportionally to the other parts of their body involved in their gaze. this could involve movements of the eyes, the face, the neck vertebra, the shoulder girdle (sternum, shoulder blades, collar bones and ribcage). in this way, the student will no longer focus their attention on what they should not do (stare) but will focus rahir • feldenkrais research journal, volume 7 (2023) 12 on seeking to express so called active listening. the active listening sought here does not involve dynamic movements but rather availability. thus, ‘being a good listener’ or ‘being interested’ is primarily about both ears being directed to the speaker alone. the movement of directing the ears requires soliciting the neck vertebra and the shoulder girdle to make sound-capture easier. listening to information is directly linked to its subjective reception and to the sensory messages perceived. furthermore, that way of treating information per se leads to a performance potential: there is much to watch about a performer listening. proof of active listening has to be reinforced from time to time through the wide variety of bodily movements and facial expressions that the actor can perform. these complex movements offer the actor a chance to listen actively by revealing all the potential in their acting. the acture feldenkrais (2014) wrote, “the posture is related to the action and not to the conservation of a body position. the word ‘acture’, which does not exist, would probably suit better” (147). to always keep in mind that the posture is not separate from the action, moshe feldenkrais hence created a neologism. the acture, “that is to say the way in which an action is accomplished and the best way to attain it” (feldenkrais 2014: 148) is a posture experienced in continuous movement, inscribed in space and time, adapting itself to each situation, and depending on the environment. this posture does not correspond to a universal anatomical model, no more than to some exterior criteria of rightness one would be supposed to reach. the only rightness to seek is one of comfort, of the research of a zone in which different directions of movement are possible, and from which the ease of movement will emerge. the only guidelines that need to be followed are the sensations collected. these allow adjustment. there are also some criteria that need verifying: to make sure one is not making unnecessary effort, not feeling any resistance, looking for the reversibility of movement and to ensure that breathing is free to come and go, without ever being blocked (feldenkrais 2014). for student actors, the posture is often a sensitive subject, confronting them to a dilemma: they want to become flexible actors, freed from tensions, always available and inventive, but at the same time they feel invested with the duty of trying to correspond to what they think is the ‘unique’ way of standing on a stage (for instance: having their feet parallel and hip-width apart), to appear ‘upright’ and ‘general’, so that the person who will hire them can fill with meaning this virgin actor-like form. flirting with the ideal of neutrality and the belief that an actor is able to24 24 neutral in theatrical jargon does not coincide perfectly with the definition of neutral in the feldenkrais method. in theatre, the use of the term neutral is a way of trying to reach a posture with no expression. it is often experienced as an ideal to aim for, and which, in my experience, is the cause of a great deal of tension for the actor. according to jacques lecoq, the neutral mask “is a mask with no particular expression nor recognizable character, which doesn’t laugh or cry, which is neither sad nor merry and which relies on silence and a state of calm. the figure must be simple, consistent, and not provide any conflicts.” (translated from the french). lecoq (n.d) < https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ >. rahir • feldenkrais research journal, volume 7 (2023) 13 express nothing and take on any role thanks to their sole work of composition, this search engages more deadlocks than readiness. during their work, the student actors spend a lot of time rectifying themselves, trying to erase their distinctiveness (lift their head, pull their shoulders backwards, etc.). in addition to them forgetting that they have other visible distinctive features (age, leg length, volume of the breasts, hair colour, face, musicality of the voice, etc.), their entire attention becomes occupied by this muscular will, generating tensions, discomfort, pain. the thought is ‘trapped’ and the body tense (visible features for an observer), preventing them to feel anything at all during their acting and their interaction with the environment. they hence become images frozen in time, neither lively nor available. the preconceived idea of posture also involves that the actor is sometimes left to compartmentalize their score in order to fetch one so-called good position after the other, inevitably passing through intermediate movements where they cannot help ‘dropping’ their position ideal, which is impossible to keep in all situations. the neologism ‘acture’ created by moshe feldenkrais is very much to the liking of actors. quite obviously, one hears in it the word action which fundamentally defines our profession of ‘act-or’, since we are etymologically “the ones who do, who act”. hearing this new word is immediately experienced as an empowerment: the posture is not any longer a rigid notion, it can become, in turn, a movement, a never ending and transforming movement that the actor can weave from the beginning to the end of the performance. rather than trying to create the definitively correct posture for each performance or role, acture implies permanently adapting to the situation at hand and adapting throughout the action. acture is not an ideal to strive towards; it is a process of interactions and adjustments; it is a back and forth between the actions proposed by the actor; the effects they perceive those actions to have on themselves and others; and the writing of their body through space. acture is a tool enabling the actor to work in the here and now of the real world, influencing the continuity of their acting, and creating the possibility of a transformation, a shift concomitant to the embodiment of the character. conclusion here i am following the example of odette guimond (1994), who sees in this method a possibility of addressing “movement as a vehicle of research” in theatre (102). what the choreographic artist and feldenkrais method practitioner, fabienne compet (2017), describes as being the possible trigger for the “setting into motion of a research” (11), i consider that through the filter of movement, these tools offer a capacity of creation. the latter allows us to emancipate from our theatrical habits, from our way of dissecting acting in order to analyse it; to free ourselves from the vocabulary usually applied to acting and to directing. this would give us the opportunity of a new point of view on some theatrical notions and on what makes the soma of an actor: a body which lives; which thinks; which feels. these tools allow actors to stop seeing themselves as mere instruments – tormented by the rahir • feldenkrais research journal, volume 7 (2023) 14 contradictions of a separation between the body and mind that are still so prevalent in the language used in rehearsals today, and encourages them to act as organisms that although they move, they also feel and think. finally, just like odette guimond (2001) or stuart seide (2009), for example, we observe that in the theatre, taking one’s inspiration from the feldenkrais method inevitably leads us towards a redefinition of acting as we have practised it for so long, perhaps even towards envisaging a new way of performing on stage. epilogue since the writing of this directory of tools, two years have elapsed. research laboratories with professional actors have been led to explore in practice these different tools. the director and actor christian geffroy schlittler and myself, have twice conducted two weeks of research in brussels (belgium), at the theatre océan nord, with a dozen of professional voluntary actors (august 2021 and january 2022), and a two-week practice workshop with another dozen of professional actors (organized by the fc* ) at the comédie de genève theatre (march 2022).25 additionally, workshops in theatre schools have been set up: in the theatre school the teintureries (lausanne, december 2021) and at la manufacture, university of applied sciences and arts western switzerland for students of the directing and scenography master programme (2021-2022), as well as the theatre bachelor programme (october 2022). thanks to these valuable experiments on the practice of the actors, thanks to actors' numerous trials and attempts, of their feedback, we are fine-tuning these tools progressively for our practice. a medium-length documentary with the testimonies of the actors is planned for 2023. hence, each tool described above has already been subject to more complexity and nuance. each tool has been inflected in a series of tools, increasingly specific. the research project in the context of which these tools have started to be formulated will come to an end in october 2023. a book with exercises for the actor should be published, stemming from all these practical experiments. information on the progress of the book will be available on the project website (rahir geffroy schlittler 2023). 25 the fc* is a professional association for research and the sharing of knowledge, which rallies performing arts professionals from western switzerland. “fc” stands for “formation continue”, ongoing training. rahir • feldenkrais research journal, volume 7 (2023) 15 references autant-mathieu, m-c. (2007) la ligne des actions physiques: répétitions et exercices de stanislavski. montpellier: l’entretemps barba, e. ([1993] 2004) le canoë de papier: traité d’anthropologie théâtrale. saussan: l’entretemps barrat, c. (2017) ‘comment construire l’image de soi’. corpus (30 ans: éclairages) berthoz, a. ([1997) 2013) le sens du mouvement. paris: odile jacob compet, f. (2017) ’l’usage de la parole dans la transmission des méthodes somatiques’. les pratiques somatiques, la boîte noire de l’histoire de la danse?, aide à la recherche et au patrimoine en danse, cnd, 7-13 feldenkrais, m. ([1973] 2017) huit leçons de prise de conscience par le mouvement, enseignées au théâtre des bouffes du nord à paris en mai 1973 [eight lessons on awareness through movement, taught at the bouffes du nord theatre in paris, may 1973]. recorded by myriam pfeffer. transcribed by combeau, f., acke, m., vitte, v., and ménasé, s. offered to practitioners of the association feldenkrais france in march 2017 on the occasion of the 30th anniversary of this association. english version: published with kind permission of the international feldenkrais federation, combeau, f. and pfeffer, s., paris, france. available at < https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-t heatre-des-bouffes-du-nord-in-paris-in-may-1973/ > accessed 17 february 2023 feldenkrais, m. ([1985] 2014) la puissance du moi. exploitez toutes les facultés de votre cerveau et de votre corps. [the potent self.] paris: marabout feldenkrais, m. ([1966] 2010) ‘image, movement and actor: restoration of potentiality. interview by schechner, richard and schechner, helen in embodied wisdom: the collected papers of moshe feldenkrais. ed by beringer, e. berkeley: north atlantic books and somatic resources, san diego, 93-111 feldenkrais, m. (1994-2004) moshe feldenkrais at alexander yanai. [transcripts]. ed. by soloway, e. trans. by baniel, a. and krauss, j. paris: international feldenkrais federation. feldenkrais, m. (1993) energie et bien-être par le mouvement. escalquens: editions dangles guimond, o. (2001) ‘la notion d’autopoïesis et la méthode feldenkrais® au service de la formation, de la recherche et de la création théâtrales’. in etudier le théâtre, actes des congrès mondiaux de valleyfield-québec (1997) et dakar (1999), congrès de l’aitu. rahir • feldenkrais research journal, volume 7 (2023) 16 https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-theatre-des-bouffes-du-nord-in-paris-in-may-1973/ https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-theatre-des-bouffes-du-nord-in-paris-in-may-1973/ aitu: presses collégiales du québec, 99-109 guimond, o. (1994) ‘l’éducation somatique et le mouvement au théâtre: la méthode feldenkrais®’. annuaire théâtral, 16 (théâtre et éducation, l’enfance de l’art), sqet, 99-106. available at < https://www.erudit.org/fr/revues/annuaire/1994-n16-annuaire3663/041215ar.pdf > illingworth, s. (2020) exercises for embodied actors. new york: routledge knebel, m. ([1959] 2006) l’analyse-action. arles: actes sud lachaux, j-p. (2015) le cerveau funambule. comment apprivoiser son attention grâce aux neurosciences [the brain on a tightrope. understanding and taming one’s attention through neuroscience]. paris: odile jacob lecoq, j. (no date) ‘le masque neuter' from “le masque neuter et expressif”. theatre du sentier. first paragraph. available at < https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ > accessed january 5, 2023 notre véritable sixième sens. (2019) directed by amouroux, victor. [video documentary] arte france, mona lisa productions, fauns, cmn petitmengin, c. (2001) l’expérience intuitive. paris: l’harmattan rahir, j-k. (2022) ‘la methode feldenkrais et la pratique théâtrale: la pratique d’odette guimond’. corpus (bulletin de l’association feldenkrais france), 12, 67-71 rahir, j-k. (2022, october) ‘la méthode feldenkrais et le travail théâtral de yoshi oida’. percées : l’extension recherche&création. available at < https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-th eatral-de-yoshi-oida > accessed february 17, 2023 rahir, j-k. (2020) théâtre et feldenkrais: quels sont les outils de la méthode feldenkrais pertinents pour le travail de l’acteur, projet de recherche mené à la manufacture – haute école des arts de la scène/hes-so, lausanne. available at < https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 5, 2023 rahir, j-k. and geffroy schlittler, c. (2023) rendre sensible: pour une pratique scénique issue du feldenkrais, projet de recherche mené à la manufacture – haute école des arts de la scène/hes-so, lausanne. available at < https://www.manufacture.ch/fr/5231/rendre-sensible > accessed january 5, 2023 rasmi, j. (2018) ‘preface’, ‘manuel d’immédiation’. in pensées en acte. vingt propositions pour la recherche-création. eds. by manning, erin and massumi, brian. dijon: les presses du rahir • feldenkrais research journal, volume 7 (2023) 17 https://www.erudit.org/fr/revues/annuaire/1994-n16-annuaire3663/041215ar.pdf https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible réel, 7-23 seide, s. (2009) ‘cinq semaines dans la vie d’un metteur en scène’. interviewed by détaillé. andrée, corpus 1, 33-36 worsley, v. (2016) feldenkrais for actors: how to do less and discover more. london: nick hern books interviews rahir, j-k. (2022, october) ‘la méthode feldenkrais et le travail théâtral de yoshi oida’. percées : l’extension recherche&création. available at < https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-th eatral-de-yoshi-oida > accessed february 17, 2023 rahir, j-k. (2020, november-december) ‘la méthode feldenkrais et le travail théâtral d’odette guimond’. [written interview with odette guimond] available at < http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 4, 2023. also available on the arodes platform hosted by the hes-so rahir, j-k. (2020, 25 juin) ‘la méthode feldenkrais et le travail théâtral de lionel gonzalez‘, entretien enregistré avec lionel gonzalez. available at < http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 4, 2023. also available on the arodes platform hosted by the hes-so biography julie-kazuko rahir is a belgian-swiss actress, researcher, and qualified practitioner of the feldenkrais method (ifeld iii, lyon, 2017). she is associate researcher and teacher at la manufacture – haute école des arts de la scène/hes-so, and teaches the feldenkrais method to dancers, actors, directors and scenographers in two other drama schools in french-speaking switzerland, les teintureries in lausanne and the serge martin school in geneva. julierahir@yahoo.fr / juliekazuko.rahir@manufacture.ch https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible https://www.atelier-recherchefeldenkrais.ch/ rahir • feldenkrais research journal, volume 7 (2023) 18 https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais mailto:julierahir@yahoo.fr mailto:juliekazuko.rahir@manufacture.ch https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible https://www.atelier-recherchefeldenkrais.ch/ application for certification as feldenkrais research journal • volume 4 (2008) article mia göran mörkeberg feldengood, sweden keywords feldenkrais method, case study copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org mia göran mörkeberg “how has it been since last time?” i asked mia, a woman in her late fifties, when she arrived for her fourth lesson. she came for lessons because of severe knee problems especially in her right one, where the cartilage was in bad shape. “much better, i have reduced the number of painkillers and it is easier to bend my knees. my homework went great.” (i had given her a tape with a “frog leg” atm) “that’s great, what are your wishes for today?” “well i still have difficulties putting weight on my right big toe, both in standing and in walking. as soon as i don’t concentrate, i find myself back in my old pattern,” she replied. “what do you do then?” i asked. “well i try to think about what we did last time when you helped me to keep my length on the right side when i stepped on that foot and it gets a little easier.” how could i help her maintain this organization without having to stay overly conscious about it? last time i gave her a lesson she was lying on her left side and i followed her pattern and helped her shorten her right side and in the end she was able to lengthen this side more easily. i had also done some work with her feet on a small roller and this helped her to be more aware of how she used them and it also made it possible for her to use the inside of her feet differently. a process i have seen both gaby yaron and larry goldfarb do came into my mind, using a big roller both in sitting and lying with the back of the pelvis on it. i thought that it might be easier for her to leave her old patterns if she was sitting and lying on a roller. and maybe if i give her the same message as in the last lesson (being long when stepping onto the right foot) but in another position, it would be possible for her to make it a part of her movement vocabulary. also when lying on the roller, it would probably be easier for her feet to stand more under her knees and have the pressure more between the first and second toes and more towards the first metatarsal. in earlier lessons we had found that, when she put the pressure through this part of her foot in walking, her knees felt better. i also thought this position would give me greater access to her lower back and her ribcage and it would be easier to help her lengthen and shorten both sides. i had her sit and asked her to notice how the pressure was distributed on her buttocks. at first she felt no differences. i wondered how i might help her note differences more clearly. i asked her to round and extend her back while noticing the pressure on her buttocks. she could then feel that when rounding she came more over on the right side. then i asked her what happened with her knees when she did that, and it was obvious for both of us that her right knee moved more to the outside. then i asked her to pay attention to where in her back she moved and worked the most. this was something we had done in the last lesson, in side–lying, and we found that it was the same as last time, that she had difficulties moving in her lower back and letting go of her stomach. although this had shown up in the last lesson, i hadn’t been aware that the pattern of holding in her stomach was so strong in her, but i hoped that it would be possible to address both this pattern and her pattern of shortening her right side. and to do it in a position she wasn’t used to would hopefully be effective. i decided to go on with the lesson. i had her sit on a big roller and roll it forward and back. i wanted to see if this changed the way she used herself. i hoped that the roller would help her use her lower back more. spontaneously she rounded her back when she rolled the roller back and extended it when she rolled it forward. without the roller, there hadn’t been much movement in the lower part of her back. i then asked her to do it the other way around (move the roller back when extending and move the roller forward while flexing). i thought that this would further inform the way she used her lower back. this was quite difficult for her but after doing it a few times it started to get a little easier. then she noticed that it was even easier when she used her legs more. i hadn’t been thinking about the use of her legs, so when she said it to me i had her (and me) focus even more on her knees and feet. we then played a little with putting weight on different parts of her feet while rolling the roller back and forth. during this experiment, she kept on extending her back when the roller moved back and rounded it when the roller moved forward. i then asked her to notice how her back was moving and it was clear to her that there was now more movement in the lower part of her back. thanks to her awareness and quick response, sitting on the roller seemed to help with how she used her lower back. it also gave her more awareness of how her legs could be part of this action and reminded me how they were involved as well. after this, i had her lie on her back on the table and placed the roller under her pelvis. i began palpating the muscles in her back and, as i had found earlier, there was a higher tonus on the right side than on the left. this time it was obvious for her too which made me glad because this was the first time she noticed the difference in the muscle tonus between the two sides. i lightly pulled through her legs (feet standing while holding on the femoral condoyle). i could feel that the pulling went through much easier on her left side, where movement reached her head. on her right side it stopped somewhere in her waist. when i asked what she noticed, to my surprise, it was quite different than what i was paying attention to. she felt that her right hip was looser than her left. she wasn’t at all aware of what was going on in her trunk. i then pushed from her knees up through her head and when doing this, i could also feel that the movement went through more easily on her left side. here too there was a difference between what she and i were feeling and noticing. i was a little bit puzzled with this but realized that if we weren’t able to observe the same phenomena it would be difficult to continue along this track. so i did the pulling and pushing in different directions while directing her attention to different parts of her body. during this process her awareness of what was going on increased and after a while we could both agree with what was happening. she realized that the reason that she felt her right hip to be looser had to do with the fact that there was less movement in the right side of her trunk so her hip joint stood out more. after doing this for a while she could notice that the movement went through more easily on her left. i returned to palpating the muscles in her lower back and asked her what she felt. she answered that the muscles felt softer than in the beginning, especially on the left side. that was similar to what i felt and i was relieved that we now were noticing the same things. i then supported the right side of her lower back, lifting it up a little while at the same time moving the right side of her pelvis and her right shoulder slightly towards each other. “that feels good,” she said, and after i stopped the movement we could again both feel that the muscles on her right side where a little bit softer. then i came back to pulling and pushing through her legs and i was pleased to find that she was more aware of what was going on. the differences between the two sides were much smaller than before but still there where a difference between her two sides that i felt needed to be addressed. it was as if something was holding in the region of her right hip and then i remembered that she had mentioned something about being sore in her right groin. so i thought that iliopsoas could have something to do with it. in this part of the lesson, i was a little bit unsure if it was appropriate or not to make more differentiation. i think i could have left the next step out, thinking that maybe her nervous system would take care of it by itself, but after having her rest for a short while off the roller, i put her back on the roller and continued on. i lifted her right leg and palpated her in her groin and found she was sore here and it was difficult for me to reach into her hip joint. on her left side she felt no soreness and my fingers could sink deeper in without any resistance. she also said to me that her right leg felt heavy. i went on doing the following with the hope that it would help clarify her hip joints and allow her iliopsoas to let go. i held one leg and had the other one standing (still with her pelvis on the roller). then i moved her pelvis (producing extension and flexion in her lower back). this was done with her leg and pelvis held together, with her pelvis fixed and moving her leg, with her leg fixed moving her pelvis and moving both her pelvis and leg in different directions. i started on her left side where she had no problem of letting go. when i came over to the right, it was more resistant and it was very difficult for her to let go of the leg. i then went back to her left side and asked her to produce the same resistance on this side that she felt on the right. after changing sides a couple of times, it became clear for her that the work she was doing in her right hip wasn’t necessary. in the end, i held her leg and had her move her pelvis, extending and flexing in her lower back. it was now easier for her to let go of her right side and she now noticed that her feet were also standing much more stable. i ended up what we were doing on the roller by taking her into flexion, lifting up her knees having her lower legs hanging. she immediately noticed that her knees bent more than usual. and when the roller was taken away and she put her legs standing, she spontaneously said that her legs felt more stable. “how come?” i said. –“what is the difference?” “i think my feet are standing closer together and closer to my buttocks”, she answered. “can you lift your pelvis now”, i said. she did and it felt much easier than it used to. i then had her lift her pelvis with her feet placed in different positions to help make her aware of the choices now available to her. after this, we came back to her sitting on the roller and i asked her again to roll it back and forward. to her own surprise, she started to roll the roller back and at the same time extend her back. i myself was also a little surprised (even a little relieved) that she found it so quickly. then i asked her, “what about your legs?” “i use them much more and it is easier than in the beginning”, she replied. then i asked her to roll it the other way around (rounding the back when rolling the roller back). she now found this more difficult and also noticed that it was more difficult to move in her lower back and use her legs. away with the roller and back to sitting on the table, she felt that she sat more balanced and more in the middle. at the end of the lesson, when she came up to walk, she spontaneously said that it was easier to have the pressure on the big toes of both feet (this was actually more between the first and second toes, towards the first metatarsal, but i wanted to use her language here). i think that this happened because of the changes that resulted from when she was lying with her pelvis on the roller with knees bent. in this position, her feet could come more under her knees, making it much easier to feel the pressure through the front of her feet. working with her in this “environment” allowed her to more clearly learn and sense how to do this. i was very pleased with how the lesson had evolved even though in some part of the lesson i wasn’t sure if i had done too much. i could see that her walking had improved a lot and i think that her awareness of what is going on, how her knee problems are connected to how she uses the rest of herself, has increased, what would be the next step? i am not sure, but this lesson on the roller was one step towards having her heels more under her pelvis and on the way to this it will give a lot of opportunities to work with the movements in her lower limbs and in the knees. it will also provide an opportunity to work more with finding the best place to put pressure through her feet. there is a wonderful series of atm´s starting in ay#190 and i think working with her around them will provide plenty of material for many fi´s. in these lessons moshe emphasizes, again and again, to have the pressure on the feet, somewhere between the first and the second toes. probably i will also do some work with her kneeling at the table to help further clarify her hip joints and how she brings her weight over her legs. maybe it could be a way for her to be able to sit more on her heels as well. if this doesn’t work out, i might have her lying on her stomach and from there work with having her push with her big toe, and maybe also do something that could support more flexion in her knees. but i have to wait and see how she digests what happened during this lesson. maybe i will need to go back to do some more work differentiating her feet (which i did in the second lesson with her) but i will have to follow her cue when she returns. anyhow, i am looking forward to the next lesson. göran mörkeberg nygatan 88, s-231 45 trelleborg +46-410-44413; +46-733-122347 feldengood@telia.com www.feldengood.com mailto:feldengood@telia.com microsoft word barrows_pdf.doc feldenkrais research journal • volume 3 (2007) article the future of research in the feldenkrais method stacy barrows pt, cfp, century city physical therapy, los angeles abstract this short article outlines some difficulties of communicating the benefits of the feldenkrais method to the broader public, from the perspective of a physical therapist. the language of body awareness is in many respects still being developed, so the direct link between self-awareness, movement efficiency and functional outcomes is difficult to express. despite many well-designed and executed clinical studies that demonstrate the effectiveness of the feldenkrais method, we can talk about subjective outcomes much better than we can quantify the results of our work. the article suggests a self-observation assessment scale may provide a useful starting point for analysis. as researchers refine the language of self-awareness and further demonstrate its link to self-reliance and well-being, practitioners will be better able to talk to clients and to other professionals, and they will be better equipped to talk to us. keywords feldenkrais method, sensory motor learning, language of assessment, research outcomes, research design copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 the future of research in the feldenkrais method stacy barrows, p.t., c.f.p. century city physical therapy first, let me clarify that i am an observer, not a researcher, and that my perspective on research comes from my experience as a physical therapist who uses the feldenkrais method in a clinical setting for sensory motor learning. as feldenkrais practitioners, we are quite comfortable discussing the benefits of our work with clients and colleagues, but many of us find ourselves at a loss when speaking about the benefits of the feldenkrais method to the larger community. and it isn’t just us…those who are neither feldenkrais practitioners nor clients of the method have equal difficulty understanding what the work is capable of. the language of body awareness is in many respects still being developed, so the direct link between self-awareness, movement efficiency and functional outcomes is difficult to express. despite many well-designed and executed clinical studies that demonstrate the effectiveness of the feldenkrais method, we can talk about subjective outcomes much better than we can quantify the results of our work. i became very aware of my own limitations in communicating the benefits of this work when a workers’ compensation administrator asked me to describe the objective measurable changes that a client had made with the feldenkrais method. i had reported in her medical chart how she was able to be more social, explaining that her reduced pain allowed her to do more leisure activities. i was happy to report that the client was now meeting with her psychologist to discuss returning to the work-force and that she wanted to direct herself toward her goals for the first time in years. she was now less afraid when her pain flared up and stated that she could tell when the pain would subside with rest, or if it would linger for a few days. despite these profound changes in her life, i found it very difficult to discuss her improvement with others outside our profession, especially the workers’ compensation administrator. the patient understood her own progress and so did those close to her, but her improvement was not measurable by conventional methods. conventional assessment tools would document her improved range of motion, greater strength or decreased level of pain on a 1 – 10 scale. unfortunately, there is no box that can be checked off on a medical form for “greater body awareness” or “better quality of life.” i believe that part of the difficulty of trying to communicate the intent and outcomes of our work to those outside our profession is that the feldenkrais method, unlike most other disciplines, is not a deficitor task-oriented treatment approach. it is not an end in itself or a “modality” (to use the language of physical therapy) with a single specific result. for the practitioner, it is a way of observing others and recognizing less than optimal movement -a iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 way of helping others think about and sense their intimate relationship to gravity, their own body and the space they move through. for the student, it is largely a self-directed learning process that begins with movement awareness and aims at continual improvement in overall well-being. needless to say, different people and different practitioners describe their observations in different ways. and perhaps this is where research can help. to communicate effectively with those outside our profession, we need a common language of observation and better ways of “measuring” our results. when we use the descriptive language and assessment techniques of conventional medicine or other well-ingrained disciplines, we often draw direct attention to the negative effects of an injury or problem rather than positive improvements. we risk seeing the glass half full rather than half empty. moreover, we limit the outcome; why should the goal of therapy be “painfree movement” and not “better self-image?” practitioners who have medical training and/or research scientists at universities could be tremendous resources for developing and standardizing measurement tools better suited to describe optimal movement and self-improvement from a feldenkrais perspective. perhaps they could conduct a study comparing positive body relationship analysis with standard self-measurements that are in widespread use: i.e. pain maps, pain analog scores, fatigue, perceived disability, etc. alternative assessment scales that pose self-observations in a positive light could provide a starting point for analysis and the development of more useful language: comfort scale: ! where do i feel the most comfort? ! when am i more comfortable? ! rate comfort on a scale of one to ten ! describe other words for comfort stamina scale: ! i have the most energy when… ! i can do most of my errands when… sleep scale: ! i fell asleep easier when… ! i slept through the night when… ! i felt well rested in the morning when… functional scale: ! perceived ability ! because of noticing how i move, i can now get out of a chair… get out of a car… get out of bed… walk up a hill… 3 as researchers refine the language of self-awareness and further demonstrate its link to selfreliance and well-being, practitioners will be better able to talk to clients and to other professionals, and they will be better equipped to talk to us. one outcome of finding new ways to discuss and encourage positive body awareness may be that we expand the dialogue to new groups of people and broaden the integration of feldenkrais into other disciplines. and someday, perhaps sooner than any of us think, we will aim at the loftier goal of promoting early body awareness through the educational system…an important first step on the path of life-long learning for everyone. microsoft word 10-fogel_pdf.doc feldenkrais research journal • volume 3 (2007) article documenting cases as a participant observer: a manual for somatic awareness practitioners alan fogel phd, professor of psychology, university of utah abstract what follows is a how-to manual designed to assist somatic awareness practitioners to document their cases in a way that allows a reader to reconstruct the flow of events – for practitioner and client – in all or part of their sessions with clients. the method of documentation presented here assumes that the practitioner is the most informed observer of a session (a participant observer) and that practitioners can train their perceptions and writing skills to communicate the process of engagement, communication, and change over time within and across sessions with the same client. qualitative, participant observer research methods have strong overlaps with the principles of somatic awareness treatment and educational methods. the domains of overlap are: self-awareness, attunement to the body and its experiences, non-judgment, and distinguishing the roles of self and client to enhance the client’s self-awareness. effective, articulate case notes can serve as the basis of research on the process of change for both clients and practitioners using somatic awareness methods. although each somatic awareness practice uses different terms for those providing and those receiving the work, the terms “practitioner” and “client” will be used in this article. keywords feldenkrais, somatic awareness, participant observer, case studies, research documentation, research questions copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 3; 2007. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 1 documenting cases as a participant observer: a manual for somatic awareness practitioners alan fogel, phd professor of psychology, university of utah, alan.fogel@psych.utah.edu about the author: alan fogel does research on individual differences in social and emotional development during parent-infant communication, and in somatic awareness practices with adults, including the effects of feldenkrais functional integration lessons on autistic adults’ ability to communicate and express emotions, and the role of emotional self-awareness using rosen method bodywork with sufferers of chronic back pain. professor fogel is a rosen method bodywork practitioner. he also collaborated with marc reese, feldenkrais practitioner and teacher, to develop a series of feldenkrais awareness through movement lessons, published in a. fogel (2001) infancy: infant, family, and society, that replicate the movements and postures of infants. fogel has lectured world-wide to audiences of psychologists, developmental scientists, infant and family mental health practitioners, and practitioners in multiple forms of somatic awareness and somatic psychotherapeutic methods. he has authored multiple books and over 100 research articles. his research approach is qualitative and holistic. the author conducts experiential workshops for parent-infant mental health practitioners, in rosen method bodywork, and in research methods for documenting cases for somatic awareness practitioners. for more information, see http://www.psych.utah.edu/lab/somatics/ . abstract: what follows is a how-to manual designed to assist somatic awareness practitioners to document their cases in a way that allows a reader to reconstruct the flow of events – for practitioner and client -in all or part of their sessions with clients. the method of documentation presented here assumes that the practitioner is the most informed observer of a session (a participant observer) and that practitioners can train their perceptions and writing skills to communicate the process of engagement, communication, and change over time within and across sessions with the same client. qualitative, participant observer research methods have strong overlaps with the principles of somatic awareness treatment and educational methods. the domains of overlap are: self-awareness, attunement to the body and its experiences, non-judgment, and distinguishing the roles of self and client to enhance the client’s self-awareness. effective, articulate case notes can serve as the basis of research on the process of change for both clients and practitioners using somatic awareness methods. although each somatic awareness practice uses different terms for those providing and those receiving the work, the terms “practitioner” and “client” will be used in this article. the role of case documentation in research and practice why document our cases? there are many reasons to document the client-practitioner relationship and how it changes. this manual is oriented toward creating written case studies of change over time with the explicit goal of communicating the actual process of the work to iff academy feldenkrais research journal 3 (2007) ® 2007 by the author issn 1817-4000 2 others both inside and outside of a disciplinary community. when the field of psychology was young and not well accepted, the published case studies of freud and jung transformed the dedicated work of a few individuals into one of the therapeutic mainstreams of western culture. the consciousness-shifting work of charles darwin and jean piaget was founded upon their careful documentation of observations in which they were a direct participant. darwin was a true naturalist, living in the field and directly experiencing the lives of the species he studied. piaget made extensive case notes on his own three children. as these examples show, when a field is relatively new or unknown outside of a small circle of those who practice that work, detailed case documents are one of the most powerful vehicles to spread the news of what a practice has to offer, how it works, and how it may benefit others. documenting cases says: “this is what we do and how we do it.” it is different from a testimonial, a summary description, or an advertising blurb, all of which are highly interpretive and can be read as biased. accurate case documents speak for themselves and have a readily transparent truth value. what is a participant observer? a participant observer is a person who develops skills to observe and to write about his or her own and others’ experiences while engaging in a longterm and meaningful interpersonal relationship with others. participant observation is a well-accepted scientific method in fields such as psychology, education, and anthropology. instead of trying to be “objective,” the participant observer calls on the depth of their personal connection and their ongoing relationship with the people being observed. participant observation seeks to communicate the compassion, authenticity, and aliveness of the process so that readers feel as if they were actually present. it does not diminish the experience by pretending to objectify it. somatic awareness practitioners already are direct participants in the therapeutic or educational relationships with clients and students, and the new skill that this article offers is how to write about one’s experience. somatic awareness principles – such as being fully present with ourselves and our clients– are exactly those cultivated by participant observers. documenting cases in writing does not necessarily change what already happens in a session but it may expand the practitioner’s awareness of what happens. what is the purpose of case studies of change? freud’s case studies revealed how his patients transformed over the course of repeated sessions, from states of ego fragmentation into states of integration. they also show freud’s therapeutic stance, his comments and questions, and his process of co-discovery with the client. darwin’s case studies revealed how species changed across millions of years and also provide a record of his own process of change as he encountered new evidence and adapted his theoretical understanding. the essence of life is change. case studies of change are documentary records of what occurred between client and practitioner across multiple repeated sessions of a treatment that may last months or years. case studies paint a picture in words (and possibly pictures) of what unfolds in sequence in some part of each of the repeated sessions. the writing is a report of what happens, in which judgements and interpretations are kept separate from the documentary records themselves. why does the community of somatic awareness practitioners need case studies of change? we all know from our personal case histories that the methods we practice change us and change our clients. at the present time, however, the number and depth of published documentary case studies on the process of change in our relationships with clients is limited. even when client change is recorded, it is often as if the practitioner was not present, as if the “treatment” 3 was a one-size-fits-all rather than an emergent process of interpersonal navigation and mutual understanding. too often, in research on health care, “treatments” are assumed to be fixed, stable, and consistent. in all of the somatic awareness disciplines with which i am familiar, this is far from what occurs. instead, practitioners are trained to leave themselves open, to respect the process of unfolding, to allow themselves to be changed by the process as they endeavor over time to “meet” the client. by writing detailed case documents we make this process come alive at the same time that we counter the tendency in the larger culture to “reduce” our work to a linear and uni-dimensional “treatment-outcome” model. documenting cases is a holistic, compassionate, and respectful act that serves to bring the work alive and have a self-evident face value. as a behavioral scientist for the past 30 years, i have observed the convincing effect of careful documentation on the minds of readers, both in the scientific community and the general public. most of the major discoveries in the fields of human development, clinical psychology, and neuroscience have originated with case studies. i have spent my scientific career establishing the importance of case studies of change and the role of interpersonal relationships to facilitate or hinder change processes (fogel, 1993; fogel et al., 2006). what happens to case studies once they are written? one possibility is that they can be published for others to read and study. another possibility is that these documentary records can be analyzed to extract regularities of the change process. what works and what does not work, in general and for particular clients? what are the processes of change and are they the same as what the clinical theory predicts? these analyses can also be written in the form of articles that can be submitted for publication in order to establish the efficacy of a practice for particular types of treatment or more specifically, how to adapt a practice to differences between clients. what can you learn from this manual? this manual will provide interested practitioners with all the conceptual and practical tools they will need to document one or more of their cases. the analysis of documented cases is another topic and will not be included here. this manual has the following sections. a section on participant observation includes how to stay connected while maintaining boundaries, the role of presence, and suspending judgement (not knowing). the next section covers how to write case notes by being disciplined, by documenting sequences of events, and by separating observations from interpretations. the third section is on how to develop an orientation to your case study by finding a particular question or questions that motivate your work. each section is accompanied by experiential exercises. these exercises can be done alone or in a group. the author conducts workshops teaching this method using these and other exercises. in addition to these three sections, there are three supplements to aid your work. the first is a set of examples of case documentaries taken from published accounts of different somatic awareness practices. these examples are intended to be read along with the experiential exercises. second, there is a sample “consent form,” which may be given to the clients whose cases you plan to document. in a university setting such as where i do my research, client consent is required by our institutional review board for the protection of human subjects. i have included a consent form based on what would be required by my university. whether you use this form or adapt it to your own needs, i highly recommend that you seek client 4 permission in advance of beginning the documentation. i know of several practitioners who could not publish their careful documentations because the clients, when shown the document after it was completed, refused to allow it to be used. advanced consent lets the clients feel as if they are collaborators in the work. finally, there is a bibliography should you desire to read further. participant observation keeping track of your own and the client’s experience. the goal is to record your own bodily sensations and feelings that correspond with what you are observing in the client. “you will want to maintain a dual purpose: you will want to seek to participate and to watch yourself and others at the same time” (spradley, 1980). maintaining boundaries while staying connected. compassionate analysis means that the practitioners’ emotions are connected to the clients’ and yet they are kept separate. “a researcher must become deeply involved with his material and allow it to absorb him while remaining emotionally vital enough to step back and perceive the contours of the data. it is a rigorous, affective exercise demanding emotional reserves and critical perceptiveness” (glazer, 1980, p. 29). prolonged engagement with the data. over the course of many repeated sessions with the same client, there is a growing awareness of recurring patterns, places where openings occur and where they do not. this allows the practitioner to sharpen the focus of description and to further separate self from other. “the more the investigator is immersed in the data, the more s/he relates to the data, the more qualified his/her interpretations become” (jansen & peshkin, 1992). “the investigator’s prolonged engagement with the data is a crucial criterion for evaluating the validity of qualitative research studies” (lavelli, pantoja, hsu, messinger, & fogel, 2003). suspending judgment, not knowing. while being present without judgment is theoretically central to being a practitioner, each practitioner can be captured by their own biases and preconceptions. research methods that aim to describe direct felt experience as it appears are called phenomenological research methods. these methods require what is called the “epoche,” an invitation to presence and aliveness of noticing. “in the epoche, the everyday understandings, judgements, and knowing are set aside, and phenomena are revisited, freshly, naively, in a wide open sense…” (moustakas, 1994, p. 33). “epoche includes entering a pure internal place, as an open self, ready to embrace life in what it truly offers” (p. 86). “interpretation … removes the aliveness and vitality from the nature, roots, meanings, and essences of experience” (p. 19) presence. the intent of the practitioner is to assist clients in becoming more fully alive. the practitioner as participant observer has an additional task; that of bringing the session alive for those who were not physically present but who, upon reading the case documentation, can feel as if they were present. “phenomenology is committed to descriptions of experiences, not explanations or analyses. descriptions retain, as close as possible, the original texture of things…descriptions keep a phenomenon alive, illuminate its presence, accentuate its underlying meanings, enable the phenomenon to linger, retain its spirit, as near to its actual nature as possible” (moustakas, p. 58-59) . “this work presupposes that the perceiving self is an authentic self, that the self is actually present” (p. 61). one approaches the client with a participatory consciousness, “an attitude of profound openness and receptivity . . . one is turned toward the other ‘without being in need of [the 5 other]’ or wanting to appropriate [the other] to achieve something.” participatory consciousness “requires a ‘total turning to’ the other which leads not to a loss of self but to a heightened feeling of aliveness and awareness” (heshusius, p. 16). participant observation: exercises for the following questions and inquiries, study in detail one or more of the case examples in the supplement at the end of this article. 1. find those places in the example in which the observer has described his or her own experience. • does the observer succeed in distinguishing his or her experience from that of the client? • did you feel that the observer lost him/herself anywhere? or discovered him/herself? • did you feel you could clearly track the sequential process for the practitioner? • did you hope for more information? what? 2. find those places in which the observer documents the client’s experience. • did you feel an attitude of openness and receptivity toward the client? what gives you this sense? • where did you feel that the client came alive in the writing? where did this not happen for you? 3. find those places in which the observer makes interpretations, hunches or judgements. • were these places clearly distinguished from the recording of actual events? • were the interpretations helpful or not? • where would you have liked to hear more about the observer’s interpretations? 4. where in the writing did you have a sense of change over time in the relationship. • what gives you the sense that the relationship changed? • did you have a sense of growth of the client and/or the practitioner? how? • did this give you more confidence in the observations? • what would have made the reporting of changes more effective? 5. what skills do you already possess that would support your becoming a participant observer of your own cases? 6. what are the obstacles you foresee that might impede your becoming a participant observer of your own cases? writing with presence and discipline background-foreground: at the beginning of your document, describe the client in detail. give your first impressions and whatever “history” you can learn from your first contacts. what do you notice about how the client looks, how she holds her body, the quality of her voice, your sense of connection to her, and other details you would typically notice with a new client. note details of all conversations, including phone contacts. background information should also be included for each subsequent session. this is not the main data but rather the background. the foreground is the specific sequences of events that you record following every session, the session log. 6 doing documentary work. your goal is to create a documentary work, one that allows the reader to replicate what actually happened in your session with the client. “detail is everything; only that which is recorded in the log is available for research” (ely, 1991, p. 70). your job is to be a recorder of what occurs. here is what one participant observer wrote about her work: “my quick generalizations were not acceptable. here’s what i mean: during our first field observation, my tendency would have been to log, ‘e told me about her day as a substitute teacher.’ instead, i had to learn to log: e said, ‘you’ll never guess what i did yesterday. i subbed for a first-grade class, and boy, was i wiped out at the end of the day.’ she explained to me that their regular teacher was on maternity leave. she said she had lots planned, but didn’t get to do much of it because the children were restless. i asked her what they did do and she said she read them stories. i remarked i bet they liked that. she said she was physically and emotional exhausted from it and couldn’t see herself doing that every day” (ely, 1991, p. 70). note how this log records what actually occurred, so far as it could be remembered, and that both the observer’s and the teacher’s actions are recorded. writing sequence narratives. logs are of the most scientific and clinical value if they provide a chronological or sequential record of what took place. “a chronological narrative is the description of the observed phenomena in terms of sequences of events. the primary goals are thus (1) to transform the observational data into text – a text composed of successive events that are relatively “open and theoretically indefinite” (ricoeur, 1991, p. 22), and (2) to create a “careful record of the changes in the dyad’s communication development across time” (lavelli, pantoja, hsu, messinger, & fogel, 2003). beauty, depth and discipline. write as soon as possible following the sessions. forgetting begins immediately after the session is over. this takes discipline similar to the kind of discipline required to be present for the client during the session. don’t hold back. write from the heart but without judgement or interpretation. “write as lushly as you can, as loosely as you can, as long as you put yourself into it, where you say, ‘i felt that’ . . . to be scientific in this area, you’ve got to start trusting yourself and writing as fully and as lushly as you can. that’s part of the discipline itself, too” (goffman, 1989, p. 131). distinguishing what goes on in the session from your reflections and interpretations about the session. in addition to the background and the log, one can make optional personal notes that come out of introspection, doubts, thoughts, questions, judgements, hunches. these personal comments must be set off from the log itself. this can be done with statements, with highlighting, with brackets, or by making comments in the margins (leaving room for wide margins). “this is the place where the researcher faces the self as instrument through a personal dialogue about moments of victory and disheartenment, hunches, feelings, insights, assumptions, biases, and ongoing ideas about method” (ely, 1991, p. 69). in these personal notes, follow what appear to be distractions, let yourself be open to developing insights, maintain your stream of consciousness without imposing too much judgement on what your words mean. do not expect conclusions or answers. instead, expect confusion and let the “not knowing” be reflected in the writing. focus writing on key moments: there is usually no need to record the entire session. few people can remember the details of an entire session. focus on key moments that seem to highlight the session for you, in which there is a salient change process or discovery. on the other hand, don’t ignore the “boring” parts of the session in which not much is changing. choose one or two examples in each session to characterize moments of being stuck or lost. 7 documentary writing: exercises for the following questions and inquiries, study in detail one or more of the case examples in the supplement at the end of this article. 1. find places in the example in which the writer gives background, as opposed to foreground, information. • was the background clearly distinguished from the foreground (the log itself)? • did the background information set the stage for you to better understand what happened? • would you have liked to have more detail in the background? what? 2. find places where the writer gives sequential vs. general information about the session itself. • were you satisfied that you could grasp the flow of events in both client and practitioner? • where would you have liked more information? 3. note the depth and quality of the writing. • where do the words draw you in or excite you or make you want to keep reading? where do you feel distant or bored? • would you describe the narrative as lush or sparse? 4. check whether there is an overall sense of completeness. • did you have a sense that the observer told the whole story? • was there a balance between reporting on the client’s and the practitioner’s experiences? • were you able to share the observer’s doubts, moments of not knowing, have a sense of what worked and what did not? • did you feel that the key moment that was reported gave you a good sense of the process or did you feel you wanted more? research questions that focus observation and expand creativity making choices. without some recording device (tape recorder, videotape) it is impossible to describe an entire session. if you would like to record the whole session, think about digital recording so that you can easily enter the record into your computer. such recordings, however, do not replace written case documentaries as described here. it may not be clear from the recordings when and how the practitioners experienced the connection, when the moments of meeting and moments of change occurred. having a research question provides focus and depth to the session log. the following are some examples of research questions. many others are possible and it depends upon the practitioner’s personal interest/curiosity with the work. • when does the client talk about emotions compared to express/feel them in the present? what facilitates or hampers feeling? what specific emotions and sensations does the client have? are the emotions linked to particular events or memories? what happens following periods of actual felt experiencing by the client compared to periods when the client merely talks about emotions? what is your experience in each of these situations? does your client steadily grow in the ability to feel himself across sessions or are there ups and downs? what accounts for these changes over time? 8 • when is there an interpersonal resonance between the client’s “unformed feelings” and the practitioner’s words or touch? what specific feelings or sensations let you know that there is resonance? what facilitates or hampers it? what happens following periods of resonance? do the client’s feelings or actions become more clear or less compulsive? is there a deepening of experience? is there a change in breathing? is there a shift in your feelings of connection with the client? does resonance steadily increase over sessions or are there ups and downs? why? • when do you notice feelings of “aliveness” in the client compared to feelings of distance or being closed? how do you notice aliveness in yourself and in the client? what happens in the client and you following such moments of aliveness? do these moments of aliveness increase or decrease over sessions? • where is the body holding tension? where is there more softness and responsiveness? what facilitates or hinders contacting the tension for the client? what happens in you and in the client before and after the client begins to feel the tension? does this process change over sessions? disconfirming evidence. note that the foregoing are questions. taking a scientific stance means that the practitioner does not know the answer to the questions but may suspect, because of clinical experience or theory, that there these phenomena are important for the client’s change process. the goal of documenting using these research methods is to discover what actually does happen. if the theory or one’s long-held beliefs need to change as a result of this process, then it is time to let them go. careful documentation is the basis for enriching and expanding theory and practice, and one’s own ideas about the work. the best clinicians keep an open, questioning stance regarding the process of change. what “works” or does not work can be directly confirmed by a change or sameness in the client. as participant observers, it is essential to record things that do not work, the disconfirming evidence, as well as things that do work so that the log reflects what actually does happen. inherent biases in the log come from feeling that one “knows” what is right for the client or what is wrong with the client, or feeling that one knows what works or does not work for the client. staying open, being creative. let the work speak to you so that the documentary process is a living thing. the research question that kept your focus at the beginning may seem less valuable or appropriate as you continue to observe and write. participant observation requires that the research questions may change in light of ongoing participation and observation. the research question is not what the study is “about,” but rather the research question guides the work temporarily. allow your sentiments about what seems important to change. approach the writing creatively. documentary work is something that unfolds and is itself part of the discovery process; not something that is done as a mindless chore. the best documentary films are works of creative spontaneity that grow and change in the process of their making, in which the filmmaker learns to follow rather than lead and to let the assembly of images speak for themselves. 9 research questions: exercises 1. think about what makes you curious about your somatic practice in general or a client in particular. • right now, what are you curious about with respect to your practice? • has the focus of your curiosity changed during the period you have been practicing, or stayed the same? • if changed, what inspired the change? something you observed in a client? something you read about? something you heard from someone else? • do you feel your work is creative? growing and changing? stuck or stagnant? • do you have your mind made up about your work? about your clients? or do you allow yourself to be challenged by your clients? awakened? shaken out of complacency? 2. try to formulate one or more research questions based on your curiosity. • is your research question something that you can actually observe? how can you change the question to make it more observable in practice? • is your research question about change over time, within or across sessions? how can you change your question to reflect change processes? • is your research question stated in a way that it could be disconfirmed? how can you change your question to make it more readily confirmed or disconfirmed with the data of your observations? is this easy or difficult to accomplish? why? supplementary information included in this supplement are case examples written by practitioners of rosen method bodywork and somatic psychotherapy. a case example of a feldenkrais functional integration lesson can be found in the article by goldfarb in this issue of the iff. case documentation examples: rosen method, from sandra wooten, rosen method bodywork senior teacher and practitioner (used with permission of sandra wooten and the client) this is taken from the cases notes for an adult female who come to the rosen practitioner with chronic back pain. she had received 11 weekly rosen sessions prior to the one described here. now that the exam she had to take is over i expected more ease in her breath than i found. she was quiet at the beginning, then said that her low back on the right side was bothering her some, she has had headaches for the past three days and a couple of other things. she says she is anxious waiting for the test results. there was a response in her breath with this, but little and i became very curious about what else was there. as she speaks my right hand is feeling the deep tension in her low back on the right side, my right hand resting on her arm. this low back area remains tense as she talks. the roommate: apparently uncommunicative and noisy during the night when he gets up to use the bathroom. she is still locking her door when she is at home. this week her female roommate is gone. what is he doing at all hours of the night, she wonders. he does not participate in any way in the household. she plans to talk with him, but never sees him. this is not news, but an on-going litany of how she has felt about him from the beginning. i feel my shoulders drop and i think to myself there is some kind of resignation within her. i 10 wonder, again to myself, why doesn’t she begin by writing him a letter?? i feel my frustration with this and then, wonder about her frustration. and yet, is it frustration, or something else? these thoughts and feelings move through me, but i just listen to myself and to her. the ‘giving up” has got my attention. she is quiet again, little movement, but then, gurgling in her belly. something has shifted, but the breath doesn’t follow. the deep relaxation in her belly is not in her consciousness yet. i’m curious that the breath is not more full. my hands on her are soft and resting, but with an aliveness that is in deep contact. i don’t know exactly when the word loneliness came to my mind. i noticed the sense of it within myself. i asked her if she was lonely. she became quiet and the breath did move from her sacrum up to her chest. i wanted to allow plenty of room to see how she responded to this. i could see some color come into her face, but there was no expression of emotion. at one point she said her parents were never home. she and her siblings were ‘latchkey’ kids, always going home with no parents there. she and her siblings would fight. more breath and she says “i really like being with the people i love”. then, “i wish i had spent more time with my mom before she died.” and “everyone is too busy now.” note: the exam took over her life for a while, as it would for anyone, i’m sure. she has never liked it that she now has a male roommate, but she was able to put that away during these last couple of weeks before the exam. now, here is the situation again that she cannot ignore. it seems to me there are many unexpressed words and feelings that tie back into her early life. rosen method, from gail bourque, rosen method bodywork practitioner, physical therapist, and somatic psychotherapist (used with permission of gail bourque and the client) “melissa” is a middle aged single woman who is very involved in her profession as a teacher. at the beginning of our work together, she said a goal for her was to stop being so busy. she often described herself as quite "rushed", and "tense". she was in fact very tense in her body. she has a particularly difficult chronic pain in her left shoulder that was often the focus of our work. this was her 15th weekly rosen session. random the word came up as m described what some young students said about her. she was, they said, “random”. we laughed. m i mean what does that mean. then the whole class had to go around and say what they thought the word random meant. we laugh. m it was a compliment. i think. at first i wasn’t sure. then i think they meant that i gave all kinds of examples in my teaching, that i was all over the place. but i think that they meant it in a good way. she takes a big breath. it’s funny, but that’s the word for the session. random. we were all over the map. we started by focusing on her upper left back and shoulder girdle. her “place.” she talked about how she has thought and thought about it, and she can’t figure out what it is all about. 11 her shoulder is tight though the rhomboids and the levator scapula and trapezius. all hunched up. she is slowly relaxing, the muscles are twitching and softening. her breathing is slowing. g i remember that you had said a goal was to stop rushing. how is that going? m i am glad you reminded me. i’m not rushing as much. i remind myself that i don’t have to do everything all at once. g does rushing have anything to do with your shoulder getting tight? m well, maybe. hmm. i mean when i am rushing i am stressed. and any stress goes to that shoulder first. she takes a small breath. like “yep” that’s the truth. but it doesn’t settle in and generate more space. g does it remind you of anything? this tightness? sometimes people get a memory like “oh yeah that was that telephone call, or i remember when i got stressed.” m well, i know this sounds funny, but i think it’s because of the cold weather. sometimes my house is too cold and i hunch up trying to stay warm. she then pulls her shoulders in and up, just in the way the holding is. this is new information and definitely a thread to follow (in the midst of this randomness). g yes. that is exactly how your shoulders are held. all hunched up. she relaxes down some more. being met and having a verbal mirror of what her body is doing and/or what she is doing in her body, gives her some security. but she then goes into a long description of how she is intolerant of her students’ whining about the heat or cold. and that really, she is not a person who complains about the weather or the heat or cold. g intolerant. she laughs. i work quietly for a while. she is quiet and more relaxed, but present. g i remember last week, you had a memory about being called gig because you were so giggly as a child. m she laughs. yes, and now my parents have died, no one calls me that anymore. it’s sad, or weird or something. it’s like something is missing. but i did tell my best friend, whom i’ve known for 28 years. she didn’t know that was my nickname. she talks about nicknames for awhile. she remembers a nickname for her twin brother. “prunes” and tells the story about how he used to ruin everything. pr ruins everything. m that’s what is wrong with my shoulder. my brother is what is wrong with my shoulder. 12 she breaths. she looks softer in her face. ahhhhhh. there are a couple of things worth noting here. one is that m said she hadn’t thought about being called gig in years. but she had told me about the nickname and the meaning many weeks ago, maybe two months ago. it is an interesting thing about memory on the bodywork table. as with trauma memory, although this is a different mechanism, a memory will come up get talked about, and then go back to long term storage as though it had not been remembered. she said it again today, that she hadn’t thought about being called gig in years. another interesting phenomenon is that a person will only be ready to know or hear something when they are ready. we had a session, again months ago, about her shoulder where, following her story, and the threads of her body language, i wondered if the holding had anything to do with her twin brother. she was adamant that it did not. and there was no response in the body at the time, so i let it go. yet today, she has a new thought, a new experience and a “yes”, a connection with him and her feeling that it is not safe for her to expand into her own full space around him. somatic psychotherapy, from holifield (1998)(used with permission of don hanlon johnson and ian grand). the client, dolores, is speaking. “my sister rebecca and i shared a bedroom. i would lie in my bed and with my fingers i would scratch and peel the paint on the wall. the patch of peeled paint on the wall was big; my sister would be so upset. i didn’t want to feel so upset.” i see dolores across from me. to me she looks wide-eyed and frozen in terror. i feel a panicky trembling in my belly which i did not have before. “i wonder if you were really scared,” i say gently and concerned. “yes. my sister would bang her head on the wall to get to sleep.” she added, “i don’t know how she could. i could never do that so i would peel the paint.” the trembling in my belly and the panic lessen somewhat. “what was that like for you peeling and peeling?” i ask. “i don’t know, i guess when i was peeling with my hands like that i wouldn’t think or feel, and it would help me to go to sleep.” “what’s you inner experience as you talk to me?” “yeah, i guess i’m holding my breath. i don’t feel so good.” “holding your breath and feeling a little scared. no wonder, given what you’ve experienced in the past. i wonder if you feel uncertain as to how i may respond to you.” “no, you’re always very gentle.” “mm. what’s it like inside holding your breath?” “i feel tight in my chest, trapped.” “mm…it must have been so frightening for you to feel so alone with your fear and hurt, confused and uncertain what was happening.” “my sister and i were there for each other but sometimes she was so upset. i didn’t want to upset her more.” “of course you wouldn’t want to upset her more and see her in pain. it sounds like you were very upset and scared also.” “yeah, i was scared. it was scary.” “i wonder who was there for you?” i ask. “no one,” she says quietly. 13 “i can really understand how important it was for you to try not to be upset when your sister was, and it seems sad to me that at times you were so alone and overwhelmed with scary feelings.” “yeah,” she says, a welling in her eye, breathing a little deeper. i breathe deeper both in a mirroring response and in response to my own inner ease as she is able to integrate some of the powerful affect laden in the account. we sit quietly with her sadness. in time she says, “i fell better, my chest isn’t so tight.” “you’re feeling a little easier, your chest not so tight…and your breath?” “yes, breathing a little more, just experiencing that feeling of breathing a little easier.” in some small but significant way i feel i have been let into her room, the room she describes as having been so isolated in and trapped. she recounts to me that she and rebecca together would push the heavy chest of drawers against the door to keep out the terror, the unpredictable. then dolores would lie in her bed listening for and not wanting to hear the creaking wood stairs, footfalls, often her father’s, which could only mean the pain of being yelled at or being the target of some heavy object heaved in anger or the hinted-at but hard-tohold possibility of sexual assault. and so we worked slowly like this. by attending to my own felt sensation, inquiring into it, i feel on a visceral level some sense of what perhaps dolores experienced. through this embodied attunement i can more fully hold an empathic container for her terror. initially, i thought of my somatic experiences with dolores as part of a projective identification sequence. as i learned more about our intersubjective field, i came to think of my feelings, like these, as a kind of somatic attunement or resonance. i was experiencing with her what she could not name, experiences about which she was mute. it is clear to me that there is much more for dolores to integrate here. at this time, i follow her lead and go on. i’m aware of not wanting to impose anything that could give rise to her again feeling her world overridden by another and trapped again, so i simply work to contain and track her responses and felt sensations. i want to aid her in building an underlying sense of support through her organism, to help her learn that she can feel sensations and find resolve through doing so. somatic psychotherapy, from burstein (1998) (used with permission of don hanlon johnson and ian grand). . anne, a forty-five-year-old woman, comes into her session looking agitated. “i’m a wreck,” she moans with an exasperated sigh. “i just came from the doctor. i was sure i was pregnant this time. i had all the signs! maybe the universe is telling me to give up-but i can’t. my boyfriend desperately wants a child and i know he’ll leave me for a younger woman if i don’t produce…anyway, i want to be a mother so badly i can’t think of anything else anymore. i dream babies day and night, and my thirty-two-year-old sister-in-law just announced she’s pregnant with her third child. i’m fighting a losing battle against time and it’s killing me.” beyond the content of her words, what impressed me most was the movement of urgency in her voice, her face, and her gesticulations. my body reacted with increasing intensity as i listened. instead of looking for ways to become less urgent, we spent our hour together inquiring into the phenomenon of urgency. “urgency…well, i can’t actually remember not feeling it.” from a precipitous birth in a taxi-cab en route to the hospital, to standing up and walking at ten months of age because she wanted a toy that no one would bring to her, so much of anne’s behavior seemed to occur within the context of urgency. “what does urgency feel like in your body?” i asked. quick with an answer, she replied, “it’s like i can’t get enough breath so i don’t let them out, i just keep taking them in [she demonstrates]. they are shallow. gee, when i do it my shoulders get all tense. o.k. i see that 14 being urgent all the time is majorly affecting everything but i can’t just turn it off like a light switch, you know. it’s like the air i breathe has urgency in it…i can’t help it, that’s just how it is with me. [she is now sobbing.] what a mess i am. i just want to die.” “whoa,” i cautioned, “let’s slow down here. it sounds as if urgency has moved in on us and is now creating an urgency about not being urgent! all we are doing now is becoming more acquainted with what urgency means to you. we’re on a fact-finding mission. that is all!” consent to participate in research why is informed consent useful? after discovering abuses done in the name of “science” perpetrated on unwitting prisoners by the nazis and on minority groups and soldiers by the us government during the early part of the 20th century, the us government adopted guidelines for the protection of human subjects. although not required by law, the federal government can withhold funding to institutions that fail to comply. a central premise of protecting human subjects is “informed consent.” this means that the research participant must first fully understand the research procedures, their risks and benefits, and the purpose of the study. only then can the participant make an informed choice. another reason is that the informed consent document protects the researcher/practitioner who may wish to publish the case documentation. the client understands this from the beginning. although research participants are given the option to withdraw at any time, once they sign the document this rarely occurs. how to use this sample consent form. this sample consent form serves only as a general guideline. you are encouraged to adapt it for your particular needs and for the type of relationship you want to have with your client-participant. it is written is a fairly rigorous way as would be required by policy at a research university. hence, there are a number of legal protections, such as the disclaimer about abuse, that you may want to eliminate. also, in italics, is an optional set of guidelines in case you would like your client to keep notes about the sessions. if you see some value in client documentation, or you have a client who loves to journal about their experiences, you can use this. research participant information and informed participant consent title: change processes in practitioner-client interactions background the purpose of this study is to learn more about how change happens during interactions and how change develops within therapeutic relationships. to investigate change processes, we are asking you to participate in a study of the developmental changes that may occur while you are doing sessions with your practitioner. we are interested in how the relationship between you and your practitioner contributes to your development and self-awareness. during the course of the study, your practitioner will be making notes after each session about his or her observations of the changes that occur in your therapeutic relationship. these case notes simply document what your practitioner is already trained to observe. the case notes will be used along with case notes from other practitioners in order to better understand how this therapeutic method can be used to help people like yourself. your name and any other 15 identifying information will be removed from the case notes, so that you can be assured of complete anonymity and confidentiality. all you need to do is to attend your regular sessions with your practitioner. during these sessions, please interact with your practitioner as you normally would. we would like this study to represent the normal course of progress over time. because many developments may take place outside of your sessions, we would also like you to keep a journal of your experiences (see “procedure” below). you will be asked to write about your reactions to the sessions and to discuss if your understanding of yourself and development has changed. we wish to emphasize that you have the freedom to withdraw from the study at any time, and that we are not asking you to do anything that makes you feel uncomfortable. please take the time to read the following information carefully and to discuss it with others if you wish. if you agree to participate, please sign this form at the bottom. if you should have any other questions, you can contact _________________ at ( ) _____________ or ________________at ( ) _____-_________. procedure your practitioner will provide treatment to you in the same manner as she/he would for any client. the only difference is that she/he will be documenting the events of your sessions in writing. during your visits, he/she will go over any questions you may have about the study. you are welcome to ask questions at any time during the study. one of the goals of this research is to use your own words to document reactions to your sessions including changes in your self-understanding and your perspective on the usefulness of the work that you are undergoing. we will ask you to keep a written journal about your experiences. you will be asked to write about your reactions to the sessions and to discuss if your understanding of yourself and development has changed. we will make copies of your journals for analysis. these copies will be only be viewed by people directly involved in the research study. in written reports the case notes will be presented in a way that protects your confidentiality (see “confidentiality” below). risks or discomforts minimal risks are expected in this study. although we do take steps to ensure that the practitioner’s case notes and your journal entries are not recognized or identified by anyone else, that cannot be guaranteed. you are the person who is most likely to recognize any descriptions in publications from this study. please be aware that such recognition may cause some discomfort or embarrassment. benefits of the study apart from the benefits that you would normally receive from the sessions that you engage in, we anticipate few, if any, direct benefits from participating in this study. we hope that your journals will provide you with special opportunities learn more about your developmental process and self-awareness. you may enjoy knowing that you could be helping practitioners and students who will do this type of work in the future. we will share any knowledge from this study that may be valuable to you and we are always open to answer your questions. alternative procedures the only alternative procedure to participating in this study is to not participate. confidentiality 16 the practitioner case notes and the diaries that you have completed will not be made available to any unauthorized persons or to persons not directly associated with this study. these documents will remain in the possession of your practitioner, except when they are being analyzed by research assistants. in that case, all identifying information about you will be removed from the documents. if you choose to check the box for consent (last page) you agree that portions of your practitioner’s case notes or of your written journal entries may be shown to students in practitioner training or to other practitioners/researchers in the field, or printed in scientific or therapeutic articles or books, as exemplary of the general results. in addition, with increasing technology, the possibilities for sharing scientific research on the internet is expanding. we will specifically ask you whether you would agree to us posting portions of the practitioner case notes or your journals on the worldwide web. in any case, we will only use fictitious names for you, unless you decide otherwise. if you wish, none of the data and results of the study which are associated with you will bear your name, to ensure confidentiality. alternatively, you may decide that we can use your real first name for research presentations. this last choice does not ensure complete confidentiality and may expose you to being recognized or contacted by researchers, students, or others who may have learned about this study and who may be interested in learning more. you can check the box at the bottom of this form if you do agree that we use your real names. if you prefer that we use a fictitious name, you can leave this box unchecked. the only time when we are required to break confidentiality is when we have any evidence that you or someone you report is abusing children or other family members. we are legally required by state law to report this. persons to contact your participation in this study is strictly voluntary and will in no way be used for anything other than research purposes. if you have any questions, or if you want to learn more about this research, please do not hesitate to contact your practitioner. outside contact persons if you have questions regarding your rights as a research participant, or if problems arise which you do not feel you can discuss with your practitioner, please contact _________________________ _________________________ _________________________ _________________________ voluntary participation we wish to emphasize that your participation in this research study is completely voluntary. after you have signed the consent form, you will maintain the right to withdraw from the study at any time for any reason or without providing a reason. this will not affect the relationship you have with your practitioner. unforeseeable risks although we foresee minimal risks in this study, it is possible that there may be risks that we currently do not anticipate. we will make every effort to minimize risks. new information 17 if new information becomes available that may affect your willingness to participate in the study, your practitioner will discuss this with you and you may decide regarding your continued participation. consent by signing this consent form, i confirm that i have read and understood the information and have had the opportunity to ask questions. i understand that my participation is voluntary and that i am free to withdraw at any time, without giving a reason and without cost. i understand that i will be given a copy of this consent form. i voluntarily agree to take part in this study. please check all that apply: ! i give my permission for the release of practitioner case notes and my journal entries, for the purpose of presentation in instruction or research conferences, or publication in scientific or therapeutic articles or books. ! i give my permission for the release of practitioner case notes and my journal entries for scientific or instructional purposes on the world wide web. ! i give my permission to use my real first name for the purpose of research presentations as indicated above. ! i only give my permission to use my research information if all identifying information is removed from the practitioner case notes and my journal entries and fictitious names are used. ! i would like to receive articles or other papers about this study participant's signature date practitioner signature date 18 bibliography burstein, c. (1998). living inquiry. in d. h. johnson & i.j. grand (eds.) the body in psychotherapy: inquiries in somatic psychology. (119-120). elman, d. (1997). f. m. alexander. in d. h. johnson (ed.) groundworks: narratives of embodiment. (40-42). ely, m. (1991). doing qualitative research: circles within circles. new york; falmer press. fogel, a. (1993). developing through relationships. university of chicago press. fogel, a., garvey, a., hsu, h., & west-stroming, d. (2006). change processes in relationships: a relational – historical research approach. cambridge, uk: cambridge university press. glazer, m. (1980). the threat of the stranger. briarcliff, ny: the hasting center report. goffman, e. (1989). on fieldwork. journal of contemporary ethnography, 18, 123-132. heshusius, l (1994). freeing ourselves from objectivity. educational researcher, 23, 15-22. holifield, b. (1998). against the wall / her beating heart: working with the somatic aspects of transference, countertransference, and dissociation. in d.h. johnson & i.j. grand (eds.) the body in psychotherapy: inquiries in somatic psychology. (66-68). jansen, g., & peshkin, a. (1992). subjectivity in qualitative research. in m. d. lecompte, l. w. millroy, and j. preissle (eds.), the handbook of qualitative research in education. san diego, ca: academic press. lavelli, m., pantoja, a. p. f., hsu, h.c., messinger, d., & fogel, a. (2003). using microgenetic designs to study change processes. in d. g. teti, (ed.), handbook of research methods in developmental psychology. cambridge: blackwell publishers moustakas, c. (1994). phenomenological research methods. sage. ricoeur, p. (1991). life in quest of narrative. in d. wood (ed.), on paul ricoeur: narrative and interpretation. london: routledge. spradley, j. (1980). participant observation. new york: holt, rinehart, & winston. frj 7 chiang feldenkrais research journal • volume 7 (2023) original research a case report on the impact of feldenkrais method® with experienced pianists janice chenju chiang doctor of musical art contact: janicechenjuchiang@gmail.com abstract the aim of this case study was to investigate the efficacy of the feldenkrais method on piano playing through learning awareness through movement® lessons. this eight-week long qualitative research study collected the results of participant-chosen movement explorations and their sensorial, first-person experiences gathered through the use of participant diaries and preand postinterviews for measurement. these findings suggested positive improvements in music production skills, such as: technique, auditory perception, musical phrasing, tone quality, memorization, interpretation and overall control. the musician participants also reported enhancement of their experience of relaxation, posture, and bodily awareness in practice and performance. future research may extend the time of experiment or apply more varieties of measurements for the benefits of musical performance and musician health. keywords feldenkrais method, piano, piano playing, musicians, movement, kinesthetic sense, awareness, musician’s health, awareness through movement copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi®are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:janicechenjuchiang@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org original research a case report on the impact of feldenkrais method® with experienced pianists janice chenju chiang doctor of musical art the first purpose of this qualitative research study was to discover if the feldenkrais method® of somatic education may impact piano playing. more precisely, how an increased awareness of the quality of movement developed through learning awareness through movement® of the feldenkrais method may affect someone’s piano playing abilities. although some journal articles and books (cole 2014; fraser 2010 and 2011; lee 2018; mccrea 1997; peterson 2008; smith 2015; spire and baniel 1989; weinberger 1999) have explored how feldenkrais method may be applied to the piano playing or its relevance for musicians, no research study has been undertaken exploring the application of the feldenkrais method exclusively and directly to piano playing. this study asked participants to observe their playing abilities before and after their feldenkrais method experience, specifically, to monitor their improvements and assess if, and their perception of how, learning the feldenkrais method applies to the advancement in their abilities. the second purpose was to argue that research into the feldenkrais method’s efficacy include the approaches in the design of lessons which make use of learners’ experience leading to greater success in learning. the feldenkrais method calls for a learner using their sensory system (visual, auditory, or kinesthetic) to facilitate their movement and improve their patterns of motor organization. feldenkrais (2019: 117) believed that “this type of learning must proceed at its own pace.” studies using objective measurements have shown evidence of benefits of the feldenkrais method for a number of physical abilities and health conditions (stephens, davis, derosa, et al 2006; hillier and worley 2015; hopper, kolt and mcconville 1999; ohman, anström, and malmgren-olsson 2011; wong 2015). learning music is also a subjective experience which heavily relies on sensory perception to (a) assess and develop the technical skill (uszler, gordon and mach 1991: 52-55; klingenstein 2009: 203-208), (b) enhance the tone quality (rollin cited in lyle, haydon, and rollin 2011: 357-358), (c) learn musical phrasing (auditory perception) (klingenstein 2009: 234-236), or (d) aid memorization (combination of auditory, visual, and kinesthetic) (haydon cited in lyke, haydon, and rollin 2011: 417-425). therefore, this study used the participants' sensorial, first-person experiences as data to assess the benefit of the feldenkrais method for music learners. chiang • feldenkrais research journal, volume 7 (2023) 2 the feldenkrais method the feldenkrais method is an approach to somatic education developed by moshe feldenkrais beginning in the 1940s (feldenkrais 1990; 2019). he thought “the nervous circuits involved in movement and action could actually be altered if people learned to refine their awareness of how they moved” (cited in doidge, 2007: xiv). the method posits that self-awareness, developed through such strategies as doing novel movements, and developing an understanding how one uses one’s self habitually or non-habitually, promotes learning through improved sensory-motor organization. each individual perceives various sensory qualities and patterns influenced by how one moves spontaneously, or chooses to move in performance and as a result of training. therefore, the feldenkrais method emphasizes the first person and subjective experience in one’s process and environment to develop an own kinesthetic sense. there are two modalities of the feldenkrais method: awareness through movement and functional integration®. awareness through movement lessons are primarily done on the floor in various positions, and verbally guided by a feldenkrais method practitioner. functional integration is a non-invasive and generally non-verbal method. it is theorized that the practitioner’s touch and movement of the client can help the person more precisely sense their movement preferences and possible limitations, creating the possibility for the client to draw on this input and respond to the movement possibilities afforded by the interaction with the practitioner. methods and materials participants experienced pianists can develop a refined capacity to sense changes in their playing, both in terms of bodily sensation, and sound production, compared for example to new players. as experienced players are more likely to be able to detect changes in bodily sensation and performance, it was decided that study participants should have at least ten years of piano playing experience, and actively perform or regularly practice two to three hours a day. additionally, participants were required to possess fluent english skills, and be adults between 18 to 65 years of age. there were no criteria regarding gender or ethnicity. potentially vulnerable participants, for example who had a chronic pain or medical condition, were excluded from the study, as such participants may have required personal attention and individual guidance that would have changed the nature of the intervention, therefore possibly affecting the results of the study. this research study received institutional review board (ieb) approval and was conducted in october-december 2018, funded by the college of arts and letters, northern arizona university. chiang • feldenkrais research journal, volume 7 (2023) 3 this study invited three test subjects to participate. the participants’ ages ranged from 21 to 58, one male and two females, including one professional pianist and two piano-major college students. intervention awareness through movement lessons the awareness through movement lessons used in this study were selected and structured by the investigator drawing on suggestions from feldenkrais method trainer, alan questel. the lessons in this study were chosen on the basis that they focused on the development of a sense of skeletal connection throughout the entire body, and involved movements of flexion, extension, rotation, and lateral bending of the trunk. the lessons promote spinal movement and increase the mobility of the whole person. (the order and the objectives of the lessons are included in the appendix i.) the investigator taught her versions of lessons based on recorded versions of these lessons by alan questel. the investigator taught the awareness through movement lessons to the participants and recorded the instructions live. this approach involved elements of awareness through movement teaching such as monitoring the participants’ movements during the lessons; helping the participants understand the learning approach; guiding them with a language used in teaching the awareness through movement lessons – such as how to sense and think skeletally; and move gently to identify sensations in a way that aims to give a sense of safety. participant-chosen movement explorations after each awareness thorough movement class, each participant identified a brief movement and awareness sequence to include their practice. participants were free to use any brief movement activity or sequence learned in the awareness thorough movement lesson, to apply in their practice, and then to observe the outcome/effect for that purpose, which could be a technical challenge, tone production, or simply feeling easier while playing. independent piano practice the investigator did not offer any suggestions regarding how to apply the movement in their own piano playing. outside participating in awareness through movement lessons, participants worked alone and were entirely independent of the piano experiments, and were free in how to apply their awareness of sensory experience or anything they may have learned from doing the awareness through movement lessons. recorded awareness through movement lessons for self-paced review and practice chiang • feldenkrais research journal, volume 7 (2023) 4 during the time of the study, participants received a total of eight awareness through movement lessons every five to seven days. after each lesson, the participants received the recording to review and practice on their own. participants were encouraged to review the awareness through movement lessons at least two to three times per week. they chose which recorded lessons to practice with the provided recordings and, if practiced, to log the lessons on the provided sheet per week. the log records were collected each week. during the study, two participants practiced with each recorded lesson throughout the entire process weekly; while the third participant only used what they remembered in some of the weeks in the study. data collection since this study focused on the participants’ individual experience during the process of learning the awareness through movement lessons of the feldenkrais method, qualitative research methods were used to identify and document their experience. the primary data of the study was compiled from the pre-surveys, journals, post-study interviews, and post-surveys. part i: participant journals participants were required to provide a journal entry every day. they were also required to do two small participant-chosen movement explorations related to the piano playing each day. the entry could be anything from a reflection on the body sensation, for instance, or an observation on the movement explorations to piano practice or their daily life. if they did not practice, they indicated, ‘i did not practice.’ at the end of each week, the investigator collected the journals, made the copies, and returned on the same day. part ii: interviews and surveys pre-study: at the beginning of the study, participants completed a pre-survey prepared by the investigator (see appendix ii) regarding the general background information of their piano playing and practicing habits, their perception of their self-awareness or understandings of aspects of movement and body sensation. pre-study the participants also make a video recording of their performance of a musical piece their choice. post-study: at the end of the eight weeks of the study, the investigator scheduled a day with each participant to separately video record their performance of the same musical piece as they had recorded at the beginning of the study. this was followed by an individual interview to answer the preset questions (see appendix iii) prepared by the investigator. next the participant and the investigator watched the video performances together. after viewing, certain questions especially taken from the pre-surveys were asked again to see if the participants had altered their views in relation to the themes in the questions. chiang • feldenkrais research journal, volume 7 (2023) 5 finally, each participant completed the post-survey (see appendix iv) alone in the room. the entire process took approximately three hours. results findings from participant journals in this section is a description of participants outlining their level of participation, some information about the lessons they focused on in their self-directed practice, and some key observations they made about their experience. the process of finding the themes and examples of texts was done by the investigator through repeated readings of the data. this checking and rechecking of perceptions and assumptions had the aim to reduce bias and ensure the reported results stayed close to the meanings inherent in the participant data. the researcher found it most interesting that each participant’s timing and choice of application through the movement was entirely different from one to another. participant 001 during the time of the study, participant 001 mostly practiced the fragments of the movement lessons from what they remembered without using the recordings. the average spent time on each practice was 20-30 minutes. prior to the sixth lesson, most of time this participant did not feel noticeable differences and mostly only applied breathing and pelvic clock movement in his piano practice or daily activities such as running. after the sixth lesson, this participant began to mention thinking about moving with “skeletal approach; picturing my bone doing the movement. i felt more gravity pushing the legs.” following are some additional significant observations recorded in their journal: i didn’t think much about the lessons or the movement today, but occasionally the movement from the bone came to mind. as i walked my legs felt heavier and a little freer. my shoulders felt heavier and went heavier in my back. it was a pleasant feeling for the most part. at the piano, thinking of my bones as main force in all the movements, felt more stable and produced a deeper tone overall. as i looked at the music, thought of the clock concept around the page of music, and also noticing my head clockwise and counterclockwise. in general, i felt my body a little lighter, and when playing the piano the only thing that came to my mind was my awareness of breathing and the skeletal thoughts in my movements. (participant 001 journal) chiang • feldenkrais research journal, volume 7 (2023) 6 towards the end of experience, participant 001 began to experiment with an idea learned from the awareness through movement lessons: “when playing the piano applies the clock movements on my feet, especially on the right one. tried to see if this had an effect on my use of the pedal.” participant 002 during the time of the study, participant 002 practiced the entire eight lessons at least twice per week with the recordings but particularly practiced more on the #4 paradoxical breathing lesson wherever and whenever they could. also, they practiced the #7 freeing the head lesson more than the others. in the first week, participant 002 reported that they had strong sensations and awareness towards the movement and posture. in the second week, participant 002 began to be aware of feeling the movement of their feet touching the pedal and found the link between the second awareness through movement lesson and the music piece that they were studying at that moment: “there’s a part in the rachmaninov where my arms have to be at opposite sides of the piano. i felt a very fluid motion in a way kind of like the arm movement we used in the lesson.” (participant 002 journal) in the pre-survey, participant 002 stated their concern about shoulder tension. in the journal, they recorded many thoughts and applied the participant-chosen movement explorations regarding this aspect. after 15 days of the study, participant 002 began to gradually discover the cause of shoulder tension might not be directly from the shoulders only. for example, they wrote: i am starting to also notice that some of my pelvis movement is making me notice shoulder tension. this could also be because of stress. but the fact that i am becoming more aware of my tension is a start. between doing the pelvic clock and the breathing exercises, i am starting to notice points in my shoulders that hold tension. i went back and practiced the lesson #4 on breathing... my shoulders stayed down and my breathing became slower and less frantic. i am starting to find myself using this lesson often while preparing for a performance. i was experimenting [with] my elbow movement on the piano bench, whenever i lift my elbow, my shoulder blade was suddenly lifted and kind of tense. before, i wasn’t that aware of my shoulder tension, i knew something was going on but i couldn’t pinpoint the source of the problem. (participant 002 journal) participant 002 also spent a great deal of time observing and working eye and head relationship while at the piano and on the floor doing awareness through movement lessons. moreover, chiang • feldenkrais research journal, volume 7 (2023) 7 participant 002 noticed a tendency of moving too quickly before their intentional action. through this project, this participant reported constantly playing with the idea of “thinking before reacting,” and noted that the ‘freeing the head’ lesson “especially helped with thinking before doing a movement.” participant 003 like participant 002, participant 003 practiced multiple lessons at least four days each week. participant 003 was the only one who had slight knowledge about another somatic education approach, the alexander technique. in the pre-survey, the participant noted their tension in the upper back and shoulders, and had previously experienced brief tendonitis but which was not chronic. differing from participant 002’s approach however, who applied the learned movement patterns in the practice, participant 003 used the sensations of relaxation and feeling connected they felt in the awareness through movement lessons as guidance to be more aware of where the cause of tension might be. they reported using this focus for problem-solving at the piano or in the daily life “from walking to holding a backpack.” below was one of their observations about holding tension: i am feeling more connection throughout the body. i noticed this after practicing lesson 2. it is helping me think about where each motion originates, and that it’s not always where i think. for example, my fingers are controlling the pen that is writing this journal entry, but my fingers are not the only body part involved in this motion. i think this connection is important. placing too much emphasis on one point of contact rather than the whole (fingers vs the arm) can create stress and tension. (participant 003 journal) at the piano, this participant’s awareness gained from learning the awareness through movement lessons also focused on being ‘slow’ when practicing. they reported discovering that they frequently held their breath which caused tension. this participant also noticed that “i can loosen my neck tension if i focus less on my fingers and shoulders and more about my whole body” and that they “tried to apply a sort of ‘clock’ rotation to my head and neck while i was playing.” furthermore, participant 003 noticed the excessive movements in some virtuosic passages after the fifth awareness through movement lesson and was able to distinguish that the classic repertoire should minimize the movements whereas the romantic repertoire involves wider range or quick jumps on the keyboard that demands “moving from one side of the piano to the next very quickly.” like participant 001, participant 003 also made mention of the quality of sound production, noting “the full body motion and connection definitely improved the sound and helped ease my playing.” chiang • feldenkrais research journal, volume 7 (2023) 8 towards the end of study, participant 003 realized their piano at home “was adding to my tension” and “it’s difficult to ‘fight’ the piano and play in a relaxed manner. instead of trying to reproduce the sound of a grand piano, i decided to focus on how my fingers felt... i just focused on relaxation.” also, this participant seemed to be more affected by the stress as the performance season was approaching and reported that it was not as easy to apply awareness through movement during a live performance as in practicing privately. some commonalities all three participants reported ‘pelvic clock’ and ‘paradoxical breathing’ lessons as being very helpful – using the movements from both lessons very frequently to greatly relieve the tension in the body and move or shift weight on the bench when playing the piano. this may be a significant outcome from this study that deserves further exploration and research. findings from post-interviews, including reviewing of performance videos the purpose of the interview was to give the participants an opportunity to self-evaluate learning outcomes from the study. the investigator asked the participants to answer the questions as directly as possible so that they could be directly quoted as textual data for this research. their answers were considered as a type of data through subjective experience. the interview questions (see appendix ii) were preset and included asking again some of the questions from some questions in the pre-surveys to find out if there was any impact of the feldenkrais method on their piano playing. reviewing the preand post-performance videos was also part of this process. the first question asked the participants to share their thoughts from the experience. this question was asked again after they viewed their video recordings of their preand postperformances. before viewing their video recordings, participant 001 felt “a little more flexible physically than before” and “gained more independence of the movements at different parts of [the] body... [and was] more aware of how movements could impact how you feel and how you can handle them successfully... even [when] they are not perfect.” participant 002 reported that they “learned a lot about [their] self’s body movement” and thought just thinking about movement made playing piano much easier. participant 003 thought the beginning of the experience was “something [they were] not used to,” but realized that participating in the study and doing the feldenkrais method practice was helping a lot not “just [in] piano playing but also in life.” this experience changed participant 003’s perspective of practicing from just thinking about notes or marks on the score, to always thinking how to move better. in day-to-day life, participant 003 was able to “actively reduce stress and tension,” instead of just accepting the discomfort. prior to the study, the participants were asked in the pre-survey what area they hoped to improve. the researcher reminded them of their answers during the interview and asked them chiang • feldenkrais research journal, volume 7 (2023) 9 to evaluate the outcome after the study. the following are their answers in the pre-survey and the reflections after the study: participant 001 to gain more control of stage fright and of concentration while playing in public “i think going through this project has helped me gain more control. i have noticed that those distractions have not bothered me. i think that [what] benefited me most was to be able to handle different movements at the same time without causing trouble at the piano, it gives me more endurance or more preparedness and not [to] be bothered by little distractions in myself.” participant 002 i hope to improve the way i approach the keys and to improve my posture, especially my shoulders. i am excited to try the feldenkrais method and to hopefully learn some new techniques for moving about the piano. “i think when i am playing if i think more of the movements instead of everything else, i would have less shoulder tension... i just become more aware of what body movements are required to do certain passages... i was thinking with the method in mind, but not in a musical stand point but more of a movement stand point to make it easier... i think being aware of and sensing where the problem is has improved my playing.” participant 003 most of all, i hope to improve my consistency of tone. “my perception was that i think the movement can connect to the tone production... i wanted to expand my vocabulary... i think i am able to think about a piece of how do i want this piece to sound and actually think about how i can move to produce that sound... now i feel i can envision sound and i can go to the piano to experiment with my body and my touch to produce the sound that i hear in my head instead of only practicing one way forever... i am obviously making a physical motion, but at the same time, i am thinking deeply about it all the time adjusting it. i can connect motion to my tone, not just thinking about my notes. i feel like i am constantly progressing and improv(ing).” discussion of role of question movement in piano playing in the pre-survey, participants were asked to share their views of how the movement is connected to the piano playing and what they hoped to improve in their piano playing. the researcher shared their answers to that question with the participants again to help them self-evaluate their learning process and outcome. participant 001 our body, elbows, wrists, hands, and fingers, all combined and moving efficiently are determined to a good quality piano playing. “i sensed something has been different from my previous playing, but i can’t really identify the differences mechanically in my body... by combining different movements at the same time, chiang • feldenkrais research journal, volume 7 (2023) 10 [which] are not what i have sensed before... my mind is connected more to the movements i have learned. prior to the experience, i didn't think that my mind was connected in the way i felt after the experience. i think it's important to mention how these lessons affected the well-being of my mind.” participant 002 i think that movement is very important when playing the piano. the way we play the piano, sit at the piano, or even approach the keys affects the sound we produce which is vital to good piano playing. whenever i watch a pianist, if i see tension coming from the shoulders, the performance becomes very uncomfortable to watch. before the study, "sometimes i sit at the piano, i forget to adjust the distance, sometimes it does affect my playing but i just wasn’t thinking about it nor was it ever my concern... i discover that i need to slow down when doing basically every movement…sounds basic but i guess just think through the movement.” participant 003 it is imperative for movement to be incredibly relaxed in order to prevent injury and to create the best possible tone quality. if one is not aware of movement, it is easy for tension to build. this makes it hard, if not impossible, to improve technique or play difficult pieces. “before i would have heard from so many teachers talk about to be relaxed but i didn’t know how to apply it but now i know that you are not really relaxed because you are doing action, but how you can make it as easy as possible for yourself. it’s not just about flop and more just about making it easier as possible for yourself.” reviewing of performance videos after viewing the videos of their preand postperformances, participant 001 observed a noticeable confidence in the after-video even though the movement itself was not much different but felt they “probably moved differently than move more.” participant 002 noticed the “movement just looked less jerking in the ‘after’ video than in the ‘before’ one.” also, they noted that “i noticed my pelvis was more active” but “the shoulder height was not what i imagined or thought of as tension from the shoulders.” participant 002 also concluded that the sound in the after-video was a lot freer and had “a lot to do with the movement” and believed “the [awareness through movement] lesson really helped with the sound and [was] less forced.” participant 003 was surprised to see how tense during playing they were in the before-video and “thought my posture was a lot better than what i saw from the video.” in the after-video, “the movement looks more efficient overall... i could see how my pelvis moving, how i am picking up the body parts, how i was moving my head, it was more of my body connected throughout, which was the [awareness through movement] lessons that taught me.” chiang • feldenkrais research journal, volume 7 (2023) 11 findings from post-surveys the survey was divided into three parts: the general sensorial questions, piano-playing related questions, and daily life questions (see appendix iv). part i: general sensorial questions all participants reported that they felt the awareness through movement lessons gave them a pleasurable or relaxed sensation. some of the lessons may have felt strange or unknown, but overall, they still felt relaxed or pleasurable. all of them also agreed that these awareness through movement lessons have helped them to identify where tension occurred in their body or how to relieve their tension when it occurred. as a result, these three participants thought the increased awareness towards the movement prepared them with more readiness to different situations from piano playing to daily life, and able to feel more confident and comfortable. participant 003 reported the awareness through movement lessons made them feel “more connected to themselves and to the piano.” part ii: piano-playing related questions in the survey, all three participants expressed that there was a direct impact of the lessons on their piano playing. when asked to specify what aspect they experienced improvements in their piano playing, all three participants answered that they noticed development in their technique such as scales and arpeggios, tone quality, musical phrasing, interpretation, and memorization. only one participant did not think their auditory perception skill was much improved. all three agreed that their overall control greatly improved after eight weeks of the awareness through movement lessons. the following table outlines the participants’ direct comments of the feldenkrais method's impact on their piano playing. the categories shown below are standard assessments used in the field of music (klingenstein 2009; lyke et al 2011; uszler, gordon and mach 1991) and were included in the piano-playing related questions of the end-surveys: chiang • feldenkrais research journal, volume 7 (2023) 12 technique   tone quality participant 001 my technique has improved overall because my confidence and control make an instant impact on it. i notice better control and less tension. participant 002 thinking about how to move my arms and pelvis first really helped in achieving good scale and arpeggio technique. i think the atm lessons really helped with the sound and less force. participant 003 i am much more conscious of my tone with my scales. i can play faster, more controlled scales with a more even tone. my tone is improved; i feel i don't just have one tone color now. i am able to adjust my movement to find a variety of colors. auditory perception skill memorization participant 001 i feel more attentive to it. i move with more confidence in general; confidence and control keep your memory stronger. participant 002 i did not think the hearing was much improved. thinking about movement only distracted the part in my brain that was doubtful about memory, and i think this really helped improve in this area. participant 003 my hearing has dramatically improved. i wasn't really aware of what i sounded like before feldenkrais. now, i am constantly aware of my sound, which helps me work to improve it. i have always had a good memory, but because i am more relaxed at the piano, i have less memory slips now. musical phrasing interpretation participant 001 more confidence and fun in the process. more freedom to express the music. participant 002 i realized that if you don’t have the movement down, you can't do anything else, you can't be musical, you can't do any phrasing without a basic understanding of movement. thinking about movement only prevents me from overthinking about how i need to do a certain passage or what needs to happen here. participant 003 before, i think my motion got in the way of phrasing. stressful motion made phrasing less important. now, i am more aware of phrasing and move in a way that will emphasize it. i am finding movements that connect to interpretation rather those that inhibit it. it is much easier to think about interpretation using feldenkrais. overall control participant 001 this is the main benefit that i experience. participant 002 when i was thinking about movement during my playing and knowing exactly what i was going to do in a certain passage, i felt more in control as opposed to thinking about how i wanted something to be phrased or interpreted. for me, if i had control, the other aspects of piano playing came more naturally. participant 003 i feel much more in control of my motion. if i am not satisfied with something, i am able to experiment and try to adjust it. i feel more at ease at the piano which gives me a sense of control, even when playing difficult pieces. chiang • feldenkrais research journal, volume 7 (2023) 13 in the field of music teaching, remaining ‘relaxed’ and maintaining a good ‘posture’ are two key concepts for successful playing. questions about the participants’ experience of injunctions to ‘relax’ and to attend to ‘posture’ were included in the preand postinterviews. in comparing their understanding of ‘relax’ and ‘posture’ before and after the intervention, participant 001 stated that their understanding was the same, but in practice, the impact was more positive on both aspects. participant 002 thought that their understanding of ‘relax’ was mostly the same but “really knowing that your body is in its most comfortable place and that you can sense that you are relaxed” was more crucial. this experience clarified participant 002’s understanding about the ‘posture’ at the piano, and being “more aware of what is happening skeletally” learned from the awareness through movement lessons indeed helped playing at the piano. participant 003 preferred “to think of relaxing as finding an easier way to play” after the intervention and believed that “there is no ‘right’ posture,” which “should depend on the person, and it can be flexible.” part iii: questions about impact on daily life the two participants who practiced awareness through movement lessons throughout the entire process using the recordings, noticed changes in sitting, walking, and standing. the other participant, who practiced the movement mostly from memory, did not notice any difference in that aspect. the first two mentioned participants were also more aware of their daily activities, including ones as small as carrying a backpack or picking up an object. overall, all participants reported that their sleep had improved, which they believed was due to reduced stress and tension from learning the awareness through movement lessons of the feldenkrais method. in addition, one participant had a sweating problem before the study but this had disappeared during the study, while another participant reported that her temporomandibular joint dysfunction (tmj) condition/symptoms had dramatically improved after the experience. discussion the findings of this study suggest that the feldenkrais method indeed could have a direct impact on piano playing. all three participants expressed an improvement under a self-guided kinesthetic learning process towards developing awareness through movement. they all reported that this experience had brought their understanding of playing the piano to a different level, and all believed that they would have a deeper understanding of their movement if they continued to practice it. in this study, participants showed that individuals often have contrasting experiences when they learn the feldenkrais method. this suggests that what each person senses or their concerns determine how the development unfolds. one could realize the auditory perception skill was dramatically improved, for instance, while the other thought this skill was not much improved. chiang • feldenkrais research journal, volume 7 (2023) 14 should the result of ‘improvement’ be defined or evaluated by one’s own internal senses or from an external opinion? strengths using personal sensorial information as primary data can be a powerful way of showing outcomes. in addition, the investigator videoing each participant’s performance provided objective data upon which both the participants and research could reflect. the research method in this study was suitable for the purposes of this study: the personal data can indicate the efficacy of the feldenkrais method for pianists. limitations the participants believed their development would have led to more interesting results if they were given more time to explore. all three participants agreed to continue their journal about their movement experiment for a further 3 to 6 months after the study. due to the funding and limited recruiting source in the area, this study only used three participants simply for the purpose of proving the usefulness of personal data for the study period of two months. the investigator hopes this study could bring more interest to explore the possibility of a future study of a longer duration of somatic experience that combines both personal (first person) and external (second person and objective) evaluations in their findings. more participants, or including subjects with chronic pain, and a study over a longer period time could allow for a wider variety of evaluations or comparisons. for example, a group of at least three external evaluators could be invited to assess the beforeand after-performances as part of data collection. the collection of internal sensory information could also be extended up to 6 months or longer along with the external evaluators’ assessment every two months to monitor the progressive changes of how an experienced pianist would use the sensorial experience to piano playing and/or prevent from potential injuries. conclusion the experience of this eight-week study allowed the participants to process the information offered through the feldenkrais method practice, to develop applications suitable for themselves, then perform experiments on the piano that allowed them to evaluate the efficacy of the method for themselves. the result of this study suggests a further conclusion to the investigator. the musicians generally learn how to perform their execution or playing through external feedback such as instructions or listening to the recordings. since each of us has differences in our biological structures and history of habits, the external approach delivered through others’ sensory processes, which can be interpreted as objective feedback, sometimes could lead to chiang • feldenkrais research journal, volume 7 (2023) 15 performance injuries if care is not taken. the feldenkrais method's internal kinesthetic approach can be used as musicians’ subjective feedback, especially for young musicians, to interpret and clarify the instructions they receive from their teachers or the sound they hear from the recordings. teachers can also use the feldenkrais method to connect the ‘missing dots’ in the verbal communication, or even the physical demonstration, using somatic sensing to prevent the potential risks of injury. • the researcher would like to acknowledge the college of arts and letters at northern arizona university for their funding support. • the investigator received her trainer, alan questel's permission to conduct this research study during her feldenkrais training program. references cole, a. (2014) ‘integrating the feldenkrais method and the dalcroze method: music, improvisation, and function’. the feldenkrais journal, 27, 30-35 doidge, n. (2007) the brain that changes itself. new york: penguin books feldenkrais, m. (2019) the elusive obvious: the convergence of movement, neuroplasticity and health. california: north atlantic books feldenkrais, m. (1990) awareness through movement. new york: harpercollins fraser, a. (2011) the craft of piano playing: a new approach to piano technique. 2nd ed. lanham, md: the scarecrow press, inc. fraser, a. (2010) honing the pianistic self-image: skeletal-based technique. new belgrade: maple grove music productions hillier, s., and worley, a. (2015) ‘the effectiveness of the feldenkrais method: a systematic review of the evidence’. evidence-based complementary and alternative medicine, 752160. available at < https://doi.org/10.1155/2015/752160 > hopper, c., kolt, g., and mcconville, j. (1999) ‘the effects of feldenkrais awareness through movement on hamstring length, flexibility, and perceived exertion’. journal of bodywork and movement therapies, 3 (4), 238-247. available at < https://doi.org/10.1016/s1360-8592(99)80010-2 > klingenstein, b. g. (2009) the independent piano teacher’s studio handbook. wisconsin: hal leonard corporation chiang • feldenkrais research journal, volume 7 (2023) 16 https://doi.org/10.1155/2015/752160 https://doi.org/10.1016/s1360-8592(99)80010-2 lee, c. (2018) ‘musicians as movers: applying the feldenkrais method to music education’. music educator journal, 104 (4), 15-19. available at < https://doi.org/10.1177/0027432118766401 > lyke, j., haydon g., and rollin c. (2011) creative piano teaching. illinois: stipes publishing l.l.c. mccrea, b. (1997, july) ‘the feldenkrais method and its relevance for musicians’. south african music teacher, 42 ohman, a., aström, l, and malmgren-olsson, e. b. (2011) ‘feldenkrais® therapy as group treatment for chronic pain a qualitative evaluation’. journal of bodywork and movement therapies, 15 (2), 153-161. available at < https://doi.org/10.1016/j.jbmt.2010.03.003 > peterson, p. h. (2008) ‘alexander or feldenkrais: which method is best?’ the choral journal, 48 (11), 67-72. available at < https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peter son,p.pdf > smith, s. m. (2015) ‘alan fraser discusses piano technique’. clavier companion, 7 (4) july/august, 30-39 spire, m., and baniel, a. (1989) ‘the feldenkrais method: an interview with anat baniel’. medical problems with performing artists, 4 (4), dec., 159-162. available at < https://www.worldcat.org/ > use: oclc number/unique identifier: 81820255 stephens, j., davidson, j., derosa, j., kriz, m., and saltzman, n. (2006) ‘lengthening the hamstring muscles without stretching using “awareness through movement’. physical therapy, 86 (12), 1641-1650. available at < https://doi.org/10.2522/ptj.20040208 > uszler, m., gordon, s., and mach e. (1991) the well-tempered keyboard teacher. new york: schirmer books weinberger, r., and vanclay, m. (1999) ‘no pain, big gain: examining the feldenkrais method’. strings, 14 (2), 72, 74-77 wong, g. (2015) the immediate effects of somatic approach workshops on the body usage and musical quality of pianists. unpublished master’s thesis. ottawa: university of ottawa. available at < http://dx.doi.org/10.20381/ruor-2845 > chiang • feldenkrais research journal, volume 7 (2023) 17 https://doi.org/10.1177/0027432118766401 https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peterson,p.pdf https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peterson,p.pdf https://www.worldcat.org/ https://doi.org/10.2522/ptj.20040208 http://dx.doi.org/10.20381/ruor-2845 further reading bella, s. d., and palmer, c. (2011) ‘rate effects on timing, key velocity, and finger kinematics in piano performance’. plos one, 6 (6), e20518. available at < https://doi.org/10.1371/journal.pone.0020518 > cockey, l. (2008) ‘body, mind, and spirit: being at one with your instrument’. the american music teacher, 57 (6), 42-43. available at < https://www.jstor.org/stable/43541123 > cockey, l., and kalmanson, k. (2007) ‘annotated bibliography on musician wellness’. the american music teacher, 56 (6), 28. available at < https://www.jstor.org/stable/43539285 > crappell, c., and lister-sink, b. (2015) ‘the abcs of gen x, y(p), z: a column for young professionals: playing-related injuries: the dark side of our profession and how you can help’. american music teacher, 64 (4), 16-19. available at < https://www.jstor.org/stable/43543798 > furuya, s., and altenmüller, e. (2013) ‘flexibility of movement organization in piano performance’. frontiers in human neuroscience, 7. available at < https://doi.org/10.3389/fnhum.2013.00173 > hannon, j. c. (2000) ‘the physics of feldenkrais: part 2: no strain, no gain’. journal of bodywork and movement therapies, 28 (1), 27-30. available at < https://doi.org/10.1054/jbmt.2000.0172 > jabusch, h-c., alpers, h., kopiez, r., vauth, h., and altenmüller, e. (2009) ‘the influence of practice on the development of motor skills in pianists: a longitudinal study in a selected motor task’. human movement science, 28, 74-84. available at < https://doi.org/10.1016/j.humov.2008.08.001 > kaufman-cohen, y., portnoy, s., sopher, r., mashiach. l., baruch-halaf, l., and ratzon, n. z. (2018) ‘the correlation between upper extremity musculoskeletal symptoms and joint kinematics, playing habits and hand span during playing among piano students’. plos one, 13 (12), e0208788 available at < https://doi.org/10.1371/journal.pone.0208788 > kim, j. (1997) physical problems prevalent among pianists. dma. university of washington rogers, s. m. (1999) survey of piano instructors: awareness and intervention of predisposing factors to piano-related injuries. unpublished doctoral of education thesis. new york city: columbia university. available at < https://www.worldcat.org/ > use: oclc number/unique identifier: 252454272 chiang • feldenkrais research journal, volume 7 (2023) 18 https://doi.org/10.1371/journal.pone.0020518 https://www.jstor.org/stable/43541123 https://www.jstor.org/stable/43539285 https://www.jstor.org/stable/43543798 https://doi.org/10.3389/fnhum.2013.00173 https://doi.org/10.1054/jbmt.2000.0172 https://doi.org/10.1016/j.humov.2008.08.001 https://doi.org/10.1371/journal.pone.0208788 https://www.worldcat.org/ vaquero, l., hartmann, k., ripollés, p., rojo, n., sierpowska, j., françois, c., càmara, e., van vugt, f. t., mohammadi, b., samii, a., münte, t. f., rodríguez-fornells, a., and altenmüller, e. (2016) ‘structural neuroplasticity in expert pianists depends on the age of musical training onset’. neuroimage, 126, 106-119. available at < https://doi.org/10.1016/j.neuroimage.2015.11.008 > weierich, m. r., wright, c l., negreira. a., dickerson, b. c., and barret, l. f. (2010) ‘novelty as a dimension in the affective brain’. neuroimage, 49 (3), 2871-2878. available at < https://doi.org/10.1016/j.neuroimage.2009.09.047 > winspur, i., and parry, c. b. w. (1997) ‘the musician’s hand’. journal of hand surgery [european volume], 22 (4), 433-440. available at < https://doi.org/10.1016/s0266-7681(97)80262-8 > wristen, b. (1998) overuse injuries and piano technique: a biomechanical approach. unpublished doctoral thesis. texas: texas tech university. available at < http://hdl.handle.net/2346/10941 > yoshiko, s. (2013) piano-related musculoskeletal disorders: posture and pain. unpublished doctoral thesis. denton, texas: university of north texas. available at < https://digital.library.unt.edu/ark:/67531/metadc271895/m2/1/high_res_d/dissertation.pdf > author biography pianist janice chenju chiang, a native of taiwan, has performed extensively throughout the united states as well as taiwan and south korea. her collaborations included concerts with many esteemed artists, including: the violinist fritz gearhart, clarinetists keith lemmons and dr. jeremy reynolds, soprano faye robinson, and the former concertmaster of the phoenix symphony orchestra, steven moeckel. she also collaborated with the acclaimed photographer shane mcdermott and the installation artist shawn skabelund. the recital/installation project with skabelund, composition for forests, won the viola award in 2017. chiang has appeared in many festivals and conferences including the american liszt society festival, tucson vocal art festival, conference of north american saxophone alliance, international alliance for women in music, and the 2012 cms/nacwpi/atmi/pkl national conferences. chiang was a piano faculty member at northern arizona university from 2007-2022. she is also an authorized awareness through movement of the feldenkrais method® teacher. she holds performance degrees from the university of arizona (doctor of musical arts), fu-jen catholic university (master of music), and soochow university (ba). chiang • feldenkrais research journal, volume 7 (2023) 19 https://doi.org/10.1016/j.neuroimage.2015.11.008 https://doi.org/10.1016/j.neuroimage.2009.09.047 https://doi.org/10.1016/s0266-7681(97)80262-8 http://hdl.handle.net/2346/10941 https://digital.library.unt.edu/ark:/67531/metadc271895/m2/1/high_res_d/dissertation.pdf appendix i: awareness through movement lessons 1. lifting your pelvis with more of yourself. origin: alan questel; and moshe feldenkrais, feldenkrais professional training program, amherst massachusetts, 1980-1981 (amherst) objective: connect movement between the feet and pelvis and extend the movement towards arms lengthening, creating a diagonal connection through the torso for rotation (turning), flexion, and extension. 2. rolling from the opposite hip. origin: alan questel objective: sense the movement in our joints including ankles, knees, hip joints, and shoulder joints, adding the movement of opening arms and chest, and eventually leads to rolling from one side to another side to activate the mobility in the chest and abdominal muscles. 3. pelvic clock. origin: feldenkrais professional training program, amherst massachusetts, 1980-1981 objective: differentiation of the pelvic movements by means of an imaginary clock. 4. paradoxical breathing. origin: feldenkrais professional training program, amherst massachusetts, 1980-1981 objective: learn see-saw movement to differentiate parts and functions in breathing, increasing the awareness towards your habitual breathing. 5. falling reversibly #1. origin: feldenkrais professional training program, amherst massachusetts, 1980-1981 objective: arms in triangle position towards the ceiling with crossed legs moving in the same or opposite direction. sense the spinal movement in the torso. 6. falling reversibly #2. origin: feldenkrais professional training program, amherst massachusetts, 1980-1981 objective: a continued lesson that uses the same position from above, adding eye and head movements in sync or opposite of arms and hands’ direction. 7. freeing the head. origin: feldenkrais professional training program, amherst massachusetts, 1980-1981 objective: on prone position one arm up and the other arm down, both with 90 degrees in elbows and armpits. move hand, bend wrist, and lift elbow to distinguish each part’s movement in the arm, eventually involves whole self to change arms’ directions. chiang • feldenkrais research journal, volume 7 (2023) 20 8. in and out of a chair reversibly. origin: alan questel objective: a final lesson doing in the chair to help the participants integrate what they have learned from the previous 7 lessons of how to use the entire self in sitting. this lesson focuses on how to engage the muscles and pelvis to get in and out of the chair more easily as well as sensing the coordination of shoulders and chest when the torso is in an upright position. chiang • feldenkrais research journal, volume 7 (2023) 21 appendix ii: pre-survey pre-survey for the participants in the research project of “a case report on the impact of feldenkrais method with experienced pianists,” investigator: dr. janice chenju chiang participant id: participant’s profession, please also state your age: 1. what do you know about the feldenkrais method? are there other movement methods that you know about or familiar with? if so, have you done any ones that helped you? 2. how do you think our movement is connected to piano playing? 3. please describe your piano playing experiences. 4. how much time do you play the piano average a day? if it’s not every day, please describe how often do you play the piano a week? 5. how long do you sit at the piano each time you play the piano? 6. do you have any kind of sensation, either comfortable or uncomfortable, when you play the piano? if so, on which part of your self and does it occur in the beginning, during, or after the playing? 7. please tell us if there is anything you hope to improve in your piano playing. 8. are there other activities you do besides playing the piano? 9. have you had any injuries or surgeries before? do you have any pain currently? if so, is it chronic or on and off? please give more details if you can. chiang • feldenkrais research journal, volume 7 (2023) 22 appendix iii: post study interview questions a case report on the impact of feldenkrais method with experienced pianists,” investigator: dr. janice chenju chiang before viewing the preand post-performance videos 1. please talk about your thoughts of experiencing the feldenkrais method® through this project. 2. what lessons did you practice most and why did you choose them? 3. in the pre-survey’s question no. 7: “please tell us if there is anything you hope to improve in your piano playing,” you answered......, do you think the feldenkrais method® has helped you in this aspect? 4. in the pre-survey’s question no. 2: “how do you think our movement is connected to the piano playing?” you answered....., do you hold the same understanding or gain different information after the experience of the feldenkrais method®? after viewing the preand post-performance videos 1. please tell us your thoughts after viewing your video performances of before and after experiencing the feldenkrais method®. 2. after you viewed the video performances, may i ask you the same question again about your view of the connection between the movement and piano playing? 3. do you think musicians can benefit from doing the feldenkrais method®? if so, to what degree or in what capacity? 4. 1) have you always practiced atms® with the recordings? if not, which ones were not on your log? 2) do you think practicing atms® with recordings help? how? 5. since the feldenkrais method® emphasizes on learning how we learn, what do you think you have learned through this project so far? 6. 1) do you think you will continue practicing these 8 lessons? 2) if the answer is yes---because the feldenkrais method® also emphasizes the development of the process in learning, would you be willing to continue writing the journal, even not day to day, time to time and share with the investigator the learning outcome in 3 or 6 month time? chiang • feldenkrais research journal, volume 7 (2023) 23 7. do you have other questions? chiang • feldenkrais research journal, volume 7 (2023) 24 appendix iv: post study survey a case report on the impact of feldenkrais method with experienced pianists – post study survey investigator: janice chenju chiang participant id: general sensorial questions: 1. what kind of sensation did you receive after your first atm lesson? please check all that apply. relax_______ pleasurable_______ strange_________ uncomfortable________ unknown________ 2. what kind of sensation did you receive after receiving more than one atm lesson? relax_______ pleasurable_______ strange_________ uncomfortable________ unknown________ 3. if you have sensed any tension in any part of yourself prior to receiving the atm lessons, do you think the atm lessons help you to identify where the tension is and how it occurred through your movement? 4. where in yourself did you begin to feel a new sensation after receiving the first atm lesson? 5. where else in yourself did you feel more different kind of sensations after receiving multiple atm lessons? 6. after receiving all 8 atm lessons, do you have a different kind of understanding of how you have organized yourself before? is it different from what you have thought before, or the same? do you think it helps you in some way? 7. do you have a different kind of image of yourself after receiving the atm lessons? you may answer this in any way you like. piano-playing related questions: 1. after experiencing all eight atm lessons, do you think the feldenkrais method has direct impact on your piano playing? yes___________ no____________ chiang • feldenkrais research journal, volume 7 (2023) 25 if your answer is yes, please continue the following questions. if your answer is no, you may stop here and jump to daily life questions. 2. based on what you have sensed, how has the feldenkrais method influenced your piano playing? a. technique: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ b. tone: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ c. musical phrasing: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ d. hearing: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ e. memory: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ f. interpretation: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ g. overall control: very much improved ________ much improved ________ somewhat improved______ not much improved ________ no improved at all _________ please continue the following question if there’s any improvement with the above: 3. please specify in what capacity in each category that you have felt the improvement because of the feldenkrais method? use technical terms if necessary, ex. octaves, thirds, scales, etc. chiang • feldenkrais research journal, volume 7 (2023) 26 a. technique: b. tone quality: c. musical phrasing: d. hearing (auditory perception skill): e. memorization: f. interpretation: g. overall control: 4. do you think continue practicing each atm playing a factor for your improvement? yes_______ no_______ if yes, please give the reason (s): 5. when did you begin to feel that the sensation you received from doing atm was helping you to play the piano better? please check one answer that applies below. after 1____ 2_____ 3______ 4______ 5_______ 6_______ 7______ 8______ lesson (s). 6. which lesson (s) do you think help you most? please also include the date that you received that lesson (s). 7. comparing to prior to receiving these atm lessons, was there constraint of movement in any part of yourself that you could not felt before but was able to feel after receiving the atm lessons, which contributed to the improvement of your piano playing? for example, you may feel more flexible in certain movement in yourself than before the participation. 8. if you had a history of pain or had tension before that you think might be the contribution of the impediment with your piano playing, do you feel it’s been improved after receiving the atm lessons? 9. after receiving the atm lessons, do you have different kind of understanding of what “relax” means at the piano? does it help you more or less? 10. after receiving the atm lessons, do you have different kind of understanding of what “posture” means at the piano? does it help you more or less? daily life questions: 1. some people think their daily routine has been changed after receiving certain amount of atm lessons. do you feel any change in your daily life? for instance, the quality of sleep or your diet. 2. after receiving the atm lessons, do you feel the change in your walking, sitting, and standing? please also describe the changes if any. chiang • feldenkrais research journal, volume 7 (2023) 27 3. after receiving the atm lessons, do you think the level of your awareness and attention is different? improved or worse? 4. after receiving the atm lessons, do you feel that you are thinking your movement differently? does that help you to accomplish your tasks better or more efficiently in certain ways? 5. if you are willing, please share any other changes that you have after receiving the atm lessons regardless it’s sensorial or in your daily life. thank you for your participation chiang • feldenkrais research journal, volume 7 (2023) 28 home / volume 4 / zu dritt in erwartung feldenkrais research journal • volume 4 (2008) article zu dritt in erwartung. erzählte und reflektierte praxis als entwicklungsprozess barbara pieper dr.rer.pol. karen miller abstract diese geschichtei handelt von nadines ankunft. ihre mutter, karin miller, eine ärztin und psychotherapeutin, nahm während ihrer schwangerschaft und nach nadines geburt einzelstunden in „funktionaler integration“(fi) bei barbara pieper, feldenkrais-lehrerin bei münchen. die stunden hat barbara pieper jeweils protokolliert (teil 2). karin miller schrieb ihre eindrücke am schluss der fi serie auf (teil 3). dann tauschen beide ihre notizen aus und kommentierten sie wechselseitig (teil 4). barbara pieper stellt der fallgeschichte einige überlegungen voran zur frage, ob und wie sich feldenkrais-stunden überhaupt notieren lassen (teil 1). abschließend blickt sie aus heutiger erfahrung vergleichend und reflektierend auf die serie von einzelstunden zurück, um sich der unterschiede in arbeitsqualität und können als feldenkrais-lehrerin bewusst zu werden. fallgeschichten zu schreiben oder zu lesen betrachtet sie als ein vorzügliches mittel reflektierter praxis, um die eigene persönliche und professionelle weiterentwicklung zu verfolgen (teil 5). inhalt. 1) „was schreibst du denn da auf und wozu?“ vorbemerkung über das notieren von feldenkrais-stunden. 2) die geschichte – erzählt aus der sicht der feldenkrais-lehrerin. 3) die geschichte – erzählt aus der sicht der klientin. 4) aus zwei geschichten entsteht eine. 5) “wie weiß ich, wie ich arbeite?“ fallgeschichten als mittel reflektierter praxis zur persönlichen und professionellen weiterentwicklung (nachbemerkung) abstract (english) awaiting at three. narrate and reflective practise as development process the story is about nadine´s arrival. her mother, karin miller, a physician and psychotherapist, took feldenkrais private lessons in “functional integration” during her pregnancy and after delivery. barbara pieper, feldenkrais practitioner near munich, noted down these lessons (part 2). karin miller compiled her impressions of the lessons at the end of the series (part 3). then, practitioner and client exchanged their notes and commented on them (part 4). preceding the case study, barbara pieper reflects on if and how feldenkrais lessons can be written down at all (part 1). she also looks back to the series comparing and reflecting the lessons with her today’s experience in terms of becoming aware of quality differences in practising and of competency as a feldenkrais professional. for her writing case stories and reading them is an ideal tool of reflective practise while pursuing and furthering private and professional development (part 5). published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org content: 1) "what are you writing and why?" prologue: introductory note on feldenkrais lessons´ notation. 2) the case story narrated by the feldenkrais practitioner. 3) the case story narrated by the client. 4) merging two stories into one. 5) epilogue: "how do i know how i am working?" case studies as a tool of reflective practise for personal and professional development keywords feldenkrais method, reflective practice, case study, narrative, learning process copyright ©: the copyright for this paper remains with the author(s). first published: uta ruge & sylvia weise (eds.): first i went in my head & other feldenkrais stories, by loeper verlag, karlsruhe, april 2007, pp. 192-216. please cite: feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. 1 home / volume 4 / zu dritt in erwartung. erzählte und reflektierte praxis als entwicklungsprozess zu dritt in erwartung. erzählte und reflektierte praxis als entwicklungsprozess awaiting at three. narrate and reflective practise as development process barbara pieper, karin miller abstract deutsch diese geschichte handelt von nadines ankunft. ihre mutter, karin miller, eine ärztin und psychotherapeutin, nahm während ihrer schwangerschaft und nach nadines geburt einzelstunden in „funktionaler integration“(fi) bei barbara pieper, feldenkrais-lehrerin bei münchen. die stunden hat barbara pieper jeweils protokolliert (teil 2). karin miller schrieb ihre eindrücke am schluss der fi serie auf (teil 3). dann tauschen beide ihre notizen aus und kommentierten sie wechselseitig (teil 4). barbara pieper stellt der fallgeschichte einige überlegungen voran zur frage, ob und wie sich feldenkraisstunden überhaupt notieren lassen (teil 1). abschließend blickt sie aus heutiger erfahrung vergleichend und reflektierend auf die serie von einzelstunden zurück, um sich der unterschiede in arbeitsqualität und können als feldenkrais-lehrerin bewusst zu werden. fallgeschichten zu schreiben oder zu lesen betrachtet sie als ein vorzügliches mittel reflektierter praxis, um die eigene persönliche und professionelle weiterentwicklung zu verfolgen (teil 5). inhalt. 1) „was schreibst du denn da auf und wozu?“ vorbemerkung über das notieren von feldenkraisstunden. 2) die geschichte – erzählt aus der sicht der feldenkrais-lehrerin. 3) die geschichte – erzählt aus der sicht der klientin. 4) aus zwei geschichten entsteht eine. 5) “wie weiß ich, wie ich arbeite?“ fallgeschichten als mittel reflektierter praxis zur persönlichen und professionellen weiterentwicklung (nachbemerkung) abstract english the story is about nadine´s arrival. her mother, karin miller, a physician and psychotherapist, took feldenkrais private lessons in “functional integration” during her pregnancy and after delivery. barbara pieper, feldenkrais practitioner near munich, noted down these lessons (part 2). karin miller compiled her impressions of the lessons at the end of the series (part 3). then, practitioner and client exchanged their notes and commented on them (part 4). preceding the case study, barbara pieper reflects on if and how feldenkrais lessons can be written down at all (part 1). she also looks back to the series comparing and reflecting the lessons with her today’s experience in terms of becoming aware of quality differences in practising and of competency as a feldenkrais professional. for her writing case stories and reading them is an ideal tool of reflective practise while pursuing and furthering private and professional development (part 5). content: 1) "what are you writing and why?" prologue: introductory note on feldenkrais lessons´ notation. 2) the case story narrated by the feldenkrais practitioner. 3) the case story narrated by the client. 4) merging two stories into one. 5) epilogue: "how do i know how i am working?" case studies as a tool of reflective practise for personal and professional development updated versison january 2009. first published in uta ruge & sylvia weise (editors): zuerst bin ich im kopf gegangen & andere feldenkrais-geschichten (at first i walked in my mind & other feldenkrais stories), loeper verlag, karlsruhe, april 2007, pp. 192 – 216, contact: barbara pieper, dr. rer. pol., social scientist, feldenkrais practitioner, maintains a private practice near munich/germany. feldenkrais assistant trainer, mail@barbarapieper.de ; www.barbarapieper.de and www.somatische-bildung.de karin miller, dr. med., physician und psychotherapist, lives with her family in the countryside of upper bavaria/germany where she maintains a private practise. her name was changed for this publication to ensure her privacy as client. contact via barbara pieper full text version german http://iffresearchjournal.org/ http://iffresearchjournal.org/en/volume/4 http://iffresearchjournal.org/en/volume/author/barbara+pieper mailto:mail@barbarapieper.de http://www.barbarapieper.de/ http://www.somatische-bildung.de/ 2 erstmals erschienen in: uta ruge & sylvia weise (hrsg.): zuerst bin ich im kopf gegangen & andere feldenkrais-geschichten, von loeper verlag, karlsruhe, april 2007, s. 192 – 216; hier aktualisierte zweite fassung, januar 2009 zu dritt in erwartung. erzählte und reflektierte praxis als entwicklungsprozess1 barbara pieper, karin miller abstract deutsch diese geschichte handelt von nadines ankunft. ihre mutter, karin miller, eine ärztin und psychotherapeutin, nahm während ihrer schwangerschaft und nach nadines geburt einzelstunden in „funktionaler integration“(fi) bei barbara pieper, feldenkrais-lehrerin bei münchen. die stunden hat barbara pieper jeweils protokolliert (teil 2). karin miller schrieb ihre eindrücke am schluss der fi serie auf (teil 3). dann tauschen beide ihre notizen aus und kommentierten sie wechselseitig (teil 4). barbara pieper stellt der fallgeschichte einige überlegungen voran zur frage, ob und wie sich feldenkraisstunden überhaupt notieren lassen (teil 1). abschließend blickt sie aus heutiger erfahrung vergleichend und reflektierend auf die serie von einzelstunden zurück, um sich der unterschiede in arbeitsqualität und können als feldenkrais-lehrerin bewusst zu werden. fallgeschichten zu schreiben oder zu lesen betrachtet sie als ein vorzügliches mittel reflektierter praxis, um die eigene persönliche und professionelle weiterentwicklung zu verfolgen (teil 5). inhalt. 1) „was schreibst du denn da auf und wozu?“ vorbemerkung über das notieren von feldenkraisstunden. 2) die geschichte – erzählt aus der sicht der feldenkrais-lehrerin. 3) die geschichte – erzählt aus der sicht der klientin. 4) aus zwei geschichten entsteht eine. 5) “wie weiß ich, wie ich arbeite?“ fallgeschichten als mittel reflektierter praxis zur persönlichen und professionellen weiterentwicklung (nachbemerkung) 1. „was schreibst du denn da auf und wozu?“ vorbemerkung über das notieren von feldenkrais-stunden jede einzelstunde ist für mich eine kleine welt für sich. während der stunde richte ich meine aufmerksamkeit auf verschiedene zugänge und blickwinkel dessen, was geschieht und wie es geschieht. damit wird die stunde bereits geprägt oder „getönt“ von der art und weise, wie ich sie wahrnehme. die stunde anschließend zu notieren, verändert das geschehen ein weiteres mal. mit dem aufschreiben findet also immer auch eine verwandlung der stunden statt. es entsteht daraus eine neue wirklichkeit. die verwandlung, wie sie im zuge des aufschreibens geschieht, halte ich für unvermeidlich. um damit umzugehen und sie mir deutlich(er) zu machen, hebe ich zuweilen einen bestimmten aspekt besonders hervor, um den es mir in der geschichte geht. diesen fokus erwähne ich zu beginn der geschichte, so dass die leser/innen ihre eigene sicht zu meiner darstellung hinzufügen können. beim schreiben von fallgeschichten fällt mir immer wieder gaby yaron ein, pädagogische direktorin meiner feldenkrais-ausbildung münchen ii: „was, du machst dir notizen nach einer fi! was schreibst du denn auf? das wesentliche der stunde lässt sich doch gar nicht in worte fassen! und was an der stunde wirklich wichtig war, wirst du sowieso erinnern.“ gaby yaron hatte recht. das wesentliche einer stunde geschieht zwischen dem klienten und mir und im inneren der beteiligten personen. feldenkraislehrer/innen benutzen worte wie nervensystem, skelett, lernen, bewusstheit im bemühen, dass diese worte beitragen können zu beschreiben, was in der stunde geschieht und wie es geschieht, ohne damit behaupten zu wollen, sie wüssten auch schon, warum. wenn in mich während der fi-stunde in beziehung zur klientin empfinde, der kontakt also hergestellt ist, und ich wahrnehme, wie die klientin achtsam und aufmerksam in sich hineinlauscht, dann vermute ich, dass sie auf dem weg über bewegung mit dem inneren kern ihrer persönlichkeit beschäftigt ist. ob wir dafür nun das wort seele verwenden oder ein anderes, um diese voraussetzungen für „bewusstheit durch bewegung“, mitteilbar zu machen, möge jeder für sich selber entscheiden. ich zumindest kann diese dimensionen meiner arbeit allenfalls zwischen den zeilen beschreiben.2 mit dieser fallgeschichte habe ich versucht, den blickwinkel auf die welt der einzelstunde zu erweitern: ich bat die klientin, ihre erfahrungen ebenfalls zu notieren. die eigene wahrnehmung und die wahrnehmung der anderen person zur gleichen begebenheit kennen zu lernen, ermöglicht nicht nur einen sehr aufschlussreichen vergleich von erfahrungen3. die personen bleiben auch beide subjekte ihrer geschichte und dies umso mehr, als frau miller und ich beim schreiben wussten, dass wir unsere 3 berichte austauschen und kommentieren würden. damit kommt die feldenkrais-spezifische vorgehensweise eher zur geltung, denn es geht hier um einen an der person orientierten oder subjektorientierten ansatz 4. worauf kam es mir in dieser fallgeschichte an (fokus)? (1) die arbeit mit frau miller stellte für mich eine brücke her zwischen meiner jetzigen arbeit als feldenkrais-lehrerin und meinem einstieg in die feldenkrais-methode: als ich 1980 anfing einzelstunden zu nehmen, war ich selber schwanger. es freute mich, nun erfahrungen weitergeben zu können, die ich zunächst als klientin und ab 1989 auch in einem professionellen rahmen habe machen können. (2) mit schwangeren zu arbeiten leitet mich dazu an, aufs neue zu berücksichtigen, was ich mir auch in einer weniger komplexen beziehungssituation als der zu dritt immer wieder vornehme: weniger anzubieten als mir auffällt und einfällt; mich anzupassen an jeweilige neu auftauchende umstände im verlauf der stunde; auftauchende gefühle von unsicherheit wahrzunehmen, sie dann aber zur seite zu legen und der lernfähigkeit und -bereitschaft des nervensystems zu vertrauen. die fallgeschichte beschreibt, wie ich mit diesen herausforderungen jeweils zurechtgekommen bin. (3) eine dreierkonstellation wie diese (frau miller, ihr baby und ich) bringt es mit sich, dass ich mich noch sorgfältiger als sonst mit den beziehungsaspekten meiner arbeit befasse – mit meinen eigenen erwartungen, erfahrungen, hoffnungen, befürchtungen, wohl wissend dass all das eingeht in meine wahrnehmung und in mein verständnis der situation, in der ich mich befinde, während ich die einzelstunde gebe. dank frau millers bereitschaft zur „gemeinschaftsproduktion“ können wir nun diesen bericht als ein, wie wir finden, schönes experiment vorstellen, wie zwei bzw. sogar drei miteinander in beziehung stehende subjekte zusammenarbeiten, lernen und ihre jeweilige konstruktion von wirklichkeit zu einer neuen umgestalten und diese mitteilen. 2. die geschichte – erzählt aus der sicht der feldenkrais-lehrerin frau miller, eine charmante attraktive frau ende 30, nahm an einem der fünftägigen feldenkraisworkshops in „bewusstheit durch bewegung“ teil, den ich seit einigen jahren im rahmen der „lindauer psychotherapie wochen“ gebe. dieser kongress richtet sich an ärzte und psychotherapeuten und findet alljährlich im april am bodensee statt. frau miller hat den kurs aus neugier belegt und um die methode einmal kennen zu lernen, da sie davon gehört hatte und wissen wollte, für welche ihrer psychotherapiepatientinnen die methode empfehlenswert sein würde. wie überrascht war frau miller jedoch, als sie während des kurses entdeckte, dass sie wenig über ihre sensomotorische eigenwahrnehmung und ihr kinästhetisches selbstbild wusste: „ich bin immerhin ärztin und langjährige psychotherapeutin. ich habe viele fortbildungen zur selbsterfahrung gemacht“, sagte sie, „meinen körper fühle ich trotzdem ziemlich wenig und weiß auch nicht so recht, wie ich ihn benutze.“ damit war sie unter den kursteilnehmern keineswegs allein. sie nahm sich vor, in münchen, wo sie damals wohnte, einzelstunden bei mir zu nehmen. aber irgendwie fand sie dann doch nicht die zeit dazu. stattdessen nahm sie an einem meiner feldenkrais-samstags-kurse teil. ein jahr später, im herbst 1997, rief sie mich an: „erinnern sie sich an mich? ich bin diejenige, die immer einzelstunden nehmen wollte und dann doch nicht erschien. stellen sie sich vor, ich bin schwanger! können sie mir raten, zu ihrem nächsten samstagskurs zu kommen und nun endlich auch einzelstunden zu nehmen?“ „sicher, warum denn nicht?“ sie war beunruhigt, denn ihr frauenarzt hatte ihr gesagt, ihr baby sei für sein alter ziemlich klein – sie erwartete ein mädchen – und bewege sich nicht genug. „ich könnte eigentlich selber ein bisschen bewegung gebrauchen“, sagte sie. ich erzählte ihr, dass ich selber während meiner zweiten schwangerschaft mit vergnügen einzelstunden genommen hätte und mich darauf freute, mit ihr zu arbeiten. ich möchte gleich an dieser stelle erwähnen und dann später im einzelnen auf folgendes zurückkommen: weit mehr als in fis zu zweit waren die einzelstunden mit karin miller eine vorzügliche gelegenheit für mich aufs neue zu erleben, wie umfassend und unvermeidlich meine eigenen erfahrungen, absichten, empfindungen, gefühle und gedanken mir als folie dienen. sie sind mal mehr, mal weniger unbewusst bestandteil dessen, was ich in der stunde anbiete und wie ich das tue. mir nach der stunde notizen zu machen, ist eine meiner strategien, um meine eigenen „blinden flecken“ herauszufinden und sozusagen hinter meine eigene bühne zu schauen: „bewusstheit durch notieren“. frau miller kam also zum samstagskurs. mir fiel auf, dass sie gut für sich sorgte. sie legte mehrere kleine pausen ein und freute sich, wie sich ihre bewegungsfähigkeiten im verlauf des tages erweiterten. so 4 konnte sie wieder leichter vom boden aufstehen und viel besser sitzen. wir verabredeten eine serie von 6 stunden bis zur entbindung (termin war anfang januar 1998). eine stunde konnte sie wegen eines schneesturmes nicht wahrnehmen. erste einzelstunde (ende oktober 1997) zu beginn der einzelstunden war frau miller inzwischen in der 30. schwangerschaftswoche. sie erzählte, dass sich ihr baby jetzt wieder entwicklungsgerecht bewege. „am montag nach dem samstagskurs waren meine kollegen ganz überrascht: du siehst ja jetzt endlich richtig schwanger aus!! wie kommt das denn?“. „ich finde übrigens auch“, ergänzte frau miller, „dass mein bauch jetzt eine viel angenehmere position gefunden hat“. sie sah schön und stolz aus und ich fühlte mich erinnert an meine eigenen gefühle vor 17 jahren. wie gerne war ich schwanger gewesen! wir konzentrierten uns zunächst darauf zu erkunden, wie sie ihre balance im sitzen fand. als therapeutin musste sie den ganzen tag weitgehend sitzen. sie fühlte, sie säße zu weit nach rechts. während ich ihren rücken tastend erkundete, fielen mir hinweise von gaby yaron ein, während sie einer schwangeren eine einzelstunde im rahmen einer fortbildung gab: nicht zuviel tun; das becken eher in ruhe lassen; dafür sorgen, dass das baby mehr platz hat. ich bat frau miller, sich auf die rechte seite zu legen, da sie hier am bequemsten liegen konnte. ich bot ihr eine bewegungsabfolge an, über die sie die bewegungszusammenhänge ihres kopfes mit ihren schultern, ihrer wirbelsäule, ihrem becken bis zu ihren beinen wahrnehmen konnte, während ich sie ein wenig (aus ihrer sicht) nach rechts (vorwärts) und zurück und nach links (rückwärts) rollte und zurück in die ausgangs-(seiten-)lage. zunächst versuchte ich herauszufinden, inwieweit sie darauf eingestellt war, dass sich ihr kopf, ihre schultern, becken und beine möglichst gleichzeitig rollen ließen. das nennen wir in der feldenkrais-fachsprache, eine bewegung global auszuführen. ein wenig später probierten wir aus, inwieweit sich das rollen unterschiedlich anfühlte, wenn ich die bewegung zunächst von frau millers schultern, dann von ihrem becken aus anfangen ließ (oder umgekehrt). die schulterund beckenbewegungen erfolgen hier also nicht gleichzeitig und nicht in derselben richtung. deshalb wird dieses bewegungsangebot auch als differenzierte bewegung bezeichnet. frau miller lauscht in sich hinein: „mein baby fängt zu hüpfen an“. sagte sie damals, in der ersten stunde, konnte ich die kindsbewegungen noch nicht gleich selber bemerken. ich war offenbar noch zu sehr dem denken in einem zwei-personen setting verhaftet, wie das sonst bei einzelstunden der fall ist. nach einer kleinen pause, in der sich frau miller auf den rücken gelegt hatte, probierten wir das rollen in der zweiten seitenlage aus. die unterscheidung von globalem und differenziertem rollen empfand sie jetzt viel rascher heraus als auf der ersten seite. sie war überrascht und erleichtert; denn eigentlich konnte sie sonst gar nicht mehr gut auf der linken seite liegen. um die stunde abzuschließen, bat ich sie, sich wieder in die rückenlage zu begeben. ich legte ihre arme überkreuz auf ihren brustkorb, rollte und schaukelte sie dann ein wenig nach rechts und links, wobei ich die bewegungen mal von ihren schultern, mal von ihren ellbogen, ihren händen, oder ihren rippenbögen begann. frau miller genoss sichtlich, wie die beiden seiten ihres körpers beim rollen zusammen arbeiteten – zuerst im liegen und dann auch im sitzen. ich begleitete dabei ihre kopfbewegungen mit meinen händen. so konnte sie leichter fühlen, wie ihr kopf und ihr becken zusammen spielten, wenn sie sich umdrehen wollte. dann stand sie auf und staunte, wie viel besser sie sich beim gehen ausbalancierte. ihr rechtes bein fühlte sich weniger schwer an als zu beginn der stunde. „schauen sie sich einmal meinen bauch an! ich sehe jetzt ja noch schwangerer aus! wie kann das denn sein? das sind ja seltsame effekte! sie haben mich doch nur ein wenig hin und her gerollt“! ich fühlte mich darin bestätigt, nicht viel an bewegung anzubieten; als schwangere war frau miller zusätzlich sensibilisiert. so hatte ich bemerkt, dass sie inzwischen sehr kleine signale in ihr selbstbild aufnehmen konnte. ich nahm mir vor, ihre aufmerksamkeit in der nächsten stunde darauf zu lenken, wie sie die beziehung ihrer rippen zu ihrem kopf gestaltete. zweite stunde (ca. 3 wochen später) “nadine wächst. sie ist jetzt im unteren bereich der körpergröße, die sie haben sollte.“ zum ersten mal erwähnte sie den namen ihres babys. sie fragte mich, ob ich vorzeitig entbunden hätte. das hatte ich nicht. ob sie sich sorgen vor einer frühgeburt machte, zumal ihr gesagt worden war, dass sich ihr baby bereits reichlich nah am ausgang befände? ich erinnerte mich an ähnliche befürchtungen, als ich 1980 einzelstunden nahm und damals noch nicht so recht verstand, was in den stunden vorging. ich versicherte ihr, dass die stunden keine gefahr für sie sein würden, solange sie und ich mit achtsamkeit vorgingen. 5 frau miller saß jetzt mehr auf ihrer linken seite. sie hätte sonst nicht genug platz für ihr baby, meinte sie. während ihrer psychotherapeutischen arbeit musste sie nach wie vor fast den ganzen tag sitzen. ich begann die stunde, indem wir im sitzen und gehen erkundeten, wie sie ihre beine im zusammenspiel mit rumpf und kopf gebrauchte und ließ sie einige variationen ausprobieren, zum beispiel die größe der schritte ändern oder den kopf beim gehen über einer körperhälfte belassen. so konnte sie herausfinden, welche bewegungsweise beim sitzen und gehen sich für sie gewohnt anfühlte und welche nicht. frau miller wollte wieder auf der rechte seite liegen. ich tastete mit meinen händen den übergang ihres halses zum brustkorb entlang, damit sie diesen bereich (siebter halswirbel, erster brustwirbel) zunächst einmal spüren konnte. dann begann ich, ihre obere brustwirbelsäule von deren rechter seite aus ein wenig zu stützen in der absicht (und annahme), frau miller könnte auf diese weise eine entlastung spüren, indem ich ihr einen teil ihrer anstrengung abnahm, mit der sie ihren kopf meinte tragen zu müssen. sie erzählte, dass nadine auf der stelle anfing sich zu bewegen. ohnehin war mir aufgefallen, dass frau miller sich unablässig in einem inneren dialog mit ihrem baby befand. ich betrachtete diese interaktion als ihre, nicht als meine. nach und nach verfolgte ich mit ihr, wie sich ihre rippen zunächst im zusammenspiel mit ihrer wirbelsäule, ihren schultern bis zu ihren fingerspitzen und dann mit ihrem becken und schließlich ihren beinen bewegen konnten (oder nicht), während ich ihren arm in verschiedene richtungen geleitete – bewegungen, die sie sie in ihrem alltag auch ausführte; aber auch solche, die sie (zu ihrem erstaunen) noch nicht kannte. „das erinnert mich an die audiokassetten von beatriz walterspiel5“, sagte sie, „ die mache ich zu hause, vor allem die schulteruhr (lektion 3), aber jetzt empfinde ich die bewegungen durch die berührung und das geleitet-werden viel deutlicher und tiefer“. ich brachte frau miller vom liegen ins sitzen. sie saß jetzt mehr auf ihrer rechten seite als zuvor, empfand ihre linke seite als länger. ihre beine konnte sie müheloser bewegen als zu beginn der stunde. ich bat sie herauszufinden, wie sie im sitzen mit ihrem becken kreisförmige bewegungen machen könnte, so als würde ihr becken kreise auf die feldenkrais-liege malen, auf der sie saß . dann schlug ich ihr vor, sich einen langen pinsel vorzustellen, der an ihrem schädeldach angebracht wäre und ihr ermöglichte, kreise an die zimmerdecke zu malen. schließlich wechselte sie die beiden bewegungen ab: mal malte sie kreise mit ihrem becken auf der sitzfläche und dann mit dem „kopfpinsel“ an der zimmerdecke. so konnte sie, wie schon in vorherigen stunden, die beziehung von kopf und becken erfahren und ihre orientierung im raum verbessern. als sie aufstand, stand sie weit aufrechter als je zuvor. wir mussten beide lachen: so anders war die gestalt ihres bauches. ich empfahl ihr, sich weiterhin mit der „schulteruhr“ zu beschäftigen und die „beckenuhr-lektion“ der audiokassette eher in der vorstellung zu machen. für die nächste stunde nahm ich mir vor mit ihr herauszufinden, wie sie sich selbst einfacher aufsetzen konnte. ich erinnerte mich, dass ich als schwangere leute verblüfft hatte, wenn ich ohne mühe mich hinsetzen, aufstehen, drehen konnte. das war offenbar im repertoire vor allem von hochschwangeren nicht vorgesehen. dritte stunde ( eine woche später, ende november 1997) frau miller geht es gut. wir plaudern ein wenig. sie erzählt von einem schamanen aus wien, der mit tönen arbeite. das ist eine erstaunlicher zufall: ich beschäftigte mich seit einiger mit stimme und tönen. gerade erst hatte ich wieder einmal an einem workshop mit meinem kollegen franziskus rohmert „feldenkrais und stimme“6 teilgenommen. „machen wir also heute eine stunde mit tönen“ schlug ich vor. ich stelle mich hinter sie und fange an, in richtung ihres rückens zu singen. „können sie die vibration der töne spüren, die ich singe? inwieweit kommt die vibration der töne bei ihren rücken an? „keine ahnung!“ antwortet sie. ich vermute, dass sie die vibration der töne eher von inner her spüren könnte. also fordere ich sie auf, sie möge nun ihrerseits einen ton singen und auf dessen vibration achten. dabei berühre ich ihre schulterblätter und ihre rippen, um ihre innere wahrnehmung von außen zu unterstützen. viel fühlt sie nicht. „es ist ganz schön schwer, einen ton zu machen und dann auch noch dessen vibration zu fühlen“, sagt sie. „und wie ist es im liegen?“ ich bitte sie, sich auf die rechte seite zu legen und töne zu produzieren – egal welche, die, die auftauchen. ich nehme mir vor, mit ihr eine ganz einfache klassische stunde zu machen, in der sie – allerdings während sie die töne macht – erkunden kann, wie sie sich in seitenlage ein wenig leichter zur seite neigen kann, als sie es sonst tut. dann versuchen wir beide zu unterscheiden, wann und wie sich ihre töne während der bewegungen verändern. (das war eine der erfahrungen, die franziskus rohmert in seinem workshop hatte erkunden lassen). „nadine hat das gerne!, sagte frau miller. “ich sollte öfter singen. wieder auf dem rücken liegend findet sie, dass sie flacher liegt. ihren kopf, ihre wirbelsäule, becken und beine nimmt sie jetzt mehr in beziehung zueinander war. vor allem aber hat sich ihr bauch, wie sie sagt, mehr „verteilt“. beim singen empfindet sie jetzt die vibration in ihrem körper, sei es, dass sie singt oder ich singe wie anfangs hinter ihr stehend in richtung ihres rückens singe. „ ich habe jetzt ein ganz neues bild von meinen inneren räumen“, stellt sie fest. 6 später beim notieren und auch in den nächsten stunden merkte ich, wie diese stunde eine tür geöffnet hatte: ich fühlte mich seit diesem schlüsselerlebnis jetzt auch mit nadine in kontakt. die fi-stunden hatten die ganze zeit über zu dritt stattgefunden. aber erst jetzt empfand ich es auch so. es dauerte noch eine weile, bis ich verstand, dass (und wie!) nadine die hauptperson in den stunden war. und endlich las ich alfred tomatis’ buch über die bedeutung des klangs in der vorgeburtlichen kommunikation von mutter und kind7. vierte stunde (anfang dezember 1997) frau miller berichtete, dass ihr baby nicht mehr zu nah am ausgang läge. die spannungen in ihrem unteren rücken hätten sich gelegt. dazu beigetragen hätte auch, dass sie die audiokassetten von beatriz walterspiel verwendete; meistens machte sie die lektionen in der vorstellung. ich freute mich, wie sie feldenkrais-lektionen in ihr leben einbaute. sie käme allerdings, sagte sie, nicht so recht klar mit der audiokassetten-lektion „vom liegen zum sitzen“ und wäre heute daran interessiert, ihre wirbelsäule besser zu spüren. ich nahm mir vor, die stunde so anzulegen, dass sie sowohl leichter würde aufsitzen können als auch sich ein deutlicheres bild machen könnte, wie sie ihre wirbelsäule im zuge ihrer derzeitigen bewegungsorganisation einen monat vor geburtstermin benutzte. ich bat sie zunächst, sich vor eine zu wand stellen, zu ihrer sicherheit beide hände an die wand zu legen und dann ihren rechten fuß längs auf eine holzrolle zu platzieren (6 cm durchmesser, 40 cm lang), ihre linke ferse abzuheben vom boden, sich also mehr auf ihren linken vorderfuß zu verlagern, sodass sie mit ihrem rechten fuß voll auf der holzrolle zu stehen kam. hierbei verlagerte sich auch ihr körpergewicht. sie konnte deutlich die kraftübertragung vor allem vom rechten fuß bis nach oben zum kopf spüren. sie stieg von der rolle wieder herunter, macht eine pause, ging ein wenig im raum herum und staunte, wie unterschiedlich sie jetzt die beiden seiten ihres köpers benutze. zurück zur holzrolle, nun umgekehrt mit dem linken fuß auf der rolle, fühlte sich die linke seite eher wackelig an. sie suchte einige zeit nach einem geeigneten platz für den linken fuß. die übertragung der bewegung, die sie rechts als belebenden schub durch ihre wirbelsäulen empfunden hatte, stellte sich auf der linken seite nicht her. ich legte eine decke auf den boden, bat sie also dieses mal nicht auf die feldenkrais-liege, damit sie später mehr platz haben würde, um vom liegen auf dem boden ins sitzen zu gelangen. ich führte sie durch eine abfolge von bewegungsexperimenten, zunächst „hands-on“ (ohne worte) und schließlich (wie in den gruppenstunden) nun auch mit worten, bis sie selbst und zu ihrer überraschung sogar auch über ihre linke seite sich aufsetzen konnte. ich verwendete dabei den bewegungsaufbau der audiokassette, die sie zuhause hatte. allerdings benutze ich andere worte und lenkte ihre aufmerksamkeit auf die bereiche ihres körpers, die sie ohne mühe in der bewegungsabfolge einzusetzen vermochte. meine idee dabei war, dass frau miller die audiokassetten nicht unbedingt wieder erkennen sollte; sich ihre befürchtung und erfahrung mit dem aufsitzen also gar nicht erst einstellen konnten. zurück zum stehen auf der holzrolle empfand sie jetzt deutlicher, dass und wie sich beim bewegungsschub vom fuß zum kopf nunmehr auch ihre rippen und vor allem ihre brustwirbelsäule beteiligten, dieser bereich hatte sich jetzt in das bild (und den gebrauch!) ihrer wirbelsäule eingefügt. sie empfand zutrauen in ihr gleichgewicht, als sie sich mit dem linken fuß auf die rolle stellte, auf den rechten vorderfuß abstützte, und nun den schub vom fuß zum kopf auch über die linke seite wahrnehmen und genießen konnte. sie ging nach hause, frohgemut, hochschwanger wie sie war, weiterhin so beweglich zu sein und – mindestens so wichtig – sich selber helfen zu können. dieses mal nahm ich mir nichts für die nächste stunde vor. fünfte stunde (zwei wochen später) ein problem ist aufgetaucht: frau miller hat mühe im sitzen. eine äußerst schmerzhafte hämorrhoide setzt ihr zu. sie war nicht so sicher, ob feldenkrais hierzu etwas anzubieten hätte. ich erinnerte geschwollene beckenvenen in meiner schwangerschaft und die deutliche erleichterung jeweils nach feldenkrais-einzelstunden. ich versuchte also herauszufinden, ob es möglich wäre, dass sich der druck in ihrem becken verringerte, indem ich mich auf die suche nach „extra-anstrengung“ der muskeln machte – nicht nur in ihrem becken, auch sonst im körper. meine absicht dabei war, ihr diese zusätzliche, für sie nicht steuerbare (extra)arbeit der muskeln für eine kleine weile „abzunehmen“. so nennen wir in der feldenkrais-fachsprache eine vorgehensweise, bei der der klient den unterschied an anstrengung fühlen kann. eine gelegenheit zur unterscheidung erhält der klienten zum beispiel dann, wenn der feldenkrais-lehrer des klienten bein (möglichst) so hebt, wie es der klient für gewöhnlich tut; oder wenn der klient sein bein vom feldenkrais-lehrer beim anheben als unterstützt und damit als getragen empfindet, der klient also unterschiede in der jeweils aufgewendeten muskelarbeit wahrnehmen kann. 7 aufmerksam verfolgte frau miller, wie ich jetzt versuchte, ihr rechtes bein ein wenig anzuheben und dabei darauf achtete, meine eigene bewegungsorganisation und eingesetzte muskelarbeit so zu dosieren, dass sie (und ich!) spüren konnte(n), wie aufwendig es für sie war (und mich!), ihr bein in der ihr gewohnten weise anzuheben. dann variierte ich die weise, ihr bein anzuheben, indem ich meinen arbeitseinsatz etwas erhöhte – ihr also arbeit abnahm; oder – auch eine variante – minimal die richtung änderte, in der ich ihr bein anhob. jetzt konnte sie vergleichen (und ich auch). auf diese weise fühlte frau miller nach und nach die erhebliche arbeit, die sie nicht nur in ihren beinen, sondern auch in ihren schultern, im brustkorb und ihrem nacken leistete, obwohl sie lediglich auf dem rücken lag. im zuge des vergleichens verringerte sich fast wie von selbst die anstrengung in ihrer muskulatur. als sie saß, bemerkte frau miller auf der stelle, dass sie wieder besser sitzen konnte. ihr gewicht hatte sich ganz offenbar umverteilt. nach wie vor konnte sie mit leichtigkeit aufstehen. aber sie sehnte jetzt das ende der schwangerschaft herbei. sie schrieb mir, dass ihr die hämorrhoide innerhalb weniger tage keine beschwerden mehr machte und sie sich bis zur geburt gut bewegen konnte. nadine wurde am anfang januar 1998 geboren. frau miller schickte eine geburtsanzeige. die geburt hätte sehr gut begonnen, wäre dann aber durch personalwechsel in der klinik durcheinander geraten. es wäre dann alles zur anwendung gekommen, was eine gute klinik hätte. nadine wäre gesund und munter. frau miller schrieb, sie machte jetzt wieder feldenkrais, denn nach der geburt hätte sie probleme in der brustwirbelsäule gehabt. bei feldenkrais-(audio)lektionen nähme sie ihre längsachse als total verschoben wahr, aber nach und nach hätte sich ihre wahrnehmung wieder den tatsächlichen gegebenheiten angepasst. und sie fügte hinzu: „ich möchte mich noch einmal für die schönen stunden bei ihnen bedanken, die dazu beigetragen haben, meine schwangerschaft leibhaftig zu erleben“. sechste stunde (mitte juni 1998) ein halbes jahr später nahm frau miller wieder eine einzelstunde. sie hatte schmerzen im rechten knie (das kannte sie seit ihrer kindheit) und im linken fuß. wir verabredeten eine 90 minuten stunde statt der üblichen 60 minuten, denn sie wollte mir nadine vorstellen. ich freute mich und war gespannt, nadine nun auch zu sehen. nadine schlief, als frau miller in meiner praxis eintraf. so konnten wir uns erst einmal unterhalten und ich dabei anfangen herauszufinden, wie sie jetzt ihre bewegungen organisierte. frau miller schien sich jetzt mehr und verstärkt auf ihre linke seite zu verlassen. nadine wachte auf und ließ sich zeit damit. frau miller ging umsichtig und sicher mit ihrer tochter um. nadine war ganz reizend und besonders hübsch. kaum hatte sich frau miller auf die feldenkrais-liege gelegt, fing nadine an zu schreien. also entschloss sich frau miller, nadine erst einmal zu stillen. mir wäre lieber gewesen, wenn nadine noch eine weile friedlich auf ihrer babydecke geblieben wäre, so dass ich die stunde mehr oder weniger wie sonst hätte fortsetzen können. das war allerdings eine irrige erwartung und ich brauchte die ganze stunde um zu begreifen, dass nadine jetzt weit mehr noch teil der stunde war als während frau millers schwangerschaft. (dies war für mich das erste mal, dass eine junge mutter ihr baby in die einzelstunde mitbrachte.) frau miller lag auf dem rücken mit angewinkelten knien. diese lage kam mir so vor, als wenn jemand, läge er in dieser weise genau umgekehrt, also auf dem bauch statt auf dem rücken, anfangen würde zu krabbeln. meine absicht war, diese ausgangslage aufzugreifen und für die stunde zu nutzen. in der fachsprache heißt das, die stunde entlang der funktion des krabbelns aufzubauen. ich wollte mit ihr herauszufinden, inwieweit sich in dieser lage die bewegung ausgehend von ihren beinen, über ihr becken, die wirbelsäule bis zum kopf fortsetzen würde. dabei erhoffte ich mir auch aufschlüsse zu finden, wie sie ihr rechtes knie überanstrengte. aber das klappte nicht. als ich den verlauf der stunde nachträglich notierte und dabei die stunde noch einmal an mir vorüber ziehen ließ, verstand ich, dass meine räumliche und soziale orientierung von der ihren ganz verschieden gewesen war. ich hatte die situation, in der wir uns befanden, falsch eingeschätzt. ich hätte aufgreifen sollen, womit frau miller ganz offensichtlich beschäftigt war: sich um ihr baby zu kümmern, indem sie es stillte. ich hätte die stunde also aufbauen sollen entlang der funktion des stillens und mit ihr erkunden können, inwieweit sich frau miller hierbei in einer weise organisierte, dass ihr rechtes knie unter druck kam. stattdessen hatte ich das geschehen zu sehr aus meiner sicht wahrgenommen und dementsprechend die stunde angelegt und obendrein nadine eher als gast denn als beteiligte betrachtet. als nadine schließlich gestillt war, spielte sie zufrieden auf ihrer babydecke auf dem boden. nun war ich auch zufrieden; denn ich konnte die stunde zu ende bringen und mit frau miller einige kurze erkundungen ausprobieren. ich fühlte mich entlastet, dass nadine uns hierbei nicht unterbrach. ich lenkte frau millers aufmerksamkeit wie in einer der vorherigen stunden darauf, wie sie ihre kopfbewegungen im zusammenspiel mit ihrem becken im sitzen und stehen ausführte. frau miller 8 empfand jetzt deutlich die wechselwirkung der muskeln auf der vorderseite – ihre beuger – und der auf der rückseite – ihre strecker, wenn sie sich bückte, aufrichtete oder ihr baby hoch hob. das war für sie eine aufschlussreiche neue sensomotorische erfahrung, die sie auch in ihr bisheriges wissen als ärztin einordnen und verstehen konnte. sie nahm sich vor, diesen bewegungszusammenhang in ihr tägliches rückbildungsprogramm einzubauen. frau miller und nadine verließen die praxis. die schmerzen im rechten knie bestanden immer noch. mein eindruck war, dass ich frau millers wünsche für die stunde nur zur hälfte entsprochen hatte und fragte mich wieder einmal: worum geht es mir in den stunden? knieprobleme zu heilen? oder biete ich ein setting an, das der person ermöglicht, sich selber besser lenken zu können, indem sie in der stunde und entlang von bewegungserfahrungen herausfindet, was sie mit sich und ihrem knie macht?8 siebte stunde (zwei wochen später, juli 1998) „nach der letzten stunde ging es dem knie eher schlechter, tags drauf wieder besser, dann wieder schlechter und seit zwei tagen sehr viel besser“, berichtete frau miller zwei wochen später. ich riet ihr, doch auch eine diagnose stellen zu lassen. (das tat sie: chondropathia patellae, eine veränderung des gelenkknorpels auf der kniescheibe. ihr orthopäde empfahl ihr daraufhin, die vorderen muskeln des oberschenkels (quadriceps) zu trainieren, um die kniescheibe zu entlasten.) dieses mal war ich darauf vorbereitet, dass die stunde von anfang an in einem setting zu dritt stattfinden würde. als die beiden eintrafen, war nadine wach, charmant, lebhaft. neugierig schaute sie herum. und sie war dieses mal nicht hungrig. wir setzten uns zu dritt auf den boden und bemerkten, dass es nadine weit besser gefiel, auf derselben ebene zu sein wie ihre mutter und ich. frau miller legte sich auf die linke seite und ich begann, zu erkunden, wie sie ihren rücken benutzte, wenn ich sie ein wenig nach rückwärts über ihre rechte schulter bewegte. dabei beobachtete ich, wie sich die bewegung fortsetzte über ihre hüftgelenke, den zug in ihrem rechten oberschenkel, zu ihrem rechten knie bis zu ihren füßen. nebenbei schauten wir nadine zu , wie sie ihre ärmchen ausstreckte und sich vom rücken auf die seite rollte. „nehmen wir doch nadine als modell“, schlug ich vor. frau miller ertastete das winzige schulterblatt ihrer tochter, ganz überrascht dessen bewegung fühlen zu können. „meine güte – es bewegt sich, während nadine sich umdreht!“ „nun sind sie dran“. ich leitete frau millers bewegungen so, dass sie mitverfolgen und fühlten konnte, wie sie von der linken seite nach rechts in richtung rückenlage und zurück in die seitenlage und von hier nach links in richtung bauchlage gerollt wurde. dabei ging es mir darum, dass sie herausfand, wie viel leichter sie auf dem boden rollen konnte, wenn ihre orientierung im raum sich verbesserte und sie die beteiligung ihre beine beim rollen mehr aus dem rumpf erfolgend empfand denn als zusätzliche (muskel-)arbeit der beine. wir waren dabei so beschäftigt, dass wir auf nadine als modell gar nicht mehr geachtet hatten. „schauen sie mal zu nadine“, sagte frau miller plötzlich, „sie hat sich zum ersten mal in ihrem leben auf den bauch gerollt. das hat sie ganz alleine geschafft!“ nadine hatte bemerkt, dass irgendetwas neues mit ihr geschehen war. sie war so überrascht und stolz wie ihre mama. ich freute mich ebenfalls. nun hatte sich also unsere nonverbale zusammenarbeit zu dritt doch noch eingestellt. ich beendete die stunde wie das mal zuvor: frau miller bemerkte, dass sie beim sitzen, gehen und beim hochheben ihres baby jetzt viel mehr in ihrer vertikalen bleiben konnte, ihr becken mehr benutzte, anstatt ihre knie automatisch zu blockieren, was die bewegung erschwerte, ohne dass ihr das zuvor bewusst gewesen war. dieses mal hatte ich die wünsche für die stunde besser berücksichtigt: frau miller hatte herausgefunden, wie sie etwas für sich als mama und gleichzeitig auch etwas für ihr knie tun konnte, es also gar nicht nötig war, auf das knie fixiert zu bleiben. nadine hatte die aufmerksamkeit erhalten, die sie als beteiligte einer stunde zu dritt der erwarten konnte, ohne allerdings den ablauf der fi-stunde zu bestimmen. und ich war zufrieden mit mir, dass ich jetzt ohne großen aufwand mit der situation zu dritt zurecht gekommen war. während frau miller nadine stillte – das wollte sie vor der rückfahrt getan haben – fragte ich sie, ob sie interesse hätte, einen kleinen bericht über die einzelstunden zu schreiben. ich säße gerade an meiner bewerbung zur assistenz-trainerin und würde gerne eine fallgeschichte aus zwei verschiedenen sichtweisen einreichen. frau miller gefiel die idee. wir verabredeten, dass jede von uns ihre erfahrungen zusammenfasste, wir diese berichte dann austauschten und wechselseitig kommentierten. damit könnten wir die unterschiedlichen perspektiven in einer geschichte zusammenfügen. wie wir alsbald feststellten, ging es auch frau miller darum, die zwischenmenschliche (inter-subjektive) grundlage dieser arbeit zu beschreiben und damit die bedeutung eines an der person orientierten zugangs, wie er in der feldenkrais-methode praktiziert wird: stets ist die handelnde person im blick, ihre absichten, ihre sicht von sich, von anderen und von der welt, in der sie lebt, und tätig ist. 3. die geschichte – erzählt aus der sicht der klientin 9 ich lernte die feldenkrais-methode durch frau dr. pieper in einem workshop „bewusstheit durch bewegung“ während der lindauer psychotherapiewochen 1996 kennen. patienten hatten mich immer wieder zu dieser methode befragt, ohne dass ich mich äußern konnte. dies wollte ich ändern, eigene erfahrung sammeln, indikationen und kontraindikationen kennen lernen um hinweise geben zu können. ich war überrascht, wie anders diese "körperwahrnehmungsübungen" sind und wie effektiv. im herbst 1997, damals in der 29. schwangerschaftswoche, nahm ich wieder an einem seminar "bewusstheit durch bewegung“ bei frau pieper teil. diesmal hatte ich ein ganz anderes interesse. ich wollte wissen, wie sich für mich, mit meinem veränderten körper, die wahrnehmung ändert und wie es meinem baby dabei gehen wird. es war ein sehr lustvoller tag für uns beide, wir kamen gut miteinander in kontakt. ich freute mich, wenn sie strampelte und genoss die ruhepausen. am ende des tages fühlte ich mich entspannt, erstaunlich leicht und beweglich. ich war auch sehr froh, dass mir frau pieper glaubhaft versicherte, dass es aufgrund der übungen, wenn sie sachgerecht erfolgen, zu keiner frühgeburt kommen kann. mich hat dies sehr entlastet. diese vorerfahrungen motivierten mich, nun auch mal "funktionale integration zu dritt" auszuprobieren; obgleich ich ein wenig scheu vor der (körperlichen) nähe in der einzelsituation hatte. mittlerweile war ich in der 31. woche und schon recht stolz auf meinen bauch. das erschwerte die suche nach meiner mitte; gleichgewicht herzustellen, balance haben, war schon immer mein thema. dennoch fühlte ich mich sehr wohl und wenig bewegungseingeschränkt. der istwert war mein sollwert; dass es leichter gehen könnte, war nicht in meinem bewusstsein. erst am ende der stunde, im vorher-nachher vergleich spürte ich, um wie viel lockerer der kopf auf dem hals saß, wie viel freier die schultern waren. mein gang war aufrechter und nadine hatte mehr platz im bauch. durch welche übungen dies gelang, weiß ich nicht mehr. was ich erinnere, war das genussvolle erleben einer unaufdringlichen nähe, die es mir ermöglichte, mich voll meiner körperwahrnehmung hinzugeben. die kleinen bewegungen mit unendlich viel zeit und den behutsamen berührungen der hände von frau pieper ließen mich bewegungszusammenhänge in meinem körper entdecken, von denen ich bestenfalls vorher kognitiv wusste. das schönste und faszinierendste aber war, dass ich meinem baby im bauch näher kam. nadine hatte sehr bald "lieblingsübungen", bei denen sie sich sehr geschmeidig, harmonisch und lustvoll im bauch bewegte. fast bin ich geneigt zu sagen, dass sie einen konditionierten reflex entwickelte: nach den übungen in seitenlage, also die hand von frau pieper im rücken erspürend, tanzte nadine in aller regel vor lust. nadines reaktionen waren auch der größte anreiz für mich, feldenkrais-übungen zu hause zu absolvieren. es war einfach wunderbar, so gut im kontakt sein zu können und danach auch noch entspannter und beweglicher zu sein. insgesamt waren es für mich sehr meditative stunden. die von frau pieper "assistierte kommunikation" zwischen meinen verschiedenen körperteilen und nadine war für mich eine sehr beglückende neue dimension. ich fand in jeder stunde meine mitte (= schwerpunkt) neu und lernte, die "dran und drin hängenden teile" (= baby und extremitäten) leichter, mit einem größeren freiheitsgrad zu bewegen. sodass ich am ende jeder einheit leichter, größer und erhobenen hauptes wieder in die welt eintauchen konnte. funktionale integration war für mich eine besondere möglichkeit, körperbewusstsein während der schwangerschaft zu erweitern. dass ich in dieser zeit nie rückenschmerzen verspürte, war sicherlich ein effekt, aber von mir nicht bewusst intendiert. lediglich in der letzten stunde (= 37. schwangerschaftswoche) bewegte ich mich wegen einer sehr schmerzhaften analthrombose nur noch in schonhaltung gekrümmt vorwärts und konnte nach meiner lerneinheit bei frau pieper wieder aufrecht gehen − eine verbesserung, auf die ich vorher nicht zu hoffen gewagt hatte. besonders an den tagen meiner einzelstunden erhielt ich viele rückmeldungen von patienten, die erstaunt waren mit welcher leichtigkeit und geschmeidigkeit ich mich als "kugel" noch bewegte; dann berichtete ich immer voller begeisterung von meinen tollen erfahrungen mit der feldenkrais-methode. 23 und 25 wochen nach nadines geburt ging das experiment „zu dritt" in modifizierter form weiter. das maß meiner aufmerksamkeit war sicherlich gleich groß. aber ein fokus meiner wahrnehmung war nicht mehr in mir, sondern neben mir. so war meine körperwahrnehmung um den faktor reduziert, der jetzt für nadines wohlbefinden notwendig war. ein wunderschönes erlebnis von „symbiose in der zweisamkeit" war, als nadine erstmalig entdeckte, wie sie vom rücken auf den bauch kommt, während ich mit dieser drehung experimentierte. ab jetzt wird es wohl häufiger so sein, dass ich durch 10 beobachtung ihrer bewegungen lernen kann, mehrere muskelgruppen im bewegungsmuster mitspielen zu lassen. zusammenfassung: nach meiner erfahrung ist die "funktionale integration" eine fantastische methode, die schwangerschaft lustvoll zu intensivieren. das wachstum einer leibesfrucht ist ein dynamischer prozess, der den körper ständig verändert. die feldenkrais-methode lehrt hinzuspüren, unterschiede wahrzunehmen und neue bewegungsmuster auszuprobieren. gymnastikübungen können das nicht leisten. außerdem ist die "funktionale integration" eine möglichkeit, beziehung zum baby herzustellen und zu intensivieren bei gleichzeitiger körperlicher und psychischer entlastung. diese effekte können jedoch nur auf dem boden einer guten therapeutischen oder pädagogischen beziehung entstehen und integriert werden. ohne frau piepers klarheit und kompetenz hätte ich mich nie auf das „abenteuer fi in der schwangerschaft“ eingelassen. ohne ihre verstärkung hätte ich mich nicht so über meine „erfolge“ freuen können; und ohne ihre vielen kleinen praktischen hinweise wäre es mir nicht so gut geglückt, fi in den alltag zu integrieren. ich habe in einer professionellen beziehung noch nie eine so nahe und annehmende atmosphäre gespürt, die so weniger worte bedurfte. frau piepers ruhe und achtsamkeit, mit der sie viele meiner bewegungen begleitet hat, waren für mich modell, es doch auch mal so zu versuchen. so gesehen hatte ich in zweifacher hinsicht die richtige wahl getroffen: sowohl mit der feldenkrais-methode, als auch mit frau dr. pieper als feldenkrais-lehrerin, um meine schwangerschaft leibhaftig zu genießen. (verfasst: sommer 1998) 4. aus zwei geschichten entsteht eine barbara pieper: als ich frau millers bericht las, war ich überrascht und amüsiert, denn frau miller hatte fast den gleichen titel für die geschichte gewählt wie ich.9 hatten wir darüber gesprochen oder war das zufall? ich war sehr angerührt davon, wie offen, warmherzig und genau frau miller über ihr inneres erleben während der stunden und deren auswirkungen in ihrem alltag berichtete. zwar bemühe ich mich in meiner arbeit darum – und habe das auch im laufe der zeit allmählich gelernt– herauszufinden, wie der klient die bewegungen empfindet, fühlt und darüber denkt, die ich ihm anbiete oder – ihn geleitend – ausführe oder mit ihm mache. doch weiß ich sehr wohl, dass es eine grenze gibt, die ich unbedingt respektiere in der kommunikation mit einer anderen person und ihrer inneren welt: ich erlebe einen anderen menschen von außen, während er sich von innen her erlebt. das ist und bleibt ein unterschied im erleben, in den absichten und im handeln von personen. ich fühlte mich außerordentlich beschenkt von frau miller, indem sie mir (und anderen) einblick in ihre innensicht gewährte. beim lesen ihres berichtes verstand ich noch einmal mehr, unter welch unterschiedlichen voraussetzungen die stunden in funktionaler integration zu dritt stattgefunden hatten. frau miller war die ganze zeit in einer, wie sie es ausdrückte „leibhaftigen“ ständigen verbindung mit ihrem kind. ich betrachtete die stunden als fi für sie und lernte erst allmählich, auch mit ihrem baby in kontakt zu kommen.10 ich freute mich sehr zu lesen, dass frau miller die ergebnisse der stunden fast genauso beschrieb wie ich. die botschaft war also angekommen. bei allen unterschieden des erlebens gibt es offenbar sehr wohl sichtbare und mitteilbare ergebnisse! und ich fühlte mich durch frau millers bericht darin bestätigt, dass lernprozesse eine beziehung der beteiligten voraussetzen, die getragen wird von vertrauen, respekt und achtsamkeit innerhalb eines klar definierten rahmens. und natürlich las ich mit vergnügen ihre wertschätzung der feldenkrais-methode. immerhin schrieb sie hier als dreifache expertin: als mutter, als ärztin und als psychotherapeutin. für sie ist feldenkrais ein sehr geeignetes verfahren, die schwangerschaft zu erleben, zu genießen, zu lernen, sich bis zur entbindung ungezwungen zu bewegen, die situation nach der geburt und überhaupt die permanenten dynamischen wechselfälle im leben zu bestehen. damit spricht sie den kern der feldenkrais-methode an: bei der feldenkrais-methode handelt es sich (in meinem verständnis) um ein verfahren, das von seinem begründer moshé feldenkrais (1904-1984) entwickelt worden ist, um lernprozesse zu erleichtern und zu fördern. hierbei schafft der feldenkrais-lehrer eine anregende umgebung, in der der klient über achtsam auszuführende bewegungssequenzen sein unterscheidungsvermögen verfeinern kann. darüber wird es beiden, klient und feldenkraislehrer, möglich, allmählich immer besser zu empfinden, zu fühlen und zu verstehen, wie des 11 klienten selbstbild und bewegungsorganisation sich in dessen alltäglichen handlungen widerspiegeln11. handelt doch ein jeder mensch dem bild nach, das er sich von sich12 (und anderen!) macht. wachsendes gewahr-werden und einsicht in das selbstbild tragen dazu bei, sich müheloser in raum und zeit orientieren und zweckmäßiger bewegen zu können− zum beispiel, indem der klient selbst auferlegte einschränkungen sensomotorisch als solche erlebt, erkennt und „spielend“ zu überwinden lernt. solche erfahrungen eröffnen dem klienten wege, seine spielräume im empfinden, fühlen, denken und handeln über bewegung auszuloten, zu nutzen oder zu erweitern. allerdings interessieren bewegungen im rahmen der feldenkraismethode nicht isoliert. sie interessieren stets im zusammenhang mit dem jeweiligen handeln, in das die bewegung eingebunden ist (= „handlungsrelevanz von bewegung“). feldenkrais-lehrer arbeiten mit einem funktionsbegriff, der sich auf das absichtsvolle handeln der person bezieht13. der akzent der methode liegt gerade nicht im bewegen oder bewusstem bewegen, sondern umgekehrt: bewegung dient als mittel, um bewusstheit im tun (“awareness in action”) 14 zu praktizieren als voraussetzung für handlungsfähigkeit und entwicklung: „fortschritte begabter menschen entstehen dadurch, dass sie sich ihrer selbst inne sind, während sie tun. ihr talent entspricht der freiheit, ihre verfahrensweisen zu wählen, ja man könnte beinah sagen, dass was wir talent nennen, nichts anderes als diese freiheit ist .(…).das gefühl, am leben und lebendig zu sein, hängt zusammen mit der bewusstheit des selbstwerdens“ (moshé feldenkrais15) karin miller: meine eigene "fallgeschichte" zu lesen, hat mich sehr bewegt. frau pieper schildert die stunden so detailliert, dass sie für mich wieder ganz nah sind. deshalb bin ich auch sehr glücklich über dieses dokument aus einer für mich doch ganz wichtigen und besonderen zeit. es ist verblüffend wie ihre und meine geschichte erst gemeinsam das ganze ergeben, so wie zwei seiten einer medaille (notiert: sommer 1998) 5 “wie weiß ich, wie ich arbeite?“ fallgeschichten als mittel reflektierter praxis zur persönlichen und professionellen weiterentwicklung (nachbemerkung)16 diese einzelstunden in „funktionaler integration“ liegen inzwischen neun jahre zurück. die klientin und ich blieben in losem kontakt. gelegentlich nahm frau miller an einem samstags-tageskurs teil oder gönnte sich in zeiten großer anstrengung einige einzelstunden. als ich ihr 2006 von dem veröffentlichungsprojekt erzählte, fand sie sich gleich bereit, an der überarbeitung des deutschen textes mitzuwirken. und sie war gespannt, wie sie wohl ihre eigene geschichte aus ihrer heutigen erfahrung betrachten würde. auch ich war neugierig auf den rückblick. wie würde ich meine eigene arbeit nach so vielen jahren finden? würde ich einer veröffentlichung überhaupt zustimmen mögen? sollte ich die geschichte nachträglich „frisieren“, um besser da zu stehen? was immer „besser“ heißen mochte. ich machte mich also unversehens beim lesen der englischen erstfassung zu meiner eigenen beobachtungsund bewertungsinstanz. das kenne ich zwar aus meiner praxis. denn ich beobachte mich während den atm und fi-stunden. ich skizziere die gruppenstunden nachträglich und protokolliere nach wie vor einzelstunden – manche knapp, andere ausführlicher. aber ich habe die fi-aufzeichnungen bisher fast nie wieder hervorgeholt, um sie erneut zu lesen, erst recht nicht, um meine arbeitsweise über die zeit hin zu vergleichen, sondern allenfalls, wenn ein klient nach längerer zeit wieder auftauchte. eine fallgeschichte, die einige zeit zurückliegt, zur veröffentlichung zu wählen, gibt mir die gelegenheit, mich derselben vorgehensweise zu bedienen, die mir aus den feldenkrais-stunden methodisch vertraut ist: immer wieder wird im verlauf einer stunde ganz konkret rückbezug genommen auf bereits gemachte erfahrungen – zum beispiel wie der klient nach einigen bewegungsexperimenten jetzt den kontakt seiner schultern zum boden empfindet im vergleich zum beginn der stunde; oder inwieweit er sich jetzt müheloser umdrehen kann als zuvor. die fallgeschichte ermöglichte mir, das vertraute „abgleichen“ von erfahrungen im „vorher“ und „nachher“ auf meine eigene entwicklung als feldenkraislehrerin anzuwenden. ich fing also an, mich beim übersetzen und bearbeiten der fallgeschichte auch für ähnlichkeiten und unterschiede zu interessieren, wie ich mein können und vermögen damals erlebt, einschätzt und zur sprache gebracht habe und es heute betrachte. beim lesen meiner eigenen notation, nunmehr aus der zeitlichen distanz, fielen mir als erstes ähnlichkeiten darin auf, wie ich auch heute noch arbeite. ich erkannte mich in der fallgeschichte wieder: zum bespiel meine freude darüber, wie es mir gelingt, mit klienten kontakt herzustellen; oder meine findigkeit, in der bewegungsorganisation des klienten dessen selbstbild zu erkennen als orientierung für die stunde und gleichzeitig als möglichkeit für den klienten (und für mich), sein handeln nachvollziehen zu können, wie es ihm (und mir) über bewegungen allmählich erfahrbar wird; mein wissen, wie ich bewegungsangebote entlang von handlungsentwürfen, von absichten, machen kann; wieso ich also bei feldenkrais „funktional“ vorzugehen habe. und schließlich erinnerte mich die 12 fallgeschichte daran, dass ich sorgfältig und abgewogen sprache einsetzen kann im prozess von „bewusstheit im handeln“, der in den stunden stattfindet17. im rückblick war ich allerdings verwundert, wie sehr ich mich verschätzen konnte: dass ich diesem arbeitsverständnis und arbeitsvermögen durchaus nicht immer entsprochen habe. wieso hatte ich einzelstunden mit einer schwangeren klientin nicht von vorne herein als ein setting zu dritt betrachtet? oder: wieso habe ich nicht gleich erkannt (in stunde 6), dass ich hätte anknüpfen sollen an dem, was frau miller sowieso schon tat, ihr baby zu stillen. ich meinte zwar, „subjektorientiert“ arbeiten zu können – ausgehend vom selbstbild der klientin und „funktional“, also entlang eines handlungsentwurfes, in den die bewegungen eingebunden sind, die ich anbiete. das war aber keineswegs immer der fall. wieso hatte ich das erst nachher beim protokollieren bemerkt? die beschäftigung mit der geschichte hat mir verdeutlicht: im vergleich zu damals ist mir heute viel geläufiger, mich selber wahrzunehmen während ich feldenkrais-stunden gebe, d.h. ich brauche mir das nicht mehr eigens vorzunehmen. und ich verstehe mein handeln besser, wie es für mich im rahmen einer bestimmten „feldenkrais-grundhaltung“ einen sinn macht. ich verstehe besser, was ich als das spezifische und wesentliche der feldenkrais-methode betrachte18. mir haben sich damit in den letzten jahren spielräume eröffnet, die mir jetzt bei meiner arbeit zur verfügung stehen. das habe ich zwar vermutet, aber nicht wirklich „schwarz auf weiß“ gewusst. sollte zum beispiel in einer fi ein „umsteuern“ nötig werden (wie in stunde 6 der geschichte), gestalte ich das inzwischen fließender und einfacher. ich betrachte diese veränderung als ein zeichen verbesserter qualität des erlebens und tuns entstanden aus erfahrung und deren reflektion. heute dürfte ich andere „blinde flecken“ haben als damals und werde weiter nach mitteln suchen, wie ich diese entdecken kann. lese ich feldenkrais-fallgeschichten19, lockt dies vergleiche in mir hervor: wie hätte ich in der entsprechenden situation gehandelt? das empfinde ich als sehr anregend. fallgeschichten selber zu schreiben, betrachte ich als eine besondere herausforderung. ich habe mich um eine präzision in der darstellung von sachverhalten zu bemühen, die das gesprochene wort nicht verlangt. ich kann es im sprechen noch korrigieren oder ergänzen. beim schreiben wird mein denken deshalb weit mehr als beim sprechen oder lesen geschult, mir und anderen meine praxis und erfahrung vermittelbar zu machen. die eigene fallgeschichte im rückblick zu vergleichen ermöglichte mir, in einen spiegel zu schauen und eigenes können und vermögen darin zu finden und hinweise zu erhalten, was denn als nächstes zu lernen ansteht; oder wie ich mir die qualität meiner arbeit und das vergnügen, sie zu verrichten, in neun jahren vorstelle.20 zusammenfassung: wie die meisten menschen mag ich gerne geschichten erzählen, hören oder lesen. für mich enthalten geschichten, je umfassender ich mich mit ihnen beschäftige, in die tiefe gehende einsichten. ob ich nun fallgeschichten selber verfasse oder die anderer lese: fallgeschichten erlauben mir, mich selbst und die eigene praxis aus einer distanz heraus zu erkunden, so wie sich mir in feldenkraisstunden immer wieder gelegenheiten bieten zum innehalten, um unterschiede wahrzunehmen und vergleiche anzustellen. fallgeschichten zu schreiben und zu lesen ist für mich ein vorzügliches mittel reflektierter praxis, um die eigene persönliche und professionelle weiterentwicklung über die zeit hin zu verfolgen und in die hand zu nehmen. ich lerne dabei mich, andere und die eigene praxis besser zu verstehen. das eigene können wächst im selben prozess mit. bibliographie clénin, daniel & pieper, barbara 2007: the prisma blue process on quality 2001 2007, project paper, distributed at international feldenkrais federation assembly 2007, bordeaux (erhältlich bei b. pieper mail@barbarapieper.de ) feldenkrais, moshé 1966: image, movement and actor: restoration of potentiality (interview), in: tulane drama review, vol.10, no. 3, translated and edited by kelly morris feldenkrais, moshé 1968: bewusstheit durch bewegung. der aufrechte gang, mit einem nachwort von franz wurm, suhrkamp taschenbuch 2638, frankfurt; neuauflage 2008; (englische fassung 1987: awareness through movement. health exercises for personal growth, penguin books ltd, harmondsworth) feldenkrais, moshé 1981: abenteuer im dschungel des gehirns. der fall doris, suhrkamp taschenbuch 663, 13. auflage frankfurt 2006 (amerikanische originalfassung: the case of nora, harper&row, new york 1977) feldenkrais, moshé 1987: die entdeckung des selbstverständlichen, suhrkamp taschenbuch 1440, 11. auflage frankfurt 2007 (amerikanische originalausgabe: the elusive obvious, meta publications cupertino 1981) ginsburg, carl 2004: die wurzeln der funktionalen integration. bibliothek der feldenkrais-gilde e.v. nr. 13 (zu beziehen über den feldenkrais verband deutschland e.v., jägerwirtstr. 3, 81373 münchen, tel.: 089/ 52310171, fax: 089/ 5231072, e-mail gilde@feldenkrais.de mailto:mail@barbarapieper.de mailto:gilde@feldenkrais.de 13 ginsburg, carl 2005: first-person experiments, in: journal of consciousness studies, 12, no. 2, 2005 international feldenkrais federation (iff) 1996 & 1997: 15 feldenkrais case studies, iff journal no.3, project manager gregor risi, paris september 1996; online verfügbar auf der iff distribution center webseite unter “special online publications”; http://www.iffmaterials.com/onlinepubs/96journal.pdf ; 14 feldenkrais case studies, iff journal no.4, project manager bonnie humiston, paris december 1997, http://www.iffmaterials.com/onlinepubs/december1997.pdf pieper, barbara 1993: lernen oder heilen? plädoyer für ein verständnis von feldenkrais als lernmethode, in: feldenkrais forum, nr. 22, münchen, feb. 1993; als pdf verfügbar auf der webseite www.barbarapieper.de menü barbara pieper/veröffentlichungen pieper, barbara & weise, sylvia 1996: feldenkrais. aufgaben, tätigkeiten, entwicklung eines neuen arbeitsfeldes. herausgegeben von karin engels-maurer und christoph görtz; berufsbild, erstellt im auftrag der feldenkrais-gilde e.v., bibliothek der feldenkrais-gilde e.v. nr. 12, vergriffen; online verfügbar auf der iff webseite unter vocational profile germany http://feldenkraismethod.org/node/608 ; als pdf verfügbar auf der webseite www.barbarapieper.de menü barbara pieper/veröffentlichungen pieper, barbara 1997: subjektorientierung jenseits des zaunes: anregungen für die praxis − ideen aus der praxis (feldenkrais-methode), in: pongratz, hans & voß, g. günther (hrsg.): subjektorientierte soziologie, leske und budrich, leverkusen, s..127-154; als pdf verfügbar auf der webseite www.barbarapieper.de menü barbara pieper/veröffentlichungen pieper, barbara 2001: feldenkrais-specific approach or: how to develop competencies for practising the feldenkrais method in a way compatible with its underlying principles – a paper for the “iff special committee on quality and competency”, april 2001; online verfügbar unter http://feldenkraismethod.org/node/680 pieper, barbara 2003: zur erweiterung von handlungsspielräumen durch somatisches lernen – pädagogische übergänge in der feldenkrais arbeit, in: girmes, renate & korte, petra (hrsg.): bildung und bedingtheit oder: ein erhöhter verständigungsbedarf über nicht selbstverständliches, leske + buderich, opladen, s. 97 – 111, als pdf verfügbar auf der webseite www.barbarapieper.de menü barbara pieper/veröffentlichungen pieper, barbara 2007 (1999): notationsleitfaden für funktionale integration. anregungen zur selbstlenkung, in: bleicher-flohrschütz, eva & njaatad, stina (hrsg.) 2007: weiter lernen, neu bearbeitete und ins deutsche übersetzte online veröffentlichung auf den homepages der feldenkrais verbände deutschlands und der schweiz/mitgliederbereich www.feldenkrais.de und www.feldenkrais.ch . englische originalversion: bleicher-flohrschütz, eva & njaatad, stina (editors) 2001: “continuous learning” – booklet published by the international feldenkrais federation (iff) information bureau; online verfügbar auf der iff distribution center webseite: http://www.iffmaterials.com/onlinepubs/continuouslearning.pdf die erste fassung dieses notationsleitfadens von b.p. erschien 1999 unter dem titel: notationsschema für funktionale integration, in: feldenkrais forum nr. 34, münchen, s.45 bis 46 sacks, oliver 1995: eine anthropologin auf dem mars. sieben paradoxe geschichten, rowohlt, reinbek stern, daniel 2006: die mutterschaftskonstellation. eine vergleichende darstellung verschiedener formen der mutter-kind-psychotherapie, klett cotta, stuttgart, 2. auflage tomatis, alfred 1994: klangwelt mutterleib. die anfänge der kommunikation zwischen mutter und kind, münchen, kösel twelker, paul a. 2003: the critical incident technique: a manual for its planning and implementation. paul a. twelker. professor emeritus of psychology trinity college. trinity international university, deerfield, illinois/usa varela, francisco j. 1996: large scale integration in the nervous system and embodied experience: special guest lecture at the 1. european feldenkrais conference 1.-5. june 1995 heidelberg, in: heidelberg report, published by international feldenkrais federation (iff) 1996, p. 12-15, online verfügbar auf der iff distribution center webseite: http://www.iffmaterials.com/onlinepubs/heidelberg.pdf walterspiel, beatriz 2004: das abenteuer der bewegung. die feldenkrais-methode „bewusstheit durch bewegung“, 4 audio cds, kösel, wurm, franz 1968 : nachbemerkung zu moshé feldenkrais, in: feldenkrais 1968 (s.o.), s. 241-287 anmerkungen zum text 1zur entstehung: die erste version dieser fallgeschichte hat barbara pieper 1998 in englisch verfasst und als teil ihrer schriftlichen bewerbung (application) zur feldenkrais assistenz trainerin im januar 1999 eingereicht beim europäischen trainings accreditation board (euro tab). karin miller schrieb ihre beiträge hierzu in deutsch. der titel dieser fassung hieß: “conversation for three: feldenkrais lessons with a pregnant woman”. um den text auch außerhalb des bewerbungsprozesses verwenden zu können, hat barbara pieper die feldenkrais fachsprache umformuliert (=version 2). für die vorliegende http://www.iffmaterials.com/onlinepubs/96journal.pdf http://www.iffmaterials.com/onlinepubs/december1997.pdf http://www.barbarapieper.de/ http://feldenkrais-method.org/node/608 http://feldenkrais-method.org/node/608 http://www.barbarapieper.de/ http://www.barbarapieper.de/ http://feldenkrais-method.org/node/680 http://feldenkrais-method.org/node/680 http://www.barbarapieper.de/ http://www.feldenkrais.de/ http://www.feldenkrais.ch/ http://www.iffmaterials.com/onlinepubs/continuouslearning.pdf http://www.iffmaterials.com/onlinepubs/heidelberg.pdf 14 veröffentlichung (=version 3) hat sie den text 2006 ins deutsche übersetzt und ihn dabei sprachlich überarbeitet. hierbei hat sie vor allem die sachverhalte angemessener beschrieben als im englischen, da sie sich in ihrer muttersprache präziser ausdrücken kann als in einer fremdsprache. karin miller nahm in ihren textpassagen kleinere redaktionelle änderungen vor. die nachbemerkung (teil 5) hat barbara pieper eigens für diese veröffentlichung geschrieben. beide autorinnen haben sich über die vorliegende dritte version ihrer fallgeschichte vielfach besprochen, entwürfe gegengelesen, so dass sie beide allen teilen dieser fassung zustimmen. diese fallgeschichte ist dorothea, julia und anna gewidmet 2ausführlicher zur notation von einzelstunden vgl. pieper 2007 (1999) 3 mit der zusammenführung der wechselseitigen perspektiven von klientin und feldenkrais-lehrerin ist die 1998 entstandene fallgeschichte ein (dokumentierter) vorläufer des projekts prisma blau, das daniel clénin und ich im rahmen der iff akademie (vgl. fußnote 17) seit 2000 entwickelt haben. in diesem projekt wird eine alltägliche arbeitsituation in der feldenkrais praxis von drei (statt zwei) verschiedenen akteuren wahrgenommen und zwar jeweils doppelt: der klient nimmt sich selbst und seinen feldenkrais-lehrer wahr; dieser nimmt sich und seinen klienten wahr und ein beobachter nimmt den klienten und den feldenkrais-lehrer wahr. alle drei schreiben ihre eindrücke auf kleine zettel auf. diese 6 aussagen zur selbstund fremdwahrnehmung der drei akteure, zusammengefügt in einer matrix, ergeben ein sechsfaches prismatisches bild auf ein und dieselbe praxis. über diese 6 perspektiven der lassen sich prozesse reflektierter praxis entwickeln, wie sie in den workshops des prisma blau projekts seit 2001 stattfinden und dokumentiert sind. vgl. dazu clénin und pieper 2007; kontakt zu prisma workshops: mail@barbarapieper.de 4 literatur zum subjektorientierten ansatz im kontext von feldenkrais: ginsburg 2005, pieper 1997, varela 1996 5 walterspiel 2004 6 franziskus rohmert ist feldenkrais lehrer in passau. seine anschrift findet sich im internet unter www.feldenkrais.de link mitgliederadressen 7 tomatis 1994 8; franz wurm äußert sich eindeutig zur frage ob feldenkrais lernen oder heilen sei: „die ganze prozedur stellt eine umerziehung (...) dar und keine behandlung. das muss so sein, denn es geht dabei um lehren und lernen und nicht um krankheit und heilung“ (wurm 1968. s. :255); vgl. zu dieser frage auch pieper 1993. 9 die ähnlichkeit in der titelwahl bezieht sich auf die englische erstfassung. für diese veröffentlichung haben die autorinnen einen anderen titel gewählt. 10 daniel stern hat in seinem buch „die mutterschaftskonstellation“ beschrieben und erläutert, wie sich das therapeutische setting in dem augenblick ändert, in dem die klientin/patientin mutter wird. therapeutinnen hätten oft mühe, sich darauf einzustellen (stern 2006). 11 feldenkrais 1968, s. 31 ff 12 feldenkrais 1968, s. 19 13 vgl. auch pieper/weise 1996, vor allem s. 2 ,7 und 15. der im rahmen der feldenkrais methode verwendete, auf handeln bezogene funktionsbegriff unterscheidet sich demnach von dem in der medizin gebräuchlichen. in der medizin bezieht sich funktion in der regel auf die arbeitsweise einzelner gelenke oder organe. eine subjektorientierte sichtweise in der medizin finden sich in den fallgeschichten von oliver sacks: er stellt seine neurologischen geschichten unter das (william osler zugeschriebene) motto „frage nicht, welche krankheit die person hat, sondern welche person die krankheit hat“ (sacks 1995, s. 9 ) 14 feldenkrais 1966, s. 8. die bezeichnung „bewusstheit durch bewegung“ verkürzt den sachverhalt, den das nachfolgende zitat beschreibt. es geht weder um bewusstes gehen, noch um bewusstheit durch gehen; sondern es geht um bewusstheit darüber, wie ich mich beobachte, w ä h r e n d ich gehe. (vgl. dazu feldenkrais 1987, insbes. s. 138-143). das ist keine wortspielerei. der fokus liegt auf der person, wie sie handelnd sich selbst dabei beobachtet. zutreffender, wenn auch umständlicher, wäre also: „bewusstheit durch selbstwahrnehmung während der aktion“. 15 feldenkrais 1987, s. 140 16 diese nachbemerkung habe ich auch deshalb schreiben mögen, weil ich seit 2000 an einem projekt der international feldenkrais federation (iff) zur frage von qualität und kompetenz in der anwendung der feldenkrais methode mitarbeite. reflektion der eigenen praxis und entwicklung ist zentraler bestandteil des projektes. damit stellten sich mir querverbindungen her zu dieser fallgeschichte, die ich gerne aufgreifen wollte: die iff hat 2001 eine akademie gegründet www.feldenkrais-method.org/node/254, in der feldenkrais practitioner u.a. ein kompetenz-profil für sich erstellt haben http://www.feldenkrais.com/profession/iff_professional_competency_profile/ . in der iff akademie werden von und für feldenkrais practitioner konzepte professioneller weiterbildung erarbeiten, im team workshops entwickelt, durchgeführt, ausgewertet und kolleginnen zur verfügung gestellt, die ebenfalls an einer feldenkrais spezifischen weiterentwicklung ihrer professionalität als practitioner interessiert sind.); 17 feldenkrais 1966, s. 8 („awareness in action“); vgl. auch anmerkung 15 18 vgl. dazu pieper 2001 und 2003 19 zum beispiel den fall doris von moshé feldenkrais (1981) – die wohl bekannteste feldenkrais mailto:mail@barbarapieper.de http://www.feldenkrais.de/ http://www.feldenkrais-method.org/node/254 http://www.feldenkrais.com/profession/iff_professional_competency_profile/ 15 fallgeschichte; oder carl ginsburgs schilderung über die fortschritte seines klienten jeff (ginsburg 2004);oder die 29 fallstudien aus aller welt, die die international feldenkrais federation bereits 1996 und 1997 zusammengestellt hat (iff 1996 &1997) oder fallgeschichten, wie sie regelmäßig in der fachzeitschrift „feldenkrais zeit journal für somatisches lernen“ veröffentlicht werden. link: http://feldenkraiszeit.org/ 20 das iff akademie kompetenz profil projekt (siehe fußnote 17) hat falldarstellungen einbezogen, um kompetenzen von feldenkrais lehrer/innen aus der praxis heraus zusammenzustellen. dabei wird ein feldenkrais-lehrer gebeten, sich eine schlüsselsituation zu vergegenwärtigen, wie er sie in seiner praxis erlebt hat; diese zu schildern und sich dann zu überlegen, wie er die gleiche situation einige zeit vorher bewältigt hätte oder in der zukunft mit mehr erfahrung bewältigen werde. aus dem unterschied zwischen „vorher“ und „nachher“ (= delta) lassen sich rückschlüsse ziehen auf das inzwischen erworbenen oder in zukunft erwartete professionelle können der feldenkrais-lehrer/innen. das vorgehen heißt „schlüsselsituations methode“ (key situation methodology oder critical incident technique“): link auf der webseite der iff akademie: www.feldenkrais-method.org/node/165 weiterführende literatur twelker 2003 kontakt: barbara pieper, dr. rer. pol., sozialwissenschaftlerin, feldenkrais-praktizierende, eigene praxis in gräfelfing bei münchen; feldenkrais assistenz-trainerin; mail@barbarapieper.de ; www.barbarapieper.de und www.somatische-bildung.de karin miller, dr. med., ist ärztin und psychotherapeutin in eigener praxis. sie wohnt mit ihrer familie in oberbayern auf dem land. ihr name wurde für diese veröffentlichung geändert, um vertraulichkeit für die klientin zu wahren. kontakt über b. pieper copyright © barbara pieper & karin miller, märz 2007/januar 2009 http://feldenkraiszeit.org/ http://feldenkrais-method.org/en/node/165 mailto:mail@barbarapieper.de http://www.barbarapieper.de/ http://www.somatische-bildung.de/ frj 7 rahir es feldenkrais research journal • volume 7 (2023) reflexiones sobre la práctica / hipótesis y teoría herramientas para la actuación julie-kazuko rahir la manufacture, haute école des arts de la scène – hes-so, lausanne, suiza contacto: juliekazuko.rahir@manufacture.ch / julierahir@yahoo.fr traductora: lucía porta resumen en 2020, inicié un proyecto de investigación titulado "teatro y feldenkrais: ¿qué herramientas del método feldenkrais® resultan más pertinentes para el trabajo de un actor?" (rahir 2020). dicho trabajo se llevó a cabo en el marco del departamento de investigación de la manufacture, que forma parte de la universidad de ciencias aplicadas y artes de suiza occidental, y en colaboración con la asociación feldenkrais de suiza, la escuela de arte autopoïesis de montreal y el instituto de formación feldenkrais ifeld de lyon. para comenzar, hemos identificado diferentes principios del método feldenkrais que han demostrado su eficacia para estimular la actuación creativa. posteriormente, hemos planteado hipótesis sobre cómo aplicar estos principios en el escenario con el fin de determinar si podíamos convertirlos en lo que, a partir de ahora, denominamos herramientas para actores. este artículo se basa en una versión anterior en francés. palabras clave actuación, actores, método feldenkrais, investigación teatral, herramientas para actores copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:juliekazuko.rahir@manufacture.ch mailto:julierahir@yahoo.fr https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org reflexiones sobre la práctica / hipótesis y teoría herramientas para la actuación1 julie-kazuko rahir la manufacture, haute école des arts de la scène – hes-so, lausanne, suiza traductora: lucía porta contexto en 2020, realicé una investigación titulada "teatro y feldenkrais: ¿qué herramientas del método feldenkrais resultan más pertinentes para el trabajo de un actor?" (rahir 2020). esta2 investigación se llevó a cabo en el marco del departamento de investigación de la manufacture, que forma parte de la universidad de ciencias aplicadas y artes de suiza occidental, y en colaboración con la asociación feldenkrais de suiza, la escuela de arte autopoïesis de montreal y el instituto de formación feldenkrais ifeld de lyon. además de los numerosos aspectos del método feldenkrais inherentes a las experiencias sensoriales de un actor -que probablemente explican por qué se enseña a menudo en las escuelas de teatro, especialmente en el mundo anglosajón-, tuve la intuición de que el método feldenkrais contenía un abundante repertorio de herramientas que ofrecían nuevas posibilidades interpretativas a los actores. y, por lo tanto, tuve el deseo de establecer puentes entre mi entrenamiento diario para la actuación y mis experiencias somáticas personales. comencé indagando acerca de las opiniones de actores y directores que han utilizado el método feldenkrais en su trabajo creativo. en primer lugar, dicha indagación involucró el uso de fuentes originales (escritas por moshe feldenkrais y dirigidas directamente a los actores), y secundarias (artículos publicados, libros y tesis doctorales). en segundo lugar, se incluyó la3 experimentación con las grabaciones de las clases impartidas por el propio moshe feldenkrais 3 los autores de las fuentes seleccionadas en 2019-2020 fueron richard allen cave, mara della pergola, odette guimond, dianne hancock, kene igweonu, michael purcell, alan questel, stuart seide y victoria worsley. consulte la bibliografía disponible en la siguiente dirección del directorio de investigación: https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3% a2tre%20et%20feldenkrais.pdf 2 http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais 1 este artículo ha sido, en primera instancia, traducido del francés al inglés. la autora agradece a meriel kenley, investigadora de las artes escénicas, por su atenta lectura y correcciones. la traducción al castellano se ha realizado en base a la versión en inglés del presente artículo. para ver la versión en francés: https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%2 0des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf rahir es • feldenkrais research journal, volume 7 (2023) 2 https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf https://www.manufacture.ch/download/docs/emwva3fp.pdf/annexe1_bibliographie%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%20des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf https://www.manufacture.ch/download/docs/gc5jhssy.pdf/annexe2_re%cc%81pertoire%20analytique%20des%20outils%20th%c3%a9%c3%a2tre%20et%20feldenkrais.pdf al grupo de actores que trabajaba con el director de teatro británico peter brook. además, la4 investigación implicó complementar los escritos sobre actores y el método feldenkrais, ampliando mi bibliografía y entrevistando a tres profesionales del teatro que vinculan sus prácticas interpretativas al método: yoshi oida, el famoso actor japonés que participó en 1973 en el taller de moshe feldenkrais en el teatro bouffes du nord; el actor y director francés, profesional del método feldenkrais lionel gonzález; y odette guimond, actriz, directora y profesional del método feldenkrais de montreal.5 en la medida en que el objetivo del proyecto tenía que ver con la actuación y el entrenamiento de los actores, me centré en fuentes documentales procedentes de actores y directores profesionales que aplicaban el método feldenkrais, y no de profesionales de feldenkrais que enseñaban el método a actores. gracias al estudio de estas fuentes, registré diferentes formas de aplicar el método feldenkrais a la actuación: las lecciones de autoconciencia a través del movimiento ® podían utilizarse al inicio como calentamiento habitual (en las clases de teatro y ensayos); estas clases podían enseñarse de manera separada del trabajo sobre la obra de teatro en sí; los ejercicios para actores podían inspirarse en el método feldenkrais; y por6 7 último, la práctica teatral podía verse revolucionada gracias a la incorporación de un punto de vista somático.8 en colaboración con el actor y director francés christian geffroy schlittler, integramos posteriormente estas reflexiones en nuestras exploraciones sobre el trabajo actoral. no nos centramos en el potencial para calentamiento de las lecciones de autoconciencia a través del movimiento. nuestro objetivo era recopilar los principios del método feldenkrais en nuestras9 9 cito a creadores teatrales profesionales como el director stuart seide, odette guimond, victoria worsley y alan questel, ya que la metodología feldenkrais parece haber influido permanentemente en su trabajo teatral. para más información sobre los distintos usos del método feldenkrais, véase el siguiente informe de investigación: 8 por ejemplo: victoria worsley, odette guimond, y alan s. questel, así como la publicación reciente de scott illingworth (2020). 7 algunos profesionales consideran que estas lecciones no son adecuadas para lograr un estado propicio para la actuación: el actor se "relaja" demasiado y no se encuentra lo suficientemente "vivo" (yoshi oida), casi coqueteando con un estado de "somnolencia" (lionel gonzález). en estos casos, las lecciones se utilizarán específicamente con la intención de "limpiar" al actor de sus hábitos de movimiento, pero también como una forma de adquirir un mejor conocimiento del cuerpo en conexión con la mente (yoshi oida); o se utilizarán en la perspectiva de un trabajo inconsciente que impregne todo el ensayo, permitiendo que "algo pueda suceder sin que el actor piense en ello" (lionel gonzález). véanse las entrevistas con yoshi oida y lionel gonzález mencionadas anteriormente. 6 así lo demuestran autores tales como richard allen cave, mara della pergola, diane hancock, kene igweonu y victoria worsley 5 rahir, j-k, 2020. este contenido esta disponible en: https://soundcloud.com/recherche_manufacture/theatre-feldenkrais-lionel-gonzalez ; https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20en tretien_yoshi_oida.pdf ; https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20% 20entretien_odette_guimond.pdf 4 feldenkrais, m. ([1973] 2017). rahir es • feldenkrais research journal, volume 7 (2023) 3 https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20entretien_yoshi_oida.pdf https://www.manufacture.ch/download/docs/3jq5kdu7.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20entretien_yoshi_oida.pdf https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20%20entretien_odette_guimond.pdf https://www.manufacture.ch/download/docs/vn3u7ubh.pdf/th%c3%a9%c3%a2tre_et_feldenkrais%20%20entretien_odette_guimond.pdf experiencias de autoconciencia a través del movimiento, e inspirarnos en ellos para crear nuevas herramientas teatrales. juntos, indagamos distintos principios contenidos en el método feldenkrais que demostraron ser eficaces para desencadenar la actuación creativa. formulamos hipótesis sobre cómo podrían aplicarse esos principios en el escenario, para determinar si podíamos convertirlos en lo que, a partir de ahora, denominamos herramientas para actores. para ello, utilizamos nuestra comprensión práctica del teatro, recurrimos a nuestras diversas habilidades interpretativas, a nuestros recuerdos de ensayos y presentaciones, y cuestionamos nuestros hábitos como actores. esto también implicó observar, por un lado, cómo el método feldenkrais podía proporcionar sustancia a la creatividad teatral en la inmediatez de los ensayos y las funciones, y por otro, cómo la autoconciencia a través del movimiento podía ayudar a un actor a generar sus propios recursos creativos a lo largo de la preparación e interpretación de la partitura del actor. está investigación continúa su marcha, y actualmente se encuentra en curso una exploración10 acerca de la gama de potenciales herramientas, trabajando en colaboración con intérpretes y colegas de diversas instituciones: la asociación feldenkrais de suiza, autopoïesis de montreal, el teatro océan nord de bruselas, la compañía de teatro agence louis-françois pinagot, en suiza, la asociación feldenkrais de ginebra y la escuela de música de ginebra. ¿qué herramientas? a pesar de que la palabra herramienta no forma parte del léxico del método feldenkrais -y que nunca apareció en mi formación del método feldenkrais, si se entiende que una herramienta11 conduce a una acción o permite una operación que de otro modo sería extremadamente tediosa, entonces el término parece exacto para describir lo que el método feldenkrais permite en la práctica de la actuación. es una palabra que me recuerda a la artesanía: la artesanía de los actores que se esfuerzan por cultivar las condiciones necesarias para que florezca su creatividad, desplegando todas las variaciones posibles de sus movimientos, gestos y palabras, agudizando su percepción, y anclando sus prácticas interpretativas en el presente. la herramienta a la cual nos referimos no es un instrumento "pasivo", sino más bien un "vector de potencia" (rasmi 2018: 15). estas herramientas ayudan a los actores a llevar a cabo una12 12 expresión utilizada por jacopo rasmi (2018), en su prefacio titulado "manuel d'immédiation", ['un manual para la intermediación"]. 11 entre 2013 y 2017, realicé la formación del método feldenkrais bajo la dirección de yvan joly. me gustaría aprovechar esta oportunidad para decir lo mucho que yvan joly me enseñó. conocerlo fue crucial en mi proceso de reflexión para esta investigación. 10 la segunda fase de este proyecto de investigación, titulado "intensificar la sensibilidad: para una práctica teatral inspirada en el método feldenkrais", comenzó en agosto de 2021 y durará dos años (rahir y geffroy schlittler 2023). véase: https://www.manufacture.ch/fr/5231/rendre-sensible https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a 9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf rahir es • feldenkrais research journal, volume 7 (2023) 4 https://www.manufacture.ch/fr/5231/rendre-sensible https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf https://www.manufacture.ch/download/docs/wd74d3gf.pdf/rapport%20d'activite%cc%81%20th%c3%a9%c3%a2tre%20et%20feldenkrais%20-%20phase%20i.pdf investigación de la toma de conciencia del momento presente, concentrándose en el proceso de actuación en lugar de centrarse en el punto de partida o en el punto al cual se pretende llegar (meta), como suele ocurrir en los ensayos. desde este punto de vista, el trabajo de un actor, comúnmente, consiste en intentar producir el resultado preciso que le pide el director o en identificar un punto de partida desde el cual podría comenzar su interpretación del papel, dos enfoques que consideramos estáticos y diferentes de la investigación dinámica que las herramientas del método feldenkrais posibilitan. repertorio de herramientas cada herramienta se define, en primer lugar, de acuerdo con los principios del método feldenkrais y, a continuación, se ofrece un ejemplo de lo que ésta podría permitir explorar a los actores durante su actuación. este repertorio pretende iniciar una reflexión más profunda sobre posibles prácticas, pero no es exhaustivo. lo he pensado como material de base para futuros trabajos con actores. las amplitudes de la acción a veces, algunos profesionales del método feldenkrais sugieren realizar un movimiento en la imaginación durante una lección de autoconciencia a través del movimiento. esta experiencia sensitiva de un movimiento en la imaginación se manifiesta especialmente para un alumno principiante, luego de haber realizado un movimiento o gesto de gran amplitud. entonces, el objetivo es reducir progresivamente la amplitud del movimiento y observar si la reducción provoca que la percepción del movimiento "desaparezca", y si lo hace, identificar en qué momento desparece. por ejemplo, si alguien intenta percibir la sensación de levantar la cabeza del suelo, ¿debe hacer un movimiento grande y audaz con la cabeza, o la simple idea de levantar la cabeza puede proporcionarle la sensación de esa acción? cualquier observador agudo que haya intentado reducir un movimiento grande a uno pequeño, tan pequeño que ya no sea visible, habrá observado que, en realidad, la percepción del movimiento no tiene límites. las sensaciones kinestésicas y propioceptivas del movimiento, incluso cuando ya no son visibles desde el exterior, son perceptibles para el actor. de hecho, cuanto más se regule la amplitud del movimiento, más precisa y diferenciada será la recopilación de información sensorial del actor ("menos es más", como se decía a menudo en mi formación del método feldenkrais). de esta manera, en el ámbito de la somática, una acción física y una acción imaginada no se experimentan como dos proposiciones opuestas, sino como dos matices en la amplitud de un mismo movimiento. así lo corrobora la teoría neurocientífica. una acción o movimiento es mucho más que un puro acontecimiento motor: una acción es también "el proceso de preparación o simulación de una acción motora". imaginar levantarse de un sofá ya es una forma de acción, debido a que activa casi todas las regiones motoras de la corteza cerebral" rahir es • feldenkrais research journal, volume 7 (2023) 5 (lachaux 2015: 31). además, el mero hecho de percibir una silla, por ejemplo, implica que13 poseemos un patrón perceptivo del acto de sentarnos en esa silla de una manera determinada (berthoz 2013). así, "la mayoría de nuestros pensamientos que evocan un movimiento14 corporal son también acciones" (lachaux 2015: 31). en la práctica de la actuación, creemos que un actor que haya tenido para sí la experiencia de que la acción imaginada y la acción física no son más que dos amplitudes del mismo movimiento, no va a encontrar una dicotomía entre lo que es visible y lo que es invisible sobre el escenario, entre lo que es internalizado o externalizado, entre lo que forma parte del dominio psicológico o del físico: al afirmar que el hilo de acciones físicas -es decir, la línea vital del cuerpo humanoocupa un lugar muy importante en el desarrollo de un personaje, que da origen a una acción interiorizada, a un [proceso de] sentimiento, stanislavski pidió a los actores que comprendieran que el vínculo entre una existencia psicológica y una existencia física no puede romperse y que, por consiguiente, durante un proceso creativo, no debe separarse el análisis de los comportamientos interiorizados y exteriorizados de los seres humanos. (knebel 2006: 48)15 la exploración sobre de las variadas amplitudes de acción permite el desarrollo de la línea continua de acciones a la que aludía la directora y profesora rusa maria knebel (1898-1985), citando a su maestro stanislavski (1863-1938). una línea continua que implica estar vivo en todo momento, hacer coexistir permanentemente la posibilidad de realizar o no una acción, hasta la finalización del movimiento. una partitura -como resultado de una composiciónsurge de numerosas decisiones por parte de los actores. sin embargo, para que la actuación se mantenga viva un actor necesita confrontar y cuestionar sus decisiones una y otra vez. el movimiento de escribir la partitura significa para los actores trabajar con lo que previamente han disminuido y amplificado, e investir significado en los movimientos que interiorizan o exteriorizan. un actor que reconoce que es responsable de la elección de amplificar o no una acción, posee las herramientas para abrir un nuevo potencial dramático. ¿y si cada gesto del personaje estuviera catalogado -pudiendo ser pequeño o generoso, visible o invisibley tratado como si todos fueran equivalentes? sería una manera de invitar a los actores a jugar con todas las amplitudes posibles de sus gestos, a distinguir posteriormente los gestos del personaje que eligen hacer con una amplitud generosa, por ejemplo, los que eligen reducir, o los que son tan tenues que no serán visibles para un observador, pero servirán de impulso, de deseo. 15 en itálica en el texto original de maria knebel (2006). traducido del francés al inglés por la autora. 14 el extracto ha sido traducido del francés al inglés para este artículo. todas las citas de fuentes en lengua francesa fueron traducidas por la autora para este artículo, excepto cuando se identifican. 13 esta cita y las siguientes de lachaux (2015) han sido traducidas por darren hart específicamente para este artículo. rahir es • feldenkrais research journal, volume 7 (2023) 6 de este modo, el pensamiento se dinamiza hasta convertirse en un "pensamiento-movimiento" (seide 2009), una acción potencial, una fuerza deseante. el pensamiento del actor, entonces,16 se experimenta y se pone en acto como una sensación que conduce a la acción ("quiero hacer esto, estoy haciendo esto") y no como una idea estática ("tengo que pensar en esto, tengo que ser aquello"); como un deseo que activa un movimiento ("me gustaría, tengo el deseo de") más que como una orden. de lo que se trata es de preguntarse qué acción se desea, qué desencadena el movimiento, y si todos los pensamientos del personaje pueden completarse como acciones. la reversibilidad en el método feldenkrais, un movimiento se considera reversible "si es posible interrumpirlo en cualquier momento e invertir su dirección, empezar a moverse de nuevo en la dirección original o decidir, desde allí, cambiar y hacer un movimiento totalmente diferente” (feldenkrais 1993: 103). el concepto de reversibilidad parece muy útil en la actuación: la atención que se presta a los movimientos de los actores, y el hecho de deshacer esos movimientos, puede aclarar dudas en relación a una escena. esto es válido para todo tipo de movimientos y amplitudes de movimiento: tanto el movimiento del "gesto mental" como el movimiento físico del actor17 (lachaux 2015: 31). por ejemplo, podemos pensar en la relación entre los amantes en le misanthrope de molière. si el objetivo del actor es encarnar el deseo irrefrenable de alceste de acercarse a célimène mientras le dice exactamente lo contrario, podríamos sugerir al actor-alceste que explore la reversibilidad de sus movimientos físicos hacia célimène. buscar la acción y la contra-acción sería una posibilidad de juego. en esta su búsqueda, alceste podría intentar establecer una distancia espacial constante con célimène, mientras que, con la ayuda del texto -su articulación, su voluntad de persuasión-, intentaría llegar hasta ella. incluso aún, el "gesto mental" de alceste podría ser intentar a toda costa convencer a célimène de que no está interesado en ella -manteniéndose distante-, mientras que sus pies, como si sus zapatos estuvieran imantados, avanzarían hacia ella sin remedio. la reversibilidad también podría plasmarse mediante la exploración de avanzar y retroceder un mismo gesto actoral (ya sea mental o físico). reajustando continuamente la dirección de ese gesto y su intención, alceste tendría así que tomar sus decisiones en el momento presente y alimentar la tensión que siente en torno a célimène en este juego de movimientos en direcciones opuestas. ¿debería alcestes continuar su movimiento físico en dirección a ella, o debería volver sobre sus pasos? 17 jean-philippe lachaux definió nuestras acciones mentales como "gestos mentales" : "la mayoría de nuestros pensamientos que evocan movimientos corporales son también acciones" (lachaux 2015: 31). 16 expresión utilizada por el director stuart seide (2009) en relación al método feldenkrais. rahir es • feldenkrais research journal, volume 7 (2023) 7 la demora la demora, tal y como la define moshe feldenkrais (1993), es "la posibilidad de obstaculizar el acto, es decir, de prolongar el lapso de tiempo que transcurre entre la intención y la puesta en práctica, [y esto] permite al ser humano adquirir conocimiento de sí mismo" (61). utilizar la demora como herramienta actoral para el teatro consiste en darse la posibilidad de hacer una pausa durante la ejecución de un movimiento, en un momento definido de antemano o elegido sobre la marcha mientras se actúa. además, lo que implica la demora en el método feldenkrais es la exploración de la separación que se está creando en ese momento: ¿qué ocurre cuando estoy demorando mi movimiento? ¿qué ocurre cuando lo estoy suspendiendo? en el teatro, la demora puede adoptar distintas formas. la tradición de los lazzi en la commedia dell'arte podría servir de ejemplo de una demora de duración considerable. los lazzi permiten al actor improvisar un interludio en medio de una escena. el tiempo se dilata para posponer la resolución de la acción. otro ejemplo de demora podría ser una simple respiración firme entre dos palabras, una pausa en la narración o un gesto suspendido dentro de la acción. como actriz, antes de descubrir la demora propuesta por el método feldenkrais, a veces no conseguía "habitar" algunas detenciones totales, pausas y suspensiones que me imponía la puesta en escena. como no entendía la necesidad de esas interrupciones, me costaba implicarme y actuar como si fueran naturales para mí. no conseguía vivir este tipo de incentivos externos como algo más que una dicotomía: “aquí se me pide que encarne un personaje, y allí se me pide que deje de hacerlo, es decir, ya no estoy encarnando; aquí estoy actuando, allí ya no”. como si pudiera tener un botón de encendido y apagado. más que dar a los actores la posibilidad de congelarse entre su intención y su acción (la cual sería la función de una pausa más que la de una detención total), la demora propuesta por el método feldenkrais les permite estirar a su antojo el hilo entre la intención y la acción, investigar este momento del intervalo, jugar con sus deseo de realizar la acción antes de realizarla efectivamente... incluso jugar con estos vaivenes entre el deseo y la realización del deseo (activando la herramienta de la reversibilidad). permitiendo tejer un hilo de sentido, de actuación, de movimiento continuo entre lo que no es visible y lo que se hace visible -esta herramienta está por supuesto ligada a la amplitud de la acción-, la dilación enriquece la percepción del actor durante esa espera. su inmovilidad parece animada por el pensamiento: ¿qué estoy haciendo cuando hago esto? ¿cómo surge mi impulso a la acción? ¿a qué obliga, libera, pone en tensión? ¿a qué me somete? la demora, tal y como la experimenté en las clases de autoconciencia a través del movimiento, ha ayudado a liberarme de esta actitud restringida y binaria para comprometerme con este período latente que hoy me parece fascinante, ya que desborda posibilidades. además, la noción me iluminó sobre escritos de grandes profesionales del teatro que hasta entonces sólo había comprendido bajo un ángulo teórico, y me dio pistas prácticas sobre cómo seguir rahir es • feldenkrais research journal, volume 7 (2023) 8 explorando esas sugerencias. por ejemplo, me parece que la noción de demora se hace eco perfectamente de las búsquedas del director ruso vsevolod meyerhold (1874-1940) y del director, investigador y profesor italiano eugenio barba (1936). en efecto, para el primero, el trabajo teatral se desarrolla en una alternancia entre la actuación y la pre-actuación (que él también denomina predigra): la pre-actuación es un trampolín, un momento de tensión que se resuelve en la actuación. la actuación es una coda, mientras que la preactuación es el momento presente acumulándose, desarrollándose y esperando a ser resuelto. [...] no nos interesa como tal la actuación, sino la predigra, la preactuación, porque el anhelo genera en el espectador una tensión superior a la provocada por algo que ya ha recibido o predigerido. el teatro, precisamente, no se basa en eso. el espectador quiere sumergirse en esas expectativas de la acción. (meyerhold citado en barba 2004: 97-98) eugenio barba (2004) dedica un capítulo entero de su libro la canoa de papel a intentar describir -en su práctica, pero también convocando testimonios de otros artistasesta "preparación dinámica de la acción para el actor" que él llama "sats". aquí la acción es pensada/realizada por todo el organismo, que incluso en la inmovilidad reacciona por tensiones y "donde la energía puede quedar suspendida en una inmovilidad en movimiento" (barba 2004: 96). el viaje de la atención he acuñado la expresión “el viaje de la atención” para describir la siguiente herramienta extraída del método feldenkrais. me inspiré en yvan joly cuando hablaba del "viaje" intencional durante mi formación del método feldenkrais en lyon (2017). según moshe feldenkrais, para que surja la conciencia durante una acción, la “concentración” de la persona debe dirigirse a:18 "1) cada parte de la acción en sí, 2) lo que se siente durante esa acción, 3) la imagen corporal total y el efecto de la acción en la imagen corporal" (feldenkrais 2010: 102). su recorrido por los diferentes estratos de la acción tiene lugar con la ayuda de la información sensorial recogida de diferentes maneras, pero especialmente a través de las sensaciones kinestésicas y propioceptivas. a pesar de que se tratan de sensaciones de las que tenemos poca o ninguna conciencia, nos proporcionan la capacidad esencial de percibir el movimiento necesario para 18 aquí utilizo el término "concentración" de moshe feldenkrais, que aparece en la entrevista realizada a feldenkrais por richard schechner (feldenkrais 2010). durante el trabajo con actores, nos gusta diferenciar la expresión "enfocarse en" respecto de la expresión "llamar la atención sobre", ya que describen cada una de ellas una experiencia sensible diferente en el trabajo del actor. para la investigadora francesa en neurociencias y profesional del método feldenkrais, pauline hilt, con quien he dirigido un laboratorio de dos días, "estar enfocado" caracteriza el hecho de poder mantener la atención sobre un elemento en particular. en cambio, la atención puede ser atraída por elementos diferentes, incluso de manera involuntaria, si no inconsciente (laboratorio de investigación, módulo "percepción", mayo de 2022, lausana). en el método feldenkrais, según pauline hilt, se desarrolla una atención "intencional y sostenida" (hilt, comunicación personal, 14 y 15 de mayo de 2022). rahir es • feldenkrais research journal, volume 7 (2023) 9 sobrevivir, y desarrollar nuestras capacidades de aprendizaje y autonomía (barrat 2017). al centrar nuestra atención en las sensaciones kinestésicas y propioceptivas, podemos entrenarnos para ajustar nuestros movimientos en cualquier momento de la acción, mejorando así lo que normalmente hacemos de forma inconsciente y automática.19 sobre el escenario, un actor podría entrenar sus capacidades para explorar las acciones como parte del viaje de la atención. en primer lugar, hay fases preliminares necesarias para la observación:: el actor toma conciencia de lo que les impide actuar y pensar, eliminando los elementos superfluos o las tensiones, favoreciendo su punto de vista subjetivo y "egocéntrico"20 en lugar de ajustarse a un modelo (berthoz 2013: 108-110). las siguientes etapas consisten en que el actor juegue con los distintos tipos de atención (petitmengin 2001). de esta manera, la atención con la que observa sus propias acciones da21 lugar a nuevas percepciones de dichas acciones. puede observar la transición entre dos elementos y percibir el efecto que esta observación provoca en la actuación. es capaz de enfocarse en varios objetos clave simultáneamente. puede variar un enfoque concreto de estrecho a amplio. e incluso, variar las intensidades y los ritmos de dicho enfoque. lejos de sobrecargar la concentración del actor, su viaje de atención le ayuda a desarrollar la fluidez de movimiento gracias a su concentración y a su capacidad constante de ajustarse a la variedad de puntos de vista, y a su mayor comprensión de lo que siente. con la ayuda del marco somático del método feldenkrais, los actores pueden encontrar la manera de reinventar la forma en que se observan a sí mismos llevando a cabo las acciones. la variación el objetivo del método feldenkrais no es necesariamente enseñar a las estudiantes cómo hacer algo nuevo, sino enseñar cómo hacer algo que ya pueden hacer, pero de diferentes maneras. esta herramienta puede ser aplicada a la actuación o a cualquier tipo de partitura teatral, ya sea que el texto deba ser respetado rigurosamente, o que haya un marco de trabajo que dé lugar a la improvisación. permite a los actores explorar las diferentes posibilidades para la acción que pueden, ya sea repetir función a función, o utilizar para abordar una escena desde diversos ángulos dramáticos. el núcleo del trabajo de un actor gira en torno a la cuestión de la repetición, con el desafío de no volverse mecánico y mantener la actuación siempre viva (según esta expresión muy 21 expresiones utilizadas por claire petitmengin (2001), como "fases preliminares" y "tipos de atención", en su descripción de "gestos interiores" para poner en práctica "experiencias intuitivas". 20 según alain berthoz (2013), "el espacio personal está compuesto por el espacio del yo (egocéntrico). éste es percibido por los sentidos internos y se sitúa en principio en los límites del propio cuerpo" (p. 108). el "marco de referencia egocéntrico" contrasta con el marco de referencia alocéntrico, que consiste en "utilizar las relaciones entre los objetos entre sí o en relación con una referencia externa a su cuerpo" (p. 110). (el texto original está en francés). 19 véase investigación científica contemporánea (ej. edith ribot-siscar, investigador en inserm, lnc, aix-marseille université) descrita en el documental de vincent amouroux (2019). rahir es • feldenkrais research journal, volume 7 (2023) 10 extendida en nuestra profesión). sin embargo, su trabajo es repetir cada noche la misma escena, las mismas palabras, la misma acción, dentro de una misma obra. la variación, como herramienta, nos permite ofrecer a los actores la posibilidad de concentrarse en las decisiones que tuvieron que tomar durante los ensayos para componer sus partituras (la decisión de un movimiento, una entonación, una mirada, etc.). también para enfocarse en las decisiones que deben tomar rápidamente durante una función. para estar "vivos" sobre el escenario, no deben actuar siguiendo a rajatabla las decisiones finales del ensayo. deben ser capaces de recordar que cada acción ha sido elegida entre una variedad de posibilidades, de ser conscientes de sus decisiones pasadas, pero también de aquellas acciones que no tomaron, de cuestionarlas de acuerdo con el momento presente, de "actualizarlas" inmediatamente, en lugar de repetir la escena o la acción como si siempre hubieran sido así, olvidando que como actores tuvieron que tomar decisiones en el pasado que le permitieron llegar al estreno. la variación como herramienta del método feldenkrais me interesa por su poder de ampliar las opciones para los actores, y especialmente, contextualizar estas acciones como elegidas cada vez en medio de una multiplicidad de otras acciones posibles, gracias a la variación. e incluso, la variación presente en la práctica del método feldenkrais permite a los actores experimentar por sí mismos que, por cada cambio posible para una misma acción, pueden contar con un nuevo punto de vista sobre dicha acción. este nuevo punto de vista implicará obviamente otros impactos sobre esta acción. por ejemplo, al variar el foco de atención cada vez que entra en escena, un actor advertirá modificaciones en la intención de sus acciones. de este modo, dispondrá de nuevas posibilidades sobre cómo realizar su entrada. el movimiento intencional en el método feldenkrais, cada lección de autoconciencia a través del movimiento es parte de un marco de trabajo preciso, el cual podría compararse a los cimientos de una casa. por ejemplo, puede ser que haya una posición determinada: “sentados sobre el suelo con las rodillas dobladas y las plantas de los pies en el suelo. coloquen las manos debajo de las rodillas.” desde esta posición inicial, se desarrolla una estructura sobre la cual el estudiante y el profesor del método feldenkrais podrán improvisar. luego, puede ser que el profesor describa un movimiento intencional bien preciso que implique ciertas restricciones, como podría ser “extiendan sus brazos sin cambiar la posición de sus manos.” desde este punto de partida -este movimiento intencional y sus restriccionesla investigación de ambos -estudiante y profesorpuede comenzar a desarrollarse, y el estudiante puede empezar a explorar las posibles variaciones disponibles dentro de este marco de trabajo. en teatro, practicar un movimiento intencional invita a los actores a buscar puntos de vista desde los cuales la actuación pueda desplegarse. esto será un punto de referencia durante la exploración, un punto de referencia al cual regresar en caso de que el actor se pierda durante el proceso. si un actor comienza con un movimiento intencional, luego no tendrá que pensar en un resultado o meta a cumplir. es el punto de partida el que debe ser ampliado, permitiendo a rahir es • feldenkrais research journal, volume 7 (2023) 11 los actores olvidarse de “llegar a determinado punto o lograr algo”, para así poder comprometerse con cada paso del recorrido. a partir de ese momento podrán enfocarse en las diferentes variaciones e interesarse en el proceso, en la manera en la que hacen las cosas y no en lo que “deberían hacer”. el marco sugerido por este movimiento inicial y las diferentes variaciones del proceso permiten a los actores desplegarse en áreas de la actuación que nadie hubiera podido saber de antemano (ni ellos, ni los directores). esta búsqueda se profundiza, a menudo, durante el trabajo de creación en un ensayo: se busca un marco que pueda desencadenar la aparición de una potencialidad creativa imprevisible, que ofrezca al grupo el placer de la sorpresa, algo distinto a lo habitual. el menor esfuerzo al practicar el método feldenkrais, cuanto más capaz sea una persona de percibir sus sensaciones al realizar un movimiento, mejor podrá juzgar su calidad y eficacia y, por tanto, ajustar en tiempo real cualquier conflicto en su organización. reducir cualquier esfuerzo innecesario ayuda a mejorar la percepción del movimiento. moshe feldenkrais utilizó el famoso ejemplo del piano y la mosca para ilustrar esta práctica. si alguien carga un piano y una mosca se posa sobre él, no notará ninguna diferencia de peso. en cambio, si un perro grande saltara sobre el piano, notaría inmediatamente el peso adicional. percibir el peso de una mosca requiere reducir el número de otros estímulos presentes como, por ejemplo, transportando algo mucho más ligero que un piano. del mismo modo, sólo la reducción de la tensión muscular22 permite a un actor percibir algo más que el "ruido" superfluo de sus esfuerzos por realizar un23 determinado movimiento. por lo tanto, si su movimiento no está empañado por movimientos superfluos, puede tener la calma suficiente para detectar los cambios sensoriales sutiles que se produzcan a lo largo de toda acción. dentro de una partitura compleja, los actores pueden tener la impresión de que hay una sobrecarga de elementos que deben abordarse. a menudo piensan: "con un poco de entrenamiento, la ejecución será natural". esta forma de proceder puede funcionar, pero ¿es lo mejor? operar de este modo y aprender a acumular acciones e instrucciones de actuación hace que se pierdan la oportunidad de hacer menos para, de esta manera, actuar mejor. es precisamente en este caso cuando parece pertinente delimitar con precisión en la partitura del actor una zona de actuación en la que sea posible buscar el menor esfuerzo. por ejemplo, el deseo de hacer lo menos posible para convencer al compañero de la validez del propio argumento; mirar al compañero o utilizar el propio cuerpo con el menor esfuerzo posible; hacer el menor esfuerzo posible para mantener el equilibrio, ayudado por la gravedad, el suelo, las paredes y los muebles. en lugar de intentar centrar la atención en cada pequeña cosa que hay que hacer, proponemos que los actores hagan lo contrario y centren su atención en lo que 23 tanto worsley (2016) como yvan joly -durante sus clases de 2016 en el instituto de formación feldenkrais de lyon-, han comparado los estímulos con el "ruido" que puede obstaculizar cualquier conexión con los propios sentidos. 22 feldenkrais se refería a la ley fechner–weber l. véase feldenkrais 2010: 101. rahir es • feldenkrais research journal, volume 7 (2023) 12 pueden "dejar de hacer" y en lo que no tienen que hacer. encontrar la manera de completar una secuencia de acciones y gastar el menor esfuerzo sin dar la impresión de hacer un teatro mundano, o de fracasar en la actuación, exigirá que los actores examinen cada elemento de esa secuencia. también tendrán que eliminar cualquier elemento que adquiera demasiado peso y que implique que los demás elementos deban pasar a un segundo plano para compensar. elegir una secuencia de acciones -o una "línea de acciones", como la denomina stanislawski (autant-mathieu 2007) que los actores puedan realizar con el menor esfuerzo posible, requiere un trabajo de deconstrucción. éste consiste en desglosar los diferentes parámetros que componen una secuencia densa de acciones de actuación. cabe señalar que este ejercicio de deconstrucción suele ser muy beneficioso, por ejemplo, en un “ensayo a la italiana": no se trata de aprenderse las líneas de memoria, sino de dominar una partitura compleja y desentrañar su sustancia o expresarla en las presentaciones sobre el escenario. la distribución proporcional del movimiento se puede pensar en el ejemplo de la lección de moshe feldenkrais (1994-2004) impartida en alexander yanaï (ay#50), que consiste en explorar el movimiento de subir y bajar la cabeza e involucrar la columna vertebral, de manera que el trabajo se distribuya proporcionalmente a lo largo de toda la columna. para ello, hay que buscar -y, por lo tanto, enfocarse permanentemente en elloel modo de que cada vértebra participe en el movimiento de manera uniforme, es decir, sin que haga más o menos trabajo que la vértebra siguiente. para no forzar las vértebras acostumbradas a muy poca amplitud de movimiento hay que centrarse, principalmente, en armonizar el trabajo de las vértebras que se mueven más con el de las que se mueven menos. en las clases de teatro, es frecuente encontrarse con jóvenes actores que fruncen el ceño o crean tensión alrededor de los ojos para mostrar que están interesados o escuchando. en lugar de pedir a un estudiante de teatro que deje de mirar fijamente a su compañero, podríamos sugerirle una nueva forma de organizar su gesto de escucha, intentando distribuir sus movimientos proporcionalmente a las demás partes de su cuerpo que participan en su mirada. esto podría implicar movimientos de los ojos, la cara, las vértebras del cuello, la cintura escapular (esternón, omóplatos, clavículas y caja torácica). de este modo, el alumno dejará de centrar su atención en lo que no debe hacer -mirar fijamentey se enfocará en tratar de expresar lo que llamamos escucha activa. la escucha activa que se busca aquí no requiere movimientos dinámicos, sino una cierta disponibilidad. así pues, "ser un buen oyente" o "estar interesado" consiste, ante todo, en que ambos oídos estén disponibles. el movimiento necesario para que el aparato auditivo esté disponible requiere la participación de las vértebras del cuello y la cintura escapular para facilitar la captación del sonido. la escucha de la información está directamente vinculada a su recepción subjetiva y a los mensajes sensoriales percibidos. además, esa forma de tratar la rahir es • feldenkrais research journal, volume 7 (2023) 13 información per se conlleva un potencial escénico: hay mucho que ver en la escucha de un actor. la práctica de la escucha activa debe ser reforzada de vez en cuando a través de la gran variedad de movimientos corporales y expresiones faciales que puede realizar el actor. estos movimientos complejos ofrecen al actor la posibilidad de escuchar activamente, permitiéndole desplegar todo el potencial de su actuación. actura feldenkrais (2014) escribió: "la postura está relacionada con la acción y no con la conservación de una posición corporal. la palabra “actura”, que no existe, probablemente sería más adecuada" (147). para tener siempre presente que la postura no está separada de la acción, moshe feldenkrais creó un neologismo. la actura, es decir, “la forma en que se realiza una acción y la mejor manera de conseguirla" (feldenkrais 2014: 148) es una postura que se experimenta en movimiento continuo, que se inscribe en el tiempo y el espacio, y que se adapta a cada situación y entorno. esta postura no corresponde a un modelo anatómico universal, ni tampoco a criterios exteriores que describen una postura correcta a alcanzar. lo único correcto que hay que buscar es la comodidad, la búsqueda de una zona en la que sean posibles diferentes direcciones de movimiento y de la que surja la facilidad de movimiento. las únicas pautas que hay que seguir son las sensaciones recopiladas. éstas permiten el ajuste. también hay algunos criterios que necesitan verificación: asegurarse de no estar haciendo esfuerzo innecesario, no sentir ninguna resistencia, buscar la reversibilidad del movimiento, y asegurarse de que la respiración fluya libremente, sin ser retenida en ningún momento (feldenkrais 2014). para los estudiantes de teatro, la postura es a menudo un tema delicado, que los confronta con un dilema: quieren convertirse en actores flexibles, libres de tensiones, siempre disponibles e inventivos, pero al mismo tiempo, sienten el deber de intentar responder a lo que creen que es la “única” forma de estar de pie en un escenario (por ejemplo: tener los pies paralelos y separados al ancho de las caderas), de parecer "erguidos" y "genéricos", para que la persona que los contrate pueda llenar de significado esta forma de actor virgen. coqueteando con el ideal de neutralidad y la creencia de que un actor es capaz de no expresar nada y de asumir24 cualquier papel gracias a su único trabajo de composición, esta búsqueda entraña más callejones sin salida que disposición. durante su trabajo, los estudiantes pasan mucho tiempo tratando de tener la postura perfecta, intentando borrar su carácter distintivo (levantar la 24 neutro en la jerga teatral no coincide perfectamente con la definición de neutro en el método feldenkrais. en teatro, el uso del término neutro es una forma de intentar alcanzar una postura sin expresión. a menudo se experimenta como un ideal al que aspirar y que, según mi experiencia, es la causa de una gran tensión para el actor. según jacques lecoq, la máscara neutra "es una máscara sin expresión particular ni carácter reconocible, que no ríe ni llora, que no está triste ni alegre y que se apoya en el silencio y en un estado de calma. la figura debe ser sencilla, coherente y no proporcionar ningún conflicto". (traducido del francés). lecoq (s.f.) < https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ >. rahir es • feldenkrais research journal, volume 7 (2023) 14 https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ cabeza, echar los hombros hacia atrás, etc.). además de olvidar que tienen otros rasgos distintivos visibles (edad, longitud de las piernas, volumen de los pechos, color del pelo, rostro, musicalidad de la voz, etc.), toda su atención pasa a estar ocupada por esta voluntad muscular, generando tensiones, incomodidad, dolor. el pensamiento queda "atrapado" y el cuerpo tenso -rasgos visibles para un observador-, lo que les impide absolutamente sentir durante su actuación y su interacción con el entorno. se convierten así, en imágenes congeladas en el tiempo, ni vivos ni disponibles. la idea preconcebida de la postura implica también que el actor se vea a veces obligado a compartimentar su puntuación para buscar una supuesta buena posición tras otra, pasando inevitablemente por movimientos intermedios en los que no puede evitar "dejar caer" su ideal de posición, imposible de mantener en todas las situaciones. el neologismo "actura" creado por moshe feldenkrais es de mucho agrado para los actores. evidentemente, en él se escucha la palabra acción que define fundamentalmente nuestra profesión de "act-or", ya que etimológicamente somos "los que hacen, los que actúan". oír esta nueva palabra se experimenta inmediatamente como un empoderamiento: la postura ya no es una noción rígida, y a su vez, puede convertirse en un movimiento interminable y transformador que los actores pueden tejer desde el principio hasta el final de su actuación. en lugar de intentar crear la postura definitivamente correcta para cada actuación o papel, la postura implica adaptarse permanentemente a la situación a lo largo de la acción. la postura no es un ideal al que aspirar; es un proceso de interacciones y ajustes; es un ir y venir entre las acciones propuestas por los actores, los efectos percibidos que esas acciones tienen sobre sí mismos y sobre los demás, y la escritura de sus cuerpos en el espacio. la actura es una herramienta que permite a los actores trabajar en el aquí y ahora del mundo real, influyendo en la continuidad de su actuación, y creando la posibilidad de una transformación, un cambio acorde a la posibilidad de dar vida a cada personaje. conclusión siguiendo el ejemplo de odette guimond (1994), que ve en este método una posibilidad de abordar "el movimiento como vehículo de investigación" en teatro (102), y tomando lo que la artista coreográfica y profesional del método feldenkrais, fabienne compet (2017), describe como el posible desencadenante de la "puesta en marcha de una investigación" (11), considero que estas herramientas ofrecen una capacidad de creación abordándola desde movimiento. estas herramientas permiten emanciparnos de nuestros hábitos teatrales, de nuestra forma de diseccionar la actuación para analizarla; liberarnos del vocabulario que habitualmente se aplica a la actuación y a la dirección. así, contamos con la oportunidad de un nuevo punto de vista sobre algunas nociones teatrales, y sobre lo que constituye el soma de un actor: un cuerpo que vive, que piensa, que siente. estas herramientas permiten a los actores dejar de verse a sí mismos simplemente como instrumentos, atormentados por las contradicciones de una separación entre el cuerpo y la mente que sigue siendo tan frecuente en el lenguaje utilizado hoy en día en los ensayos. por el rahir es • feldenkrais research journal, volume 7 (2023) 15 contrario, los estimulan a actuar como organismos que, se mueven, sienten y piensan. por último, al igual que odette guimond (2001) o stuart seide (2009), entre otros, observamos que, en teatro, inspirarse en el método feldenkrais nos lleva inevitablemente a redefinir la actuación tal y como la hemos practicado durante tanto tiempo, e incluso a imaginar una nueva forma de actuar en el escenario. epílogo han transcurrido dos años desde la elaboración de este repertorio de herramientas. se han llevado a cabo laboratorios de investigación con actores profesionales para explorar en la práctica estas diferentes herramientas. el director y actor christian geffroy schlittler y yo misma, hemos realizado en dos oportunidades encuentros de dos semanas de investigación en bruselas (bélgica), en el teatro océan nord, con una docena de actores profesionales voluntarios (agosto de 2021 y enero de 2022), y un taller de práctica de dos semanas con otra docena de actores profesionales (organizado por la fc* ) en el teatro de la comédie de25 genève (marzo de 2022). además, se han puesto en marcha talleres en escuelas de teatro: en la escuela de teatro the teintureries (lausana, diciembre de 2021) y en la manufacture, universidad de ciencias aplicadas y artes de suiza occidental para estudiantes del máster de dirección y escenografía (2021-2022), así como en el programa de licenciatura en teatro (octubre de 2022). gracias a estas valiosas exploraciones sobre la práctica, y gracias a los numerosos ensayos y puestas a prueba por parte de los actores, y de sus devoluciones, estamos afinando progresivamente estas herramientas para nuestra práctica. está previsto realizar un documental de mediana duración con los testimonios de los actores en 2023. cada herramienta aquí descrita ya ha sido desglosada en más matices y complejidades. todas las herramientas propuestas se han diversificado en una serie de herramientas, cada vez más específicas. el proyecto de investigación en cuyo marco se han empezado a formular estas herramientas finalizará en octubre de 2023. se publicará un libro con ejercicios para los actores, fruto de todos estos experimentos prácticos. la información sobre el progreso del libro estará disponible en la página web del proyecto (rahir geffroy schlittler 2023). 25 la fc* es una asociación profesional para la investigación y el intercambio de conocimientos, que reúne a profesionales de las artes escénicas de suiza occidental. "fc" significa "formation continue" en francés, formación continua. rahir es • feldenkrais research journal, volume 7 (2023) 16 references autant-mathieu, m-c. (2007) la ligne des actions physiques: répétitions et exercices de stanislavski. montpellier: l’entretemps barba, e. ([1993] 2004) le canoë de papier: traité d’anthropologie théâtrale. saussan: l’entretemps barrat, c. (2017) ‘comment construire l’image de soi’. corpus (30 ans: éclairages) berthoz, a. ([1997) 2013) le sens du mouvement. paris: odile jacob compet, f. (2017) ’l’usage de la parole dans la transmission des méthodes somatiques’. les pratiques somatiques, la boîte noire de l’histoire de la danse?, aide à la recherche et au patrimoine en danse, cnd, 7-13 feldenkrais, m. ([1973] 2017) huit leçons de prise de conscience par le mouvement, enseignées au théâtre des bouffes du nord à paris en mai 1973 [eight lessons on awareness through movement, taught at the bouffes du nord theatre in paris, may 1973]. recorded by myriam pfeffer. transcribed by combeau, f., acke, m., vitte, v., and ménasé, s. offered to practitioners of the association feldenkrais france in march 2017 on the occasion of the 30th anniversary of this association. english version: published with kind permission of the international feldenkrais federation, combeau, f. and pfeffer, s., paris, france. available at < https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-t heatre-des-bouffes-du-nord-in-paris-in-may-1973/ > accessed 17 february 2023 feldenkrais, m. ([1985] 2014) la puissance du moi. exploitez toutes les facultés de votre cerveau et de votre corps. [the potent self.] paris: marabout feldenkrais, m. ([1966] 2010) ‘image, movement and actor: restoration of potentiality. interview by schechner, richard and schechner, helen in embodied wisdom: the collected papers of moshe feldenkrais. ed by beringer, e. berkeley: north atlantic books and somatic resources, san diego, 93-111 feldenkrais, m. (1994-2004) moshe feldenkrais at alexander yanai. [transcripts]. ed. by soloway, e. trans. by baniel, a. and krauss, j. paris: international feldenkrais federation. feldenkrais, m. (1993) energie et bien-être par le mouvement. escalquens: editions dangles guimond, o. (2001) ‘la notion d’autopoïesis et la méthode feldenkrais® au service de la formation, de la recherche et de la création théâtrales’. in etudier le théâtre, actes des congrès mondiaux de valleyfield-québec (1997) et dakar (1999), congrès de l’aitu. rahir es • feldenkrais research journal, volume 7 (2023) 17 https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-theatre-des-bouffes-du-nord-in-paris-in-may-1973/ https://feldynotebook.com/eight-lessons-in-awareness-through-movement-taught-at-the-theatre-des-bouffes-du-nord-in-paris-in-may-1973/ aitu: presses collégiales du québec, 99-109 guimond, o. (1994) ‘l’éducation somatique et le mouvement au théâtre: la méthode feldenkrais®’. annuaire théâtral, 16 (théâtre et éducation, l’enfance de l’art), sqet, 99-106. available at < https://www.erudit.org/fr/revues/annuaire/1994-n16-annuaire3663/041215ar.pdf > illingworth, s. (2020) exercises for embodied actors. new york: routledge knebel, m. ([1959] 2006) l’analyse-action. arles: actes sud lachaux, j-p. (2015) le cerveau funambule. comment apprivoiser son attention grâce aux neurosciences [the brain on a tightrope. understanding and taming one’s attention through neuroscience]. paris: odile jacob lecoq, j. (no date) ‘le masque neuter' from “le masque neuter et expressif”. theatre du sentier. first paragraph. available at < https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ > accessed january 5, 2023 notre véritable sixième sens. (2019) directed by amouroux, victor. [video documentary] arte france, mona lisa productions, fauns, cmn petitmengin, c. (2001) l’expérience intuitive. paris: l’harmattan rahir, j-k. (2022) ‘la methode feldenkrais et la pratique théâtrale: la pratique d’odette guimond’. corpus (bulletin de l’association feldenkrais france), 12, 67-71 rahir, j-k. (2022, october) ‘la méthode feldenkrais et le travail théâtral de yoshi oida’. percées : l’extension recherche&création. available at < https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-th eatral-de-yoshi-oida > accessed february 17, 2023 rahir, j-k. (2020) théâtre et feldenkrais: quels sont les outils de la méthode feldenkrais pertinents pour le travail de l’acteur, projet de recherche mené à la manufacture – haute école des arts de la scène/hes-so, lausanne. available at < https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 5, 2023 rahir, j-k. and geffroy schlittler, c. (2023) rendre sensible: pour une pratique scénique issue du feldenkrais, projet de recherche mené à la manufacture – haute école des arts de la scène/hes-so, lausanne. available at < https://www.manufacture.ch/fr/5231/rendre-sensible > accessed january 5, 2023 rasmi, j. (2018) ‘preface’, ‘manuel d’immédiation’. in pensées en acte. vingt propositions pour la recherche-création. eds. by manning, erin and massumi, brian. dijon: les presses du rahir es • feldenkrais research journal, volume 7 (2023) 18 https://www.erudit.org/fr/revues/annuaire/1994-n16-annuaire3663/041215ar.pdf https://www.theatre-du-sentier.com/masque-neutre-et-expressif/ https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible réel, 7-23 seide, s. (2009) ‘cinq semaines dans la vie d’un metteur en scène’. interviewed by détaillé. andrée, corpus 1, 33-36 worsley, v. (2016) feldenkrais for actors: how to do less and discover more. london: nick hern books interviews rahir, j-k. (2022, october) ‘la méthode feldenkrais et le travail théâtral de yoshi oida’. percées : l’extension recherche&création. available at < https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-th eatral-de-yoshi-oida > accessed february 17, 2023 rahir, j-k. (2020, november-december) ‘la méthode feldenkrais et le travail théâtral d’odette guimond’. [written interview with odette guimond] available at < http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 4, 2023. also available on the arodes platform hosted by the hes-so rahir, j-k. (2020, 25 juin) ‘la méthode feldenkrais et le travail théâtral de lionel gonzalez‘, entretien enregistré avec lionel gonzalez. available at < http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais > accessed january 4, 2023. also available on the arodes platform hosted by the hes-so biography julie-kazuko rahir es una actriz belgo-suiza, investigadora y profesional certificada del método feldenkrais (ifeld iii, lyon, 2017). es investigadora asociada y profesora en la manufacture haute école des arts de la scène/hes-so, y enseña el método feldenkrais a bailarines, actores, directores y escenógrafos en otras dos escuelas de teatro de la suiza francófona, les teintureries de lausana y la escuela serge martin de ginebra. https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible https://www.atelier-recherchefeldenkrais.ch/ rahir es • feldenkrais research journal, volume 7 (2023) 19 https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida https://percees.uqam.ca/fr/recit-de-pratique-article/la-methode-feldenkrais-et-le-travail-theatral-de-yoshi-oida http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais http://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/4409/theatre-et-feldenkrais https://www.manufacture.ch/fr/5231/rendre-sensible https://www.atelier-recherchefeldenkrais.ch/ feldenkrais research journal • volume 4 (2008) article awareness through movement sequence on fibromyalgia patients julie dean student, mount st mary's college of physical therapy, los angeles suzanne yuen student, mount st mary's college of physical therapy, los angeles stacy barrows pt, cfp, century city physical therapy, los angeles abstract the purpose of this study was to describe the effects of a feldenkrais awareness through movement (atm) sequence on fibromyalgia patients. subjects met twice a week for a one hour group atm lesson, and were instructed to follow through daily with practice tapes: after two months, subjects were placed on a one month home program. pre-test and post-test data, which included a modified fibromyalgia impact assessment (fia) questionnaire, a pain scale, photographical postural analysis, and observational video analysis of walking, were collected and analyzed on five fibromyalgia patients. a paired t-test on the modified fia and other descriptive analyses showed moderate improvement in the subjects. it was concluded that the feldenkrais method has potential value as a possible adjunct to the physical therapy treatment of selected fibromyalgia patients. keywords feldenkrais method, awareness through movement, case study, fibromyalgia, assessment, research, clinical study copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org issn 1817-4000 the purpose of this study was to describe the effects of a feldenkrais awareness through movement (atm) sequence on fibromyalgia patients. subjects met twice a week for a one hour group atm lesson, and were instructed to follow through daily with practice tapes: after two months, subjects were placed on a one month home program. pre-test and post-test data, which included a modified fibromyalgia impact assessment (fia) questionnaire, a pain scale, photographical postural analysis, and observational video analysis of walking, were collected and analyzed on five fibromyalgia patients. a paired t-test on the modified fia and other descriptive analyses showed moderate improvement in the subjects. it was concluded that the feldenkrais method has potential value as a possible adjunct to the physical therapy treatment of selected fibromyalgia patients. julie r. dean, suzanne a. yuen and stacy a. barrows, pt,cfp stacy barrows can be reached at e-mail sabccpt@aol.com (mailto:sabccpt%40aol.com) or www.centurycitypt.com (http://www.centurycitypt.com/) introduction fibromyalgia or fibrositis is the most common cause of severe musculoskeletal pain in persons seen by physicians, especially rheumatologists. (1) although persons with fibromyalgia display diffuse musculoskeletal pain, chronic fatigue, sleep disturbance, and tender point sensitivity (1,2,3), medical tests show no significant abnormalities. secondary symptoms associated with this disorder may include morning stiffness, headaches, gastrointestinal problems, depression, soft tissue swelling, paresthesia, menstrual changes, temporomandibular joint dysfunction, vertigo and thyroid problems. (2,4) also, certain etiological factors such as emotional distress, trauma, noise, repetitive motion and climate, especially heat and lights, have been reported to exacerbate symptoms. (2,4) poor postural habits have also been shown to aggravate fibromyalgia symptoms. (2,4) treatment programs for individuals with fibromyalgia have been diverse and varied, and as yet no one single treatment has worked for every patient. some patients have reported partial symptom relief with tricyclic drugs (7), while others have experienced success with traditional modalities such as heat and ice. (1) treatment through active stretching, postural education, body mechanics, and other forms of therapy has also provided some benefits. (1,2) specifically, it has become apparent that persons with fibromyalgia benefit http://iffresearchjournal.org/ mailto:sabccpt%40aol.com http://www.centurycitypt.com/ from aerobic conditioning and other exercise programs. (8,9,10,11,12) according to standards for fitness developed by the american heart association for a normal population, showed that 80% of patients with fibromyalgia are physically unfit. (13) mccain and colleagues conducted two studies involving aerobic exercise with fibromyalgia patients. (11,12) one study showed that pain scores, pain diagrams, and total myalgic scores improved significantly after a program of cardiovascular exercise. (12) the other showed only modest improvement in pain and other fibromyalgia symptoms measured. (11) bennett hypothesized that a decreased activity level in fibromyalgia patients, and therefore decreased level of fitness, was due to patients' chronic pain and fatigue, making them more susceptible to muscle microtrauma: (8) nichols and glenn hypothesized that a program of aerobic exercise might increase the resistance of muscle to this microtrauma. (14) results from this study were inconclusive. in fact, patients actually rated the disability section of their assessment as being higher after the program. results vary among the few studies looking at exercise with fibromyalgia. one problem causing these varied results could be poor compliance to exercise programs. this decreased compliance may be the result of pain, fatigue, and a lack of personal efficacy. (8,10,13) physical therapy has been called upon to assist the patient to a more comfortable means to exercise and assume ease of posture and functional activities. there have been multiple philosophies of therapeutic exercise and neuromuscular reeducation used in the past. recently, physical therapists have become aware of another approach called the feldenkrais method. by clinician report, this approach has assisted patients with diagnoses such as cerebral palsy, stroke, and head injury. the approach is designed to assist individuals in reorganizing their movement patterns kinesthetically. (15,16) while there is limited research on this, proper application of this method may lead to reduction of pain, stress, muscular tension and soreness, and may increase flexibility and efficiency of movement. (15,17,18,19) brown and kegerreis showed that normal subjects perceived movements easier to perform after feldenkrais sessions, thus furttier supporting the claim that the feldenkrais method facilitates movement by helping the person reorganize the biomechanics of the movement, therefore decreasing effort used and increasing efficiency of the movement. (20) the feldenkrais method is divided into two modes of instruction: 1) awareness through movement (atm), and 2) functional integration (fi). in atm, individuals perform small, gentle movement patterns, usually in a group setting, in response to verbal or written cues. the movements are self-directed and performed within each person's comfort range. mental imagery of the movements is encouraged if the movements are perceived by the patient or the instructor to be too difficult. mental imagery is also occasionally used as part of the lesson for all participants. mental imagery has been widely studied and documented for its positive effects on learning. (21,22) the literature supports the view that mental imagery has also been found to enhance awareness-of the body. (22) in contrast, fi is individualized instruction. the individual is guided hands-on by a feldenkrais practitioner, who may be a physical therapist, through gentle and slow movements. (15,18,23) the feldenkrais method functions to increase the person's sensitivity and awareness of physical movement. (18) its aim is to improve the individual's ability to learn by reprogramming the sensorimotor learning ability of the central nervous system. (23,24) this ability of the central nervous system to learn and relearn movement patterns and its controlling influence over other components of movement has long been recognized. (5) the feldenkrais method encourages "practitioners to work with patients in an instructional manner, rather than attempting to correct them." (24) by experimenting with movement, the central nervous system begins to distinguish which body positions are more or less efficient and thus helps to improve the person's gross motor ability. (23,24) this process is much like the experimental and explorative movement that helps a baby progress through the developmental motor milestones. (16,23,25) the effectiveness of the feldenkrais method has been documented in only a few studies. case studies demonstrated that the method has reduced pain in patients with acute and chronic back problems. (15) a study by ruth and kegerreis reported increases in neck flexion range of motion after participating in a feldenkrais atm sequence. (26) because of the lack of clinical studies on the feldenkrais method, more research is needed to substantiate its validity as an appropriate treatment philosophy. instead of depending on short-term passive therapy to temporarily relieve their symptoms, fibromyalgia patients should be encouraged to take the initiative to progress towards long-term management. long-term management involves assisting the patient to be responsible and self-reliant in participating in an active exercise program. (1,3) in order to enhance the ability of the patient with fibromyalgia to exercise and to move within an dynamically efficient postural alignment, the feldenkrais method was evaluated for its potential use in reducing pain and improving kinesthetic sense. decreased pain and improved kinesthetic sense would provide the patient with more comfortable movement choices to increase the capacity for physical movement. the purpose of this study was to describe the effects of a feldenkrais awareness through movement sequence on fibromyalgia patients using a modified fibromyalgia impact assessment, pain scale, photographical postural analysis, and observational video analysis of gait. methods subjects: initially, nine fibromyalgia patients, who self-reported as being diagnosed with fibromyalgia, were recruited by rheumatologist referral and from several southern california fibromyalgia support groups. no documented physician confirmation of the diagnosis was obtained. all subjects were female, whose ages ranged from thirty to fifty-one years-old, and dates of fibromyalgia diagnoses ranged from 1986 to 1994 (table 1). exclusion criteria included any person(s) involved in litigation, and any individual(s) with a medical condition that would prevent consistent participation in the study. a sample of convenience was used to provide for an experimental group only, with no attempt at random selection. before participation, all subjects signed informed consent forms approved by the mount st. mary's college human subjects committee. after one week, one subject voluntarily discontinued her participation in the study. during the course of the study, three subjects experienced acute onset of medical conditions. data from these individuals were excluded from group analysis; however, for individual case study, data from one of the excluded subjects (i.e. subject 6) was retained and analyzed descriptively . pre-test and post-test data, therefore, were collected and analyzed on the remaining five fibromyalgia subjects. table 1: general subject characteristics subject # age (years) onset of fm symptoms (date) date of diagnosis other treatment interventions other medical problems 1 47 1992 1994 pt oa, lbp 2 33 1989 1989 acupuncture, massage lbp, cfs, hotn2 to cfs 3 49 1993 1994 pt, ot, bfb, chiropractor, massage lbp, tendonitis, bursitis, mental illness, ulcer or other stomach disease, depression, anxiety 4 51 1984 1987 pt(massage), trigger point injections, pain management program lbp, ulcer or other stomach disease, anemia or other blood disease, depression, anxiety, allergy and sinusitis 5 37 1990-1994 1994 pt, bfb, chiropractor oa (neck), tendonitis, carpal tunnel syndrome?, ulcer or other stomach disease, depression 6* 30 1993 1994   lbp, tendonitis/bursitis, anemia or other blood disease, depression, anxiety, amenorrhea, cfs procedure: a pilot study was conducted, and modifications were made for the final study. the final research study was conducted over three months. initially, all subjects were asked to state information regarding current health status, medications, and previous fibromyalgia treatment on a written patient demographic profile (appendix a), adapted from the fibromyalgia impact assessment. a modified fibromyalgia impact assessment (fia), pain scale, photographical postural analysis, and observational video analysis of gait served as the pre-test and posttest measurements. the modified fia consisted of the following five sections: functional mobility, fibromyalgia pain, sleep and fatigue, work, and level of tension (appendix b). the pain scale was numerically arranged from 0 to 20, with "0" equivalent to no pain, and "20" representing very severe pain (appendix c). also included with the pain scale were anterior and posterior body diagrams on which the subjects marked areas of pain. figure 1 a modified fia and pain scale were completed by each subject; the former was administered verbally. for postural assessment, three full body photographs (anterior, posterior and right lateral views) of each individual standing in front of a grid were taken (figure 1). (15) subjects wore a bathing suit or other appropriate attire. a plumb line suspended from the ceiling was used to represent a line of reference. (27) the tripod of the camera was positioned at the same distance from the grid/subject for pre-test and post-test measurements. for the anterior and posterior views, the fixed reference point used to align the subject with the plumb line was the point midway between the heels. (27) for the right lateral view, the individual was aligned with the fixed reference point slightly anterior to the right lateral malleolus. (27) lastly, while being videotaped in an anterior-posterior view, each subject was instructed to walk towards and away from the video camcorder twice. to ensure consistent objective measurements, investigators acted independently in gathering data; one experimenter was in charge of administering the written assessment tools, another was responsible for postural photography, and the third investigator videotaped each subject's gait. for the duration of the study, subjects were instructed to continue taking their medications as currently prescribed. for two months, subjects met twice per week for one hour feldenkrais atm lessons, taught and verbally instructed by a physical therapist, certified as a feldenkrais practitioner. the atm lessons were sequenced specifically for individuals with chronic pain; the sixteen lessons were designed to be simplified and access normal daily postural movement strategies, such as flexion, extension, sidebending and rotation. (23,28) subjects were positioned in prone, supine or sidelying during the lessons, and when unable to perform a particular movement secondary to pain, subjects were encouraged to visualize and imagine the movement. in addition, subjects were asked to practice that same instructed lesson on tape once daily on "non-instructional" days. in order to record *the precise number of feldenkrais lessons performed, attendance was taken at each session, and each subject was given a monthly calendar on which to indicate whether or not a taped lesson was practiced at home. at the conclusion of the eight weeks of classroom instruction, subjects were placed on a four week home program in which they were asked to continue practicing the taped feldenkrais lessons, once daily at home. to encourage compliance, a check-off calendar was provided for each subject, and investigators made one follow-up phone call to each subject midway through the home program. following the home program, subjects reconvened to complete the post-test measurements. subjects were allowed to see previous modified ha and pain scale scores. (29) lastly, subjects completed a written post-study questionnaire, created to elicit feedback and any comments regarding the study (appendix d). data analysis: a five point scale was utilized to score the modified fia. depending on how each question was phrased (either positively or negatively biased), the value of the answer was accommodated such that the scale of the scores was reversed for some questions. for example, if a question (i.e. appendix b sect. 1, question #4) tended to be negatively biased, "all days" would be scored as 1 point and "no days" scored as 5 points. overall, a subject with a higher positive modified fia score corresponded with a "better" overall health status. the body diagrams, which accompanied the pain scale, were logically divided into specified regions of the body (appendix e). from these diagrams, total number of painful regions and location of pain could be identified. the postural photographs were analyzed randomly by a physical therapist to determine the presence and severity (minimal, moderate and severe) of common postural deviations, given a form with a broad list of descriptors (appendix f). lastly, the observational gait analysis for each subject was performed randomly by another physical therapist, who noted any changes in head alignment, shoulder symmetry, arm swing and pelvic symmetry. due to the small sample size, data was analyzed descriptively (mean, standard deviation, percentage change), with the exception of a paired t-test, p<0.05 performed on the modified fia and pain scale. results five subjects completed the study and were included in the final data analysis. total compliance for these five subjects, which included attending the group lessons and practicing the tapes daily, ranged from 51.1% to 76.1% attendance to the group lessons ranged from 68.7% to 87.5%. compliance with practicing the taped lessons ranged from 45.8% to 73.6% (table 2).   table 2: lessons and practice compliance subject # lessons attended (16) days practiced (72) total compliance (88) 1 14 53 67 2 11 38 49 3 11 34 45 4 14 33 47 5 14 49 63 ( ) = maximum # lessons &/or days   improvements were recorded in the total modified fia scores (p<0.05) as well as in each section of the modified fia. significant improvement, however, was reached only for the pain and sleep/fatigue sections as well as for the total score of the modified fia (p<0.05). (fig. 2) a nonsignificant trend of improvement was also noted in the level of tension section (table 3). four out of five subjects improved their total modified fia scores, with the greatest percentage change being 35.7% (table 4). three out of five subjects improved their scores in the functional mobility section, with the greatest percentage change at 25.0%. all five subjects improved their scores in the pain section, with percentage changes ranging from 30.8% to 53.8%. the sleep/fatigue section also showed improvement in all five subjects, with improvements ranging from 6.3% to 60.0% change. three of five subjects improved in the work section, with the greatest percentage change being 25.0%. in the level of tension section, three of five subjects improved their scores, with the greatest improvement being 77.8%.   table 3: modified fia mean scores (standard deviation) and p-values section # pre-test mean (sd) pre-test mean (sd) pvalue #1 – functional mobility 43.2 (9.149) 45.6 (5.505) 0.381 #2 – fibromyalgia pain 12.2 (3.633) 17.0 (4.950) 0.003* #3 – sleep/fatigue 13.4 (4.775) 17.6 (5.505) 0.022* #4 – work 12.4 (4.278) 13.2 (3.421) 0.242 #5 – level of tension 13.2 (2.588) 17.0 (3.3536) 0.106 total scores 94.4 (20.403) 110.4 (18.515) 0.046* * significant at p < 0.05 figure 2 table 4: individual modified fia scores with percentage change sect # subject #1 subject #2 subject #3   pre post % pre post % pre post % #1 (60) 53 52 -1.9 44 48 9.1 32 37 15.6 #2 (30) 17 23 35.3 7 10 42.9 11 15 36.4 #3 (35) 20 25 25.0 8 10 25.0 10 16 60.0 #4 (20) 17 18 5.9 16 15 -6.3 8 10 25.0 #5 (30) 14 22 57.1 13 13 0 9 16 77.8 total (175) 121 140 15.7 88 96 9.1 70 94 34.3 sect # subject #4 subject #5   pre post % pre post % #1 (60) 36 45 25.0 51 46 -9.8 #2 (30) 13 20 53.8 13 17 30.8 #3 (35) 13 20 53.8 16 17 6.3 #4 (20) 8 10 25.0 13 13 0 #5 (30) 14 19 35.7 16 15 -6.3 total (175) 84 114 35.7 109 108 -0.9 ( ) = maximum score possible, % = percentage change pre. vs post. mod fia sections: #1 = functional mobility; #2 = fibromyalgia pain; #3 = sleep/fatigue; #4 = work; #5 = level of tension figure 3 subject # pain scale (0-20) # pain regions   pre post pre post 1 7 2 10 7 2 14 11 33 44 3 13 15 20 18 4 14 14 20 12 5 9 10 13 8   the paired t-test performed on the pain scale did not prove to be significant at the 95% confidence interval (p<0.05), with a p-value of 0.486. (fig. 3) two subjects reported decreased pain scores, while two subjects reported slightly increased pain scores. one subject reported the same pain score. four subjects reported a decrease in the number of areas of pain on the body diagram, while one subject reported an increase in the number of pain spots (table 5, fig. 4). table 5: pain scores   minimal improvements in posture were noted, with the majority of these being in the alignment of the head and feet. four of the five subjects demonstrated more neutrally aligned feet while three of the five subjects demonstrated the head to be more neutrally aligned on the neck. there were areas of the body observed to be less neutrally aligned for all five subjects. minimal improvements were also noted in gait. three of the five subjects had improved arm swing. one subject was observed to have a more symmetrical pelvis during gait. some negative changes were noted in the head alignment of two subjects and in the shoulder symmetry and arm swing of another subject. in the post-study feedback questionnaire, four subjects reported that the feldenkrais method helped them become more aware of their body, its movement patterns and limitations. two subjects stated that the feldenkrais method did not seem to help their pain, two subjects did not address pain on the feedback questionnaire, and only one subject reported that the feldenkrais method helped to decrease her pain. although subject 6 was excluded from the group data analysis secondary to an acute onset of a medical condition, it is interesting to report her individual results, since she did complete the study. her total compliance was 33%, with a lesson attendance of 81% and daily tape practice of 22%. she improved her total modified fia score from 75/175 pre-test to 90/175 post-test, with improvements in each individual section except for section 1 (functional mobility), in which her score decreased slightly. her pain scale score decreased from 10 to 7 on the 20 point scale and the number of spots, in which she reported pain on the body diagrams, decreased from 13 to 5. in reference to the postural analysis, the subject's knees, shoulders and clavicles were noted be more neutrally aligned. the subject's head, lumbar spine and feet were found to be slightly less neutrally aligned. no significant changes were noted in gait analysis, except subject's head was slightly aligned to the right. on the poststudy feedback questionnaire, she noted that the feldenkrais method brought awareness to areas of her body that were painful, and helped her learn to change body movement patterns to help decrease the pain. discussion pain, sleep/fatigue sections and overall total of the modified fia were found to be statistically significant in our sample of subjects as a whole. this suggests that the feldenkrais method has potential value in reducing pain and decreasing fatigue in fibromyalgia patients, as measured by the modified fia. however, it is interesting to note that the pain scale scores, as a group, did not show significant improvement. three subjects reported the same or worse pain on the pain scale but reported improved scores on the pain section of the modified fia. one possible reason for this would be that the modified fia pain section asks the subject to report to whaf degree pain interferes with their daily activities and sleep, in addition to asking the subject how often they experienced pain and its severity. the 20 point pain scale simply asks the subject to report the intensity of the pain at that specific point in time. perhaps the subjects had severe pain less often over the four week period or perhaps other changes (i.e. decreased level of tension and fatigue, or increased body awareness) made it possible to perform their daily activities, therefore improving their modified fia pain score. this hypothesis is supported by the statistical significance of the sleep/fatigue section of the modified fia, and the fact that four of five subjects reported that the feldenkrais method improved their body awareness on the post study feedback questionnaire. as a whole, our results support this hypothesis. fibromyalgia patients are prone to unpredictable flare-ups during the course of their condition, which may have caused their pain scale scores to increase or decrease at a specific point in time. (30) the statistical significance of the total modified fia scores suggests a possible improvement in the overall health status of the subjects in our study, although subject s reported no significant change. the functional mobility, work and level of tension sections of the modified fia did not prove to be statistically significant. our small sample size could possibly explain this for the level of tension section (p=0.11). a longer duration with the lessons and/or practice tapes may be required to see changes in these sections. nelson states in regards to the feldenkrais method, "a reasonable amount of time must be allotted to absorb what is learned...students are encouraged to learn at their own pace." (23) it is also possible that the patients did not fully understand the concepts behind the feldenkrais method. the subjects may not have had a kinesthetic sense that was sensitive enough to apply the verbally instructed movement concepts of the method. understanding the concepts of the feldenkrais method and its premises is important for each subject, as they need to be able to relearn comfortable movement patterns, reorganizing them at the central nervous system level. (23,24) perhaps inclusion of fi, the handson, individualized form of the feldenkrais method, would have been beneficial to enhance each subject's kinesthetic sense and awareness, enabling them to more fully understand the premises and concepts of the method. the atm group lessons were analyzed specifically to see if this would provide a more cost effective form of the method in light of today's changing health care. however, further analysis of fi is warranted. it is interesting to note that three of the five subjects reported fairly significant positive percentage changes on the level of tension section of the modified fia. it is also important to remember that other variables, such as personality, background, learning style, or stressful events occurring during the course of the study may have affected the results in all sections of the modified fia. as mentioned earlier, when looking at the post-study feedback questionnaire, we found that four out of five subjects stated that they felt the feldenkrais method made them more aware of their body and its movements. according to the literature, one of the primary claims of the feldenkrais method is that it functions to increase awareness of physical movement by improving kinesthetic sense. (18) subject feedback from this study supports this claim. this enhanced body awareness may be a reason for the significant improvement in the pain section for all five subjects and improvement in the level of tension section for three of the five subjects. the subjects may have felt more confident in their ability to make movement choices, thereby decreasing anxiety and stress in daily activities. if it is possible to decrease pain through use of the feldenkrais method, as measured by the 20 point pain scale,-it may be necessary for a person to first improve their kinesthetic sense, increasing their movement choices, and then learn to make the most comfortable choices. the feldenkrais method also incorporates mental imagery as a means to enhance body awareness, primarily in situations when a person has difficulty performing the movements. fairweather and sidaway found that ideokinetic imagery training produced positive postural alignment changes in high school and college students with and without low back pain, especially when combined with kinesthetic awareness activities. (22) warner and mcneill conducted a review of literature regarding the effects of mental imagery and practice on physical skills and found that mental imagery and practice have been consistently shown to produce physical results and enhance motor learning in the areas of sports and health care services when training is conducted over time. (21) one's ability or willingness to imagine movement, the sensitivity of one's kinesthetic sense and the amount of time allotted for training are factors that may have come into play or interacted in our study to impact the effectiveness of the feldenkrais method on each individual subject. a final factor which may have influenced the results of our study were the compliance rates, since the feldenkrais method claims to be more effective when used consistently over time as would any motor learning method. some possible reasons for missed lessons and practice days would include the daily drive to the site of the study. several subjects informally expressed a concern that this may have contributed to their level of stress and fatigue. the fluctuating nature of fibromyalgia symptoms may have also made it difficult for subjects to be consistent. there were also occasional scheduling conflicts for each of the subjects that could not be helped. overall, however, compliance rates in our study were fairly high, ranging from 51.1% to 76.1%, including attending group sessions and practicing lessons daily at home. compliance to attending group lessons was higher than compliance with practicing daily lessons. subject 6, who was excluded from data analysis but completed the study, was an interesting case to analyze. although her compliance was fairly low, probably due to her acute medical conditions, she showed improvement in her total modified fia scores, as well as in each separate section with the exception of the functional mobility section. she also reported a decreased pain scale score. subject 6 has a background in dance and has been involved in other therapy that emphasizes development of kinesthetic awareness. this would suggest that a person with a particular background, perhaps one that involves other kinesthetic awareness training, may respond more positively and/or more quickly to the feldenkrais method. subject 6 also reported on her post-study feedback questionnaire that she felt an enhanced body awareness, and stated several specific areas of her body where she observed improvement. future studies in the area of fibromyalgia and the feldenkrais method may include ones that measure the reliability and/or validity of the modified fia, since it is different in organization, scoring and content than the original fia. it might also be helpful to quantify gait changes by analyzing velocity, stride length, step length, cadence, and other parameters (i.e. functional activities). a study with a longer time frame of lessons and/or practice days would be helpful to look at the long term effects of the feldenkrais method on fibromyalgia patients. it would also be interesting to look at a study beginning with individualized, hands-on functional integration, then moving subjects into a program of group atm lessons. this might increase understanding of the concepts of the feldenkrais method, as well as satisfy the move towards more cost-effective health care. after data collection was completed, fi was performed on one individual who reported increased understanding of the concepts of the method. also, a larger sample size with a control group receiving traditional physical therapy would perhaps shed more light on the effects of the feldenkrais method and its potential use as an adjunct to the physical therapy treatment of selected fibromyalgia patients. lastly, due to the discrepancy between pain scale scores and fia pain section results, the perception of pain continues to warrant further investigation. summary in conclusion, the feldenkrais method has potential value as a possible adjunct to the physical therapy treatment of selected fibromyalgia patients, as evidenced by the statistical significance of the pain and sleep/fatigue sections and the total modified fia scores. the key points are: 1. those who improve their kinesthetic sense and mental imagery may have more success with the method. 2. increased body awareness, reported by four out of five subjects, may be a bridge to more comfortable, efficient movement, which may decrease pain and fatigue over time. 3. if able to move more comfortably, fibromyalgia patients might increase participation in aerobic exercise and other treatments. 4. atm lessons are a cost-effective way to increase body awareness. acknowledgements mark reese, phd, cfp the reese movement institute, inc., cardiff by the sea, ca lawrence w. goldfarb, phd, cfp champagne, illinois msmc physical therapy department los angeles, ca monique peterson, pt, ocs robyn smith physical therapy, manhattan beach, ca craig newsam, mpt ranchos los amigos medical center, downey, ca marilyn pink, ms, pt centinela biomechanics lab, los angeles, ca south bay hospital physical therapy department torrance, ca the center for physical health los angeles, ca dorothy johnson, rn southern california arthritis foundation southern california fibromyalgia support groups ken nies, md & richard goldin, md 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journal of musculoskeletal medicine. 1992 april, 9(4): 24-4 31. ruth s, kegerreis s. facilitating cervical flexion using a feldenkrais method: awareness through movement. jospt. 1992 july, 16(1): 25-9. 32. kendall, fp. muscles: testing and function fourth edition with posture and pain. 1993, williams & wilkins, baltimore, maryland. pg. 71 72, 100. 33. mark reese, phd, cfp. the reese movement institute, inc., cardiff by the sea, california. 34. guyatt gh, be°rman lb, townsend m, taylor dw. should study subjects see their previous responses? i chron dis. 1985, 38 (12): 10031007. 35. fan pt, blanton me. clinical features and diagnosis of fibromyalgia. the journal of musculoskeletal medicine. 1992 april, 9(4): 24-4 ?), j. d. s. y. r.(+ a. & (/volume/author/78) , yuen s. a. (/volume/author/74) , & stacy a. barrows, pt c. f. p. (/volume/author/79) (2008).  awareness through movement sequence on fibromyalgia patients (/volume/4/dean) . feldenkrais research journal. 4, tagged (/volume/export/tagged/66) xml (/volume/export/xml/66) bibtex (/volume/export/bibtex/66) google scholar (http://scholar.google.com/scholar? btng=search%2bscholar&as_q=%22awareness%2bthrough%2bmovement%2bsequence%2b on%2bfibromyalgia%2bpatients%22&as_sauthors=%3f%29&as_occt=any&as_epq=&as_oq=& as_eq=&as_publication=&as_ylo=&as_yhi=&as_sdtaap=1&as_sdtp=1) http://iffresearchjournal.org/volume/author/78 http://iffresearchjournal.org/volume/author/74 http://iffresearchjournal.org/volume/author/79 http://iffresearchjournal.org/volume/4/dean http://iffresearchjournal.org/volume/export/tagged/66 http://iffresearchjournal.org/volume/export/xml/66 http://iffresearchjournal.org/volume/export/bibtex/66 http://scholar.google.com/scholar?btng=search%2bscholar&as_q=%22awareness%2bthrough%2bmovement%2bsequence%2bon%2bfibromyalgia%2bpatients%22&as_sauthors=%3f%29&as_occt=any&as_epq=&as_oq=&as_eq=&as_publication=&as_ylo=&as_yhi=&as_sdtaap=1&as_sdtp=1 attachment size appendix a.pdf (http://iffresearchjournal.org/system/files/appendix%20a.pdf) 100.74 kb appendix b.pdf (http://iffresearchjournal.org/system/files/appendix%20b.pdf) 116.03 kb appendix c.jpg (http://iffresearchjournal.org/system/files/appendix%20c_0.jpg) 262.64 kb appendix d.pdf (http://iffresearchjournal.org/system/files/appendix%20d.pdf) 4.59 kb appendix e-image.jpg (http://iffresearchjournal.org/system/files/appendix%20e-image_0.jpg) 225.57 kb appendix e.pdf (http://iffresearchjournal.org/system/files/appendix%20e.pdf) 98.53 kb appendix f.pdf (http://iffresearchjournal.org/system/files/appendix%20f.pdf) 118.36 kb http://iffresearchjournal.org/system/files/appendix%20a.pdf http://iffresearchjournal.org/system/files/appendix%20b.pdf http://iffresearchjournal.org/system/files/appendix%20c_0.jpg http://iffresearchjournal.org/system/files/appendix%20d.pdf http://iffresearchjournal.org/system/files/appendix%20e-image_0.jpg http://iffresearchjournal.org/system/files/appendix%20e.pdf http://iffresearchjournal.org/system/files/appendix%20f.pdf appendix a patient profile please provide us with the following information about yourself: 1. what is your age at this time? 2. what is your sex (male or female)? 3. what is your racial background? (check one) white black _ h i s p a n i c _ a s i a n or pacific islander _ a m e r i c a n indian or alaskan native _ o t h e r (specify): 4. what is your current marital status? (check one) married separated divorced widowed never married 5. what is the highest level of education you have received? (check one) less than high school diploma high school diploma or ged one to four years of college _ _ c o l l e g e graduate __professional or graduate school 6. how long have you had fibromyalgia (months,years)? 7. have you had sleep problems? yes no 7a. if yes, did they predate your fibromyalgia pain? yes no 8.have you had problems with fatigue? yes no 8a. if yes, did they predate your fibromyalgia pain? yes no 9. who diagnosed your fibromyalgia? (check all that apply) specify date of diagnosis (month & year) rheumatologist internist _general practitioner/family doctor __psychiatrist _ o r t h o p e d i s t _ o t h e r (please specify): 10. who follows your fibromyalgia? (check all that apply) __ general practitioner/family doctor _ p s y c h i a t r i s t __orthopedist 'other (please specify): 11. are you currently seeing a psychiatrist, psychologist or counselor for any related problems? yes no 11a. if you answered yes to the above question, how often do you see this professional? 12. please list your current medications. name of red dose frequency (5 mg, 10 mg, etc) (1x/day, 2x/day,etc) 13. please list any treatment or therapy (including any prior feldenkrais experience) you have received,. other than medications, for your fibromyalgia. please include dates. ___ rheumatologist internist rheumatoid arthritis __rheumatoid ___ systemic lupus erythematosus _ s c l e r o d e r m a psoriatic arthritis reiter's syndrome +gout _ _ l o w back pain tendonitis/bursitis + _osteoporosis ,other (please specify): 15. is your health currently affected by any of the following medical problems? yes no high blood pressure heart disease mental illness diabetes cancer alcohol or drug abuse lung disease kidney disease liver disease ulcer or other stomach disease anemia or other blood disease depression anxiety other (please list): 14. check any other types of arthritis that you have. (check all that apply) appendix b modified fibromyalgia assessment investigator copy read the following instructions: i will be asking you questions regarding your health over the past four weeks. place your answers on this answer sheet, remembering to the best of your ability. you need only to mark one appropriate category for each question "all days", "most days", "some days", "few days", or "no days", as depicted on your answer sheet. section 1: _ functional mobility "during the past four weeks..." 1. how often were you physically able to drive a car or use public transportation? 2. how often were you out of the house for at least part of the day? 3. how often were you able to run errands in the neighborhood? 4. how often did someone have to assist you to get around outside you home? 5. how often were you in a bed or chair for most of the day?. 6. how often were you able to do regular exercise that is a normal part of your schedule? 7. were you able to walk several blocks or climb a few flights of stairs? 8. did you have trouble bending, lifting or stooping? 9. did you have trouble either walking one block or climbing one flight of stairs? 10. were you unable to walk unless assisted by another person or by a cane, crutches or walker? 11. did you have difficulty sitting for longer than half an hour? 12. did you have difficulty standing for longer than half an hour? section 2: _ fibromyalgia pain "during the past four weeks..." 1. how often did you have any pain at all? 2. how often did you have severe pain? 3. how often did you have pain in two or more particular spots at the same time? 4. how often did your morning stiffness resolve within one hour from the time you woke up? 5. how often does your pain interfere with what you want to do? 6. how often did your pain make it difficult for you to sleep? section 3 : __ sleet 8 fatigue "during the past four weeks..." 1. how often did you have difficulty falling asleep at night? 2. how often did you sleep through the night? 3. how often did you wake up earlier than you planned? 4. how often did you feel well rested in the morning? 5. how often did you feel tired during the day? 6. how often did you feel that you tired easily? 7. how often did you feel too tired to do what you wanted to do? section 4: _ work "during the past four weeks..." **note: complete this section only if you are currently involved in paid work, housework, schoolwork or volunteer work. "all days" would coincide with the number of days usually worked or normal workload. 1. how often were you able to do any paid work, housework, schoolwork, or volunteer work? 2. on the days that you did work, how often did you have to work a shorter day or less time than usual? 3. on the days that you did work, how often were you able to do your work as carefully and accurately as you would like? 4. on the days that you did work, how often did you have to change the way your paid work, housework, schoolwork, or yolunteer work is usually done? section 5: _ level of tension "during the past four weeks..." 1. how often have you felt tense or highstrung? 2. how often were you able to relax without difficulty? 3. how often have you felt calm and peaceful? 4. how often have you felt relaxed and free of any tension? 5. do you feel you are getting better? 6. do you feel you are getting worse? 7. do you feel you are staying the same? modified fibromyalgia assessment subject answer sheet subject # section 1: __ functional mobility all most some few no days days days days days 1. transportation 2. out of house 3. errands 4. assistance 5. bed/chair 6. exercise 7. stairs/blocks 8. bend/lift/stoop 9. one stair/one block 10. cane/crutches/walker 1,1. sitting 12. standing section 2: __ fibromyalgia pain 1. pain 2. ' severe pain 3. pain-two spots 4. morning stiffness 5. pain-interfere 6. sleep section 3: _ sleep & fatigue all most some few no days days days days days 1. fall asleep 2. sleep through night 3. wake early 4. rested 5. tired 6. easily tired 7. too tired section 4: _ work 1. work 2. shorter schedule 3. careful work 4. change work section 5: level of tension 1. tense 2. relaxation 3. calm/peaceful 4. tension-free 5. better 6. worse 7. same pain questionnaire 1. how much pain do you feel right now? circle the number on the scale below at the appropriate point. 0 1 _ 2 _3 _ 4 _5 _ 6 7 8 _ 9 _ 10 _ 11 12 _ 13 14 15 _ 16 _ 17 18 19 _ 20 very severe pain 2. please place an x on each area in the diagram below where you are presently feeling pain: no pain appendix d post-study feedback gyestions 1. would you recommend this treatment method to another with fibromyalgia? 2. which lessons did you feel you got the most results from? 3. did you achieve any changes that you feel will help you? 4. did the feldenkrais method help you? 5. other comments: appendix f subject # ______ postural assessment for each possible deviation listed below, please check or "x" the appropriate box: y(yes), n (no), or ua (unable to assess). in addition, if you check y(yes), also check min (minimal), mod (moderate), or sev (severe). space is provided below for comments. please complete four checklists for each subject: lateral, anterior, and posterior views, and frontal plane. (note: frontal plane deviations may be noted in the anterior and/or posterior views) lateral view y n i ua nun mod sey 1) forward head? 2 head alined in neutral on neck? if y, skip #3-4 3 head tilted osteriorl on neck? 9 excessive thoracic k .hosis? 10) flattened thotacic spine? 11) protruding abdomen? 12 lumbar lordosis wnl? if y, ski. # 13-14 — _ 16 anterior .elvic tilt? 17 posterior .elvic tilt? 18 knee flexed? 19 knee h .erextended? 20 ankle dorsiflexed? ~ ~ 21 ankle .lantarfiexed? comments: subject # postural assessment frontal plane (ant/post) y n ua min mod sev 1) head in neutral alignment on neck? if y, skip #2-5 2) head rotated to r? 3) head rotated to l? 4) head sidebent to r? 5) head sidebent to l? 6) level of shoulders equal? if y, skip #7-8 7) r.shoulder higher? 8) l shoulder higher? 9) internal shoulder rotation? 10) external shoulder rotation? 11) level of iliac crest equal? if y, skip #12-13 12) r iliac crest higher? 13) l iliac crest higher? 14) genuvarum? 15) genuvalgum? comments: 2 subject # postural assessment posterior view y n ua _ min mod sev 1) trapezius muscle bulk equal bilaterally? if y, skip #2-3 2) r trapezius greater bulk? 3) l trapezius greater bulk? 4) gastroc muscle bulk equal bilaterally? if y, skip #5-6 5) r gastroc greater bulk? 6) l gastroc greater bulk? 7) bilateral achilles tendons vertically aligned? if y, skip # 8-11 8) r foot varus? 9) r foot valgus? 10) l foot varus? 11) l foot valgus? comments: 4 subject # postural assessment anterior view y n ua min mod sev 1) level of clavicles equal? if y, skip #2-3 2) r clavicle higher? _ 3) l clavicle higher? 4) out toeing wnl? (8-10 each foot) if y, skip #5-6 5) excessive out toeing? — 6) in toeing? 7) feet in neutral alignment? if y, skip #8-11 8) r foot supinated? 9) r foot pronated? 10) l foot supinated? 11) l foot pronated? i comments 3 frj 7 menase es feldenkrais research journal • volume 7 (2023) hipótesis y teoría aprender a encarnar: el método feldenkrais® stéphanie ménasé dra. practicante certificada del método feldenkrais y pintora contacto: stephanie.menase@free.fr traductora: maría del carmen cortés resumen el método feldenkrais introduce una comprensión actualizada de lo que la inscripción corporal puede hacer en los campos del aprendizaje, del reaprendizaje y de la recuperación de las capacidades, en particular estimulando la plasticidad del sistema nervioso y promoviendo el entrenamiento y la reactivación de nuestro perfeccionamiento. el método feldenkrais puede ayudar a clarificar o reconsiderar lo que la corporeidad puede hacer en este proyecto de aprendizaje posible y continuo. ¿cómo puede el método feldenkrais apoyar tal propósito de calidad y precisión en nuestra acción por medio de un proceso de aprendizaje que involucra -y a menudo se basa enla capacidad de movimiento de una persona? ¿qué nos dice esto sobre la forma en que los seres humanos se desarrollan y aprenden? esta contribución busca resaltar modalidades de trabajo del método feldenkrais, descrito como un proceso que favorece la acción precisa, adaptada, o permite la libertad necesaria para la realización de cualquier proyecto humano, poniendo particular atención en los componentes de aprendizaje de nuestros proyectos. palabras clave encarnar, proceso experiencial, presencia, método feldenkrais, perspectivas del feldenkrais, sistema nervioso, desarrollo de habilidades, aprendizaje copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:stephanie.menase@free.fr https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. ménasé es • feldenkrais research journal, volume 7 (2023) 2 hipótesis y teoría aprender a encarnar: el método feldenkrais® stéphanie ménasé phd en filosofía, profesora certificada del método feldenkrais y pintora traductora: maría del carmen cortés este texto ha sido redactado, siguiendo una restricción formal innegociable, para el coloquio internacional: «la toma de conciencia en situación de enseñanza: cuerpo, gestos, palabra».1 mi objetivo era presentar a los profesores-investigadores, catedráticos y profesores universitarios, principalmente de educación, ciertos aspectos del feldenkrais a partir de mi experiencia en la enseñanza del método. insistir en las modalidades de la encarnación en la función docente de esta disciplina, he intentado describir algunos de los principios del método, con la finalidad de mencionar algunas de sus aplicaciones. la tesis que defiendo es: el método feldenkrais introduce una comprensión revisitada de lo que la inscripción corporal puede hacer en los ámbitos del aprendizaje, el reaprendizaje y la2 recuperación de capacidades, en particular estimulando la plasticidad del sistema nervioso y favoreciendo el entrenamiento y la reactivación de nuestra perfectibilidad.3 la enseñanza del método feldenkrais es una disciplina arraigada en las posibilidades que ofrece nuestra corporeidad. somos seres encarnados y es esto lo que necesitamos volver a aprender como nuestro principal agente de comunicación con el entorno. nuestras palabras también deben convertirse en la expresión de nuestra relación con el mundo y es como un todo presente que interactuamos con los demás. es la encarnación de nuestra experiencia lo que le da cuerpo, es decir, consistencia, a lo que podemos transmitir a los demás, es nuestra propia experiencia como seres encarnados la que hace que nuestra experiencia sea operativa. el4 4 operativo [productivo] en referencia al título pensamiento productivo (1945) del psicólogo de la gestalt, max wertheimer, mencionado por moshe feldenkrais como un texto importante durante la formación de 3 perfectibilidad: la capacidad de cambiar y mejorar en respuesta a la inadecuación, que también puede incluir la evolucionabilidad: la capacidad de adaptarse a nuevas situaciones. 2 inscripción corporal: inscripción, inscrito, similar al uso, por ejemplo, en geometría, "el círculo inscrito en un triángulo”, etc., y también como señal dejada en una superficie, en un soporte [como inscribir signos en una tablilla de arcilla o grabar figuras en piedra o madera o en cualquier otro soporte]. véase: varela, thompson y rosch, 1993. 1 prise de conscience dans la situation d’enseignement: corps, gestes, parole, directores de la conferencia: bernard andrieu y emmanuelle maitre de pembrocke, en la universidad de créteil, 25 y 26 de mayo de 2016, lirtes / imaginer / tec. algunas adiciones se han hecho a la versión original en francés. ménasé es • feldenkrais research journal, volume 7 (2023) 3 practicante del método feldenkrais, para enseñar lo que tiene en mente, debe basarse en su propia experiencia -que implica variaciones distintas a la suyay, en particular, en la experiencia kinestésica que ha desarrollado. este es el punto de partida para ayudar a otra persona, principalmente a través del toque en la if (integración funcional®) o a un grupo de personas mediante la palabra en las lecciones de autoconciencia a través del movimiento®, y continuar así la investigación a través del movimiento al examinar la forma en que cada persona organiza su propia manera de moverse, al comprometerse con esta forma específica, y al encontrar las posibilidades para hacerlo de otra manera. el método feldenkrais tiene sus fundamentos en esta dimensión sensoriomotora y en las capacidades informativas y organizadoras de los circuitos de aprendizaje. también podemos5 decir: el método feldenkrais es una pedagogía que toma como fuente la facultad de sentir y moverse de cada persona. esta pedagogía utiliza el movimiento y la articulación del movimiento como medio de aprendizaje y principio del desarrollo de la persona. en nuestro desarrollo en general, una intención basta para proporcionar la complicada serie de impulsos que presiden o programan todos nuestros movimientos. y el método feldenkrais utiliza este funcionamiento para ayudar a las personas a conectar (vincular o relacionar) sus pensamientos y sus sensaciones, sus sentimientos con sus acciones y reacciones. la mayoría de las veces, olvidamos que, en el curso de nuestro desarrollo, hemos tenido que aprender todo tipo de cosas y pasar por muchas etapas, que hemos tenido que desarrollar capacidades que no nos venían dadas. para ello, han entrado en juego dos factores: nuestra propia organización y la interacción de nuestro entorno (merleau-ponty 1961: cap. 2). hemos profundizado en el aprendizaje asociado a nuestra especie dentro del reino animal, pero debido a que el sistema nervioso central humano (snc) es tan complejo, nos ha permitido hacer un aprendizaje de muy alto nivel y sobre una base estrictamente individual (ontogenética). el método feldenkrais es una forma de promover aprendizajes de cualquier tipo estimulando procesos acordes con nuestro desarrollo psicomotor, utilizando los escenarios que están en juego en el desarrollo neurológico. el propósito del método feldenkrais es, a través de 5 el término "circuito de aprendizaje" hace hincapié en un proceso en el que intervienen no sólo las capacidades del sistema nervioso, sino también otros factores y dimensiones del aprendizaje, que no son estrictamente eléctricos, químicos o mecánicos, sino que son la manifestación más amplia de un sistema complejo. feldenkrais en san francisco en 1975. (véase también: feldenkrais, 1977, el caso de nora). productivo como operación, como proceso subyacente, por ejemplo, en un cálculo o en la forma en que prestamos nuestra experiencia a una fórmula para que tenga sentido. por ejemplo, el cogito, "yo pienso, yo soy", requiere que operemos la propia experiencia para que las palabras y el significado adquieran sentido. esta idea de lo operativo, lo productivo, implica, por tanto, un proceso basado en el insight, en un significado que pone en juego la perspicacia. muchos pensadores defienden el proceso según el cual sólo el razonamiento perspicaz puede proporcionar una verdadera comprensión de los problemas y las relaciones conceptuales. el pensamiento operativo se caracteriza por los cambios de perspectiva que permiten a la persona que resuelve el problema de plantearse nuevos enfoques, a veces transformadores. ménasé es • feldenkrais research journal, volume 7 (2023) 4 movimientos sencillos, repetidos de manera gentil, de acuerdo a un ritmo lento y tomando como referencia el desarrollo motor de los niños, estimular nuestro sistema nervioso central (snc), sea cual sea nuestra edad, empleando y despertando su plasticidad y refinando la calidad de la información sensorial. la inscripción de vías específicas a nivel de las redes sinápticas hace posible la variación del movimiento; la discriminación organizativa entre movimientos similares, pero ligeramente diferentes constituirá la diferenciación necesaria para un movimiento específico (y otros factores como la intervención de procesos de inhibición o desinhibición, según las circunstancias). los circuitos sinápticos se configuran progresivamente y se hacen más complejos en función de las acciones que los solicitan. así, cuanto más diferenciados sean los destinos, más variaciones posibles tendrá la persona a su disposición y mayor será su capacidad de encarnar su singularidad. es mediante la repetición de una acción, de un movimiento, que el niño aprende poco a poco a forjar una experiencia y que su movimiento se ajusta a su intención, al propósito de su acción. el enfoque del método feldenkrais se centra en la forma en que se realiza un movimiento. en resumen, utiliza procesos de diferenciación, exploraciones asimétricas y entrena las capacidades de imaginación sensoriomotora o de representación del movimiento (feldenkrais 1997). el método busca clarificar nuestro esquema corporal o autoimagen (schilder 1968) y favorece o permite que emerjan potenciales enterrados bajo hábitos o que se atenúen o incluso borren disfunciones a favor de una organización más funcional y mejor habitada (feldenkrais 1997). en caso de disfunciones severas, el método feldenkrais busca estimular procesos de reaprendizaje que reorganizan las funciones a nivel del sistema nervioso. existe una interacción continua entre las actividades motoras y sensoriales. a veces, e incluso a menudo, la incapacidad para mover un miembro está relacionada no sólo con un déficit motor, sino también con un desorden sensorial, y es aquí donde el método feldenkrais consigue poner en marcha una recuperación eficaz, incluso a nivel de la autoimagen. veamos un caso: una persona tiene dificultades para ponerse los zapatos de manera congruente. para un practicante del método feldenkrais, lo importante es remediar esta desorganización, y determinar si se debe a una confusión mental o a una apraxia no ayuda a comprender ni a resolver concretamente la disfunción. podemos formular la hipótesis de que es la evidencia de elegir el zapato para el pie correspondiente lo que está desdibujado o desintegrado; y preguntarnos si esta dificultad no va acompañada de otras perturbaciones. en el caso de esta persona, sabemos que padece un trastorno de la orientación. varios factores -como dibujar a través del toque la forma de sus pies (con los dedos gordos hacia la línea media del cuerpo siendo capaces de encontrarse entre sí; y con los dos dedos pequeños hacia fuera, etc.); estudiar el paso y la trayectoria de los impulsos desde la planta del pie a través del esqueleto; y diversos movimientos que enriquecen la imagen (gestalt)-, completaron una percepción adecuada y una síntesis funcional, ayudaron a esta persona a recuperar la capacidad, sin tener que pensar en ello o determinar qué zapato va en qué pie. este aprendizaje kinestésico puede dar paso a un funcionamiento espontáneo. hemos reintegrado la función a través de la representación de un modo sensorial y motor, y al hacerlo hemos ménasé es • feldenkrais research journal, volume 7 (2023) 5 estimulado las conexiones correspondientes en el sistema neurológico o hemos fomentado un "cableado" más funcional. esta redefinición de sus pies permitió a su sistema, globalmente organizado, adoptar una acción adecuada a su proyecto: ponerse los zapatos de tal forma que, una vez puestos, tuviera el mejor equilibrio al estar erguido.6 con la misma facilidad podríamos haber procedido guiándole a través de la palabra hablada y proponiéndole diversas exploraciones a través del movimiento. en todos los casos, nos parece crucial que, en estas exploraciones de aprendizaje o reaprendizaje, la persona parta de sí misma, de su realidad, y no de un modelo externo y abstracto o de un modelo aplicado teóricamente sin ningún vínculo con su propia experiencia. podría haber elegido muchas otras experiencias y, en cada una de ellas, habría subrayado que el método feldenkrais funciona de muchas maneras diferentes. no se trata de un método milagroso, ni de un conjunto de aparatos que hay que aplicar, sino más bien de una pedagogía de investigación experimental centrada en una mejor funcionalidad, que a menudo requiere tiempo y perseverancia. en el caso de este hombre, el hecho de reconectar a través del toque con la sensación del pie, su forma, su extensión, sus articulaciones, es decir, también sus posibilidades direccionales o motrices en relación con toda la pierna, su relación simétrica con la otra pierna, su relación con el todo, etc., le permitió recuperar la capacidad de elegir el zapato adecuado para el pie correspondiente. otros elementos apuntaban en la dirección de esta hipótesis de un esquema corporal perturbado, pero otras observaciones podrían habernos llevado a prever otra vía que era necesario aclarar o reorganizar. es muy probable que la recuperación del pie en la organización del ser afectara también a otras desorganizaciones: o bien permitió que salieran a la luz, o bien las resolvió indirectamente, o bien las redujo. el desarrollo funcional no es sólo un epifenómeno de las capacidades de aprendizaje en general; a menudo, los descubrimientos que los individuos hacen en relación con sus capacidades motrices eliminan inhibiciones inadvertidas que perturbaban otros tipos de aprendizajes. si, a partir de "el cuerpo y sus conexiones sensoriomotoras", podemos desarrollar destreza que aparentemente no tienen nada que ver entre sí (ese complejo sistema de un cuerpo sensible capaz de moverse), es porque nuestras habilidades motrices son la expresión más directa de nuestro grado de maduración y la manifestación más accesible de los procesos de organización, ajuste y autorregulación puestos en relieve por los trabajos sobre neuroplasticidad (varela, thompson y rosch 1993; reese 2015: 307-309; buzsáki 2019). 6 también se pueden encontrar casos similares en los estudios y obras de feldenkrais: el caso de nora (1977), una mujer que se recupera de un derrame cerebral (2ª ed., 1993, 12); y una lección individual impartida el 28 de junio de 1980 por feldenkrais en programa de formación en amherst: larry # 1, un hombre que tuvo varios infartos. ménasé es • feldenkrais research journal, volume 7 (2023) 6 la pérdida de esta "imagen de una parte del ser" puede causar otras innumerables perturbaciones y adoptar la forma de otras manifestaciones. restaurar o completar el esquema corporal puede tener beneficios secundarios inadvertidos: así, la persona puede recuperar una mayor calma interior y, como consecuencia, también una mayor disponibilidad para otras cosas, una forma de libertad de espíritu, por ejemplo. si, como defendemos, nuestra corporeidad es aquello sin lo que no tendríamos mundo, es esencial y urgente reconectar con nuestras propias sensaciones como seres encarnados (merleau-ponty 1964). mientras no se viva la experiencia, ésta (este proceso experiencial)7 puede permanecer vacía y sonar vacía. por eso insisto en el hecho de que mi presentación no tiene pretensión demostrativa, sino simplemente introductoria, para animar a la gente a practicar este método y a enfrentarse a este tipo de aprendizaje sobre sus propios patrones funcionales. el entrenamiento, en este método, nos permite, por ejemplo, desplazar nuestra atención del primer plano al fondo, y luego navegar de uno a otro, nos permite poco a poco prestar atención a ambos de forma diferenciada, y a la vez simultánea. y esta nueva disposición, o habilidad, nos permite ampliar nuestro campo de presencia, desarrollar la percepción de nosotros mismos en volumen; este encarnarse tridimensionalmente puede, a su vez, contribuir al reconocimiento del campo de presencia de los otros, por ejemplo. a partir de ahí, se hacen posibles otros desarrollos. con el método feldenkrais, practicamos un flujo de atención precisa y dirigida. sin embargo, el método feldenkrais no aboga por intelectualizar nuestras acciones; la idea es permitir que lo espontáneo emerja en una presencia cada vez más relevante y aguda (ménasé 2003). el beneficio consiste en encarnar un nivel más alto de funcionalidad en acción y no en desarrollar una mayor autoobservación en intención, lo que, ante una examinación profunda, conduciría a8 una desafortunada escisión entre el objetivo en sí (desarrollar una alta calidad de presencia) y la manera de no realizarla eficientemente. sin embargo, para desarrollar esta forma de presencia (desarrollada, por ejemplo, mediante la práctica del método feldenkrais), primero hay que pasar algún tiempo con uno mismo, observándose en acción, es decir, en movimiento. como señala feldenkrais, "los individuos más talentosos mejoran tomando conciencia de sí mismos en acción, y su talento proviene de la libertad que obtienen de ello para elegir entre distintos modos de acción" (feldenkrais 1997: 121).9 9 n. de t. al castellano: la cita se puede encontrar en la página 98 del libro la dificultad de ver lo obvio de la editora paidós (1991). 8 en francés, he contrapuesto en action a en intention, para subrayar que no se trata de una voluntad vacía, ni de una tendencia formal o ideal. 7 experiencia vivida: con esto me refiero a cualquier manifestación que genere cambios en nuestra percepción, en nuestro pensamiento, en nuestra forma de relacionarnos con cualquier cosa, ya sean otras personas, otras situaciones, otras formas de pensar y poder comprenderlas, y que se integre o incorpore a nuestros modos de acción, en contraposición a una estricta idea teórica sin relación o referencia a nivel sensorial o implicación para nuestro ser. ménasé es • feldenkrais research journal, volume 7 (2023) 7 la ambición de este método es encontrar caminos para que cada individuo encuentre lo que hay de único en él o ella y así hacer una contribución esencial, no sólo para sí mismo o sí misma, sino también para la sociedad. para lograrlo, la educación debe entenderse como un método encarnado de conocimiento y experiencia. referencias buzsáki, g. (2019) the brain from inside out. oxford: oxford university press feldenkrais, m. ([1977]1993) the case of nora. body awareness as healing therapy. 2nd ed. california, berkeley: somatic resources frog ltd feldenkrais, m. ([1981]1997) l'évidence en question [the elusive obvious]. trans. by a collective of french practitioners. paris: l'inhabituel ménasé, s. (2003) passivité et création. paris: presse universitaire de france merleau-ponty, m. (1961) le visible et l'invisible. ed. by lefort, claude. paris: gallimard merleau-ponty, m. (1964) l'œil et l'esprit. ed. by lefort, claude. paris: gallimard reese, m. (2015) moshe feldenkrais. a life in movement. vol. 1. san rafael: reesekress somatics press schilder, p. ([1950]1968) l'image du corps [the image and appearance of the human body]. trans. to french by gantheret, f. and truffert, p. paris: gallimard varela, f., thompson, e. and rosch, e. (1993) inscription corporelle de l'esprit. trans. to french by havelange, v. paris: seuil wertheimer, m. (1945) productive thinking. new york: harper biografía inicialmente investigadora en filosofía y editora de varios manuscritos de maurice merleau-ponty y de numerosos artículos relacionados con la ontología desplegada en su último trabajo, stéphanie es autora del libro passivité et création [pasividad y creación], en el que expone cómo nuestras actividades se duplican con la pasividad y muestra las consecuencias de tal comprensión sobre la subjetividad, sobre la libertad y sobre lo que puede ser una acción creativa. antes de formarse en el método feldenkrais (en 2009), su campo de estudio fue el trabajo y el legado de moshe feldenkrais, principalmente a través del vasto repertorio de sus ménasé es • feldenkrais research journal, volume 7 (2023) 8 lecciones, tanto en su dimensión práctica como en sus propuestas y aportaciones científicas y cognitivas subyacentes. ha participado en la publicación de materiales, así como en la reorganización de la base de datos de zotero de referencias de feldenkrais (grupo de trabajo de investigación fif). continúa ejerciendo con una práctica ininterrumpida (en francés e inglés) en diversos contextos. como pintora, participa regularmente en exposiciones individuales y colectivas. ménasé es • feldenkrais research journal, volume 7 (2023) 9 frj 7 eikmeier es feldenkrais research journal • volume 7 (2023) investigación original la calidad del movimiento y el hacer música: sobre la relación entre el método feldenkrais® y la improvisación musical corinna eikmeier prof. dr. phil.; practicante de feldenkrais, hannover, germany correspondencia: post@corinna-eikmeier.de traductoras del inglés: amelia febles diaz y maría clara reussi traductora del alemán y revisora: maría clara reussi resumen al hacer música, la calidad de los movimientos y el resultado musical están estrechamente relacionados. la calidad de los movimientos difiere cuando se improvisa de cuando se interpretan obras ya compuestas. el punto de partida de este estudio fue que las sensaciones físicas de los músicos mientras improvisan eran similares a las de los participantes de las clases de feldenkrais. a esto se oponía que los músicos que ejecutaban composiciones de autor encontraban difícil aplicar lo que habían aprendido en las clases de feldenkrais a la ejecución de su instrumento. estas observaciones condujeron a las siguientes preguntas de investigación: ● ¿podemos identificar modos de acción específicos que sean significativos para la improvisación? ● ¿existe un efecto de ida y vuelta entre los modos de acción improvisatorios de los músicos y la calidad de sus movimientos en el momento de hacer música? ● ¿se cultivan a través del método feldenkrais ciertos modos de acción que benefician la improvisación musical? el diseño de la investigación se inspiró en el enfoque [metodológico] de la heurística cualitativa y se amplió con principios de la investigación artística. las herramientas metodológicas fueron las entrevistas de investigación, la introspección y el experimento cualitativo. además, se desarrolló un modelo que describe la improvisación como "autopoiesis" en el presente. el proceso de investigación arrojó los siguientes resultados: ● el sistema de la "autopoiesis" encuadra las condiciones para la improvisación. los componentes son, además del propio músico, su comunicación con los que también están tocando con él y también la música de ahí resultante. la percepción de los músicos es lo que une estos componentes por lo que las preocupaciones mentales para intentar evitar errores o para mantener el control en la ejecución conducen a un debilitamiento de la improvisación. ● la comparación entre los modos de acción improvisatorios y el método feldenkrais demuestra que se puede responder afirmativamente a la tercera de las preguntas de investigación planteadas anteriormente: en un nivel de alta generalización, las habilidades de la improvisación published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:post@corinna-eikmeier.de https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org se aprenden en el método feldenkrais. los criterios para la calidad del modo de acción improvisatorio pueden transferirse desde el método feldenkrais. ● en los 49 experimentos explorados, las variaciones en las secuencias de movimiento condujeron a cambios en los modos de acción improvisatorios. los sujetos de prueba consiguieron cada vez más quitar de en medio la retrospección y la anticipación [mental] y, actuando en el presente, pudieron emprender nuevos caminos [en la improvisación]. ● la constatación de que la calidad del movimiento y el resultado musical se influyen mutuamente en general, incluso cuando se interpretan obras de partitura, debería inspirar esfuerzos por incorporar principios de la improvisación en la enseñanza de los instrumentos,experimentando los principios del modo de acción improvisatorio y enriqueciendo así la interpretación de la música clásica, en la que a menudo se hace demasiado hincapié en el control. [las palabras o expresiones en corchetes son aclaraciones de la traductora maría clara reussi] palabras clave pedagogía vocal e instrumental, improvisación, método feldenkrais, calidad del movimiento, modos de acción, interpretación, investigación cualitativa, investigación experimental, métodos heurísticos copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 2 investigación original la calidad del movimiento y el hacer música: sobre la relación entre el método feldenkrais® y la improvisación musical corinna eikmeier prof. dr. phil.; practicante de feldenkrais, hannover, germany traductoras del inglés: amelia febles diaz y maría clara reussi traductora del alemán y revisora: maría clara reussi introducción este artículo es un resumen del informe de investigación que se publicó en una versión más detallada en 2016 con el título del mismo nombre.1 observaciones iniciales este proyecto de investigación fue llevado adelante en el contexto de la educación musical clásica de la cultura occidental, enfocándose en la pedagogía instrumental y vocal, en la que la interpretación [de una obra] es un componente importante. un porcentaje considerable de2 músicos profesionales sufre dolencias del sistema musculoesquelético. como medida3 preventiva, renombrados médicos especialistas en tratamientos para músicos profesionales 3 véase un resumen de las estadísticas en: hildebrandt horst (2002): musikstudium und gesundheit. aufbau und wirksamkeit eines präventiven lehrangebotes (= estudios musicales de zúrich, vol. 1). berna: et al: lang, p.16. 2 la comparación con otras culturas musicales en las que el aprendizaje se realiza tradicionalmente a través de la improvisación y la transmisión oral no fue objeto de la investigación y, por tanto, no se abordó. las áreas creativas como la improvisación y la composición se integran a menudo en la pedagogía instrumental y vocal como medio para alcanzar un fin con el objetivo de realizar mejor las interpretaciones. véase, entre otros, busch, barbara/metzger, barbara (2016): contenidos de la enseñanza instrumental. en: grundwissen instrumentalpädagogik. ein wegweiser für studium und beruf, pp. 232-253 y ernst, anselm (1991): lehren und lernen im instrumentalunterricht. un manual pedagógico para la práctica. maguncia: schott, capítulo: 2 campos de aprendizaje y contenidos de enseñanza, pp. 44-69. 1 eikmeier, corinna (2010): calidad del movimiento y práctica musical. sobre la relación entre método feldenkrais y la improvisación musical. fernwald: musikautorenverlag burkard muth. versión abreviada de este artículo: improvisar con un cuerpo improvisador. en: reinhard gagel, matthias schwabe (eds.) (2016): improvisation erforschen improvisierend forschen. beiträge zur exploration musikalischer improvisation// investigar la improvisación investigar mediante la improvisación. ensayos sobre la exploración de la improvisación musical. bielefeld: transkript. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 3 recomiendan el uso complementario de técnicas somáticas. los profesores de los métodos de aprendizaje somático [que participaron en este estudio] estaban especializados en el trabajo con músicos. durante mis clases como docente de feldenkrais en un conservatorio de música,4 observé en los músicos de formación clásica que ellos no podían aplicar directamente la experiencia adquirida en las clases de feldenkrais a su práctica instrumental. en las clases de feldenkrais se explora una "cualidad improvisatoria del movimiento". aparentemente, cuando5 se ejecuta un instrumento, los patrones de movimiento ensayados monótonamente [en esa práctica] no se pueden cambiar sin más. las descripciones de las sensaciones del cuerpo al improvisar fueron similares a las descripciones de las sensaciones que muchas personas comentaron tener después de las clases de feldenkrais. son las mismas personas que6 recordaron sus sensaciones de movimiento al interpretar [una obra de autor] más bien negativamente. los movimientos técnicos al tocar no pueden ser el único factor decisivo para ello, ya que difieren muy poco al improvisar y al interpretar una partitura (tocar el violín sigue siendo tocar el violín). evidentemente, [para la transferencia del aprendizaje] contribuyen la actitud interior al hacer música, la percepción, la escucha y la voluntad de comprometerse plenamente con la situación presente. preguntas en muchas publicaciones sobre problemas médicos en los músicos y fisiología de la ejecución instrumental no se plantea la cuestión de las diferencias entre los distintos tipos de práctica musical.7 7 u. a. altenmüller, eckard (2006): enfermedades neurológicas en músicos. heidelberg: springer. bastian, hans g. (ed.) (1995): prevenir y evitar enfermedades. instrumental playing from a physiological, technical and curative pedagogical perspective [ii simposio ibff de paderborn]. maguncia: schott. blum, jochen (ed.) (1995): problemas médicos en los músicos. con prólogo de sir georg solti. stuttgart et al: thieme. gellrich, martin (1997): über den aufbau motorischer schemata beim instrumentalspiel. en: mantel, gerhard (ed.). unused potentials: ways to constructive practice (= informe del congreso 1997 del instituto de investigación de pedagogía instrumental y vocal e. v. en cooperación con la universidad de música y artes escénicas de frankfurt am main). maguncia: schott. pp. 131-151. hildebrandt, horst (2002): estudio musical y salud. structure and effectiveness of a preventive teaching programme (= zurich music studies, vol. 1). berna et al: lang. 6 en el marco de la beca dorothea erxleben, la autora ya llevó a cabo un proyecto sobre el tema de feldenkrais y la improvisación entre 2007 y 2009. en este contexto, se preguntó a músicos improvisadores mediante un cuestionario sobre su conciencia corporal al improvisar e interpretar. desde la perspectiva actual, el cuestionario no responde a criterios científicos. sólo ha permitido al autor reflexionar sobre el presente proyecto. 5 el término no existe en la literatura del método feldenkrais en esta forma. fue acuñado por la autora de este proyecto de investigación a través de la analogía entre el método feldenkrais y la improvisación. 4 curso continuo en las clases grupales "autoconciencia a través del movimiento" y en las clases individuales "integración funcional" para estudiantes de todas las carreras de la universidad de música, arte dramático y medios de comunicación de hannover. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 4 para el proyecto de investigación que se describe a continuación, las diferencias observadas en los sujetos en la práctica musical y en la calidad de su improvisación ya eran relevantes en las primeras observaciones. por esta razón, la improvisación se convirtió en el objeto de estudio. la improvisación exige habilidades que son importantes para cualquier otra práctica de creación musical, pero que son indispensables en la improvisación. se definió el término "acción improvisatoria", que también puede utilizarse en la práctica de la creación musical interpretativa. de las observaciones iniciales se derivaron las siguientes preguntas centrales: ● ¿qué modos de acción son significativos para la improvisación? ● ¿cuál es la interacción entre estos y la calidad del movimiento en la creación musical? en relación con el método feldenkrais: ● ¿qué modos de acción improvisatorios se abordan de manera implícita en el método feldenkrais? ● ¿qué comparaciones pueden establecerse entre las estrategias de aprendizaje utilizadas en el método feldenkrais y modos de acción improvisatorios? proceso de investigación tanto la improvisación como el método feldenkrais no pueden investigarse satisfactoriamente con métodos de medición científicos o cuantitativos debido a su altísima complejidad. el diseño de la investigación utilizado en este estudio se desarrolló de forma improvisada en el transcurso de la misma. la metodología se basó en principios tomados prestados de la heurística cualitativa, que se describen en la sección siguiente. como variantes metodológicas se utilizaron las entrevistas de investigación, la introspección y, sobre todo, el "experimento hildebrandt, horst (2006): práctica y salud. aspectos músico-fisiológicos seleccionados de la práctica y su significado especial para la formación diaria y la vida profesional. en: mahlert, ulrich (ed.) (2006): handbuch üben. fundamentos métodos conceptos. wiesbaden et al: breitkopf & härtel, pp. 67-97. klein-vogelbach, susanne/lahme, albrecht/spirgi-gantert, irene (2000): instrumento musical y postura. un reto para músicos, educadores musicales, terapeutas y médicos. sano y en forma en la vida cotidiana como músico. con prólogo de natalia gutman. berlín et al: springer. klöppel, renate (1999): el libro de salud para músicos. anatomía, enfermedades profesionales, prevención y terapia. kassel: bärenreiter. puls, hartmut (2000): experiencias del trabajo corporal con estudiantes de música. la profilaxis como materia de enseñanza en la hochschule für musik "hanns eisler" de berlín. üben & musizieren, 17th jg. no. 5, pp. 27-33. schnack, gerd (2000): gesundheitsstrategien beim musizieren übungen zur prävention und therapie von spielschäden. munich et al: urban & fischer. schnack, gerd (2010): preparando un terreno fértil. sobre la aplicación de la salud de los músicos en la enseñanza superior. üben & musizieren, 27º jg. nº 1, pp. 22-27. spahn, claudia (2011): medicina del músico. diagnóstico, terapia y prevención de enfermedades específicas de los músicos. con la colaboración de jochen blum. stuttgart: schattauer. wagner, christoph (1995): fundamentos fisiológicos y fisiopatológicos de la creación musical. en: blum, jochen (ed.). problemas médicos de los músicos. con prólogo de sir georg solti. stuttgart/nueva york: thieme, pp. 2-29. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 5 cualitativo". heurística cualitativa "el descubrimiento es el proceso de sustituir o ampliar lo conocido agregando algo nuevo, es decir, básicamente es cambio". en su forma de descubrir el mundo, los niños son ejemplos8 vivos de investigación heurística. ellos se ocupan de hechos banales y evidentes y los desentrañan para su propia comprensión. "así, la actividad intelectual del investigador y del inventor demuestra una vez más no ser esencialmente diferente de la del hombre común. lo que este último hace instintivamente, el científico natural lo plasma en un método". la9 investigación heurística o de descubrimiento con métodos cualitativos se basa en una metodología desarrollada en la universidad de hamburgo, que se aplica en muchos campos.10 en ella, el proceso de investigación "se concibe como dialógico, como dialéctica aplicada".11 reglas básicas de la heurística cualitativa el método de la heurística cualitativa sigue las reglas básicas que se exponen a continuación. regla 1: "el investigador debe estar abierto a nuevos conceptos y cambiar sus ideas preconcebidas si los datos las contradicen."12 a la hora de llevar a cabo un proyecto de investigación, esta regla puede suponer recortes más severos si no se confirman las hipótesis. factores externos como la financiación y los plazos pueden interponerse en el camino de hallazgos inesperados. esto puede suponer un reto para la personalidad del investigador. las hipótesis formuladas por el investigador al principio pueden cambiar durante el proceso de investigación. del mismo modo, se requiere que el13 investigador esté abierto a nuevos hallazgos inesperados. ya en 1905, ernst mach señalaba: "no debemos rehuir los puntos de vista desconocidos si se apoyan en fundamentos seguros. pues la posibilidad de encontrar hechos fundamentalmente nuevos no sólo ha existido en las etapas anteriores de la investigación, sino que sigue existiendo incluso ahora y no ha dejado de existir ningún día". mach observa que las coincidencias hacen que a menudo las14 14 mach (1968), p. 249. 13 cf. mach (1968), p. 244. 12 kleining (2000) 11 kleining, gerhard/witt harald (2000): la investigación heurística cualitativa como metodología de descubrimiento para la psicología y las ciencias sociales: redescubrir el método de la introspección como ejemplo. forum qualitative sozialforschung, 1ª ed. nº 1, urn:nbn:en:0114-fqs0001136, consultado el 10 de abril de 2014. 10 cf. kleining, gerhard (1982): umriss zu einer methodologie qualitativer sozialforschung. kölner zeitschrift für soziologie und sozialpsychologie, 34th jg. no. 2, pp. 224-253, pp. 224 f. 9 mach ernst (1968) [reimpresión reprográfica de 51926]: erkenntnis und irrtum. esbozos sobre la psicología de la investigación. darmstadt: wissenschaftliche buchgesellschaft, p. 261. 8 kleining, gerhard (2001): offenheit als kennzeichen entdeckender forschung. en: hoock, claudia/böhm, jan m. (eds.). methodologie qualitativer sozialforschung (= kontrapunkt, vol. 1). münster: kontrapunkt, pp. 27-36 (= http://da ta.onb.ac.at/rec/ac06230553), p. 27 f. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 6 incongruencias entre ideas y hechos se hagan patentes y perceptibles. pero son precisamente éstas las que pueden conducir a la solución de problemas. después de todo, puede decirse15 que cualquier esfuerzo por ser activo en la investigación y realizar experimentos no tiene sentido si el investigador ya conoce de antemano el resultado de sus experimentos. el16 investigador debe estar abierto a tales coincidencias, relacionarlas con sus concepciones previas y derivar los siguientes pasos de estos nuevos hallazgos. esta mentalidad puede describirse básicamente como un enfoque de improvisación. la regla 1 guarda algunos17 paralelismos con la teoría fundamentada de glaser y strauss (1967). propone un uso flexible de los datos, según el cual la hipótesis no se formula al principio del proceso de investigación, sino que emerge de los datos en el transcurso del proceso.18 regla 2: "objeto de investigación flexible"19 esta regla está estrechamente relacionada con la regla 1 y establece: "el objeto de la investigación puede cambiar en el transcurso de la misma; el investigador debe seguir el cambio".20 regla 3: "los datos de la investigación deben mostrar al objeto de estudio bajo el paradigma de la máxima variación estructural de perspectivas."21 esto significa que los datos se examinan desde tantas perspectivas diferentes como sea posible. de este modo, se amplían al máximo los límites del objeto de investigación. ejemplos de ello son la variación de los métodos o temas de investigación. regla 4: mientras que la regla 3 amplía los límites, la regla 4 vuelve a cerrarlos. esta última establece: "los distintos datos se analizan en busca de sus puntos en común."22 los puntos en común también deben entenderse como analogías. los aspectos que no pueden integrarse en la estructura porque parecen demasiado alejados de las preguntas de la investigación en cuanto a contenido se sitúan fuera de los límites. el resultado sigue la llamada regla del 100%. los datos se incluyen completamente en el resultado. se tiene en cuenta23 23 cf. kleining, gerhard (2007): heurística cualitativa. análisis de encuestas e informes. 3rd berlin method meeting qualitative research, 29-30 de junio de 2007. 22 kleining (2001). 21 kleining (2001). 20 kleining (2001). 19 kleining (2001), citado en: http://da ta.onb.ac.at/rec/ac06230553, consultado el 12 de mayo de 2015. 18 cf. kleining (2001), p. 27 y ss. 17 cf. kurt ronald (2011): la improvisación como método de investigación social empírica. en: schröer, norbert/bidlo, oliver (eds.). el descubrimiento de lo nuevo. la investigación social cualitativa como sociología hermenéutica del conocimiento. wiesbaden: vs verlag, pp. 69-84, pp. 69 f. 16 cf. frey hans-jost (2005): versuch über das unvorhergesehene. en: fähndrich, walter (ed.). 2007. improvisation 6 [13 ponencias; 6ª conferencia internacional sobre improvisación, lucerna 2005]. winterthur: amadeus, pp. 107-129, p. 115. 15 cf. mach (1968), p. 252. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 7 cualquier desviación de los ejemplos individuales, lo que puede modificar el resultado. la máxima ampliación estructural de los límites (regla 3) es posible gracias al cambio de métodos. en este proyecto se utilizaron como variantes metodológicas las entrevistas de investigación con expertos, la introspección y los experimentos cualitativos. dado que el experimento cualitativo en particular tuvo una importancia especial en el proceso de investigación, a continuación se exponen los principios básicos más importantes. el experimento cualitativo el proceso de investigación está determinado por el diálogo: por las preguntas que el investigador formula al objeto y que deben ser respondidas por los hallazgos. en términos de experimento cualitativo, esto significa que las preguntas al objeto se transforman en experimentos. las respuestas (en forma de resultados experimentales) y su análisis pueden dar lugar a nuevas preguntas y nuevos experimentos, y así sucesivamente. esto da lugar a un diseño de investigación adaptativo en el que un análisis que ya se ha iniciado con los primeros datos disponibles puede conducir a una adaptación de la recolección de datos.24 en un experimento cualitativo, lo ideal es que el investigador lleve a cabo los siguientes pasos: 1. descripción del objeto de investigación: este primer paso es importante porque sin una descripción precisa del objeto, un experimento cualitativo difícilmente puede arrojar resultados significativos sobre su estructura; 2. intervención experimental; 3. descripción del objeto tras la intervención; 4. conclusiones acerca de su estructura.25 por intervención experimental se entiende la modificación de un componente del objeto investigado. en la aplicación de este principio, en este proyecto se modificaron aspectos individuales de los movimientos de los músicos y se observaron los efectos sobre las improvisaciones o la acción improvisadora. las técnicas experimentales pueden construirse de acuerdo con las siguientes reglas: reducción atenuación: las características esenciales de un objeto se identifican eliminando o mitigando elementos/funciones y comprobando si el objeto no cambia. anexión intensificación: se añade algo al sujeto, se intensifican sus elementos para 25 mayring, philipp (2002 [1990]): introducción a la investigación social cualitativa. una guía para el pensamiento cualitativo. weinheim: beltz, p. 60. 24 burkart, thomas (2010) experimento cualitativo. en: mey, günter/mruck, katja (eds.). investigación cualitativa en psicología. wiesbaden: vs-verlag, pp. 252-262, p. 252 f. http://www.berlinermethodentreffen.de/material/2007/texte/kleining.pdf, consultado el 25 de abril de 2015. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 8 explorar su estructura. sustitución: los elementos del sujeto se sustituyen por otros para explorar su significado estructural. transformación: el sujeto se transforma para explorar su estructura. las transformaciones interesantes son las negaciones (opuestos, inversión, imagen en espejo).26 a continuación se describe con más detalle el proceso de investigación de mi trabajo. fase 1 el primer paso que dí fue entrevistar expertos en improvisación, quienes dieron su opinión en las entrevistas de la investigación. para el muestreo teórico se tuvieron en cuenta las siguientes consideraciones: la primera entrevista de investigación tuvo lugar en una fase muy temprana con un colega de feldenkrais y músico profesional que tuvo una primera experiencia con mis ejercicios y tenía poca experiencia en improvisación. la segunda entrevista de investigación tuvo lugar diez meses más tarde. la interlocutora había expresado anteriormente su opinión sobre la analogía entre feldenkrais y la improvisación. también era colega de feldenkrais y músico profesional con experiencia en improvisación. la evaluación de estas dos conversaciones hizo que pareciera útil encontrar personas que no vieran el tema desde la perspectiva del profesional de feldenkrais. a continuación, se realizaron dos entrevistas con mujeres estudiantes de música que habían adquirido varios semestres de experiencia en improvisación en el curso "improvisación elemental" y que habían descrito cambios significativos en su forma de hacer música en las rondas de feedback. hubo dos aspectos a tener en cuenta en la selección del entrevistado para la entrevista de investigación número 5: 1. la voz del género masculino debía incluirse. 2. en los datos faltaban las declaraciones de un experto altamente calificado en improvisación. al elegir una persona para la entrevista de investigación 6, el espectro se amplió con otros dos aspectos que me motivaron: 1. el entrevistado tocaba mucho jazz. 2. como no había ningún músico de viento entre los cinco primeros entrevistados, yo esperaba pistas sobre la respiración al entrevistarlo. siendo que los seis primeros entrevistados eran músicos profesionales, entrevisté como 26 cf. burkart (2010), p. 252 y ss. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 9 séptima persona a una violista que no había empezado a tocar el instrumento hasta la edad adulta y que había improvisado desde el principio. no había padecido la formación y educación tradicionales. y, en consecuencia, no había adoptado los hábitos que eso conlleva,, esta vez, tenía curiosidad por ver si esto generaba nuevos aspectos para los datos. la entrevista de investigación 8 surgió de forma muy espontánea. el interlocutor era de nuevo un músico profesional que había desarrollado una metodología especial de improvisación. me comentó informalmente que a menudo invitaba a un profesor de feldenkrais a sus seminarios porque pensaba que el método encajaba muy bien con la improvisación. esto me dio una visión externa del método feldenkrais. la interlocutora 9 también vio una analogía entre el método feldenkrais y la improvisación. ella había sido formada por el propio moshé feldenkrais y combinaba las intervenciones feldenkrais con tareas de improvisación en sus clases con actores. la entrevista de investigación 10 consistió en una conversación durante un viaje en coche. la entrevistada era una música profesional con mucha experiencia en improvisación. contó que había aprendido virtudes cruciales para improvisar mientras practicaba el firewalking [caminar descalza sobre brasas]. los siguientes temas sirvieron de guía para las entrevistas, que se entrecruzaron con los interlocutores no de forma sistemática, sino libre, según surgían en cada uno de los entrevistados. 1. la improvisación como proceso de autoorganización ¿qué control activo sobre el resultado tienen los intérpretes en una improvisación? ¿por qué medios toman el control? ¿existe una actitud interior que permita ceder el control al propio proceso de improvisación? ¿en qué medida se trata de un deseo o de un objetivo de la actitud interior en la improvisación? en la teoría de los sistemas y en la investigación sobre el caos, existe el fenómeno de los atractores extraños. representan el estado final de un proceso dinámico que tiene una dimensión fractal. ¿este fenómeno desempeña algún papel en la improvisación? en caso afirmativo, ¿qué influencia tiene en las maneras de actuar cuando se improvisa? ¿se percibe como un estímulo o un reto particular? ¿existe la necesidad de controlar las posibles incertidumbres mediante una intervención artística? ¿existe un componente físico que se corresponda con ello? ¿qué importancia tiene la propia expectativa en el transcurso de una improvisación? 2. percepción ¿qué tipo de atención necesitamos para no perder de vista la obra de arte emergente y nuestras propias acciones en el momento presente? ¿en qué consiste la concentración a la hora de improvisar? ¿existen determinadas zonas en las que la atención sea especialmente eikmeier (es) • feldenkrais research journal, volume 7 (2023) 10 intensa? ¿la percepción se dirige más hacia la acción activa y el propio estado de ánimo o más hacia los acontecimientos musicales? ¿cuáles son las características de la actitud interna durante la improvisación? 3. gestión de los hábitos ¿se perciben los hábitos? ¿qué hábitos parecen útiles? ¿cuándo obstaculizan la libertad? ¿cómo se puede trabajar con los hábitos de forma significativa y constructiva y, a veces, burlarlos? 4. calidad del movimiento en la improvisación ¿cuál es la conexión entre los impulsos procedentes del cuerpo y la idea musical? ¿cómo afecta la actitud básica de improvisación a la calidad del movimiento? ejemplos: ¿está el cuerpo preparado para moverse? ¿los movimientos comienzan en un punto cero de absoluta quietud o de una posición neutra específica? ¿se siente el cuerpo pesado o ligero? ¿es fácil para el músico desplazar el peso mientras se toca? ¿es posible variar la calidad y el tempo de los movimientos en cualquier momento a voluntad? ¿está esto relacionado con su propia expresión musical? ¿se utiliza activamente la tensión de los músculos? ¿es adecuada a la calidad de la expresión musical? ¿se utiliza la respiración con flexibilidad? ¿tiene relación la respiración con la acción musical? a partir de los resultados de estas conversaciones , se derivó y definió el concepto “modos de acción improvisatorios“.27 resultó que los entrevistados sólo podían hacer afirmaciones muy generales sobre la interacción entre su comportamiento de improvisación y sus sensaciones de movimiento. los movimientos no se planifican, sino que simplemente se ejecutan y aún así funcionan sorprendentemente bien. fase 2 al trazar una analogía entre el método feldenkrais y la improvisación se definió la "cualidad improvisatoria del movimiento" y se demostró que en el método feldenkrais las habilidades improvisadoras se practican en un meta nivel. fase 3 en la tercera fase, la improvisación y el movimiento se combinaron en los denominados experimentos cualitativos en un total de 16 disposiciones experimentales diferentes. las intervenciones experimentales se referían a aspectos individuales del movimiento. el 27 véanse las explicaciones en la sección 5. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 11 experimento cualitativo, al igual que otros enfoques de investigación cualitativa, no se desarrolla deliberadamente en condiciones aleatorias y controladas. por lo tanto, fue posible28 decidir intuitivamente sobre las intervenciones y también sobre modificarlas en casos concretos. la fase 1 de los experimentos consistió en una improvisación libre. en la mayoría de los casos no hubo preparación previa mediante una clase de feldenkrais. después, dependiendo del interés de los participantes en el experimento y basándome en mi curiosidad, decidí cuál de los 16 arreglos experimentales se elegía como inicio. los cambios introducidos consistieron en tareas de coordinación de movimientos. estos cambios debían observarse en las improvisaciones de los participantes. en la evaluación de los experimentos se pusieron de manifiesto las limitaciones del lenguaje. a menudo, las personas estaban tan metidas en su música que no podían expresarse verbalmente. llegados a este punto, se incluyeron aspectos de investigación artística. las grabaciones de audio de los experimentos se convirtieron en material de datos y, por tanto, en parte de la propia investigación.29 función del investigador el papel del investigador requiere una reflexión aparte. la motivación para llevar a cabo el proyecto surgió de experiencias personales directamente sobre el terreno. una perspectiva aparentemente neutral no era posible debido a mis conocimientos previos y a mi implicación personal. por este motivo, se adoptaron conscientemente las siguientes perspectivas y se reflexionó sobre ellas: realización de los experimentos con documentación en un diario de introspección, participación en los experimentos al mismo nivel que los sujetos30 experimentales. de hecho, llevé adelante una evaluación de los datos pasado cierto tiempo. siempre tuve en cuenta la influencia implícita de mis actividades artísticas y pedagógicas, que configuraron indirectamente el proceso de documentación del proyecto. fase 1: la improvisación como forma de actuar a partir de los datos de las diez entrevistas de la investigación, se elaboró la definición de "modos de acción improvisatorios" que se resume a continuación. los "modos de acción improvisatorios" en este caso descritos para situaciones elegidas conscientemente en el contexto de procesos de improvisación musical, se distinguen de las nociones convencionales de modos de acción por las siguientes características: no existe un objetivo predeterminado de la acción. por supuesto, los músicos que improvisan tienen el objetivo de tocar música de buena calidad. sin embargo, aceptan el riesgo de que el resultado sea abierto y sitúan en primer plano el proceso de desarrollo de la improvisación. para que surja un proceso de improvisación, los músicos necesitan situaciones que los 30 el diario de introspección puede consultarse íntegramente en forschung.corinna-eikmeier.de. 29 cf. sobre los principios de la investigación artística klein, julian (2010): ¿qué es la investigación artística? en: stock, günter (ed.). science meets art. berlín: akademie-verlag, pp. 25-28. 28 cf. burkart (2010) p. 252-262. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 12 desafíen a intervenir con una acción creativa. la solución se busca simultáneamente, mientras se toca. las limitaciones se convierten en una ayuda como retos. pueden establecerse o surgir en el propio proceso de improvisación. durante un proceso de improvisación, surge una interacción constante entre las acciones iniciales y las acciones de seguimiento. una acción31 inicial debe ejecutarse de forma tan abierta que puedan seguirse en acciones de seguimiento. hay varias estrategias y preguntas para las acciones de seguimiento, que pueden dirigirse hacia la comunicación en el conjunto o hacia el material musical y su posterior procesamiento, cambio o interrupción. las preguntas descritas anteriormente ocupan al intérprete, como demuestran las conversaciones que se mantienen después de las improvisaciones. sin embargo, a menudo hay que tomar decisiones en muy poco tiempo. una improvisación es una entidad en constante cambio y no permite reflexiones prolongadas, ni siquiera pausas creativas. en las improvisaciones hay "momentos mágicos" en los que los intérpretes y la música parecen fundirse de tal manera que lo imprevisible de la improvisación sorprende a los intérpretes. las acciones intuitivas pueden conducir a una enorme claridad. los impulsos de acción se ponen en práctica sin vacilación. el requisito previo para ello es una actitud básica neutra a partir de la cual puede iniciarse una acción en cualquier momento. ningún razonamiento crea espacio entre el músico y la ejecución de su impulso. las estructuras y lógicas inmanentes a la música también determinan el proceso de improvisación. se desarrolla una interacción entre la guía de las estructuras inmanentes a la música y la guía de las decisiones de los intérpretes/ejecutantes. aparece un concepto de acción que se sitúa entre la razón y la intuición y que, por este motivo, no puede categorizarse, sino que deben incluirse estas facetas para el tratamiento de la cuestión central de la investigación".32 aproximarse a la música en las improvisaciones musicales intervienen los principios generales de la música. dado que en este proyecto no nos hemos centrado en un estilo musical concreto, se examinaron los criterios de las leyes de la música. en las leyes de la música dentro de las que se mueve el músico improvisador, se pone un gran énfasis en las tensiones que se generan (tanto entre sonidos y tonos de notas individuales, como entre grandes desarrollos formales), mucho más de lo que suele ser el caso cuando se interpretan obras compuestas. tanto jacoby como celibidache se interesan por las tensiones de los tonos y los sonidos, lo invisible, lo que está escondido entre líneas, por así decirlo. heinrich jacoby describe los aspectos analizables de la música como la arquitectura de ésta, mientras que al desarrollo de las tensiones entre los sonidos los describe como movimientos de energía. para él, los sonidos en sí mismos no son música. pueden convertirse en música a 32 de eikmeier (2016), p. 101. 31 sobre la definición de acciones iniciales y subsiguientes, véase bertram, georg w. (2010): improvisación y normatividad. en: bormann, hans-friedrich/brandstetter, gabriele/matzke, annemarie (eds.). 2010. paradojas de lo imprevisible. arte medios práctica. bielefeld: transcript, pp. 21-40, p. 23. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 13 condición de que la energía fluya a través de ellos. sergiu celibidache también describe en su33 conferencia "on musical phenomenology" que la mera existencia de un sonido no es todavía música. "la música no es algo. algo puede convertirse en música en determinadas condiciones únicas. y este 'algo' es el sonido. así pues: el sonido no es música; el sonido puede convertirse en música". el improvisador desarrolla su música a partir del mensaje "entre líneas", ya que34 no puede apoyarse en una arquitectura dada por el compositor, mientras que el intérprete debe intuirla dentro de las estructuras existentes. las regularidades de los recorridos energéticos, que deben tener siempre una dirección objetivo, existen independientemente del estilo musical. en el marco de estas regularidades, el improvisador puede jugar con las expectativas de los que escuchan y cambiar el curso de la tensión que viaja por la música. en la improvisación emergen nuevas estructuras, que se manifiestan especialmente en los puntos de inflexión o35 en las conclusiones. para que emerjan estas estructuras, los músicos se sumergen en "momentos mágicos". conectan tan fuertemente con la música que ellos mismos se36 sorprenden de los resultados que surgen. hace falta mucha fuerza para resistirse a las estructuras emergentes y actuar de forma completamente individual.37 decidir si se opta por una interpretación completamente aislada como forma extrema de intervención, o si se quiere seguir más los desarrollos orgánicos de la música, o interrumpirlos en momentos escogidos, son cuestiones estéticas. todas estas opciones son diferentes maneras de cambiar la forma en que se desarrolla la tensión a lo largo de la creación musical o de enfatizar el aspecto de imprevisibilidad en la improvisación y convertirlo en un juguete. comunicación en la improvisación desde el momento en que más de un músico participa en la improvisación, es decir, que no se trata de una improvisación en solitario, la comunicación en el grupo se convierte en un elemento constitutivo. la lógica musical se elabora y se controla conjuntamente, los músicos se comunican de forma no verbal o se ponen de acuerdo sobre determinadas formas de comunicación. mientras que el compositor "clásico" crea su obra en solitario, una improvisación de conjunto nace siempre de la comunicación y en un contexto dado. en cierto modo, un conjunto de improvisación es comparable a un organismo vivo que cambia y se organiza. tiene 37 he intentado en numerosas ocasiones que los grupos de improvisación toquen de forma totalmente individual. la necesidad de tocar juntos, sobre todo en un compás común, parece tan fuerte que es imposible resistirse. 36 este término procede de una entrevista de investigación. la interlocutora lo utiliza a lo largo de la conversación para describir sus acciones en el presente. 35 cf. gagel, reinhard (2010): la improvisación como arte social. reflexiones sobre el tratamiento artístico y didáctico de la creatividad improvisadora. mainz: schott. 34 celibidache, sergiu (2008 [2001]): sobre la fenomenología musical. a lecture and further materials (= celibidachiana. edición de la fundación sergiu celibidache, ed. por patrick lang y mark mast: obras y escritos, vol. 1). augsburgo: wißner, p. 10. 33 cf. jacoby, heinrich (1984): jenseits von "musikalisch" und "unmusikalisch". die befreiung der schöpferischen kräfte dargestellt am beispiel der musik. ed. por sophie ludwig. hamburgo: christians, p. 55. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 14 una procesualidad inherente que se desarrolla a través de las propias improvisaciones, pero también, por supuesto, a través de los ensayos y las discusiones sobre la calidad de las improvisaciones. las formaciones fijas pueden ser ventajosas porque las distintas posibilidades pueden ensayarse juntas y tranquilamente. pero también pueden ser un peligro si se establecen mecanismos estereotipados en el reparto de roles. para que un conjunto de improvisación siga siendo flexible como un organismo vivo, sus miembros deben poder moverse entre diferentes formas de organización. en este sentido,38 son importantes la distribución de los roles, la claridad sobre las formas de dirigir y seguir, las formas de tocar individuales y los desarrollos colectivos. sólo entonces puede un conjunto fusionarse realmente en un grupo y responder a las exigencias de la música de forma coherente y sin colisión con el momento presente. importancia de la percepción no puedes bañarte dos veces en el mismo río. – heráclito una impresión sensorial es única en el contexto de una improvisación. esto también es verdad en la percepción auditiva en contextos cotidianos y en el lenguaje cotidiano hablado: cada impresión acústica es única y puede ser oída una sola vez. la configuración básica ("aparato de registro") puede trasladarse también a las demás39 dimensiones de la percepción. sólo cuando las impresiones sensoriales tocan al músico en lo más profundo de su ser, fluyen con seguridad hacia su forma de tocar. en cuanto las ideas previas distorsionan la impresión sonora, el proceso de improvisación puede verse gravemente perturbado. sólo un impulso sincero permite la comunicación no verbal. es sincero cuando se realiza inmediatamente, es decir, sin vacilación. una impresión sensorial verdaderamente sentida se transforma en impulso, por así decirlo, y no se convierte en un adorno externo, sino que toca realmente a la otra persona [que improvisa] adquiere así la misma honesta inmediatez que un impulso del propio ejecutante. el que da el impulso y el que lo recibe, las impresiones sonoras, los cursos de energía y las conexiones entre los compañeros musicales se funden en uno solo. la percepción auténtica en la ventana temporal del presente es, por así decirlo, pegamento para la cohesión de todos los componentes que intervienen en la improvisación y funciona también como fuerza motriz del proceso de creación de la improvisación. improvisación como "autopoiesis" en el momento presente un modelo a partir de los contextos tratados hasta ahora, la improvisación se define a continuación como 39 cf. jacoby (1984), pp. 64-67. 38 cf. sobre las diferentes formas organizativas de un conjunto de improvisación eikmeier (2016), pp. 120-124. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 15 un proceso que se desarrolla a sí mismo ligado al presente. el término "autopoiesis" se utiliza de forma metafórica y, por lo tanto, se entrecomilla, ya que no se ajustaría en modo alguno a las normas científicas si se refiriera fuera de contexto a las apreciaciones de los neurobiólogos humberto maturana y francisco varela. la siguiente definición simplificada constituye la base del modelo que se expone a continuación. un sistema "autopoiético" se produce a sí mismo a partir de sí mismo, siempre que disponga de suficiente alimento. debe tener límites y distinguirse de otros sistemas. está formado por distintos componentes que se distinguen claramente entre sí y están en constante interrelación y dependencia. el sistema permite el paso de sustancias a través de sus límites para su metabolismo. puede ser atacado y destruido por "perturbaciones" procedentes del exterior. dado que este modelo tiene un gran parentesco con el proceso de improvisación, los aspectos descritos hasta aquí se relacionarán con él y se resumirán. por último, pero no menos importante, el hecho de que el hilo conductor de las explicaciones anteriores haya sido la conexión de los modos de actuar improvisatorios con el presente, se pondrá de relieve a continuación. marco de la improvisación se determina el tipo de situación, por ejemplo, concierto, ensayo o situación didáctica. se aclara si la improvisación debe basarse en conceptos o en directrices.40 los siguientes componentes están interconectados y repercuten en el proceso de desarrollo artístico de las improvisaciones: ● el músico (incluido su instrumento o su voz) que ha decidido conscientemente improvisar como forma de arte. ● la música con leyes propias (independiente de un estilo fijo). ● los otros miembros de un conjunto, siempre que no se trate de una improvisación en solitario. ● el lugar de la presentación, siempre que esté integrado en la improvisación. componentes indirectos de la improvisación ● presencia del público sonidos que irrumpen de forma imprevista desde el exterior y que los intérpretes integran en la improvisación (por ejemplo, el canto de los pájaros o el timbre intrusivo de un teléfono móvil). estas inspiraciones acústicas sólo se consideran parte de la 40 la clarificación de las condiciones marco era importante para los experimentos de este proyecto. en realidad, no siempre se aclaran antes de una improvisación. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 16 improvisación cuando son retomadas y desarrolladas por los intérpretes, y no por el simple hecho de existir. ● perturbaciones comparable a la naturaleza, la improvisación como "autopoiesis" también está a merced de las perturbaciones y los peligros. perturbaciones (como intentar evitar errores, planificar y controlar las cosas, el miedo a las dificultades o el deseo de repetir una experiencia exitosa) quitan a los músicos mentalmente del momento presente.los llevan a otros niveles temporales. reproducir una sensación de logro les lleva mentalmente al pasado. evitar los errores y el control técnico les lleva mentalmente al futuro. ● la percepción como adhesivo una percepción auténtica del presente mantiene unidos los componentes de la improvisación como un pegamento. cualquier perturbación debilita la percepción y hace que la acción sea menos capaz de relacionarse con el momento. ● el presente como espacio vital en el presente, todos los componentes de la improvisación están conectados. sólo en estas circunstancias puede surgir lo imprevisible. sólo lo que es único en el momento concreto puede definirse como imprevisible. en estas circunstancias, la improvisación se convierte en un juego sin finalidad exterior. el tiempo pertenece únicamente al proceso de improvisación.41 fase 2: la cualidad improvisatoria del movimiento los temas de los experimentos cualitativos se desarrollaron a partir de los siguientes criterios para un movimiento óptimo. sobre todo, la cuestión de cómo la disposición a moverse puede producirse en cualquier momento y cómo los cambios en los movimientos son posibles en cualquier momento es interesante para la acción improvisatoria. la disposición a moverse se ve favorecida por una posición de partida a partir de la cual se puede ejecutar el mayor número posible de movimientos sin preparación. por ejemplo, alguien sentado en el borde delantero de una silla está listo para actuar si puede levantarse sin preparación. pero si los pies están debajo de la silla o estirados hacia delante, entonces hay que prepararse antes de levantarse. por lo tanto, son necesarios dos movimientos, ya que no se puede abandonar la posición anterior con un solo movimiento. posición neutral el principio de la posición neutra puede aplicarse a la posición de todo el cuerpo o sólo a partes individuales del mismo. desde una posición neutra, los movimientos y las acciones en cualquier dirección son posibles en el acto. esto se debe a que: "en el estado neutro, somos en gran 41 véase eikmeier (2016), pp. 167-180. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 17 medida indiferentes y no estamos motivados ni en una dirección ni en otra". además, el peso42 puede desplazarse en cualquier dirección. "cualquier movimiento que se aprenda de tal manera que deba precederle un reordenamiento preparatorio para poder realizarlo significa, que el sistema está mal organizado". la ventaja de una posición neutra, es que a partir de ella43 son posibles más movimientos diferentes sin preparación. equilibrio dinámico feldenkrais subraya que el equilibrio dinámico siempre es preferible al equilibrio estático.44 concluye que nunca puede haber una única postura correcta. más bien, el criterio para una buena postura es que cualquier acción pueda realizarse en cualquier momento sin esfuerzo.45 además, una postura es "buena si puede recuperar su equilibrio tras una interferencia importante".46 en relación con las preguntas de investigación del proyecto, surgieron las siguientes preguntas secundarias, que se abordaron experimentalmente: ¿se prefieren las posiciones dinámicas, especialmente cuando se improvisa? ¿cambia la forma de tocar cuando las posiciones se vuelven aún más dinámicas o se mantienen artificialmente estables? motor y telescopio toda acción correcta comienza con un movimiento del hueso pélvico, que se desplaza de tal manera que lleva la columna vertebral y la cabeza a la nueva posición sin interferir en lo más mínimo con la completa libertad de movimiento de la cabeza. el control de la cabeza y la pelvis son, por tanto, indispensables para cualquier acción correcta, y no se puede dar prioridad a ninguno de los dos: ambos deben estar bien dirigidos para que la acción sea correcta. en algunas acciones la posición de la cabeza es más llamativa y reveladora, y el factor decisivo por añadidura; pero sin un control adecuado de la pelvis no podría llevarse a cabo en absoluto.47 la cuestión de dónde comienzan o desde dónde se controlan los movimientos sirvió de 47 feldenkrais (1989), p. 191. 46 feldenkrais (1985), p. 74. 45 véase, entre otros, feldenkrais, moshé (1985): die entdeckung des selbstverständlichen [título en castellano: la dificultad de ver lo obvio]. traducido del americano por franz wurm. frankfurt am main: insel, p. 86 y feldenkrais, moshé (1994): der weg zum reifen selbst. phänomene menschlichen verhaltens [título original: body and mature behaviour] paderborn: junfermann, p. 128. 44 feldenkrais, moshé (2010): höheres judo. groundwork. berkeley/california: north atlantic books. s. 22. 43 feldenkrais (1989). 42 feldenkrais, moshé (1989): das starke selbst. anleitungen zur spontaneität. [título en castellano: el poder del yo] frankfurt am main: insel,s. 242. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 18 inspiración para usar experimentos en la siguiente fase del proyecto.48 la capacidad de mover ligeramente el cuello de forma continua es un requisito básico para la reacción al medio ambiente, tanto para los humanos como para los animales. los animales de la selva, por ejemplo, mueven constantemente la cabeza y están así preparados para reaccionar inmediatamente ante cualquier peligro. aparte de que las personas necesitan un49 cuello móvil para el mismo fin, explorar el entorno con la cabeza fija no es posible.50 el contacto con el mundo exterior es de vital importancia en la improvisación musical. la percepción tiene lugar en el presente y en el momento, y lo ideal es que el improvisador reaccione inmediatamente a las impresiones sensoriales. esto nos lleva a preguntarnos si una modos de acción exploratoria y de improvisación tiene un efecto positivo sobre la movilidad de los ojos y de los músculos del cuello. esta cuestión se abordó experimentalmente. respiración la respiración puede convertirse en el tema principal de una clase de feldenkrais. en sentido estricto, sin embargo, la respiración es siempre una parte integral de cada lección porque no es sólo una característica, sino en muchos casos también un criterio central para la calidad del movimiento. así, la respiración puede utilizarse para comprobar si los movimientos y las acciones son coherentes. la concentración excesiva, el esfuerzo, la fijación en una meta, así como la falta de interés por la calidad de la trayectoria impiden una respiración libre y sin perturbaciones. a la inversa, toda mejora cualitativa de los movimientos influye positivamente en la respiración. forma parte de la esfera experiencial de un músico que la respiración no se dé simplemente por supuesta y se sienta agradablemente, sino que sea también un elemento esencial que dirige las fuerzas expresivas. wolfgang rüdiger describe esta conexión de la siguiente manera:51 la respiración consciente desde el espíritu de la música, por un lado, llama la atención sobre el cuerpo, al que sensibiliza, y, por otro, intensifica la configuración del sonido y la expresión emocional, desde la nota aislada y el acorde de entrada hasta el gesto musical y las secuencias de tensión formal a gran escala. de este modo, se entrelazan los aspectos musicales-corporales y corporales-musicales.52 52 rüdiger, wolfgang (1995): la respiración musical. entrenamiento de la respiración y expresión en la música. con textos de heinz holliger y nicolaus a. huber. aarau: nepomuk. 51 langer-rühl, hilde/muhar, franz/coblenzer, horst (1970): diaphragmatic dynamics in breathing, singing and making music [película]. viena: instituto federal austriaco de cinematografía científica. 50 vgl. feldenkrais, moshé (2007): programa de formación profesional feldenkrais®. amherst massachusetts, semana 1 año 1, 9-13 junio 1980. parís: federación internacional feldenkrais s. 20. 49 see feldenkrais, moshe (1990): the feldenkrais method in action: a holistic theory of movement. translated from the american by thomas kirschner. paderborn: junfermann, p. 54 f. 48 cf. en la sección en línea los ensayos 9-11. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 19 además, considera la respiración a la vez como un ...puente integral entre el cuerpo y la música y como un fenómeno musical en el que se reflejan de manera significativa principios y parámetros de la composición musical como la tensión y la liberación, el tempo, la métrica, el ritmo, la dinámica, el fraseo, la articulación y el timbre. así pues, la música es la mejor posibilidad de 'llegar a respirar', en el doble sentido artístico-físico.53 en resumen, describe por qué la respiración realiza una "contribución fundamental a la fusión de los contenidos expresivos corporales-mentales y artísticos en la interpretación musical".54 la respiración es un elemento de apoyo para las siguientes conexiones: ● unidad entre instrumento y músico ● identificación entre persona y música ● unidad en la obra (síntesis en la interpretación coherente) ● unidad sensual entre intérprete y oyente ● unidad entre cuerpo y alma55 reversibilidad además de la respiración, feldenkrais nombra la reversibilidad como característica principal del movimiento óptimo. esto significa que puede detenerse en cualquier momento y realizarse en la dirección opuesta. la reversibilidad también implica que debe ser posible cambiar el movimiento por otro en cualquier momento. la reversibilidad, en particular, también es importante para la acción de improvisación. sólo es posible cuando un movimiento se realiza de forma óptima. para comprobar si un movimiento es reversible, debe ejecutarse con extrema lentitud. feldenkrais señala que la reversibilidad no es sólo una cuestión de comprensión intelectual, sino que también requiere experiencia.56 la reversibilidad es una característica de toda acción correcta, incluso del sueño.quienes están bien coordinados y maduros -como ocurre con las personas que han sabido hacer de su ocupación su placer (y viceversa)pueden dormirse cuando quieren y despertarse cuando lo necesitan. a los animales y seres humanos sanos no les importa que les despierten porque pueden dejar de dormir y reanudar el sueño en cualquier momento sin dificultad. la capacidad de detener una acción, un proceso, reiniciarlo, invertirlo o abandonarlo por completo es uno de los criterios más sensibles 56 cf. feldenkrais (1989), p. 217. 55 cf. rüdiger (1995), p. 161 y ss. 54 rüdiger (1995), p. 161. 53 rüdiger (1995). eikmeier (es) • feldenkrais research journal, volume 7 (2023) 20 de la acción correcta y la postura correcta".57 un movimiento sólo puede ser reversible si se realiza con el menor esfuerzo. la reversibilidad corresponde al equilibrio dinámico o inestable del movimiento. no se requiere ningún aporte de energía del exterior para ejecutar el movimiento.58 conexión con la pregunta de investigación: la reversibilidad es una característica central de la acción improvisatoria. si bien no es posible invertir una improvisación, es concebible poder responder a las circunstancias del momento a partir de una actitud de base neutra y reversible. esto se ve facilitado por el hecho de que se incluye el momento implícito en la reversibilidad, de poder en cualquier momento no realizar una acción o detenerla. la calidad del movimiento como componente de la acción improvisatoria la calidad del movimiento que constituye el centro de la cuestión de la investigación se ha definido provisionalmente con los criterios descritos por feldenkrais. el músico improvisador, que está en constante conexión con la música, con los compañeros y, por supuesto, consigo mismo, debe traducir todo lo que tiene en mente en una forma de movimiento muy diferenciada. por desgracia, la característica de reversibilidad no puede controlarse cuando se hace música. en cuanto un músico hace un movimiento tan lento como debería, la propia acción cambia demasiado. así que sólo la percepción de que es posible una acción reversible puede desempeñar un papel. los factores que hacen posible la reversibilidad (equilibrio dinámico, organización de la pelvis y la cabeza, respiración) pueden observarse o modificarse artificialmente. la sensación de ligereza durante un movimiento reversible se produce porque se evita la actividad muscular superflua. si se da este movimiento óptimo, el músico también será espontáneo en sus movimiento y estará dispuesto a sumergirse en el proceso "autopoiético" de improvisación. la conexión entre el intérprete, la música, los compañeros y todo el proceso en sí es muy intensa. por lo tanto, se plantea la cuestión de saber si, en vista de las exigencias, se pueden cumplir los criterios de un movimiento óptimo en la improvisación. teniendo en cuenta que el comportamiento espontáneo con el pensamiento y la reacción al servicio de la improvisación, son más fáciles con un cuerpo dispuesto a moverse, y que los movimientos de los músicos se hacen uno con la música, y que la fusión con uno o varios compañeros puede ser tan intensa que los movimientos se integren automáticamente en el proceso, tenía sentido considerar por separado los movimientos del músico al improvisar. por consiguiente, en los experimentos cualitativos se investigó la relación entre la calidad de los movimientos y los demás componentes de la improvisación. 58 cf. feldenkrais (1989), p. 244. 57 feldenkrais (1989), p. 159. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 21 analogía entre el método feldenkrais y los modos de acción improvisatorios ● hay un espíritu exploratorio en el propio hacer. ● las situaciones exigen una resolución creativa de los problemas. ● la liberación de los juicios de valor es el requisito previo para el desarrollo. ● la calidad del hacer es más importante que el objetivo. ● la percepción auténtica conlleva los procesos. ● la sensibilidad para percibir las pequeñas diferencias posibilita la calidad. ● el examen crítico de nuestros hábitos es importante para que el proceso de aprendizaje y la acción puedan relacionarse con el presente /las situaciones actuales/. ● la aceptación de las limitaciones es el requisito previo para un proceso creativo dentro del marco establecido. ● el lenguaje dentro de los procesos creativos se basa en el problema de que el presente no puede ser captado por la palabra. o bien se reproducen cosas previamente pensadas o bien se miran cosas pasadas desde la distancia. a menudo se hacen afirmaciones generalizadoras que no se refieren a la situación concreta. ● los "errores" se perciben de forma neutral y se convierten así en nuevos impulsos. ● las interferencias debidas a tratar de evitar el error, al miedo, a la planificación y a los procesos de pensamiento exclusivamente cognitivos dificultan la conexión con el momento presente. ● las acciones pueden relacionarse con el presente en cuanto son reversibles, es decir, pueden detenerse o volver hacia atrás o transformarse en otra acción. ● la disposición para la acción en cualquier momento y en cualquier dirección permite tomar decisiones en el presente y transformarlas inmediatamente en acción. ● el aprendizaje orgánico no debe controlarse externamente bajo ninguna circunstancia. es extremadamente susceptible a las interferencias y se interrumpe en cuanto los alumnos se desconectan del momento presente y de su acción sin metas. esta conexión es lo que les permite operar sin las trabas de tener objetivos específicos. fase 3: del laboratorio cualitativo59 en el laboratorio cualitativo, los aspectos de la calidad del movimiento al improvisar se contrastaron en el modo de acción improvisatorio. había un total de cuatro salas de laboratorio ficticias con los siguientes temas:60 1. tensión muscular 2. equilibrio dinámico 3. impulsos 60 la elección de los temas se basa en los resultados de los criterios de calidad de movimiento en la improvisación. 59 en el laboratorio cualitativo se realizaron 49 experimentos con 16 montajes/ensamble/ configuraciones experimentales, que se dividieron en cuatro bloques temáticos, las llamadas salas de laboratorio. eikmeier (es) • feldenkrais research journal, volume 7 (2023) 22 4. respiración a continuación se presenta un ejemplo de cada sala de laboratorio. laboratorio 1 montaje experimental escarabajo/barco: la tarea consistía en observar un escarabajo o un barco imaginario a la altura del horizonte mientras se movían la cabeza y los ojos de forma constante. el movimiento debía ser continuo independientemente de la expresión musical. ejemplo: el sujeto de la prueba es un niño de doce años, que no encuentra las palabras adecuadas, por lo que la música tiene que expresar lo que le está sucediendo. al escuchar la grabación, queda claro cómo el movimiento y la expresión musical confluyen. la pieza se asemeja a una lenta marcha fúnebre. en los experimentos se observó con frecuencia una sincronización de la expresión y el movimiento. en la improvisación libre que sigue, el sujeto utiliza timbres experimentales de forma mucho más audaz. tener el valor de probar61 nuevas posibilidades se observó en muchos ejemplos repartidos por todas las disposiciones experimentales que diseñé. laboratorio 2 montaje experimental equilibrio dinámico y estable: las disposiciones experimentales en esta sala de laboratorio eran relativamente sencillas. se pidió a los sujetos que cambiaran su posición al tocar e improvisaran libremente en la posición cambiada. ejemplo: los "momentos mágicos" inmediatos se producían con sorprendente frecuencia en este espacio de laboratorio. al parecer, los sujetos estaban más dispuestos a reaccionar sin demora debido a las posiciones alteradas, lo que creaba puntos de inflexión repentinos de las partes de la forma y conclusiones repentinas. ningún proceso de pensamiento parecía interponerse entre la acción y la reacción y la imprevisibilidad de estos momentos mágicos. la sujeto es la participante de más edad en los experimentos. tiene 83 años y es muy enérgica. en el ejemplo, se sienta con una nalga sobre una silla. en la improvisación, se oye claramente, como ejemplo, una tendencia a los giros y conclusiones repentinos. este fenómeno se producía con especial frecuencia en la sala de laboratorio número 2. además, la participante describe una sensación totalmente nueva e imprevista para ella: fue la primera vez que sentí latir mi corazón. [...] probablemente esto me guió a algunos lugares que me encantan de mi violonchelo. me encantan ciertas partes del sonido. es algo muy emocionante. [...] emocionalmente estaba más cerca de estas partes de mi 61 cf. experimento 12 fase 4 y 5. ejemplos de escucha: e12 fase 4 y e12 fase 5 en: http://forschung.corinna-eikmeier.de eikmeier (es) • feldenkrais research journal, volume 7 (2023) 23 http://forschung.corinna-eikmeier.de violonchelo. las partes sonoras. las partes sonoras que tanto me gustan.62 laboratorio 3 montaje experimental el motor: en los experimentos, los sujetos elegían partes del cuerpo desde las que controlaban sus movimientos. algunas eran regiones proximales, como la pelvis, el ombligo o la columna lumbar. a veces eran partes del cuerpo muy distales, de más difícil acceso, como el lóbulo de una oreja o un dedo pequeño del pie. la tarea musical era la siguiente: los impulsos para las acciones musicales debían desencadenarse a partir de la sensación en la parte del cuerpo elegida y, por tanto, también de las posibilidades de movimiento. ejemplo: el sujeto es cantante de ópera profesional. no tiene experiencia previa en improvisación. al principio del experimento, se muestra emocionada y también un poco estresada por la situación de improvisación. durante las dos horas que dura el experimento, va descubriendo poco a poco sus capacidades de improvisación. los experimentos en esta sala de laboratorio son un elemento constitutivo de este proceso. a modo de ejemplo, aquí se examinará con más detalle una improvisación en particular. el sujeto deja que todos los impulsos provengan de su ombligo. se da cuenta de que suele hacer toda una serie de preparativos para cantar. en este caso, el canto le ha funcionado inesperadamente por sí solo. se sorprende de que un reto técnico en el que no había pensado segundos antes le saliera sin esfuerzo. además, no tuvo que esforzarse, simplemente sintió la fuerza sin tener que producirla. en la muestra de audio, se oye claramente cómo estira las notas largas con naturalidad.63 este ejemplo ilustra la siguiente conexión: la tarea dirige la percepción hacia una sensación física. esto refuerza la acción en el presente. el hábito de controlar la técnica se debilita y canta con todo su ser presente y expresivo. laboratorio 4 montaje experimental respiración paradójica: el montaje experimental se basa en la conocida lección de feldenkrais "respiración paradójica", en la que se exploran los movimientos respiratorios de la parte inferior del abdomen y el tórax como un movimiento de balanceo independiente de la respiración. ejemplo: el sujeto tenía una lesión por sobrecarga (codo de tenista) en el momento del experimento. se integró al montaje experimental con tiempo suficiente. el movimiento de balanceo entre el estómago y el pecho le resultaba muy extraño y al principio sólo podía hacerlo lentamente. durante el experimento, pareció interesarse cada vez más por este 63 cf. experimento 1 fase 3 ejemplo audio e1 fase 3.4 en: http://forschung.corinna-eikmeier.de 62 cf. experimento 24 fase 2, muestra de audio e24 fase 2 en: http://forschung.corinna-eikmeier.de eikmeier (es) • feldenkrais research journal, volume 7 (2023) 24 http://forschung.corinna-eikmeier.de http://forschung.corinna-eikmeier.de movimiento. después de pasar más de una hora experimentando sin violonchelo en diferentes posiciones, con el movimiento y la voz, casi no podía dejar de probar el movimiento una y otra vez. tras una breve pausa, le sugerí que utilizara el movimiento mientras tocaba el violonchelo. añadimos la voz y dejamos de lado por el momento las exigencias artísticas. surgieron varios episodios salvajes y poderosos. la sujeto, que se mostraba cautelosa por el dolor que sentía en el codo, dejó que la energía fluyera cada vez más. ya no le dolía el codo. fue capaz de verbalizar su sensación de juego: es como si me hubiera drogado. (risas). y fue muy agradable que mi cuerpo recordara cómo tocar el violonchelo. me siento tan violada y luego, cuando toco el violonchelo, me siento desubicada. pero ese flujo y ese poder me devolvieron a una etapa en la que podía recordar.64 un conocimiento implícito le permite tocar sin miedo a lesionarse. ya no necesita el control que ha construido como protección. la fuerza de que dispone para la improvisación salvaje y ruidosa no tiene nada que ver con el esfuerzo muscular, porque eso no le habría sido posible en ese momento. síntesis de los resultados la evaluación del total de 49 experimentos cualitativos, cuatro de los cuales se presentan aquí como ejemplos, mostró que, al reforzar aspectos individuales de la calidad del movimiento de improvisación, se fortalecían las características de la forma de actuar improvisada. en los ejemplos en los que el material de datos verbal no podía transmitir satisfactoriamente los cambios, se incluyeron los ejemplos sonoros como material de datos. en la forma artística, las comparaciones entre las improvisaciones iniciales revelaron diferencias significativas en el estilo y la expresión de los sujetos a lo largo de un experimento. en resumen, se observaron las siguientes tendencias: los límites entre los músicos, la música y la comunicación en el conjunto se difuminan. esto crea el estado de "disolución", que describen los músicos improvisadores en las reflexiones generales y que se experimentó con mayor intensidad durante los experimentos. en este estado de "disolución", el control no tiene cabida. los músicos están inmediatamente listos para la acción. esto se demostró por el hecho de que los impulsos se ejecutaron musicalmente de inmediato. en las acciones inmediatas no retardadas surgieron muchos puntos de inflexión inesperados, 64 véase el experimento 26 en http://forschung.corinna-eikmeier.de eikmeier (es) • feldenkrais research journal, volume 7 (2023) 25 http://forschung.corinna-eikmeier.de con gran precisión temporal. al tratar los parámetros musicales, se observaba un enfoque diferenciado, especialmente con parámetros secundarios como el timbre y la articulación o la agógica. el vocabulario musical conocido se amplió a menudo con nuevos timbres y técnicas de interpretación, siempre que los desarrollos de las improvisaciones los desafiaran a ello. las voces se volvieron más autosuficientes. la sincronización de las tareas de movimiento con los estados de ánimo y los tempos de la música creó una homofonía entre la expresión y la calidad del movimiento. la polifonía entre música y movimiento fue un reto que condujo a una acción más libre en el proceso de experimentación. debido a los arreglos experimentales, a veces desconocidos y confusos, ya no era posible controlar "adecuadamente" la técnica de interpretación. a menudo, era precisamente esta pérdida de control la que tenía un efecto positivo en la técnica de interpretación. biografía la dra. corinna eikmeier ha estudiado violonchelo, música contemporánea, improvisación y realizó una formación feldenkrais (viena 1 de 1992 a 1995). participa en varios proyectos interdisciplinarios y enseña el método feldenkrais e improvisación en la hochschule für musik, theater und medien hannover. entre 2017 y 2018 fue gestprofessor de pedagogía musical en la brandenburgische technische universität cottbus-senftenberg. fue becaria dorothea erxleben, trabajando en un proyecto sobre feldenkrais e improvisación y desarrolló una gran cantidad de ejercicios de improvisación basados en los principios del método feldenkrais. los resultados se publicaron bajo el título "ungewohnte positionen. ein praktischer beitrag zu anwendung der feldenkrais-methode in der musikalischen improvisation". continuó con su proyecto de doctorado. el título de su tesis es: "bewegungsqualität und musizierpraxis. zum verhältnis von feldenkrais-methode und musikalischer improvisation" (calidad del movimiento y práctica musical. sobre la relación entre el método feldenkrais y la improvisación musical). para más información: www.corinna-eikmeier.de eikmeier (es) • feldenkrais research journal, volume 7 (2023) 26 http://www.corinna-eikmeier.de frj 7 molders and araujo feldenkrais research journal • volume 7 (2023) original research does engagement with the feldenkrais method® influence body awareness, motivation and self-regulation of adolescent dancers? a case study during the covid-19 pandemic claudia mölders mfa, feldenkrais practitioner, dance teacher liliana araújo phd contact: claudiamoelders@yahoo.de abstract as dance educators and researchers, our particular concern, beyond teaching dance skills, is to support the dance students in becoming self-determined, satisfied dancers, and somatic practices can play an important role in this process. this exploratory case study investigated the experience of the feldenkrais method in supporting motivation for dance, body awareness and self-regulation of adolescent dancers during the covid-19 pandemic. twenty adolescent female recreational dance students recruited from the first author's dance studio took part in the study (intervention group: n=10, age m=14.80, sd=1.81, control group: n=10, age m=14.50, sd=2.06). both groups were involved in regular dance classes; the intervention group participated in a 10-week feldenkrais method programme consisting of one lesson per week, the control group had no feldenkrais method lessons. the study was conducted online due to covid-19 lockdown measures in place at the time. qualitative data was collected from the intervention group in the form of drawings, individual reports and feedback to capture individual experiences with the feldenkrais method. in addition, two questionnaires were used in both groups to assess the impact of the intervention on body awareness and to explore motivation to dance, which were completed before and after the intervention. a two-way mixed anova (analysis of variance) revealed tendencies towards increased interoceptive awareness and self-regulatory processes in the intervention group. the influence on motivation in dance classes could not be determined. both groups showed a significant increase in felt pressure/tension and also a more self-centred focus, suggesting a possible influence of the pandemic. thematic analysis of qualitative data revealed high levels of engagement and heightened awareness among those who took part in the feldenkrais method classes. results suggest that even a short feldenkrais method intervention under the influence of the covid-19 pandemic may be appropriate for adolescents to improve their self-awareness, learning and self-regulation processes. future research should investigate psychosocial and learning outcomes of published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:claudiamoelders@yahoo.de https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org feldenkrais method interventions in general and with adolescent students in particular. further research is also recommended to determine possible confounds of the pandemic and their influence on motivation. keywords dance education, feldenkrais method, motivation, self-regulation, covid-19 pandemic, interoceptive awareness copyright ©: the copyright for this paper remains with the author(s). please cite: feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. mölders and araújo • feldenkrais research journal, volume 7 (2023) 2 original research does engagement with the feldenkrais method® influence body awareness, motivation and self-regulation of adolescent dancers? a case study during the covid-19 pandemic claudia mölders mfa, feldenkrais practitioner, dance teacher liliana araújo phd for dance teachers, it is crucial not only to consider the purely aesthetic or technical aspects of dance, but also the personal characteristics of the dancer as they can play a key role in explaining dancers’ engagement and achievement. often in dance classes we see students who seem tense and lack confidence in their performance. this hinders their learning process and potentially impacts their achievement. as educators and researchers, our aim is to support dancers to learn in a self-determined and autonomous way, with a feeling of joy and confidence in their skills. we encourage the use of somatic practices in dance training as they shift the focus from goal-oriented skill acquisition to enhanced awareness and provide an opportunity for the dancers to see their body in relation to subjective perceptions, experiences, and interactions (rouhiainen 2008; stephens and hillier 2020). this can play an important role in stimulating autonomy in self-regulating physical, motivational, and emotional experiences in dance. for the first author, who is a dance teacher and feldenkrais method practitioner, the approach of the feldenkrais method is particularly valuable, as it focuses on expending a minimum of energy for a maximum of efficiency, as one can return to a more neutral state with increased sensitivity to one’s bodily organisation (feldenkrais 1987). instead of trying harder, dancers learn to make more efficient use of their strength capacities and to notice the differences between actions in order to achieve the necessary differentiated awareness (buchanan and ulrich 2001). this appreciation for somatic practices is particularly relevant in the twenty-first century professional dance education, which takes a more holistic approach to dance training by integrating physical, intellectual and emotional aspects alongside technical proficiency (sööt and viskus 2013). therefore, integrating these aspects into dance education at an early stage is an important step towards educating dancers for the twenty-first century. while somatic practices are widely discussed and researched in relation to adult dancers, systematic research on how they influence adolescents dance learning is still limited (fortin et al. 2002). this case study, grounded in action research, explores the experiences of adolescent recreational dancers with the feldenkrais method in relation to motivational and self-regulatory mölders and araújo • feldenkrais research journal, volume 7 (2023) 3 processes, at a time of adversity. the study draws upon theories of motivation and self-regulation and takes into consideration the specific challenges of adolescence in dance education to better understand the potential role of the feldenkrais method in facilitating the development of self-awareness, motivation, and self-regulation in young dancers, especially at times of adversity. the feldenkrais method the focus of the feldenkrais method (feldenkrais 1987) as a method of self-education and personal development, like many somatic practices, is on conscious movement exploration (hillier and worley 2015), which presents individuals with options and choices in relation to everyday movements and actions (igweonu 2019). there is some debate that the feldenkrais method is more effective in terms of self-regulation than motor learning because it is based on an internal attentional focus that may interfere with motor learning (ives 2003). the approach of heightening body awareness and fostering sensory and perceptual skills corresponds to an internal focus of attention and may be contrary to an intentionally goal-directed setting (buchanan and ulrich 2001, as cited in ives 2003). in order to improve performing motor skills an external focus of attention during goal-directed activities may be preferable (stephens and hillier 2020). other researchers propose that the kind of awareness of the body that may be part of feldenkrais method may also involve perception of the body in a more exterior way – that is not focused on the affective aspects of awareness of the bodily awareness, but more of the body as something can be sensed in terms of physical qualities of movement (mattes 2016). feldenkrais method lessons feldenkrais method lessons can be delivered in the form of individual sessions (functional integration®, fi®) and group lessons (awareness through movement®, atm®). in this study, the programme consisted of group awareness through movement lessons where participants lay on a mat and received verbal guidance on movement without demonstration. during the lessons, the practitioner observes and continuously asks questions to direct the participants’ attention to movement (buchanan and ulrich 2001). aim of the lessons the aim is to improve the participants' ability to perceive sensory information and change their behaviour in relation to a specific functional goal. for example, when dancing, to lift the leg or arm with minimal effort and maximum efficiency to increase not only the range of movement but also the aesthetic performance. moshe feldenkrais (1987) chose the action-system (movement) as a starting point; this movement-oriented approach can be beneficial for dance students, as they are used for learning new movement and for modifying learned patterns. different approaches can explain the underlying processes involved in the feldenkrais method (buchanan and ulrich 2001; ives mölders and araújo • feldenkrais research journal, volume 7 (2023) 4 2003). parallels with dynamical systems theory have been noted, such as the belief that humans are self-organised systems and that behaviour results from the interaction of multiple systems that influence efficient movements and lead to different patterns of coordination. in this perspective, behaviour is seen as acquired rather than permanent and perturbations are necessary to change habitual behaviour (buchanan and ulrich 2001; ives 2003). from a neuropsychological perspective, it is posited that the feldenkrais method can enable individuals to make decisions and experience new situations both cognitively and physically. on a physical level, it guides the experience and perception of movement rather than just performing them. for dance students, this method can help them find an individual approach to their own movement instead of just replicating dance movements instructed and demonstrated by the teacher (howe 2018-2019). it has been shown that dancers who learned to use the feldenkrais method gained greater learning development and enrichment by relying on their own sensations, resulting in improved goal achievement and problem solving (fortin et al 2002). feldenkrais method lessons can help dance students make connections between information received, and feelings and perceptions created through movement exploration, increasing self-awareness and self-regulation. awareness of one’s sensory, motor, and cognitive experience during movement can create a basis for transforming experience into conceptual knowledge, and can involve the brain-body connection, behaviour, and metacognition (garfinkel et al. 2015). metacognition can be defined as the awareness of one's own thinking, the ability to evaluate one's actions and adjust one's behaviour appropriately. it includes aspects of self-regulation such as perspective taking and decision making (kimmerle and coté-laurence 2003). research has underlined the relevance and necessity of increased self-awareness as it is conducive to goal achievement, self-responsibility and creative problem solving, attributes considered increasingly important to meet the complex demands in dance education and to facilitate joyful and meaningful learning (sööt and viskus 2013). one of the functions of the nervous system is to process sensory information to maintain homeostatic equilibrium. perception of this function of the nervous system, through interoceptive awareness can provide a basis of awareness of phenomenon such as the brain-body connection, behaviour, and can support the development of metacognition (christensen et al. 2018; garfinkel et al. 2015; khalsa et al. 2018; vago and silbersweig 2012). body awareness describes one aspect of bodily-focussed self-consciousness, which manifests itself as an innate tendency of organisms to self-organise (mehling et al. 2011). the feldenkrais method aims to develop self-awareness through movement and attention to the experience of one’s movement. interoception is an important aspect of self-awareness, and interoceptive skill is essential in developing self-awareness through bodily experience. measures of interoception were used in this study to help identify whether, and the extent to which, the feldenkrais method may enable adolescent dance students to perceive sensory signals from the body in relation to physical, emotional, and cognitive information and experiences. it has been suggested that though linking peripheral physiological states and mölders and araújo • feldenkrais research journal, volume 7 (2023) 5 mental processes, by increasing awareness, the influence of emotions, perceptions, and motivation on behaviour can be better understood (tsakiris 2018). interoception can be described through three dimensions (garfinkel et al. 2015). it is theorised the dimension, interoceptive accuracy, determines the degree to which an individual can accurately detect internal bodily sensations, such as detecting and counting their own heartbeat. another dimension, interoceptive sensibility, describes an individual’s subjective belief about their internal sensation, for example believing that they can focus on and detect internal bodily sensations. the third dimension, interoceptive awareness, explains the degree to which a person is confident in their interoceptive accuracy in relation to actual behavioural or movement accuracy. the feldenkrais method can therefore enable interoception, by inviting individuals to notice inner signs from the body in relation to their emotional states, perceptions, and experiences. the adolescent dancer historically, dancers were viewed predominantly as trained bodies, educated through technical and proficient replication of specific movements from an early age (sööt and viskus 2013). in contrast to this approach, dance pedagogy in the twenty-first century shifted away from a focus on the performance itself to the awareness of how one moves considering students’ characteristics (sööt and viskus 2013). dancers are expected to be intrinsically motivated, to understand the meaning and purpose of the movements in order to find an individual expression in movement, raising questions about what skills are needed to develop this level of self-awareness and self-regulation. in the experience of the first author, a dance teacher and feldenkrais method practitioner, it is often noticed that young dance students' performance declines through adolescence, not due to a lack of student engagement or skill but because of maturation processes, and it can significantly affect student confidence. therefore, it is necessary that the dance teacher provides students with information, tools, and opportunities to nurture self-awareness, and to help them understand and manage the changes and challenges resulting from their developmental stage as well as the demands of the environment. here, it is particularly relevant to give special attention to the learning process of the young dancer as adolescence is marked by numerous physical and psychological changes with potential impact on physical and cognitive awareness, motivation and self-regulation (kimmerle and coté-laurence 2003). from a developmental psychology perspective, this period can lead to changes in body image, self-concept and body awareness, which can also affect dance performance (kimmerle and coté-laurence 2003). in addition, the brain and nervous system undergo considerable development during adolescence, particularly in the frontal and parietal regions involved in cognitive functioning, emotion processing and social recognition (choudhury et al. 2006). this maturation is accompanied by psychosocial development, including the gradual development of a sense of self and autonomy in relation to others around them. young mölders and araújo • feldenkrais research journal, volume 7 (2023) 6 people are therefore particularly susceptible to external influence, and the societal patterns of beauty associated with dance can place a disproportionate focus on standards of physical appearance that conflict with the physical possibilities due to maturation processes (bibiloni et al. 2013). from a developmental perspective on learning, young people have not yet fully developed the range of competencies and learning strategies of an adult learner, such as perceptual skills, including kinaesthetic skills that require body awareness, or complex cognitive skills, including problem solving and focusing attention (kimmerle and coté-laurence 2003). these skills, however, are needed for dance training and should be trained from an early age. learning dance requires the ability to interpret verbal instructions and demonstrations, and to translate them into mental representations, while at the same time being aware of one’s own performance. these skills include understanding a goal or task, but also metacognition in the sense of self-regulation and abstract thinking needed for problem solution, and also perceptual and cognitive skills that depend on maturation and motor experience (kimmerle and coté-laurence 2003). in addition, spatial and temporal skills, as well as kinaesthetic skills are particularly required for orientation in space, awareness of limb position and efficient use of dynamics and force (kimmerle and coté-laurence 2003). the use of the feldenkrais method with adolescent dancers can therefore be of particular relevance during this developmental phase: drawing attention to inner states of the body, encouraging openness to new ways of achieving a goal and creative engagement with movement (fortin et al. 2002; wallman-jones et al. 2022). using bodily-focused strategies, the feldenkrais method may promote enjoyment and ease of execution of a movement (coogan 2018-2019; kampe 2018-2019). this contrasts with traditional approaches to dance practice that assume that pleasurable movement tends to lack the necessary effort in the form of pressure and force (coogan 2018-2019). in addition, the maturation of the brain and nervous system is accompanied by psychosocial development, such as the development of emotional perspective-taking and the efficiency of perspective-taking. this raises the question of whether the feldenkrais method is suitable for this age group and whether the students are willing to engage in self-awareness and enjoy practising such a method. the use of somatic practices with adolescent dancers has shown some promising findings in terms of feasibility, and also effects on attention self-regulation and enjoyment, and yet, its empirical investigation is still in early stages (long 2005; murray and pitches 2015; wallman-jones et al. 2022). motivational processes and self-regulation in dance motivation is embedded in the performative nature of dance; it is a key factor to sustain commitment and engagement in regular practice, and to regulate bodily, cognitive, and social processes to achieve one’s potential (lazaroff 2001; ryan and deci 2000). as proposed by ryan and deci’s (2000) self-determination theory (sdt), motivation refers to internal processes and personal characteristics, but also situational factors. practices such as dance mölders and araújo • feldenkrais research journal, volume 7 (2023) 7 teaching practices can support (or hinder) the satisfaction of individual psychological needs required for personal growth, performance and wellbeing (ryan and deci 2000). these authors suggest that these basic psychological needs are autonomy, competence and relatedness, and that their satisfaction fosters intrinsic motivation and self-regulated behaviour (ryan and deci 2000). these topics have been researched in dance education, showing relationships to performance quality and wellbeing (e.g. quested and duda 2010; hancox et al. 2017). autonomy refers to a feeling that behaviours are self-initiated or self-driven, and when supported by teachers, by valuing students’ perspectives, encouraging problem-solving and offering choices, can promote engagement and wellbeing (brodie and lobel 2004; jowett et al. 2016; quested and duda 2010). a sense of competence is fostered when people feel capable of responding to the challenges of the environment (ryan and deci 2000), and this can be fostered by teachers encouraging and emphasising self-development and personal progress. relatedness refers to a sense of belonging and social connection, and also in terms of connection to one’s own experiences (isen and reeve 2005). the feldenkrais method focuses on guiding individuals through self-initiated behaviours and toward developing a sense of bodily competence, and when delivered through group lessons, the three basic psychological needs can be satisfied, thus it may promote intrinsic motivation. another relevant consideration is the continuum of options that influence motivational climate and student motivation in the relationship between the teacher and student (morgan et al. 2005). according to the spectrum of teaching styles (mosston and ashworth 1990), teaching strategies can progress from a non-autonomous, externally regulated style to a fully autonomous and self-regulated style through several stages. a guided discovery style (i.e. teacher uses questions, students find a solution on their own) is beneficial for mastery and adaptive cognitive and affective responses. this is in line with the feldenkrais method approach, where lessons are taught in an autonomous, discovery-oriented way, guiding the student's attention and awareness so that they can find individual solutions themselves, as opposed to the traditional teaching approaches that tend to focus on prescribed solutions (hillier and worley 2015). developing dancers as agents of their own learning implies self-regulated learning, defined as an active and constructive process in which learners set goals of their own, monitor their learning and engage in behavioural, motivational and metacognitive strategies to control their surroundings, motives and cognitions (ocak and yamac 2013; smit et al. 2017). the feldenkrais method engages with self-regulation processes, such as problem recognition, motivation, skill acquisition and application, process maintenance, and transfer of skills (crews et al. 2001, as cited in ives 2003). self-regulation is understood in the feldenkrais method as a process to observe, examine, understand how to achieve the goal in a playful way rather than on the goal itself (crews et al. 2001, as cited in ives 2003). in the present study, the feldenkrais method awareness through movement lessons were selected in terms of fostering self-regulatory processes related to dance teaching such as reducing effort to increase flexibility in the hip joints while moving the legs, or focusing on attentional processes to increase flexibility mölders and araújo • feldenkrais research journal, volume 7 (2023) 8 in the back. while the effectiveness of the feldenkrais method to produce changes in motor performance is still being investigated, its benefits in terms of enhanced self-regulation, motivation and self-awareness and potential to facilitate perceived competence are well recognised (ives 2003; stephens and hillier 2020). covid-19 pandemic the covid-19 pandemic remains a novel situation, and its negative effects on young people’s mental health and learning experiences as a result of protective measures such as lockdown have already been established world-wide (al omari et al. 2020; jones et al. 2021; stubbe et al. 2021). as teachers in dance contexts, we observed similar trends as reported in the literature, including a reduced sense of competence, high levels of anxiety, depression, and eating disorders. this scenario manifests itself in behavioural changes and even absenteeism due to hospitalisation reported by parents, affecting the learning process. students seem more tense, have difficulty concentrating and give up more quickly if they cannot perform a dance step immediately. both vulnerability during adolescence, and exposure to adversity, are high risk factors which have the potential to impact young people’s behaviour and emotions (niwa et al. 2016). negative experiences can affect homeostatic equilibrium, but when individuals successfully manage situations of significant adversity and adapt positively to the environment, they become more resilient (sarkar and fletcher 2014; morgan et al 2013). although we cannot establish the benefits of the feldenkrais method to mitigate the effects of the pandemic, research has shown its effects in reducing anxiety caused by past experiences or negative expectations about the future (fonow et al. 2017), in increasing enjoyment and reducing social comparison (wallman-jones et al. 2022), which suggests its potential protective effect against adversity. furthermore, developing the ability to effectively modulate one's own behaviour (self-regulation) and increasing awareness of the conditions that cause limitations and biases can be a first step towards overcoming them (vago and silbersweig 2012). in this context, we acknowledged the potential impact of the covid-19 pandemic and the lockdown measures in place at the time of the study in the findings, and also explored the potentially supportive impact of the study for young people against the negative effects of the pandemic (niwa et al. 2016). in summary, this project investigated the effect of a ten-week feldenkrais method intervention on adolescents’ intrinsic motivation in terms of enjoyment, competence, choice and sense or pressure or tension, as well as the effects on self-regulation in terms of the ability to regulate inner processes. we explored the extent to which independent, mindful learning and movement exploration, as facilitated by the feldenkrais method, is appropriate for young dance students to strengthen their motivational and self-regulatory processes, taking into account the demands of dance education, their stage of development, and the influence of the covid-19 pandemic. mölders and araújo • feldenkrais research journal, volume 7 (2023) 9 methodology research design we conducted an exploratory case study conducted in a private dance studio in germany from december 2020 to february 2021 during the covid-19 pandemic. at the time of the data collection and implementation of the intervention, germany was under a full lockdown making necessary the delivery of the project in a virtual environment. the first author led the project, and also taught feldenkrais method lessons and dance classes to participants in this study, drawing upon more than 30 years of experience as a dance teacher and 20 years of experience as a feldenkrais method teacher. the second author is a trained psychologist and dance science researcher and acted as research advisor. no feldenkrais method exercises were carried out in the dance classes, however, some principles of the feldenkrais method were incorporated, such as ensuring an appreciative, positive teaching climate, as the work as a feldenkrais method teacher has an influence on the way of teaching and this cannot be separated. the intervention group participated in a 10-week feldenkrais method programme offered alongside the dance training with one feldenkrais method lesson per week, while a control group had no feldenkrais method lessons. qualitative and quantitative measurements were used within an action research framework to capture the dynamics and nuances of embodied experience in context (barcelona 2020; prevots 2009). the aim was to ensure the quality and meaningfulness of the systematic research process by expanding theoretical knowledge and improving practice, thereby promoting agency and reflexivity in researchers and participants with a focus on improving teaching and learning conditions. trustworthiness procedures were considered by engaging with multiple modes of data collection, content analysis, reporting and discussion. in data gathering, precise details of the sampling method and participants descriptions were provided (elo et al. 2014). the research project was explained to the students and their parents in detail. they were informed about confidentiality, safety, voluntary participation, and the possibility to withdraw without consequences. parents gave their written consent for their children to participate, and students also gave their written consent to take part. the trinity laban research ethics committee approved this research project. there were no major ethical concerns anticipated. participants a convenience sample of twenty female adolescent recreational dance students participated in this study, recruited from the dance school. all participants took ballet or street dance classes once a week and had little or no experience with the feldenkrais method. they did not mölders and araújo • feldenkrais research journal, volume 7 (2023) 10 participate in additional dance classes during the intervention. the selection criteria included: (a) age between 12 and 18 years old, (b) to have regular dance experience, and (c) to be interested in participating in the research project. the students were evenly and randomly distributed into an intervention (n=10) and control group (n=10). the intervention group was asked to participate in one-hour weekly feldenkrais method group lessons (awareness through movement) for a period of ten weeks alongside their regular dance class. the control group did not participate in the feldenkrais method lessons or an additional class other than their regular dance schedule. feldenkrais method intervention in this study, lessons were selected from alexander yanai (ay) material (feldenkrais 1994-2004), which are original records from moshe feldenkrais, from the early 1950s to the late 1970s. topics were chosen in their relation to dance training, such as leg extension and flexibility in the hip joints, and that are related to the main aims of the study, such as improving awareness and self-regulation processes (see table 1). this should help students access the method by finding connections to their dance movements, finding out how to perform the movements efficiently and comfortably, and improving in this way. all awareness through movement lessons make use of multiple principles of good movement and learning strategies, and in this study, each lesson emphasised one of the following feldenkrais principles from the method (klinkenberg 2006) (see table 1): reducing effort; self-questioning; novelty in repetition, attention, and variation; imaging; rest, pause, reversibility; and constraints. table 1 description of the feldenkrais method lessons lesson topic, principle description focus 1.circles with the legs (ay 199) � reducing effort holding the foot, making circles with the leg in different positions flexibility in the hip joints 2. on the side, lifting the leg and straighten it (ay 101) � selfquestioning lying on the side: holding the foot, lifting and straightening the leg towards the ceiling flexibility in the hip joints, straightening the leg mölders and araújo • feldenkrais research journal, volume 7 (2023) 11 3. tossing parts of the body into the air (ay 168) � novelty in repetition lying on the back, throwing and dropping the hands, head, legs, arms, shoulders releasing tension, relaxation 4. oscillation with lifting the head towards sitting (ay 102) � novelty in attention lifting the head, to sit up and rolling flexibility in the back 5. twisting and bending in sitting (ay 119) � novelty in variation bend forward and to the side in straddle seat, legs spread flexibility in the back and hip joints 6. a full circle with the leg swing (ay 108) � imaging swinging a leg in different positions flexibility in hip joints 7. on the side, getting the spine flexible (ay 206) � rest lying on the side; side bending and lifting the head, lengthening the arm spine and back flexibility 8. with the arms forwards; turning the arms (ay 113) � pause sitting and turning to right and left torso flexibility mölders and araújo • feldenkrais research journal, volume 7 (2023) 12 9. back and pelvis rotation with elbows and legs (ay 137) � reversibility turning from prone to supine position spine and back flexibility 10. painting with the soles of the feet (ay 111) � constraints moving the feet on the floor while lying on the back, exploring range in hip joints flexibility in the hip joints note: ay refers to the alexander yanai material, original records from moshe feldenkrais’s public teaching (feldenkrais 1994-2004). during the lessons participants were frequently encouraged to reflect and make choices about how they move, thereby increasing their awareness. the practitioner asked the following questions as a recurring strategy (coogan 2016; kampe 2016): ● is the movement easy and flowing? ● can you take care of yourself while doing the movements? ● how many parts of the body are involved in the movement? ● can you breathe freely while doing the movement? ● can you find the most effective way to move? ● does this movement match you, is it good for you? ● how can you apply decision making into everyday life? for the intervention group, qualitative data based on drawings, individual statements and lesson feedback and quantitative data based on questionnaires were collected (see table 2). three months after the intervention ended, the participants of the intervention group were interviewed again to determine any changes in their experiences and perceptions of the intervention. for the control group, only questionnaire-based quantitative data were collected at the same time as the intervention group (see measures). table 2 outline of the data collection timeline across the 10-week feldenkrais method intervention timeline activity data collection measures administered before intervention testing only questionnaires, drawings mölders and araújo • feldenkrais research journal, volume 7 (2023) 13 weeks 1-10 feldenkrais method lessons in addition to dance classes lesson feedback after each lesson midpoint after 5 weeks drawings, individual statements one week after intervention testing only questionnaires, drawings, individual statements follow up 3 months after intervention testing only interviews due to the lockdown restrictions, the project was delivered online, and the participants received a weblink by email to join the feldenkrais method lessons virtually. they were asked to turn their camera on and to interrupt if they wanted to ask a question. the dance classes were also held online; this meant a greater limitation for the dance classes than for the feldenkrais method classes, as feldenkrais method lessons are usually held on a mat and the instructions are verbal, without demonstration, so that students can figure out the optimal way to move, rather than imitating the teacher or the other students in the class. however, online teaching did pose some challenges. it required that the participants were familiarised with the use of technology and had access to electronic equipment (computer, tablet) to engage with the lessons. it also reduced the multimodal nature of somatic teaching to a more two-dimensional level and considerably restricted communication. as the participants already had experience in using video conferencing tools through home-schooling and online dance classes during the first lockdown in the spring of 2020, participants were used to working virtually. however, as the method was unknown to the students, it posed an increased difficulty. the first author and feldenkrais method practitioner was not sure if she could convey the idea of this method and the joy of doing it in an online format. the exchange of qualitative data (pictures, individual statements) and quantitative data (questionnaires) was carried out by email, and the feedback after each lesson was exchanged verbally directly after the session and noted down by the first author. measures participants in both groups completed the intrinsic motivation inventory, (imi, mcauley et al. 1989) and the multidimensional assessment of interoceptive awareness (maia, mehling et al. 2012). the intrinsic motivation inventory (mcauley et al. 1989) was used to measure participants' subjective experience with the dance activity. in the present study, four of the original six subscales were used due to the proximity of motivational concepts to principles of feldenkrais method and to reduce questionnaire fatigue. participants were asked to refer to their motivation in relation to dance classes: interest/ enjoyment (e.g. “i enjoy doing this activity very much”), perceived competence (e.g. “i think i am pretty good in this activity”), perceived choice (e.g. “i mölders and araújo • feldenkrais research journal, volume 7 (2023) 14 believe i had some choice doing this activity”) and felt pressure/ tension (e.g.” i did not feel nervous at all while doing this”). participants answered a likert scale ranging from 1 (not at all true) to 7 (very true) with higher scores showing increased interest, competence, choice, and less felt pressure/tension. bodily awareness was assessed to explore aspects of self-regulation and subjective interoceptive sensibility, using the german version of the multidimensional assessment of interoceptive awareness (maia) validated by mehling et al. (2018). the six subscales are awareness/ noticing (e.g. “i notice when i am uncomfortable in my body”), not-distracting (e.g. “i distract myself from unpleasant sensations”), attention-regulation (e.g. “i can notice an unpleasant body sensation without worrying about it”), self-regulation (e.g. “i can refocus my attention from thinking to sensing my body”), body listening (e.g. “i listen for information from my body about my emotional state”) and trusting/ confidence (e.g. “i feel my body is a safe place”). answers were given in a likert scale from 0 (never) to 5 (always), with higher scores showing higher interoceptive awareness and less distraction from unpleasant sensations. statistical analysis quantitative data were used in the form of two questionnaires, used in both groups to assess the impact of the intervention on body awareness and to explore motivation to dance, which were completed before and after the intervention. the responses to the intrinsic motivation inventory (imi, mcauley et al. 1989) and the multidimensional assessment of interoceptive awareness (maia, mehling et al. 2012) were given a score and analysed using the spss (2020) computer software. total score and mean score were calculated separately for each subscale in both questionnaires as suggested by the original authors. demographic data (age m+ sd) were assessed for intervention group (n=10) and control group (n=10) before intervention. the critical alpha level was set to .05 for all analyses. exploratory analysis was conducted to determine the normal distribution of the data (kolmogorov-smirnov and shapiro-wilk tests). post hoc statistics were used to account for the small sample size. before the intervention, an independent t-test was conducted on the baseline data to determine whether there was a statistical difference between the means of the two groups (homogeneity). the results of the intervention group were compared with the results of the control group to determine whether possible effects were due to the feldenkrais method intervention. intra and between groups comparison were calculated using the appropriate parametric tests. a mixed between-within subjects analysis of variance was conducted with two levels (pre, post) and the two groups. this two-way mixed anova allowed to assess whether there is a main effect for the group, a main effect for time (pre-post) and/or an interaction effect between group and time, i.e. to assess whether the influence of the time including an intervention (intervention group) or mölders and araújo • feldenkrais research journal, volume 7 (2023) 15 the passing of time without an intervention (control group) depends on the group, and covers all independent variables. qualitative data was gathered to capture students' experiences of the intervention (dreyfus 1991). the art-based method, using drawings, which in addition to written articulation can be useful to encourage expression, capture attention, and can be enjoyable for young people (flanagan et al. 2015), being an alternative to conventional processes of inquiry and more appropriate to young people (knowles and cole 2008). verbal statements were gathered from participants in relation to the program and particular lessons, and subsequently thematic analysis with a semantic level approach was utilised for these texts (braun and clarke 2006). the result was a framework of inductively created codes and themes organised by literature-informed categories and grounded in a phenomenological framework. this approach tries to explore the phenomena that appear to a person who experiences them (dreyfus 1991), valuing the participants’ experiences and interpretations. the drawings were analysed by looking for emerging themes, categorising them and thus searching for possible explanations and patterns. in addition to the theoretical frameworks addressed earlier in this paper, we also drew upon the perma model of well-being (seligman 2011) to capture emotional and motivational experiences emerging in the qualitative analysis in terms of insight, growth and happiness (kern et al. 2015). the perma model is based on positive psychology, which addresses factors of human strength such as optimism, flow and resilience and can be applied to many situations to explain individual experiences of enjoyment and mental health. perma refers to five components: positive emotions, engagement, positive relationships, meaning, and accomplishment, which provide a multidimensional approach to assessing the dimensions of well-being. these factors and processes affect optimal human functioning, for example in terms of education, insight, growth and happiness (kun et al. 2016). in the analysis of the statements, a choice was made to focus on three of the original five dimensions of the perma model of well-being, due to their relevance to capture the experience in the lessons: (a) positive emotions (happy and joyful feelings that motivate and increase performance and physical health and create optimism), (b) engagement (commitment to an activity, can lead to a feeling of “flow”), and (c) accomplishment (productive, meaningful action, making progress towards a goal, satisfaction with oneself) (kun et al. 2016). participants knew that their data were anonymised and kept confidential, and engaged openly and voluntarily with the various methods of data collection. results quantitative data participants characteristics the age of the dance students ranged from 12 to 18 years (intervention group, age m=14.80, mölders and araújo • feldenkrais research journal, volume 7 (2023) 16 sd=1.81; control group, age m=14.50, sd=2.06). there were only two statistically significant differences found between groups or pre and post intervention. for the intrinsic motivation inventory, there were increased felt pressure/tension scores in both groups after the intervention (ig pre mean= 2.60, post mean= 2.12, cg pre mean= 2.94, post mean= 2.34) (p = .03) (i.e. the feeling of more tension and pressure after the intervention). only one statistically significant improvement was observed after the intervention on the multidimensional assessment of interoceptive awareness for both groups. this was in the not-distracting scale of the (ig pre mean= 2.06, post mean= 3.00, cg pre mean= 1.83, post mean= 2.83) (p = 0.000) (i.e. the participants were less distracted by unpleasant sensations and better focused on themselves) and was related to the dance activity (see table 3). in terms of interoceptive awareness, non-statistically significant improvements were observed in the intervention group in awareness, attention-regulation, self-regulation and body-noticing but not in the control group. a decrease in trust in bodily experience was observed in both groups after the intervention. table 3 descriptive statistics. two-way mixed anova pre and post-test. *indicates a statistically significant change p=<.05 variable intervention group control group mean standard deviation mean standard deviation imi1 interest pre 6.41 0.43 5.52 1.39 post 5.85 0.99 5.70 0.71 imi2 competence pre 4.70 1.40 4.83 0.93 post 4.95 1.00 4.86 0.68 imi3 choice pre 5.68 1.03 5.40 1.17 post 5.02 1.07 5.38 0.81 imi4 tension* pre 2.60 1.20 2.94 1.32 post 2.12 0.73 2.34 0.75 maia1 awareness pre 4.77 1.07 4.72 0.63 post 4.95 0.83 4.40 0.52 maia2 not-distracting* pre 2.06 1.05 1.83 0.50 mölders and araújo • feldenkrais research journal, volume 7 (2023) 17 variable intervention group control group mean standard deviation mean standard deviation imi1 interest pre 6.41 0.43 5.52 1.39 post 5.85 0.99 5.70 0.71 post 3.00 0.78 2.83 0.59 maia3 attention-regulation pre 3.90 0.75 3.64 0.49 post 4.07 0.69 3.67 0.58 maia 4 self-regulation pre 3.57 1.50 3.77 0.96 post 4.00 1.22 3.10 1.05 maia5 listening pre 3.76 1.28 3.53 0.99 post 4.16 1.10 3.23 0.75 maia6 trust pre 4.63 1.50 5.00 0.60 post 4.30 1.44 4.80 0.74 note. imi: responses were given in a scale ranging from 1 (not at all) to 7 (very true). maia: responses were given in a score ranging from 0 (never) to 5 (always). discussion of quantitative data in the intrinsic motivation inventory, a tendency to decrease was observed in the intervention group, while the scores in the control group remained about the same. these findings seem to suggest that students in the intervention group showed less interest in the dance activity. this could indicate an increased awareness of the changed learning conditions in online dance classes such as fewer opportunities to make choices, little space, no choreographies and less communication, resulting in more accurate perceptions, or it could be due to other unexplored factors. in terms of body awareness (maia), a tendency towards improvement was observed in the intervention group, while the control group showed a decrease or the same scores. this may indicate a tendency for the positive impact on increased self-awareness as a result of participation in the feldenkrais method lessons. both the intervention and control groups reported high scores on the intrinsic motivation scales (imi) interest and choice at baseline and high scores in the body awareness scales (maia) awareness and trust. the question arises whether the already high motivation and awareness at the beginning can be further increased under difficult conditions of online dance classes. the scores for felt pressure/tension and not-distraction were lower at the start of the intervention mölders and araújo • feldenkrais research journal, volume 7 (2023) 18 (lower scores mean higher results), indicating rises in high felt pressure/tension. this may suggest that participants were developing greater self-awareness of unpleasant emotions and coping with them during this period of time. this result suggests that there may be value in using a measure of bodily awareness in future research, particularly as the major circumstance of the covid-19 pandemic and associated lock downs are likely to have impacted these results in unpredictable ways. the quantitative results offer some insights on the potential of the feldenkrais method to develop interoceptive awareness and the impact of adverse environmental situations on motivation, which require further exploration using more robust experimental designs. the pandemic represents a major confound for this study, and it may be valuable to undertake a similar study in different circumstances. qualitative data – intervention group only satisfaction the qualitative data showed that these young dance students in both groups had high levels of enjoyment and perceived choice in dance classes, especially before the intervention. drawings the participants were asked to draw a picture expressing their mood at the beginning, at the midpoint and at the end of the intervention (see appendix a). they used colours, realistic images and metaphors to express themselves. based on our arts-informed research (knowles and cole 2008: 59-61), we suggest the drawings appear to show a positive development during the programme. one girl (participant 1, table 4), for example, chose dark colours at the beginning and lighter colours as the project progressed, suggesting a more positive mood. in her first picture she chose the metaphor of an enclosed sun, later coloured leaves covered two-thirds of the picture and then she painted curls in light colours. mölders and araújo • feldenkrais research journal, volume 7 (2023) 19 table 4 example for the use of colours (pre/ midpoint/ post intervention) to express experiences participant 1. participant pre intervention midpoint post intervention 1 another student (participant 2, table 5) expressed herself in a realistic way and drew a girl's face, presumably as a self-portrayal, at the beginning with an angry expression and turned away from the viewer, later with a look towards the viewer and at the end with a softer, more open look and a small smile, indicating progression towards a more positive mood. table 5 examples for realistic drawings (pre/ midpoint/ post intervention) to express experiencesparticipant 2. participant pre intervention midpoint post intervention 2 mölders and araújo • feldenkrais research journal, volume 7 (2023) 20 a third student (participant 3, table 6) mainly used metaphors, first together with dark colours and lighter toward the end of the study. before the intervention, she drew a dancer standing on the edge of a jug. halfway through she drew an egg whisk, which may be suggestive of her intention to describe her "mixed" experiences. at the end she used the metaphor of a lightened candle with a dancer on it, perhaps indicating a calmer, more content mental state. table 6 examples for metaphors (pre/ midpoint/ post intervention) to express experiencesparticipant 3. participant pre intervention midpoint post intervention 3 overall, the main metaphors used at the beginning of the study gave the impression of insecurity, lack of support, powerlessness, or dissatisfaction. this conveyed a subdued rather negative mood towards the beginning of the intervention and may have reflected the impact of the covid-19 pandemic at the time. at the midpoint, the main impression was one of thoughtfulness and confusion; the mood was indecisive and reflective which could indicate the attempt to understand and engage with the method. after the intervention, the drawings gave an increasingly positive impression, with some indication of contentment and joy (table 7). mölders and araújo • feldenkrais research journal, volume 7 (2023) 21 table 7 emerging categories, themes, and expressions in the analysis of drawings categories themes expression 1. pre: negative feelings insecurity, powerless, lack of support, dissatisfaction half-empty battery, angry face, dancer at an edge, question mark, wavy lines, dark colours 2. midpoint: process of reflection thoughtfulness, indecisive, confusion whisk, jigsaw puzzle, waves, thoughtful face, dark colours combined with brighter colours 3. post: positive mood satisfaction, happiness sun, flowers, candle, smile, dancing girl, spirals, bright colours in conclusion, the drawings could be interpreted as expressing a move towards more satisfaction, a more positive mood and reflected the high engagement of the students. individual written statements at the midpoint and at the end of the intervention the students were asked “what was your experience in the lessons?”. the participants wrote down their answers and sent them by email (see appendix b). therefore, these reports were not anonymous, and may have been subject to desires to please the teacher-researcher. the individual reports from midpoint to the end of the intervention showed a clear progress in understanding the method and engagement with the lessons. the first author led the process of analysis in consultation with the second author, and used literature on coding (knowles and cole, 2008, chapter 5). in addition to the three of the original five dimensions of the perma model of well-being (seligman, 2011) positive emotions, engagement and accomplishment; a fourth theme was reported: negative feelings and experiences (mental and physical) to take into consideration negative aspects of their experience reported by students (table 8). mölders and araújo • feldenkrais research journal, volume 7 (2023) 22 table 8 categories based on the perma model, themes and codes after the intervention categories themes descriptions based on codes 1.positive emotions improved mental state much calmer come down from school stress enjoyment, relaxation 2.engagement recognising the effectiveness and benefits of the method dealing with the content good experience. very interesting how different the body feels enriching, always something new i realise how many parts of the body we actually need 3.accomplishment awareness productive outcome/ improvement transfer to everyday life satisfaction i feel more patience with myself i try to apply the basic ideas in everyday life always new experiences i have learned a lot of new things the new experiences are now in my head; i can use them, they help me i learned how much i can do for myself in a short time i learned something useful without pressure and expectations i can better control my posture+ breath 4.negative feelings negative effect it is not for me, i don’t find the time to relax at the midpoint of the intervention, participants described an improvement in their mental state and began to recognise the benefits of the method. they were aware of the changes occurring, were interested in new sensations and movements, and were satisfied with the outcome at the end of a lesson. they also reported tiredness during the lessons. similar themes were found at the end of the intervention. the students appreciated their mölders and araújo • feldenkrais research journal, volume 7 (2023) 23 improved mental state and now reported the perceived benefits in a more differentiated way. they seemed to recognise how the method worked and tried to implement the principles in their everyday life (for example: “i feel more patience with myself.”, “the new experiences are now in my head; i can use them, they help me.”). most students performed the movements without feeling exhaustion; only one student reported that she could not relax. the main difference in relation to the midpoint of the study was that students seemed more confident and familiar in the application of the method and transferring it into daily routines after the feldenkrais method lessons. overall, students’ experiences showed an improvement in positive emotions and engagement and a considerable improvement in accomplishment based on increased awareness (see figure 1). however, negative feelings such as exhaustion were also reported, but these decreased in the course of the intervention. figure 1 development from midpoint to post intervention. participant feedback on lessons at the end of each feldenkrais method awareness through movement lesson, participants were asked individually for a short verbal feedback on their experience of the lesson. in this way, the direct impression from the lessons could be captured and the participants had the opportunity to reflect on their own experiences as well as to know about their peers’ experiences. the practitioner wrote down the statements using pen and paper and kept a research diary. the lesson feedback offered a more differentiated view of how the lessons were experienced, how students coped with problems, and how they improved over the course of the intervention. one student reported a broad range of feelings that changed in the course of the mölders and araújo • feldenkrais research journal, volume 7 (2023) 24 intervention. another student did not know how to perform the movement at the start of the lessons and later rated the lesson as her favourite lesson. another student described in detail how the lessons enabled her to cope with negative feelings and the benefits she felt (table 9). table 9 issues, strategies, and outcome: feedback from participants issues strategy outcome – exhaustion – no idea how to move – dizzy – unpleasant – difficulties to understand – no pleasure – strenuous – problems with spine/ back – i didn’t get it right – sometimes i understood, sometimes not – hard to understand – movement felt unnatural – i thought too much – helpful feedback several breaks – i took care of myself – it cracked in my back which was good – i kept going – i made the best of it – i took more breaks – i did it as i thought – i enjoyed the breaks and persevered, i was curious – i did it my way – i got to used to it – without thinking it worked better – i modified the movements – i felt a lot, i did it good – easier to move, pleasant – more comfortable – dizziness disappeared – favourite lesson – better lying – light, improved turning – my back adapted to the floor – many changes – completely warm, relaxed – it was better at the end – it went well, much better – it felt different, don’t know why – very nice, really funny in summary, the lesson feedback showed that all students had many positive experiences (for example, “completely warm”, “relaxed”) and felt accomplished during the lesson, but also faced some difficulties and challenges during the intervention (“hard to understand”). sometimes the execution of a movement was unclear or unpleasant, for example due to spinal problems. at the end of the study, many seemed to cope better with the difficulties (“my back adapted to the floor”). the coping strategies they found were related to self-care, finding creative solutions, and task behaviour. for example, students appeared to be more proactive in taking care of themselves (for example, “i took breaks”), they modified movements when necessary and trusted their competence (“i did as i thought”). their perseverance to continue the lesson despite emerging problems and the experience of achieving improvement ("i was better at the end") indicates a proactive and engaged task-oriented behaviour. the enjoyment during the lessons and the perception of successful achievement through personal improvements suggest that students understood and engaged with the method (figure 2). mölders and araújo • feldenkrais research journal, volume 7 (2023) 25 figure 2 strategies related to self-care, creativity and task behaviour post intervention follow up three months after the intervention, participants were asked about their experience after finishing the feldenkrais method programme. in an online group session, they verbally answered the following question: "what is your experience with the feldenkrais method three months after the intervention?" the researcher wrote down the statements with pen and paper (see appendix c). the aim was to find out to what extent the students remembered the lessons and whether they applied what they had learned. six out of ten students reported using the method regularly; one used it sometimes; and three said they no longer used the method. all participants who continued to use what they had learned, also reported a lasting improvement in their self-awareness. for example, one student stated that she is more aware of how she feels, while another reported that she pays more attention to what she feels in her body when she moves. the aspect of coping with pain was mentioned more often, indicating that their focus on themselves had improved. it was encouraging that the majority of students used the method. nevertheless, it seemed that the students' experiences were already beginning to fade, suggesting that continued engagement with the method is necessary to achieve optimal and lasting benefit. discussion the aim of this study was to investigate the extent participation in feldenkrais method lessons was associated with higher intrinsic motivation and enhanced self-regulation in adolescent female dance students. quantitative findings obtained through the questionnaires confirm a tendency towards improvement in awareness and self-regulation in the intervention group. overall improvement in interoceptive awareness scores were observed, suggesting that a feldenkrais method intervention might have a positive impact in developing self-awareness and motivation in young dancers. mölders and araújo • feldenkrais research journal, volume 7 (2023) 26 however, the intervention group showed a decrease in intrinsic motivation on the experience in dance classes. the students participated in dance classes as a leisure activity, which means there was already a high level of motivation for dance at the beginning of the intervention, shortly before the lockdown was imposed. the descriptive statistics aligned with this observation, as it showed high scores in the subscales interest and choice before the intervention. this appears to be evidence of a “ceiling effect” and may indicate that these scales, or subscales, may not be useful for identifying changes in this population. it seems rather unlikely that their intrinsic motivation in terms of interest/ enjoyment, competence, choice and tension/ pressure would improve further, as the conditions of dance learning had changed considerably from face-to-face teaching to online teaching. the students danced alone at home, with little space and no social exchange, which may have impacted the quality of dance learning. the possibility of own decision-making was also limited, for example, about the choice of music or how to run the lesson in general, as questioning and involving the students in an online format takes much longer and disrupts the flow of class. the dance environment has an influence on intrinsic motivation (nordin-bates et al. 2012) and the lockdown circumstances appear to have impacted overall motivation of students. the limited recruitment opportunities during the lockdown resulted in a small pool of participants, which may have limited the statistical analysis; more participants may have resulted in a more significant result. in addition, participants showed a wide age range, potentially reflecting different maturation levels. the maturation process is variable and depends not only on age but also on other factors such as experiences, therefore, the pace of development may be different for students of the same age or similar for students of different ages (kimmerle and coté-laurence 2003). previous studies with similar samples showed the feasibility of the method with adolescents across a wide age range (coogan 2018-2019; wallman-jones et al. 2022). the quantitative findings showed a significant increase in felt pressure/tension occurred in both groups. this suggests that the pandemic may have had a wider impact on the study than the feldenkrais method. students of the intervention group did not transfer the principle of reducing tension into the dance classes. this raises the question of how the practice and benefits of learning in feldenkrais method lessons can be applied to dance training and what influence external circumstances and the length of an intervention may have. for an optimal transfer of skills into dance classes, it seems necessary to use the method regularly over a longer period of time so that students have the opportunity of practical integration of the experience to maintain the effects (brodie and lobel 2004; shusterman 2002). changes that involve a transfer from the physical to the cognitive and emotional level, as in the feldenkrais method, should be seen as a long-term process for optimal benefits. in addition, participants in both groups improved significantly in the not-distracting scores. they seemed to have improved their focus on themselves, possibly because they were at home and less distracted by other things, but also more aware of their own feelings. it is not known to what mölders and araújo • feldenkrais research journal, volume 7 (2023) 27 extent these results were influenced by the wider impact of the covid-19 pandemic; this needs to be further explored. the analysis of individual statements, drawings and the lesson feedback revealed interest, enjoyment and inherent satisfaction of the participants in the intervention group; all dimensions of intrinsic motivation (ryan and deci 2000). this was also reflected in a positive assessment of the lessons (“i have learned something useful without any expectation or pressure behind it”). from the perspective of the feldenkrais method practitioner and dance teacher (researcher 1), the results were surprisingly positive. i had noted in my research journal: i was not sure whether i could convince young people of the value of the method under such challenging conditions. students reported that they had fun, felt more competent at the end of the lesson and increased their autonomy in making their own decisions to adjust to the lesson and improve, which was also reassuring to the dance teacher under challenging circumstances. this suggests that participants' basic psychological needs were satisfied during the lessons, possibly impacting positively their motivation and self-regulatory processes during the lessons (smit et al. 2017). this was further supported by the improvement in interoceptive awareness results in the intervention group, which refers to the metacognition dimension of self-regulation (khalsa et al. 2018) in terms of awareness, attention regulation, self-regulation and listening to the body. the heightened body awareness related to the feldenkrais method lessons emerging in the qualitative results were consistent with the questionnaire results in relation to dance classes, which showed a tendency to improve body awareness overall. in the feldenkrais method lessons, the self-regulated learning of the students became more evident at cognitive (more understanding), motivational (more enthusiasm and perseverance), and metacognitive (more reflective and decision-making capacity by finding movement solutions that were comfortable to perform and applying those to daily life) levels (ocak and yamac 2013). results also suggest the potential transferability of self-care and coping skills into everyday life, and applying previously acquired knowledge in a new context (fortin et al. 2002), as shown by the results at the end of the intervention and three months later. although on the one hand the pandemic may have affected the validity of the study, on the other hand, slight increases in interoceptive processes and self-regulation seem to suggest that the intervention may have been beneficial in supporting young dancers to deal with the negative effects of the pandemic, influencing resilience and adaptability under adversity (baumann et al. 2007; fonow et al. 2017; niwa et al. 2016). the students seemed to have appreciated the programme, showed openness to new experiences, were willing to engage with it and share their experiences. the external circumstances may have favoured this, as there were few leisure activities and little exchange and communication. in terms of developmental stage, the drawings, individual statements and lesson feedback mölders and araújo • feldenkrais research journal, volume 7 (2023) 28 indicated that the students were willing to work on their personal development and enhanced both their emotional and physical self-perceptions, suggesting the suitability of the feldenkrais method, and the measurements used in this study, for this age group, as reported elsewhere (wallman-jones et al. 2022). however, considering differences in maturation across age, further exploration of these factors can offer more detailed insights into the differential benefits of the feldenkrais method in early and late years of adolescence. in reflecting on these findings, we would like to offer a brief testimonial of the first author on the experience and impact of this study on her own practice as dance teacher and feldenkrais method practitioner (researcher 1): after the feldenkrais [method] project was finished, it was difficult for me to evaluate possible changes in the dance training as the classes were still online for a few months. after the lockdown ended, all the students were very happy to be back in the dance studio and highly motivated. i noticed a greater openness towards me, willingness to get involved in the classes, and a greater attention to my instructions among the project participants. i am now trying to integrate the results into my teaching. this is not always possible because time is limited and an exchange with each individual student is not always practicable. for me, this project has meant being more open to the needs of the students, reflecting on my own teaching strategies, and now trying to integrate the findings into dance teaching. my aim is to apply the following aspects of motivation and self-regulation support: check physical, mental, emotional state of the students notice their needs enable self-determination by valuing their views and ideas set achievable goals enable learning without tension offer exploration/experimentation encourage awareness and attention accept adjustments for self-care purposes strength self-confidence accept that not everything can be controlled and that is ok in sum, findings suggest that participation in a feldenkrais method intervention can facilitate positive development of self-awareness and self-regulation, and can contribute to the fulfilment of basic needs and the resulting enjoyment, success in accomplishing tasks and the acquired knowledge. during adolescent developmental stages, students explore their motivational patterns and their capacities for self-regulation. the extent to which these positive benefits can facilitate intrinsic motivation for dance and be transferred to specific dance learning contexts needs to be further explored. this study may be valuable for future studies as it explores what measures might be valuable for adolescent dance students. qualitative measurements seemed mölders and araújo • feldenkrais research journal, volume 7 (2023) 29 appropriate as they allowed students to describe their experiences more openly and encouraged them to express themselves. the results of the questionnaire on awareness (maia) were consistent with the qualitative results, therefore its use could be recommended for further studies. the suitability of the intrinsic motivation questionnaire (imi) can be questioned as the results were already very high at the beginning and left little room for improvement. limitations despite the promising findings, these need to be considered with caution as we acknowledge the limitations encountered. firstly, the study was conducted during a full lockdown period due to covid-19 related governmental measures, which disrupted significantly daily life experiences and may have been impactful especially for young individuals. this also impacted the mode of delivery of the intervention. another limitation to acknowledge is the potential researcher bias, as the first author was simultaneously the researcher and facilitator of the intervention, and had close knowledge of the group. on one hand, this implied the risk of potential biases, and its impact on the results; but it also added practical relevance and value as it guaranteed consistent teaching behaviour and its adaptation to the specific needs of the group. furthermore, the small samples, the wide age range of adolescents and the duration of the intervention under atypical and challenging circumstances can limit the interpretation and transferability of the findings. future research should be aware of a possible “ceiling effect” and the suitability of the chosen subscales to identify motivational changes in this population. conclusion the study of a ten-week feldenkrais method programme on intrinsic motivation and self-regulation of adolescent female dance students in a recreational dance context demonstrated an improvement in aspects of awareness and self-regulation. whether the feldenkrais method also has a positive effect on intrinsic motivation in dance training could not be determined in this study, possibly due to the changes imposed by covid-19 lockdown measures that affected dance learning and teaching contexts and individual experiences, as well as possible "ceiling effects", where adolescent students of dance may start as highly motivated individuals. this study suggests that the feldenkrais method may have benefits to develop self-awareness, self-regulated behaviours and motivation in adolescent dancers, which can be beneficial for optimal learning and wellbeing. the feldenkrais method has the potential to influence these aspects of development through its distinctive promotion of somatic awareness, including interoceptive awareness. this study was conducted at a time of severe adversity and yet positive results were observed, suggesting that the feldenkrais method might be useful to develop resilience and self-regulation strategies that help young people navigate through the negative effects of adverse situations, and transfer those skills across different settings. considering the positive subjective evaluations of the feldenkrais method lessons, further mölders and araújo • feldenkrais research journal, volume 7 (2023) 30 research on the transversal and transferable effects of the method on developing motivation in dance, self-regulation and self-awareness is recommended. references al omari, o., al sabei, s., al rawajfah, o., abu sharour, l., aljohani, k., alomari, k., shkman, l., al dameery, k., saifan, a., al zubidi, b., anwar, s., and alhalaiqa, f. 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(2022) ‘feldenkrais to improve interoceptive processes and psychological well-being in female adolescent ballet dancers: a feasibility study’. journal of dance education, pp. 1–13. available at https://doi.org/10.1080/15290824.2021.2009121. appendices appendix a: examples drawings; pre, midpoint, post participant pre intervention midpoint post intervention 4 5 7 mölders and araújo • feldenkrais research journal, volume 7 (2023) 37 8 9 10 appendix b: individual statements preintervention: “what do you know about feldenkrais?” ● i think through feldenkrais you learn to perceive your body better and to listen to it. you generally get a better perception of yourself (feelings, breathing, what you want and what you don't want, do i feel uncomfortable or comfortable?) you learn this through certain exercises, which are calm but still encourage a certain amount of effort. ● i think feldenkrais is a way to deal with your body and to feel yourself better. ● i know that you do exercises ● i don't know much about feldenkrais. only what claudia told us. ● i understood that it is supposed to help you concentrate better when dancing and so on. ● feldenkrais is an activity designed to give people more self-awareness through relaxing exercises. in addition, feldenkrais can be used to relieve pain. ● not much yet just that it is quiet. ● as i have already participated in it last time, i already know a lot about it. ● what i noticed most was the better and more conscious body awareness. in addition, after each lesson i had the feeling that i could move better and learn completely new mölders and araújo • feldenkrais research journal, volume 7 (2023) 38 movements that i was not aware of or familiar with before. another very good feature of feldenkrais, in my opinion, is the calmness and composure, because you don't feel obliged to do all the movements, because you can simply imagine them. ● we learn to listen to our body and do relaxation exercises. “what do you expect about the lessons?” ● i hope that feldenkrais will help me to better perceive the things mentioned above. it should also help me to relax and get away from it all. ● i hope that the feldenkrais classes in the next few weeks will help me to calm down and get away from the stressful everyday life by concentrating on my body and breathing. i also hope that my body awareness will improve and that this will have an effect on my dancing. ● that i feel better when i dance afterwards. ● i hope that it will be fun, something new and that it will improve me in ballet. ● i think i will definitely enjoy the course, but i have no expectations other than mentally. ● i hope that i will learn more about my body and find ways to control my breathing. i want to learn this activity because i would like to use it in everyday life. ● that it will be fun. ● i don't know what to expect because i don't know it. ● i expect relaxation and i expect above all to find myself again after all the stress of the last months. i also hope to be able to move better again in certain parts of my body and with certain parts of my body. ● i approach the project with an open mind, i hope to get a little relaxation with the help of the lessons midpoint: “what are your experiences?” ● i would describe my experience as fun and funny but also solving and refreshing. ● my experience in the feldenkrais classes so far has been very positive. i often feel tense at the beginning of the classes and feel that i become more relaxed as the class goes on and stay relaxed after the classes. ● i find feldenkrais totally relaxing. it is highly recommended, thank you. ● i liked the feldenkrais lessons a lot. sometimes i found it very strenuous and sometimes not at all. i didn't know most of the exercises before. ● my experience so far has been good because i am more flexible now. ● my experience in feldenkrais so far has been sometimes exhausting, tiring or relaxing but definitely interesting! it's strange to see what a small, often repeated movement does to the body's sensation if you just pay attention to it. because i guess i do a lot of movements in everyday life that are not good for me without listening to myself afterwards. ● some classes are exhausting. you can always take a break, and at the end of the class you can do the exercise you did at the beginning better. mölders and araújo • feldenkrais research journal, volume 7 (2023) 39 ● so far, my experiences from the feldenkrais lessons have been partly different, but never in a negative sense. sometimes i have felt a big change that continued the next day, and sometimes there was no big change. despite everything, i notice that it does me good. ● i feel more flexible and i look forward to feldenkrais. ● i describe my experience in the feldenkrais classes as beautiful. sometimes it is very tiring but also sometimes relaxing. post intervention: “what are your experiences?” ● the experiences i have had are good. only i realised that it is not for me, but it was a nice experience anyway. ● it was a good experience and it was fun! ● since i have been in the feldenkrais group, i feel much calmer and more relaxed in everyday life. ● it was fun. it was good to come down a bit after school hours. ● i really enjoyed participating in this project and getting to know feldenkrais better. ● my experience in the feldenkrais classes was very positive. i felt smoother and more relaxed after the lessons and i also felt in everyday life that i was more patient with myself and could control my posture/breathing better. ● i found it very interesting to feel how different the body sometimes feels after repeating seemingly small movements. ● i try to apply the basic ideas of feldenkrais (taking care of yourself, no pressure to perform, etc.) in everyday life. and i also sometimes do the supine position in which we always relaxed when i have stomach aches or stress. ● i would describe my experiences as invigorating and liberating. it was always something new and enriching each time. it is also very interesting to do movements that you don't normally do consciously, but then realise how many parts of the body we actually need to make a movement. i always had a lot of fun! ● the feldenkrais lessons have had a positive effect on me and my body, and i have also learned a lot of new things. these new experiences are now in my head, so i can use them in certain situations and they help me. the lessons themselves were always very different, but i felt a change every time. ● feldenkrais was a way for me to allow my body to relax from everyday life. in feldenkrais i learned how much you can do for your body in a short time. it was super fun to take part in the project! i also have the feeling that i have learned something useful, but without any expectations or pressure behind it. that's what i liked. ● with feldenkrais i have learnt how to relieve, stretch and relax my body with relaxation and free, light movements, without any pain. if i am tense or sprained somewhere, or if i want to expand my range of movement by stretching for ballet, for example, i now know what simple movements i can do to achieve this goal without too much pressure. mölders and araújo • feldenkrais research journal, volume 7 (2023) 40 ● i find feldenkrais totally relaxing, but i have to prepare for quite a lot of meetings at school at the moment and have a lot on my mind. apart from that, it is highly recommended. appendix c: three months after intervention awareness: ● “i am more aware of some things. i pay attention to my breathing and feel inside myself how i feel and notice my body.” ● “i repeat to be aware of my sensations.” ● “i become more aware of myself.” ● “i am more aware of my movements.” ● “i have felt small changes. now i pay more attention to how my movements are.” ● “what i remember most is breathing, which i now also pay more attention to in everyday life.” relaxation: ● “i repeat relaxing in the supine position when everything gets too much for me.” ● “i use the exercises to relax.” ● “i liked the back exercises; they help me to come down.” pain management: ● “i repeat being aware of my bodily sensations in the supine position, to cope with stomach aches.” ● “when i have back pain, i use them to relax, for example the head roll.” ● “i can also better assess where i feel pain.” ● “when i'm in physiotherapy, the feldenkrais experiences are helpful. for example, in one lesson we learned to stand up better; i bring that into the physio lessons to cope with my neck problems.” improvement of dancing: ● “i can use it very well in dancing; that's the icing on the cake. i can move my arms and fingers more beautifully. remembering: ● “a few exercises have stuck.” ● “there is something stuck, but not so intense.” ● “i don't remember all the exercises. some of the exercises i still remember and use.” mölders and araújo • feldenkrais research journal, volume 7 (2023) 41 ● “i still know some exercises and use them.” biographies claudia mölders, mfa, feldenkrais practitioner, dance teacher claudia mölders runs a private dance studio in cologne, where she teaches dance and the feldenkrais method and has carried out various projects researching the effect of the feldenkrais method on young dance students. she studied dance science at the university of bern and at trinity laban conservatorium of music and dance, london, has been a certified dance teacher of the royal academy of dance since 1998 and completed the feldenkrais training neuss 8 with chava shelhav in 2003. dr liliana s. araújo, phd liliana araújo is former programme leader of the msc and mfa programmes in dance science at trinity laban. currently, she is assistant professor of performance science at the schulich school of music of mcgill university. she holds a phd in psychology, she is a chartered psychologist and a certified stress management, health, and wellbeing coach. mölders and araújo • feldenkrais research journal, volume 7 (2023) 42 frj 7 bowes feldenkrais research journal • volume 7 (2025) original research group exercise for improvement in urinary incontinence using motor learning and sensory awareness based on the feldenkrais method® of somatic education deborah bowes doctor of physical therapy (dpt), feldenkrais teacher and trainer feldenkrais movement and awareness, san francisco; saybrook university contact: deborahjbowes@gmail.com abstract background: purpose and rationale the pelvic floor functions as an integrated neuromuscular system. dysfunction and motor control problems in the pelvic floor system cause various kinds of pelvic distress, including urinary incontinence (ui) and dyscoordination. many women have pelvic floor dysfunction and do not know it or have ui and do not seek physical therapy. there is a need for effective group treatment programs to reduce and prevent incontinence and promote pelvic health. the purpose of this report is to present a group exercise model that used a sensory motor learning method drawing from the feldenkrais method® of somatic education, health education and group support. the feldenkrais method is a sensory motor learning educational process. the program’s goal was to improve sensory motor coordination in order to reduce symptoms of ui and pelvic distress. case description this mixed method case report describes a five-week group treatment program for 12 self-referred women with ui. there were five weekly two-hour classes, for a total of 10 hours. the program included, (1) feldenkrais method awareness through movement® lessons, (2) relevant health education information about the bony, muscular and organ anatomy of the pelvis, (3) bladder training, including the reflex relationship between the bladder and pelvic floor, and healthy voiding habits, (4) the role of the parasympathetic and sympathetic nervous systems, and (5) how the pelvic floor works as an integrated system. each class included group support and discussion. home practice was with provided pre-recorded awareness through movement audio lessons on cd. outcomes the measures used were the urogenital distress inventory 6 (udi-6) and incontinence impact questionnaire 7short form (iiq-7). the results from these scales demonstrated the effectiveness of the program for reducing mild to moderate ui and symptoms of pelvic distress, such as pelvic pain, in women. as measured by the udi-6, 66% of the women had reduced distress. conclusion this pelvic floor program using feldenkrais method awareness through movement lessons, health education including bladder training and group support is an effective option for reducing mild-moderate published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:deborahjbowes@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org urinary incontinence and improving quality of life. further research would be valuable to expand on this approach. keywords urinary incontinence, pelvic floor, feldenkrais method, motor control, sensory awareness, group exercise, women’s health copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7; 2025. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. bowes • feldenkrais research journal, volume 7 (2025) 2 original research group exercise for improvement in urinary incontinence using motor learning and sensory awareness based on the feldenkrais method® of somatic education deborah bowes doctor of physical therapy (dpt), feldenkrais teacher and trainer feldenkrais movement and awareness, san francisco; saybrook university impact of urinary incontinence the quality of a woman’s life is adversely affected by urinary incontinence (shumaker et al. 1994). urinary incontinence (ui) affects a person’s health status, quality of life, including productivity, and healthcare expenses (tang et al. 2014). in addition, ge et al. (2017) reported significant disruption of sleep and an increase in fatigue with ui. pereira et al. (2019) studied 80 women who were in physical therapy treatment and had a co-morbidity of ui, found that sexual satisfaction, expression and self-image had been negatively impacted, and this was part of a reduction in their quality of life. the impact on caregivers has also been studied. talley et al. (2021) described an increase in caregiver burden, and an increase in institutionalization for elderly people with ui. these impacts have social consequences: they reported ‘physical, financial, and social consequences, changes in family roles and support, and a need for training on incontinence management strategies’ (2021: 2). in 2008, nygaard et al. reported that 15.7% of non-pregnant women over 20 years of age had moderate-severe urinary incontinence. this percentage increases with aging (nygard et al. 2008). depending on how ui is defined, the method of measurement, the age of women, whether community dwelling or in an institutional facility, then the percentage can range from 5% to 66% (choi et al. 2007). this figure may be even higher as many women do not discuss ui with any healthcare provider. ui affects the physical, social, and psychological well-being of women whether living in the community or in an institutional facility. there is also a high financial cost, somewhere in the range of usd $16 to $26 billion annually, with 37% of the money spent on absorbent products and laundry (choi et al. 2007; koch 2006). one only needs to look at the volume of incontinent products on display for sale at the local pharmacy to see that dealing with ui costs money for the consumer and seems hugely profitable for the companies who make the products. the environmental impact of increased adult diaper disposal is a significant problem and bowes • feldenkrais research journal, volume 7 (2025) 3 growing. adult diapers now exceed the amount of baby diapers in the waste stream, as shown by a recent australian study by (brewster et al. 2022). in one rehabilitation hospital in japan, eight out of 10 residents wear diapers and 400 pounds of diaper waste is produced daily by 200 residents (rich and inoue 2021). rationale for group exercise many patients are seeking greater control of their health and are looking for affordable self-care options. health education classes offer a self-care model that appeals to many consumers and its affordability makes them an attractive choice. pelvic floor dysfunction leading to mild to moderate ui can be addressed in small group exercise classes using awareness through movement® lessons. literature supports inclusion of pelvic floor exercise in a general exercise program for women to improve pelvic floor function (kim et al. 2011). research reports found that five is the median treatment visits for ui treatment reported in a multicentre observational study in australia (neumann et al. 2005). for group pelvic floor training and treatment, groups of 8 to 10 students were reported in the netherlands (janssen et al. 2001). pelvic floor muscle training is often called kegel exercises. dr arnold kegel promoted the idea that stress ui resulted from a lack of awareness of function and coordination of pelvic floor muscles (kegel 1948; and also cho and kim 2021). dr kegel drew on midwives’ traditional methods used to restore a mother’s bladder and pelvic floor function after giving birth. these traditional methods included instructions for a woman to use her own finger to sense the contraction of the pelvic floor musculature. dr kegel invented a device, called a perineometer, used internally in the vagina, which recorded the force of the contractions of the pelvic floor muscles (kegel 1948). the use of the perineometer is a kegel exercise, and a type of biofeedback device. currently, any pelvic floor exercise is commonly called a kegel, but without the use of the perineometer biofeedback device, it is a different exercise. a woman may not have the awareness or sensory feedback to exercise these muscles properly. this may lead to a lack of confidence in whether-or-not they are doing the pfme correctly. it may also result in a lack of improvement in symptom reduction. this can lead to women not doing pelvic floor muscle exercises (pfme). in addition, many women are not comfortable physically or psychologically using an internal device. they may not be able to or want to purchase a device or use the device with a therapist. some women may prefer a self-directed awareness based program that can be done independently and non-invasively, or they may not have access to a trained pelvic floor therapist. a 2013 study by fan et al. used measures udi-6 and iiq-7 and found significant improvement in quality of life for women with ui from pfmt (pelvic floor muscle training). pelvic floor training can have a progression of phases. gödel-purrer suggests that phase 1 is “development of the ability to become aware of the region” (2006: 253). bowes • feldenkrais research journal, volume 7 (2025) 4 this case report describes a treatment approach unique in the literature. it is a group exercise program, offered as a self-referred public wellness program, with a semi-standardized protocol, using the feldenkrais method, a sensory-motor learning process (feldenkrais 1991; hillier and worley 2015; stephens and hillier 2020). a successful program to improve continence will develop awareness of the muscular system of the pelvic floor. as the pelvic floor is functionally integrated with other deep muscles of the body, one can make use of concrete, observable feedback in the form of one’s own whole body movements, including the spine, pelvis, shoulder girdle, hips and breathing. it has been proposed that this process of directing one’s attention and noticing changes to many aspects of sensory motor learning causes a change in how the nervous system manages or organizes the whole self to perform the action. the theory of neuroplasticity may explain how changes in efficiency, coordination, musculoskeletal configuration, timing and ease can occur relatively quickly. in awareness through movement lessons clarification of the image of the movement as connected to one’s sensation is emphasized (doidge 2007; stephens and hillier 2020). pelvic floor exercise has been shown to improve or even cure ui symptoms (bø and sherburn 2005; liebergall-wischnitzer et al. 2009). in addition, specific bladder training also is an important part of a ui treatment program (choi et al. 2007, ucsf 2022-2024). women with ui benefit from education that explains the reciprocal relationship between the bladder and the pelvic floor. effective full contractions of the pelvic floor can inhibit bladder contraction and stop urination, the urge to urinate, and involuntary urine leakage. bladder training requires awareness of the sensations of urination, the urge to urinate and the skill to use the pelvic floor muscles to manage urination. pelvic floor exercise is recommended by medical doctors and physical therapists as the initial intervention for incontinence (koch 2006). a 2018 systematic review of 31 research trials, concluded based on the data available, we can be confident that pelvic floor muscle training can cure or improve systems of sui [stress urinary incontinence] and all other types of ui [urinary incontinence]. it may reduce the number of leakage episodes, the quantity of leakage…, and symptoms on ui specific questionnaires….the findings of the review suggest that pfmt could be included in first-line conservative management programs for women with ui. (dumoulin et al. 2018) bladder retraining is a valuable element to be included in programs for improving ui symptoms. a systematic review of 15 trials published in 2023 (funada et al.) showed mild to moderate evidence of its value in ui treatment. bladder training was included in the health education aspect of this study. most often ui treatment is provided on an individual basis and in a medical setting from a physical therapist or nurse with special training (choi et al. 2007). there are limitations to this model in the united states, as the cost of individual treatment is expensive and prohibitive for many women. without health insurance coverage, many women would pay out of pocket for bowes • feldenkrais research journal, volume 7 (2025) 5 individual treatment. in addition, health insurance may not cover physical therapy, a medical referral may be needed from the primary care provider to receive services, and there may be high co-payments to make. even in the best situation, the woman must first ask for help with this condition. yet less than 38% of women have ever discussed urinary incontinence with their health care provider (koch 2006). the reasons for not seeking treatment for ui include the belief that ui is a normal process of aging, or they were embarrassed or ashamed. some women thought the problem could not be solved or that their doctor would treat their problem lightly or they were afraid that the physician would suggest surgery. women who did not find surgery an acceptable solution were less likely to seek help (koch 2006). a pelvic floor training program offered as a wellness or pelvic health program can address some barriers to treatment. group classes are cost effective. the educational component can address misconceptions about ui. group discussion can provide support and motivation. advertisements for group classes bring the issue out in the open and could help educate the public about the prevalence of the problem and that there are solutions. in one study (koch 2006), 16% of women said they sought help for ui due to a public health campaign. if the class has a wellness component, women who feel embarrassment may be encouraged to attend. each pelvic health educator could positively affect the lives of more women. group treatment with pelvic floor exercise and bladder training is as effective as individual treatment (janssen et al. 2001). research describes effective pelvic floor muscle training programs. however, there are a range of parameters for the type of pfme to be performed, the repetitions needed to decrease symptoms, and the duration of the exercise program (koch 2006). there are differences shown in effective programs in type of (1) exercise, (2) duration, (3) repetitions, (4) intensity, and (5) length of time needed to show improvement. according to cho and kim (2021), “specific exercise regimens vary considerably in frequency and intensity, and the ideal exercise regimen has not yet been determined” (2021: 383). women with ui have difficulties with pelvic floor motor control and also with coordination of the pelvic floor system (madill et al. 2009; sapsford 2004). borello-france et al. 2006 found that the prognosis for improvement of stress ui symptoms is very good with at least 65% of women improving and 16% having a complete cure. similar results are seen in individual and group exercise pelvic floor training programs that prescribe a set number of exercises and repetitions (choi et al. 2007; janssen et al. 2001). the identified literature at the time of the research study emphasized pelvic floor exercises to be done for a particular number of repetitions. this number varied, ranging from one to dozens of contractions per day. this study was designed to explore if a sensory-motor learning approach that did not emphasize the number of repetitions could be effective. rather than a preset number of repetitions, in this study, repetitions of exercises were determined by an individual’s comfort with moving and the ability to move with focused attention. another important bowes • feldenkrais research journal, volume 7 (2025) 6 characteristic was the use of exploratory movement. stephens and hillier (2020), citing corbetta et al. (2018) note that they “confirmed the effectiveness of the exploratory learning process in their study of infant skill acquisition” (2018: 230). a sensory motor approach to exercise, as found in the theory and practice of the feldenkrais method, suggests that the ability to sense movement is essential for learning new movement patterns, such as pelvic floor contractions and the activation of the pelvic floor system. the ability to maintain attention to the sensation of the contractions is an important part of the learning. in addition, comfortable movement reinforces engagement with the learning process, and enhances motivation and a sense of success. in this context, a proscribed number of repetitions is less important, and may be less effective, than a sensory motor approach. the literature indicates that there was a wide range of treatment variables possible and this program was consistent with other pelvic floor programs in (1) the size of the group, (2) symptom history of participants, (3) the number of sessions offered, and (4) the health education provided (choi et al. 2007; janssen et al. 2001). the author anticipated the program would be effective for improving ui, but it was important to discover if the program was effective for (1) women with mild or moderate ui, (2) with what type of risk factors, and (3) to identify any unanticipated benefits or barriers to participation in the program and (4) the use of a home exercise component. students participated in novel movement explorations, called awareness through movement lessons. instead of emphasizing the number of repetitions, the emphasis is for students to develop increased kinesthetic ability to sense and feel the pelvic floor working as a coordinated system. in this program, awareness through movement lessons were combined with education relevant to reducing urinary incontinence. sensory-motor learning may be the foundational process for women with ui and other pelvic floor conditions. women with ui have difficulties with pelvic floor motor control and also with coordination of the pelvic floor system (madill et al. 2009; sapsford 2004). borello-france et al. 2006 found that the prognosis for improvement of stress ui symptoms is very good with at least 65% of women improving and 16% having a complete cure. similar results are seen in individual and group exercise pelvic floor training programs that prescribe a set number of exercises and repetitions (choi et al. 2006; janssen et al. 2001). cho and kim (2021) have noted that “patients have better outcomes with regular pfme [pelvic floor muscle exercise] and proper technique. the first step in pfme is to instruct the patient how to identify the pelvic floor muscles and to contract and relax them” (2021: 381). one of the problems for learning to use the pelvic floor is that the sensory and kinesthetic component is not easily perceived. there is no clear joint movement to sense and in contrast to moving a limb and following external feedback cues, such as changes in pressure on supporting surfaces, or the trajectory of the limb through space, a person is required to sense muscular bowes • feldenkrais research journal, volume 7 (2025) 7 work on its own. in cases of trauma and abuse, there may be diminished sensation or other psychosocial aspects that can reduce the ability to perceive muscular sensations of the pelvic floor area. if one cannot feel or see what is happening as a result of muscle contraction, it is difficult to know what is actually occurring. women who are given written or verbal instructions to do ‘kegels’ may not be doing what they think they are doing and may be using a technique that could promote incontinence, such as pushing the abdomen out and bearing down (bump et al. 1991). why feldenkrais method was utilized a key concept of the feldenkrais method is the proposal “that if a person can attend to kinesthetic processes and the bodily organization underlying any movement, they would be bringing the biological feedback that regulated optimal movement coordination in the perceptual threshold” (russell 2020: 223) in their discussion of possible mechanisms of action for the feldenkrais method, stephens and hillier (2020) draw on the work of vereijken and whiting (1990), suggesting “the use of intrinsic feedback has been shown to be especially valuable to learning” (1990: 230). as the function of pelvic floor muscles is integrated with other muscles as a neuro-musculoskeletal functional unit (sapsford 2004), sensory motor learning using full body movement patterns can offer a solution to improving the function of the pelvic floor system. this is suggested by the work of sapsford (2004) describing muscle synergies between the pelvic floor muscles, the diaphragm, and the abdominal muscles. the pelvic floor is synergistic with the abdominals responding together to manage any changes in intra-abdominal pressure (madill et al. 2009; sapsford 2004). to address all components of the pelvic floor system in both its support and movement functions requires using movements that integrate the use of the legs, abdomen, arms and spine. in movement, the nervous system uses synergies and patterns to organize function (berthoz 2000). other researched functional components of the system include the deep muscles of the back and the respiratory diaphragm (richardson et al. 2004). feldenkrais method is congruent with principles of motor control postural control retraining (connors et al. 2010). feldenkrais method group awareness through movement lessons use components of motor learning to improve action. the ability to perform functional tasks requires the use of coordinated muscle action; so that stability and motion are in optimal balance, with appropriate timing, organization of breathing, imagery, and specific sequencing of muscle activation (lee 2004; sapsford et al. 2013). women with sui have altered motor control patterns, specifically in the timing of the pelvic floor muscles with the abdominals (madill et al. 2009). awareness through movement lessons emphasize awareness of timing to improve function. bowes • feldenkrais research journal, volume 7 (2025) 8 outcome measures for urinary incontinence at the time of this study there were several scales for measuring improvement in ui symptoms and to assess quality of life related to those symptoms. the urogenital distress inventory-udi-6 short form and the incontinence impact questionnaire-iiq-7 were used as both pre and post measures. (shumaker et al. 1994; ubersax et al. 1995). subsequent studies have also confirmed the value of these measures (fan et al. 2013). the measures, validated by research, are simple to administer and score and have been used in other research studies for the treatment of ui. the type of ui for each person is not differentiated by the measures. the measures have been validated and are reliable (uebersax et al. 1995). the world health organization’s second international consultation on incontinence rated the udi and the idi-6 among the five highly recommended questionnaires to assess symptoms of incontinence, and the iiq and the iiq-7 among the five highly recommended questionnaires for assessing the impact of incontinence on (shumaker et al. 1994; uebersax et al. 1995). the scale for urogenital distress inventory-udi-6 short form and the incontinence impact questionnaire-iiq-7 have scores from 0-100. skorupska et al. 2021 categorized scores lower than 33 on the udi-6 as having a mild impact and scores higher than 33 as causing greater distress (shumaker et al. 1994; uebersax et al. 1995). skorupska et al. (2021) found, “the higher impact of ui on health-related quality of life is seen in women who scored 9 or more in the iiq7 questionnaire, and such women felt impaired quality of life” (abstract). the goals of the program were to (a) reduce symptoms of stress, urge and mixed ui; (b) to improve motor control in movement that included pelvic floor muscles, (c) to improve the coordination of breathing with exercise, (d) to improve sensory awareness of the pelvic floor muscles, (e) to include the pelvic floor system in functional movements such as moving from sit to stand, and (f) to provide relevant health education for healthy pelvic and bladder function. methods student selection an opportunity sample of twelve women was selected for the group class from a pool of approximately thirty women who responded to the researcher’s practice newsletter announcing the program and asking for volunteer participants. many women received the newsletter directly from the author, others heard about the program from a friend or healthcare provider. each respondent was screened by phone to determine her suitability for the group classes and if she met the requirements for participation. requirements included (1) having symptoms of ui, stress, urge or mixed, (2) english proficiency, (3) ability to lie supine on a floor exercise mat, (4) ability to sit for thirty minutes, (5) access to a cd player in order to use the recorded home program awareness through movement lessons on cd, and (6) the ability to attend all five classes. reasons for exclusion from participation were (1) recent history of injury, serious illness bowes • feldenkrais research journal, volume 7 (2025) 9 or surgery, (2) severe pain, or (3) certification as a feldenkrais method teacher. no medical prescription was required as the exercise program was considered a self-improvement or wellness type of program offered on a self-referral basis. a longer history of ui symptoms was gathered from the women who passed through the initial screening. a range of risk factors for developing ui were identified in the screening (seshan et al. 2016). women reporting symptoms consistent with stress, urge, and/or mixed urinary incontinence were admitted into the study. group size and duration the two-hour classes met on a saturday morning for five consecutive weeks at the author’s private movement studio. the number of weeks was set at five. this decision was based on the need for consecutive weeks of treatment and that the literature reported that five was the median number of treatment visits (neumann et al. 2005). the class size was limited to 12 by several factors: recommended group size from the literature (janssen et al. 2001), as well as the space requirements at the author’s private practice, the need for the teacher to visually observe the quality of each student’s movement, especially the movement of the abdomen, and to allow for group discussion. the author also expected that 1-3 students would drop out, however, 100% enrollment and class participation remained throughout the study. the guide for physical therapist practice (apta 2003), recommends people with findings of pelvic floor dysfunction are classified into the pattern 4c impaired muscle performance. the recommended intervention plan for pattern 4c includes therapeutic exercise, breathing and relaxation, health education, group support, and a home program of exercise and journal writing. reviewing each woman’s history, as well as the results of the participants initial ud-6 and iiq-7 measures, suggested that these women likely had pelvic floor muscle dysfunction. women with ui have difficulties with pelvic floor motor control and also with coordination of the pelvic floor system (madill et al. 2009; sapsford 2004). consideration of all these factors led to the design for the intervention. intervention the intervention included weekly sensory-motor learning processes called awareness through movement lessons from the feldenkrais method, as well as health education for pelvic floor function, bladder training, group support, and journal writing. the health education included information on, for example, voiding habits, relevant anatomy and physiology, emotional aspects of ui, and included group discussion. in the first meeting, participants were given, (1) journals to record observations, insights, questions and home practice activities, (2) an audio cd program of six awareness through movement lessons to use for the home exercise program (bowes 2006), (3) a handout including health education information about the pelvic floor system and bowes • feldenkrais research journal, volume 7 (2025) 10 healthy voiding habits, and (4) udi-6 and the iiq-7 was given and collected. participants signed an informed consent. in weeks two through five, participants received additional written materials designed to develop participants’ knowledge of their pelvic floor, what bodily sensations are associated with voiding, and voiding hygiene. in each week there was 30 minutes for sharing of experience, discussion, and questions and answers. bladder training included information on the reflex relationship between the pelvic floor muscles and the bladder, how to urinate in a way that reduces strain on the pelvic floor, frequency of urination, body position for urinating, fluid intake, using pelvic floor muscles to appropriately inhibit urination. many women have been told to stop the flow of urine during each urination event and it was important to communicate that this is misinformation in that it disrupts healthy voiding patterns. awareness through movement lessons: somatic education awareness through movement, the group exercise component of the feldenkrais method is verbally directed, with no demonstration of the movements. students are guided by the teacher to explore movement sequences, to self-organize to perform the task and to attend to sensory cues such as pressure response on the floor or breathing pattern. the awareness through movement lesson began with a body scan. in the body scan, the teacher directs the student’s attention to contact with the floor, the sense of length of the spine and relationships of body parts, the quality of the breathing and various other physical sensations related to the intent of the lesson. in lessons for improving the pelvic floor, attention is given to (1) the sense of the spine, pelvis, hip joints and legs, (2) breathing in the lower abdomen and lower back, (3) the movement of the ribcage with the breath, and (4) the overall feeling of relaxation that is possible in the moment. after the scan, the teacher gives a verbal direction for a movement. while the student explores this movement, further directions are given to focus the student’s attention to various aspects of the movement. a non-judgmental attitude is fostered toward a student’s experience of movement and bodily experience. the movements gradually link together promoting full body participation in an easy and coordinated manner. movement variables are introduced in a structured way congruent with the intention of the learning possibilities in the lesson. changes felt in pressure against the floor give feedback as to the use of ground forces and to how the whole body is moving. verbal guidance brings attention to the change between internal and external focus. noticing the relationship of the breathing cycle to the movement, i.e. whether one is inhaling or exhaling, ensures that the student does not hold the breath and can also be used to calibrate the intensity and quality of the movement. in awareness through movement lessons, the student is asked to move in an easy and relaxed manner while continuing to breathe. attention is given to the quality of the movement, i.e. is it smooth throughout the range, or jerky; is the movement reversible, i.e. can one stop and start at any point in the trajectory; and what is the timing of the movements of different body parts with breathing. the student is asked to develop a coherent sense of the movement pattern (berthoz bowes • feldenkrais research journal, volume 7 (2025) 11 2000). this sense is reported by students as a pleasant whole body feeling of a movement pattern that is harmonious, integrated, and coordinated (berthoz 2000; feldenkrais 1991; smyth 2018; stephens and hillier 2020). other attentional aspects and movement variables can be included in an awareness through movement lesson depending on the teacher’s perceived needs of the student. motor control may be improved by noticing one’s speed, initiation of movement, planes of action, orientation, the effort used or the sequence of the movement of parts of the body, and timing. the awareness through movement teacher does not demonstrate a movement, but continues to give kinesthetically based verbal cues (questions, suggestions, directions) or images to promote independent motor learning and awareness. throughout the lesson students are asked to move in a comfortable and pain-free range. at the end of the lesson, the body scan is repeated to foster the student’s learning through the noticing of change in elements such as differences in body organization, breathing, and mood as compared to the start of the lesson. pelvic health and awareness lessons brief description lessons are done in different exercise positions for both novelty and to activate the full musculature of the pelvic floor system. body positions used were supine with legs long or knees bent, sitting on the floor, and standing. it is interesting that a study by borello-france et al. (2006) demonstrated that position for performing exercises did not affect outcomes. the reader is directed to appendix b for a brief description of each awareness through movement lesson. the brief description of the six basic lessons does not convey the sensory-motor richness of each lesson, as directed attention to different parts of the body makes the movements progressively more complex. all lessons emphasize breathing, and sensing movement through the whole spine. the movement instructions include resting and relaxing in between contractions of the pelvic floor. slowness and ease are qualities that are emphasized in the awareness through movement lessons. two lessons were taught each week and were similar to lessons on the audio cds for home use. health education health education included anatomy topics: (1) bones of the pelvis, hips, and vertebral column, including their shape, muscles and joints; (2) respiratory diaphragm; (3) bladder system; (4) uterus and rectum, specifically their position and relationship to each other and the pelvic floor. the physiology topics included the micturition–pelvic floor reflex, physiology of elimination, and the relationship of breathing to the sympathetic and parasympathetic nervous system. health topics included (1) definitions of types of ui, (2) healthy voiding habits, (3) aligning student’s images of their body parts closer to reality. for example, one woman thought the excursion of the respiratory diaphragm was much greater than it was, another did not know that the ribs bowes • feldenkrais research journal, volume 7 (2025) 12 moved. an anatomical musculo-skeletal model of the pelvic floor was demonstrated and illustrations from the female pelvis by blandine calais-germain (2003) were used. group support confidentiality was requested for the program from all participants. during the discussion, students asked questions or shared their experiences. the time allotted for discussion could have been longer as the participants requested this. most participants reported that they had never discussed these issues with others who shared similar experiences. the awareness through movement lessons seemed to stimulate deep reflection and responses in many of the participants. many students reported an increased awareness of the pelvic floor, and gained insights into their life, their habits of voiding, and how their self-image was changing with the improvement in sensation and control of the pelvic floor. table 1: interventions weekly week movement lessons health education group support one breathing, leg tilts (atm lessons 1, 2) healthy voiding habits, pelvic floor system, pelvic floor illustrations introductions, use of journal two breathing, leg tilts with head raise (atm lessons 1, 3) incontinence definitions, demonstration with pelvic floor model, urge incontinence strategies. q & a of first week, homework, imagery in lessons, confusion about breathing three buttocks awareness (atm lesson 7. this lesson is not in the recorded home program), pelvic tilting (atm lesson 4, handout #3) constipation, nighttime urination strategies, ‘jic’, breathing, role of sympathetic and parasympathetic nervous system talk about digestion, sleeping, self-image, awareness and how one changes four breathing, sitting lifting r/l sides of pelvis (atm lesson 1, 5) self-mobilization of pelvis (handout #2) skeletal system-pelvis, sacrum, hip and spine relationships, q & a role of practice in improvement, reports of improved symptoms, sexual response changes five breathing, sitting tilting pelvis (atm lesson 6) review of all movements. how to change movement patterns and continue to breathe. q & a, review of all course material how to continue in future, personal changes noticed, awareness bowes • feldenkrais research journal, volume 7 (2025) 13 home exercise program home exercises provided choice for each student. the resources were (1) six recorded awareness through movement lessons on cd (bowes 2006), (2) written instructions for an additional lesson exploring the use of the buttocks, (3) written instructions for self-mobilization of the sacrum and pelvis. students were oriented to these exercises during the program. students were asked to select a practice daily, either using the cds, or the handouts or doing what they remembered from the class. they were encouraged to do something that was interesting to them. instructions included a suggested routine: (1) initial breathing awareness through movement lesson, (2) any other lesson, rotating what they chose each day, and (3) using healthy voiding habits. novelty is an important characteristic to employ with motor learning (berthoz 2000; doidge 2007). the number of repetitions of each variation is determined by each student’s comfort level and ability to maintain attention to how they are moving. generally, the number of repetitions will be less than 15. results student characteristics and demographics participant ages ranged from 46-68, with an average age of 52, and all were non–hispanic white with diverse work histories and occupations. all reported exercising 2-3 hours per week, doing a combination of walking and other forms of exercise including martial arts, ballet, yoga, and gym-based weight training. half of the participants (n=6) had discussed ui and sought help from a medical provider. one person had received surgical treatment with a bladder suspension, five were given verbal instructions or a written handout of kegel type exercises. eleven participants (91%) had not received therapy or treatment for ui, yet 83% (n=10) had utilized kegel type exercises independently, however they had discontinued kegel type exercises when their symptoms did not improve. participants had symptoms of ui from 2-32 years. a history of sexual trauma was reported by 25% (n=3). of the group, 58% (n=7) had borne 1-2 children, with 42% (n=5) having had no history of giving birth. one woman reported two c-section births; 6 had vaginal births. characteristics of study group participants are summarized in tables 2 and 3. table 2: duration of ui symptoms length of time having ui symptoms 2, 4, 5, 5, 10, 10, 11, 20, 20, 25, 30, 32 years average 14.5 years bowes • feldenkrais research journal, volume 7 (2025) 14 table 3: other characteristics did student ever discuss ui with medical provider 6 yes 6 no childbirth history 7 yes 5 no birth type 6 vaginal 1 c-section prior treatment for ui 1 yes (bladder suspension) 11 no kegel exercises experience 10 yes 2 no sexual trauma history 3 yes 9 no abdominal surgeries 7 yes 5 no total hip replacement 1 bilateral 11 no other medical conditions such as bmi>26, hypertension, cancer history, chronic pain 11 yes 1 no there were other medical conditions present in 91% (n=11) of the women. these included hypertension (n=2), low blood pressure (n=1), high cholesterol (n=2), chronic low back pain (n=3), migraine (n=2), scoliosis (n=2), gastric reflux (n=3), bipolar disorder (n=1), depression (n=1), diabetes (n=1), arthritis (n=1), low blood sugar (n=1) and cancer treatment for non hodgkin’s lymphoma (n=1). in terms of surgical history, 58% (n=7) had a history of abdominal surgery including hysterectomy, appendectomy, oophorectomy, bladder prolapse repair, laparoscopic tubal exploration, cholecystectomy, and bladder neck obstruction repair with endometrioma excision and laparoscopic tubal exploration. one woman had posterior approach bilateral total hip replacements. the 10 self-referred participants had urinary leakage, symptoms consistent with, either stress, urge or mixed incontinence or both. the information about other health conditions showed that each woman had one or more risk factors for developing ui (seshan et al. 2016). data collection the udi-6 and the iiq-7 were administered at the beginning of the first class and at the end of the last class. the journals were for the participants’ personal reference and not reviewed by the researcher. the qualitative assessment questions post intervention, appendix a, were administered at the end of the final session. outcomes the students’ scores on the udi-6, initially ranged from 54-16.6 and post intervention, the range was 33-8.3. scores from 1-33 were considered mild, 34-66 were moderate and 67-100 as bowes • feldenkrais research journal, volume 7 (2025) 15 severe. initially seven students had moderate ui, and five had mild. after the program, 11 had mild symptoms and 1 had moderate. 66% (n=8) students’ scores improved, 16% (n=2) no improvement, 16% (n=2) students worsened. the largest change in score occurred in the group with moderate symptoms. pre and post udi-6 and the iiq-7 scores the pre-intervention scores on the udi-6 ranged from 16.6–54 and for the iiq-7 from 4.7 – 54. on the udi-6, that translates to 42% (n=5) with mild ui and 58% (n=7) with moderate severity of ui. the impact on the quality of life (qol), the iiq-7 showed 92% (n=11) of the women were mildly impacted and 8% (n=1) moderately impacted. table 4: initial scores on the udi-6 and the iiq-7 student udi-6 pre severity of ui symptoms iiq-7 pre qol impact a 54 moderate 42.8 moderate l 54 moderate 19 mild h 54 moderate 19 mild g 54 moderate 9.5 mild c 45.8 moderate 28.5 mild b 37.5 moderate 4.7 mild i 37.5 moderate 9.5 mild j 33 mild 19 mild f 29 mild 33.3 mild d 25 mild 4.7 mild e 25 mild 9.5 mild k 16.6 mild 14.2 mild that 66% percent of the women showed improvement via a lower score on the udi-6, is within the range of improvement reported in other pelvic floor training programs (choi et al. 2007; koch 2006). the iiq-7 scores initially were from 42.8-14.2 and post intervention went from 28.5-0. initially the qol of 11 women was mildly impacted and 1 was moderate. post intervention, 10 were mildly impacted with 75% (n=9) showing improvement and less impact, and 2 showed that their qol was no longer affected by ui. the iiq-7 scores shows that 16% (n=2) worsened and .8% (n=1) showed no improvement. the largest gains were seen in the women whose qol was more impacted by ui having iiq-7 scores initially above 19. bowes • feldenkrais research journal, volume 7 (2025) 16 table 5: pre and post intervention scores on the udi-6 and the iiq-7 correlated with attendance and completion of homework journal student udi-6 pre udi-6 post change: (-) = improvement iiq-7 pre iiq-7 post change: (-) = improvement attend ence homework journal a 54 33 21 42.8 23 19.8 100% yes l 54 33 21 19 0 19 100% yes h 54 12.5 41.5 19 14.2 4.8 100% yes g * 54 54 no change 9.5 23 +13.5 80% no c 45.8 16.6 29.2 28.5 4.7 23.8 100% yes b 37.5 33 4.5 4.7 4.7 no change 100% yes i 37.5 20.8 16.7 9.5 4.7 4.8 100% yes j 33 33 no change 19 4.7 -14.3 100% yes f 29 20.8 8.2 33.3 28.5 4.8 100% yes d 25 33 + 8 4.7 0 4.7 100% yes e * 25 33 + 8 9.5 14.2 + 4.7 80% no k 16.6 8.3 8.3 14.2 4.7 9.5 100% yes *(student e missed the 5th class and mailed in her post intervention questionnaire. student g missed the 3rd class) qualitative results the udi-6 and the iiq-7 did not measure some of the benefits and experiences as reported by the students during the course. a qualitative questionnaire was used post intervention to attempt to draw out the non-measurable benefits (mehling et al. 2005). for example, one student reported her constipation problem was gone. constipation is another pelvic floor issue that has been addressed by pelvic floor exercises, however neither of the measures were sensitive to measuring constipation (harrington et al. 2006). two students reported being able to have sexual intercourse without pain for the first time in several years. one student reported her long-standing plantar fasciitis disappeared during the course. this points to using different assessment tools for this kind of program that would be sensitive to other whole body or pelvic floor improvements (barber et al. 2005), or quality of life changes. answering the question, “was there some experience you are really glad you had?” nine students cited group support and discussion. for example: listening to others. meeting and being with the other women. sharing experiences verbally and hearing others’ experiences. bowes • feldenkrais research journal, volume 7 (2025) 17 i learned an enormous amount from other women’s experiences. this was an important part of the experience. the program was different from other group classes i’ve taken because we were all allowed time during and after the sessions to hear other’s comments and observations which was useful because it prompted further comment and info from the instructor. being part of a group of articulate and caring women. it is great to be able to talk to and listen to other women’s experiences and improvements. i like having the support of other women in the group. this selection of students’ qualitative statements represents other non-measurable findings of the program. these statements were made on the qualitative questionnaire administered after the last class. i’m more aware of the pelvic floor. i feel the interconnectedness of the skeleton and muscles and how they interact and affect one another. my sexual sensations are now felt physically and emotionally. the best part was learning that i can control my body once i have the body awareness. i had become fearful of becoming more debilitated. this fear is now lessened. i feel increased self-efficacy being proactive and taking care of myself. it was important to be in a group and hear other people’s experiences. the program helped resolve my back pain. it made me more receptive to sex, which has been remote and painful and unattractive for years. i am glad to find out i still have feeling and sensations in the genital area, inside and out. i learned an enormous amount from other women’s experiences. astonishing actually! the most dramatic result is not having to get up so many times during the night. the biggest impact was on my feet. the pain in my heels decreased noticeably. i feel it is opening my curiosity and i’m more hopeful. bowes • feldenkrais research journal, volume 7 (2025) 18 discussion improvement was shown for 66% of the women on both measures, i.e. a lessening of ui symptoms and less impact on their qol. the percentage of improvement is consistent with other studies which measured improvement in qol following individual pfm treatment and a group exercise program where 60% of women reported improvement (janssen et al. 2001). the two students whose scores worsened on both measures had missed one class and did not complete a homework journal. this could mean that attendance at all of the classes was important either for the exercise, information or motivation, or perhaps that they did not utilize the home program. in future programs having a private individual session with the instructor to review the exercises, discuss any barriers to engage with the content, and answering any individual questions could enhance the outcomes. there was 100% retention in the program, which is different from the other research studies. for example, in australia, 25% of women dropped out of a 4-6 visit outpatient ui treatment program (neumann et al. 2005). in the netherlands, a group exercise program reported a 7.9% drop out or no start rate (janssen et al. 2001). the australian program involved individual treatment and did not include the dynamic of group support. the time frame for the netherlands was longer, and although a group program, the duration was 3 months of classes and then a follow up 9 months later. perhaps a shorter time for the intervention was important for retention as well as the component of group support. more research on retention of participants in group exercise programs is warranted. this style of teaching and learning in this case report was very different from all other methods for pelvic floor muscle training (choi et al. 2007). the instructions given to the student in an awareness through movement lesson emphasize a non-linear approach that uses multiple strategies such as variability and constraints to accomplish any task (harbourne and stergiou 2009; lafe and pacheco 2019). human movement variability includes variations for motor skill and performance (harbourne and stergiou 2009). rather than training the student to ‘do it this way’, the student explores movement variables in different positions that lead to a healthy dynamic state. variability is an inherent property of movement regulation (corbetta 2009). the students were trained to use their kinesthetic sense to move and sense in different positions and explore each action with different movement variables. the number of repetitions was determined by the individual based on their sensation of ease, comfort, and the ability to maintain easy breathing while moving, as well as attention to their action. the role of inner and outer focus of attention was important and students were asked to stop a movement when they were tired and could not pay attention any longer. a brief rest refreshed the ability to attend when the student resumed moving. the length of the course being only five weeks was a limitation even though some successful interventions report a median number of five individual treatment sessions (neumann et al. bowes • feldenkrais research journal, volume 7 (2025) 19 2005). there is literature to suggest 9-12 weeks as being optimal for group pelvic floor muscle training programs (borello-france et al. 2006; janssen et al. 2001; koch 2006). a limitation of this case report was that the students were self-referred. there may have been a context effect and perhaps the expectation for improvement was high. students completed journals with open-ended entries, writing their thoughts, sensations and experiences. the students seemed to like the journals and everyone brought them to each class. one written comment on the qualitative questionnaire: i think the notebook is a crucial part of the program. just having the shiny thing on the table as a reminder, and then thinking about what i have done. journal writing was included to encourage the women to take notes during the educational component of class. from years of teaching feldenkrais method classes, i have learned that people can have deep personal responses, insights and experiences from awareness through movement classes. from my clinical experience, i have learned that pelvic floor work goes beyond the physical and can stimulate deeply personal experiences for reflection. the journal was also a practical place to keep a record of homework done. i would use the journal again, but separate out the homework records, to allow for easier data collection and analysis and to encourage compliance. completion of a homework journal was assumed to demonstrate that the student was compliant with home exercises. homework was not recorded in an organized form. this was a limitation of the case report. it would be useful to have data regarding what was done for the home program, how often and how much. in analyzing the data, the two students whose scores did not improve, also did not complete homework journals. in a future program, standardized forms for recording homework and one’s response to it would be better. it would then be easier to know what was useful and perhaps delineate criteria for student selection for greater success. another limitation of the study was that the students had only mild to moderate symptoms. the short form of the udi-6 and iiq-7 may not have been sensitive enough for this group. several students also had problems answering the questionnaires at the last class. some students appeared rushed, or unable to focus on the questions. in the future, other measures that ask more questions may be useful to detect changes in other pelvic floor functions or quality of life, such as improvement in sexual response, constipation, or sleep. the full pelvic floor distress inventory pfdi-20) (de arruda et al. 2022) could be useful for this. setting aside enough time in the last class for completion of the questions should be considered in the structure of the program. the udi-6 and the iiq-7 did not measure all of the qualitative benefits and experiences of the program as reported verbally by the students during the course. a qualitative questionnaire was developed by the author to use post intervention to attempt to draw out the non-measurable bowes • feldenkrais research journal, volume 7 (2025) 20 benefits (mehling et al. 2005). in the future, the use of systematic data collection process may be useful. measuring changes in body awareness and the effects that may have on pelvic floor dysfunction would be interesting. there may be different tools for this kind of program that would be sensitive to other whole body or pelvic floor improvements (barber et al. 2005). the intervention in this case report was based on an original program developed by the author called pelvic health and awareness. it was multi-faceted including breathing and relaxation, awareness through movement lessons, health education, bladder training, journal writing and group support. discussion and group support brought out some of the qualitative statements that touched not only on ui, but sexuality, empowerment, hopefulness, and self-image. this program appealed to women who were proactive in their healthcare, enjoyed the camaraderie of being in a group with other women and could reflect on their experience. it would be useful to know for whom this program does not work. that could be a question for future research. other questions suggested for future study include: what are the best measures to use for a sensory-motor based pfm exercise program? how does an increase in pelvic floor and/or body awareness contribute to improvement in quality of life? what changes in self-image are helpful for improving ui? can awareness through movement lessons affect long-term improvement in ui symptoms? can a sensory-motor approach help women with moderate-severe ui? conclusion urinary incontinence can be addressed in group classes for women with mild to moderate symptoms using feldenkrais method awareness through movement lessons, combined with health education, group support, and journal writing. this group program had other benefits beyond improvement of ui. for example, the qualitative statements revealed improvement in sexual function and sensitivity to sexual sensations, less pain with intercourse, less fear of losing function in the future, awareness of felt bodily connections, reduced back pain, and value of sharing experiences specific to a woman’s identity and life. discussion time for women to learn from each other’s experiences proved to be a valuable addition to a group pelvic floor training program. this program was successful in mitigating the suffering from mild to moderate urinary incontinence. in this study 66% of the women improved in their symptoms of ui. most of the participants had improvement in ui related qol scores, with greater improvement in those who were more impacted by ui. they felt greater control over this aspect of their function and valued the feeling of support from other women to discuss what is often an embarrassing aspect of many women’s lives. the use of the comprehensive pelvic floor distress inventory pfdi-20) (de arruda et al. 2022) could be included and useful for future studies, along with a systematic collection of qualitative first bowes • feldenkrais research journal, volume 7 (2025) 21 person data. this study points to the value of future research for this approach to relieve the burden of ui. thank you thank you to karol connors, co-editor for this volume of the feldenkrais research journal and to the anonymous reviewers for their valuable assistance and suggestions that contributed to bringing this paper to fruition. biography deborah bowes, doctor of physical therapy (dpt), feldenkrais method teacher and trainer feldenkrais movement and awareness, san francisco; saybrook university deborah graduated from columbia university, nyc, in physical therapy and later earned a doctorate in physical therapy from shenandoah university. she is guild certified trainer of the feldenkrais method and has taught in over 35 feldenkrais method training programs around the world. she is adjunct faculty in the department of mind-body medicine at saybrook university. her mind body practices include tai chi chuan, qigong, yoga, vipassana meditation, and several dance forms. she is the creator of the pelvic health and awareness audio program and offers online courses through movementandcreativity.com. bowes • feldenkrais research journal, volume 7 (2025) 22 references apta (american physical therapy association) (2003) guide to physical therapist practice 2n ed. alexandria, va: american physical therapy association barber, m. d., walters, m. d., and bump, r. c. 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(2005) ‘randomized, controlled trial of breath therapy for patients with chronic low-back pain’. alternative therapies in health and medicine, 11 (4), 44-52. available at pmid: 16053121 neumann, p. b., grimmer, k. a., grant, r. e., and gill, v. (2005) ‘the costs and benefits of physiotherapy as first-line treatment for female stress urinary incontinence’. australia new zealand journal of public health, 29 (5), 416-421. available at https://doi.org/10.1111/j.1467-842x.2005.tb00220.x nygaard, i., barber, m, d., burgio, k. l., et al. (2008) ‘prevalence of symptomatic pelvic floor disorders in us women’. jama, 300 (11), 1311-1316. available at doi:10.1001/jama.300.11.1311 pereira, m. g., lynch, b., hall-faul, m., and pedras, s. (2019) ‘quality of life of women with urinary incontinence in rehabilitation treatment’. journal of health psychology, 24 (2), 254-263. available at https://journals.sagepub.com/doi/abs/10.1177/1359105316650615 rich, m., and inoue, m. (2021, november 15) ‘a new source of fuel in an aging japan: adult incontinence’. new york times. richardson, c., hodges, p. w, and hides, j. (2004) therapeutic exercise for lumbopelvic stabilization. 2nd ed. london: churchill livingstone russell, r. (2020) ‘perspectives on the feldenkrais method’. kinesiology review, [online] 9 (3), 214–227. available at https://doi.org/10.1123/kr.2020-0028 sapsford, r. (2004) ‘rehabilitation of pelvic floor muscles utilizing trunk stabilization’. manual therapy, 9, 3-12 https://doi.org/10.1016/s1356-689x(03)00131-0 sapsford, r. r., clarke, b., and hodges, p. w. (2013) ‘the effect of abdominal and pelvic floor muscle activation patterns on urethral pressure’. world journal of urology, 31, 639–644 https://doi.org/10.1007/s00345-012-0995-x seshan, v., alkhasawneh, e., and al hashmi, i. h. (2016) ‘risk factors of urinary incontinence in women: a literature review’. international journal of urological nursing, 10 (3), 118-126 https://doi.org/10.1111/ijun.12107 shumaker, s. a., wyman, j. f., uebersax, j. s , et al. (1994). ‘health-related quality of life measures for women with urinary incontinence: the incontinence impact questionnaire bowes • feldenkrais research journal, volume 7 (2025) 26 https://doi.org/10.1007/s00192-008-0800-y https://doi.org/10.1111/j.1467-842x.2005.tb00220.x https://journals.sagepub.com/doi/abs/10.1177/1359105316650615 https://doi.org/10.1123/kr.2020-0028 https://doi.org/10.1016/s1356-689x(03)00131-0 https://doi.org/10.1007/s00345-012-0995-x https://doi.org/10.1111/ijun.12107 and the urogenital distress inventory.’ quality of life research, 3, pp. 291-296. available at https://doi.org/10.1007/bf00451721 skorupska, k., grzybowska, m. e., kubik-komar, a., rechberger, t., and miotla, p. 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(1995) ‘short forms to assess life quality and symptom distress for urinary incontinence in women.’ neurological urodynamics, 14, 131-9. available at https://doi.org/10.1002/nau.1930140206 vereijken, b., and whiting, h.t. 1990 ‘in defense of discovery learning’. canadian journal of sport sciences/journal canadien des sciences du sport, 15 (2), 99-106. available at pmid: 2383829 bowes • feldenkrais research journal, volume 7 (2025) 27 https://doi.org/10.1007/bf00451721 https://doi.org/10.1186/s12955-021-01721-z https://www.proquest.com/docview/2269043436 https://doi.org/10.1123/kr.2020-0022 https://www.sciencedirect.com/science/article/abs/pii/s0020748921002091 https://bjui-journals.onlinelibrary.wiley.com/doi/abs/10.1111/bju.12505 https://www.ucsfhealth.org/education/bladder-training https://doi.org/10.1002/nau.1930140206 appendices appendix a: qualitative questions for post intervention qualitative assessment questions post intervention (mehling, et al., 2005) 1. what was important for you? please feel free to share in your own words and comments about your experience. i’d like to know some of your thoughts, feelings, responses to the program. whether you think or feel any differently about your body, your pelvic floor, your discomfort or difficulty, or life in general. 2. was there some information that was particularly useful? 3. was there some experience that you’re really glad you had? 4. do you have any suggestions for improving any aspect of the classes or the program? appendix b: brief descriptions of feldenkrais awareness through movement lessons used in the program 1. breathing to relax and balance the nervous system. this lesson is done in supine with knees bent. the lesson explores making three different sounds: sss, shh, haa, sound with exhalation while feeling the movement of the ribs and abdomen. it is designed to relax and calm the sympathetic nervous system. it is done before any of the other exercises as a type of warm-up, not of the muscles, but of the nervous system. 2. activating the right and left sides of the pelvic floor. this lesson is done in supine with knees bent. the student is asked to move the knees from side to side and allow the movement to travel through the whole spine all the way up to the head, sensing the spine as a kinetic chain. after sensing the full skeletal movement, the lesson progresses using the pelvic floor to help move the legs individually or at the same time. the student is asked to coordinate breathing with the movement pattern. this lesson is designed to help balance the strength and control of each side of the pelvic floor. the main movement strategy is the use of the auxiliary muscles, the adductors of the legs and the abdominal obliques. 3. engaging the abdominals. this lesson is done in supine with knees bent. it uses the movement pattern learned in lesson #2 with the addition of lifting the head with the help of the hands as the knees are moved. breathing is coordinated with the legs. once, the movement is felt as a coherent body pattern, the use of the pelvic floor is added with lifting and lowering the head. this lesson is designed to engage all of the abdominal muscles, and to improve the coordination of the pelvic floor with the respiratory diaphragm. bowes • feldenkrais research journal, volume 7 (2025) 28 4. activating the front and back of the pelvic floor. this lesson is done supine with knees bent. the student is asked to gently tilt the pelvis forward and back and sense the response or connection in the spine and head. after there is the full skeletal movement of gentle flexion and extension, the student explores habits of using the front and back of the pelvic floor. through the use of simple imagery with different combinations of tilting the pelvis and including the pelvic floor, this lesson is designed to improve the ability to sense and coordinate the pelvic floor with functional movement. the student can sense her habit of use of either front or back triangle of the pelvic floor. the lesson includes differentiating a pelvic floor contraction, with movement of pelvis and without it. 5. dynamic sitting with the right and left sides of the pelvic floor. this lesson is done in sitting on a flat-bottomed chair. it uses a small folded towel placed under one ischial tuberosity. the student is asked to lift and lower the ischial tuberosity that is not sitting on the towel. attention is directed to how shifting weight from one side to the other affects the whole spine. after there is full skeletal movement, the student is asked to engage the right and left sides of the pelvic floor with slower and faster movements. this lesson is designed to help learn how to use the pelvic floor dynamically in sitting. 6. dynamic sitting with the front and back of the pelvic floor. this lesson is done sitting on a flat-bottomed chair. the student is asked to tilt the pelvis slowly forward and back and notice how the posture changes. gentle, complete spinal flexion and extension is matched to forward and backward tilting of the pelvis. students explore using the front or back of the pelvic floor with different directions of tilting the pelvis. at the end of the lesson there is directed attention in standing to sense how the pelvic floor is involved in supporting the hips, legs and spine. this lesson is designed to help learn how to use the pelvic floor dynamically in sitting. 7. buttocks awareness. this lesson is done in supine, prone, side lying and sitting on the floor and in standing. the student is asked to contract the buttocks in different ways and sense the relationship to breathing, external rotation of the legs, decreasing lumbar extension and raising the arches of the feet. this lesson allows students to feel relaxation of the buttocks and the pelvic floor. the lesson is designed to improve buttocks use and decrease extraneous work in the buttocks. bowes • feldenkrais research journal, volume 7 (2025) 29 ​original research ​ group exercise for improvement in urinary incontinence using motor learning and sensory awareness based on the feldenkrais method® of somatic education abstract keywords original research ​ group exercise for improvement in urinary incontinence using motor learning and sensory awareness based on the feldenkrais method® of somatic education ​impact of urinary incontinence rationale for group exercise why feldenkrais method was utilized outcome measures for urinary incontinence methods student selection group size and duration intervention awareness through movement lessons: somatic education pelvic health and awareness lessons brief description health education group support home exercise program results student characteristics and demographics data collection outcomes pre and post udi-6 and the iiq-7 scores qualitative results discussion conclusion thank you biography references appendices ​appendix a: qualitative questions for post intervention ​appendix b: brief descriptions of feldenkrais awareness through movement lessons used in the program i recently gave a functional integration lesson to a young woman who was in distress feldenkrais research journal • volume 4 (2008) article epistemology for the feldenkrais method carl ginsburg phd abstract this article reflects on the experiential impact of a feldenkrais method lesson for a client and the difficulties in describing and evaluating these changes of feelings and/or self-perception. the importance of including in research observations these experiential aspects of our practice, alongside classic scientific methodologies, is presented. especially important are the surprising observations that occur as a consequence of the empirical approach used in our practice. these observations need to be taken seriously by researchers, psychologists, medical practitioners, etc. and investigated in more detail. how can we demonstrate them to others and how can we induce researchers to look into our questions? we need research that excites and expands the basis of what we do. keywords feldenkrais method, case study, epistemology, experience, research outcomes, evaluation, observation, scientific method copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org position paper: epistemology for the feldenkrais method carl ginsburg, ph.d. i recently gave a functional integration (fi) lesson to a young woman who was in distress. i knew her briefly as a student in a feldenkrais training group where i was a guest trainer, and had given a lesson to her once before in connection with the training. after the lesson she wrote me the following: “thank you for the fi on saturday. it was a return to my home (myself) and i recognized i‟m on the right way. it was a liberation and the feeling for gladness. i believe the power i felt will help me to find the right solution.” the experiential consequences of the lesson while personal to her situation and expressed in relation to her path in life in feeling terms was not an accidental outcome of the lesson. observably, the shifts in her structure and functioning as measured by visual and touch observation at the end of the lesson, led me to predict to myself that she would have a different self perception and self feeling as a consequence of the lesson. the lesson itself was predicated on my ability to make precise contact with her in such a way that the small movements i made in this contact would evoke in her the necessary neuro-muscular and structural skeletal shifts that were necessary to a resolution of her discomfort. the result of any lesson does not of course mean that the new state is permanent. life is full of contingencies and the new learning needs to be used in daily life. further learning is also important. nevertheless shifts of a person‟s embodied state seem a common outcome of an effective lesson. what i am trying to point out here is that the work i do in teaching through my hands or in classes for awareness through movement (atm) is a precise art and perhaps even a science. yet to evaluate this art seems like an intractable problem for a science based on „objective‟ data and third person observation alone. how do you evaluate “a return to my home” and “a feeling of gladness”? how could an outside observer evaluate the precision of my touch without personally feeling what i can do and corroborate that my feeling sense is in fact precise in the way i claim. and then could any person detect precision? people vary in such a capacity depending on experience and such factors of the state of their nervous system. and then the precision is within the contact space between the person and me. the specific outcome of the lesson is not predictable from the technique or the contact. it is the dance between us that counts, and the state of each of us at the moment. recently another young woman who was born with a neuropathy that left her without feeling in her lower legs and feet received a lesson from me about standing, walking and balancing. she also was in training and having arrived at the training barely capable of walking, was now quite functional while still having to gird herself to maintain balance. in my lesson i rolled the bottom of her feet over a styrofoam roller and later put each foot the long way on the roller and asked her to lift her pelvis on that side. she was lying on her back. after i worked with one side, i asked her to experience herself standing. her first reaction was that she had sensations in her foot that were entirely new to her and she felt a steadiness on this side that felt quite novel to her. she expressed her sensation as “feeling the bones of her foot”. at the end of the lesson she walked with a security she never experienced before. the experience led to tears and a powerful relief after a lifetime of struggle. here the change was dramatic given the life history of the young woman‟s difficulty. one could say there is no need for a controlled study since the person is unique and the improvement is measured in terms of comparing the change with the past state of the person. afterwards the class had a discussion about the lesson. a person who was trained in the medical field asked how it was possible for this young woman to feel anything in her foot given that she suffered the neuropathy, which interferes with nerve transmission? from the person‟s point of view, the whole thing was suspect and maybe the woman just imagined some sensation. from the person‟s training and understanding the diagnosis of neuropathy meant that such feeling was impossible. the evidence i detected in touching and moving the young woman‟s head in gravity while she was sitting indicated that from a very shaky balance before the lesson her reactions to shifts in gravity changed. the irregular reactions to movement disappeared. for me, this was observed evidence that a profound shift in her system occurred. truthfully i didn‟t care whether it was possible in scientific understanding. i could only consider her report as truthful to her experience at the moment. and it was consistent with the functional change in her foot in relation to standing and walking. it was certainly consistent with her experience of new sensations in her feet. for the young woman, the lesson was a triumph because her physicians had often told her she could never improve her condition. as far as she could find out the diagnosis of neuropathy meant that her feeling sense was impaired for the rest of her life. the diagnosis had no meaning beyond that, as no one could explain further or suggest how to help. the question is, where is the difficulty? do we need to expand our understanding of what is valid? are the standards of classical scientific investigation and the accompanying model of epistemology adequate to the task of dealing with the high level of complexity exhibited by living organisms? how can we incorporate experiential material in ways that can be appreciated as valid? all these questions are pertinent to research into the validity of the feldenkrais method. limitations of classic scientific methodologies classic scientific epistemology established a norm of scientific investigation that very successfully dealt with questions of pre-quantum physical science where clear-cut cause-effect relationships exist. the sciences of living organisms adopted similar methodologies partly with the intent of establishing the same rigor and certitude for biology, psychology and other related sciences. what we know from the findings of researchers during the past 150 years has added tremendously to the store of knowledge available to these sciences and to the practice of medicine. yet as with the physical sciences, more knowledge has led to impasses and revisions. in physics, the discovery of atomic level phenomena has led to re-assessments of the notion of cause and effect and the understanding of the nature of physical entities. in the life sciences, the immense accumulation of findings has given us a glimpse of mechanisms and understanding of life‟s processes. yet at each point of seeming satisfaction with explanations, new findings have upset the apple cart. i offer just one example: early experimentation established the fact that nerve cells seem to transmit information via periodic impulses which release neuro-transmitters to pass the signal to the next neuron. seemingly the neuron and the synapse where the neuro-transmitters are released were fixed entities. signals were passed forward to processing areas. changes such as happen in learning involved changes in the synapse, which increased the probability that the neuron would pass on the signals to the next neuron. from the resemblance of this process to transmission of electrical signals in devices such as computers, scientists postulated that sensory information was projected forward to the higher centers of the nervous system where the information was processed in fixed nerve nets and then turned into output. the brain in other words was a digital machine in which nerve impulses behaved like impulses in a computer and input was directly linked to output. this model is still frequently invoked to explain brain activity such as controlling movement or speech. new findings suggest that this simple model is not at all accurate even as a simplification for heuristic purposes. professor john smythies in the introduction of his book, the dynamic neuron, states, “recent research, however, has shown that this classic picture is wildly inaccurate.”i just to point out what is now better understood: neurons are not simple cause and effect linear transmitting devices, but are governed through dynamic processes that can involve non linear bifurcations, integrations, synchronizations, etc. following complex relations within the context of processing. even at the level of the release of transmitters complex dynamic processes prevail. in the highly intersecting web of neurons, neurons are always connected in tandem between brain areas so that while feed-forward signals move between area a and area b, feedback signals are also directed back to a.ii this is also true for all the sensory surfaces. in addition, some neurons are directing activity while others are inhibiting transmissions creating a tensegrity dynamics.iii without such balance of activity, order could not be formed in the nervous system. lastly single neurons are never active as individual units but are linked into dynamic cell assemblies in brain activity through integrative processes including synchronization, and multifarious rhythmic activities. while brain dynamics is at a beginning stage of development, dynamic processes seem to govern the activity of life at all levels from the molecular and cellular level to the level of organisms and then to the level of the environment. life is complex in a way that was unimagined not so many years ago. the realization of this complexity of living systems has slowly shifted the concepts by which we understand the workings of life on the planet. as the conceptual structure changes it becomes clear that findings are often maintained, but they are not definitive in establishing interpretations. new findings may clarify issues; on the other hand proof of any specific theory or hypothesis is elusive. as e. t. gendlin puts it, “theories can contradict each other, but findings cannot.”iv complexity challenges many long held theories in biology, psychology, sociology, medicine, etc. but it is interesting to note that in narrowing areas of inquiry, the conflict of interpretations became common. gendlin gives as an example the historical conflict between behavioral psychologists who study animals in the laboratory and ethologists, who study animals in the wild. the findings of the behaviorists about conditioned learning stand in relation to the learning phenomenon of conditioning as do the findings of ethologists that animals exhibit many complex behaviors that seem to never have been learned. the contexts under which the observations were made are completely different. their respective theoretical and conceptual frameworks clashed and each side made universal pronouncements from the findings. there is a myth of scientific proof that hides the question of interpretation. with new findings, we can now say neither side of such debates could be definitive with regard to general laws. for example, the laws of learning developed by behaviorists are specific only to learning through conditioning. for the ethologists, the behaviors considered were valid for only the question of a released behavior, and not the behavior in relation to animal‟s interactions in its living situation. neither side in this debate addressed the question of developmental learning, which was hidden behind the theoretical stance taken either in favor of conditioning or released behavior. as moshe feldenkrais demonstrated, developmental learning and the use of awareness is both rapid and overcomes the limitations of conditioning and habit. developmental learning is perhaps a prime example of the efficacy of dynamic processes in the selforganization of order in a living being. complexity does not mean anything goes. the order evolves out of the interaction of the person in the environment, which includes other humans and the structure of the world including gravity. the person finds the order that works through the interaction in calibrating the nervous system to the world. the environment doesn‟t cause the learning and there is no program to guide the process. each normal person reaches the same developmental steps, but in a personal and unique way. in some disciplines the recognition of complexity lags. much medical and psychological research has continued without changing basic cause – effect thinking. such thinking while sometimes useful surely has its pitfalls. for example, in our society, medical research is considered the pathway to developing valid methods of treatment. its successes in understanding many disease processes are abundant enough to justify such a designation. yet the lack of recognition of complexity often leads to what seem intractable problems, often hidden under the notion of side effects. thus the use of antibiotics has resulted in the appearance of so called super bugs which resist these life saving medication and result in serious illness and death. there are many other egregious examples involving the misuse of drugs and the effect of overprescribing, as well as the unrecognized suffering that can result from surgery and its overuse. in diseases such as cancer where there is still little understanding despite many years of intense research, the major resort is to heroic medicine involving radiation and chemotherapy, which can kill as well as save some lives. with advances in molecular biology the complexity of living systems still remain as an impediment to unlocking many mysteries of life. nevertheless, we often still hold on to the myth of classic scientific proof. the practice of science proceeds slowly at best and always with revision of previously held beliefs. this has its good side in that inadequate ideas eventually get replaced. but often the very practice of rigorous procedures to find certainty may hide what we need to find out. this is particularly so in the basic approach to a scientific method, which extols the idea of creating specific limited experiments to test hypotheses. scientific progress often requires thinking outside of the box. sticking to common practice can be an impediment to finding answers. . as an example, the drive in current medical practice is to find the nirvana of exactitude through data. this particular attempt at hard science can have unexpected consequences. most egregious at the present is the near universal reliance on hard measurable data to carry out diagnosis and treatment. the attempt here is to eliminate the human observer and thinker. harvard medical professor jerome groopman, documents in his book how doctors thinkv a number of cases in which failures of proper diagnosis occurred. the extent of misdiagnosis or failure to find a diagnosis is probably unknown. but anecdotally one hears of numerous cases. groopman tries to show that the difficulty is all too human, that jumping to conclusions and not attending to the person often leads to error as physicians focus attention only on tests, body scans, and other data. nicholai bernstein pointed out many years ago that “an elderly experienced physician needs simply to glance at a patient with his weak eyes to diagnose an old, neglected disease, whereas young medical students cannot do so with their young acute eyes.”vi good observation then requires an attentive, aware, and perceptive human observer in addition to data and other accoutrements of modern technology. but even to understand hard data and ask the right questions requires human observation and thinking. one wants exactitude but often gets statistical inference. life involves complexity at every level. scientific procedures that were developed for understanding simple mechanical systems are inadequate for complexity. the growth of statistical methodologies for testing everything covers up a great deal of ignorance. gendlin points out one other difficulty in science. “science does not include its context. one result of this is that when it has a satisfactory analysis, it finds no reason to pursue the existence of anything it has not found. then it claims to know all the factors.”vii complexity often kicks back. the inventors of antibiotics never imagined that the use of these agents would result in the evolution of super bacteria that resisted the effects of the antibiotics. gendlin says, “actual events are interactions, never just patterns and factors.” the cyberneticist’s debate around 1970 a small group of thinkers began to grapple with the implications for scientific epistemology of a new idea about living systems. these were the cyberneticists who had been gathering together from the 1950 onward to discuss the then new concepts of feedback, internal circularity, information, cognition, and how these concepts could change thinking about life processes, and control at different levels from the cell to society. these were the considerations that moved thinking toward the current dynamic view. in a recent publication, the certainty of uncertainty, bernhard poerksen dialogs with a number of people involved with this movement.viii one can trace in these discussions the evolution of a new epistemology, which could begin to replace „the view from nowhere‟ characteristic of the objectivist stance. the idea of objective procedures was to eliminate human bias and error from scientific observation and the search for truth. in the first dialog in this book, heinz von foerster, at one time the director of the biological computer laboratory at the university of illinois, and the secretary of the macy conferences on cybernetics notes, “the moment you try to eliminate the properties of the observer, you create a vacuum: there isn‟t anyone left to observe anything – and to tell us about it.”ix poerksen then notes that heinz was quoted as saying, “objectivity is the subject‟s delusion that observing can be done without him.” the human being in this view is essential to developing findings and interpreting. peorksen also notes that heinz‟s ethical stance involves an awareness of one‟s blind spots. nevertheless, there is an opening here to a giving up of any objectivity if such is possible. in another dialog, chilean biologist humberto maturana maturana, who was also a friend of heinz von foerster, says, “becoming aware that one is doing the observing and then being aware of being aware that it is one‟s self who makes the distinctions, one attains a new domain of experience.”x it requires a kind of responsibility. he says later, “the concept of the observer is a challenge to study the operation of the observer and to face up to the circularity of the understanding of understanding… my proposal, however, is to accept this circularity fully right from the start and make one‟s self the instrument by which the question of one‟s personal experience and one‟s own actions is to be answered through one‟s very own activities.” one can then question the hidden assumptions and hidden epistemology of experiments. in the objective stance we are attempting to correlate our activity or the activity of a subject to the external world. for maturana it dawned on him “that the correlation i was looking for could in all probability never be established.” he shifted his researching to the internal correlations in a system. maturana‟s colleague and student francisco varela, who at the end of his life was research director of the centre national de researche scientifique in paris, said in his dialog, “…scientific truth does not consist in the correspondence between theory and reality. scientific knowledge is inevitably related to circumstances of the social world and – between virtual quotes – the reality.” and, “my concept of truth…is best understood as a theory of coherence: what counts is the consistency of theories, the coherence of viewpoints. truth is, the motto of pragmatism proclaims, what works.” xi what can we do with all of this? these observations can lead to an abandonment of all notions of an ultimate reality and objective truth. at the extreme the temptation is to move to the stance of post modernism and the notion that we humans are continually constructing our own reality. anything goes. gendlin says, “currently many philosophers say that „nature‟ is a cultural idea. the scientific universe seems a mere „construction.‟ if you don‟t like your findings, just change your hypothesis. science is just a game.”xii he then points out the following: “since we arrive by airplane at our conventions, let us not announce there that science is a mere construction. while in the air we have been hoping that factors such as the weight, speed, and amount of fuel have been correctly calculated in relation to the curvature of the wing.” can we be precise without a classic epistemology? last evening a young man came to me in a lot of pain with a back spasm. he could not fully erect his spine. this morning he called to thank me profusely. he was out of pain except for a few twinges; he slept well; he was now moveable. how did that happen? was it science or magic? or hypnotism? in fact i observed the evening before that he was sufficiently improved. i could with good chance predict that he would be much more moveable, be capable of erecting his spine, and mostly out of pain the following day. there must be a valid empiricism in the process. there is clearly enough regularity in the nature of human beings as moving, living beings. but how can it be described in a meaningful way? many people would want to put the process to a double blind test. take so many people with back spasm and pain. divide them into a control group (do nothing), and others into different intervention groups. evaluate the results by people who do not know which person was in which group. find out if there is statistical significance. but my process is not a singular organized, algorithmic intervention and back spasm pain is not a singular defined ailment that would require a singular intervention. when you observe carefully, each person‟s back spasm has different patterns and resulted from different processes. a double blind study does not make sense. furthermore, there is not any new information to discover in such a study. it is a blind alley. i am not an aspirin. i contend with the evidence of much prior experience that i could repeat similar successes with many people in such a situation. other feldenkrais practitioners might also repeat successes and others not. we are not all equal in our skillfulness and awareness. is there any way to establish public validity? as long as „experts‟ insist on a standard epistemological process, it appears not possible. i contend this standard is both limited in its application, and such insistence a political maneuver to protect the socially agreed upon consensus. but worse, i contend that following a fixed protocol and standard procedure would fail to achieve consistent results. and do we need a new empiricism? at this point at the beginning of the twenty-first century, the answer seems to be yes. where scientists have begun to consider the extent of complexity in all of life and in the relation to environments, it becomes clearer that we need to investigate beyond the simple stories we have accepted for understanding ourselves and other life forms. in his paper of 1997, e.t. gendlin dissects the epistemological problem in a very interesting way that should be of interest to we feldenkrais practitioners. gendlin is both a philosopher and a psychologist who is most famous for his work in developing experiential psychotherapy, and for his process known as focusing.xiii the process involves teaching people to contact the embodied felt sense that accompanies us in daily life, often unrecognized. recognition and processing the meanings involved can become a gateway to reorganizing the psyche, thus gendlin‟s interest in an empiricism, which acknowledges experience and alternative routes to validation. the title of this paper, “the responsive order: a new empiricism,” introduces a new term and one that should prove to be very valuable to us, the responsive order. the responsive order goes beyond the logical order that sits behind classic epistemology. the logical order need not be abandoned. but the responsive order includes “us and our procedures.” thus the human observer is brought back into the picture as is the complexity of interaction between observer and observed is acknowledged. moshe feldenkrais implicitly understood this despite his training in classical objective driven science. his intent was to train himself and then other human beings to become much better observers. the epistimic tools of the feldenkrais method without accurate ways of assessing the progress of the client or student in the lesson process, the outcome of the lesson can vary considerably. this is so for fi lessons as well as in teaching atm. in a successful atm teaching, the practitioner assesses the students‟ progress and modifies the lesson in response. in a successful fi, the practitioner has a sense of what needs to be learned and can detect when learning has occurred through touching, contacting and observing visually and kinesthetically. when moments of shift occur for the client, mutually acknowledging the change verbally or non-verbally can affect the outcome for the better. in the lesson with the young man with back pain, i used touching and moving my client as the primary source for finding out what i needed to know, but also for what he needed to know. when i felt a change, for example, in how he allowed his pelvis to move, i asked if he noticed a difference. his acknowledgement then signaled that i could move on. while i did not follow a fixed protocol, i did create a natural progression for the process. in doing so, i also created a contact and presence with him that deepened a trust and connection between us. without this, he very well might not have been able to make the shifts necessary for a successful outcome. what are the conditions for this practical success? we know as practitioners from our personal experience, that our nervous system requires a quiet safe state for this kind of learning and changing patterns. thus we are trained through the experiential process of our training to quiet ourselves, to listen to our sensations, to use our hands and bodies as instruments for contact and further listening, and to use the experience of our own kinesthetic sense in expanding self-understanding as well as an ability to access what can work for others. we have learned also specific techniques that can evoke outcomes. in the growth process of the training, we develop an accuracy in this that exceeds other methods of assessment. we become better human instruments. we develop a useful implicit knowledge. we are responsive to a context and situation. these are our epistemic tools. we use them to know how to proceed. at the same time we avoid declaring an objective „truth.‟ our measure is the outcome of the process. how can we use our learned skills to establish both a research track and public accountability? primarily, i believe, we have to expand our abilities to document our work. science is not adverse to carefully documented observations. i cite two examples: psychologist paul ekman inspired by charles darwin‟s study of emotional expression in humans and animals began his career by studying whether people in different cultures could recognize emotional states from observing pictures of human faces.xiv there is a cross here between inner experience of emotions and outer expression. ekman eventually studied his own facial movement by detecting how to move each facial muscle movement until he could express different emotions and subtle variations. his research has been well published, but he also teaches people who need such skills to read emotional expression, even slight flickerings of facial movement, which expose feelings that a subject may want to hide. as a second example i include daniel stern‟s research into infant – mother interactions.xv here stern used videotaped data to infer interactive states between mother and child by working in a team to develop a consistent way to evaluate the video material, and train others in observing. this work was a great departure from previous objective based observing in which human interaction was considered as invalidating observations. he created a revolution in thinking about infant development. in later work, he explored the experience of present moments in daily life through a process called the micro-analytic interview in which experimenter and subject discuss a particular experience through back and forth examination in detail until a verbal statement is considered a valid expression of the incident.xvi although feldenkrais, trained as he was in objective science, thought hard as to how he could use such methodology to publically validate his discoveries. he found the challenge too daunting in relation to his need to spread his work in training others to develop the necessary skills and abilities. however, everything he presented was tested in practice with his assistants. the moves he developed in fi work were tried out with others and he had his assistants try the procedures out with himself until the effectiveness in learning was clear.xvii atm was also tested with groups and feldenkrais taped his presentations and adjusted his directions until he could observe improvement in the results with his classes.xviii in other words, he expanded his idea of the scientific experiment to develop his work by crossing the objective procedure with the subjective evaluation. it depended, of course, on his own and his assistants observational skills. the subjective evaluation is indeed in the realm of what gendlin calls the responsive order. what do we need to do? in the light of what i have outlined so far we need to take certain actions individually and communally. first we need to document our work with video, interviews, follow up, postural assessment, etc. we need to analyze our better lessons and keep notes about what seemed to succeed. a lot of material from the training groups and individual practice is already available even though it has not been used for formal evaluation. we can learn to use this material in a way that expands our understanding. for example, noting how the practitioner may use an unusual position and try it out to see what effect it has and then compare with alternatives. second, we need to train ourselves to observe the material and find other expert evaluators to find out what can be seen in the documentation. human observers are indeed more sensitive than mechanical movement recording as used in the movement laboratory. third, we need to train ourselves in describing the experiential realms of feeling and affect as well as sensory changes to be much more precise. in this gendlin‟s work can be very helpful, especially his work in learning to describe the felt sense.xix i would propose that the research committee could find practitioners who could form groups to carry out these tasks and perhaps find experts to guide us in the learning. lastly i would propose that we look into research questions that make sense to us and take advantage of new techniques that can reveal changes in the nervous system. what i mean in this is that we need to research what we do not know, not what could be obviously demonstrated. with an atm about turning, we can obviously demonstrate that people can turn further after the atm process. on the other hand only research using some form of brain scanning might reveal if doing atm over a period of time would enhance the growth of some parts of the brain. other research needs to be done to validate procedures that are part of our repertoire. for example, does reducing effort and slowing the process actually enhance learning possibilities? does connecting through the skeleton out of gravity result in changes in muscular organization along the pathway of connecting? does feeling a new stability after a lesson or series of lessons result in different feeling and affective states for a person? i am sure many other such questions can come to mind. one aspect of research needs to involve those aspects of our work that can inform other investigators. there are surprising observations that occur as a consequence especially of the empirical approach used in our practice. the first is that the observation of organized movement, posture, and tonus for a subject turns out to have direct links to the states of the nervous system. the second is that changes in these observed characteristics imply direct changes in the nervous system. this should be an obvious conclusion since the states of the musculature are directed through nervous system activation. it is little noted by other observers outside our work. we also observe that feeling states are linked, although not necessarily one to one, to embodied neuromuscular activity. thus the most direct connection to a person‟s nervous system is through the body and through modifications of states of mobilization and organization of tonus. since these factors are directly linked to skeletal organization in gravity, what we call posture or what feldenkrais called acture in a living, moving being has deep connection to all other nervous system activity including the autonomic nervous system. changes then will relate to affect, emotion, the feeling of well being, and numerous other experiential qualities in life. i believe these observations need to be taken seriously by researchers, psychologists, medical practitioners, etc. and investigated in more detail. how can we demonstrate them to others and how can we induce researchers to look into our questions? we need research that excites and expands the basis of what we do. at this point we need to act rather than creating more discussion. carl ginsburg, ph.d. i j. smythies, 2002, the dynamic neuron, mit press, cambridge, ma. (p. 2). ii see m. spivey, 2007, the continuity of mind, oxford univ. press, new york, ny, particularly chapter 5. iii g. buzszki, 2006, rhythms of the brain, oxford univ. press, new york, ny, particularly cycle 3, where he states, “tensegrity dynamics can be maintained only if the excitatory effects are balanced by equally effective inhibitory forces, provided by specialized inhibitory neurons. if only excitatory neurons were present in the brain, neurons could not create form or order or secure some autonomy for themselves.” (p. 61). iv e.t. gendlin, 1997, “the responsive order: a new empiricism,” man and world 30:383-411, available at http://www.focusing.org/gendlin4.html. (p. 6 of download). v j. groopman, 2006, how doctors think, houghton mifflin company, boston, ma. vi n. bernstein, 1996, on dexterity and its development, in m. latash and m. turvey (eds.), dexterity and its development, netlibrary, inc., boulder, co, (p. 107). bernstein wrote this text in the 1940s in the soviet union and before it could be published it was suppressed. it was recovered and translated by his student, professor latash. vii gendlin, 1997, (p. 16) viii b. poerksen, 2004, the certainty of uncertainty: dialogues introducing constructivism, imprint academic, brampford speke, exeter, gbr. ix poerksen, 2004, (p. 2) x poerksen, 2004, (p. 52) xi poerksen, (p. 93) xii gendlin, 1997, (p. 3) xiii e. gendlin, 1981, focusing, bantam books. xiv p. ekman, 2003, emotions revealed, henry holt and co., new york, ny. xv d. stern, 1985, the interpersonal world of the infant, basic books. xvi d. stern, 2004, the present moment in psychotherapy and daily life. xvii personal communication with mia segal and gaby yaron. xviii c. ginsburg, 1995, “is there a science of the feldenkrais magic” in report: first feldenkrais conference heidelberg, international feldenkrais federation xix gendlin, 1981. http://www.focusing.org/gendlin4.html frj 7 smith et al es feldenkrais research journal • volume 7 (2023) investigación original lugar, lugar de trabajo y movimiento de atención plena1 sue erica smith charles darwin university; sue.smith@cdu.edu.au emma schuberg barnes charles darwin university; emmaschuberg@gmail.com jon mason charles darwin university; jon.mason@cdu.edu.au julia broome feldenkrais practitioner; jbroome7@optusnet.com.au traductora: consuelo maldonado toral este artículo fue publicado originalmente en learning communities: international journal of learning in social contexts. 20, 2016. la versión en html puede ser encontrada en researchgate: doi: 10.18793/lcj2016.20.02. resumen en este artículo se analiza de qué manera los ejercicios de atención plena y de conciencia corporal pueden contribuir al bienestar de los docentes. combinando la técnica de indagación narrativa y metodología de la investigación-acción participativa, este trabajo documenta las perspectivas de los participantes e investigadores que exploraron la atención plena en movimiento en prácticas para profesores de enseñanza media en el territorio del norte de australia. estas prácticas se introdujeron como parte de un estudio piloto centrado en el bienestar de los profesores y en respuesta a lo que percibimos como la falta de atención prestada al desarrollo intrapersonal en las matrices del bienestar. a través de ciclos de talleres e indagaciones, llegamos a construir una práctica de toma de conciencia2 corporal desde una sensación de lugar que se convirtió en un apoyo importante para la resiliencia de los profesores. aunque casi un centenar de profesores han participado en estos programas, nos basamos en los relatos de una profesora principiante como ejemplo de cómo podrían aplicarse estas prácticas en el lugar de trabajo. los relatos auto etnográficos que se intercalan en este documento permiten el entendimiento de las tensiones viscerales que entrañan la reubicación, el desplazamiento y los complejos (y, en ocasiones, alarmantes) retos a los que se enfrenta una profesora principiante en un 2 nota de la traductora: para permitirnos abarcar la experiencia de “awareness” optaremos por traducir con la expresión “toma de conciencia” y “conciencia” dependiendo de cada caso. 1 nota de la traductora: usamos la expresión “atención plena” para traducir mindfulness como una manera de reivindicar dicha experiencia a favor del universo conceptual del idioma castellano. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:sue.smith@cdu.edu.au mailto:emmaschuberg@gmail.com mailto:jon.mason@cdu.edu.au mailto:jbroome7@optusnet.com.au https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org centro de enseñanza media. en este sentido, los conocimientos, las destrezas y el aprendizaje corporal deben organizarse y ponerse en práctica en medio de la dinámica de lo que aquí se autodenomina la zona de contacto del salón de clase. estos relatos personales de la experiencia vivida permiten comprender cómo esta forma de aprendizaje intrapersonal puede beneficiar al bienestar de los profesores. el documento concluye planteando cuestiones que podrían orientar a la profesión a buscar formalmente aplicaciones de atención plena en los programas de bienestar escolar. palabras clave: atención plena, corporeidad, bienestar, docencia, intrapersonal, feldenkrais, reducción del estrés basado en atención plena (mindfulness based stress reduction – mbsr) copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. smith et al (es) • feldenkrais research journal, volume 7 (2023) 2 investigación original lugar, lugar de trabajo y movimiento de atención plena sue erica smith charles darwin university; sue.smith@cdu.edu.au emma schuberg barnes charles darwin university; emmaschuberg@gmail.com jon mason charles darwin university; jon.mason@cdu.edu.au julia broome feldenkrais practitioner; jbroome7@optusnet.com.au traductora: consuelo maldonado toral introducción los profesores son personas muy ocupadas en lo que desde hace tiempo se considera una profesión estresante (kyriacou y sutcliffe, 1978; borg y riding, 1991) y es una profesión que también es presa de la más grave afección del agotamiento (hakanen, et al., 2006; farber, 1984, 1991, 2000; maslach, et al., 1996; shaufeli and bunk, 2003; schaufeli, et al., 2002). sin embargo, paradójicamente, en un momento en el que el bienestar de los estudiantes ha pasado a un primer plano con el aprendizaje social y emocional (sel, por sus siglas en inglés) integrado en las capacidades generales del plan de estudios australiano (acara, 2013), y la prevalencia de paquetes de bienestar auxiliares (como kidsmatter, mind matters, beyondblue y response ability), el desarrollo profesional que apoya el bienestar y la resiliencia de los profesores (y su facilidad para llevar estas cualidades a la enseñanza) se adopta ad hoc en las escuelas, y dentro de estas el hincapié está sobre todo en la comunicación interpersonal. el aprendizaje intrapersonal es pasado por alto y a menudo se considera "privado". aquí sostenemos que la conciencia intrapersonal es fundamental tanto para el éxito de estos programas y directrices de bienestar de los alumnos como para el bienestar intrínseco de los profesores. los ejercicios de atención plena han proporcionado una herramienta para traer este ámbito del aprendizaje a un primer plano, con una aceptación cada vez mayor en los ámbitos seculares del trabajo (dane and brummel, 2013; aikens et al., 2014; van gordon et al., 2014), la psicoterapia (surrey, 2005; shapiro and carlson, 2009; germer et al., 2013), y el desarrollo personal (brown and ryan, 2003; segall, 2005; rasmussen y pidgeon, 2011). en este artículo se describen actividades que formaban parte de un proyecto de investigación más amplio en el smith et al (es) • feldenkrais research journal, volume 7 (2023) 3 mailto:sue.smith@cdu.edu.au mailto:emmaschuberg@gmail.com mailto:jon.mason@cdu.edu.au mailto:jbroome7@optusnet.com.au que pretendíamos explorar cómo se podrían emplear estos ejercicios intrapersonales con los profesores para favorecer su bienestar y su resiliencia. ampliando la aplicación de la investigación sobre la atención plena como ya se ha indicado, existe una cantidad significativa y creciente de literatura asociada directamente o relacionada con el entrenamiento en atención plena. una plétora de libros y artículos de revistas situados dentro de los campos de la educación, la gestión, la neurociencia, la psicología, la filosofía y las ciencias de la salud en sentido amplio (ager et al., 2014; burrows, 2013; clark et al., 2015; frank et al., 2013; hassed and chambers, 2014; jennings, 2015; kabat-zinn, 2005; macdonald and shirley, 2009; russell and tatton-ramos, 2014; shoval, 2011; webster-wright, 2013). en este sentido, es pertinente señalar que gran parte de esta literatura tiene un impacto en el sector educativo y que el entrenamiento en atención plena está ganando legitimidad como práctica tanto para profesores como para estudiantes (ager et al., 2014; hassed and chambers, 2014; jennings, 2015). investigaciones recientes centradas en los trastornos mente-cuerpo (clark et al., 2015) aportan pruebas que sugieren la existencia de “un importante eje de variación para el bienestar, en el que el control cognitivo hábil coexiste con una capacidad de movimiento hábil” (p. 1). para profundizar en esta afirmación, se presentan pruebas tanto del trastorno mente-cuerpo como del funcionamiento mente-cuerpo optimizado que puede facilitarse mediante el entrenamiento de la mente con base física a través de las técnicas de feldenkrais (feldenkrais, 1964; 1981; 1984). el proceso de explorar la experiencia del movimiento utilizando un enfoque feldenkrais, proporciona una base para la atención plena y también facilita la mejora del funcionamiento mente-cuerpo. el valor de la autoconciencia a través del movimiento® del feldenkrais se ha investigado en otros ámbitos, como el liderazgo y la gestión. en estas exploraciones del movimiento, el estudiante aprende a moverse con facilidad de muchas maneras diferentes y, en este proceso, entiende varias cosas a la vez. en un nivel de enseñanza tácito, reconoce el valor de generar situaciones que fomenten el descubrimiento, en lugar de buscar la respuesta "correcta", creando la posibilidad de que surja un nuevo aprendizaje o una comprensión sentida (goldman-schuyler, 2010). los cuatro autores de este artículo reúnen diversas perspectivas: la de los formadores de profesores, la de un fisioterapeuta y especialista en feldenkrais, y la de una profesora principiante. los académicos y los profesionales de la salud comparten un bagaje de práctica meditativa que abarca varias décadas. durante este tiempo, hemos observado con interés cómo el entrenamiento en atención plena que aprendimos y experimentamos a través del interés por el budismo ha entrado, al parecer, en el imaginario público. a veces, sin embargo, esta generalización también ha sido causa de cierta consternación, porque la sobreexposición y la exageración fuera de lugar han dislocado de algún modo el término. los orígenes de la atención plena se atribuyen a buda en el satipatthana sutta. tradicionalmente se enseña de smith et al (es) • feldenkrais research journal, volume 7 (2023) 4 forma sistemática: atención plena del cuerpo, de los sentimientos, de los pensamientos y de la mente. la atención plena se convierte en la base del cultivo de la sabiduría y, por lo tanto, al igual que el afecto y el efecto atraen una mayor atención, también las implicaciones éticas de la actividad del cuerpo y la mente atraen una mayor atención. las prácticas seculares y principiantes de atención plena cultivan la calma, la atención centrada y la conciencia del presente, que interrumpen la propensión a los pensamientos críticos (negativos). estos son resultados saludables, y también necesarios. sin embargo, desde nuestro punto de vista, el alcance es potencialmente menor cuando se realiza sin una base en la tradición del yoga (cuerpo/mente) ni un marco ético que requiera un compromiso crítico y una actividad consciente basada en las interconexiones, la interdependencia y en la que la bondad amorosa hacia uno mismo y hacia los demás sea natural y lógica. no obstante, aunque la formación secular en atención plena no abarca directamente los marcos éticos, como nos ha recordado siegel (2007), existen pruebas que sugieren que este tipo de compromiso intrapersonal favorece cambios en el cerebro que facilitan la mejora de la calidad del compromiso interpersonal. durante los últimos tres años, las dos personas que nos dedicamos a la formación del profesorado hemos perseguido un programa de investigación que relaciona la atención plena, el bienestar y el aprendizaje profesional de los profesores. se trata de conceptos difusos, pero a efectos de este documento, el bienestar se define como “cuando los individuos disponen de los recursos psicológicos, sociales y físicos que necesitan para afrontar un reto psicológico, social o físico concreto. cuando los individuos tienen más retos que recursos, el subibaja desciende junto con su bienestar y viceversa” (dodge et al., 2012, p. 230). este constructo dinámico es similar a la resiliencia. las definiciones de atención plena también tienen muchas variaciones, pero en esencia estos ejercicios implican una atención presente, sin prejuicios y con propósito (kabat-zinn, 2009). como explicaremos más adelante, el enfoque hacia el bienestar de los profesores y el uso de ejercicios de atención plena tienen un lugar legítimo en los programas de desarrollo profesional docente. en ciclos de desarrollo profesional docente y de investigación-acción participativa reflexiva, hemos intentado adaptar nuestros programas a las necesidades expresadas por nuestros participantes. a partir de los datos recogidos en nuestro taller inicial, quedó claro que la localidad, en particular nuestra remota localidad tropical australiana, tenía efectos tanto positivos como negativos en el bienestar de los profesores, y el concepto de "lugar" se incorporó a nuestros programas. a medida que nuestros programas evolucionaban, los profesores participantes, con poco tiempo, solicitaban técnicas de atención plena que pudieran emplearse en medio de la dinámica de la enseñanza de una clase. nuestra investigación pasó a incluir la atención plena corporeizada, que se basaba en el aprendizaje corporal matizado de las clases de feldenkrais. una profesora principiante de arte, con un estilo mitopoético, añade su relato autoetnográfico a los procesos y debates de este artículo. smith et al (es) • feldenkrais research journal, volume 7 (2023) 5 investigación-acción participativa antes de iniciar el proyecto, obtuvimos la aprobación ética de la universidad para llevar a cabo el estudio sobre el bienestar de los profesores en el territorio del norte de australia. el departamento de educación también nos concedió permiso para realizar grupos de discusión con profesores y anunciar un simposio de fin de semana a través de sus redes de comunicación. este trabajo se alineó con un enfoque nacional sobre la competencia y el aprendizaje profesional según lo determinado por los estándares profesionales australianos para profesores (aitsl por sus siglas en inglés, 2012). entre otras cosas, estas normas establecen que los profesores deben participar en el aprendizaje profesional para mejorar la práctica (norma 6.2) y participar con colegas para mejorar la práctica (norma 6.3), a lo que hemos argumentado que el bienestar interpersonal e intrapersonal y la resiliencia (en consonancia con los dominios sel) pueden estar vinculados al desarrollo profesional y los programas que sirven a esta agenda. un alto funcionario del ministerio de educación admitió que velar por el bienestar de los profesores entra en el ámbito del deber de cuidar. las entrevistas con grupos focales de profesores que se realizaron en tres escuelas indicaron la urgente necesidad de incorporar el bienestar al aprendizaje profesional. en respuesta, acogimos a 70 participantes en un seminario y taller de fin de semana sobre resiliencia personal y conexiones positivas en nuestra universidad de darwin. los profesores se mostraron animados por la oportunidad de conectarse entre sí y compartir estrategias y quejas. el bienestar intrapersonal se introdujo mediante ejercicios de atención plena centrados en mantener la atención y la presencia: conciencia sin ideas preconcebidas acerca de la respiración, del cuerpo, del caminar y al comer. para la mayoría de los asistentes, caminar con atención plena fue la forma más rápida de iniciarse en la práctica. los profesores explicaron que, en su vida profesional, el movimiento formaba parte de su trabajo, y el tránsito al silencio y la aparente falta de destreza a la que invita la atención plena resultó desconcertante para algunos. así, mientras que el cultivo de la quietud suele asociarse a la práctica de la meditación, centrarse en la atención plena en movimiento parecía ajustarse mejor a las rutinas diarias de los profesores. la atención plena es una técnica de meditación y, aunque existen innumerables técnicas de meditación que exploran el ámbito intrapersonal, en general pueden clasificarse en tres tipos de ejercicio o disciplina mental: conciencia plena mediante la atención; imágenes visuales mediante la intención; y, contemplación reflexiva mediante la pregunta (gawler y bedson, 2011). tal clasificación no excluye una combinación de técnicas e intervenciones contemporáneas en entornos educativos. hassed and chambers (2014), por ejemplo, demuestran los beneficios para el aprendizaje y el rendimiento mediante la combinación de la indagación desde la atención plena y el entrenamiento de la atención a través de una amplia variedad de técnicas. las prácticas de atención plena que se enseñan a profesores y alumnos incluyen la atención plena del cuerpo mediante el cultivo de la quietud y la atención plena utilizando movimientos simples o posturas de yoga (meiklejohn et al., 2012). una práctica de smith et al (es) • feldenkrais research journal, volume 7 (2023) 6 movimiento de atención plena bien reconocida en el marco budista es la meditación caminando (hanh, 1985; prakhinkit et al., 2014), una práctica utilizada para el desarrollo de la concentración que también ayuda a llevar la práctica de atención plena a la actividad diaria y corporeizada. las investigaciones han demostrado que una mayor conciencia de los estados corporales mejora la sintonía tanto intrapersonal como interpersonal (siegal, 2007; 2008; 2009; teper, et al., 2013), lo que a su vez puede repercutir en el bienestar. la conciencia individual del estado de ánimo de otra persona depende de lo bien que uno conozca su propio estado. en el cerebro se envían mensajes de sistemas situados por debajo del córtex, como la frecuencia cardíaca, la respiración y la tensión muscular, la coloración de las emociones del sistema límbico, para informar al córtex del estado de ánimo. esta es la razón, desde una perspectiva cerebral, por la que las personas que son más conscientes de su cuerpo son también más empáticas. cuando uno puede sentir su propio estado interno, se abre una vía para resonar con los demás. las neuronas espejo del cerebro permiten percibir las intenciones de comportamiento y las emociones de los demás. cuanto mejor se perciben las propias sensaciones corporales, mayor es la capacidad de resonar con el otro, pero sin dejar de diferenciarse, lo que es importante para mantener la objetividad (siegel, 2009). como indicaron repetidamente nuestros participantes, encontrar tiempo dentro de la rutina diaria en la escuela para hacer una pausa, reflexionar y, tal vez, cultivar el propio bienestar puede ser todo un reto y un factor de estrés añadido en el lugar de trabajo. también es cierto que para nosotros -como investigadores y profesionales que recorremos distintos caminos en nuestras respectivas carrerasencontrar tiempo para esta actividad no es fácil, ya que a menudo exige esfuerzo y disciplina. crear las condiciones para reflexionar sobre el propio bienestar en el lugar de trabajo puede parecer contraproducente: ocupar la mente con otra actividad mental no equivale a tener "tiempo libre". más bien, los profesores con los que nos reunimos estaban interesados en técnicas que pudieran emplearse sobre la marcha, en el aula, y en respuesta nos fijamos en los enfoques kinestésicos. tras el seminario y el taller iniciales de fin de semana, ofrecimos un taller de movimiento consciente que combinaba ejercicios de conciencia corporal de feldenkrais y prácticas de atención plena. los movimientos imperceptibles y matizados y la atención curiosa hacia ellos que permite este método, plantearon una vía posible para llevar la atención plena al lugar de trabajo corporeizado. a lo largo del año siguiente, impartimos talleres extracurriculares de atención plena y movimiento a los profesores de dos colegios, y a unos 100 profesores en total. los profesores estaban dispuestos a introducir prácticas de atención plena en sus clases, pero como jennings (2015) y hassed and chambers (2014) han advertido, y nosotros también coincidimos desde nuestra experiencia personal, los mismos profesores necesitan desarrollar su propia experiencia en la práctica para guiar hábilmente a sus alumnos. en una escuela, un grupo de profesores que completó un ciclo de talleres de ocho semanas comenzó a introducir "momentos de atención plena" en sus clases. smith et al (es) • feldenkrais research journal, volume 7 (2023) 7 en este artículo, la voz de una profesora principiante / candidata a un título superior que decidió embarcarse en este viaje de atención plena proporciona una prosa que intenta captar el enfoque intrapersonal y corporeizado, situado y matizado, de nuestro estudio como experiencia vivida (mitopoética diaria) en el lugar y en el cuerpo. a lo largo de nuestras conversaciones con muchos profesores, se hicieron evidentes los impactos en nuestro bienestar en virtud de nuestra remota -y muy remotaubicación en el territorio del norte de australia. como nos recordaron power y bennet (2015), la idea de lugar tiene una importancia consolidada en la investigación social australiana. la prosa narrativa incluida a continuación evoca a mobeley (2011), quien insiste en el papel central de la reflexión reforzada a través de la atención en el aprendizaje al servicio de -un potente antídoto contra los prejuicios y juicios sin sentidoy se siente alentada por shann (2015, p. 128), quien sitúa la escritura de historias mitopoéticas como un medio para el compromiso afectivo con la investigación. nuestra apuesta por el compromiso afectivo del lector en esta investigación es una apuesta por comprometerse aún más con la experiencia de una profesora principiante y cómo la atención plena corporeizada se convierte en un medio para rehabitar el yo volviendo a los sentidos y a la sensación de estar vivo (gruenwald, 2006). la narración inicial toma prestado el marco teórico de “lugar” de sommerville (2012): donde las historias crean lazos relacionales con el lugar, donde el cuerpo es fundamental para la experiencia del lugar y crucial para la narración que sigue, donde el lugar de aprendizaje se convierte en una "zona de contacto" de historias controvertidas. la narración cruda, reflexiva y atenta pone de manifiesto que el entorno natural también influye directamente en el mundo natural profundo de la psique (tacey, 1995). el tiempo de la enseñanza es también un tiempo de aprendizaje personal que está invariablemente repleto de rápidas sensaciones corporales y redes caóticas de pensamientos que movieron a ellsworth (2005) a preguntarse: “¿qué es, entonces, sentirse a uno mismo en medio del aprendizaje como experiencia, en el momento de aprender, en presencia de la llegada de un saber, en este entrelazamiento de cognición y sensación/movimiento?”. (p. 136). la atención plena se convierte en una tecnología mediante la cual estas cuestiones de importancia existencial pueden empezar a encontrar una resolución que se sitúa en el cuerpo y en el lugar, e incluso en el salón de clase. la profesora se conecta hicimos las maletas y nos embarcamos desde el sur, dejando atrás el peso de la memoria, el lugar y la obligación, para impulsarnos hacia una tierra desconocida. la aorta palpitante de este país en invierno, belleza pulsante, nos condujo hacia el norte. nos reubicamos en este nuevo territorio, para respirar el polvo rojo, sacudirlo en aguas termales y soñar en un impresionante cielo de atardeceres llenos de posibilidades. nos invadió una profunda sensación del lugar. smith et al (es) • feldenkrais research journal, volume 7 (2023) 8 cuando llegamos al borde del continente, nos recibieron unas brillantes arenas ocre y carmesí. las tentadoras aguas de cobalto nos atraían, pero los depredadores visibles e invisibles nos expulsaban: enormes cocodrilos, tiburones, medusas globo, el invisible irukandji y los mosquitos. el calor implacable y la humedad perfeccionan las condiciones para las cosas que roen y muerden. las condiciones cultivan criaturas de sangre fría y otras criaturas despiadadas: moscas de arena, peces con grandes dientes. otros lugareños con dientes y supervivientes de los bombardeos japoneses, de "tracy" de 1974 (el devastador ciclón), de los cowboys corporativos y estudiantes de secundaria. la resistencia y la astucia son requisitos indispensables para desafiar y sobrevivir a este lugar y sus ecologías: el tiempo es su propia entidad salvaje, intransigente e indomable; el tiempo parece haber cantado una canción de cuna que provoca aquí curiosos deslices impregna una tracción ancestral. la modernidad como frontera se asienta de forma incómoda y beligerante en este paisaje. esta frontera desafiante y porosa presenta intrigantes contradicciones cotidianas y colisiones fronterizas de lugares, personas y objetivos. choque de culturas y mentalidades: los antiguos habitantes ancestrales y originarios; la arraigada influencia del sudeste asiático; burócratas vulgares, intelectuales de paso, inconstantes trabajadores que vienen y van; y restos de la generación hippy, atraídos hace décadas y convertidos en los "guardianes de lo que queda de lo salvaje"... sin olvidar el irrisorio periódico local, que representa el último bastión de la pura mente obstinada y el australiano "vuelto loco" cuentacuentos antes de abandonar la orilla y adentrarse en el arafura, deslizándose por las cálidas corrientes hacia bali y más allá. esta variopinta civilización se basa en una economía flotante: los barones extranjeros envían a alta mar recursos preciosos para el intercambio. hay muchos costos incómodos para la decidida presencia occidental en esta región marginal asiática. la base militar estadounidense y los "juegos de guerra" internacionales anuales intentan llenar los cielos y los mares para conjurar espejismos de irónica "estabilidad". en un extraño giro de simetría, mi propia "estabilidad" y sensación del lugar se vieron desafiados, física, profesional y personalmente. los formadores de profesores reflexionan lugar, conciencia corporal y reducción de estrés también nos planteamos de qué manera el ‘lugar’ de la conectividad a distancia podría ayudar a desarrollar una conversación continua sobre la gestión del estrés a través de la atención plena. sin embargo, en nuestros primeros intentos descubrimos rápidamente que los profesores con poco tiempo libre no deseaban participar de esta manera en la exploración de estrategias que pudieran fomentar su bienestar y preferían la opción de un taller o una clase en smith et al (es) • feldenkrais research journal, volume 7 (2023) 9 un lugar físico; participar en línea representaba de algún modo la continuidad del lugar de trabajo y sus factores de estrés asociados, más que una retirada del mismo. al abordar el problema de la gestión del estrés derivado de una cultura contemporánea que fragmenta crónicamente nuestra atención a través de la sobreestimulación, shusterman (2008) presenta la “conciencia corporal” como una “filosofía de la atención plena y la somaestética” que proporciona una vía probada para la reducción del estrés, la mejora del desempeño y la percepción personal (págs. x-xii). para shusterman, la filosofía somática y las disciplinas cuerpo-mente como la técnica alexander y feldenkrais proporcionan vías para observar y romper hábitos que pueden ser perjudiciales para el bienestar. aunque no se centra en la conexión somática, la literatura sobre la reducción del estrés basada en la atención plena (mbsr por sus siglas en inglés) informa también de que el entrenamiento en atención plena puede ser una intervención eficaz para mejorar los efectos de la ansiedad, la depresión y el estrés en el lugar de trabajo (flook et al., 2013; gold et al., 2010). el practicante de feldenkrais explica moshe feldenkrais, ingeniero y físico, cuyo gran interés por las artes marciales y el deporte apuntaló su pasión por comprender el movimiento humano y el aprendizaje, desarrolló el método feldenkrais a partir de todas estas experiencias. su interés aumentó tras sufrir lesiones personales. comprometido con la búsqueda inicial de una forma de mejorar su capacidad de movimiento y, posteriormente, la de los demás, desarrolló un enfoque intrapersonal basado en la investigación para aprender y mejorar el desempeño. trabajó mucho con adultos y niños con discapacidades neurológicas y del desarrollo, y con personas con problemas complejos y crónicos. el neuropsiquiatra norman doidge consideró a feldenkrais uno de los primeros investigadores de la neuroplasticidad (doidge, 2015) por su uso de la atención y los patrones de movimiento no habituales para activar la capacidad innata del cerebro de cambiar los patrones habituales e iniciar un movimiento más eficiente que esté en sintonía con el entorno concreto. las clases de feldenkrais facilitan el cambio en la organización neuromuscular; el movimiento se distribuye de forma más uniforme por todo el cuerpo, de modo que ninguna parte del sistema está sobrecargada y, a partir de este cambio, puede desarrollarse una sensación de facilidad. varias tradiciones del movimiento también emplean la atención y la toma de conciencia en movimientos de meditación, como el tai chi y el yoga. lo que distingue al método feldenkrais de otros paradigmas del movimiento es que está diseñado para interrumpir los hábitos de movimiento y facilitar el descubrimiento de nuevas formas de llevar a cabo diversas funciones. no se trata de aprender una secuencia específica ni de moverse para alcanzar un objetivo concreto, sino que la intención es provocar nuevos aprendizajes a través de la atención al proceso, moviéndose lentamente, haciendo menos y aumentando así la sensibilidad y la capacidad de hacer distinciones más finas, con la consiguiente mejora de la capacidad de percibir detalles de uno mismo y de su entorno. la persona se vuelve más consciente de lo que smith et al (es) • feldenkrais research journal, volume 7 (2023) 10 está haciendo, no de lo que cree que está haciendo (beringer, 2010). eso, como tal, es una actividad de atención plena. feldenkrais veía la mente y el cuerpo como un sistema funcional y biológico unificado, un sistema que tiene cuatro componentes: pensamiento, emoción, sensación y movimiento. ... [y] que la unidad de mente y cuerpo es una realidad objetiva. no son sólo partes relacionadas entre sí, sino un todo inseparable en funcionamiento. un cerebro sin cuerpo no podría pensar... los propios músculos son parte integrante de nuestras funciones superiores. (feldenkrais, 1964, p. xi) y nosotros no percibimos el funcionamiento interno del sistema nervioso central. nosotros podemos sentir sus manifestaciones sólo en la medida en que los ojos, el aparato vocal, la movilidad facial y la del resto del cuerpo provocan nuestra toma de conciencia. este es el estado de ¡conciencia! (p. 29) la profesora se embarca en el entrenamiento corporeizado de atención plena feldenkrais entrenamiento, sensación plena de lugar3 este desafío a la estabilidad tiene una precuela. en una semana me encontré conectando de una manera diferente con el lugar a través del entrenamiento feldenkrais. se convirtió en un reposicionamiento sorprendente, que me ofreció prácticas de atención plena corporeizada que no sólo me conectaron con el lugar, sino que se convirtieron en un recurso crucial en el cual apoyarme cuando entré en el territorio del salón de clase. al participar en un taller de un día sobre meditaciones breves de atención plena y movimientos suaves, me encontré tumbada boca abajo, sintiendo el piso bajo mis pies y preguntándome: ¿cómo se conectaba mi cuerpo con este lugar? ¿de qué era consciente mi mente/cuerpo? mis pulmones se llenaban como olas, la caja torácica se expandía para abrazar la respiración y expulsar la tensión. la atención a la respiración, la atención a la postura, a la posición y a la presencia, estas eran las cosas que me resonaban a menudo mientras anticipaba la clase. la conexión de la atención plena con el aprendizaje corporal de feldenkrais proporcionó un vehículo para la toma de conciencia en acción que buscaban los profesores de este estudio. sirvió para tender un puente entre lo que pueden llegar a ser experiencias excesivamente cognitivas en la atención plena y el enraizamiento en el cuerpo y en el lugar. porque, en cualquier momento, hay dos relaciones siempre presentes en la experiencia: la conexión con el aire a través de la respiración y la relación con la gravedad, nuestra base de apoyo. ambas 3 “placefulness” en inglés. smith et al (es) • feldenkrais research journal, volume 7 (2023) 11 proporcionan puntos de referencia que pueden traerse a la conciencia para ayudar a reconectar con el momento presente y experimentar la interdependencia del cuerpo y la mente. la respiración es un movimiento del cuerpo, del diafragma, del tórax y del abdomen, y varía en respuesta a las exigencias de la posición, la tarea, el grado de esfuerzo y el estado emocional. se ve directamente afectada por la respuesta de repliegue, un reflejo primitivo de protección de la supervivencia delante de acontecimientos negativos que pueden suponer una amenaza. éstas pueden situarse en cualquier punto de la escala, desde vagas aprensiones y ansiedades persistentes hasta peligros manifiestos. la respuesta de repliegue es una respuesta neuromuscular al estrés que se expresa en la tensión de los músculos que rodean los ojos y la frente, el cuello, los hombros y el abdomen. también afecta a la respiración, que puede ser superficial o contenida (hanna, 1988). con el tiempo, todos estos patrones pueden convertirse en hábitos inconscientes, como se refleja en el patrón corporal de ansiedad. desarrollar la conciencia de la respiración permite reconocer las respuestas de ansiedad y ofrece la posibilidad de cambiar esta expresión de ansiedad en el cuerpo y la respiración, con el potencial de cambiar también la calidad del afecto emocional (kerr et al., 2002; payne y crane-godreau, 2015). del mismo modo, desarrollar la conciencia de la relación con el piso al moverse, a través de la percepción del apoyo esquelético, puede permitir una conexión intencional con el piso. el proceso reduce la tensión y puede proporcionar más facilidad y claridad en el movimiento y una mayor flexibilidad en la forma en que el individuo responde al entorno (feldenkrais, 1964). ...el objetivo de mi trabajo es llevar la conciencia a la acción. o la capacidad de contacto con el propio esqueleto, los músculos y el entorno prácticamente en simultáneo... (feldenkrais, 1964, citado en beringer, 2010, pp. 36-37) esta formación, llevada a cabo durante las vacaciones escolares, y practicada por nuestra participante antes del inicio de las clases, parece haberle proporcionado algunas estrategias intrapersonales que la situaron en una buena postura. al igual que muchos profesores principiantes, chang (2009) había advertido que no estaba suficientemente preparada para “la dramática gama de emociones intensas que ellos experimentarían al entrar en la profesión” (p. 212). la profesora y la identidad personal por explorar lugar – zona de contacto del salón de clase, respiración enfocada en la atención plena cuando llegó el cuarto trimestre, no esperaba que el salón de clase me evocara la zona de contacto que viví cuando era cadete del ejército; no preveía las similitudes entre el salón y mi experiencia como cadete. smith et al (es) • feldenkrais research journal, volume 7 (2023) 12 es un momento de preparación previo al encuentro en la zona de contacto. se revisa la estrategia, se distribuyen los suministros y se preparan los puestos. ¡contacto! la clase entra en tropel, rápida y furiosa, y se desarrolla otra "típica" secuencia de acción en vivo. en medio de la escaramuza, a eso de las ocho y media, empiezo a sentir el ataque de un conflicto interno: el ataque de ansiedad. a medida que me invade una oleada de pánico, todo a mi alrededor parece moverse en cámara lenta. el torbellino de los niños y mi presencia en el aula se disipa. me concentro en mi respiración. respiro lenta y profundamente para no alimentar la marea creciente de esa ola abrumadora. me concentro en mi respiración. me digo: esto pasará. me concentro en la respiración. me digo: esto no es un infarto. me concentro en la respiración. pienso en pedirle a un alumno de confianza que vaya a la clase de al lado para solicitar una breve visita del profesor: por si acaso me desmayo y los alumnos me meten lápices 2b y trozos de borrador roto por la nariz mientras estoy inconsciente. me concentro en la respiración y, a medida que respiro con atención, el ritmo cardíaco vertiginoso se ralentiza y me encuentro reapareciendo en el aula alborotada. el ataque de ansiedad ha terminado. ahora vuelvo a la zona… feldenkrais – recuperar, reflexionar, rediseñar patrones durante el periodo lectivo, me ofrecieron un respiro en la zona de contacto, un lugar para la toma de conciencia. fueron ejercicios mentales y de movimiento en un espacio neutral, que se convirtieron en ejercicios tácticos. las sesiones de entrenamiento ayudaron a conectarme lentamente de nuevo con el piso que tenía debajo, consciente de los pies, la colocación y la respiración. me ayudaron a reflexionar y a idear nuevas tácticas. la nueva táctica era una disrupción que permitía una reorganización del patrón, a la vez que una anticipación al aula. la disrupción fue un disparador para mí, y el disparador fue beber agua. me recordó que debía centrarme en la respiración y volver a tomar conciencia de mi cuerpo. mientras bebía agua, este disparador me ayudaba a preguntarme: ¿qué estaba percibiendo en mi cuerpo? ¿cómo estaba colocado mi cuerpo? ¿qué estaba en juego, consciente o inconscientemente, al hacer contacto con el salón de clase? no lugar desconexión, fractura, reconexión mientras estaba de licencia, en un no-lugar, perdí mi equilibrio. en una pendiente empinada y escurridiza, con suelas resbalosas, con las manos ocupadas, la mente en otra parte, el cuerpo desconectado y sin lugar, todo el impacto de la caída se lo llevó el peroné. fractura de pierna y tobillo. interviene un cirujano traumatólogo. el herraje me mantiene unida internamente y parasitariamente. ahora soy parte máquina, después de una vida sin huesos rotos, me he roto y tengo una placa de acero, una docena de tornillos y un clavo grande como armazón estructural. hiperconsciente ahora, cada pequeño paso es premeditado, minuciosamente evaluado y sobre-anticipado. aprendo a caminar de nuevo lentamente, en meses inciertos y terrenos pedregosos. feldenkrais smith et al (es) • feldenkrais research journal, volume 7 (2023) 13 y la fisioterapia intentan reavivar y reconectar los patrones entre el cerebro, la respiración y el cuerpo. con el piso movedizo bajo mis pies, vuelvo a darwin... y poco a poco al salón de clase. sensación plena de lugar reajustar, remodelar patrones al volver al salón de clase, soy consciente de lo vulnerable que sigo siendo. me doy cuenta de que la dureza física y psicológica de la escuela media es demasiado desafiante en este momento. busco otras oportunidades fuera de la profesión docente. me pongo en contacto con reclutadores, presento solicitudes, asisto a entrevistas. pero sé que, aunque puedo considerar esta opción: un cambio de profesión, he invertido mucho en reaprendizaje y energía creativa en el ámbito de la educación. busco sabios consejos de mentores y profesionales de la educación experimentados, y sigo buscando conexiones con filosofías y prácticas de educación holística. es difícil negar que, como docente, si quiero prevalecer en condiciones inciertas y tiempos cambiantes, necesito alinearme con realidades holísticas, solidarias y plenas de lugar en la educación. si yo necesito cultivar la resiliencia a través de la conexión con el lugar, la conciencia de la mente y el cuerpo y la salud, ¿qué necesitan cultivar los estudiantes en sus propios mundos virtuales, incorpóreos y obsesionados por lo digital? ¿y cómo lo conseguirán los profesores? el aprendizaje intrapersonal que desarrolla conexiones holísticas y apoya el bienestar y la longevidad profesional de los profesores, debería ser reconocido dentro de los estándares profesionales australianos para profesores (aitsl, 2012). tengo la esperanza de que la atención plena corporeizada y las formas de bienestar profesional constructivas y bien pensadas puedan abordar la conexión holística con el lugar, la salud del cuerpo-mente y el aprendizaje. discusión dentro de la literatura más amplia también encontramos que di nucci (2013) ofrece un antídoto lúdico para el uso a veces demasiado expuesto o apropiado del término atención plena al considerar un antónimo cercano – atención incompleta: pensar está sobrevalorado: los golfistas rinden mejor cuando están distraídos y bajo presión; los bomberos toman buenas decisiones sin tener ni idea de por qué; y a ti mismo te perjudica mirar los pasos que das al bajar las escaleras, o intentar recordar el número de tu clave antes de teclearlo. hazlo sin pensar. ...nuestro yo inconsciente es nuestro porque no está mediado por el pensamiento. ser inconsciente es, en resumen, algo bueno. bueno. no nos avergoncemos de ello; cultivémoslo. (di nucci, 2013, p. 10) esta postura abre una faceta completamente distinta de este debate y se introduce principalmente porque, en realidad, no tiene en cuenta el objetivo del entrenamiento en atención plena. el concepto central de la noción de atención incompleta de di nucci es en smith et al (es) • feldenkrais research journal, volume 7 (2023) 14 realidad la automaticidad, una transición esencial en el aprendizaje que libera una actividad del control consciente. el cerebro, sobre todo en el córtex premotor, forma lo que se denominan mapas corporales funcionales, es decir, enlaces de grupos de neuronas relacionados con una función concreta, como caminar, alcanzar objetos, conducir un coche, etc. a medida que el bebé aprende a través de las transiciones entre el estado erguido y móvil, se producen cambios en el cerebro. esto crea libertad para estar simplemente presente en el momento, con cualquier sensación o pensamiento que surja, o para permitir que la mente consciente se dedique a otros “pasatiempos”. el movimiento consciente, sin embargo, tiene que ver con la sintonización de la mente y el cuerpo, y hace hincapié en el aspecto físico del entrenamiento de la atención plena. los profesores también necesitan este tipo de capacidad corporeizada para moverse y actuar con sentido común. también se nutre de los esfuerzos de pensamiento transversal. así pues: a primera vista, la atención plena contemplativa y la indagación crítica parecen polos opuestos del espectro reflexivo; sin embargo, filósofos orientales y occidentales han descrito una doble dimensión del pensamiento reflexivo que incorpora ambas. la “indagación desde la atención plena” ofrece una nueva conceptualización holística del pensamiento reflexivo, que mantiene la atención plena y la indagación en una interrelación dialéctica (webster-wright, 2013, p. 557). del mismo modo, el entrenamiento en atención plena y la indagación desde la atención plena abren imperativos éticos. como hemos observado a lo largo de la narración, la atención serena y centrada sin juicios de valor ofrece una pausa para la elección activa en lugar de la respuesta reactiva, lo que pone de relieve que el comportamiento está estrechamente vinculado a un funcionamiento intrapersonal optimizado. la práctica ética en la enseñanza, sin embargo, actualmente sólo se concibe en términos de responsabilidad profesional (aitsl, 2012). tanto la indagación con atención plena como el aprendizaje corpóreo que se han presentado aquí a los profesores, representan formas de aprendizaje en las que se aprenden y practican herramientas para desarrollar la conciencia de la unidad del cuerpo y la mente, y en algunos casos, como en la prosa que aquí se presenta, se experimenta un sentido más profundo del aprendizaje. muchos profesores están estresados, desgastados y son vulnerables, y esto puede ser especialmente cierto en el caso de los profesores que empiezan su carrera; sin embargo, ¿cómo abordan esta cuestión las autoridades competentes? en un principio, adoptamos una interpretación liberal de las normas profesionales actuales al tratar de abordar el bienestar de los profesores, y lo intrapersonal, como un ámbito siempre presente que repercute en el desempeño. podría decirse que, a través de una lectura crítica de las normas profesionales, el descuido de lo intrapersonal puede verse como una derogación de la responsabilidad profesional. cada participante en nuestro estudio tiene su propia narrativa personal y una experiencia localizada única, pero como concluyó la profesora principiante que aparece en este artículo en smith et al (es) • feldenkrais research journal, volume 7 (2023) 15 una entrevista posterior al taller, “los apoyos y las tecnologías que se pusieron a disposición presentaron una forma diferente de aprender y llenaron una necesidad de realización más profunda, más allá de los estándares profesionales, hacia un ser auténtico”. este comentario alude a cuestiones más importantes relacionadas con el alcance y los resultados del desarrollo profesional de los profesores, ya que la versión actual (2012) de las normas profesionales para profesores de la aitsl se centra en las competencias más que en la capacidad y el desempeño. así, mientras que el desempeño eficaz de la enseñanza y el aprendizaje está explícito en las normas, el dominio intrapersonal de los profesores no está marcado como un tema de aprendizaje profesional. abordar la dimensión intrapersonal es quizás una forma ambiciosa de aprendizaje en un entorno basado en los resultados y el desempeño, en el que el tiempo apremia, y aunque se ha producido un aumento meteórico de la formación secular en atención plena, las implicaciones más amplias y a más largo plazo del cuerpo, la emoción, la ética y la práctica regular podrían significar que estamos asistiendo a una baño exótico antes de la quemadura. sin embargo, los resultados de nuestra investigación indican lo contrario y apuntan a la necesidad de una defensa sostenida para establecer programas de desarrollo profesional del bienestar de los profesores que incluyan el aprendizaje intrapersonal como una faceta legítima y justificada del bienestar profesional y personal. los problemas existentes para los profesores, y a su vez para los alumnos, representan lo que feldenkrais describió como un vasto campo en la relación mente-cuerpo aún por explorar. como él mismo explicó: no puede haber mejora sin cambio. aunque se puede ayudar cuando las cosas van mal, no podemos renunciar a nuestro esfuerzo antes de que los profesores de todo el mundo aprendan a desarrollar en sus estudiantes la conciencia de la unidad del cuerpo y la mente, de modo que se alcancen logros más elevados que la mera corrección de defectos. entrenar un cuerpo para perfeccionar todas las formas y configuraciones posibles de sus miembros no sólo cambia la fuerza y la flexibilidad del esqueleto y los músculos, sino que también produce un cambio profundo y beneficioso en la autoimagen y la calidad de la dirección del yo (feldenkrais, 1964, citado en beringer, 2010, pp. 43 44). este enfoque es un campo potencialmente rico para nuevas investigaciones y un comienzo útil para cambiar comportamientos. todas las voces que se escuchan en este documento cuentan sus historias y se combinan para presentar una imagen común y coherente que ha identificado necesidades y vínculos con estrategias para satisfacerlas. también es relevante que dentro del creciente discurso sobre las habilidades (o competencias) del siglo xxi, dada la variedad de conceptualizaciones, podría decirse que hay un ajuste natural para la formación en atención plena. así, teóricos de la educación como gardner (2011), han identificado la "mente disciplinada" y la "mente ética" como dos de las "cinco smith et al (es) • feldenkrais research journal, volume 7 (2023) 16 mentes para el futuro" que necesitan atención y desarrollo dentro de los entornos educativos. las prácticas de atención plena sirven en ambas direcciones. preguntas suscitadas y conclusión al concluir este debate, observamos que de estos relatos interrelacionados surge una serie de preguntas que será importante que profundicemos a medida que sigamos estudiando las implicaciones de nuestro programa de investigación que relaciona la formación en atención plena con la formación profesional de los profesores. de hecho, nuestro propósito ha sido identificar estas cuestiones en lugar de llegar a "conclusiones" que cierren los temas planteados. así, las siguientes preguntas apuntan a la necesidad de seguir investigando las cuestiones abordadas en este documento: 1. ¿qué están haciendo las autoridades competentes para abordar los problemas del bienestar y el agotamiento del profesorado? 2. ¿la formación en atención plena y el desarrollo intrapersonal se integran adecuadamente en los requisitos de formación profesional de los profesores? en caso afirmativo, ¿cuál es la mejor manera de situarlo y promoverlo? 3. ¿qué prácticas de conciencia basadas en el movimiento podrían ser las más idóneas para su adopción en las escuelas? 4. ¿de qué manera podrían explorarse más a fondo el "lugar" y el "no lugar" como consideraciones para el bienestar intrapersonal? 5. ¿de qué manera el desarrollo de políticas relacionadas con la práctica profesional de los profesores se alinea mejor con el bienestar, el aprendizaje, el desempeño y las competencias de los profesores? en conclusión, hay una serie de cuestiones clave que las autoridades educativas deben tener en cuenta. el bienestar es un tema rico y complejo de explorar, ya que se basa en la experiencia, tiene muchos matices y a veces es una cuestión personal y privada. al ilustrar esto a través de la autoetnografía de una profesora en formación, hemos llegado a la conclusión de que es necesario y oportuno seguir investigando sobre el bienestar de los profesores. en segundo lugar, creemos que una lectura crítica de las normas profesionales para profesores revela que se ha descuidado el ámbito intrapersonal. como tal, esta omisión puede interpretarse como una derogación de la responsabilidad profesional. smith et al (es) • feldenkrais research journal, volume 7 (2023) 17 referencias ager, k., bucu, a., albrecht, n., and cohen, m. 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(2015) ‘meditative movement for depression and anxiety’. progress in physical activity and exercise and affective and anxiety disorders: translational studies, perspectives and future directions, 4 (71), 50-64. doi: 10.3389/fpsyt.2013.00071 rasmussen, m.k., and pidgeon, a.m. (2011) ‘the direct and indirect benefits of dispositional mindfulness on self-esteem and social anxiety. anxiety, stress, and coping, 24 (2), 227-233 russell, t., and tatton-ramos, t. (2014) ‘body in mind training: mindful movement for the clinical setting’. neuro-disability and psychotherapy, 2 (1-2), 108–136 schaufeli, w., and bunk, b. p. (2003) ‘burnout: an overview of 25 years of research and theorizing’. in handbook of work and health psychology. ed. by schabracq, m.j., winnubst, j.a.m., and c.l. cooper, c.l. chichester: john wiley and sons, 383–425 schaufeli, w., salanova, v., gonzález-roma, a.b., and bakker, a. (2002) ‘the measurement of engagement and burnout: a two sample confirmatory factor analytic approach’. the journal of happiness studies, 3, 71–92 shann, s. (2015) ‘a mythopoetic methodology: storytelling as an act of scholarship’. asia-pacific journal of teacher education, 43 (2), 128-142. doi: 10.1080/1359866.2014.932334 shapiro, s.l., and carlson, l.e. (2009) the art and science of mindfulness: integrating mindfulness into psychology and the helping professions. washington, dc: american psychological association smith et al (es) • feldenkrais research journal, volume 7 (2023) 21 segall, s.r. (2005) ‘mindfulness and self-development in psychotherapy’. journal of transpersonal psychology, 37 (2), 143 shoval, e. (2011) ‘using mindful movement in cooperative learning while learning about angles’. instructional science, 39 (4), 453–466. doi: 10.1007/s11251-010-9137-2 shusterman, r. (2008) body consciousness: a philosophy of mindfulness and somaesthetics. new york, ny: cambridge university press siegel, d.j. (2007) the mindful brain: reflection and attunement in the cultivation of well-being. new york, ny: ww norton and company inc. siegel, d.j. (2008) the mindful brain: the neurobiology of well-being. sounds true siegel, d.j. (2009) mindsight: change your brain, change your life. brunswick, vic: scribe publications sommerville, m. (2012) water in a dry land: place learning through art and story. new york, ny: routledge surrey, j.l. (2005) ‘relational psychotherapy, relational mindfulness’. in mindfulness and psychotherapy. ed by germer, c.k., siegel, r.d., and fulton, p.r. new york, ny: the guilford press, 1-110 tacey, d. (1995) edge of the sacred. melbourne, harper collins teper, r., segal, z.v., and inzlicht, m. (2013) ‘inside the mindful mind how mindfulness enhances emotion regulation through improvements in executive control’. current directions in psychological science, 22 (6), 449-454 van gordon, w., shonin, e., zangeneh, m., and griffiths, m.d. (2014) ‘work-related mental health and job performance: can mindfulness help?’ international journal of mental health and addiction, 12 (2), 129-137 webster-wright, a. (2013) ‘the eye of the storm: a mindful inquiry into reflective practices in higher education’. reflective practice: international and multidisciplinary perspectives, 14 (4), 556–567. doi: 10.1080/14623943.2013.810618 smith et al (es) • feldenkrais research journal, volume 7 (2023) 22 frj 7 eikmeier en feldenkrais research journal • volume 7 (2023) original research movement quality and music-making practice: on the relationship between the feldenkrais method® and musical improvisation corinna eikmeier prof. dr. phil.; feldenkrais practitioner, hannover, germany contact: post@corinna-eikmeier.de translator: anna katharina sanner this article is an english translation of the original german article, bewegungsqualität und musizierpraxis: zum verhältnis von feldenkrais-methode® und musikalischer improvisation, which was published in volume 6 (2018-2019) of this journal: https://feldenkraisresearchjournal.org/index.php/journal/article/view/15. abstract when making music, quality of movement and musical outcome are closely connected. the quality of movement in improvisational play is different from that during the interpretation of composed works. the starting point for this study was that the physical sensations of improvising musicians resembled those reported by people who participated in feldenkrais method lessons. musicians interpreting composed works, on the other hand, found it difficult to apply what they had learned in feldenkrais method lessons to their instrumental play. these observations led to the following research questions: ● can we identify specific modes of action that are important for improvising music? ● do musicians’ improvisational modes of action and quality of movement mutually influence each other? ● are certain modes of action that are beneficial to improvisational play cultivated through the feldenkrais method? the research design used in this study is based on the qualitative heuristic approach with additional principles borrowed from artistic research. methodological formats include research talks, introspection, and qualitative experiments. furthermore, a model was developed that describes improvisation as ‘autopoiesis’ in the present. the research process yielded the following results: ● the ‘autopoietic’ system marks the conditions for improvisation. besides the musician, communication with other players and the resulting music are also part of the process. the musician's perception brings all these elements together; mental issues like trying to avoid mistakes or control musical developments weaken the improvisational process. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:post@corinna-eikmeier.de https://feldenkraisresearchjournal.org/index.php/journal/article/view/15 https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org ● when comparing the improvisational mode of action with the feldenkrais method, it becomes apparent that the third research question posed above can be answered with yes: on a superordinate level, the feldenkrais method does indeed cultivate modes of action beneficial to improvisation. criteria for an improvisational quality of movement can be deduced from the feldenkrais method. ● the variations of physical movement conducted in 49 experiments led to changes in improvisational technique. the subjects increasingly succeeded in discarding retrospection and prospection, and found new paths in the present. ● the finding that quality of movement and musical outcome always influence each other in general, even when interpreting composed works, should inspire efforts to incorporate basic principles of improvisation into the way students are taught to play an instrument, thus enriching the interpretation of classical music, in which control is frequently overemphasized. keywords vocal and instrumental pedagogy, improvisation, feldenkrais method, quality of movement, modes of action, interpretation, qualitative research, experimental research, heuristic methods copyright ©: the copyright for this paper remains with the author(s). please cite: feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 2 original research movement quality and music-making practice: on the relationship between the feldenkrais method® and musical improvisation corinna eikmeier prof. dr. phil.; feldenkrais practitioner, hannover, germany translator: anna katharina sanner introduction this article is a summary of a longer, more detailed research report published under the same title in 2016.1 basic observations this research project was carried out in the context of a classical western music education specializing in vocal and instrumental pedagogy, which places great emphasis on interpretation. a considerable percentage of professional musicians experience problems concerning the2 musculoskeletal system. as a preventive measure doctors specializing in the treatment of3 professional musicians recommend the supplementary use of somatic techniques. practitioners of somatic learning methods specialize in working with musicians. while teaching feldenkrais 3 see overview of statistics in: hildebrandt horst (2002): music study and health. structure and effectiveness of a preventive teaching program (zurich music studies, vol. 1). bern: et al: lang, s. 16. 2 a comparison to other musical cultures where learning has traditionally been through improvisation and oral transmission was not a topic of the research and therefore not addressed. the creative areas such as improvisation and composition are often integrated in instrumental and vocal pedagogy as a means to an end in order to better perform interpretations. see, among others, busch, barbara/metzger, barbara (2016): contents of instrumental teaching. in: grundwissen instrumentalpädagogik. ein wegweiser für studium und beruf, pp. 232-253 and ernst, anselm (1991): lehren und lernen im instrumentalunterricht. a pedagogical handbook for practice. mainz: schott, chapter: 2 learning fields and teaching contents, pp. 44-69. 1 eikmeier, corinna (2010): movement quality and music-making practice. on the relationship between feldenkrais method and musical improvisation. fernwald: musikautorenverlag burkard muth. an abridged version of this article: improvising with an improvising body. in: reinhard gagel, matthias schwabe (eds.) (2016): exploring improvisation improvising research. beiträge zur exploration musikalischer improvisation// researching improvisation researching by improvisation. essays about the exploration of musical improvisation. bielefeld: transcript. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 3 method at a music conservatory, i observed that many classically trained musicians were4 unable to apply their experiences from feldenkrais method lessons to their instrumental play. in feldenkrais method lessons, students explore an ‘improvisational quality of movement’. when5 practicing an instrument, changing rigidly rehearsed movement patterns seems difficult. people’s descriptions of their physical sensations when improvising resemble those given after feldenkrais lessons. the same people tend to describe negative emotions concerning their6 physical movements while interpreting music. this cannot be solely due to playing technique, which differs only marginally when improvising and when interpreting music (playing the violin remains playing the violin). obviously, the musicians’ mindset, perception, way of listening, and willingness to fully engage in the present moment contribute to the way they feel about making music in each particular instance. questions many relevant medical publications on music physiology and treatments for musicians neglect to discuss the role of different approaches to making music.7 7 u. a. altenmüller, eckard (2006): neurological diseases in musicians. heidelberg: springer. bastian, hans g. (ed.) (1995): preventing and avoiding diseases. instrumental playing from a physiological, technical and curative pedagogical point of view [2nd paderborn ibff symposium]. mainz: schott. blum, jochen (ed.) (1995): medical problems in musicians. with a foreword by sir georg solti. stuttgart et al: thieme. gellrich, martin (1997): on the construction of motor schemata in instrumental playing. in: mantel, gerhard (ed.) (1998). unused potentials: ways to constructive practicing (= congress report 1997 of the forschungsinstitut für instrumentalund gesangspädagogik e. v. in cooperation with the hochschule für musik und darstellende kunst frankfurt am main). mainz: schott. s. 131-151. hildebrandt, horst (2002): music study and health. structure and effectiveness of a preventive teaching program (= zurich music studies, vol. 1). bern et al: lang. hildebrandt, horst (2006): practicing and health. selected music physiological aspects of practicing and their special significance for everyday training and professional life. in: mahlert, ulrich (ed.) (2006): handbook of practicing. fundamentals methods concepts. wiesbaden et al: breitkopf & härtel, pp. 67-97. klein-vogelbach, susanne/lahme, albrecht/spirgi-gantert, irene (2000): musical instrument and posture. a challenge for musicians, music educators, therapists and physicians. healthy and fit in everyday life as a musician. with a foreword by natalia gutman. berlin et al: springer. klöppel, renate (1999): the health book for musicians. anatomy, occupational diseases, prevention and therapy. kassel: bärenreiter. 6 within the framework of the dorothea erxleben fellowship, the author has already carried out a project on the subject of the feldenkrais method and improvisation from 2007-2009. in this context, improvising musicians were asked by means of a questionnaire about their body awareness when improvising and interpreting. from today's point of view, the questionnaire does not meet scientific standards. it only gave the author food for thought for the present project. 5 the term does not exist in the literature on the feldenkrais method in this form. it was coined by the author in this research project through the analogy between the feldenkrais method and improvisation. 4 ongoing course in group lessons, "awareness through movement®", and in individual lessons, "functional integration®", for students of all courses of study at the university of music, drama and media, hannover. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 4 for this research project, differences in the subjects’ approach and musical practice, as well as idiosyncrasies in their improvisational play were considered relevant from the beginning. this made improvisation a vital part of the study. improvisation requires skills or modes of action that are equally important for any other type of music-making practice, but indispensable for improvisation. in this study, i defined the term ‘improvisational mode of action’ as a mode of action that can also be applied when interpreting composed works. my initial observations led to the following central research questions: ● what specific modes of action are important for improvisation? ● how do these modes of action interrelate with movement quality in music-making? questions concerning the feldenkrais method: ● what improvisational modes of action are implicitly addressed through the feldenkrais method? ● what comparisons can be made between learning strategies employed in the feldenkrais method and improvisational modes of action? the research process due to their extremely high complexity, neither improvisation nor the feldenkrais method can be examined to a satisfactory degree simply by using scientific or quantitative measurement methods. the research design for this study was developed in an improvisational manner throughout the research process. the research methodology used is based on principles borrowed from qualitative heuristics, which i have described in the following section. variations on this basic methodological approach also used in this study were: research interviews, introspection, and, most importantly, the ‘qualitative experiment’. qualitative heuristics "discovery is the process of replacing or expanding on what we know by adding something new puls, hartmut (2000): experiences from body work with music students. prophylaxis as a teaching subject at the hochschule für musik "hanns eisler" berlin. üben & musizieren, 17th jg. no. 5, pp. 27-33. schnack, gerd (2000): health strategies in music making exercises for prevention and therapy of playing injuries. munich et al: urban & fischer. schnack, gerd (2010): preparing fertile ground. on the implementation of musician health in higher education. üben & musizieren, 27th jg. no. 1, pp. 22-27. spahn, claudia (2011): musician's medicine. diagnosis, therapy, and prevention of musician-specific diseases. with the collaboration of jochen blum. stuttgart: schattauer. wagner, christoph (1995): physiological and pathophysiological foundations of music making. in: blum, jochen (ed.). medical problems in musicians. with a preface by sir georg solti. stuttgart/new york: thieme, pp. 2-29. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 5 – basically, it is change." children’s way of discovering the world makes them living examples8 of heuristic research. they look at everyday facts and explore them for their own understanding. "once again, it becomes apparent that the intellectual activity of the researcher and inventor is not essentially different from that of the common man. the latter does it by instinct, the scientist turns it into method." heuristic or discovery research with qualitative methods is based on a9 methodology developed at the university of hamburg and applied in many fields. the research10 process is "conceived as a form of dialog, as applied dialectics."11 the basic rules of qualitative heuristics the method of qualitative heuristics follows the basic rules listed below. rule 1: "researchers should be open to new concepts and change their preconceptions if they are contradicted by the data available."12 when executing a research project, this rule means a researcher needs to be flexible and be prepared to change their line of enquiry if their findings are not as expected. external factors like funding and timelines can inconveniently stand in the way of unexpected findings. this can be mentally challenging for the researchers involved. hypotheses made by the researchers at the outset may change throughout the research process. also, researchers must be open to13 unexpected new findings. as early as 1905, ernst mach noted that "we must not shrink back from unfamiliar conceptions if they rest on secure foundations. for the possibility of encountering fundamentally new facts has not only existed in earlier stages of research, it continues to exist and has never ceased to exist for a single day." he notes that coincidences14 often make incongruities between ideas and facts visible and palpable, and that it is exactly this process that often leads to the solution of our problems. finally, it should be noted that any15 effort to engage in research and conduct experiments would not make sense if the researcher already knew the result of the experiments in advance. researchers must be open to16 16 see frey hans-jost (2005): attempt on the unforeseen. in: fähndrich, walter (ed.). 2007. improvisation 6 [13 papers; 6th international conference on improvisation, lucerne 2005]. winterthur: amadeus, pp. 107-129, p. 115. 15 see mach (1968), p. 252. 14 mach (1968), p. 249. 13 see mach (1968), p. 244. 12 kleining (2000) 11 kleining, gerhard/witt harald (2000): qualitative heuristic research as a discovery methodology for psychology and the social sciences: rediscovering the method of introspection as an example. forum qualitative sozialforschung, 1. jg. no. 1, urn:nbn:en:0114-fqs0001136, accessed on 10. april 2014. 10 see kleining, gerhard (1982): umriss zu einer methodologie qualitativer sozialforschung. kölner zeitschrift für soziologie und sozialpsychologie, 34. jg. nr. 2, s. 224-253, s. 224 f. 9 mach ernst (1968) [reprographic reprint of 1926]: erkenntnis und irrtum. sketches on the psychology of research. darmstadt: wissenschaftliche buchgesellschaft, p. 261. 8 kleining, gerhard (2001): openness as a characteristic of exploratory research. in: hoock, claudia/böhm, jan m. (eds.). methodology of qualitative social research (= kontrapunkt, vol. 1). münster: kontrapunkt, pp. 27-36 (= http://da ta.onb.ac.at/rec/ac06230553), pp. 27 f. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 6 coincidences, relate them to their prior understanding, and derive the next steps from these new findings. this mindset can basically be described as an improvisational approach. rule 1 has17 some parallels to the grounded theory proposed by glaser and strauss (1967). it suggests a flexible use of research data so that, rather than setting down a preconceived hypothesis at the beginning of the research process, researchers let it emerge from the data as the process unfolds.18 rule 2: "flexible research object"19 this rule is closely related to rule 1 and states that "the research object may change in the course of the study, and researchers should go along with the change."20 rule 3: "research data should show the research object from maximally structurally different perspectives."21 this means that the data should be examined from as many different perspectives as possible, thus expanding the content of the research object as much as possible. one example is variation in research methods or test subjects. rule 4: while rule 3 expands the content, rule 4 sets meaningful limits. the latter states: "the various data are analyzed for what they have in common."22 in this context, analogies also fall under this category. aspects that cannot be integrated into the structure because they seem too far removed from the research questions in terms of content are placed outside the research area. the result follows the so-called 100% rule. all data23 contribute to the result. all deviations in individual examples are taken into account, which may change the result. the maximum structural extension of the content (rule 3) becomes possible by changing methods. in this project, research interviews with experts, introspection, and qualitative experiments were used as methodological variations. since the qualitative experiment was especially significant to the research process of this study, its most important basic principles are described below. 23 see kleining, gerhard (2007): qualitative heuristics. survey analysis and reports. 3rd berlin method meeting qualitative research, june 29-30, 2007. http://www.berlinermethodentreffen.de/material/2007/texte/kleining.pdf, accessed april 25, 2015. 22 kleining (2001). 21 kleining (2001). 20 kleining (2001). 19 kleining (2001), cited in: http://da ta.onb.ac.at/rec/ac06230553, accessed may 12, 2015. 18 see kleining (2001), p. 27 f. 17 see kurt ronald (2011): improvisation as a method of empirical social research. in: schröer, norbert/bidlo, oliver (eds.). the discovery of the new. qualitative social research as hermeneutic sociology of knowledge. wiesbaden: vs verlag, pp. 69-84, pp. 69 f. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 7 the qualitative experiment the research process is determined through dialog, as research subjects ask their research objects questions to be answered by the findings. in terms of the ‘qualitative experiment’, this means that the questions addressed to the object are transformed into experiments. the answers (in the form of experimental findings) and their analysis can lead to new questions and result in further experiments, and so on. this results in an adaptive research design, in which the analysis of the first available data set can already lead to an adaptation of the way data are collected.24 in a qualitative experiment, researchers ideally follow these steps: 1. describing the object: this step is important because without an accurate description of the object, a qualitative experiment can hardly yield meaningful results about its structure; 2. experimental intervention; 3. describing the object after the intervention; 4. drawing conclusions concerning its structure.25 experimental intervention refers to changing a component of the object under investigation. in this study, the principle was applied by changing individual aspects of musicians’ movements and observing the effects on their improvisations or improvisational mode of action. experimental techniques can be designed according to the following rules: reduction attenuation: essential characteristics of an item are identified by removing or attenuating its individual elements/functions and checking whether the item remains unchanged. adjection intensification: something is added to the object, its elements are intensified to explore its structure. substitution: object elements are replaced with others to explore their structural significance. transformation: the object is transformed to explore its structure. interesting transformations are negations (opposites, inversions, mirror images).26 the following section describes my research process for this study in more detail. 26 see burkart (2010), p. 252 f. 25 mayring, philipp (2002 [1990]): introduction to qualitative social research. a guide to qualitative thinking. weinheim: beltz, p. 60. 24 burkart, thomas (2010) qualitatives experiment. in: mey, günter/mruck, katja (eds.). qualitative research in psychology. wiesbaden: vs-verlag, pp. 252-262, pp. 252 f. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 8 phase 1 my first step was to interview experts on improvisation. my theoretical sampling was based on the following considerations: the first research interview took place at a very early stage with a feldenkrais method colleague and professional musician who had previously done some of my exercises and had little improvisational experience. the second research interview was conducted as much as ten months later. even before we started, the second interviewee said she saw certain analogies between the feldenkrais method and improvisation. she was also a feldenkrais colleague and a professional musician with improvisation experience. the evaluation of these two interviews made it seem more appropriate for my study to find people who did not view the topic from the perspective of a feldenkrais method professional. this was followed by two interviews with female music students who had gained several semesters of improvisation experience in a course called “elementary improvisation” and described significant changes in their music making practice during feedback sessions. when selecting interviewees for research interview 5, i took two aspects into account: 1. i wanted to include a man’s opinion. 2. i was interested to hear what a highly experienced expert on improvisation had to say on the subject. when choosing a person for research interview 6, i was motivated by expanding my spectrum of information by two further aspects: 1. this time, my interviewee played a lot of jazz. 2. since there had been no wind player among the first five interviewees, when i interviewed him, i was hoping for hints on breathing. after interviewing six professional musicians, i interviewed a violist who had started playing her instrument only recently as an adult, and improvised on it from the beginning. she had not undergone a traditional music education and, consequently, had not adopted any habits that might go along with it. this time i was curious to see whether this would add new aspects to my data set. the opportunity for research interview 8 arose very spontaneously. my interviewee was a professional musician who had developed a special improvisation method. he told me informally that he often invited a feldenkrais practitioner to his seminars because in his opinion, the method was so conducive to improvisation. this provided me with an outside view of the feldenkrais method. interviewee 9 also saw an analogy between the feldenkrais method and improvisation. she had been trained by moshe feldenkrais himself and was combining feldenkrais method eikmeier (en) • feldenkrais research journal, volume 7 (2023) 9 interventions with improvisation tasks when teaching actors. research interview 10 was a conversation during a car ride. my interviewee was a professional musician with a great deal of improvisational experience. she told me that firewalking had taught her some crucial skills needed in improvisation. rather than systematically following a rigid structure, i used the following topics as a rough guide and took each conversation partner on a custom-tailored tour of it. 1. improvisation as a self-organizing process can performers actively control the outcome of an improvisation? by what means do they take control? is there an inner attitude that allows them to relinquish control to the improvisational process? to what extent is this a desire or goal concerning one’s inner attitude in improvisation? systems theory and chaos research have proposed the phenomenon of strange attractors. these represent the final state of a dynamic process that has a fractal dimension. does this phenomenon play a role in improvisation? if so, what influence does it have on improvisational modes of action? is it perceived as a particular stimulus or challenge? is there a need to control possible uncertainties through artistic intervention? is there a physical equivalent? what significance does one's own expectation have in the course of an improvisation? 2. perception what kind of awareness do we need to keep track of the emerging artwork and our own actions in the present moment? what constitutes concentration when improvising? are there certain areas in which improvising musicians need to pay extra attention? do they pay more attention to their own actions and state of mind, or to the musical events unfolding around them? what are the characteristics of a musician’s inner attitude when improvising? 3. dealing with habits are musicians aware of their habits? what habits seem useful? in what cases can habits become obstacles? how can we work with habits in a meaningful and constructive way – how can we outsmart them? 4. movement quality in improvisation what connection is there between impulses coming from the body and musical ideas? how does people’s basic improvisational attitude affect the quality of their movements? examples: is the body ready to move? do movements start from absolute stillness, or from a specific neutral position? does the body feel heavy or light? does the musician find it easy to shift her weight while playing her instrument? can the musician change the quality and tempo of his movements at will whenever he chooses to? is this related to his musical expression? does eikmeier (en) • feldenkrais research journal, volume 7 (2023) 10 the player make active use of muscle tension? is the way she uses muscle tension appropriate to the quality of her musical expression? how flexible is the player in his breathing? is his breathing connected to what happens musically? as a result of my research interviews, i came up with the term ‘improvisational mode of action’ and defined it for further use.27 it turned out that my interviewees could only make very general statements about the connection between their improvisational behavior and their movement sensations. movements are not planned but simply executed – yet they work surprisingly well. phase 2 drawing an analogy between the feldenkrais method and improvisation led to the definition of the term ‘improvisational quality of movement’, and it was demonstrated that in the feldenkrais method, improvisational skills are practiced on a meta-level. phase 3 in a third step, improvisation and movement were combined in so-called qualitative experiments using a total of 16 different experimental arrangements. the experimental interventions concerned individual aspects of movement. the qualitative experiment, like other qualitative research approaches, deliberately avoids randomized, controlled conditions. this made it28 possible to make intuitive decisions concerning interventions and modify them in individual cases. phase 1 of the experiments involved a free improvisation. in most cases, players did not prepare for this by taking a feldenkrais method lesson. after this part i decided, based on participants’ interests and my curiosity, which of the 16 experimental setups would serve as a starting point. the changes were introduced in the form of movement coordination tasks. these changes could then be observed in participants' improvisations. the evaluation of the experiments clearly showed the limitations of language. individuals were often so involved in their play that they were unable to express themselves verbally. at this point, i incorporated aspects of artistic research. audio recordings of the experiments were used as data and became part of the research itself.29 the researcher’s role the role of the researcher must be carefully reflected upon. my motivation to carry out this project arose from personal experience in the field. due to my prior knowledge and personal involvement, it seemed difficult to remain objective. this made me decide to consciously 29 see on principles of artistic research klein, julian (2010): what is artistic research? in: stock, günter (ed.). science meets art. berlin: akademie-verlag, pp. 25-28. 28 see burkart (2010) s. 252-262. 27 siehe die ausführungen in abschnitt 5. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 11 assume different perspectives and reflect upon my experience: i documented the experiments i conducted in a diary, i participated in them at eye level with the subjects, i intentionally30 evaluated some of the data after a certain amount of time had passed, and i took account of the implicit influence of my artistic and pedagogical activities that indirectly shaped the documentation process of the project. phase 1: the improvisational mode of action based on the data gathered in ten research interviews, i developed the following definition of the term ‘improvisational mode of action’: the improvisational mode of action, here described in the context of purposely chosen situations in musical improvisation processes, differs from conventional modes of action in the following ways: the action does not pursue a predetermined goal. of course, improvising musicians have the goal of playing good quality music. as they aim for this, however, they willingly risk that the result is open-ended and place the emphasis on the development process instead. for an improvisational process to emerge, musicians need situations that challenge them to take creative action. they then start looking for a solution as they start playing. constraints are helpful challenges. they can be intentionally set or arise from the improvisation process itself. during the improvisation process a constant interplay ensues between initial and follow-up actions. an initial action must be played openly enough for a follow-up action to31 ensue. there are various strategies and questions to stimulate follow-up actions that can address communication in the ensemble, the musical material, and the way it is processed, as well as modification, or interruption. as i have learned in conversations after improvisations, these questions are present on participants’ minds. when improvising, however, decisions must be made in an instant. an improvisation is an entity that constantly changes and leaves no room for expansive reflections or creative breaks. the ‘magic moments’ in improvisation are those in which musicians and music merge so perfectly that the unpredictability of the improvisation surprises the players themselves. intuitive action can lead to a tremendous sense of clarity when impulses for action are implemented without hesitation. for this to happen, players need a neutral attitude that enables them to initiate action at any point in time. then, no reflection separates the player and the execution of an impulse. structures and logics immanent to music also shape the improvisation process, and participants’ actions take turns with these factors in taking the lead to produce musical results. from this scenario, a concept of action emerges that exists between reason and intuition and is difficult to categorize. to effectively explore my central research question, i will therefore leave it 31 on the definition of initial and subsequent actions, see bertram, georg w. (2010): improvisation and normativity. in: bormann, hans-friedrich/brandstetter, gabriele/matzke, annemarie (eds.) paradoxes of the unpredictable. art media practice. bielefeld: transcript, pp. 21-40, p. 23. 30 the introspection diary can be viewed in its entirety at research.corinna-eikmeier.de. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 12 as it is, including all these facets."32 approaching the music in musical improvisation, the principles governing music play a central role. as this study did not favor any particular style of music, i decided to elucidate the general criteria of musical principles. the musical principles used by musicians in improvisation place a stronger emphasis on tension – both between individual notes and within larger formal developments – than those at play when interpreting composed works. both jacoby (1984) and celibidache (2008) emphasize the tension between notes and sounds, the invisible, the hidden messages between the lines. heinrich jacoby describes the analyzable aspects of music as architecture, while he refers to the developments of tension between sounds as energetic movements. to him, sounds are not yet music. they can become music if energy flows through them. in his lecture "on musical33 phenomenology", sergiu celibidache agrees with him, noting that “it takes more than the simple existence of a sound to make music”. "music is not something. something can become music under certain unique conditions. and this 'something' is sound. so: sound is not music; sound can become music." improvising musicians develop music from the message "between the34 lines," since they cannot fall back on a set architecture devised by the composer, while musicians playing composed works must sense the music within the existing structures of each piece. the currents of energetic progression are always headed a certain way, marking principles that are present in all music, regardless of style. within the framework of these principles, improvising musicians can play with listeners’ expectations and change the course of tension throughout the music. through emergence, improvisation produces new structures,35 which is particularly evident at turning points or conclusions. for these structures to emerge, the players immerse themselves in “magic moments”. they connect so strongly with the music36 that they themselves are surprised by the results of emergence. it takes a lot of strength to counteract emerging structures and act completely individually.37 deciding whether to opt for completely isolated play as an extreme form of intervention, follow the organic developments of the music, or disturb it at certain points, is a question of aesthetics. 37 i have tried in many attempts to get improvisation groups to play completely individually. the need to play together, especially in a common meter, seems so strong that it is impossible to resist it. 36 this term is taken from a research interview. the interlocutor uses it throughout the conversation to describe her actions in the present. 35 see gagel, reinhard (2010): improvisation as social art. reflections on the artistic and didactic handling of improvisational creativity. mainz: schott. 34 celibidache, sergiu (2008 [2001]): on musical phenomenology. a lecture and other materials (celibidachiana. an edition of the sergiu celibidache foundation, ed. by patrick lang and mark mast: werke und schriften, vol. 1). augsburg: wißner, p. 10. 33 see jacoby, heinrich (1984): beyond "musical" and "unmusical". die befreiung der schöpferischen kräfte dargestellt am beispiel der musik. ed. by sophie ludwig. hamburg: christians, s. 55. 32 from eikmeier (2016), p. 101. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 13 all these options are different ways of changing the way tension develops throughout the music, or emphasizing the aspect of unpredictability in improvisation. communication in improvisation as soon as we leave the area of solo improvisation and more than one musician is involved, the ensemble’s communication becomes a vital element. the participants communicate nonverbally or agree on certain forms of communication in advance to map out and control the logic of the music together. while ‘classical’ composers create their own works individually, an ensemble improvisation is always created through communication, and in context. in a way, an ensemble of improvising musicians can be compared to a living organism that changes and organizes itself. it is marked by a process-oriented approach that develops through improvising, but also through rehearsing and discussing the quality of musical output. improvising in fixed groups can be beneficial because it gives members an opportunity to take time and experiment with different approaches. by the same token, it can also have negative effects, because always playing with the same people facilitates the involuntary establishment of stereotypical mechanisms and fixed roles. for an improvisation ensemble to remain flexible like a living organism, its members must be able to work with different forms of organization. important factors in this context are the38 distribution of roles, clarity when it comes to ways of leading and following, forms of individual play, and collective development. only if these aspects are in tune can an ensemble truly merge into a group and meet the demands of the music at each given moment without having to talk about it. the importance of perception no man ever steps in the same river twice. – heraclitus each sensory impression in the context of improvisation is unique. in auditory perception, the same is true for daily life and spoken language: each sound is unique and can be heard only once. the basic tuning ("recording device") can be used for other dimensions of perception, too.39 only if a sensory impression touches a musician’s soul, however, can it become an effective component of his improvisational play. if a sound impression is distorted by preconception, this can be a major obstacle to improvisation. only a true impulse enables nonverbal communication. a true impulse is one implemented immediately, without hesitation. a sensory impression that is truly felt transforms into an impulse as, rather than remaining external, it actually touches another player. this gives it the same 39 see jacoby (1984), pp. 64-67. 38 see on the various organizational forms of an improvisation ensemble eikmeier (2016), pp. 120-124. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 14 honest immediacy as if it was the player’s own internal impulse. senders and recipients of impulses, sound impressions, energetic processions, and the connection between players all merge into one. authentic perception in the present moment is the glue that makes all the components involved in improvisation stick together. at the same time, it is also the driving force of the creative development process in improvisation. improvisation as ‘autopoiesis’ in the present moment – a model in the following, based on the elements discussed above, improvisation will be defined as a self-evolving process tied to the present moment. the term ‘autopoiesis’ is used metaphorically and put in quotation marks throughout, because adopting the term directly from the neurobiologists humberto maturana and francisco varela would not meet scientific standards. instead, the following simplified definition serves as a foundation of the model described below. an ‘autopoietic’ system produces itself out of itself as long as it has access to sufficient nourishment. it must have boundaries and be distinguishable from other systems. it consists of different components clearly distinguishable from each other that constantly influence each other and depend on each other. the system allows substances to pass through its boundaries for the purpose of metabolism. it can be affected by ‘perturbations’ from the outside, by which it may be attacked and destroyed. since this model has a lot in common with the improvisation process, the aspects described above will be applied to it and summarized. last but not least, since the red thread running through the previous explanations has been the connection of the improvisational mode of action to the present moment, this aspect will receive additional attention in the following section. frameworks of improvisation a specific type of situation is determined. possible examples are: a concert, a rehearsal, or a teaching situation. it is clarified whether the improvisation is to be based on concepts or instructions.40 the following components are interconnected and have an impact on the artistic development process of improvisation: ● the musician (including her instrument or voice) that has consciously chosen improvisation as an art form ● the music and its inherent principles (independent of style) ● the other players in the ensemble, if it is not a solo improvisation 40 the clarification of the framework conditions was important for the experiments of this project. in reality they are not always clarified before an improvisation. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 15 ● the performance venue, if it is incorporated in the improvisation process. indirect components of improvisation ● the presence of an audience ● unplanned sounds intruding from the outside and integrated into the improvisation by the players (such as birds chirping or an intrusive cell phone ringing). such acoustic inspirations are considered part of the improvisation only if they are taken in and developed by the players – not simply because they exist. ● perturbations just like an organism in nature, improvisation as ‘autopoiesis’ is also at the mercy of disturbances and dangers. disturbances – such as trying to avoid errors, planning and controlling things, being afraid of difficulties, or wanting to repeat a successful experience – mentally remove players from the present moment. wanting to reproduce a sense of achievement takes them to the past. error prevention and technical control take them to the future. ● perception as glue the authentic perception of the present moment holds together the components of improvisation like glue. any disturbance weakens a player’s perception and makes him less able to relate to the moment with what he does. ● the present moment as a habitat in the present moment, all components of improvisation are connected. only this environment allows the unpredictable to emerge. only something that is unique to a specific moment can be unpredictable. under such conditions, improvisation becomes a game without an external purpose. time, then, belongs to the improvisational process alone.41 phase 2: the improvisational quality of movement the topics used in my qualitative experiments were developed based on the following criteria for optimum movement. above all, the question of how players can constantly be ready to start moving or change the way they are moving at any given moment is interesting for improvisational action. readiness to move is favored by an initial position from which as many movements as possible can be executed without preparation. for example, someone sitting on the front edge of a chair is ready for action if they can stand up without needing additional actions. if their feet are under the chair or stretched out, however, they have to make an additional movement before they can get up. for them, getting up requires two steps because their starting position cannot be left in only one move. 41 see eikmeier (2016), pp. 167-180. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 16 neutral position the principle of the neutral position can be applied to the position of the entire body, or to that of individual body parts. from a neutral position, movements and actions can be made immediately, and in any direction. this is because, "in a neutral state, we are largely indifferent and motivated neither in one direction nor the other." moreover, body weight can be shifted in42 whatever way. "any movement learned in a way that a preparatory re-arrangement must precede it to perform it means, the system is badly organized." the advantage of a neutral43 position is that it enables players to make considerably more different movements without preparation. dynamic balance feldenkrais emphasizes that dynamic balance is always preferable to static balance. he44 concludes that there cannot be only one correct posture. rather, what makes a posture good is that any action can be performed from it at any moment without effort. furthermore, a posture45 is "good if it can regain its balance after a major disturbance."46 in relation to the research questions of this project, the following sub-questions emerged, which were addressed experimentally: are dynamic positions preferred, especially when improvising? does a musician’s instrumental play change when assuming even more dynamic positions or keeping his or her position artificially stable? motor and telescope every correct action begins with a movement of the pelvic bone, which shifts to move spine and head into the new position, without interfering with the head’s range of movement. control of the head and pelvis are therefore indispensable to any correct action, and neither can be given precedence: both must be properly directed if a correct action is to occur. in some actions, the head’s position may be more striking and expressive, it may even be the vital component, but without proper control of the pelvis it 46 feldenkrais (1985), p. 74. 45 see, among others, feldenkrais, moshe (1985): the discovery of the self-evident. translated from the american by franz wurm. frankfurt am main: insel, p. 86 and feldenkrais, moshe (1994): the path to the mature self. phenomena of human behavior. paderborn: junfermann, p. 128. 44 feldenkrais, moshe (2010): höheres judo. groundwork. berkeley/kalifornien: north atlantic books. s. 22. 43 feldenkrais (1989). 42 feldenkrais, moshe (1989): the strong self. instructions for spontaneity. frankfurt am main: insel, s. 242. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 17 could not be accomplished.47 it was the question of where movement begins, or from where it is controlled, that inspired me to use experiments in the next part of the project.48 the ability to continuously make slight neck movements is vital for both humans and animals to react to their environment. animals in the jungle constantly move their heads, enabling them to react immediately if danger strikes. humans need a mobile neck for the same purpose but49 also, a fixed head would make it impossible to explore our environment.50 in musical improvisation, contact with the external world is of vital importance. perception takes place in the present moment, and ideally, the improviser responds immediately to her sensory impressions. this leads to the question of whether an exploratory, improvisational mode of action has a positive effect on the mobility of the eyes and the neck muscles. this question was addressed experimentally. breathing it is not unusual for the subject of breathing to become the main focus of a feldenkrais method lesson. strictly speaking, however, breathing is always part of the lesson because rather than simply being one of many components, it is often the decisive factor that determines movement quality. therefore, breathing can be used to check whether movements and actions are coherent. excessive concentration, effort, fixation on a specific goal, or lack of interest in the quality of the path interfere with free, unimpaired breathing. conversely, every improvement in movement quality has a positive impact on breathing. it is part of a musician’s professional experience that breathing is not simply enjoyed or taken for granted, but constitutes an essential driving force of expression. wolfgang rüdiger describes this connection as follows:51 conscious breathing in tune with the music draws attention to the body, sensitizes it, and 51 langer-rühl, hilde/muhar, franz/coblenzer, horst (1970): diaphragmatic dynamics in breathing, singing and making music [film]. vienna: austrian federal institute for scientific film. langer-rühl, hilde/muhar, franz (1980): atemführung und körperhaltung beim musizieren [film]. vienna: austrian federal institute for scientific film. rüdiger, wolfgang (1995): the musical breath. breath training and expression in music. with texts by heinz holliger and nicolaus a. huber. aarau: nepomuk. 50 see feldenkrais, moshe (2007): feldenkrais® professional training program. amherst massachusetts, woche 1 jahr 1, 9-13 juni 1980. paris: international feldenkrais federation s. 20. 49 see feldenkrais, moshe (1990): the feldenkrais method in action: a holistic theory of movement. translated from the american by thomas kirschner. paderborn: junfermann, p. 54 f. 48 see eikmeier 2015 ‘movement quality and music-making practice’. for data documentation of these experiments. available at forschung.corinna-eikmeier.de, im onlinebereich die versuchsanordnungen 9-11 47 feldenkrais (1989), p. 191. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 18 intensifies the emotional expression that goes into the production of single notes, initial chords, musical gestures, and large-scale developments of musical tension. in this way, musical and physical, physical and musical aspects intertwine.52 he regards breathing as an … integral bridge between body and music and a musical phenomenon in which the principles and parameters of musical design, such as tension and release, tempo, meter, rhythm, dynamics, phrasing, articulation, and timbre are reflected in a meaningful way. this makes music the best method to 'find one’s breath' both in an artistic and in a physical sense.53 essentially, he describes the “fundamental contribution” of breathing “to the fusion of physical, mental, and artistic expressive content in musical performance.”54 in this sense, breathing supports: ● oneness of instrument and player ● identification between man and music ● unity within the musical work (synthesis in coherent interpretation) ● sensory oneness of performers and listeners ● oneness of body and soul55 reversibility in addition to breathing, moshe feldenkrais names reversibility as a key component of optimum movement. this means that the movement can be stopped and reversed at any time. reversibility also implies that it should be possible to switch from one movement to another at any given moment. reversibility is another vital component of the improvisational mode of action. it is only possible in the case of optimum movements. to check whether a movement is reversible, it must be executed very slowly. feldenkrais points out that reversibility is not so much a matter of understanding, but one of experience.56 reversibility is a feature of all correct actions, even sleep. people who are well coordinated and mature – like many of those who do what they love for a living – can fall 56 see feldenkrais (1989), p. 217. 55 see rüdiger (1995), p. 161 f. 54 rüdiger (1995), p. 161. 53 rüdiger, wolfgang (2007), p. 15. 52 rüdiger, wolfgang (2007): the musical body. an exercise and pleasure book for players, listeners and teachers. mainz: schott, p. 15. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 19 asleep whenever they want and wake up whenever they need to. healthy animals and humans do not mind being woken up because they can effortlessly stop and start sleeping any time they want. the ability to stop an action, a process, restart it, reverse it, or drop it altogether is one of the most important markers of right action and right posture.57 a movement can be reversed only if it is performed with minimum effort. in the case of movements, reversibility corresponds to a dynamic or unstable equilibrium. no energy input from the outside is required to execute the movement.58 relevance to the research question: reversibility is a central component of the improvisational mode of action. while it is impossible to reverse an improvisation, it is possible for participants to adopt a neutral, reversible basic position enabling them to react seamlessly to the conditions of the present moment. such a bodyand mindset benefits from the ability to stop and drop or reverse an action at any given moment, which, according to moshe feldenkrais, is an inherent characteristic of reversibility. movement quality as a component of the improvisational mode of action i have formulated a provisional definition of movement quality, the central feature of my research question, based on the criteria described by moshe feldenkrais. the improvising musician, who maintains a constant connection to the music, his fellow players and, of course, himself, must convert everything that arises in his mind into a highly differentiated form of movement. unfortunately, the characteristic of reversibility cannot be experimentally verified in music making. as soon as a musician slows down her movement sufficiently for experimental evaluation, the action itself changes and digresses too much from the original action to be examined. what we can examine in this context, however, is whether a musician perceives her action as reversible or not. also, we can observe or artificially change the factors enabling reversibility (dynamic balance, control of the pelvis and head, breathing). musicians perceive the reversal of a movement as effortless if they manage to avoid superfluous muscular activity. in the world of optimum movement, players are spontaneous in their movements and ready to join the ‘autopoietic’ process of improvisation. the connection between player, music, fellow players, and improvisational process is a highly intense and challenging experience. this led to the question whether, in the face of this challenge, the requirements of optimum movement for improvisation can be met. taking into account that the spontaneous behavior associated with improvisational thinking and responding is easier if the body is always ready to move, that when improvising, the players’ movements become one with the music, and that the way an ensemble merges so completely in the improvisation process that movements are automatically integrated into the group process, i 58 see feldenkrais (1989), p. 244. 57 feldenkrais (1989), p. 159. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 20 thought it a good idea to take a closer look at the musicians’ movements as they improvised together. this in turn led to the exploration of movement quality in relation to the other components of improvisation through qualitative experiments. analogy between the feldenkrais method and the improvisational mode of action ● the activity is marked by an explorative spirit. ● the situation requires creative problem solving. ● to make progress, participants must be free of judgment. ● the quality of one’s actions is more important than the goal. ● authentic perception is the foundation of all processes. ● sensitivity to minor differences enables quality. ● critically examining one’s habits is important so that one’s actions and learning process can address the present situation. ● accepting limitations is the prerequisite for a creative process within each given framework. ● the problem with language within creative processes is that the present cannot be captured by it. language either reproduces previous thoughts or refers to the past from a distance. this often leads to generalizing statements that do not accurately reflect the present situation. ● ‘mistakes’ should be perceived with a neutral mindset so they can become new impulses. ● mental blocks caused by fear, error avoidance, planning, and solely cognitive thought processes obstruct participants’ connection to the present moment. ● actions can relate best to the present moment if they are reversible, meaning that they can be stopped, taken back, or transformed into other actions. ● readiness to move in any direction at any given moment enables decisions in the present moment and their immediate transformation into action. ● organic learning must never be controlled from the outside. it is extremely susceptible to disturbances and are interrupted every time the learners’ connection with the present moment is broken – this connection is what allows them to operate without the fetters of specific targets. phase 3: from the qualitative laboratory59 in the qualitative laboratory, aspects of improvisational movement quality were contrasted and compared with the improvisational mode of action. i created four fictional lab rooms under the 59 in the qualitative laboratory, 49 experiments with 16 experimental setups took place, which were divided into four thematic blocks, so-called laboratory rooms. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 21 following headings:60 1. muscle tension 2. dynamic balance 3. impulses 4. breathing in the following, i will present one example of my experimental work for each laboratory. lab room 1 experimental arrangement beetle/boat: the subject was to observe an imaginary beetle or boat on the horizon while moving head and eyes steadily. he was to continue this movement regardless of musical expression. example: the test subject was a twelve-year-old boy. being unable to express himself verbally, the sole conveyor of what happened was his music. listening to the recording makes it clear how movement and musical expression merged into one. the resulting piece resembles a slow funeral march. in my experiments, i frequently observed this synchronization of expression and movement. in the free improvisation following the initial task, the subject used experimental timbres much more boldly than before. the61 courage to try new things was another thing i observed in all my experimental arrangements. lab room 2 experimental setup dynamic and stable equilibrium: the experimental arrangement in this lab room was comparatively simple. subjects were asked to change their regular playing position and improvise freely in this new position. example: immediate ‘magic moments’ occurred strikingly often in this laboratory space. apparently, due to the changed position, subjects’ readiness to react without delay increased, helping them create sudden inflection points in individual sequences and sudden conclusions. no thought processes seemed to stand between action, reaction, and the unpredictability of magic moments. the subject in this example was my oldest participant. at the time of the experiment she was 83 years old and very energetic. in this example, she sat on a chair with one butt cheek. her improvisation clearly showed a tendency towards sudden phrasal inflections and conclusions. i observed this phenomenon particularly often in lab room 2. in addition, the subject described a feeling she had not expected or foreseen: 61 see experiment 12 phase 4 and 5. audio examples: e12 phase 4 and e12 phase 5 under http://forschung.corinna-eikmeier.de 60 the selection of topics has emerged from the findings of the criteria for improvisational movement quality. eikmeier (en) • feldenkrais research journal, volume 7 (2023) 22 http://forschung.corinna-eikmeier.de this was the first time i could feel my heartbeat. [...] this probably led me towards certain places i love on my cello. i love certain parts of the sound they produce. this feels very special and exciting. […] emotionally, i was closer to these parts of my cello. the sound parts. the sound parts, that i love the most.62 lab room 3 experimental arrangement the engine: in this series of experiments, subjects were asked to choose certain body parts from which they controlled their movements. sometimes we asked them to choose proximal parts like pelvis, belly button or lumbar spine. in other cases, they were asked to choose distal body parts that were more difficult to access – like an earlobe or a little toe. the musical task was as follows: impulses for musical actions were to be derived from the subjects’ particular sense of the chosen body part and the resulting range of movements. example: this time, the subject was a professional opera singer. she had no previous experience in improvisation. at the beginning of the experiment, she expressed feeling nervous and stressed about improvising. in the two-hour experiment that followed, step by step she discovered her improvisational skills. the experiments conducted in this lab room were part of the discovery process. one particular improvisation, for example, was examined in detail. the subject was asked to derive all impulses from her belly button. she realized that, usually, she took several steps to prepare for singing. in this case, she unexpectedly felt that the singing just took care of itself. she was surprised to effortlessly succeed when tackling a technical challenge she had not anticipated seconds before. moreover, she did not need to exert herself; instead, she felt the power of her voice without the effort to produce it. in the audio example, we can hear how effortlessly she sang long, drawn out notes.63 this example shows the following aspect of the relationship between physical sensation and improvisation: the task directs the perception to a physical sensation. this reinforces the action taking place in the present moment. the singer digressed from her habit of controlling her technique, which allowed her to be fully present and expressive in her music making. lab room 4 experimental arrangement paradoxical breathing: this experimental arrangement was based on the well-known feldenkrais method lesson of "paradoxical breathing", in which the breathing movements of the lower abdomen and the chest are explored as a rocking motion independent of breathing. example: at the time of the experiment, the subject had an overuse injury (tennis elbow). she 63 see experiment 1 phase 3 audio sample e1 phase 3.4 under http://forschung.corinna-eikmeier.de 62 see experiment 24 phase 2, audio sample e24 phase 2 at http://forschung.corinna-eikmeier.de eikmeier (en) • feldenkrais research journal, volume 7 (2023) 23 http://forschung.corinna-eikmeier.de http://forschung.corinna-eikmeier.de settled into the experimental arrangement with plenty of time. the rocking motion between abdomen and chest felt very foreign to her at first, and in the beginning, she could only perform it very slowly. as the experiment went on, however, she became increasingly interested in finding the correct movement. after spending more than an hour without her cello, experimenting instead with this motion and her voice, she could hardly stop herself trying the movement again and again. after a short break, i suggested that she use the movement while playing her cello. then i asked her to use her voice too, and, for the time being, leave artistic ambition aside. several wild, powerful episodes emerged. the subject, initially cautious because of the pain in her elbow, allowed more and more power to flow through her. as she became fully engaged in the experiment, her elbow no longer hurt. she verbalized her sensation saying: i feel like i'm on drugs. (laughter) plus, it was nice to see that my body remembered how to play the cello. i’ve been feeling so strained by this injury, and whenever i’ve been playing the cello, i felt off. but the flow and power i just experienced here brought me back to a point where i could remember what i’m capable of.64 her implicit knowledge allowed her to play without fearing her injury. she no longer needed the excessive control she had built up as a mechanism to protect herself. the strength she suddenly discovered that allowed her to improvise wildly and loudly clearly had nothing to do with muscular effort – with her injury, no such thing would have been possible at the time. results: overview my evaluation of all 49 qualitative experiments, four of which i just presented as examples, revealed that reinforcing individual aspects of improvisational movement quality made certain features of the improvisational mode of action stronger. where subjects could not produce coherent verbal data to convey the changes, auditory samples were included in the evaluation process instead. subjects displayed major differences between their initial improvisations and the style and expression that marked their artistic performances later in the experimental process. in summary, i observed the following tendencies: the boundaries between players, music, and communication among ensemble players merged. this led to the state of ‘dissolution’ that improvising musicians often describe in general reflections, and that they experienced more strongly during these experiments. control has no place in a system that works best when its individual components ‘dissolve’. in a state of ‘dissolution’, players are immediately ready for action. this was demonstrated by 64 see experiment 26 under http://forschung.corinna-eikmeier.de eikmeier (en) • feldenkrais research journal, volume 7 (2023) 24 http://forschung.corinna-eikmeier.de the fact that impulses were immediately implemented into the music that was being created. these undelayed, immediate actions yielded many unexpected turning points, while beat and rhythm remained highly precise. as for musical parameters, a differentiated approach could be observed, especially in the case of secondary parameters such as timbre, articulation and/or agogics. where the respective improvisations provided the necessary challenges, familiar musical vocabulary was frequently expanded by new timbres and playing techniques. leading melodious elements became increasingly self-sufficient. the synchronization of movement tasks with each respective mood and tempo of the music created homophony between expression and movement quality. polyphony between music and movement was a challenge that gave players more freedom as the experiment unfolded. due to the sometimes unfamiliar and confusing experimental arrangements, they could no longer control their playing technique ‘properly’. often, it was precisely this loss of control that had a positive effect on their playing technique. biography dr. corinna eikmeier studied violoncello, contemporary music, and improvisation and is a trained feldenkrais method practitioner (feldenkrais method education in vienna: 1992-1995). she is part of several interdisciplinary projects and teaches the feldenkrais method and improvisation at hannover university of music, drama, and media. from 2017 to 2018, she was visiting professor for music education at brandenburg university of technology in cottbus-senftenberg. as a dorothea erxleben scholar, she worked on a project on the feldenkrais method and improvisation and developed improvisation exercises based on the principles of the feldenkrais method. the results of her work were published under the title: ungewohnte positionen. ein praktischer beitrag zu anwendung der feldenkrais-methode in der musikalischen improvisation (unusual positions. a practical contribution to applying the feldenkrais method to musical improvisation.) she continued this research as a ph.d. student. the title of her dissertation is: bewegungsqualität und musizierpraxis. zum verhältnis von feldenkrais-methode und musikalischer improvisation (movement quality and musical practice. on the relationship between the feldenkrais method and musical improvisation). for more information, visit her eikmeier (en) • feldenkrais research journal, volume 7 (2023) 25 website at: www.corinna-eikmeier.de eikmeier (en) • feldenkrais research journal, volume 7 (2023) 26 http://www.corinna-eikmeier.de case study m feldenkrais research journal • volume 4 (2008) article mindy diana razumny phd, movement educators, new mexico keywords feldenkrais method, case study, singer copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 4; 2008. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org diana razumny 4/30/09 page 1 of 5 mindy diana razumny mindy is a singer. i’ve given her four functional integration (fi) lessons over the last two years. i have also observed her in many awareness through movement lessons. in her most recent fi, she came with very particular interests in mind. she had become aware that she “didn’t feel solidly connected to the ground.” she also experienced tightness in her solar plexus area that was even more apparent in stressful situations. the tight sensation was present, to some degree, most of the time. i could see that area was pulled in while the shoulders were coming forward. she had a sense that she was holding herself together in this area and the holding was contributing to her feeling of not being “grounded.” as we sat and spoke, something caught my eye. each time she said the word “grounded” or the phrase “connected to the ground,” she would press her feet against the floor, pushing herself back and away from her feet. i was curious if and how she would use this pushing of her feet into the ground when coming up to standing from sitting. this curiosity was my lead into the lesson. i thought it could be interesting to give her a sense of her legs and feet through the process of coming to standing which might address her interest in feeling “grounded.” i speculated that a new use of her legs providing support under her could allow the tight area “holding her together” to stop working which could also contribute to a lengthening in her spine and torso. i asked her to slowly start bringing herself up to standing. i noticed she actually started by pushing on her feet, which took her hip joints back in space. at the same time, she tilted the top of her pelvis forward, shortening in her lower back and lifting her chest a little which took her head backward. i had her pause in sitting. i placed one of my hands on her lower back, the other on her belly and asked her to take her lower back forward and backward where she felt my hands. i thought bringing her awareness to how she was using herself here could be a simple starting point to help inform her about what she was doing. she lowered her head forward and rounded her whole back backwards and then brought her whole back into an arch, taking her head backward and face towards the ceiling. i was looking for something smaller and simpler so she could pay close attention to the more subtle shortening in her lower back that took place in the process of coming to stand. at that point i asked her to pause. i had her start again and this time leave her head and chest simply sitting upright and only tilt her pelvis a small amount, taking her lower back a little forward and backward, using my hands to help her listen to that area. after a few movements, i asked her to find what felt to be the middle of the range of her movement and, maintaining this organization of her torso, to roll forward over her hip joints, tilting her torso forward, and then come back to sitting upright over her hip joints. i kept riding diana razumny 4/30/09 page 2 of 5 along with my hands, bringing her attention to her lower back whenever she started to shorten. we continued slowly in this way and i eventually introduced her to observing the unnecessary effort she was exerting with her legs and feet. i suggested we explore a way for her to come up to standing without the preliminary effort of engaging through her legs. i had her tilt her torso forward while rolling over her hip joints and staying aware of her legs. i asked her to feel for weight coming into her feet as she came forward and at that point to simply straighten her legs to stand. right before coming to standing, she engaged the shortening of her lower back again. and then when reversing the movement, coming back to sitting, right before contact with the table, she stopped bending in her hips and knees and landed on the table with a slight plop. at this point i chose to introduce some variation in the use of her legs while coming to stand and returning to sit, similar to atm#1 in the awareness through movement book. starting in sitting, i had her slowly take her knees together and apart while we started the same process of slowly coming to stand, staying aware of her lower back and tilting her whole torso forward over her hip joints. after a few times of coming up and going down while opening and closing her knees, she said she was noticing the area of her solar plexus. she could feel that it was tightening to get her up to hold her up and it also seemed to stop her from coming down easily and smoothly. this felt like enough in sitting so i asked her to lie on her side, changing the orientation while keeping the same configuration as in sitting. i had her lie on the side of her choice. i felt along her spine and noted there was a three to four inch section where the muscles on each side were much firmer and bulkier than along the rest of her spine. this section was at the level of her solar plexus where, in the beginning, she had described having tightness, as well as where she had felt the tightness a few moments before while coming to sit and to stand. i was curious what i could learn about the organization of her torso and spine by contacting her at her sit bone to see how well i could connect through to her head. i discovered the force didn’t move through to her head very clearly. instead, the force dissipated out through the front of her belly. the movement that did travel upward met her thoracic spine and ribs which all moved more or less as one unit. from there i could see the movement traveling up to her head. when i rolled her pelvis into a variety of positions to help move through her lower spine more clearly, i still ran into a feeling of one large unit at the level of her ribs and chest. i wanted to bring my fingers to the thoracic vertebrae while pushing through the sit bone but both of my hands were required to push from her sit bone and keep her pelvis positioned. i left pushing through the sit bone for the moment, with the intention of returning to it later. i wanted to include that particular area of her spine, where i had sensed the muscles as bulkier, in her self image along with a sense of length. my diana razumny 4/30/09 page 3 of 5 strategy then was to access that point through a variety of trajectories, including it in the picture with all that i did. i started by going directly there--i shortened the muscles along both sides of the spine at the same time, bringing that area a little forward, and held for a bit. when she took a nice big breath, i eased away. from there i placed my hand (which was nearer to her pelvis) on the side of her ribcage. with my other hand i went to the section of vertebrae where earlier i had found to have higher muscle tonus. i placed my finger pads under those spinous processes, so i was in the groove alongside the spine on the side closer to the table. i brought the ribs in the direction of those vertebrae where i had my fingers. i went back and forth between my two hands, sensing the connection of her ribs to her spine. this was to clarify the image of her ribcage as well as sense its connection with the spine. while staying in contact with her spine, i brought my other hand in front to her solar plexus region where she had earlier described tightness. i brought that area backward, directing it towards my other hand on her back. i had switched my fingers to be on each side of one of the vertebrae. as my hand in front brought that area down and in the direction of her spine, the fingers at her spine suggested lengthening towards her head. i gradually reversed the direction of the movement between my two hands, eventually creating an alternation between a little flexing and extending in that area of her torso. from there, i went to her pelvis. rolling her forward and backward from the pelvis, i observed how the movement traveled through her torso. i was interested in moving her spine in a sequential twist from the bottom-up and, in particular, seeing how i could include the area of her spine i had just been touching. i found that by taking her pelvis back and a little down, i could feel a sequential sense of lengthening, and with that came another nice breath. next i went to her shoulder to roll her. i continued sensing my way into that section of her spine and ribs by way of twisting from the top-down this time. i then took the top arm a little forward and up, lengthening the arm so that the sense of the arm reaching was connected to lengthening from the same area of her spine. this elicited some nice breathing as well. from there i draped the arm across the side of her head. i held her head securely with one hand and placed my other hand at her neck and c7. thinking down into the same area of interest, i imagined it as the point of a cone as i circled her head, neck and arm, which was describing the shape of the rest of the cone, exploring one direction and then the other. then i returned to her sit bone. this time as i pushed through i felt a much clearer connection to her head, passing cleanly through her thoracic spine. i felt i had engaged her in sensing herself and this area through a variety of trajectories while she lay on her side. from there i had her come onto her back. this began our transition back to where we started in sitting. while she was on her back i lifted her shoulders alternately, thinking of connecting into the same diana razumny 4/30/09 page 4 of 5 area of her spine again. i placed one arm across her chest, hand to opposite shoulder. i lifted the shoulder of the crossed arm and rolled her diagonally, thinking of crossing at that point again. i did the same with the other arm. to finish with a sense of length through her spine, i pushed through to her pelvis from c7, really thinking of making a clear pass through the same area of the back. i lifted her head and found a small tilt of the chin towards the chest to be the best angle for pushing through from the top of her head. with a connection to the pelvis, i held for a moment and she took a full breath. i went to her feet and pushed through to her head from each foot, sensing a clear connection and lengthening through her spine to her head. at that point i had her come to sitting. i turned her head a tiny bit side to side, feeling a light and easy movement there. we slowly reconnected with the process of moving from sitting to standing so she could register any changes from the beginning of the lesson. this time i touched her front and back at the pivotal point of her solar plexus and spine where i had been exploring while she laid on her side. tilting forward from the hip joints several times, staying very quietly connected to the whole line of her torso, bringing her weight over her feet, finally she came completely up to standing. she reversed it in the same manner. we repeated this a few times, emphasizing staying long through her spine while her weight poured into her feet as she came forward. she said she had a good strong sense of her legs and feet in standing and that the area of holding in her belly had now let go. she took a slow walk, attending to her experience. this lesson and our mutual discoveries inspired many ideas and insights to investigate in our future lessons. i am now curious to work with her lying on her belly, bending her knee, clarifying the foot and ankle behind her and having her press her foot into my hand straight up to the ceiling. this could be a way to connect her into her feet and legs in another orientation. it could be interesting to reconnect to her solar plexus area by having her explore pulling it in or pushing it out combined with the leg and foot pushing backward. connecting her voice with different movements would also be a fun exploration, as she is a singer, noting if and how her tone changes when her balance and stability is challenged. knowing her voice as she does, this could be a useful barometer for her to use while exploring moving and sensing herself. i would also be interested in how having a clearer sense of the connection of her arms into her center could affect her voice and that area of tension she complained of in the beginning of this lesson, if it is still an issue in her next lesson. as for this lesson, it was very successful in helping her experience a sense of length and in particular maintaining length during the function of coming from sitting to standing. diana razumny feldenkrais practitioner & trainer diana.razumny@mac.com 505-577-4653 mailto:diana.razumny@mac.com diana razumny 4/30/09 page 5 of 5 movement educators movement-educators.com frj 7 hillier and worley es feldenkrais research journal • volume 7 (2023) revisión sistemática la efectividad del método feldenkrais: una revisión sistemática de la evidencia susan hillier international centre for allied health evidence, sansom institute of health research school of health science, university of south australia anthea worley school of health science, university of south australia correspondencia: susan.hillier@unisa.edu.au traductora: rosa maría sánchez cantú este artículo fue originalmente publicado en inglés en evidence-based complementary and alternative medicine; 2015. volume 2015, article id 752160. resumen el método feldenkrais tiene una amplia aplicación en poblaciones interesadas en mejorar la conciencia, la salud y la facilidad de funcionamiento. esta revisión se realizó con el propósito de actualizar la evidencia de los beneficios del método feldenkrais, y para qué poblaciones. se diseñó un protocolo de revisión sistemática de buenas prácticas. los estudios incluidos se evaluaron según el enfoque de riesgo de sesgo de cochrane y los resultados de los ensayos se analizaron individual y colectivamente cuando fue posible. se incluyeron 20 ecas (14 más que en una revisión sistemática anterior). la población, los resultados y los hallazgos fueron muy heterogéneos. sin embargo, se pudieron realizar metaanálisis con los estudios, con resultados favorables al método feldenkrais en cuanto a la mejora del equilibrio en poblaciones de ancianos (p. ej., prueba cronometrada de levantarse y avanzar dm -1.14 seg. ic 95% -1.78, -0.49; y prueba de alcance funcional dm 6.08 cm, ic 95% 3.41, 8.74). los estudios individuales informaron de efectos positivos significativos en cuanto a la reducción del esfuerzo percibido y aumento del confort, la percepción de la imagen corporal y la destreza. el riesgo de sesgo fue alto, lo que atenuó algunos resultados. considerados como un cuerpo de evidencia, los efectos parecen ser genéricos, lo que respalda la propuesta de que el método feldenkrais funciona con base en un paradigma de aprendizaje más que con mecanismos basados en enfermedad. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:susan.hillier@unisa.edu.au https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org se requiere más investigación; sin embargo, mientras tanto, los sanitarios y los profesionales pueden promover el uso del método feldenkrais en poblaciones interesadas en un rendimiento físico eficiente y en la autoeficacia. palabras clave método feldenkrais, autoconciencia a través del movimiento, integración funcional, revisión sistemática, enfoque cochrane, mecanismos de acción, función, alcance funcional, entrenamiento del equilibrio, destreza, autoeficacia, reducción del esfuerzo percibido, percepción de la imagen corporal copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 2 revisión sistemática la efectividad del método feldenkrais: una revisión sistemática de la evidencia susan hillier international centre for allied health evidence, sansom institute of health research school of health science, university of south australia anthea worley school of health science, university of south australia traductora: rosa maría sánchez cantú 1. introducción el método feldenkrais fue desarrollado durante décadas en el siglo pasado por el dr. moshe feldenkrais. afirmaba que la base del método radicaba en el potencial humano de aprender a aprender [1]. de este modo, puso en práctica un proceso experiencial o un conjunto de procesos, mediante los cuales un individuo o un grupo podían ser guiados a través de una serie de exploraciones basadas en el movimiento y las sensaciones. el propósito de estas exploraciones era practicar el proceso no lineal de percibir la diferencia entre dos o más opciones para realizar una tarea de movimiento determinada, y distinguir cuál puede ser más fácil, es decir, realizarse con menos esfuerzo. estas diferencias de percepción se basan en un juicio positivo (es, decir, el movimiento es placentero, fácil y con menos esfuerzo) comparando con una experiencia menos favorable, por ejemplo, de dolor, tensión o incomodidad. además, los participantes son alentados a generar muchas opciones alternativas de movimiento a la tarea guiada para aumentar la oportunidad de hacer nuevas diferenciaciones y mejoras. así pues, el proceso de intención, acción, obtención de retroalimentación, toma de decisiones y repeticiones con adaptaciones constituye el marco de aprendizaje en un contexto somático [2]. las dos modalidades de enseñanza que se ofrecen al público son lecciones individuales dirigidas manualmente (integración funcional) o lecciones en grupo dirigidas verbalmente (autoconciencia a través del movimiento). la nomenclatura de ambas refleja los fundamentos del enfoque: que el movimiento debe basarse en una intención funcional o significativa para que el sistema se implique y que, al tomar conciencia de lo que hacemos y cómo lo hacemos (nos movemos), estemos en mejores condiciones para elegir un comportamiento alternativo (patrón de movimiento) [3]. ambas modalidades aplican los mismos principios de exploración perceptiva a través del movimiento pasivo y/o activo. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 3 el método se ha aplicado en diversos ámbitos en todos los países, en la educación general, en niños con problemas de aprendizaje, y hasta en la mejora del rendimiento en el deporte y el teatro. las aplicaciones clínicas han recibido el mayor interés en la literatura publicada debido al atractivo intuitivo de basar un proceso de recuperación de la salud en un paradigma de aprendizaje y debido al fomento inherente de la autoeficacia que se produce especialmente en un entorno de grupo. en el entorno de la práctica basada en evidencia en el ámbito de la salud, cualquier método que se ofrezca al público se somete a escrutinio para comprobar su eficacia y, si es eficaz, para determinar qué tipo de beneficio y de qué magnitud para cualquier población clínica. anteriormente, en 2005, ernst y canter publicaron una revisión sistemática de las evidencias del método [4]. esta revisión incluyó seis ensayos controlados aleatorios (eca) de calidad baja a moderada en poblaciones de personas con esclerosis múltiple, lumbalgia crónica y problemas de cuello. llegaron a la conclusión de que existían evidencias prometedoras, pero su credibilidad se vio atenuada por el escaso número de estudios, el alto nivel de heterogeneidad clínica entre los estudios y los defectos metodológicos. los métodos empleados por ernst y canter [4] eran sólidos para la época; sin embargo, su evaluación del riesgo de sesgo utilizó una herramienta ahora descartada (la escala de jadad) y su búsqueda abarcó hasta 2003. por lo tanto, es tiempo de actualizar sistemáticamente la evidencia del método feldenkrais con los procedimientos de revisión actuales. esta revisión se propuso como objetivos: (1) identificar y evaluar sistemáticamente la evidencia de la eficacia del método feldenkrais en todos los ámbitos. (2) determinar la naturaleza y el orden de magnitud de los posibles efectos beneficiosos y para qué tipo de población/es. 2. materiales y métodos 2.1. criterios para la consideración de estudios para esta revisión. se emplearon métodos de revisión sistemática basados en las directrices prisma [5]. 2.2 tipos de estudios. en primer lugar, consideramos todos los tipos de estudios primarios con el fin de explorar plenamente las poblaciones potenciales y los resultados cubiertos. en la inclusión final solo se incluyeron los estudios con una asignación aleatoria y un grupo de control establecido. no se incluyeron las investigaciones secundarias (revisiones sistemáticas y semi sistemáticas) encontradas, sino que se recuperaron en su totalidad los estudios incluidos y se hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 4 añadieron al conjunto potencial para poder evaluar todos los estudios primarios con un método coherente. 2.3. tipos de participantes y resultados. se incluyó a cualquier población en la que hubiera un resultado de interés relacionado con la mejora de la salud y/o la función. 2.4. tipos de intervenciones y comparaciones. se incluyó cualquier forma del método feldenkrais (integración funcional o autoconciencia a través del movimiento) como único enfoque para el grupo de intervención. el grupo de comparación podía incluir placebo, control inactivo o un método alternativo. 2.5. métodos de búsqueda para la identificación de estudios. se realizaron búsquedas en las bases de datos de amed (allied and complementary medicine), embase classic + embase, ovid medline(r), cochrane, psycinfo, pubmed y google scholar desde el inicio hasta julio de 2014. se tuvieron en cuenta todos los idiomas (la búsqueda estuvo abierta a todas las revistas de la lista, independientemente del idioma) y el estado de publicación (se incluyeron ensayos no publicados cuando se encontraron, por ejemplo, a través de expertos en el campo o literatura gris, como sitios web de organizaciones). los términos de búsqueda incluyeron variaciones y combinaciones de términos metodológicos (como aleatorio, prueba, clínico y controlado), con términos de intervención como método feldenkrais, (autoconciencia a través del movimiento e integración funcional). en la tabla 1 se presenta un ejemplo de los términos empleados en la estrategia de búsqueda electrónica. de las listas generadas a partir de cada base de datos, se eliminaron los duplicados y una autora realizó el filtro de primer nivel basándose únicamente en el título. el segundo nivel de revisión fue realizado por ambas autoras y requirió la revisión del resumen como mínimo. los estudios seleccionados se examinaron en su totalidad para confirmar su inclusión. los excluidos se registraron con las razones correspondientes. todos los estudios recuperados fueron revisados en busca de referencias adicionales y se contactó con expertos en la materia para que ayudaran a identificar otros estudios publicados o inéditos. se contactaron expertos entre los miembros de los principales organismos del método feldenkrais (la australian feldenkrais guild y la international feldenkrais federation) y se les pidió que proporcionaran más documentos por correo electrónico. 2.6. recopilación y análisis de datos. una de las autoras extrajo los datos pertinentes de cada uno de los estudios incluidos mediante una hoja de resumen de ensayos estándar y la segunda autora los verificó. los datos incluyeron autor, fecha, diseño del estudio, muestra de población, intervención, comparación, medidas de resultado, resultados y comentarios. una autora también realizó una evaluación del riesgo de sesgo para cada estudio mediante tablas estándar de cochrane [26], con comprobación e introducción de datos por parte de la segunda autora. cualquier desacuerdo se resolvió por consenso, con una tercera parte en caso necesario. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 5 cuando fue posible, se extrajeron datos para los metaanálisis. se planificó extraer y analizar los datos para calcular los tamaños de los efectos individuales y totales mediante razones probabilísticas o diferencias de medias (efecto fijo o efecto aleatorio si los estudios eran pequeños y/o heterogéneos) e intervalos de confianza del 95%. la heterogeneidad estadística se evaluaría basándose en la inspección visual de los diagramas de bosque y en el estadístico 12. no se previó la posibilidad de realizar otros análisis (por ejemplo, sesgo de subgrupos o de publicación) debido a la escasez de estudios. en caso de que no fuera posible realizar metaanálisis, los resultados se sintetizarían y presentarían de forma narrativa. 3. resultados 3.1. estudios incluidos. la búsqueda sistemática arrojó más de 1,300 títulos iniciales en el primer filtrado. véase la figura 1 para el diagrama de flujo prisma. una vez eliminados los duplicados y los títulos obviamente irrelevantes, se consideraron 124 registros en el nivel de resumen por ambas autoras, con dos estudios adicionales proporcionados por expertos en la materia (de reciente publicación, un eca y un no eca). se excluyeron 77 resúmenes en esta fase porque no informaban de una investigación del método feldenkrais y/o no incluían una prueba de efecto. se revisaron 47 artículos completos según los criterios y otros 27 se excluyeron por las razones indicadas en la tabla 2. se incluyeron 14 eca nuevos, junto con los seis estudios originales de la revisión de ernst y canter [4]. véanse los detalles de todos los estudios incluidos en la tabla 3. de este total de 20 estudios, había siete estudios lo suficientemente homogéneos como para permitir metaanálisis. 3.2. descripción de los estudios. las fechas de publicación oscilaron entre 1991 [12] y 2014 [25]. las poblaciones investigadas en los eca incluidos iban desde voluntarios sanos [6, 12, 1517, 19, 24], envejecimiento saludable [21-23], envejecimiento institucional [25], personas con esclerosis múltiple [7-11, 13], trastornos alimentarios [14], infarto de miocardio [18] y bruxismo del sueño [20]. por lo general, las muestras eran pequeñas, con una media de 40.8 participantes (de 23.5). la naturaleza de las intervenciones del método feldenkrais también varió en cuanto al modo de administración, la intensidad y la frecuencia. los métodos predominantes eran lecciones individuales o múltiples de autoconciencia a través del movimiento impartidas en grupo o individualmente mediante grabaciones de audio. los grupos de comparación solían ser una forma alternativa de terapia. 14 ensayos tuvieron controles activos (como clases de relajación o clases genéricas de movimiento/equilibrio) y seis tenían un control pasivo o inactivo (actividades habituales/sin intervención). los resultados también fueron muy heterogéneos en consonancia con las necesidades de las diversas poblaciones y se enumeran en la tabla 3. las mediciones se referían a resultados de hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 6 rendimiento o actividad (por ejemplo, equilibrio o destreza), síntomas (por ejemplo, dolor, esfuerzo o estado de ánimo) o estaban relacionadas con la calidad de vida. 3.3. estudios excluidos. la tabla 2 resume la lista de estudios (27) que fueron revisados pero excluidos. las razones para la exclusión estuvieron predominantemente relacionados con el diseño: dos eran revisiones sistemáticas; cinco eran ensayos controlados (no asignados al azar); ocho no tenían grupo de control; ocho eran revisiones no sistemáticas; uno no era exclusivamente método feldenkrais en el grupo de intervención; uno era un análisis de contenido de una intervención; uno era un análisis fenomenológico; y uno era un comentario. 3.4. riesgo de sesgo en los estudios incluidos. el riesgo de sesgo fue alto en la mayoría de los estudios. menos de una cuarta parte de los estudios tenían procesos adecuados de asignación aleatoria y solo un tercio evaluaciones ciegas de resultados. hay que reconocer que para los ensayos que requieren una intervención como el método feldenkrais puede ser difícil o inapropiado esperar el desconocimiento de los terapeutas o incluso de los participantes, aunque los participantes pueden no ser informados de la intervención de interés si hay un grupo de comparación plausible (como una clase de relajación u otras formas de clases basadas en el movimiento). las figuras 2 y 3 resumen el análisis del riesgo de sesgo. se puede observar que en muchos casos no se pudo emitir un juicio definitivo, ya que no se pudo confirmar si existía un riesgo claro de sesgo (con el indicador rojo) o, simplemente, los autores no habían explicado el proceso con suficiente detalle como para emitir un juicio; por lo tanto, el indicador de riesgo de sesgo se dejó en blanco. 3.5. efectos de las intervenciones. se pudieron extraer datos suficientemente homogéneos (misma población, intervención, comparador y medida de resultado) para realizar metaanálisis en las áreas del entrenamiento del equilibrio en poblaciones que envejecen. cuatro estudios [21-23, 25] informaron sobre la evaluación cronometrada de la subida y bajada para el equilibrio y la movilidad, sin encontrar nada a favor de las lecciones del método feldenkrais (figura 4 (a)); la agrupación de las medidas posteriores a la intervención dio una diferencia media de -0.78 (ic del 95%) -1.69, 0.13), p = 0.09. sin embargo, la heterogeneidad fue alta (12 = 49%). por lo tanto, se realizó un análisis de sensibilidad, ya que un estudio de hillier et al. [23] comparó el método feldenkrais con otra clase de equilibrio, mientras que los otros tres estudios compararon el método feldenkrais con el control en lista de espera o con ninguna clase. la eliminación de hillier et al. [23] (figura 4 (b)) reveló un mayor tamaño del efecto con una diferencia media de -1.13 (ic del 95%: -1.7; -0.56), p = 0.0001, y una heterogeneidad reducida a un nivel insignificante (12 = 5%). también se observó que en nambi et al. [25] la variabilidad de los resultados era reducida, lo que dio lugar a una ponderación mayor en el metaanálisis. dos estudios [21, 22] evaluaron la confianza en el equilibrio mediante la escala de eficacia de las caídas después de las clases del método feldenkrais (figura 5). los resultados agrupados hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 7 mostraron una tendencia a favor del método feldenkrais, pero no alcanzaron una diferencia significativa (dm 0.59; ic del 95%: -0,08; 1,26; p = 0.08). dos estudios [23, 25] evaluaron el equilibrio mediante la prueba de alcance funcional después de las clases del método feldenkrais (figura 6). los resultados agrupados fueron favorables a las clases del método feldenkrais (en comparación otra clase genérica de equilibrio, o sin comparación) con una diferencia media de 6.08 cm (ic 95%: 3.41,8,74), p < 0.00001. también se pudo realizar un metaanálisis utilizando tres estudios que medían la influencia de las clases del método feldenkrais en la longitud de los isquiotibiales en poblaciones sanas [15, 16, 19]. todos los autores informaron de la medida como una prueba de extensión activa de la rodilla; sin embargo, en la inspección visual, los resultados parecían heterogéneos en términos de magnitud y rango; por lo tanto, se calculó una diferencia de medias estandarizada (en lugar de una dm). no se encontró ningún efecto significativo después de la intervención en comparación con el grupo control (dme 0.15; ic del 95%: -0.49; 0.79; p = 0.65) y (dme 0.25; ic del 95%: -0.49; 0,79; p = 0,65) la heterogeneidad estadística era inaceptablemente alta (12 = 73%) (figura 7). los estudios individuales controlados aleatoriamente informaron de beneficios positivos estadísticamente significativos en comparación con las intervenciones de control e incluyeron los siguientes: ● mayor flexión del cuello y menor esfuerzo percibido tras una única lección del método feldenkrais para el confort del cuello [6]; menor prevalencia de dolor de cuello y discapacidad en mujeres sintomáticas tras el método feldenkrais (sesiones individuales y en grupo en comparación con la atención convencional o los ejercicios en casa) [8]; menor esfuerzo percibido en el grupo del método feldenkrais para personas con molestias en la parte superior del torso/las extremidades [13]. ● mejoró el equilibrio en personas con em tras ocho sesiones del método feldenkrais [9]. ● mejoraron los parámetros de la imagen corporal en personas con trastornos alimentarios tras un curso de nueve horas del método feldenkrais [14]. ● hubo reducción del bruxismo nocturno en niños pequeños tras un curso de 10 semanas de lecciones del método feldenkrais [20]. ● mejoró la destreza en adultos jóvenes sanos tras una única sesión de clase del método feldenkrais [24]. siete de los 20 estudios no lograron demostrar ningún efecto positivo superior del método feldenkrais en comparación con otras modalidades de comparación. véase la tabla 3 para más detalles. ningún estudio informó de efectos adversos. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 8 4. discusión 4.1. resumen de los resultados principales. la mayoría de los 20 estudios incluidos informaron efectos positivos significativos del método feldenkrais en una variedad de poblaciones y resultados de interés. un alto riesgo de sesgo/un informe de métodos deficiente atenúa la interpretación de estos hallazgos. la escasa adhesión confirmada/informada a las mejores prácticas de realización de eca puede atribuirse en parte a la antigüedad de los estudios, cuando el conocimiento en el área de la realización de ensayos era menor. no obstante, los metaanálisis realizados en el ámbito del entrenamiento del equilibrio en poblaciones de edad avanzada se mostraron favorables a las clases del método feldenkrais para medidas clínicas como las pruebas cronometradas de levantarse y andar y de alcance funcional. ambas medidas son predictivas del riesgo de caídas. mientras que el tamaño del efecto del tug (timed up and go) probablemente no fue clínicamente significativo (cambio de 1 a 2 segundos), el tamaño del efecto de la prueba de alcance funcional podría indicar un cambio clínicamente significativo (capaz de alcanzar más de 6 cm). dados los efectos positivos en determinados ámbitos de resultados, es interesante especular sobre el mecanismo de acción del método feldenkrais; sin embargo, cabe señalar que este no era el objetivo de la revisión. las pruebas favorables para la reducción de la percepción del esfuerzo, la mejora de la destreza, la mejora de la comodidad y la reducción del bruxismo apoyan el mecanismo de acción propuesto mediante la promoción de la concienciación, la relajación y una acción más eficaz. se encontraron resultados inconsistentes para la mejora de la longitud de los isquiotibiales, lo que indica que el efecto de "relajación" puede ser variable. las poblaciones variaban en edad y diagnóstico, lo que indica que es posible un efecto beneficioso en diferentes ámbitos; de nuevo, esto es coherente con el uso del método feldenkrais en diversas poblaciones y también con la noción de que no se trata de un mecanismo de acción curativo o específico de una enfermedad, sino más bien de uno basado en el aprendizaje y la superación personal más genéricos. los hallazgos de esta revisión actualizada se han reforzado desde la revisión de 2005 de ernst y canter [4]. también hemos podido localizar estudios anteriores a 2005 que no fueron encontrados por los autores originales de la rs, presumiblemente debido a un mejor acceso a las bases de datos. como informaron los autores anteriores, los estudios siguen siendo muy variados y a menudo de calidad cuestionable. existe un problema constante de información deficiente, que da lugar a que los riesgos se consideren "poco claros"; se desconoce si esto oculta un riesgo no declarado o es simplemente una omisión de información. esta revisión no está exenta de limitaciones. esta revisión incluye todos los ensayos dirigidos a mejorar la salud y/o la función, por lo que tenemos ensayos de individuos sanos y de personas con una presentación clínica. no hemos incluido un análisis del sesgo, aunque confiamos en hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 9 que al recurrir a expertos en la materia y comprobar la literatura gris (sitios web de organizaciones) hemos hecho todo lo posible por incluir ensayos negativos no publicados. intentamos tener en cuenta la heterogeneidad estadística y podemos concluir que el análisis para el “levantarse y avanzar” cronometrado es más sólido con la “retirada” de hillier et al. [23] (figura 4(b)) porque el grupo de comparación difiere de los otros estudios (clase de equilibrio alternativo frente a ninguna intervención) y, en segundo lugar, este estudio fue pseudoaleatorizado (se hizo una asignación basada en el día de inscripción). la cuestión de los controles inactivos es controvertida y permisible cuando se realizan pruebas de concepto o ensayos piloto/fase 1. animamos a los lectores a tener en cuenta la fase de investigación y el diseño en su interpretación. 4.2. implicaciones para la práctica. existen pruebas prometedoras de que el método feldenkrais puede ser tomado en cuenta para las lecciones de equilibrio en poblaciones de edad avanzada, tanto como enfoque preventivo como para personas con riesgo de caídas. también existen pruebas del uso del método feldenkrais cuando la reducción del esfuerzo, la eficacia del movimiento y la concienciación pueden contribuir a reducir el dolor o las molestias. 4.3. implicaciones para la investigación. se necesitan más investigaciones de alta calidad que comparen el método feldenkrais con otras modalidades. las investigaciones deben centrarse en el impacto sobre la autoeficacia, la independencia funcional y la facilidad y eficacia de funcionamiento, tanto como estrategias para la promoción del bienestar como para las personas con discapacidad que desean mejorar su sensación de bienestar. también hay que investigar los mecanismos del efecto. debe prestarse especial atención a la notificación de las mejores prácticas de diseño de ensayos y al control de un posible efecto placebo. 5. conclusiones existen más pruebas prometedoras de que el método feldenkrais puede ser eficaz para una población variada interesada en mejorar funciones como el equilibrio. es necesario un seguimiento cuidadoso del impacto individual, dada la variada evidencia a nivel de grupo y la relativamente baja calidad de los estudios hasta la fecha. reconocimientos deseamos agradecer la ayuda financiera de la australian feldenkrais guild y la international feldenkrais federation para sufragar los costes de la búsqueda y la evaluación. conflicto de interés las autoras declaran que no existe ningún conflicto de intereses en relación con la publicación de este artículo. la financiación provino de organismos profesionales implicados en la promoción del método feldenkrais, pero los organismos no participaron en la realización de la hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 10 revisión, salvo para identificar expertos entre sus miembros con el fin de identificar cualquier ensayo omitido/no publicado. contribución de las autoras anthea worley realizó la búsqueda y las inclusiones preliminares. ambas autoras contribuyeron a la revisión de todos los artículos y elaboraron el informe final. una de las autoras (susan hillier) fue también autora de dos estudios incluidos, que se examinaron de forma independiente. agradecimientos los autores desean agradecer la ayuda financiera de la asociación australiana de feldenkrais (australian feldenkrais guild) y de la federación internacional de feldenkrais (international feldenkrais federation) para subvencionar los costos de la investigación y la evaluación. referencias [1] m. feldenkrais, awareness through movement: health exercises for personal growth, arkana, london, uk, 1990. [2] k. a. connors, m. p. galea, c. m. said, and l. j. remedios, “feldenkrais method balance classes are based on principles of motor learning and postural control retraining: a qualitative research study,” physiotherapy, vol. 96, no. 4, pp. 324–336, 2010. [3] p. a. buchanan and b. d. ulrich, “the feldenkrais method: a dynamic approach to changing motor behaviour,” research quarterly for exercise and sport, vol. 72, no. 4, pp. 315–323, 2001. [4] e. ernst and p. h. canter, “the feldenkrais method—a systematic review of randomised clinical trials,” physikalische medizin rehabilitationsmedizin kurortmedizin, vol. 15, no. 3, pp. 151–156, 2005 (german). [5] d. moher, a. liberati, j. tetzlaff, d. g. altman, and the prisma group, “preferred reporting items for systematic reviews and meta-analyses: the prisma statement,” plos medicine, vol. 6, no. 7, article id e1000097, 2009. [6] s. ruth and s. kegerreis, “facilitating cervical flexion using a feldenkrais method: awareness through movement,” journal of orthopaedic and sports physical therapy, vol. 16, no. 1, pp. 25–29, 1992. [7] s. k. johnson, j. frederick, m. kaufman, and b. mountjoy, “a controlled investigation of bodywork in multiple sclerosis,” journal of alternative and complementary medicine, vol. 5, no. 3, pp. 237–243, 1999. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 11 [8] i. lundblad, j. elert, and b. gerdle, “randomized controlled trial of physiotherapy and feldenkrais interventions in female workers with neck-shoulder complaints,” journal of occupational rehabilitation, vol. 9, no. 3, pp. 179–194, 1999. [9] j. stephens, d. dushuttle, c. hatcher, j. shmunes, and c. slaninka, “use of awareness through movement improves balance and balance confidence in people with multiple sclerosis: a randomized controlled study,” neurology report, vol. 25, no. 2, pp. 39–49, 2001. [10] a. smith, g. kolt, and j. mcconville, “the effect of the feldenkrais method on pain and anxiety in people experiencing chronic low back pain,” new zealand journal physiotherapy, vol. 29, no. 1, pp. 6–14, 2001. [11] r. grubel, g. erbacher, and a. larisch, “die wirksamkeit der feldenkrais-methode bei krebs-betroffenen,” erfahrungsheilkunde, vol. 52, no. 02, pp. 71–83, 2003 (german). [12] e. brown and s. kegerreis, “electromyographic activity of trunk musculature during a feldenkrais awareness through movement lesson,” isokinetics and exercise science, vol. 1, no. 4, pp. 216–221, 1991. [13] j. chinn, d. trujilo, s. kegerreis, and t. worrel, “effect of a feldenkrais intervention on symptomatic subjects performing a functional reach,” isokinetics and exercise science, vol. 4, no. 4, pp. 131–136, 1994. [14] u. laumer, m. bauer, m. fichter, and m. helmut, “therapeutische effekte der feldenkrais-methode ’bewusstheit durch bewegung’ bei patienten mit essstorungen [therapeutic effects of the feldenkrais method (awareness through movement) in eating disorders],” psychotherapie psychosomatik medizinische psychologie, vol. 47, no. 5, pp. 170–180, 1997 (german). [15] m. james, g. kolt, j. mcconville, and p. bate, “the effects of a feldenkrais program and relaxation procedures on hamstring length,” australian journal of physiotherapy, vol. 44, no. 1, pp. 49–54, 1998. [16] c. hopper, g. s. kolt, and j. c. mcconville, “the effects of feldenkrais awareness through movement on hamstring length, flexibility, and perceived exertion,” journal of bodywork and movement therapies, vol. 3, no. 4, pp. 238–247, 1999. [17] g. s. kolt and j. c. mcconville, “the effects of a feldenkrais (atm) awareness through movement program on state anxiety,” journal of bodywork and movement therapies, vol. 4, no. 3, pp. 216–220, 2000. [18] b. lowe, k. breining, s. wilke, r. wellmann, s. zipfel, and w. eich, “quantitative and qualitative effects of feldenkrais, progressive muscle relaxation, and standard medical hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 12 treatment in patients after acute myocardial infarction,” psychotherapy research, vol. 12, no. 2, pp. 179–191, 2002. [19] j. stephens, j. davidson, j. derosa, m. kriz, and n. saltzman, “lengthening the hamstring muscles without stretching using ‘awareness through movement’,” physical therapy, vol. 86, no. 12, pp. 1641–1650, 2006. [20] y. quintero, c. c. restrepo, v. tamayo et al., “effect of awareness through movement on the head posture of bruxist children,” journal of oral rehabilitation, vol. 36, no. 1, pp. 18–25, 2009. [21] f. vrantsidis, k. d. hill, k. moore, r. webb, s. hunt, and l. dowson, “getting grounded gracefully: effectiveness and acceptability of feldenkrais in improving balance,” journal of aging and physical activity, vol. 17, no. 1, pp. 57–76, 2009. [22] g. ullmann, h. g. williams, j. hussey, j. l. durstine, and b. a. mcclenaghan, “effects of feldenkrais exercises on balance, mobility, balance confidence, and gait performance in community-dwelling adults age 65 and older,” journal of alternative and complementary medicine, vol. 16, no. 1, pp. 97–105, 2010. [23] s. hillier, l. porter, k. jackson, and j. petkov, “the effects of feldenkrais classes on the health and function of an ageing australian sample: pilot study,” the open rehabilitation journal, vol. 3, no. 1, pp. 62–66, 2010. [24] f. bitter, s. hillier, and l. civetta, “change in dexterity with sensory awareness training: a randomised controlled trial,” perceptual and motor skills, vol. 112, no. 3, pp. 783–798, 2011. [25] g. nambi, p. s. trivedi, s. m. momin, s. patel, and d. p. pancholi, “comparative effect of pilates and feldenkrais intervention on functional balance and quality of life in ambulatory geriatric population: a randomized controlled study,” international journal of health sciences and research, vol. 4, no. 3, pp. 71–77, 2014. [26] j. p. t. higgins and s. green, eds., cochrane handbook for systematic reviews of interventions version 5.1.0, the cochrane collaboration, 2011, http://www.cochrane-handbook.org/. hillier and worley (es) • feldenkrais research journal, volume 7 (2023) 13 frj 7 editorial feldenkrais research journal • volume 7 (2025) editorial diverse applications, many approaches: editorial, feldenkrais research journal, volume 7 cliff smyth editor, feldenkrais research journal contact: feldenkraisresearchjournal@gmail.com abstract one of the biggest challenges of researching the feldenkrais method is the diversity of the ways it is applied: in the arts – for the development of insight, skill and expressive capacities; for health in chronic conditions and rehabilitation; and for learning that incorporates bodily experience in and with movement. and more. the articles in this volume capture some of that breadth and the creative ways that researchers have found to study, document, measure, and report on what they have found. individual research studies that explore the practice of the method in situations as diverse as: enhanced movement and awareness for experienced pianists; the development of self-awareness and self-regulation among teenage women during the covid-19 pandemic; addressing workplace stress for new teachers in a remote posting; and for urinary incontinence – a major but often hidden health and life challenge. in addition, there is one piece of hypothesis and theory of ideas underlying feldenkrais method as a bodily self-learning practice, and a reflection on feldenkrais method for learning the practice of acting. finally, this volume includes important reviews of research into the method to date. keywords feldenkrais, feldenkrais method, research, new research, research reviews, systematic review, scoping review, motor learning, motor coordination, translation, experienced pianists, music improvisation, workplace stress, urinary incontinence, learning embodiment, theatre training copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7; 2025. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:feldenkraisresearchjournal@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. editorial • feldenkrais research journal, volume 7 (2025) 2 editorial diverse applications, many approaches: editorial, feldenkrais research journal, volume 7 cliff smyth editor, feldenkrais research journal in this volume welcome to this volume of the frj on the theme of researching diverse applications. one of the biggest challenges of researching the feldenkrais method is the diversity of the ways it is applied: in the arts – for the development of insight, skill and expressive capacities; for health in chronic conditions and rehabilitation; and for learning that incorporates bodily experience in and with movement. and more. the articles in this volume capture some of that breadth and the creative ways that researchers have found to study, document, measure, and report on what they have found. individual research studies that explore the practice of the method in situations as diverse as: enhanced movement and awareness for experienced pianists; the development of self-awareness and self-regulation among teenage women during the covid-19 pandemic; addressing workplace stress for new teachers in a remote posting; and for urinary incontinence – a major but often hidden health and life challenge. in addition, there is one piece of hypothesis and theory of ideas underlying feldenkrais method as a bodily self-learning practice, and a reflection on feldenkrais method for learning the practice of acting. finally, this volume includes important reviews of research into the method to date. this includes a reprint of a 2015 systematic review of 20 empirical trials, and the first publication of a scoping review of 41 studies of the feldenkrais method for motor function – movement and balance. this diversity of application points to the centrality of practice to any understanding of the feldenkrais method. the theoretical bases, and possible modes or mechanisms of action or change, are myriad, complex, and often intricately connected with the range of human learning and potential. both can be seen to be grounded in the common practices which the method utilizes. addressing this range of applications and questions of the relationship between practice, ideas, and outcomes is part of the role of a journal for a professional field such as editorial • feldenkrais research journal, volume 7 (2025) 3 this one. a challenge remains – and perhaps will remain for a long time, of how to study the direct outcomes and benefits of the practice, and the processes of the practice of feldenkrais method, and what it can mean in human life and development. the studies and reviews here include many of the ways that have been devised so far for identifying possible outcomes. they can serve as pointers for what may be research tools and strategies going forward that might be developed and reproduced, while also pointing to gaps that deserve attention. also reflecting diversity, is the fact that this volume is also much engaged with translation. translating and publishing important research is a challenge and a commitment for a small international professional community. all the articles in this volume have been translated into spanish by the journal’s spanish language translation group. this is a major achievement for the journal and an important development of the growth/knowledge of the method and practitioner community in spanish speaking countries. also, the hypothesis and theory and reflection on practice articles were translated from the french by the authors, and finally there is a new translation into english and spanish of the study of music improvisation in german from volume 6. as has been the case in some earlier volumes of this journal, this volume includes a number of reprints of articles originally published elsewhere. many studies of the feldenkrais method are published in journals that are behind pay firewalls, not so easy to find, or were published some time ago, and therefore are not so easy to find. republishing – especially with translations as well, has the virtue of gathering published research in this journal and so helps achieve our educational goals. translation all articles in this volume have been translated into spanish, or in one case, edited by the feldenkrais research journal spanish translation group. this is an exemplary project involving feldenkrais practitioners in several different countries. with a small amount of funding from the international feldenkrais federation, use of the new digital translation tools, and much volunteer work, the spanish translation group have made a major contribution to the journal and to the feldenkrais method. the group developed its own processes for making and checking the translations, discussing the language and ideas in the studies. not only did they make the studies available to spanish speakers, they have become a study group of practitioners engaging with the understanding of the method and research for their professional communities. for example, they developed a glossary of terms not necessarily in common use in spanish to best bring forward meanings in a consistent way – including across the diverse usage found in the spanish speaking world. they are also organizing online events to introduce their practitioner communities to research ideas and information – live translating video materials created in english. as editor i offer them much appreciation for their important editorial • feldenkrais research journal, volume 7 (2025) 4 contribution to the journal and their efforts to make research available to their communities. in addition, a study of feldenkrais method and musical improvisation, available only in german in volume 6, has now been translated into english and spanish for this volume, while the new scoping review of the research trials will appear in english, german, french, and spanish. part 2 of this editorial, to be published shortly, will identify and introduce some of the research studies, and articles seeking to conceptualize and understand feldenkrais method and its contributions to various practices, which have been published in recent times. in this volume: original research this volume includes several reports of original research. as with many studies of the method, they are often in the form of case reports or are pilot or proof-of-concept studies. they have the value of showing new ways and contexts in which people may benefit from feldenkrais method. they also explore new ways in which the method can be documented and outcomes measured. movement and awareness for experienced pianists: there is a growing literature about the use of feldenkrais method for developing skill and performance ability among pianists (see for example, alan fraser in volume 6 of this journal). in this volume, janice chenju chiang contributes through her case report with its interesting study design and forms of collecting data in this study with experienced pianists. supporting learning for artists who have already developed reasonably effective ways of moving and performing presents an interesting challenge. this study identified a range of perceived benefits for the participants enhancing many aspects of their practice and playing, and their bodily experience. apart from the series of awareness through movement lessons provided in the program, “participant-chosen movement explorations” were included. that is, participants were encouraged to identify and use a movement and awareness sequence from a lesson or lessons which interested them, and to use that for their home practice. this is a learning strategy often adopted spontaneously by experienced students in feldenkrais method classes, or is recommended by their teacher-practitioner. in this context, it represents an innovation in research design which reflects real-life practice of the method. data gathering in this study encouraged self-observation by the participants in diaries. in another innovative element of the study design, chiang invited participants to be recorded performing the same piece of music at the beginning and the end of the study. participants were asked to identify aspects of their practice they would like to address, providing a basis for the participants to observe and comment on any perceived changes in their bodily organization and performance at the end of the study. feldenkrais method and mindfulness for workplace stress and displacement: this innovative study involved schoolteachers dealing with workplace stress and burnout, particularly involving early service teachers, many of whom have moved to the relatively remote location of editorial • feldenkrais research journal, volume 7 (2025) 5 https://feldenkraisresearchjournal.org/index.php/journal/article/view/32 the northern territory of australia. the authors, sue erica smith, emma schuberg barnes, jon mason, and julia broome sought to “gain insight into the visceral tensions embodied in re-location, location, and the complex (and at times) alarming challenges faced by a beginning teacher in a middle school”. this research used narrative inquiry and participatory action research to explore participants’ responses to a program involving mindfulness meditation integrated with movement awareness in the form of the feldenkrais method. the authors and participants together sought to explore how such practices might help the new teachers cope more effectively within themselves, in their new situation, and in the classroom. this paper has many virtues. one is that discussion of the literature, woven through the paper, provides a thorough overview of the rapidly expanding material on mindfulness and bodily awareness, including the emerging paradigm of mindful movement, and their relationship to coping, well-being, and social development. in addition, the findings of the paper are presented in an innovative interleaving of reflexive texts from the participants and the facilitator-researchers. this includes an exemplifying narrative from one participant, descriptions of the intervention and research process, with reflections on the ideas, practices, and emerging outcomes from the project. it is an interesting exploration of how practices like the feldenkrais method can be integral to processes of personal and social development. it is also the first study of feldenkrais method in relation to the experience of place – which the phenomenological literature would suggest may be an outcome of practices which involve movement and the development of bodily self-awareness. movement quality and music making practice: we are pleased to publish in this volume in english and spanish this innovative study from corinna eikmeier, which originally appeared in german in volume 6 of this journal. working with students in a music conservatory, she set out to explore movement in music making – particularly in movement involved in improvisation, and how feldenkrais method might be introduced into these processes, asking: are there relationships between the structure of improvisation in music and feldenkrais practice? are there relationships also between movement in improvisation and possibilities for interpreting and playing classical music? eikmeier made use of a qualitative, heuristic approach, drawing on ideas from gerhard kleining and others (kleining, 2001; kleining and witt, 2000), with additional principles from artistic research. it was an iterative, staged approach that involved openness to the definition and redefinition of the subject of the research, and the deliberate introduction of different perspectives. in addition, qualitative experiments were used which invite identifying essences of the subject, adding elements that can intensify the experience, substitutions and deliberate transformations. data collection involved (a) expert interviews, (b) reflection on improvisational aspects of feldenkrais method practice, (c) defining phenomena such as the ‘improvisational mode of action’, using a researcher journal, (d) identification of key learning principles or strategies from the feldenkrais method (e.g., balance, neutral position, quality of breathing, reversibility), and (e) documentation and analysis of the outcomes of the various experimental, editorial • feldenkrais research journal, volume 7 (2025) 6 https://feldenkraisresearchjournal.org/index.php/journal/article/view/15 https://feldenkraisresearchjournal.org/index.php/journal/article/view/15 experiential labs which were conducted. eikmeier’s analysis generated several significant insights into the dissolution of familiar bodily organization and boundaries between players that can provide a new basis for readiness for action in music making. feldenkrais method and wellbeing for adolescent dancers during the covid-19 pandemic: during the recent global pandemic many feldenkrais classes, workshops, and programs had to move to an online format for the first time. this presented many challenges and new opportunities for the teaching of the method, and opportunities to use the method to address the many challenges to people’s well-being in that time. adolescents were particularly impacted by the lockdowns. could feldenkrais method contribute to self-awareness, learning and self-regulation processes for this group? this study involved 20 young women involved in online skills-oriented dance classes, 10 of whom in addition experienced 10 weekly awareness through movement lessons. measures of motivation did not produce significant results, but there were measured tendencies toward greater interoceptive awareness and self-regulation among the intervention group. the pandemic itself may have been a confounding factor as the study identified that the young women in both groups also reported experiencing increased self-focus and felt-tension. authors, claudia mölders and liliana araújo, used a mixed measures research design, which included using established measures of motivation and bodily awareness. in addition, at various stages of the project, verbal and written reports of the participants’ experiences were captured, along with participant drawings. these were analyzed thematically. this study is one of the first studies of feldenkrais method to use the multidimensional assessment of interoceptive awareness (maia) (mehling et al, 2012; mehling et al., 2018) which includes scales for the experience of body awareness, and has been used in many recent studies of interventions using awareness and movement. this study points to the value of using established measures and open qualitative data collection to document and understand the relevance and impact of feldenkrais-based interventions in relation to specific and complex aspects of human development and experience. group exercise for improvement in urinary incontinence: deborah bowes’ case report is on the use of a group program using awareness through movement for women with mild to moderate incontinence. it is the first study published in english on the use of feldenkrais method for urinary incontinence. the measures of the extent and impact of incontinence indicated a reduction in frequency of episodes of incontinence and on the impact on quality of life for most participants. as with many successful interventions using movement and awareness to address health concerns, the program also included health education and social support. descriptions of the awareness through movement lessons and topics for health education and group discussion are included in the article. the outcomes of the measures for urinary incontinence along with the comments from participants suggest that further research is warranted, perhaps using more recent impact measures, and also the gathering of further qualitative data was recommended. editorial • feldenkrais research journal, volume 7 (2025) 7 as often is the case, the comments from participants point to wider benefits of the intervention, as well as to larger impacts of feldenkrais-based programs in participants’ lives. in this volume: hypothesis and theory/reflections on practice learning to embody: in her article, based on a talk prepared for educators, stephanie ménasé makes the case for the feldenkrais method as an embodied process of learning and relearning, which draws on fundamental characteristics of the human nervous system. she highlights how both characteristics of movements and specific learning strategies in both awareness through movement and functional integration may stimulate useful differentiation and variation on neurological, sensory, functional, and experiential levels. she gives examples of the principles in action for people with bodily-based learning challenges. she draws on writings about the method (feldenkrais, reese) and influences on its development (schilder, wertheimer), as well as neuroscience (buzsáki), phenomenology (merleau-ponty), and their intersection (varela, thompson, and rosch). as such, it is a condensed introduction to key aspects of the method and its connection to a wider net of ideas that deserve further exploration. tools for the practice of acting: drawing on her experience in acting and training actors, julie-kazuko rahir undertook a “research project entitled ‘theatre and feldenkrais: which tools from the feldenkrais method are most pertinent to an actor’s work?’” the paper presents eight tools for training actors. she began consulting the literature and well-known teachers in the field. indeed, the article features an extensive list of resources on acting and the feldenkrais method in the french language, including links to articles and interviews. working with actors in workshops in western switzerland, lyon, and montréal, and with support from the swiss feldenkrais guild, she and her collaborators used arts research processes to explore if and how key feldenkrais method teaching-learning strategies may enhance the learning of the practice of acting. drawing on many well identified strategies (e.g., variation, reversibility), she explicates and provides examples of specific ways and nuances of how they may be understood and used in actor training – giving examples and drawing on observations from theorists and practitioners in the field. in this volume: literature reviews this volume of the feldenkrais research journal features, for the first time, reviews of completed research into the feldenkrais method. the effectiveness of the feldenkrais method: a systematic review of the evidence: this systematic review from hillier and worley was first published in 2015, with financial assistance from the international feldenkrais federation. this was the first review of completed research trials which used the cochrane review collaborative’s processes and standards for evaluating the quality of medical research. the first reviews of research into the feldenkrais method relied on the small number of available studies, and also made use of measures of trustworthiness editorial • feldenkrais research journal, volume 7 (2025) 8 and efficacy that, for example, are not appropriate for a method where the intervention cannot be blinded to participants. this review analyzed a robust 20 trials. the authors note “meta-analyses were able to be performed with 7 [seven] studies, finding in favour of the fm for improving balance in ageing populations…” and “[s]ingle studies reported significant positive effects for reduced perceived effort and increased comfort, body image perception, and dexterity.” they concluded, “further research is required; however, in the meantime, clinicians and professionals may promote the use of fm in populations interested in efficient physical performance and self-efficacy”. read the paper for the rich detail of their methodology and findings. we are glad to be able to reproduce this review, as, even when papers are not behind online firewalls or come out from behind them eventually, earlier published studies are sometimes missed in internet searches which favor more recent publications. locating this paper here in the feldenkrais research journal, and also publishing it in spanish, helps this important review be accessible to a wider audience on an ongoing basis. the effects of the feldenkrais method in the area of motor functioning: a scoping literature review: this new review, completed by nicola zollinger in 2025, found 41 research trials into the application of the feldenkrais method to movement or motor aspects of human functioning, including motor learning and coordination, functional movement patterns, balance, range of motion, muscle tone, breathing, and posture. participants included, for example, healthy or non-clinical populations, and older adults, as well as many with health specific conditions that affect human function and well-being. characteristics of all the studies are presented, including populations, ages, eligibility, study duration and levels of intensity of the intervention, as well as models for identifying risk of bias and levels of evidence used in medical science. each of the 41 studies is then briefly summarized, including main findings and identification of the risk of bias. while a systematic review (such as hillier and worley, reprinted in this volume) has the aim of identifying the quality of study on select criteria, and even to synthesize the statistical findings, sometimes details about studies are hard to discern, and some studies do not make the inclusion criteria at all. the advantage of a scoping review such as this, is that it includes all the studies on the topic that can be located, giving a broad view of the pattern and range of research attempted. a kind of catalogue of what was done so far in these 41 large and small, more effective and less effective, trials of feldenkrais method for motor function. through the descriptions of each study, a reader may readily find a study of interest. for current and future researchers, these descriptions make it easy to identify the main characteristics of a study. another very helpful inclusion is appendix 2, which provides a complete list of measures used in these 41 trials. editorial • feldenkrais research journal, volume 7 (2025) 9 to conclude, zollinger provides a summary of the findings in a discussion section, and provides reflections on possible mechanisms of action for the feldenkrais method in this area of application, and recommendations for future research based on this review. we are pleased to publish zollinger’s huge and thorough research, which was partly supported by the swiss feldenkrais guild, and will be published here in four languages. making a contribution this volume of the journal makes an important contribution to the continuing expansion of research and thinking about the feldenkrais method. through these new and reprinted research studies, and through the two reviews of research done so far, one can get a sense of the breadth of the application of the feldenkrais method. beyond this, the articles and reviews reveal many creative approaches to identifying benefits and possible modes of action of the practice. looking over the arc of practice, research, and consideration of the feldenkrais method in this volume – and published elsewhere in recent years, we are able to discern some patterns and levels contribution of feldenkrais method practice to human learning and expanding abilities, and to the enhancement of human being and well-being. there remains so much to be investigated, gaps in knowledge to be filled, practices to be described and analyzed, and much more, but i am glad for the contribution of this journal through the work of many that is represented here. thanks this volume of the frj had been a multiyear endeavor begun in the shadow of the covid-19 pandemic, which has impacted work on a project like this as people have reviewed priorities. notwithstanding many challenges, many people contributed and deserve thanks for their work, diligence, intelligence, and commitment, including: ● all the authors who did the huge work of the research and writing you find here ● all the reviewers of articles, who, because of the nature of peer-reviewing have to remain nameless, but who are essential to the functioning of the journal ● the feldenkrais research journal spanish translation group: maría del carmen cortés, lucía porta, maría clara reussi, consuelo maldonado toral, and rosa maría sánchez cantú, who brought their skill, care, and commitment to the translation of this whole volume ● karol connors who acted as a co-editor for one of the articles: i appreciate her attention to quality and detail in the assessment and preparation of the paper for publications ● joanne page, who is the administrative editor of the frj – doing the essential work of keeping the flow of editorial and publishing going, supporting me as editor, and also is our text editor doing proofreading, citation checking, and harvard formatting editorial • feldenkrais research journal, volume 7 (2025) 10 ● jessica taylor foster, our designer who formats articles for publication, and who created the beautiful montage of images that heads this volume ● members of the editorial team who are available for consultation, ideas, and are many of the regular reviewers of articles ● the member organizations of the international feldenkrais federation, who provide funding toward the costs of this journal, and the iff board members and staff who support our work. thank you for reading. please contact us with information about research you are doing, publication of research in other forums, and if you are interested in publication here. cliff smyth editor references kleining, g. (2001) openness as a characteristic of exploratory research. in hoock, c., and böhm, j. m. (eds.) methodology of qualitative social research. kontrapunkt, 1, münster kontrapunkt, 27-36 kleining g., and witt, h. (2000) qualitative heuristic research as a discovery methodology for psychology and the social sciences: rediscovering the method for introspection as an example. forum qualitative sozialforshung, 1 (1) mehling, w.e., price, c., daubenmier, j. j., acree, m., bartmess, e., and stewart, a. (2012) the multidimensional assessment of interoceptive awareness (maia). plos one, 7 (11), e48230. mehling, w. e., acree, m., stewart, a., silas, j., and jones, a. (2018) the multidimensional assessment of interoceptive awareness, version 2 (maia-2). plos one, 13 (12), e0208034. editorial • feldenkrais research journal, volume 7 (2025) 11 ​editorial ​ diverse applications, many approaches:​editorial, feldenkrais research journal, volume 7 abstract keywords editorial ​ diverse applications, many approaches:​editorial, feldenkrais research journal, volume 7 ​in this volume translation in this volume: original research in this volume: hypothesis and theory/reflections on practice in this volume: literature reviews making a contribution thanks references frj 7 molders and araujo es feldenkrais research journal • volume 7 (2023) investigación original ¿la práctica del método feldenkrais® influye en la conciencia corporal, la motivación y la autorregulación de los bailarines adolescentes? un estudio de caso durante la pandemia de covid-19 claudia mölders mfa, practicante de feldenkrais, profesora de danza liliana araújo phd contacto: claudiamoelders@yahoo.de traductora: rosa maría sánchez cantú, phd resumen como educadores e investigadores de danza, nuestra preocupación particular, más allá de enseñar habilidades de danza, es apoyar a los estudiantes de danza para que se conviertan en bailarines autogestionados y satisfechos, y que las prácticas somáticas puedan desempeñar un papel importante en este proceso. este estudio exploratorio investigó la experiencia del método feldenkrais como apoyo a la motivación para la danza, la conciencia corporal y la autorregulación de bailarines adolescentes durante la pandemia de covid-19. participaron en la investigación 20 estudiantes adolescentes de danza recreativa reclutados en el estudio de danza de la primera autora, divididos en dos grupos: grupo experimental: n=10, edad m=14.80, de=1.81; grupo control: n=10, edad m=14.50, de=2.06. (“n” es el número total de individuos del grupo; “edad m” es la edad promedio del grupo; “de” es la desviación estándar del grupo). ambos grupos participaban en clases regulares de danza; el grupo experimental participó en un programa del método feldenkrais de 10 semanas, consistente en una clase a la semana, y el grupo control no recibió clases del método feldenkrais. el estudio se realizó en línea debido a las medidas de confinamiento por covid-19 vigentes en ese momento. se obtuvieron datos cualitativos del grupo experimental en forma de dibujos, reportes individuales y comentarios para captar las experiencias individuales con el método feldenkrais. además, se utilizaron dos cuestionarios en ambos grupos para evaluar el impacto de la intervención en la toma de conciencia corporal y explorar la motivación para bailar, que se rellenaron antes y después de la intervención. un anova (análisis de varianza) mixto de dos vías reveló tendencias hacia un aumento de la conciencia interoceptiva y de los procesos de autorregulación en el grupo experimental. no se pudo determinar la influencia sobre la motivación en las clases de danza. ambos grupos mostraron un aumento significativo de la presión/tensión sentida y también un enfoque más centrado en sí mismo, lo que sugiere una posible influencia de la pandemia. el análisis temático de los datos cualitativos reveló published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:claudiamoelders@yahoo.de https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org altos niveles de compromiso y mayor conciencia entre quienes participaron en las clases del método feldenkrais. los resultados sugieren que, bajo la influencia de la pandemia de covid-19, incluso una intervención breve del método feldenkrais puede ser apropiada para que los adolescentes mejoren sus procesos de autoconciencia, aprendizaje y autorregulación. la investigación futura debería investigar los resultados psicosociales y de aprendizaje de las intervenciones del método feldenkrais en general y con estudiantes adolescentes en particular. también se recomienda seguir investigando para determinar los posibles factores de confusión derivados de la pandemia y su influencia en la motivación. palabras clave educación para la danza, método feldenkrais, motivación, autorregulación, pandemia de covid-19, conciencia interoceptiva copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 2 investigación original ¿la práctica del método feldenkrais® influye en la conciencia corporal, la motivación y la autorregulación de los bailarines adolescentes? un estudio de caso durante la pandemia de covid-19 claudia mölders mfa, practicante de feldenkrais, profesora de danza liliana araújo phd para los profesores de danza, es crucial no solo tener en cuenta los aspectos puramente estéticos o técnicos de la danza, sino también las características personales del bailarín, ya que pueden desempeñar un papel clave para explicar el compromiso y los logros de los bailarines. a menudo, en las clases de danza vemos alumnos que parecen tensos y sin confianza en su actuación. esto dificulta su proceso de aprendizaje y puede afectar a su rendimiento. como educadoras e investigadoras, nuestro objetivo es ayudar a los bailarines a aprender de forma autogestionada y autónoma, con un sentimiento de placer y confianza en sus habilidades. fomentamos el uso de prácticas somáticas en el entrenamiento de la danza, ya que desplazan el centro de atención de la adquisición de habilidades orientada a objetivos a la mejora de la conciencia, y ofrecen a los bailarines la oportunidad de valorar su cuerpo de acuerdo con sus percepciones subjetivas, experiencias e interacciones (rouhiainen 2008; stephens y hillier 2020). esto puede desempeñar un papel importante para estimular la autonomía en la autorregulación de las experiencias físicas, motivacionales y emocionales en la danza. para la primera autora, que es profesora de danza y profesional del método feldenkrais, el enfoque de este método es especialmente valioso, ya que se centra en emplear un mínimo de energía para conseguir un máximo de eficacia, en la medida en que se puede regresar a un estado más neutro con una sensibilidad incrementada respecto de la propia organización corporal (feldenkrais 1987). en lugar de esforzarse más, los bailarines aprenden a hacer un uso más eficaz de sus capacidades de fuerza y a notar las diferencias entre las acciones para conseguir la conciencia diferenciada necesaria (buchanan y ulrich 2001). esta valoración de las prácticas somáticas es especialmente relevante en la educación profesional en cuanto a la danza del siglo xxi, que adopta un enfoque más holístico en la formación de danza, integrando los aspectos físicos, intelectuales y emocionales junto con la competencia técnica (sööt y viskus 2013). por tanto, integrar estos aspectos en la enseñanza de la danza en una fase temprana es un paso importante hacia la educación de bailarines para el siglo xxi. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 3 aunque las prácticas somáticas se debaten e investigan ampliamente respecto de los bailarines adultos, la investigación sistemática sobre cómo influyen en el aprendizaje de la danza de los adolescentes sigue siendo limitada (fortin et al. 2002). este estudio de caso, basado en la investigación-acción, explora las experiencias de bailarinas adolescentes no profesionales con el método feldenkrais en relación con los procesos de motivación y autorregulación, en momentos de adversidad. el estudio se basa en las teorías de la motivación y la autorregulación y tiene en cuenta los retos específicos de la adolescencia en la enseñanza de la danza para comprender mejor el papel potencial del método feldenkrais en el desarrollo de la autoconciencia, la motivación y la autorregulación en jóvenes bailarinas, especialmente en momentos de adversidad. el método feldenkrais el método feldenkrais (feldenkrais 1987), como método de autoeducación y desarrollo personal, se centra, al igual que muchas prácticas somáticas, en la exploración consciente del movimiento (hillier y worley 2015), el cual ofrece a los individuos opciones y elecciones en relación con los movimientos y acciones cotidianos (igweonu 2019). existe cierto debate sobre si el método feldenkrais es más eficaz para la autorregulación que para el aprendizaje motor, porque se basa en un enfoque interno de la atención que puede interferir con el aprendizaje motor (ives 2003). la propuesta de aumentar la toma de conciencia corporal y fomentar las habilidades sensoriales y perceptivas corresponde a un enfoque interno de la atención y puede ser contrario a un entorno de aprendizaje intencionalmente dirigido a objetivos (buchanan y ulrich 2001, citado en ives 2003). para mejorar las habilidades motoras de ejecución puede ser preferible un foco externo de atención durante las actividades dirigidas a un objetivo (stephens y hillier 2020). otros investigadores proponen que el tipo de conciencia del cuerpo que puede formar parte del método feldenkrais también puede implicar la percepción del cuerpo de una forma más externa, es decir, no centrada en los aspectos afectivos de la conciencia corporal, sino más del cuerpo, como algo que puede percibirse en términos de cualidades físicas del movimiento (mattes 2016). lecciones del método feldenkrais las lecciones del método feldenkrais pueden impartirse en forma de sesiones individuales (integración funcional®, fi®) y lecciones en grupo (autoconciencia a través del movimiento, atm®). en esta investigación, el programa se llevó a cabo a través de lecciones grupales de autoconciencia a través del movimiento, en las cuales las participantes se recostaban en un tapete y recibían orientación verbal sobre el movimiento sin demostración. en el transcurso de la lección, el profesor observa y hace preguntas continuamente para dirigir la atención de los participantes hacia el movimiento (buchanan y ulrich 2001). mölders y araújo es • feldenkrais research journal, volume 7 (2023) 4 objetivo de las lecciones el objetivo es mejorar la capacidad de los participantes para percibir la información sensorial y cambiar su comportamiento en relación con un objetivo funcional concreto. por ejemplo, al bailar, levantar la pierna o el brazo con el mínimo esfuerzo y la máxima eficacia para aumentar no solo la amplitud de movimiento, sino también el resultado estético. moshe feldenkrais (1987) eligió el sistema-acción (movimiento) como punto de partida; este enfoque orientado al movimiento puede ser beneficioso para los estudiantes de danza, ya que se utiliza para aprender nuevos movimientos y para modificar patrones aprendidos. diferentes enfoques pueden explicar los procesos subyacentes implicados en el método feldenkrais (buchanan y ulrich 2001; ives 2003). se han observado paralelismos con la teoría de los sistemas dinámicos, como la creencia de que los seres humanos son sistemas autoorganizados y que el comportamiento es el resultado de la interacción de múltiples sistemas que influyen en la eficacia de los movimientos y conducen a distintos patrones de coordinación. en esta perspectiva, el comportamiento se considera adquirido más que permanente, y los desajustes eventuales son necesarios para cambiar el comportamiento habitual (buchanan y ulrich 2001; ives 2003). desde una perspectiva neuropsicológica, se postula que el método feldenkrais puede capacitar a los individuos para tomar decisiones y experimentar nuevas situaciones tanto a nivel cognitivo como físico. a nivel físico, guía la experiencia y la percepción de los movimientos, en lugar de limitarse a realizarlos. para los estudiantes de danza, este método puede ayudarles a encontrar un enfoque individual de su propio movimiento, en lugar de limitarse a replicar los movimientos de danza enseñados y demostrados por el profesor (howe 2018-2019). se ha demostrado que los bailarines que aprendieron a utilizar el método feldenkrais obtuvieron un mayor desarrollo y enriquecimiento de su aprendizaje al confiar en sus propias sensaciones, lo que se tradujo en una mejora de la consecución de objetivos y de la resolución de problemas (fortin et al 2002). las lecciones del método feldenkrais pueden ayudar a los estudiantes de danza a establecer conexiones entre la información recibida y las sensaciones y percepciones creadas a través de la exploración del movimiento, aumentando la autoconciencia y la autorregulación. la conciencia de la propia experiencia sensorial, motriz y cognitiva durante el movimiento puede crear una base para transformar la experiencia en conocimiento conceptual, y puede implicar la conexión cerebro-cuerpo, el comportamiento y la metacognición (garfinkel et al. 2015). la metacognición puede definirse como la conciencia del propio pensamiento, la capacidad de evaluar las propias acciones y de ajustar el propio comportamiento adecuadamente. incluye aspectos de la autorregulación como la elección de perspectiva y toma de decisiones (kimmerle y coté-laurence 2003). la investigación ha subrayado la relevancia y la necesidad de una mayor autoconciencia, ya que favorece la consecución de objetivos, la autorresponsabilidad y la resolución creativa de problemas, atributos considerados cada vez mölders y araújo es • feldenkrais research journal, volume 7 (2023) 5 más importantes para satisfacer las complejas demandas de la enseñanza de la danza y para facilitar un aprendizaje placentero y significativo (sööt y viskus 2013). una de las funciones del sistema nervioso es procesar la información sensorial para mantener el equilibrio homeostático. la percepción de esta función del sistema nervioso, a través de la conciencia interoceptiva, puede proporcionar una base de conciencia de fenómenos como la conexión cerebro-cuerpo, el comportamiento, y puede apoyar el desarrollo de la metacognición (christensen et al. 2018; garfinkel et al. 2015; khalsa et al. 2018; vago y silbersweig 2012). la conciencia corporal describe un aspecto de la autoconciencia centrada en el cuerpo, que se manifiesta como una tendencia innata de los organismos a autoorganizarse (mehling et al. 2011). el método feldenkrais pretende desarrollar la autoconciencia a través del movimiento y la atención a la experiencia del propio movimiento. la interocepción es un aspecto importante de la autoconciencia, y la habilidad interoceptiva es esencial para desarrollar la autoconciencia a través de la experiencia corporal. en este estudio se utilizaron medidas de interocepción para ayudar a identificar si el método feldenkrais puede permitir a los estudiantes adolescentes de danza percibir las señales sensoriales del cuerpo en relación con la información y las experiencias físicas, emocionales y cognitivas, y en qué medida lo hacen. se ha sugerido que, al aumentar la conciencia, mediante la vinculación de los estados fisiológicos periféricos y los procesos mentales se puede comprender mejor la influencia de las emociones, las percepciones y la motivación en el comportamiento (tsakiris 2018). la interocepción puede describirse a través de tres dimensiones (garfinkel et al. 2015). se teoriza que la dimensión de precisión interoceptiva, determina el grado en que un individuo puede detectar con precisión sensaciones corporales internas, como percibir y contar sus propios latidos. otra dimensión, la sensibilidad interoceptiva, describe la creencia subjetiva de un individuo sobre su sensación interna, por ejemplo, creer que puede centrarse en las sensaciones corporales internas y detectarlas. la tercera dimensión, la conciencia interoceptiva, explica el grado en que una persona confía en su precisión interoceptiva en relación con la precisión real del comportamiento o del movimiento. por tanto, el método feldenkrais puede facilitar la interocepción, invitando a las personas a percibir las señales internas del cuerpo en relación con sus estados emocionales, percepciones y experiencias. el bailarín adolescente históricamente, se consideraba a los bailarines predominantemente como cuerpos entrenados, educados mediante la repetición técnica y competente de movimientos específicos desde una edad temprana (sööt y viskus 2013). en contraste con este enfoque, la pedagogía de la danza en el siglo xxi pasó de centrarse en la actuación en sí misma a la conciencia de cómo uno se mueve teniendo en cuenta las características de los estudiantes (sööt y viskus 2013). se espera que los bailarines estén intrínsecamente motivados, que comprendan el significado y la finalidad de los movimientos para encontrar una expresión individual en el propio movimiento, mölders y araújo es • feldenkrais research journal, volume 7 (2023) 6 lo que plantea preguntas sobre qué habilidades son necesarias para desarrollar este nivel de autoconciencia y autorregulación. según la experiencia de la primera autora, profesora de danza y del método feldenkrais, a menudo se observa que el rendimiento de los jóvenes estudiantes de danza disminuye a lo largo de la adolescencia, no debido a una falta de compromiso o habilidad del estudiante, sino a procesos de maduración, y puede afectar significativamente a su confianza. por tanto, es necesario que el profesor de danza proporcione a los alumnos información, herramientas y oportunidades para fomentar la autoconciencia y ayudarles a comprender y gestionar los cambios y retos derivados de su etapa de desarrollo, así como las exigencias del entorno. en este sentido, es particularmente relevante prestar especial atención al proceso de aprendizaje del bailarín joven, ya que la adolescencia está marcada por numerosos cambios físicos y psicológicos con posibles repercusiones en la conciencia física y cognitiva, la motivación y la autorregulación (kimmerle y coté-laurence 2003). desde la perspectiva de la psicología del desarrollo, este periodo puede provocar cambios en la imagen corporal, el concepto de sí mismo y la conciencia corporal, que también pueden afectar al rendimiento en la danza (kimmerle y coté-laurence 2003). además, el cerebro y el sistema nervioso experimentan un desarrollo considerable durante la adolescencia, sobre todo en las regiones frontal y parietal implicadas en el funcionamiento cognitivo, el procesamiento de las emociones y el reconocimiento social (choudhury et al. 2006). esta maduración va acompañada de un desarrollo psicosocial, que incluye el desarrollo gradual de un sentido del yo y de la autonomía en relación con los demás que les rodean. por tanto, los jóvenes son especialmente susceptibles a las influencias externas, y los patrones sociales de belleza asociados a la danza pueden poner un énfasis desproporcionado en los estándares de apariencia física que entran en conflicto con las posibilidades físicas debidas a los procesos de maduración (bibiloni et al. 2013). desde una perspectiva evolutiva del aprendizaje, los jóvenes aún no han desarrollado plenamente la gama de competencias y estrategias de aprendizaje de un alumno adulto, como las habilidades perceptivas, incluidas las cinestésicas que requieren conciencia corporal, o las cognitivas complejas, como la resolución de problemas y la concentración de la atención (kimmerle y coté-laurence 2003). sin embargo, estas habilidades son necesarias para el aprendizaje de la danza y deben entrenarse desde una edad temprana. el entrenamiento de la danza requiere la capacidad de interpretar instrucciones verbales y demostraciones, y de traducirlas en representaciones mentales, al tiempo que se es consciente de la propia actuación. estas habilidades incluyen la comprensión de un objetivo o tarea, pero también la metacognición en el sentido de autorregulación y pensamiento abstracto necesarios para la solución de problemas, y también habilidades perceptivas y cognitivas que dependen de la maduración y la experiencia motriz (kimmerle y coté-laurence 2003). además, las habilidades espaciales y temporales, así como las cinestésicas, son especialmente necesarias para la orientación en el espacio, la conciencia de la posición de las extremidades y el uso eficaz de la mölders y araújo es • feldenkrais research journal, volume 7 (2023) 7 dinámica y la fuerza (kimmerle y coté-laurence 2003). por lo tanto, el uso del método feldenkrais con bailarines adolescentes puede ser de especial relevancia durante esta fase de desarrollo, llamando la atención sobre los estados internos del cuerpo, fomentando la apertura a nuevas formas de alcanzar un objetivo y el compromiso creativo con el movimiento (fortin et al. 2002; wallman-jones et al. 2022). utilizando estrategias centradas en el cuerpo, el método feldenkrais puede fomentar el disfrute y la facilidad de ejecución de un movimiento (coogan 2018-2019; kampe 2018-2019). esto contrasta con los enfoques tradicionales de la práctica de la danza, que asumen que el movimiento placentero no favorece el esfuerzo necesario en forma de presión y fuerza (coogan 2018-2019). además, la maduración del cerebro y del sistema nervioso va acompañada de un desarrollo psicosocial, así como del desarrollo de la elección de perspectiva emocional y de la eficacia en la toma de perspectiva adecuada. esto plantea la cuestión de si el método feldenkrais es propicio para este grupo de edad y si los alumnos están dispuestos a tomar conciencia de sí mismos y a disfrutar practicando dicho método. el uso de prácticas somáticas con bailarines adolescentes ha mostrado algunos resultados prometedores en términos de viabilidad, y también de efectos sobre la autorregulación de la atención y el disfrute, y, sin embargo, su investigación empírica se encuentra aún en sus primeras fases (long 2005; murray y pitches 2015; wallman-jones et al. 2022). procesos motivacionales y autorregulación en la danza la motivación está integrada en la naturaleza interpretativa de la danza; es un factor clave para mantener el compromiso y la implicación en la práctica regular, así como para regular los procesos corporales, cognitivos y sociales con el fin de alcanzar el propio potencial (lazaroff 2001; ryan y deci 2000). como propone la teoría de la autodeterminación (tad) de ryan y deci (2000), la motivación se refiere a procesos internos y características personales, pero también a factores situacionales. las prácticas de enseñanza de la danza pueden apoyar (o dificultar) la satisfacción de las necesidades psicológicas individuales necesarias para el crecimiento personal, el rendimiento y el bienestar (ryan y deci 2000). estos autores sugieren que estas necesidades psicológicas básicas son la autonomía, la competencia y la relación, y que su satisfacción fomenta la motivación intrínseca y la conducta autorregulada (ryan y deci 2000). estos temas se han investigado en la enseñanza de la danza, mostrando relaciones con la calidad del rendimiento y el bienestar (por ejemplo, quested y duda 2010; hancox et al. 2017). la autonomía se refiere a la sensación de que los comportamientos son autoiniciados o autodirigidos, y cuando se cuenta con el apoyo de los profesores, al valorar las perspectivas de los alumnos, fomentar la resolución de problemas y ofrecer opciones, la autonomía puede fomentar el compromiso y el bienestar (brodie y lobel 2004; jowett et al. 2016; quested y duda 2010). el sentimiento de competencia se fomenta cuando las personas se sienten capaces de responder a los retos del entorno (ryan y deci 2000), lo cual puede propiciarse si los profesores animan y hacen hincapié en el autodesarrollo y el progreso personal. la relación se refiere al sentido de pertenencia y conexión social, y también a la conexión con las mölders y araújo es • feldenkrais research journal, volume 7 (2023) 8 experiencias propias (isen y reeve 2005). el método feldenkrais se centra en guiar a los individuos a través de comportamientos autoiniciados desarrollando un sentido de competencia corporal, y cuando se imparte mediante lecciones en grupo, pueden satisfacerse las tres necesidades psicológicas básicas, por lo que se puede fomentar la motivación intrínseca. otra consideración relevante es la cantidad de opciones que influyen en el clima motivacional y la motivación del alumno en la relación entre él y el profesor (morgan et al. 2005). según el espectro de los estilos de enseñanza (mosston y ashworth 1990), las estrategias de enseñanza pueden ir desde un estilo no autónomo y regulado externamente hasta un estilo totalmente autónomo y autorregulado a través de varias etapas. un estilo de descubrimiento guiado (es decir, el profesor utiliza preguntas, los alumnos encuentran una solución por sí mismos) es beneficioso para el dominio y las respuestas cognitivas y afectivas adaptativas. esto está en consonancia con el enfoque del método feldenkrais, en el que las clases se imparten de forma autónoma y orientada al descubrimiento, guiando la atención y la conciencia del alumno para que pueda encontrar por sí mismo soluciones individuales, a diferencia de los enfoques tradicionales de enseñanza que tienden a centrarse en soluciones predeterminadas (hillier y worley 2015). desarrollar a los bailarines como agentes de su propio aprendizaje implica un aprendizaje autorregulado, definido como un proceso activo y constructivo en el que los alumnos establecen sus propios objetivos, supervisan su aprendizaje y aplican estrategias conductuales, motivacionales y metacognitivas para controlar su entorno, sus motivos y sus cogniciones (ocak y yamac 2013; smit et al. 2017). el método feldenkrais se ocupa de los procesos de autorregulación, como el reconocimiento de problemas, la motivación, la adquisición y aplicación de habilidades, el mantenimiento del proceso y la transferencia de habilidades (crews et al. 2001, citado en ives 2003). en el método feldenkrais la autorregulación se entiende como un proceso enfocado en observar, examinar y comprender cómo conseguir el objetivo de forma lúdica, más que en el objetivo en sí mismo (crews et al. 2001, citado en ives 2003). en el presente estudio, se seleccionaron las lecciones de autoconciencia a través del movimiento del método feldenkrais para fomentar los procesos de autorregulación relacionados con la enseñanza de la danza, como reducir el esfuerzo para aumentar la flexibilidad en las articulaciones de la cadera mientras se mueven las piernas, o centrarse en los procesos de atención para aumentar la flexibilidad en la espalda. aunque todavía se está investigando la eficacia del método feldenkrais para producir cambios en el rendimiento motor, están bien reconocidos sus beneficios en cuanto a la mejora de la autorregulación, la motivación y la autoconciencia y el potencial para facilitar la competencia percibida (ives 2003; stephens y hillier 2020). pandemia covid-19 la pandemia covid-19 sigue siendo una situación novedosa, y sus efectos negativos sobre la salud mental y las experiencias de aprendizaje de los jóvenes, como consecuencia de medidas mölders y araújo es • feldenkrais research journal, volume 7 (2023) 9 de protección como el confinamiento, ya se han constatado en todo el mundo (al omari et al. 2020; jones et al. 2021; stubbe et al. 2021). como profesoras en contextos de danza, observamos tendencias similares a las descritas en la bibliografía, como una menor sensación de competencia, altos niveles de ansiedad, depresión y trastornos alimentarios. esta situación se manifiesta en cambios de comportamiento e incluso ausentismo debido a hospitalización reportada por los padres, lo que afecta al proceso de aprendizaje. las alumnas parecen más tensas, tienen dificultades para concentrarse y se rinden más rápidamente si no pueden realizar un paso de baile inmediatamente. tanto la vulnerabilidad durante la adolescencia como la exposición a la adversidad son factores de alto riesgo que pueden influir en el comportamiento y las emociones de los jóvenes (niwa et al. 2016). las experiencias negativas pueden afectar al equilibrio homeostático, pero cuando los individuos gestionan con éxito situaciones de adversidad significativa y se adaptan positivamente al entorno, se vuelven más resilientes (sarkar y fletcher 2014; morgan et al 2013). aunque no podemos establecer los beneficios del método feldenkrais para mitigar los efectos de la pandemia, la investigación ha demostrado sus efectos en la reducción de la ansiedad causada por experiencias pasadas o expectativas negativas sobre el futuro (fonow et al. 2017), en el aumento del disfrute y en la reducción de la comparación social (wallman-jones et al. 2022), lo que sugiere su potencial efecto protector frente a la adversidad. además, desarrollar la capacidad de modular eficazmente el propio comportamiento (autorregulación) y aumentar la conciencia de las condiciones que causan limitaciones y prejuicios, puede ser un primer paso para superarlos (vago y silbersweig 2012). en este contexto, reconocimos en las conclusiones el impacto potencial de la pandemia de covid-19 y las medidas de confinamiento vigentes en el momento del estudio, y también exploramos el potencial apoyo para los jóvenes frente a los efectos negativos de la pandemia (niwa et al. 2016). en resumen, este proyecto investigó el efecto de una intervención de diez semanas con el método feldenkrais sobre la motivación intrínseca de adolescentes en términos de disfrute, competencia, elección y sensación de presión o tensión, así como los efectos sobre la autorregulación en términos de capacidad para regular los procesos internos. exploramos hasta qué punto el aprendizaje independiente y consciente y la exploración del movimiento, facilitados por el método feldenkrais, son apropiados para que jóvenes estudiantes de danza refuercen sus procesos motivacionales y de autorregulación, teniendo en cuenta las exigencias de la enseñanza de la danza, su etapa de desarrollo y la influencia de la pandemia covid-19. metodología diseño de la investigación realizamos un estudio de caso exploratorio en una academia de danza privada en alemania, de diciembre de 2020 a febrero de 2021, durante la pandemia de covid-19. en el momento de mölders y araújo es • feldenkrais research journal, volume 7 (2023) 10 la obtención de datos y de la intervención, alemania se encontraba bajo un confinamiento total que hizo necesaria la realización del proyecto en un entorno virtual. la primera autora dirigió el proyecto y también impartió clases del método feldenkrais así como clases de danza a los participantes en este estudio, basándose en más de 30 años de experiencia como profesora de danza y 20 años de experiencia como profesora del método feldenkrais. la segunda autora es psicóloga de formación e investigadora en ciencias de la danza y participó como asesora de la investigación. no se realizaron ejercicios del método feldenkrais en las clases de danza, pero se incorporaron algunos principios del método feldenkrais, como el garantizar un clima de enseñanza apreciativo y positivo, ya que el trabajo como docente del método feldenkrais influye en la forma de enseñar, lo cual no puede separarse. el grupo experimental participó en un programa del método feldenkrais de 10 semanas de duración, con una lección del método feldenkrais ofrecida junto con el entrenamiento de danza, una vez a la semana, mientras que el grupo control no recibió lecciones del método feldenkrais. se hicieron mediciones cualitativas y cuantitativas dentro de un marco de investigación-acción para captar la dinámica y los matices de la experiencia en su contexto (barcelona 2020; prevots 2009). el objetivo era garantizar la calidad y el significado del proceso de investigación sistemática ampliando el conocimiento teórico y mejorando la práctica, promoviendo así la participación y la reflexión de los investigadores y los participantes, centrándose en la mejora de las condiciones de enseñanza y aprendizaje. se emplearon procedimientos de confiabilidad a través de diferentes formas de recopilación de datos, análisis de contenido, elaboración de informes y debate. en cuanto a la obtención de datos, se proporcionaron detalles precisos del método de muestreo y descripciones de los participantes (elo et al. 2014). se explicó detalladamente el proyecto de investigación a las alumnas y a sus padres. se les informó sobre la confidencialidad, la seguridad, la participación voluntaria y la posibilidad de retirarse sin consecuencias. los padres dieron su consentimiento por escrito para que sus hijas participaran, de la misma manera en que las alumnas también dieron su consentimiento por escrito para participar. el comité de ética de trinity reaserch laban aprobó este proyecto de investigación. no se previeron problemas éticos importantes. participantes en este estudio participó una muestra de 20 mujeres adolescentes estudiantes de danza recreativa, reclutadas en la escuela de danza. todas las participantes recibían clases de ballet o danza callejera una vez a la semana y tenían poca o ninguna experiencia con el método feldenkrais. no participaron en clases de danza adicionales durante la intervención. los criterios de selección incluían lo siguiente: (a) tener entre 12 y 18 años, (b) tener experiencia regular en danza, y (c) estar interesadas en participar en el proyecto de investigación. las mölders y araújo es • feldenkrais research journal, volume 7 (2023) 11 alumnas se distribuyeron de forma equilibrada y aleatoria en un grupo experimental (n=10) y otro de control (n=10). al grupo experimental se le pidió que participara en clases colectivas de una hora semanal del método feldenkrais (autoconciencia a través del movimiento) durante un periodo de diez semanas, junto con su clase de danza habitual. el grupo control no participó en las clases del método feldenkrais ni en alguna clase adicional aparte de su horario habitual de danza. intervención con el método feldenkrais para este estudio, se seleccionaron lecciones del material de alexander yanai (ay) (feldenkrais 1994-2004), que son registros originales de moshe feldenkrais, desde principios de la década de 1950 hasta finales de la década de 1970. se eligieron temas relacionados con el entrenamiento de la danza, como la extensión de las piernas y la flexibilidad de las articulaciones de la cadera, y que están relacionados con los objetivos principales del estudio, como la mejora de los procesos de conciencia y autorregulación (véase la tabla 1). esto debería ayudar a las alumnas a acceder al método encontrando conexiones con sus movimientos de danza, descubriendo cómo realizar los movimientos con eficacia y comodidad, y mejorando de esta manera. todas las lecciones de autoconciencia a través del movimiento hacen uso de varios principios del buen movimiento y de estrategias de aprendizaje, y en esta investigación cada lección hizo hincapié en uno de los siguientes principios del método feldenkrais (klinkenberg 2006) (ver tabla 1): reducción del esfuerzo; autocuestionamiento; novedad en la repetición, atención y variación; imágenes; descanso, pausa, reversibilidad y restricciones. tabla 1 descripción de las lecciones del método feldenkrais tema de la lección descripción enfoque 1.círculos con las piernas. (ay 199) � reducir el esfuerzo sostener el pie, hacer círculos con la pierna en diferentes posiciones flexibilidad en las articulaciones de la cadera 2. de lado, levantar la pierna y enderezarla (ay 101) � autocuestionamie nto recostarse de lado: sostener el pie, levantar y estirar la pierna hacia el techo. flexibilidad en las articulaciones de la cadera, enderezamiento de la pierna mölders y araújo es • feldenkrais research journal, volume 7 (2023) 12 3. lanzar al aire partes del cuerpo (ay 168) � novedad en la repetición recostarse boca arriba, lanzar y dejar caer las manos, la cabeza, las piernas, los brazos, los hombros liberación de la tensión, relajación 4. balancear al levantar la cabeza hacia la posición sentada (ay 102) � novedad en la atención levantar la cabeza, para sentarse y rodar flexibilidad en la espalda 5. torcer y flexionar al sentarse (ay 119) � novedad en la variación inclinarse hacia delante y hacia un lado en el asiento a horcajadas, con las piernas abiertas flexibilidad en las articulaciones de la espalda y la cadera 6. hacer un círculo completo con el balanceo de piernas (ay 108) � imaginación balancear una pierna en diferentes posiciones flexibilidad en las articulaciones de la cadera 7. de lado, flexibilizar la columna vertebral (ay 206) � descanso acostarse de lado; flexionar lateralmente y levantar la cabeza, alargando el brazo flexibilidad de la columna y la espalda 8. con los brazos hacia delante; girar los brazos (ay 113) sentarse y girar a derecha e izquierda flexibilidad del torso mölders y araújo es • feldenkrais research journal, volume 7 (2023) 13 � pausa 9. girar la espalda y la pelvis con los codos y las piernas (ay 137) � reversibilidad pasar de decúbito prono a decúbito supino flexibilidad de la columna y la espalda 10. pintar con las plantas de los pies (ay 111) � limitaciones mover los pies en el piso mientras se está tumbado boca arriba, explorando la amplitud en las articulaciones de la cadera flexibilidad en las articulaciones de la cadera nota: ay se refiere al material de alexander yanai, registros originales de la enseñanza pública de moshe feldenkrais (feldenkrais 1994-2004). durante las clases, se animó con frecuencia a los participantes a reflexionar y a tomar decisiones sobre su forma de moverse, aumentando así la toma de conciencia. el profesor formula las siguientes preguntas como estrategia recurrente (coogan 2016; kampe 2016): ● ¿el movimiento es fácil y fluido? ● ¿puedes cuidarte mientras realizas los movimientos? ● ¿cuántas partes del cuerpo intervienen en el movimiento? ● ¿puedes respirar libremente mientras realizas el movimiento? ● ¿puedes encontrar la forma más eficaz de moverte? ● ¿este movimiento te favorece, es bueno para ti? ● ¿cómo puedes aplicar la toma de decisiones a la vida cotidiana? para el grupo experimental, se obtuvieron datos cualitativos basados en dibujos, declaraciones individuales y comentarios sobre las lecciones, y datos cuantitativos basados en cuestionarios (véase la tabla 2). tres meses después de finalizar la intervención, se volvió a entrevistar a los participantes del grupo experimental para determinar cualquier cambio en sus experiencias y percepciones de la intervención. para el grupo control, solo se recogieron datos cuantitativos mölders y araújo es • feldenkrais research journal, volume 7 (2023) 14 basados en cuestionarios al mismo tiempo que para el grupo de intervención (ver medidas). tabla 2 esquema del calendario de recolección de datos a lo largo de las 10 semanas de intervención del método feldenkrais cronología actividad medidas aplicadas para la recolección de datos antes de la intervención solo pruebas cuestionarios, dibujos semanas 1-10 lecciones del método feldenkrais además de clases de danza retroalimentación después de cada lección punto medio después de 5 semanas dibujos y declaraciones individuales una semana después de la intervención solo pruebas cuestionarios, dibujos, declaraciones individuales seguimiento 3 meses después de la intervención solo pruebas entrevistas debido a las restricciones del confinamiento, el proyecto se realizó en línea, y las participantes recibieron un enlace web por correo electrónico para unirse virtualmente a las lecciones del método feldenkrais. se les pidió que encendieran la cámara y que interrumpieran si querían hacer alguna pregunta. las clases de danza también se impartieron en línea; esto supuso una mayor limitación para las clases de danza que para las clases del método feldenkrais, ya que las lecciones del método feldenkrais suelen impartirse sobre una colchoneta y las instrucciones son verbales, sin demostración, para que los alumnos puedan descubrir la forma óptima de moverse, en lugar de imitar al profesor o a los demás alumnos de la clase. sin embargo, la enseñanza en línea planteaba algunos retos. exigía que las participantes estuvieran familiarizadas con el uso de la tecnología y tuvieran acceso a equipos electrónicos (ordenador, tableta) para participar en las clases. también reducía la naturaleza multimodal de la enseñanza somática a un nivel más bidimensional y restringía considerablemente la comunicación. como las participantes ya tenían experiencia en el uso de herramientas de videoconferencia a través de la educación en casa y las clases de danza en línea durante el primer confinamiento de la primavera de 2020, estaban acostumbradas a trabajar virtualmente. sin embargo, como el método era desconocido para las alumnas, supuso una dificultad añadida. la primera autora y profesora del método feldenkrais no estaba segura de poder transmitir la idea de este método y la satisfacción de hacerlo en un formato en línea. el intercambio de datos cualitativos (imágenes, declaraciones individuales) y cuantitativos (cuestionarios) se realizó por correo electrónico, y las reacciones tras cada lección se mölders y araújo es • feldenkrais research journal, volume 7 (2023) 15 intercambiaron verbalmente directamente después de la sesión y fueron anotadas por la primera autora. mediciones las participantes de ambos grupos completaron el inventario de motivación intrínseca (imi, mcauley et al. 1989) y la evaluación multidimensional de la conciencia interoceptiva (maia, mehling et al. 2012). se utilizó el inventario de motivación intrínseca (mcauley et al. 1989) para medir la experiencia subjetiva de las participantes respecto de la actividad de danza. en el presente estudio, se utilizaron cuatro de las seis subescalas originales debido a la proximidad de los conceptos motivacionales con los principios del método feldenkrais y para reducir la fatiga de contestar el cuestionario. se pidió a los participantes que se refirieran a su motivación en relación con las clases de danza: interés/disfrute (p. ej., "disfruto mucho haciendo esta actividad"), competencia percibida (p. ej., "creo que soy bastante buena en esta actividad"), elección percibida (p. ej., "creo que tuve la oportunidad de elegir sobre hacer esta actividad") y sensación de presión/tensión (p. ej., "no me sentí nerviosa en absoluto mientras hacía esto"). las participantes respondieron a una escala de likert que iba de 1 (nada cierto) a 7 (muy cierto); las puntuaciones más altas mostraban un mayor interés, competencia, capacidad de elección y menor sensación de presión/tensión. se evaluó la conciencia corporal para explorar aspectos de la autorregulación y la sensibilidad interoceptiva subjetiva, utilizando la versión alemana de la evaluación multidimensional de la conciencia interoceptiva (maia) validada por mehling et al. (2018). las seis subescalas son conciencia/percepción (p. ej., "me doy cuenta de que mi cuerpo me incomoda"), no distracción (p. ej., "me abstraigo de las sensaciones desagradables"), regulación de la atención (p. ej., "puedo notar una sensación corporal desagradable sin preocuparme por ella"), autorregulación (p. ej., "puedo volver a centrarme en mi cuerpo sin preocuparme por él"), escucha corporal (p. ej., "escucho la información que me da mi cuerpo sobre mi estado emocional") y confianza (p. ej., "siento que mi cuerpo es un lugar seguro"). las respuestas se dieron en una escala de likert de 0 (nunca) a 5 (siempre), y las puntuaciones más altas mostraban una mayor conciencia interoceptiva y una menor distracción ante las sensaciones desagradables. análisis estadístico se utilizaron datos cuantitativos con base en dos cuestionarios, utilizados en ambos grupos para evaluar el impacto de la intervención en la conciencia corporal y para explorar la motivación para bailar, que se rellenaron antes y después de la intervención. las respuestas al inventario de motivación intrínseca (imi, mcauley et al. 1989) y a la evaluación multidimensional de la conciencia interoceptiva (maia, mehling et al. 2012) recibieron una puntuación y se analizaron mediante el programa informático spss (2020). la mölders y araújo es • feldenkrais research journal, volume 7 (2023) 16 puntuación total y la puntuación media se calcularon por separado para cada subescala de ambos cuestionarios, tal como sugieren los autores originales. se evaluaron los datos demográficos (edad m+ de, es decir, edad promedio + desviación estándar) del grupo experimental (n=10) y del grupo de control (n=10) antes de la intervención. el nivel alfa crítico o “nivel de significancia”, se fijó en 0.05 para todos los análisis. se realizó un análisis exploratorio para determinar la distribución normal de los datos (pruebas de kolmogorov-smirnov y shapiro-wilk). se utilizaron estadísticas post hoc (a posteriori) para compensar el pequeño tamaño de la muestra. antes de la intervención, se realizó una prueba t independiente de los datos de referencia para determinar si existía una diferencia estadística entre las medias de los dos grupos (homogeneidad). los resultados del grupo experimental se compararon con los resultados del grupo control para determinar si los posibles efectos se debían a la intervención del método feldenkrais. la comparación intra grupos y entre grupos se calculó mediante las pruebas paramétricas adecuadas. se realizó un análisis de varianza mixto entre sujetos con dos niveles (pre, post) y los dos grupos. este anova mixto de dos vías permitió evaluar si existe un efecto principal para el grupo, un efecto principal para el tiempo (pre-post) y/o un efecto de interacción entre el grupo y el tiempo, es decir, evaluar si la influencia del tiempo incluyendo una intervención (grupo experimental), o el paso del tiempo sin intervención (grupo control) depende del grupo, y abarca todas las variables independientes. se recogieron datos cualitativos para captar las experiencias de las alumnas con la intervención (dreyfus 1991). el método basado en el arte, que utiliza dibujos, además de la expresión escrita, puede ser útil para fomentar la expresión, captar la atención y resultar agradable para los jóvenes (flanagan et al. 2015), siendo una alternativa a los procesos convencionales de indagación y más apropiado para los jóvenes (knowles y cole 2008). se obtuvieron declaraciones verbales de las participantes en relación con el programa y determinadas lecciones, y posteriormente se utilizó el análisis temático con un enfoque de nivel semántico para estos textos (braun y clarke 2006). el resultado fue un marco de códigos y temas creados inductivamente, organizados por categorías consultadas en la literatura y fundamentados en un marco fenomenológico. este enfoque trata de explorar los fenómenos que se presentan a una persona que los experimenta (dreyfus 1991), valorando las experiencias e interpretaciones de las participantes. los dibujos se analizaron identificando temas emergentes, categorizándolos y buscando así posibles explicaciones y patrones. además de los marcos teóricos abordados anteriormente en este documento, también nos basamos en el modelo perma de bienestar (seligman 2011) para captar las experiencias emocionales y motivacionales que surgieron en el análisis cualitativo en términos de percepción, crecimiento y felicidad (kern et al. 2015). el modelo perma se basa en la psicología positiva, que aborda factores de fortaleza humana como el optimismo, el flujo y la resiliencia, y puede aplicarse a muchas situaciones para explicar las experiencias individuales de disfrute y salud mental. perma hace referencia a cinco componentes: emociones positivas, mölders y araújo es • feldenkrais research journal, volume 7 (2023) 17 compromiso, relaciones positivas, significado y realización, que proporcionan un enfoque multidimensional para evaluar las dimensiones del bienestar. estos factores y procesos afectan al funcionamiento humano óptimo, por ejemplo, en términos de educación, perspicacia, crecimiento y felicidad (kun et al. 2016). en el análisis de las declaraciones, se optó por centrarse en tres de las cinco dimensiones originales del modelo perma de bienestar, debido a su relevancia para captar la experiencia en las clases: (a) emociones positivas (sentimientos de felicidad y alegría que motivan y aumentan el rendimiento y la salud física y crean optimismo), (b) compromiso (compromiso con una actividad, que puede llevar a una sensación de "fluidez") y (c) logro (acción productiva y significativa, avanzar hacia un objetivo, satisfacción con uno mismo) (kun et al. 2016). los participantes sabían que sus datos eran anónimos y confidenciales, y participaron abierta y voluntariamente en los distintos métodos de obtención de datos. resultados datos cuantitativos características de los participantes la edad de los estudiantes de danza oscilaba entre los 12 y los 18 años (grupo experimental, edad m =14.80, de =1.81; grupo control, edad m =14.50, de = 2.06). solo se encontraron dos diferencias estadísticamente significativas entre los grupos antes y después de la intervención. para el inventario de motivación intrínseca, hubo un aumento de las puntuaciones de presión/tensión sentida en ambos grupos tras la intervención (el promedio de puntuaciones del ge antes de la intervención fue de 2.60, y de 2.12 después de la intervención, el promedio del gc antes de la intervención fue de 2.94, y de 2.34 después de la intervención, con (p = 0.03) (es decir, con una probabilidad muy baja de experimentar una sensación de mayor tensión y presión tras la intervención). solo se observó una mejora estadísticamente significativa tras la intervención en la evaluación multidimensional de la conciencia interoceptiva para ambos grupos. esta se produjo en la escala de no distracción del (promedio del ge antes de intervención = 2.06, y un promedio = 3.00 después de la intervención, el promedio del cg antes de la intervención fue de 1.83, y de 2.83 después de la intervención) (p = 0.000), con una probabilidad prácticamente nula de error (es decir, las participantes se distraían menos con sensaciones desagradables y se centraban mejor en sí mismas) y estaba relacionada con la actividad de danza (véase la tabla 3). en cuanto a la conciencia interoceptiva, se observaron mejoras no significativas estadísticamente en el grupo experimental en la toma de conciencia, la regulación de la atención, la autorregulación y el darse cuenta del cuerpo, pero no en el grupo control. se observó una disminución de la confianza en la experiencia corporal en ambos grupos tras la mölders y araújo es • feldenkrais research journal, volume 7 (2023) 18 intervención. tabla 3 estadística descriptiva. anova mixto de dos vías antes y después de la prueba. *indica un cambio estadísticamente significativo p = < .05 variable grupo experimental grupo control media desviación estándar media desviación estándar imi1 interés pre 6.41 0.43 5.52 1.39 post 5.85 0.99 5.70 0.71 imi2 competencia pre 4.70 1.40 4.83 0.93 post 4.95 1.00 4.86 0.68 imi3 elección pre 5.68 1.03 5.40 1.17 post 5.02 1.07 5.38 0.81 imi4 tensión* pre 2.60 1.20 2.94 1.32 post 2.12 0.73 2.34 0.75 maia1 conciencia pre 4.77 1.07 4.72 0.63 post 4.95 0.83 4.40 0.52 maia2 no-distracción* pre 2.06 1.05 1.83 0.50 post 3.00 0.78 2.83 0.59 maia3 atención-regulación pre 3.90 0.75 3.64 0.49 post 4.07 0.69 3.67 0.58 maia 4 autorregulación pre 3.57 1.50 3.77 0.96 post 4.00 1.22 3.10 1.05 maia5 escucha pre 3.76 1.28 3.53 0.99 post 4.16 1.10 3.23 0.75 maia6 confianza pre 4.63 1.50 5.00 0.60 post 4.30 1.44 4.80 0.74 nota: imi (inventario de motivación intrínseca): las respuestas se dieron en una escala que iba de 1 (nada cierto) a 7 (muy cierto). maia (evaluación multidimensional de la conciencia mölders y araújo es • feldenkrais research journal, volume 7 (2023) 19 interoceptiva): las respuestas se dieron en una escala que iba de 0 (nunca) a 5 (siempre). discusión de los datos cuantitativos en el inventario de motivación intrínseca se observó una tendencia a la disminución en el grupo experimental, mientras que las puntuaciones del grupo control se mantuvieron más o menos iguales. estos resultados parecen sugerir que las alumnas del grupo experimental mostraron menos interés por la actividad de danza. esto podría indicar una mayor conciencia del cambio de las condiciones de aprendizaje en las clases de danza en línea, así como menos oportunidades de elegir, poco espacio, ausencia de coreografías y menos comunicación, lo que daría lugar a percepciones más precisas, o podría deberse a otros factores no explorados. en cuanto a la conciencia corporal (maia), se observó una tendencia a la mejora en el grupo experimental, mientras que el grupo control mostró una disminución o las mismas puntuaciones. esto puede indicar una tendencia debido al impacto positivo en el aumento de la autoconciencia como resultado de la participación en las clases del método feldenkrais. tanto el grupo experimental como el grupo control registraron puntuaciones elevadas en la línea base, en las escalas de motivación intrínseca (imi) de interés y elección, y puntuaciones elevadas en la evaluación multidimensional de la conciencia corporal interoceptiva (maia) de conciencia y confianza. se plantea la cuestión de si la motivación y la autoconciencia ya elevadas al principio pueden aumentar aún más en las condiciones difíciles de las clases de danza en línea. las puntuaciones de presión sentida/tensión y no-distracción eran más bajas al principio de la intervención (las puntuaciones más bajas significan resultados más altos), lo que indica aumentos en la presión sentida/tensión alta. esto puede sugerir que los participantes estaban desarrollando una mayor autoconciencia de las emociones desagradables y afrontándolas durante este periodo de tiempo. este resultado sugiere que puede ser útil utilizar una medida de la conciencia corporal en futuras investigaciones, sobre todo porque es probable que la importante circunstancia de la pandemia de covid-19 y los confinamientos asociados hayan afectado estos resultados de forma impredecible. los resultados cuantitativos ofrecen algunas ideas sobre el potencial del método feldenkrais para desarrollar la conciencia interoceptiva y el impacto de las situaciones ambientales adversas en la motivación, que requieren una mayor exploración mediante diseños experimentales más sólidos. la pandemia representa una variable extraña importante para este estudio, y puede ser valioso emprender un estudio similar en circunstancias diferentes. datos cualitativos – solo grupo experimental satisfacción los datos cualitativos mostraron que estas jóvenes estudiantes de danza de ambos grupos tenían altos niveles de disfrute y de elección percibida en las clases de danza, especialmente mölders y araújo es • feldenkrais research journal, volume 7 (2023) 20 antes de la intervención. dibujos se pidió a las participantes que hicieran un dibujo que expresara su estado de ánimo al principio, a la mitad y al final de la intervención (véase el apéndice a). utilizaron colores, imágenes realistas y metáforas para expresarse. con base en nuestra investigación (knowles y cole 2008: 59-61), opinamos que los dibujos parecen mostrar una evolución positiva durante el programa. una alumna (participante 1, tabla 4), por ejemplo, eligió colores oscuros al principio y colores más claros a medida que avanzaba el proyecto, lo que sugería un estado de ánimo más positivo. en su primer dibujo eligió la metáfora de un sol cerrado, más tarde las hojas de colores cubrieron dos tercios del dibujo y luego pintó rizos en colores claros. tabla 4 ejemplo de utilización de los colores (antes/ a la mitad/ después de la intervención) para expresar experiencias participante 1. participante pre intervención a la mitad post intervención 1 otra alumna (participante 2, tabla 5) se expresó de forma realista y dibujó la cara de una chica, presumiblemente como autorretrato, al principio con expresión enfadada y de espaldas al espectador, más tarde con una mirada hacia el espectador y al final con una mirada más suave y abierta y una pequeña sonrisa, lo que indica progresión hacia un estado de ánimo más positivo. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 21 tabla 5 ejemplos de dibujos realistas (antes/ a la mitad/ después de la intervención) para expresar experiencias participante 2. participante pre intervención a la mitad post intervención 2 una tercera alumna (participante 3, tabla 6) utilizó principalmente metáforas, primero con colores oscuros y más claros hacia el final del estudio. antes de la intervención, dibujó a una bailarina de pie sobre el borde de una jarra. a mitad del camino dibujó una batidora de huevos, lo que puede sugerir su intención de describir sus experiencias "mixtas". al final, utilizó la metáfora de una vela encendida con una bailarina sobre ella, lo que quizá indicara un estado mental más tranquilo y satisfecho. tabla 6 ejemplos de metáforas (antes/ a la mitad/ después de la intervención) para expresar experiencias participante 3. participante pre intervención a la mitad post intervención 3 en general, las principales metáforas utilizadas al principio del estudio daban la impresión de mölders y araújo es • feldenkrais research journal, volume 7 (2023) 22 inseguridad, falta de apoyo, impotencia o insatisfacción. esto transmitía un estado de ánimo más bien negativo al principio de la intervención y puede haber reflejado el impacto de la pandemia de covid-19 en aquel momento. a la mitad, la impresión principal era de reflexión y confusión; el estado de ánimo era indeciso y reflexivo, lo que podría indicar el intento de comprender y comprometerse con el método. tras la intervención, los dibujos dieron una impresión cada vez más positiva, con algunos indicios de satisfacción y alegría (tabla 7). tabla 7 categorías emergentes, temas y expresiones en el análisis de dibujos categorías temas expresión 1. pre: sentimientos negativos inseguridad, impotencia, falta de apoyo, insatisfacción pila medio vacía, cara enfadada, bailarina al borde, signo de interrogación, líneas onduladas, colores oscuros 2. a la mitad: proceso de reflexión reflexión, indecisión, confusión batidora, rompecabezas, olas, cara pensativa, colores oscuros combinados con colores más vivos 3. post: estado de ánimo positivo satisfacción, felicidad sol, flores, vela, sonrisa, bailarina, espirales, colores vivos en conclusión, podría interpretarse que los dibujos expresaban un movimiento hacia una mayor satisfacción, un estado de ánimo más positivo y reflejaban el alto compromiso de los alumnos. declaraciones individuales escritas a la mitad y al final de la intervención se preguntó a las alumnas "¿cuál fue tu experiencia en las lecciones?". las participantes escribieron sus respuestas y las enviaron por correo electrónico (véase el apéndice b). es decir, estos informes no eran anónimos, y pueden haber estado sujetos a deseos de agradar a la profesora-investigadora. los informes individuales desde la mitad hasta el final de la intervención mostraron un claro progreso en la comprensión del método y el compromiso con las lecciones. la primera autora dirigió el proceso de análisis consultando con la segunda autora, y utilizó bibliografía sobre codificación (knowles y cole, 2008, capítulo 5). además de tres de las cinco dimensiones originales del modelo perma de bienestar (seligman, 2011) emociones positivas, compromiso y realización-, se incluyó un cuarto tema: sentimientos y experiencias negativas (mentales y físicas), para considerar los aspectos negativos de su experiencia mölders y araújo es • feldenkrais research journal, volume 7 (2023) 23 comunicados por las alumnas (tabla 8). tabla 8 categorías basadas en el modelo perma, temas y códigos tras la intervención categorías temas descripciones basadas en códigos 1. emociones positivas estado mental mejorado mucha más tranquilidad. baja del estrés escolar. disfrute, relajación. 2. compromiso reconocimiento de la eficacia y las ventajas del método manejo del contenido buena experiencia. muy interesante lo diferente que se siente el cuerpo. enriquecedor, siempre hay algo nuevo. me doy cuenta de cuántas partes del cuerpo necesitamos en realidad. 3. logro conciencia resultado productivo/mejora transferencia a la vida cotidiana satisfacción tengo más paciencia conmigo misma. intento aplicar las ideas básicas en la vida cotidiana. siempre nuevas experiencias. he aprendido muchas cosas nuevas. las nuevas experiencias están ahora en mi cabeza; puedo utilizarlas, me ayudan. he aprendido lo mucho que puedo hacer por mí misma en poco tiempo. he aprendido algo útil sin presiones ni expectativas. puedo controlar mejor mi postura y mi respiración. 4. sentimientos negativos efecto negativo no es para mí, no encuentro tiempo para relajarme. a mitad de la intervención, las participantes describieron una mejora de su estado mental y empezaron a reconocer los beneficios del método. eran conscientes de los cambios que se producían, se interesaban por las nuevas sensaciones y movimientos, y estaban satisfechas mölders y araújo es • feldenkrais research journal, volume 7 (2023) 24 con el resultado al final de la lección. también manifestaron sentirse cansadas durante las clases. se encontraron temas similares al final de la intervención. las alumnas apreciaron la mejora de su estado mental e informaron de los beneficios percibidos de forma más diferenciada. parecían reconocer cómo funcionaba el método e intentaban aplicar los principios en su vida cotidiana (por ejemplo: "tengo más paciencia conmigo misma", "las nuevas experiencias están ahora en mi cabeza; puedo utilizarlas, me ayudan"). la mayoría de las alumnas realizaron los movimientos sin sentir agotamiento; solo una alumna informó que no podía relajarse. la principal diferencia en relación con el momento medio del estudio fue que las alumnas parecían más seguras y familiarizadas en la aplicación del método y en transferirlo a las rutinas diarias después de las lecciones del método feldenkrais. en general, las experiencias de las alumnas mostraron una mejora de las emociones positivas y del compromiso, así como una mejora considerable de la realización basada en el aumento de la autoconciencia (véase la figura 1). sin embargo, también informaron de sentimientos negativos como el agotamiento, pero estos disminuyeron en el transcurso de la intervención. figure 1 evolución desde el momento medio hasta después de la intervención. comentarios de las participantes sobre las lecciones al final de cada lección de autoconciencia a través del movimiento del método feldenkrais, se pidió a las participantes individualmente una breve opinión verbal sobre su experiencia en la clase. de este modo, se pudo captar la impresión directa de las lecciones y las participantes tuvieron la oportunidad de reflexionar sobre sus propias experiencias, así como de conocer las mölders y araújo es • feldenkrais research journal, volume 7 (2023) 25 de sus compañeras. la profesora escribió las afirmaciones con bolígrafo y papel y llevó un diario de investigación. los comentarios sobre las lecciones ofrecieron una visión más diferenciada de cómo se vivieron las clases, cómo afrontaron las alumnas los problemas y cómo mejoraron a lo largo de la intervención. una alumna manifestó una amplia gama de sentimientos que cambiaron en el transcurso de la intervención. otra alumna no sabía cómo realizar el movimiento al principio de las lecciones y más tarde calificó la clase como su favorita. otra alumna describió con detalle cómo las lecciones le permitieron hacer frente a sentimientos negativos y los beneficios que sintió (tabla 9). tabla 9 asuntos, estrategias y resultados: retroalimentación de los participantes asuntos estrategia resultados – agotamiento – no sabe cómo moverse – mareos – malestar – dificultades para comprender – sin placer – extenuante – problemas de columna/espalda – no lo he entendido bien – a veces lo he entendido, a veces no – difícil de entender – los movimientos no me parecían naturales – pensaba demasiado – retroalimentación útil. varios descansos – me cuidé – me rompí la espalda, lo cual fue bueno – seguí adelante – hice lo mejor que pude – tomé más descansos – lo hice como pensaba – disfruté de los descansos y perseveré, tenía curiosidad – lo hice a mi manera – me acostumbré sin pensar que funcionaba mejor – sentí mucho, lo hice bien – más fácil de mover, agradable – más cómoda – desaparecieron los mareos – lección favorita – mejor acostada – ligera, mejor giro – mi espalda se adaptó al piso – muchos cambios – completamente caliente, relajada – fue mejor al final – fue bien, mucho mejor – me sentí diferente, no sé por qué en resumen, la retroalimentación sobre las lecciones mostró que todas las alumnas tuvieron muchas experiencias positivas (por ejemplo, "completamente lista", "relajada") y se sintieron realizadas durante la lección, pero también se enfrentaron a algunas dificultades y retos durante la intervención ("difícil de entender"). a veces, la ejecución de un movimiento era poco clara o desagradable, por ejemplo debido a problemas de columna. al final del estudio, muchas parecían superar mejor las dificultades ("mi espalda se adaptó al piso"). las estrategias de adaptación que encontraron estaban relacionadas con el autocuidado, la búsqueda de soluciones creativas y la conducta orientada a la tarea. por ejemplo, las alumnas parecían ser más proactivas en el cuidado de sí mismas ("hice descansos"), modificaban los movimientos cuando era necesario y confiaban en su competencia ("hice lo que pensaba"). su perseverancia para continuar la lección a pesar de los problemas que iban surgiendo y la mölders y araújo es • feldenkrais research journal, volume 7 (2023) 26 experiencia de lograr mejoras ("al final estaba mejor") indican un comportamiento proactivo y orientado a la tarea. el disfrute durante las clases y la percepción de éxito mediante mejoras personales sugieren que las alumnas comprendieron el método y se comprometieron con él (figura 2). figura 2 estrategias relacionadas con el autocuidado, la creatividad y la conducta orientada a la tarea seguimiento tras la intervención tres meses después de la intervención, se preguntó a las participantes sobre su experiencia tras finalizar el programa del método feldenkrais. en una sesión de grupo en línea, respondieron verbalmente a la siguiente pregunta "¿cuál es tu experiencia con el método feldenkrais tres meses después de la intervención?". la investigadora anotó las afirmaciones con bolígrafo y papel (véase el apéndice c). el objetivo era averiguar hasta qué punto las alumnas recordaban las lecciones y si aplicaban lo que habían aprendido. seis de cada diez estudiantes afirmaron utilizar el método con regularidad; una lo utilizaba a veces; y tres dijeron que ya no lo utilizaban. todas las participantes que siguieron utilizando lo que habían aprendido, también informaron de una mejora duradera en su autoconciencia. por ejemplo, una alumna afirmó que es más consciente de cómo se siente, mientras que otra declaró que presta más atención a lo que siente en su cuerpo cuando se mueve. el aspecto de afrontar el dolor se mencionó con más frecuencia, lo que indica que su enfoque sobre sí mismas había mejorado. fue alentador que la mayoría de las alumnas utilizaran el método. sin embargo, parecía que las experiencias de las alumnas ya empezaban a desvanecerse, lo que sugiere que es necesario un compromiso continuado con el método para lograr un beneficio óptimo y duradero. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 27 discusión el objetivo de este estudio era investigar en qué medida la participación en lecciones del método feldenkrais se asociaba a una mayor motivación intrínseca y a una mejora de la autorregulación en mujeres adolescentes estudiantes de danza. los resultados cuantitativos obtenidos mediante los cuestionarios confirman una tendencia a la mejora de la toma de conciencia y la autorregulación en el grupo experimental. se observó una mejora general en las puntuaciones de conciencia interoceptiva, lo que sugiere que una intervención con el método feldenkrais podría tener un impacto positivo en el desarrollo de la autoconciencia y la motivación en jóvenes bailarinas. sin embargo, el grupo experimental mostró una disminución de la motivación intrínseca en la experiencia en las clases de danza. las alumnas participaban en las clases de danza como actividad de entretenimiento, lo que significa que ya había un alto nivel de motivación por la danza al principio de la intervención, poco antes de que se impusiera el confinamiento. las estadísticas descriptivas concordaban con esta observación, ya que mostraban puntuaciones elevadas en las subescalas interés y elección antes de la intervención. esto parece ser una prueba de un "efecto techo" y puede indicar que estas escalas, o subescalas, pueden no ser útiles para identificar cambios en esta población. parece bastante improbable que su motivación intrínseca en términos de interés/disfrute, competencia, elección y tensión/presión mejorara aún más, ya que las condiciones de aprendizaje de la danza habían cambiado considerablemente, pasando de la enseñanza presencial a la enseñanza en línea. las alumnas bailaban solas en casa, con poco espacio y sin intercambio social, lo que puede haber repercutido en la calidad del aprendizaje de la danza. también se limitó la posibilidad de tomar decisiones propias, por ejemplo, sobre la elección de la música o sobre cómo dirigir la clase en general, ya que interrogar e involucrar a las alumnas en un formato en línea lleva mucho más tiempo e interrumpe el flujo de la clase. el entorno de la danza influye en la motivación intrínseca (nordin-bates et al. 2012) y las circunstancias del confinamiento parecen haber afectado a la motivación general de las alumnas. las escasas oportunidades de reclutamiento durante el confinamiento dieron lugar a un grupo reducido de participantes, lo que puede haber limitado el análisis estadístico; un mayor número de participantes podría haber dado lugar a un resultado más significativo. además, las participantes presentaban un amplio abanico de edades, lo que podría reflejar distintos niveles de maduración. el proceso de maduración es variable y depende no solo de la edad, sino también de otros factores como las experiencias, por lo que el ritmo de desarrollo puede ser diferente para alumnas de la misma edad o similar para alumnas de edades diferentes (kimmerle y coté-laurence 2003). estudios anteriores con muestras similares demostraron la viabilidad del método con adolescentes de un amplio rango de edad (coogan 2018-2019; wallman-jones et al. 2022). los resultados cuantitativos mostraron un aumento significativo de la presión sentida/tensión en mölders y araújo es • feldenkrais research journal, volume 7 (2023) 28 ambos grupos. esto sugiere que la pandemia puede haber tenido un impacto mayor en el estudio que el método feldenkrais. las alumnas del grupo experimental no transfirieron el principio de reducción de la tensión a las clases de danza. esto plantea la cuestión de cómo la práctica y los beneficios del aprendizaje en las clases del método feldenkrais pueden aplicarse al entrenamiento de danza y qué influencia pueden tener las circunstancias externas y la duración de una intervención. para una transferencia óptima de las habilidades a las clases de danza, parece necesario utilizar el método con regularidad durante un periodo de tiempo más largo, de modo que las alumnas tengan la oportunidad de integrar de forma práctica la experiencia para mantener los efectos (brodie y lobel 2004; shusterman 2002). los cambios que implican una transferencia del nivel físico al cognitivo y emocional, como en el método feldenkrais, deben considerarse un proceso a largo plazo para obtener beneficios óptimos. además, las participantes de ambos grupos mejoraron significativamente en las puntuaciones de no distracción. parecían haber mejorado su concentración en sí mismas, posiblemente porque estaban en casa y se distraían menos con otras cosas, pero también porque eran más conscientes de sus propios sentimientos. no se sabe hasta qué punto estos resultados se vieron influidos por el impacto más amplio de la pandemia de covid-19; es necesario seguir estudiando este aspecto. el análisis de las declaraciones individuales, los dibujos y los comentarios sobre las lecciones reveló el interés, el disfrute y la satisfacción intrínseca de los participantes del grupo experimental; todas ellas dimensiones de la motivación intrínseca (ryan y deci 2000). esto también se reflejó en una valoración positiva de las lecciones ("he aprendido algo útil sin ninguna expectativa ni presión detrás"). desde la perspectiva de la profesora del método feldenkrais y profesora de danza (investigadora 1), los resultados fueron sorprendentemente positivos. lo había anotado en mi diario de investigación: no estaba segura de poder convencer a las chicas del valor del método en condiciones tan difíciles. las alumnas reportaron que se divirtieron, se sintieron más competentes al final de la clase y aumentaron su autonomía a la hora de tomar sus propias decisiones para adaptarse a la clase y mejorar, lo que también resultó tranquilizador para la profesora de danza en circunstancias difíciles. esto sugiere que las necesidades psicológicas básicas de las participantes quedaron satisfechas durante las lecciones, lo que posiblemente repercutió positivamente en su motivación y sus procesos de autorregulación durante las clases (smit et al. 2017). esto se vio respaldado por la mejora de los resultados de la conciencia interoceptiva en el grupo experimental, que se refiere a la dimensión de metacognición de la autorregulación (khalsa et al. 2018) en términos de conciencia, regulación de la atención, autorregulación y escucha del cuerpo. la mayor conciencia corporal relacionada con las clases del método feldenkrais que se desprendía de los resultados cualitativos coincidía con los resultados del cuestionario respecto mölders y araújo es • feldenkrais research journal, volume 7 (2023) 29 de las clases de danza, que mostraban una tendencia a la mejora de la conciencia corporal en general. en las lecciones del método feldenkrais, el aprendizaje autorregulado de las alumnas se hizo más evidente a nivel cognitivo (más comprensión), motivacional (más entusiasmo y perseverancia) y metacognitivo (más capacidad reflexiva y de toma de decisiones al encontrar soluciones de movimiento fáciles de realizar y aplicarlas a la vida diaria) (ocak y yamac 2013). los resultados también sugieren la posibilidad de transferir las habilidades de autocuidado y adaptación a la vida cotidiana, y de aplicar los conocimientos adquiridos previamente en un nuevo contexto (fortin et al. 2002), como muestran los resultados al final de la intervención y tres meses después. aunque, por un lado, la pandemia puede haber afectado a la validez del estudio, por otro, los ligeros aumentos en los procesos interoceptivos y la autorregulación parecen sugerir que la intervención puede haber sido beneficiosa para ayudar a las jóvenes bailarinas a hacer frente a los efectos negativos de la pandemia, influyendo en la resiliencia y la adaptabilidad ante la adversidad (baumann et al. 2007; fonow et al. 2017; niwa et al. 2016). las alumnas parecían haber apreciado el programa, se mostraron abiertas a nuevas experiencias, dispuestas a participar en él y a compartir sus vivencias. es posible que las circunstancias externas lo favorecieran, ya que había pocas actividades de entretenimiento y escaso intercambio y comunicación. en cuanto a la etapa de desarrollo, los dibujos, las declaraciones individuales y los comentarios de las lecciones indicaron que las alumnas estaban dispuestas a trabajar en su desarrollo personal y mejoraron su autopercepción tanto emocional como física, lo que sugiere la idoneidad del método feldenkrais, y de las medidas utilizadas en este estudio, para este grupo de edad, como se ha informado en otro lugar (wallman-jones et al. 2022). sin embargo, teniendo en cuenta las diferencias de maduración a lo largo de la edad, una exploración más profunda de estos factores puede ofrecer una visión más detallada de los beneficios diferenciales del método feldenkrais en los primeros y los últimos años de la adolescencia. al reflexionar sobre estas conclusiones, nos gustaría ofrecer un breve testimonio de la primera autora sobre la experiencia y el impacto de este estudio en su propia práctica como profesora de danza y profesional del método feldenkrais (investigadora 1): una vez finalizado el proyecto del método feldenkrais, me resultó difícil evaluar los posibles cambios en la enseñanza de la danza, ya que las clases continuaron en línea durante unos meses. cuando terminó el confinamiento, todas las alumnas estaban muy contentas de volver al estudio de danza y muy motivadas. observé una mayor apertura hacia mí, disposición a implicarse en las clases y una mayor atención a mis instrucciones entre las participantes en el proyecto. ahora estoy intentando integrar los resultados en mis clases. esto no siempre es posible porque el tiempo es limitado y no siempre es factible un intercambio con cada alumna individualmente. para mí, este proyecto ha supuesto estar más abierta a las necesidades de las alumnas, reflexionar sobre mis propias estrategias de enseñanza y ahora intentar integrar los resultados en mölders y araújo es • feldenkrais research journal, volume 7 (2023) 30 la enseñanza de la danza. mi objetivo es aplicar los siguientes aspectos del apoyo a la motivación y la autorregulación: comprobar el estado físico, mental y emocional de las alumnas observar sus necesidades permitir la autodeterminación valorando sus opiniones e ideas establecer objetivos alcanzables permitir aprender sin tensiones ofrecer exploración/experimentación fomentar la conciencia y la atención aceptar los ajustes por motivos de autocuidado fortalecer la autoconfianza aceptar que no todo puede controlarse y que eso está bien en resumen, los resultados sugieren que la participación en una intervención con el método feldenkrais puede facilitar el desarrollo positivo de la autoconciencia y la autorregulación, y puede contribuir a la satisfacción de las necesidades básicas y al disfrute resultante, al éxito en la realización de tareas y a los conocimientos adquiridos. durante las etapas de desarrollo de la adolescencia, las alumnas exploran sus patrones motivacionales y sus capacidades de autorregulación. hay que seguir estudiando hasta qué punto estos beneficios positivos pueden facilitar la motivación intrínseca para la danza y transferirse a contextos específicos de aprendizaje de la danza. este estudio puede ser valioso para futuros estudios, ya que explora qué medidas podrían ser valiosas para las estudiantes adolescentes de danza. las mediciones cualitativas parecían apropiadas, ya que permitían a las estudiantes describir sus experiencias más abiertamente y les animaban a expresarse. los resultados del cuestionario sobre la toma de conciencia (maia) fueron coherentes con los resultados cualitativos, por lo que su uso podría recomendarse para futuros estudios. la idoneidad del cuestionario de motivación intrínseca (imi) puede cuestionarse, ya que los resultados ya eran muy elevados al principio y dejaban poco margen de mejora. limitaciones a pesar de los prometedores resultados, estos deben considerarse con cautela, ya que reconocemos las limitaciones encontradas. en primer lugar, el estudio se llevó a cabo durante un periodo de confinamiento total debido a las medidas gubernamentales relacionadas con covid-19, lo que perturbó significativamente las experiencias de la vida cotidiana y pudo tener repercusiones especialmente para las personas jóvenes. esto también influyó en el modo de realización de la intervención. otra limitación que hay que reconocer es el posible sesgo de las investigadoras, ya que la primera autora era simultáneamente investigadora y facilitadora de la intervención, y conocía de cerca al grupo. por un lado, esto implicaba el riesgo de posibles sesgos, y su repercusión en los resultados; pero también añadía relevancia práctica y valor, ya mölders y araújo es • feldenkrais research journal, volume 7 (2023) 31 que garantizaba un comportamiento docente coherente y su adaptación a las necesidades específicas del grupo. además, las muestras pequeñas, el amplio rango de edad de las adolescentes y la duración de la intervención en circunstancias atípicas y desafiantes pueden limitar la interpretación y la transferibilidad de los resultados. las investigaciones futuras deberán tener en cuenta un posible "efecto techo" y la idoneidad de las subescalas elegidas para identificar cambios motivacionales en esta población. conclusión el estudio de un programa de diez semanas del método feldenkrais sobre la motivación intrínseca y la autorregulación de alumnas adolescentes de danza en un contexto de danza recreativa demostró una mejora en aspectos de la toma de conciencia y la autorregulación. en esta investigación no se pudo determinar si el método feldenkrais también tiene un efecto positivo sobre la motivación intrínseca en el entrenamiento de la danza, posiblemente debido a los cambios impuestos por las medidas de confinamiento de covid-19 que afectaron a los contextos de aprendizaje y enseñanza de la danza y a las experiencias individuales, así como a posibles "efectos techo", en los que las estudiantes adolescentes de danza pueden empezar siendo personas muy motivadas. este estudio sugiere que el método feldenkrais puede tener beneficios para desarrollar la autoconciencia, los comportamientos autorregulados y la motivación en bailarines adolescentes, lo que puede ser beneficioso para un aprendizaje y un bienestar óptimos. el método feldenkrais tiene potencial para influir en estos aspectos del desarrollo a través de su distintiva promoción de la conciencia somática, incluida la conciencia interoceptiva. este estudio se realizó en un momento de grave adversidad y, aún así, se observaron resultados positivos, lo que sugiere que el método feldenkrais podría ser útil para desarrollar estrategias de resiliencia y autorregulación que ayuden a los jóvenes a sortear los efectos negativos de las situaciones adversas, y a transferir esas habilidades a distintos entornos. teniendo en cuenta las evaluaciones subjetivas positivas de las lecciones del método feldenkrais, se recomienda seguir investigando sobre los efectos transversales y transferibles del método en el desarrollo de la motivación en 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(2021) 'impact of covid-19 on mental health in adolescents: a systematic review'. international journal of environmental research and public health, 18 (5), 2470. disponible en https://doi.org/10.1080/17509840902829331 jowett, g. e., hill, a. p., hall, h. k., and curran, t. (2016) ‘perfectionism, burnout and engagement in youth sport: the mediating role of basic psychological needs’. psychology of sport and exercise, 24, 18–26. disponible en https://doi.org/10.1016/j.psychsport.2016.01.001 kampe, t. (2018-2019) ‘practices of freedomthe feldenkrais method & creativity: editorial’, feldenkrais research journal, 6. disponible en https://feldenkraisresearchjournal.org/index.php/journal/article/view/28 kampe, t. (2016) ‘'crossing/weaving': somatic interventions in choreographic practices’. feldenkrais research journal, 5. disponible en https://feldenkraisresearchjournal.org/index.php/journal/article/view/25 kern, m. l., waters, l. e., adler, a., and white, m. a. 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(2016) ‘attentional focus in motor learning, the feldenkrais method, and mindful movement’. perceptual and motor skills, 123 (1), 258–276. disponible en https://doi.org/10.1177/0031512516661275 mehling, w. e., acree, m., stewart, a., silas, j., and jones, a. (2018) ‘the multidimensional assessment of interoceptive awareness, version 2 (maia-2)’. plos one, 13 (12), e0208034. disponible en https://doi.org/10.1371/journal.pone.0208034 mehling, w. e., price, c., daubenmier, j. j., acree, m., bartmess, e., and stewart, a. (2012) ‘the multidimensional assessment of interoceptive awareness (maia)’. plos one, 7 (11), e48230. disponible en https://doi.org/10.1371/journal.pone.0048230 mehling, w. e., wrubel, j., and daubenmier, j. j. (2011) ‘body awareness: a phenomenological inquiry into the common ground of mind-body therapies’. philosophy, ethics, and humanities in medicine, 6 (6). disponible en https://doi.org/10.1186/1747-5341-6-6 morgan, k., kingston, k., and sproule, j. (2005) ‘effects of different teaching styles on the teacher behaviours that influence motivational climate and pupils' motivation in physical mölders y araújo es • feldenkrais research journal, volume 7 (2023) 36 education’. european physical education review, 11 (3), 257–285. disponible en https://doi.org/10.1177/1356336x05056651 morgan, p. b., fletcher, d., and sarkar, m. (2013) ‘defining and characterizing team resilience in elite sport’. psychology of sport and exercise, 14 (4), 549–559. disponible en https://doi.org/10.1177/1356336x0505665; https://doi.org/10.1016/j.dcn.2016.12.006 mosston, m., and ashworth, s. (1990) the spectrum of teaching styles. from command to discovery. new york: longman, inc.. murray, s., and pitches, j. (2015) ‘editorial’. theatre, dance and performance training, 6 (3), 269–272. disponible en https://doi.org/10.1016/j.dcn.2016.12.006 niwa, m., lee, r. s., tanaka, t., okada, k., kano, s.-i., and sawa, a. (2016) ‘a critical period of vulnerability to adolescent stress: epigenetic mediators in mesocortical dopaminergic neurons’. human molecular genetics, 1370–1381. disponible en https://doi.org/10.1093/hmg/ddw019 nordin-bates, s. m., quested, e., walker, i. j., and redding, e. (2012) ‘climate change in the dance studio: findings from the uk centres for advanced training’. sport, exercise, and performance psychology, 1 (1), 3–16. disponible en https://psycnet.apa.org/doi/10.1037/a0025316 ocak, g., and yamac, a. (2013) ‘examination of the relationship between fifth graders' selfregulated learning strategies, motivational beliefs, attitudes, and achievement’. educational sciences: theory & praxis, 13 (1), 380-387 prevots, n. (2009) 'action research and dance education'. journal of dance education, 9 (2), 39-40. disponible en https://doi.org/10.1080/15290824.2009.10387384 quested, e., and duda, j. l. (2010) ‘exploring the social-environmental determinants of welland ill-being in dancers: a test of basic needs theory’. journal of sport & exercise psychology, 32, 39–60. disponible en https://doi.org/10.1123/jsep.32.1.39 rouhiainen, l. (2008) ‘somatic dance as a means of cultivating ethically embodied subjects’. research in dance education, 9 (3), 241–256. disponible en https://doi.org/10.1080/14647890802386916 ryan, r. m., and deci, e. l. (2000) ‘self-determination theory and the facilitation of intrinsic motivation, social development, and well-being’. american psychologist, 55 (1), 68-78. disponible en https://psycnet.apa.org/doi/10.1037/0003-066x.55.1.68 mölders y araújo es • feldenkrais research journal, volume 7 (2023) 37 sarkar, m., and fletcher, d. (2014) ‘psychological resilience in sport performers: a review of stressors and protective factors’. journal of sports sciences, 32 (15), 1419–1434. disponible en https://doi.org/10.1080/02640414.2014.901551 seligman, m. e. (2011) flourish: a visionary new understanding of happiness and well-being [measurement instrument]. new york [online], usa: free press shusterman, r. (2002) ‘somatics and education’. bulletin of the graduate school of education, 17 (24), 17-24 smit, k., brabander, c. j. de, boekaerts, m., and martens, r. l. (2017) ‘the self-regulation of motivation: motivational strategies as mediator between motivational beliefs and engagement for learning’. international journal of educational research, 82, 124–134. disponible en https://doi.org/10.1016/j.ijer.2017.01.006 sööt, a., and viskus, e. (2013) ‘teaching dance in the 21st century: a literature review’. the european journal of social & behavioural sciences, 7 (4), 1193–1202. disponible en https://doi.org/10.15405/ejsbs.99 stephens, j., and hillier, s. (2020) 'evidence for the effectiveness of the feldenkrais method'. kinesiology review, 9 (3), 228– 235. disponible en https://doi.org/10.1123/kr.2020-0022 stubbe, j. h., tiemens, a., keizer-hulsebosch, s. c., steemers, s., van winden, d., buiten, m., and van rijn, r. m. (2021) 'prevalence of mental health complaints among performing arts students is associated with covid-19 preventive measures'. frontiers in psychology, 12, 2284. disponible en https://doi.org/10.3389/fpsyg.2021.676587 tsakiris m. (2018) interoceptive mind: from homeostasis to awareness. oxford, uk: oxford university press. vago, d. r., and silbersweig, d. a. (2012) ‘self-awareness, self-regulation, and self-transcendence (s-art): a framework for understanding the neurobiological mechanisms of mindfulness’. frontiers in human neuroscience, 6, 296. disponible en https://doi.org/10.3389/fnhum.2012.00296 wallman-jones, a., mölders, c., schmidt, m., and schärli, a. (2022) ‘feldenkrais to improve interoceptive processes and psychological well-being in female adolescent ballet dancers: a feasibility study’. journal of dance education, pp. 1–13. disponible en https://doi.org/10.1080/15290824.2021.2009121. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 38 apéndices apéndice a: ejemplos de dibujos; pre, a la mitad, post participante pre intervención a la mitad post intervención 4 5 7 8 mölders y araújo es • feldenkrais research journal, volume 7 (2023) 39 9 10 apéndice b: declaraciones individuales intervención previa: "¿qué sabes sobre feldenkrais?" ● creo que con feldenkrais aprendes a percibir mejor tu cuerpo y a escucharlo. en general, consigues una mejor percepción de ti misma (sentimientos, respiración, lo que quieres y lo que no quieres, si me siento incómoda o cómoda...). lo aprendes a través de determinados ejercicios, que son tranquilos, pero que fomentan cierto esfuerzo. ● creo que feldenkrais es una forma de tratar con tu cuerpo y de sentirte mejor. ● sé que haces ejercicios. ● no sé mucho sobre feldenkrais. solo lo que nos contó claudia. ● tenía entendido que se supone que te ayuda a concentrarte mejor cuando bailas, etc. ● feldenkrais es una actividad diseñada para que las personas adquieran más conciencia de sí mismas mediante ejercicios relajantes. además, el feldenkrais puede utilizarse para aliviar el dolor. ● todavía no mucho, solo que es algo tranquilo. ● como ya participé en él la última vez, ya sé mucho sobre él. ● lo que más noté fue una conciencia corporal mejor y más consciente. además, después de cada lección tenía la sensación de que podía moverme mejor y aprender movimientos completamente nuevos de los que antes no era consciente o con los que no estaba familiarizada. otra característica muy buena de feldenkrais, en mi opinión, es la calma y la compostura, porque no te sientes obligada a hacer todos los movimientos, porque simplemente puedes imaginártelos. ● aprendemos a escuchar a nuestro cuerpo y hacemos ejercicios de relajación. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 40 "¿qué esperas de las clases?" ● espero que feldenkrais me ayude a percibir mejor las cosas mencionadas anteriormente. también debería ayudarme a relajarme y a evadirme de todo. ● espero que las clases de feldenkrais de las próximas semanas me ayuden a calmarme y a alejarme de la estresante vida cotidiana concentrándome en mi cuerpo y en la respiración. también espero que mejore mi conciencia corporal y que esto repercuta en mi baile. ● que me sienta mejor cuando baile después. ● espero que sea divertido, algo nuevo y que me mejore en ballet. ● creo que sin duda disfrutaré del curso, pero no tengo más expectativas que las mentales. ● espero aprender más sobre mi cuerpo y encontrar formas de controlar mi respiración. quiero aprender esta actividad porque me gustaría utilizarla en la vida cotidiana. ● que sea divertido. ● no sé qué esperar porque no lo conozco. ● espero relajarme y espero sobre todo volver a encontrarme a mí misma después de todo el estrés de los últimos meses. también espero poder volver a moverme mejor en ciertas partes de mi cuerpo y con ciertas partes de mi cuerpo. ● enfoco el proyecto con una mente abierta, espero conseguir un poco de relajación con la ayuda de las lecciones a la mitad: "¿cuáles han sido tus experiencias?" ● describiría mi experiencia como divertida y graciosa, pero también resolutiva y refrescante. ● mi experiencia en las clases de feldenkrais hasta ahora ha sido muy positiva. a menudo me siento tensa al principio de las clases y siento que me voy relajando a medida que avanza la clase y permanezco relajada después de las clases. ● encuentro el feldenkrais totalmente relajante. es muy recomendable, gracias. ● me gustaron mucho las clases de feldenkrais. a veces me parecían muy extenuantes y a veces nada. antes no conocía la mayoría de los ejercicios. ● mi experiencia hasta ahora ha sido buena porque ahora soy más flexible. ● mi experiencia en feldenkrais hasta ahora ha sido a veces agotadora, cansada o relajante, ¡pero definitivamente interesante! es extraño ver lo que un pequeño movimiento, a menudo repetido, hace en la sensación del cuerpo si le prestas atención. porque supongo que hago muchos movimientos en la vida cotidiana que no son buenos para mí sin escucharme después. ● algunas clases son agotadoras. siempre puedes tomarte un descanso, y al final de la clase puedes hacer mejor el ejercicio que hiciste al principio. ● hasta ahora, mis experiencias con las clases de feldenkrais han sido en parte diferentes, pero nunca en sentido negativo. a veces he sentido un gran cambio que mölders y araújo es • feldenkrais research journal, volume 7 (2023) 41 continúo al día siguiente, y a veces no ha habido ningún gran cambio. a pesar de todo, noto que me hace bien. ● me siento más flexible y estoy deseando que llegue feldenkrais. ● describo mi experiencia en las clases de feldenkrais como hermosa. a veces es muy agotadora, pero también a veces relajante. post intervención: "¿cuáles son tus experiencias?" ● las experiencias que he tenido son buenas. solo que me he dado cuenta de que no es para mí, pero de todos modos ha sido una bonita experiencia. ● ¡fue una buena experiencia y fue divertido! ● desde que estoy en el grupo de feldenkrais, me siento mucho más tranquila y relajada en la vida cotidiana. ● fue divertido. estuvo bien bajar un poco después del horario escolar. ● me ha gustado mucho participar en este proyecto y conocer mejor a feldenkrais. mi experiencia en las clases de feldenkrais fue muy positiva. me sentí más tranquila y relajada después de las clases y también sentí en la vida cotidiana que era más paciente conmigo misma y podía controlar mejor mi postura/respiración. ● me pareció muy interesante sentir lo diferente que se siente a veces el cuerpo después de repetir movimientos aparentemente pequeños. ● intento aplicar las ideas básicas de feldenkrais (cuidar de una misma, no presionarse para rendir, etc.) en la vida cotidiana. y también hago a veces la posición supina en la que siempre nos relajamos cuando tengo dolores de estómago o estrés. ● describiría mis experiencias como vigorizantes y liberadoras. cada vez era algo nuevo y enriquecedor. también es muy interesante hacer movimientos que normalmente no haces conscientemente, pero luego te das cuenta de cuántas partes del cuerpo necesitamos en realidad para hacer un movimiento. ¡siempre me divertí mucho! ● las clases de feldenkrais han tenido un efecto positivo en mí y en mi cuerpo, y también he aprendido muchas cosas nuevas. estas nuevas experiencias están ahora en mi cabeza, así que puedo utilizarlas en determinadas situaciones y me ayudan. las clases en sí eran siempre muy diferentes, pero cada vez sentía un cambio. ● feldenkrais fue para mí una forma de permitir que mi cuerpo se relajara de la vida cotidiana. en feldenkrais aprendí lo mucho que puedes hacer por tu cuerpo en poco tiempo. ¡fue súper divertido participar en el proyecto! también tengo la sensación de haber aprendido algo útil, pero sin ninguna expectativa ni presión detrás. eso es lo que me gustó. ● con feldenkrais he aprendido a aliviar, estirar y relajar mi cuerpo con relajación y movimientos libres y ligeros, sin ningún dolor. si estoy tensa o tengo un esguince en alguna parte, o si quiero ampliar mi amplitud de movimiento estirándome para ballet, por ejemplo, ahora sé qué movimientos sencillos puedo hacer para lograr este objetivo sin demasiada presión. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 42 ● encuentro feldenkrais totalmente relajante, pero en este momento tengo que preparar bastantes reuniones en la escuela y tengo muchas cosas en la cabeza. por lo demás, es muy recomendable. apéndice c: tres meses después de la intervención conciencia: ● soy más consciente de algunas cosas. presto atención a mi respiración y siento en mi interior cómo me siento y noto mi cuerpo. ● practico ser consciente de mis sensaciones. ● soy más consciente de mí misma. ● soy más consciente de mis movimientos. ● he notado pequeños cambios. ahora presto más atención a cómo son mis movimientos. ● lo que más recuerdo es la respiración, a la que ahora también presto más atención en la vida cotidiana. relajación: ● practico relajarme en posición supina cuando todo me supera. ● utilizo los ejercicios para relajarme. ● me han gustado los ejercicios de espalda; me ayudan a bajar. tratamiento del dolor: ● practico ser consciente de mis sensaciones corporales en posición supina, para hacer frente a los dolores de estómago. ● cuando tengo dolor de espalda, los utilizo para relajarme, por ejemplo el giro de cabeza. ● también puedo evaluar mejor dónde siento dolor. ● cuando estoy en fisioterapia, las experiencias feldenkrais son útiles. por ejemplo, en una lección aprendimos a levantarnos mejor; lo llevo a las clases de fisioterapia para hacer frente a mis problemas de cuello. mejora de la danza: ● puedo utilizarlo muy bien en el baile; eso es la guinda del pastel. puedo mover mejor los brazos y los dedos. recordando: ● se me han pegado algunos ejercicios. ● hay algo atascado, pero no tan intenso. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 43 ● no recuerdo todos los ejercicios. algunos de los ejercicios todavía los recuerdo y los utilizo. ● aún conozco algunos ejercicios y los utilizo. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 44 biografías de las autoras claudia mölders, mfa, profesora de feldenkrais, profesora de danza claudia mölders dirige un estudio privado de danza en colonia, donde enseña danza y el método feldenkrais, y ha llevado a cabo diversos proyectos de investigación sobre el efecto del método feldenkrais en jóvenes estudiantes de danza. estudió ciencias de la danza en la universidad de berna y en el conservatorio trinity laban de música y danza de londres, es profesora de danza titulada por la real academia de danza desde 1998 y completó la formación feldenkrais neuss 8 con chava shelhav en 2003. dr liliana s. araújo, phd liliana araújo fue directora de los programas de maestría y maestría en ciencias de la danza en trinity laban. actualmente, es profesora adjunta de ciencia de la interpretación en la escuela de música schulich de la universidad mcgill. es doctora en psicología, psicóloga colegiada y coach certificada en gestión del estrés, salud y bienestar. mölders y araújo es • feldenkrais research journal, volume 7 (2023) 45 frj 7 chiang es feldenkrais research journal • volume 7 (2023) investigación original informe de caso sobre el impacto del método feldenkrais® en pianistas experimentados janice chenju chiang doctora en arte musical contacto: janicechenjuchiang@gmail.com traducción: maría clara reussi resumen el objetivo de este estudio de caso era investigar la eficacia del método feldenkrais para tocar el piano utilizando las lecciones de autoconciencia a través del movimiento (awareness through movement®). este estudio de investigación cualitativa de ocho semanas de duración recogió los resultados de las exploraciones de movimiento elegidas por los propios participantes y sus experiencias sensoriales en primera persona recogidas mediante el uso de diarios , así como entrevistas previas y posteriores para su medición. estos resultados sugirieron mejoras positivas en las habilidades para la producción musical, como: técnica, percepción auditiva, fraseo musical, calidad del tono, memorización, interpretación y control general. los músicos participantes también informaron de una mejora de su experiencia de relajación, postura y conciencia corporal en la práctica y la interpretación. futuras investigaciones podrían ampliar el tiempo del experimento o aplicar más variedad de mediciones para los beneficios de la interpretación musical y la salud de los músicos. palabras clave método feldenkrais®, piano, tocar el piano, músicos, movimiento, sentido kinestésico, conciencia, salud del músico, autoconciencia a través del movimiento copyright ©: los derechos de autor, reproducción y distribución de este documento pertenecen a su(s) autor(es). por favor, citar: feldenkrais research journal, volume 7; 2023. marcas registradas: los términos feldenkrais®, método feldenkrais®, integración funcional®, autoconciencia a través del movimiento®, atm® e if® son marcas registradas de la international feldenkrais® federation (iff) o de las asociaciones de profesionales en los respectivos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:janicechenjuchiang@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org investigación original informe de caso sobre el impacto del método feldenkrais® en pianistas experimentados janice chenju chiang doctora en arte musical el primer objetivo de este estudio de investigación cualitativa era descubrir si el método feldenkrais® de educación somática podría influir en la forma de tocar el piano. más concretamente, explorar cómo una mayor conciencia de la calidad del movimiento desarrollada a través del aprendizaje de autoconciencia a través del movimiento® del método feldenkrais puede influir en las habilidades de una persona para tocar el piano. aunque algunos artículos de revistas y libros (cole 2014; fraser 2010 y 2011; lee 2018; mccrea 1997; peterson 2008; smith 2015; spire y baniel 1989; weinberger 1999) han explorado cómo el método feldenkrais podría ser aplicado a la interpretación en el piano o su relevancia para los músicos, de hecho no se ha realizado ningún estudio de investigación que explore la aplicación del método feldenkrais exclusiva y directamente a la interpretación del piano. en este estudio se pidió a los participantes que observaran sus habilidades para tocar antes y después de tener una experiencia con el método feldenkrais, en concreto, para monitorear sus mejoras y evaluar tanto si el aprendizaje del método feldenkrais se aplica al perfeccionamiento de sus habilidades, así como también a su percepción del cómo [eso sucede]. el segundo objetivo era argumentar que la investigación sobre la eficacia del método feldenkrais debiera incluir abordajes [subjetivos] sobre el diseño de lecciones que se valen de la experiencia de los alumnos para conducirlos a un mayor éxito en el aprendizaje. el método feldenkrais requiere que el alumno utilice su sistema sensorial (visual, auditivo o kinestésico) para facilitar su movimiento y mejorar sus patrones de organización motora. feldenkrais (2019: 117) creía que "este tipo de aprendizaje debe producirse a su propio ritmo." los estudios que utilizan mediciones objetivas han mostrado evidencia de los beneficios del método feldenkrais para una serie de habilidades físicas y condiciones de salud (stephens, davis, derosa, et al 2006; hillier y worley 2015; hopper, kolt y mcconville 1999; ohman, anström, y malmgren-olsson 2011; y wong 2015). aprender música es además una experiencia subjetiva que depende en gran medida de la percepción sensorial para (a) evaluar y desarrollar la habilidad técnica (uszler, gordon y mach 1991: 52-55; y klingenstein 2009: 203-208), (b) mejorar la calidad del tono (rollin citado en lyle, haydon, y rollin 2011: 357-358), (c) aprender el fraseo musical (percepción auditiva) (klingenstein 2009: 234-236), o (d) ayudar a la memorización (combinación auditiva, visual y kinestésica) (haydon citado en lyke, haydon, y rollin 2011: 417-425). por lo tanto, este estudio utilizó las experiencias sensoriales personales chiang es • feldenkrais research journal, volume 7 (2023) 2 de los participantes como datos para evaluar los beneficios del método feldenkrais para los estudiantes de música. el método feldenkrais el método feldenkrais es un enfoque de la educación somática desarrollado por moshe feldenkrais a partir de 1940 (feldenkrais 1990; 2007). feldenkrais pensaba que "los circuitos nerviosos implicados en el movimiento y la acción podrían alterarse si las personas aprendieran a refinar su conciencia de cómo se mueven" (citado en doidge, 2007: xiv). el método postula que la toma de conciencia, desarrollada a través de estrategias como la realización de movimientos novedosos y el desarrollo de la comprensión de cómo uno se utiliza a sí mismo de forma habitual o no habitual, promueve el aprendizaje a través de la mejora de la organización sensoriomotora. cada individuo percibe diversas cualidades y patrones sensoriales dependiendo de la forma en que se mueve espontáneamente, o por la forma en que elige moverse en la ejecución, y como resultado de su entrenamiento. por lo tanto, el método feldenkrais hace hincapié en la primera persona y en la experiencia subjetiva del propio proceso y entorno para desarrollar un sentido kinestésico propio. existen dos modalidades del método feldenkrais: autoconciencia a través del movimiento e integración funcional®. las clases de autoconciencia a través del movimiento se realizan principalmente en el suelo, en varias posiciones, y son guiadas verbalmente por un pedagogo del método feldenkrais. la integración funcional es un método no invasivo y generalmente no verbal. la teoría que lo sustenta es que el toque y el movimiento (guiado con las manos) del pedagogo sobre el alumno pueden ayudar a la persona a percibir con mayor precisión sus preferencias de movimiento y sus posibles limitaciones, creando la posibilidad de que el alumno aproveche esta información y responda a las posibilidades de movimiento que ofrece la interacción con el pedagogo. métodos y materiales participantes los pianistas experimentados pueden desarrollar una capacidad refinada para percibir cambios en su forma de tocar, tanto en términos de sensaciones corporales como de producción de sonidos, en comparación, por ejemplo, con los pianistas inexpertos. como es más probable que los pianistas experimentados sean capaces de detectar cambios en la sensación corporal y en la interpretación, se decidió que los participantes en el estudio debían tener al menos diez años de experiencia tocando el piano, y tocar activamente o practicar con regularidad de dos a tres horas al día. además, los participantes debían dominar el inglés y ser adultos de entre 18 y 65 años. no había criterios relativos al sexo o la etnia. se excluyeron del estudio los participantes potencialmente vulnerables, por ejemplo, los que padecían dolor crónico o una afección médica, ya que podrían haber necesitado atención personal y orientación individual, lo chiang es • feldenkrais research journal, volume 7 (2023) 3 que habría cambiado la naturaleza de la intervención, y esto posiblemente habría afectado los resultados del estudio. este estudio de investigación recibió la aprobación de la junta de revisión institucional (ieb) y se llevó a cabo entre octubre y diciembre de 2018, financiado por el colegio de artes y letras de la universidad del norte de arizona. en este estudio se invitó a participar a tres sujetos de prueba. las edades de los participantes oscilaban entre 21 y 58 años, un hombre y dos mujeres, incluyendo a un pianista profesional y dos estudiantes universitarios de piano. intervención clases de autoconciencia a través del movimiento la investigadora seleccionó y estructuró las lecciones de autoconciencia a través del movimiento utilizadas en este estudio a partir de las sugerencias del entrenador en el método feldenkrais alan questel. las lecciones de este estudio se eligieron sobre la base de que se enfocaban en el desarrollo de un sentido de conexión esquelética en todo el cuerpo, e implicaban movimientos de flexión, extensión, rotación y flexión lateral del tronco. estas lecciones promoverían el movimiento de la columna vertebral y aumentarían la movilidad de toda la persona. (el orden y los objetivos de las lecciones se incluyen en el apéndice i). la investigadora eligió sus versiones de las lecciones basadas en versiones grabadas de estas lecciones por alan questel. la investigadora también enseñó las lecciones de autoconciencia a través del movimiento a los participantes y grabó las instrucciones en directo. este enfoque incluyó elementos de la enseñanza de autoconciencia a través del movimiento, como la supervisión de los movimientos de los participantes durante las lecciones; ayudarles a comprender el enfoque de aprendizaje; guiarles con un lenguaje apropiado para la enseñanza de las lecciones de autoconciencia a través del movimiento (por ejemplo para sentir y pensar desde el esqueleto), para moverse suavemente e identificar las sensaciones de una forma que busca crear una sensación de seguridad. exploraciones de movimiento elegidas por los propios participantes después de participar de cada clase de autoconciencia a través del movimiento, cada participante identificó una breve secuencia de movimiento y toma de conciencia para incluir en su práctica. los participantes tenían la libertad de utilizar cualquier actividad o secuencia de movimiento breve aprendida en la clase de autoconciencia a través del movimiento, para aplicarla en su práctica, y luego observar el resultado para su propósito personal, que podía ser un desafío técnico, la producción de tono o simplemente sentirse con más comodidad mientras tocaba el piano. práctica independiente del piano chiang es • feldenkrais research journal, volume 7 (2023) 4 la investigadora no les ofreció ninguna sugerencia sobre cómo aplicar el movimiento en su propia práctica pianística. fuera de participar en las lecciones de autoconciencia a través del movimiento, los participantes trabajaban solos de manera totalmente independientes de los experimentos con el piano, y tenían total libertad para aplicar su conciencia de la experiencia sensorial o cualquier cosa que pudieran haber aprendido al hacer las lecciones de autoconciencia a través del movimiento. lecciones grabadas de autoconciencia a través del movimiento para repasar y practicar a su propio ritmo durante el tiempo que duró el estudio, los participantes recibieron un total de ocho lecciones de autoconciencia a través del movimiento cada cinco o siete días. después de cada lección, los participantes recibían la grabación para repasar y practicar por su cuenta. se animó a los participantes a repasar las lecciones de autoconciencia a través del movimiento al menos dos o tres veces por semana. elegían qué lecciones grabadas practicar con las grabaciones entregadas y, si las practicaban, registraban las lecciones en una hoja proporcionada cada semana. los registros se recogían todas las semanas. durante el estudio, dos participantes practicaron con cada lección grabada durante todo el proceso semanal; mientras que el tercer participante sólo utilizó lo que recordaba en algunas de las semanas del estudio. recolección de datos dado que este estudio se centró en la experiencia individual de los participantes durante el proceso de aprendizaje de las lecciones de autoconciencia a través del movimiento del método feldenkrais, se utilizaron métodos de investigación cualitativa para identificar y documentar su experiencia. los datos primarios del estudio se recopilaron a partir de las encuestas previas, los diarios personales, las entrevistas posteriores al estudio y las encuestas posteriores. parte i: diarios personales de los participantes los participantes debían escribir en su diario cada día. también cada cual debía realizar cada día dos pequeñas exploraciones de movimiento relacionadas con la interpretación al piano elegidas por ellos. la anotación podía ser sobre cualquier cosa, desde una reflexión sobre la sensación corporal, por ejemplo, o una observación sobre las exploraciones de movimiento hasta la práctica del piano o su vida diaria. si no practicaban, indicaban: "no he practicado". al final de cada semana, la investigadora recogía los diarios, hacía copias y los devolvía el mismo día. parte ii: entrevistas y encuestas antes del estudio: al inicio del estudio, los participantes debieron contestar una encuesta previa preparada por la investigadora (véase el apéndice ii) sobre los antecedentes generales de sus hábitos de interpretación y práctica del piano, la percepción de la conciencia de sí mismos o su comprensión de los aspectos del movimiento y las sensaciones corporales. antes del estudio, chiang es • feldenkrais research journal, volume 7 (2023) 5 los participantes también grabaron en vídeo la interpretación de una pieza musical de su elección. después del estudio: al final de las ocho semanas del estudio, la investigadora programó un día con cada participante para grabar en vídeo por separado su interpretación de la misma pieza musical que habían grabado al principio del estudio. a continuación, se realizó una entrevista individual para responder a las preguntas preestablecidas (véase el apéndice iii) preparadas por la investigadora. luego, el participante y la investigadora vieron juntos las reproducciones de los vídeos. después de verlos, se volvieron a plantear algunas preguntas especialmente extraídas de las encuestas previas para comprobar si los participantes habían modificado sus puntos de vista en relación con los temas de las preguntas. por último, cada participante completó la encuesta posterior (véase el apéndice iv) a solas en la sala. el proceso entero duró aproximadamente tres horas. resultados resultados de los diarios de los participantes en esta sección se ofrece una descripción de los participantes en la que se esboza su nivel de participación, alguna información sobre las lecciones en las que se centraron en su práctica autodirigida y algunas observaciones clave que hicieron sobre su experiencia. el proceso de búsqueda de los temas y ejemplos de los textos fue realizado por la investigadora mediante lecturas repetidas de los datos. esta comprobación y revisión de las percepciones y suposiciones tenía como objetivo reducir el sesgo y garantizar que los resultados presentados se acercaran a los significados inherentes a los datos de los participantes. a la investigadora le pareció muy interesante el hecho de que el momento y la elección de la aplicación del movimiento por parte de cada participante fuera totalmente diferente de uno a otro. participante 001 durante el tiempo que duró el estudio, el participante 001 practicó principalmente los fragmentos de las lecciones de movimiento a partir de lo que recordaba, sin utilizar las grabaciones. el tiempo medio dedicado a cada práctica fue de 20-30 minutos. antes de la sexta lección, la mayor parte del tiempo este participante no notaba diferencias notables y, en su mayoría, sólo aplicaba la respiración y el movimiento del reloj pélvico en su práctica del piano o en actividades cotidianas como correr. después de la sexta clase, este participante empezó a mencionar que pensaba en moverse con un "enfoque esquelético; imaginando mi hueso haciendo el movimiento. sentía más la gravedad empujando las piernas". chiang es • feldenkrais research journal, volume 7 (2023) 6 a continuación se recogen algunas observaciones significativas adicionales anotadas en su diario: hoy no he pensado mucho en las lecciones ni en el movimiento, pero de vez en cuando me ha venido a la mente el movimiento desde el hueso. mientras caminaba sentía las piernas más pesadas y un poco más libres. sentía los hombros más pesados y la espalda más pesada. era una sensación agradable en su mayor parte. al piano, pensando en mis huesos como la fuerza principal en todos los movimientos, me sentía más estable y producía un tono más grave en general. mientras leía la música, pensaba en el concepto del reloj aplicándolo a la página de música, y también notaba mi cabeza moverse en el sentido de las agujas del reloj y en sentido contrario. en general, sentía mi cuerpo un poco más ligero, y al tocar el piano lo único que me venía a la mente era mi conciencia de la respiración y los pensamientos esqueléticos en mis movimientos. (diario del participante 001) hacia el final de la experiencia, el participante 001 empezó a experimentar con una idea aprendida en las clases de conciencia a través del movimiento: "cuando toco el piano aplico los movimientos del reloj en mis pies, especialmente en el derecho. intenté ver si esto tenía algún efecto en mi uso del pedal". participante 002 durante el tiempo que duró el estudio, el participante 002 practicó las ocho lecciones completas al menos dos veces por semana con las grabaciones, pero en particular practicó más la lección n° 4: ”respiración paradójica” donde y cuando podía. también practicó la lección n° 7: “liberar la cabeza” más que las otras. en la primera semana, el participante 002 informó que tenía fuertes sensaciones y mayor conciencia relacionadas con el movimiento y la postura. en la segunda semana, el participante 002 empezó a ser consciente de sentir el movimiento de sus pies al tocar el pedal y encontró el vínculo entre la segunda lección de autoconciencia a través del movimiento y la pieza musical que estaba estudiando en ese momento: "hay una parte en el rachmaninov en la que mis brazos tienen que estar en lados opuestos del piano. sentí un movimiento muy fluido, en cierto modo parecido al movimiento de brazos que utilizamos en la lección". (diario del participante 002) chiang es • feldenkrais research journal, volume 7 (2023) 7 en la encuesta previa, el participante 002 manifestó su preocupación por la tensión en los hombros. en el diario, registra muchos pensamientos y aplica las exploraciones de movimiento que había elegido en relación con este aspecto. después de 15 días de estudio, el participante 002 empezó a descubrir gradualmente que la causa de la tensión en los hombros podía no estar directamente en los hombros. por ejemplo, escribió: empiezo a notar también que algunos movimientos de la pelvis me hacen notar tensión en los hombros. esto también podría deberse al estrés. pero el hecho de ser más consciente de mi tensión es un comienzo. entre el reloj pélvico y los ejercicios de respiración, estoy empezando a notar zonas en mis hombros que mantienen la tensión. he vuelto a practicar la lección nº 4 sobre la respiración... mis hombros se mantuvieron abajo y mi respiración se hizo más lenta y menos frenética. empiezo a utilizar esta lección a menudo cuando me preparo para una actuación. estaba experimentando [con] el movimiento de mi codo sentado al piano: cada vez que levantaba el codo, mi omóplato se levantaba de repente y se ponía algo tenso. antes no era tan consciente de la tensión de mis hombros, sabía que pasaba algo pero no podía identificar el origen del problema. (diario del participante 002) el participante 002 también pasó mucho tiempo observando y trabajando la relación entre los ojos y la cabeza mientras estaba al piano y en el suelo haciendo las clases de autoconciencia a través del movimiento. además, el participante 002 notó una tendencia a moverse demasiado rápido antes de su acción voluntaria. a través de este proyecto, este participante informó que jugaba constantemente con la idea de "pensar antes de reaccionar", y señaló que la lección "liberar la cabeza" "ayudó especialmente a pensar antes de hacer un movimiento." participante 003 al igual que el participante 002, el participante 003 practicaba varias lecciones al menos cuatro días a la semana. el participante 003 era el único que tenía un ligero conocimiento sobre otro enfoque de educación somática, la técnica alexander. en la encuesta previa, el participante señaló su tensión en la parte superior de la espalda y los hombros, y que anteriormente había experimentado una breve tendinitis, pero que no era crónica. sin embargo, a diferencia del enfoque del participante 002 que aplicó los patrones de movimiento aprendidos a su práctica, el participante 003 utilizó las sensaciones de relajación y de sentirse conectado que sintió en las clases de autoconciencia a través del movimiento como guía para ser más consciente de dónde podía estar la causa de la tensión. informó que utilizaba este enfoque para resolver problemas en el piano o en la vida diaria "desde caminar chiang es • feldenkrais research journal, volume 7 (2023) 8 hasta sujetar una mochila". a continuación se muestra una de sus observaciones sobre la acumulación de la tensión: siento más conexión en todo el cuerpo. lo he notado después de practicar la lección n° 2. me está ayudando a pensar dónde está cada parte del cuerpo. me está ayudando a pensar dónde se origina cada movimiento, y que no siempre es donde creo. por ejemplo, mis dedos controlan el bolígrafo que está escribiendo esta entrada del diario, pero mis dedos no son la única parte del cuerpo implicada en este movimiento. creo que esta conexión es importante. poner demasiado énfasis en un punto de contacto y no en el conjunto (los dedos versus el brazo) puede crear estrés y tensión. (diario del participante 003) en el piano, este participante ganó conciencia aprendiendo las lecciones de autoconciencia a través del movimiento en relación a tocar "lento" al practicar. informó que había descubierto que a menudo contenía la respiración, lo que le provocaba tensión. este participante también se dio cuenta de que "puedo aflojar la tensión de mi cuello si me centro menos en mis dedos y hombros y más en todo mi cuerpo" y que "intentaba aplicar una especie de rotación de 'reloj' a mi cabeza y cuello mientras tocaba". además, el participante 003 se dio cuenta después de la quinta lección de autoconciencia a través del movimiento de que realizaba movimientos excesivos en algunos pasajes virtuosos y fue capaz de distinguir que en el repertorio clásico exigía minimizar los movimientos mientras que el repertorio romántico implicaba un rango más amplio o saltos rápidos en el teclado que exigían "moverse de un lado del piano al siguiente muy rápidamente." al igual que el participante 001, el participante 003 también hizo mención a la calidad de la producción del sonido, señalando: "el movimiento y la conexión de todo el cuerpo definitivamente mejoraron el sonido y ayudaron a facilitar mi forma de tocar." hacia el final del estudio, el participante 003 se dio cuenta de que en el piano que tenía en casa "aumentaba mi tensión" y "es difícil 'luchar' contra el piano y tocar de forma relajada. en lugar de intentar reproducir el sonido de un piano de cola, decidí centrarme en cómo se sentían mis dedos... me centré en la relajación". además, este participante parecía estar más afectado por el estrés a medida que se acercaba la temporada de presentaciones e informó de que no era tan fácil aplicar la autoconciencia a través del movimiento durante una actuación en directo como al practicar a solas. algunos puntos en común los tres participantes afirmaron que las clases de "reloj pélvico" y "respiración paradójica" les resultaron muy útiles, ya que utilizaban los movimientos de ambas clases con mucha frecuencia para aliviar en gran medida la tensión del cuerpo y mover o desplazar el peso sobre chiang es • feldenkrais research journal, volume 7 (2023) 9 el banco cuando tocaban el piano. este puede ser un resultado significativo de este estudio que merece una mayor exploración e investigación. hallazgos de las entrevistas posteriores, incluida la revisión de los vídeos de interpretación el objetivo de la entrevista era dar a los participantes la oportunidad de autoevaluar los resultados del proceso de aprendizaje investigado. la investigadora pidió a los participantes que respondieran a las preguntas de la forma más directa posible para poder citarlos directamente como datos textuales para esta investigación. sus respuestas se consideraron un tipo de datos generados a partir de la experiencia subjetiva. las preguntas de la entrevista (véase el apéndice ii) estaban preestablecidas e incluían volver a hacer algunas de las preguntas de las encuestas previas para averiguar si había algún impacto del método feldenkrais en su forma de tocar el piano. la revisión de los vídeos de interpretación previos y posteriores también formó parte de este proceso. la primera pregunta pedía a los participantes que compartieran sus pensamientos sobre la experiencia. esta pregunta se repitió después de que vieran las grabaciones de vídeo de las interpretaciones anteriores y posteriores. antes de ver las grabaciones de vídeo, el participante 001 se sentía "un poco más flexible físicamente que antes" y "adquirí más independencia de los movimientos en diferentes partes del cuerpo... [y fui] más consciente de cómo los movimientos pueden afectar a cómo te sientes y cómo puedes manejarlos con éxito... incluso [cuando] no son perfectos". el participante 002 informó que "aprendí mucho sobre [mi] propio movimiento corporal" y se dio cuenta de que el mero hecho de pensar en el movimiento hacía que tocar el piano fuera mucho más fácil. el participante 003 pensó al comienzo de la experiencia que era "algo [a lo que] no estaba acostumbrado", pero se dio cuenta de que participar en el estudio y hacer la práctica del método feldenkrais le estaba ayudando mucho no "sólo [a] tocar el piano, sino también en la vida." esta experiencia cambió la perspectiva de practicar del participante 003, que pasó de pensar sólo en notas o marcas en la partitura, a pensar siempre en cómo moverse mejor. en la vida cotidiana, el participante 003 fue capaz de "reducir activamente el estrés y la tensión", en lugar de limitarse a aceptar la incomodidad. antes del estudio, se preguntó en la encuesta previa a los participantes qué área esperaban mejorar. después del estudio, durante la entrevista posterior, la investigadora les recordó sus respuestas y les pidió que evaluaran el resultado. a continuación se presentan sus respuestas en la encuesta previa y las reflexiones después del estudio: participante 001 para controlar mejor el miedo escénico y la concentración al tocar en público "creo que este proyecto me ha ayudado a tener más control. he notado que esas distracciones no me han molestado. creo que [lo que] más me ha beneficiado ha sido poder manejar chiang es • feldenkrais research journal, volume 7 (2023) 10 diferentes movimientos a la vez sin causar problemas en la interpretación del piano, me da más resistencia o más preparación y me ayuda a que no me moleste por pequeñas distracciones en mí mismo." participante 002 espero mejorar la forma en que me acerco a las teclas y mejorar mi postura, especialmente mis hombros. me entusiasma probar el método feldenkrais y espero aprender algunas técnicas nuevas para moverme por el piano. "creo que cuando estoy tocando, si pensara más en los movimientos en lugar de en todo lo demás, tendría menos tensión en los hombros... soy más consciente de los movimientos corporales necesarios para tocar ciertos pasajes... estaba pensando con el método en mente, pero no desde un punto de vista musical, sino más bien desde un punto de vista del movimiento para que sea más fácil ... creo que ser consciente y detectar dónde está el problema ha mejorado mi forma de tocar." participante 003 sobre todo, espero mejorar la consistencia de mi tono. "mi percepción fue que el movimiento puede conectarse con la producción del tono... quería ampliar mi vocabulario... creo que soy capaz de pensar en una pieza, en cómo quiero que suene esta pieza, y realmente pensar en cómo puedo moverme para producir ese sonido ... ahora siento que puedo visualizar el sonido y puedo ir al piano para experimentar con mi cuerpo y mi toque para producir el sonido que escucho en mi cabeza en lugar de sólo practicar de la misma manera para siempre ... obviamente estoy haciendo un movimiento físico, pero al mismo tiempo, estoy pensando profundamente en ello todo el tiempo ajustándolo. puedo conectar el movimiento con mi tono, no sólo pensar en mis notas. siento que estoy constantemente progresando y mejor[ando]". debate sobre las preguntas en relación al papel del movimiento al tocar el piano en la encuesta previa, se pidió a los participantes que compartieran sus opiniones sobre cómo el movimiento está conectado con la interpretación en el piano y qué esperaban mejorar. la investigadora compartió de nuevo las respuestas a esta pregunta con los participantes para ayudarles a autoevaluar su proceso de aprendizaje y los resultados obtenidos. participante 001 nuestro cuerpo, los codos, las muñecas, las manos y los dedos, todos combinados y moviéndose eficientemente son determinantes para una buena calidad al tocar el piano. "he sentido que algo ha sido diferente con respecto a mi forma de tocar anterior, pero no puedo identificar realmente las diferencias mecánicamente en mi cuerpo... al combinar diferentes movimientos al mismo tiempo, [que] no son los que he sentido antes... mi mente está más conectada con los movimientos que he aprendido. antes de la experiencia, no creía que mi chiang es • feldenkrais research journal, volume 7 (2023) 11 mente estuviera conectada de la forma en que me sentí después de la experiencia. creo que es importante mencionar cómo estas lecciones afectaron al bienestar de mi mente". participante 002 creo que el movimiento es muy importante a la hora de tocar el piano. la forma en que tocamos el piano, nos sentamos al piano o incluso nos acercamos a las teclas afecta al sonido que producimos, lo cual es vital para tocar bien el piano. siempre que observo a un pianista, si veo tensión en los hombros, observar la interpretación resulta muy incómodo. antes del estudio, "a veces me siento al piano, me olvido de ajustar la distancia, a veces esto afecta mi forma de tocar pero no solía pensar en ello ni nunca me preocupó... descubro que básicamente necesito ir más despacio cuando hago cada movimiento... suena básico pero supongo que así puedo pensar en el movimiento". participante 003 es imprescindible que el movimiento sea increíblemente relajado para evitar lesiones y crear la mejor calidad de tono posible. si uno no es consciente del movimiento, es fácil que aumente la tensión. esto hace difícil, sino imposible, mejorar la técnica o tocar piezas difíciles. "antes había escuchado a muchos profesores hablar de estar relajado, pero no sabía cómo aplicarlo; pero ahora sé que uno no está realmente relajado porque está en acción, sin embargo puedo buscar cómo puede hacerlo lo más fácil posible para mí. no se trata sólo de aflojarse, sino de hacerlo lo más fácil posible para ti". revisión de los vídeos de interpretación en el piano después de ver los vídeos de sus actuaciones anteriores y posteriores [a las semanas de práctica], el participante 001 observó una notable confianza en el vídeo posterior, aunque el movimiento en sí no se veía muy diferente, pero sintió que "probablemente me movía de forma diferente más que moverme más." el participante 002 notó que "el movimiento parecía menos brusco en el vídeo 'después' que en el 'antes'". además, observó que "noté que mi pelvis estaba más activa" pero "la altura de los hombros no era lo que imaginaba o pensaba como tensión de los hombros." el participante 002 también llegó a la conclusión de que el sonido en el vídeo del después era mucho más libre y tenía "mucho que ver con el movimiento" y creía que "la lección [ de autoconciencia a través del movimiento] realmente ayudó con el sonido y [éste era] menos forzado." el participante 003 se sorprendió al ver lo tenso que estaba tocando en el vídeo previo y "pensaba que mi postura era mucho mejor de lo que veía en el vídeo". en el vídeo posterior, "el movimiento parece más eficiente en general... podía ver cómo se movía mi pelvis, cómo sostenía las partes del cuerpo, cómo movía la cabeza, se trataba más mi cuerpo conectado a lo largo, como fue lo que me enseñaron las lecciones [de autoconciencia a través del movimiento]." chiang es • feldenkrais research journal, volume 7 (2023) 12 resultados de las encuestas posteriores la encuesta se dividió en tres partes: las preguntas sensoriales generales, las preguntas relacionadas con la interpretación del piano y las preguntas sobre la vida diaria (véase el apéndice iv). parte i: preguntas sensoriales generales todos los participantes afirmaron que las clases de autoconciencia a través del movimiento les proporcionaron una sensación placentera o relajada. puede que algunas de las lecciones les resultaran extrañas o desconocidas, pero a pesar de eso, la experiencia era relajada o placentera. todos ellos coincidieron también en que las clases de autoconciencia a través del movimiento les habían ayudado a identificar dónde se producía la tensión en su cuerpo o cómo aliviarla cuando se producía. como resultado, estos tres participantes pensaron que el aumento de la conciencia del movimiento les preparó con más disposición para diferentes situaciones, desde tocar el piano hasta la vida diaria, y pudieron sentirse más seguros y cómodos. el participante 003 informó de que las clases de autoconciencia a través del movimiento le hicieron sentirse "más conectado consigo mismo y con el piano". parte ii: preguntas relacionadas con la práctica del piano en la encuesta, los tres participantes manifestaron que las clases habían tenido un impacto directo en su forma de tocar el piano. cuando se les pidió que especificaran en qué aspecto habían experimentado mejoras en su forma de tocar el piano, los tres participantes respondieron que habían notado un desarrollo en sus aspectos técnicos, tales como escalas y arpegios, calidad del tono, fraseo musical, interpretación y memorización. sólo uno de los participantes no creía que su habilidad de percepción auditiva hubiera mejorado mucho. los tres coincidieron en que su control general mejoró mucho tras ocho semanas de clases de autoconciencia a través del movimiento. la siguiente tabla resume los comentarios directos de los participantes sobre el impacto del método feldenkrais en su forma de tocar el piano. las categorías que se muestran a continuación son evaluaciones estándar utilizadas en el campo de la música (klingenstein 2009; lyke et al 2011; uszler, gordon y mach 1991) y se incluyeron en las preguntas relacionadas con la interpretación del piano de las encuestas finales: chiang es • feldenkrais research journal, volume 7 (2023) 13 técnica   calidad del tono participante 001 mi técnica ha mejorado en general porque mi confianza y control tienen un impacto instantáneo en ella noto mejor control y menos tensión. participante 002 pensar primero en cómo mover los brazos y la pelvis me ayudó mucho a conseguir una buena técnica de escalas y arpegios. creo que las clases de atm me ayudaron mucho con el sonido y con [poder usar] menos fuerza. participante 003 soy mucho más consciente de mi tono tocando escalas. puedo tocar escalas más rápidas, más controladas y con un tono más uniforme. mi tono ha mejorado; siento que ahora no tengo sólo un color de tono. soy capaz de ajustar mi movimiento para encontrar una variedad de colores. habilidad de percepción auditiva memorización participante 001 me siento más atento. me muevo con más confianza en general; la confianza y el control fortalecen la memoria. participante 002 no creo que la audición haya mejorado mucho. pensar solamente en el movimiento distrajo la parte de mi cerebro que tenía dudas sobre la memoria, y creo que pensar en el movimiento ayudó mucho a mejorar en este aspecto. participante 003 mi audición ha mejorado mucho. antes de feldenkrais no era realmente consciente de cómo sonaba. ahora, estoy constantemente consciente de mi sonido, lo que me ayuda a trabajar para mejorarlo. siempre he tenido buena memoria, pero como estoy más relajado al piano, ahora tengo menos lapsus de memoria. fraseo musical   interpretación participante 001 más confianza y diversión en el proceso. más libertad para expresar la música. participante 002 me di cuenta de que si no dominas el movimiento, no puedes hacer nada más, no puedes ser musical, no puedes hacer ningún fraseo sin una comprensión básica del movimiento. pensar solamente en el movimiento me impide pensar demasiado en cómo tengo que hacer un determinado pasaje o qué tiene que pasar aquí. participante 003 antes, creo que mis movimientos me impedían frasear. el movimiento tenso restaba importancia al fraseo. ahora soy más consciente del fraseo y me muevo de forma que lo enfatiza. encuentro movimientos que conectan con la interpretación y no los que la inhiben. es mucho más fácil pensar en la interpretación con feldenkrais. control general   participante 001 éste es el principal beneficio que experimento. participante 002 cuando pensaba en el movimiento mientras tocaba y sabía exactamente lo que iba a hacer en un determinado pasaje, me sentía más en control; en contraposición a pensar en cómo quería que fuera el fraseo o en cómo interpretarlo. para mí, si tenía el control, los demás aspectos de tocar el piano se volvían más naturales. participante 003 me siento mucho más en control de mi movimiento. si algo no me satisface, puedo experimentar e intentar ajustarlo. me siento más a gusto al piano, lo que me da una sensación de control, incluso cuando toco piezas difíciles. chiang es • feldenkrais research journal, volume 7 (2023) 14 en el campo de la enseñanza de la música, permanecer ‘relajado’ y mantener una buena ‘postura’ son dos conceptos clave para tocar con éxito. en las entrevistas previas y posteriores se incluyeron preguntas sobre la experiencia de los participantes con las indicaciones de ‘relajarse’ y mantener la ‘postura’. al comparar su comprensión de la ‘relajación’ y ‘postura’ antes y después de la intervención, el participante 001 afirmó que su comprensión era la misma, pero que, en la práctica, el impacto era más positivo en ambos aspectos. el participante 002 pensaba que su comprensión de ‘relajarse’ era prácticamente la misma, pero que "saber realmente que tu cuerpo está en su lugar más cómodo y que puedes sentir que estás relajado" era más crucial. esta experiencia clarificó la comprensión del participante 002 sobre la ‘postura’ al tocar el piano; y ser "más consciente de lo que ocurre en el esqueleto", cosa aprendida en las clases de autoconciencia a través del movimiento, lo que le ayudó enormemente al piano. el participante 003 prefería "pensar en relajarse como [para] encontrar una manera más fácil de tocar" después de la intervención y creía que "no hay una postura 'correcta"', que "debería depender de la persona, y puede ser flexible." parte iii: preguntas sobre el impacto en la vida diaria los dos participantes que practicaron las lecciones de autoconciencia a través del movimiento durante todo el proceso utilizando las grabaciones, notaron cambios al sentarse, caminar y estar de pie. el otro participante, que practicó el movimiento sobre todo de memoria, no notó ninguna diferencia en ese aspecto. los dos primeros participantes mencionados también fueron más conscientes de sus actividades cotidianas, incluidas algunas tan pequeñas como llevar una mochila o coger un objeto. en general, todos los participantes informaron que el dormir había mejorado, lo que creían que se debía a la reducción del estrés y la tensión gracias al aprendizaje de las lecciones de autoconciencia a través del movimiento del método feldenkrais. además, uno de los participantes tenía un problema de transpiración antes del estudio, pero éste desapareció durante el estudio, mientras que otro participante informó que sus síntomas de disfunción de la articulación temporomandibular (atm) habían mejorado drásticamente después de la experiencia. debate los resultados de este estudio sugieren que el método feldenkrais puede tener un impacto directo en la interpretación al piano. los tres participantes expresaron una mejora siguiendo un proceso de aprendizaje kinestésico autoguiado hacia el desarrollo de la conciencia a través del movimiento. todos ellos informaron que esta experiencia había llevado su comprensión de tocar el piano a un nivel diferente, y todos creían que tendrían una comprensión más profunda de su movimiento si continuaban practicándolo. en este estudio, los participantes demostraron que las personas suelen tener experiencias contrastantes cuando aprenden el método feldenkrais. esto sugiere que cómo se desarrolla el chiang es • feldenkrais research journal, volume 7 (2023) 15 proceso estaría determinado por lo que cada persona percibe o por sus inquietudes. por ejemplo, uno podría darse cuenta de que la habilidad de percepción auditiva ha mejorado drásticamente, mientras que el otro pensaría que esta habilidad no ha mejorado mucho. ¿el resultado de una ‘mejora’ debe definirse o evaluarse a partir de los sentidos internos de cada uno o de una opinión externa? puntos fuertes utilizar la información sensorial personal como datos primarios puede ser una forma poderosa de mostrar resultados. sumado a eso, las grabaciones en video realizadas por la investigadora mostrando la actuación de cada participante proporcionaron datos objetivos sobre los que tanto los participantes como la investigadora pudieron reflexionar. el método de investigación de este estudio fue adecuado para los fines del mismo: los datos personales pueden indicar la eficacia del método feldenkrais para pianistas. limitaciones los participantes expresaron que su proceso habría dado lugar a resultados más interesantes si se les hubiera dado más tiempo para explorar. los tres participantes aceptaron continuar con su diario personal sobre este experimento de movimiento durante otros 3 a 6 meses después del estudio. debido a la financiación y a la limitada fuente de reclutamiento en la zona, este estudio sólo utilizó tres participantes simplemente con el fin de probar la utilidad de los datos personales durante el periodo de estudio de dos meses. la investigadora espera que este estudio pueda suscitar más interés en explorar la posibilidad de un futuro estudio de mayor duración sobre la experiencia somática que combine en sus conclusiones tanto evaluaciones personales (en primera persona) como externas (en segunda persona y objetivas). un mayor número de participantes, o la inclusión de sujetos con dolor crónico, y un estudio de mayor duración podrían permitir una mayor variedad de evaluaciones o comparaciones. por ejemplo, se podría invitar a un grupo de al menos tres evaluadores externos para que valoraran el antes y el después como parte de la recogida de datos. la recopilación de información sensorial interna también podría extenderse hasta 6 meses o más, junto con una evaluación bimestral de los evaluadores externos, para controlar los cambios progresivos de cómo un pianista experimentado utilizaría la experiencia sensorial para tocar el piano y/o prevenir posibles lesiones. conclusión la experiencia de este estudio de ocho semanas permitió a los participantes procesar la información ofrecida a través de la práctica del método feldenkrais, desarrollar aplicaciones chiang es • feldenkrais research journal, volume 7 (2023) 16 adecuadas para ellos mismos y, a continuación, realizar experimentos en el piano que les permitieron evaluar la eficacia del método para ellos mismos. el resultado de este estudio sugiere a la investigadora otra conclusión adicional. por lo general, los músicos aprenden a realizar la ejecución o a tocar a través de la retroalimentación externa, como las instrucciones o la escucha de las grabaciones. dado que cada uno de nosotros tiene diferencias en sus estructuras biológicas y en su historial de hábitos, el enfoque externo proporcionado a través de procesos sensoriales ajenos, que puede interpretarse como feedback objetivo, a veces podría provocar lesiones en la ejecución si no se tiene cuidado. el enfoque kinestésico interno que provee el método feldenkrais puede utilizarse como feedback subjetivo de los músicos, especialmente en el caso de los músicos jóvenes, para interpretar y clarificar las instrucciones que reciben de sus profesores o el sonido que escuchan en las grabaciones. los profesores también pueden utilizar el método feldenkrais para conectar los "puntos que faltan" en la comunicación verbal, o incluso en la demostración física, utilizando la percepción somática para evitar riesgos potenciales de lesione. • la investigadora quisiera agradecer al college of arts and letters at northern arizona university por su apoyo financiero. • la investigadora recibió el permiso del entrenador alan questel para llevar adelante este estudio durante el programa de formación en feldenkrais. references cole, a. (2014) ‘integrating the feldenkrais method and the dalcroze method: music, improvisation, and function’. the feldenkrais journal, 27, 30-35 doidge, n. (2007) the brain that changes itself. new york: penguin books feldenkrais, m. (2019) the elusive obvious: the convergence of movement, neuroplasticity and health. california: north atlantic books feldenkrais, m. (1990) awareness through movement. new york: harpercollins fraser, a. (2011) the craft of piano playing: a new approach to piano technique. 2nd ed. lanham, md: the scarecrow press, inc. fraser, a. (2010) honing the pianistic self-image: skeletal-based technique. new belgrade: maple grove music productions chiang es • feldenkrais research journal, volume 7 (2023) 17 hillier, s., and worley, a. (2015) ‘the effectiveness of the feldenkrais method: a systematic review of the evidence’. evidence-based complementary and alternative medicine, 752160. available at < https://doi.org/10.1155/2015/752160 > hopper, c., kolt, g., and mcconville, j. (1999) ‘the effects of feldenkrais awareness through movement on hamstring length, flexibility, and perceived exertion’. journal of bodywork and movement therapies, 3 (4), 238-247. available at < https://doi.org/10.1016/s1360-8592(99)80010-2 > klingenstein, b. g. (2009) the independent piano teacher’s studio handbook. wisconsin: hal leonard corporation lee, c. (2018) ‘musicians as movers: applying the feldenkrais method to music education’. music educator journal, 104 (4), 15-19. available at < https://doi.org/10.1177/0027432118766401 > lyke, j., haydon g., and rollin c. (2011) creative piano teaching. illinois: stipes publishing l.l.c. mccrea, b. (1997, july) ‘the feldenkrais method and its relevance for musicians’. south african music teacher, 42 ohman, a., aström, l, and malmgren-olsson, e. b. (2011) ‘feldenkrais® therapy as group treatment for chronic pain a qualitative evaluation’. journal of bodywork and movement therapies, 15 (2), 153-161. available at < https://doi.org/10.1016/j.jbmt.2010.03.003 > peterson, p. h. (2008) ‘alexander or feldenkrais: which method is best?’ the choral journal, 48 (11), 67-72. available at < https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peter son,p.pdf > smith, s. m. (2015) ‘alan fraser discusses piano technique’. clavier companion, 7 (4) july/august, 30-39 spire, m., and baniel, a. (1989) ‘the feldenkrais method: an interview with anat baniel’. medical problems with performing artists, 4 (4), dec., 159-162. available at < https://www.worldcat.org/ > use: oclc number/unique identifier: 81820255 stephens, j., davidson, j., derosa, j., kriz, m., and saltzman, n. (2006) ‘lengthening the hamstring muscles without stretching using “awareness through movement’. physical therapy, 86 (12), 1641-1650. available at < https://doi.org/10.2522/ptj.20040208 > chiang es • feldenkrais research journal, volume 7 (2023) 18 https://doi.org/10.1155/2015/752160 https://doi.org/10.1016/s1360-8592(99)80010-2 https://doi.org/10.1177/0027432118766401 https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peterson,p.pdf https://acda-publications.s3.us-east-2.amazonaws.com/choral_journals/may_2008_peterson,p.pdf https://www.worldcat.org/ https://doi.org/10.2522/ptj.20040208 uszler, m., gordon, s., and mach e. (1991) the well-tempered keyboard teacher. new york: schirmer books weinberger, r., and vanclay, m. (1999) ‘no pain, big gain: examining the feldenkrais method’. strings, 14 (2), 72, 74-77 wong, g. (2015) the immediate effects of somatic approach workshops on the body usage and musical quality of pianists. unpublished master’s thesis. ottawa: university of ottawa. available at < http://dx.doi.org/10.20381/ruor-2845 > further reading bella, s. d., and palmer, c. (2011) ‘rate effects on timing, key velocity, and finger kinematics in piano performance’. plos one, 6 (6), e20518. available at < https://doi.org/10.1371/journal.pone.0020518 > cockey, l. (2008) ‘body, mind, and spirit: being at one with your instrument’. the american music teacher, 57 (6), 42-43. available at < https://www.jstor.org/stable/43541123 > cockey, l., and kalmanson, k. (2007) ‘annotated bibliography on musician wellness’. the american music teacher, 56 (6), 28. available at < https://www.jstor.org/stable/43539285 > crappell, c., and lister-sink, b. (2015) ‘the abcs of gen x, y(p), z: a column for young professionals: playing-related injuries: the dark side of our profession and how you can help’. american music teacher, 64 (4), 16-19. available at < https://www.jstor.org/stable/43543798 > furuya, s., and altenmüller, e. (2013) ‘flexibility of movement organization in piano performance’. frontiers in human neuroscience, 7. available at < https://doi.org/10.3389/fnhum.2013.00173 > hannon, j. c. (2000) ‘the physics of feldenkrais: part 2: no strain, no gain’. journal of bodywork and movement therapies, 28 (1), 27-30. available at < https://doi.org/10.1054/jbmt.2000.0172 > jabusch, h-c., alpers, h., kopiez, r., vauth, h., and altenmüller, e. (2009) ‘the influence of practice on the development of motor skills in pianists: a longitudinal study in a selected motor task’. human movement science, 28, 74-84. available at < https://doi.org/10.1016/j.humov.2008.08.001 > kaufman-cohen, y., portnoy, s., sopher, r., mashiach. l., baruch-halaf, l., and ratzon, n. z. (2018) ‘the correlation between upper extremity musculoskeletal symptoms and joint kinematics, playing habits and hand span during playing among piano students’. chiang es • feldenkrais research journal, volume 7 (2023) 19 http://dx.doi.org/10.20381/ruor-2845 https://doi.org/10.1371/journal.pone.0020518 https://www.jstor.org/stable/43541123 https://www.jstor.org/stable/43539285 https://www.jstor.org/stable/43543798 https://doi.org/10.3389/fnhum.2013.00173 https://doi.org/10.1054/jbmt.2000.0172 https://doi.org/10.1016/j.humov.2008.08.001 plos one, 13 (12), e0208788 available at < https://doi.org/10.1371/journal.pone.0208788 > kim, j. (1997) physical problems prevalent among pianists. dma. university of washington rogers, s. m. (1999) survey of piano instructors: awareness and intervention of predisposing factors to piano-related injuries. unpublished doctoral of education thesis. new york city: columbia university. available at < https://www.worldcat.org/ > use: oclc number/unique identifier: 252454272 vaquero, l., hartmann, k., ripollés, p., rojo, n., sierpowska, j., françois, c., càmara, e., van vugt, f. t., mohammadi, b., samii, a., münte, t. f., rodríguez-fornells, a., and altenmüller, e. (2016) ‘structural neuroplasticity in expert pianists depends on the age of musical training onset’. neuroimage, 126, 106-119. available at < https://doi.org/10.1016/j.neuroimage.2015.11.008 > weierich, m. r., wright, c l., negreira. a., dickerson, b. c., and barret, l. f. (2010) ‘novelty as a dimension in the affective brain’. neuroimage, 49 (3), 2871-2878. available at < https://doi.org/10.1016/j.neuroimage.2009.09.047 > winspur, i., and parry, c. b. w. (1997) ‘the musician’s hand’. journal of hand surgery [european volume], 22 (4), 433-440. available at < https://doi.org/10.1016/s0266-7681(97)80262-8 > wristen, b. (1998) overuse injuries and piano technique: a biomechanical approach. unpublished doctoral thesis. texas: texas tech university. available at < http://hdl.handle.net/2346/10941 > yoshiko, s. (2013) piano-related musculoskeletal disorders: posture and pain. unpublished doctoral thesis. denton, texas: university of north texas. available at < https://digital.library.unt.edu/ark:/67531/metadc271895/m2/1/high_res_d/dissertation.pdf > chiang es • feldenkrais research journal, volume 7 (2023) 20 https://doi.org/10.1371/journal.pone.0208788 https://www.worldcat.org/ https://doi.org/10.1016/j.neuroimage.2015.11.008 https://doi.org/10.1016/j.neuroimage.2009.09.047 https://doi.org/10.1016/s0266-7681(97)80262-8 http://hdl.handle.net/2346/10941 https://digital.library.unt.edu/ark:/67531/metadc271895/m2/1/high_res_d/dissertation.pdf author biography la pianista janice chenju chiang, natural de taiwán, ha actuado extensamente por todo estados unidos, taiwán y corea del sur. ha colaborado en conciertos con numerosos artistas de renombre, como el violinista fritz gearhart, los clarinetistas keith lemmons y jeremy reynolds, la soprano faye robinson y el antiguo concertino de la orquesta sinfónica de phoenix, steven moeckel. también colaboró con el aclamado fotógrafo shane mcdermott y el artista de instalaciones shawn skabelund. el proyecto de recital/instalación con skabelund, composition for forests, ganó el viola award en 2017. chiang ha aparecido en muchos festivales y conferencias, incluyendo the american liszt society festival, tucson vocal art festival, conference of north american saxophone alliance, international alliance for women in music, y las conferencias nacionales cms/nacwpi/atmi/pkl de 2012. chiang fue profesora de piano en la universidad del norte de arizona entre 2007 y 2022. también es profesora autorizada de awareness through movement del método feldenkrais. posee títulos de interpretación por la universidad de arizona (doctora en artes musicales), la universidad católica fu-jen (máster en música) y la universidad de soochow (licenciatura). chiang es • feldenkrais research journal, volume 7 (2023) 21 apéndice i: clases de autoconciencia a través del movimiento 1. levantar la pelvis usando más de ti mismo. fuente: alan questel; y moshe feldenkrais, programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 (amherst) objetivo: conectar el movimiento entre los pies y la pelvis y extender el movimiento hacia el alargamiento de los brazos, creando una conexión diagonal a través del torso para la rotación (giro), flexión y extensión. 2. rodar desde la cadera opuesta. fuente: alan questel objetivo: sentir el movimiento en nuestras articulaciones incluyendo tobillos, rodillas, articulaciones de la cadera y articulaciones de los hombros, añadiendo el movimiento de apertura de brazos y pecho, y finalmente nos lleva a rodar de un lado a otro lado para activar la movilidad en los músculos pectorales y abdominales. 3. reloj pélvico. fuente: programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 objetivo: diferenciación de los movimientos pélvicos mediante un reloj imaginario. 4. respiración paradójica. fuente: programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 objetivo: aprender el movimiento de “sube y baja” para diferenciar partes y funciones en la respiración, aumentando la toma de conciencia en la respiración habitual. 5. caída reversible #1. fuente: programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 objetivo: con los brazos en posición triangular hacia el techo y las piernas cruzadas moviéndose en la misma dirección o en dirección opuesta. sentir el movimiento vertebral en el torso. 6. caída reversible #2. fuente: programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 objetivo: una lección consecutiva que utiliza la misma posición de arriba, añadiendo movimientos de ojos y cabeza en sincronía u opuestos a la dirección de brazos y manos. 7. liberar la cabeza. fuente: programa de formación profesional feldenkrais, amherst massachusetts, 1980-1981 chiang es • feldenkrais research journal, volume 7 (2023) 22 objetivo: en decúbito prono un brazo arriba y el otro abajo, ambos con 90 grados en codos y axilas. mover la mano, doblar la muñeca y levantar el codo para distinguir el movimiento de cada parte en el brazo, eventualmente involucra a todo el ser para cambiar la dirección de los brazos. 8. sentarse y levantarse de la silla de manera reversible. fuente: alan questel objetivo: última lección usando la silla para ayudar a los participantes a integrar lo que han aprendido de las 7 lecciones anteriores, de cómo utilizar todo el ser al sentarse. esta lección se centra en cómo involucrar los músculos y la pelvis para entrar y salir de la silla con más facilidad, así como sentir la coordinación de los hombros y el pecho cuando el torso está en posición erguida. chiang es • feldenkrais research journal, volume 7 (2023) 23 apéndice ii: encuesta previa encuesta previa para los participantes en el proyecto de investigación "informe de caso sobre el impacto del método feldenkrais con pianistas experimentados", investigadora: dra. janice chenju chiang id del participante: profesión del participante, por favor indique también su edad: 1. ¿qué sabe sobre el método feldenkrais? ¿hay otros métodos de movimiento que conozca o con los que esté familiarizado? en caso afirmativo, ¿ha realizado alguno que le haya ayudado? 2. ¿cómo cree que el movimiento está conectado con la interpretación del piano? 3. por favor, describa sus experiencias tocando el piano. 4. ¿cuánto tiempo promedio toca el piano al día? si no es todos los días, por favor describa con qué frecuencia toca el piano a la semana. 5. ¿cuánto tiempo pasa sentado al piano cada vez que toca el piano? 6. ¿tiene algún tipo de sensación, cómoda o incómoda, cuando toca el piano? en caso afirmativo, ¿en qué parte? ¿se produce al principio, durante o después de tocar? 7. por favor, díganos si hay algo que espera mejorar en su forma de tocar el piano. 8. ¿hay otras actividades que realice además de tocar el piano? 9. ¿ha tenido alguna lesión o cirugía anteriormente? ¿tiene algún dolor actualmente? en caso afirmativo, ¿es crónico o intermitente? si puede, dé más detalles. chiang es • feldenkrais research journal, volume 7 (2023) 24 apéndice iii: preguntas de la entrevista posterior al estudio “informe de caso sobre el impacto del método feldenkrais con pianistas experimentados". investigadora: dra. janice chenju chiang antes de ver los vídeos de su interpretación [al piano] previos y posteriores a las clases 1. por favor, hable de sus pensamientos acerca de experimentar el método feldenkrais® a través de este proyecto. 2. ¿qué lecciones practicó más y por qué las eligió? 3. en la pregunta nº 7 de la encuesta previa: "por favor, díganos si hay algo que espera mejorar en su forma de tocar el piano", usted contestó......, ¿cree usted que el método feldenkrais® le ha ayudado en este aspecto? 4. en la pregunta nº 2 de la encuesta previa: "¿cómo cree que el movimiento está conectado con la interpretación al piano?", usted respondió ....., ¿mantiene la misma comprensión o ha obtenido información diferente después de la experiencia con el método feldenkrais? después de ver los vídeos de la interpretación previos y posteriores 1. por favor, díganos lo que piensa después de ver sus actuaciones en vídeo antes y después de experimentar el método feldenkrais®. 2. después de ver las actuaciones en vídeo, ¿puedo volver a hacerle la misma pregunta sobre su opinión acerca de la conexión entre el movimiento y tocar el piano? 3. ¿cree que los músicos pueden beneficiarse de la práctica del método feldenkrais®? en caso afirmativo, ¿en qué grado o en qué aspecto? 4. 1) ¿ha practicado siempre las atm® con las grabaciones? en caso negativo, ¿cuáles no estaban registradas? 2) ¿cree que practicar las atms® con las grabaciones ayuda? ¿en qué sentido? 5. dado que el método feldenkrais® hace hincapié en aprender cómo aprendemos, ¿qué cree que ha aprendido con este proyecto hasta ahora? 6. 1) ¿cree que seguirá practicando estas 8 lecciones? chiang es • feldenkrais research journal, volume 7 (2023) 25 2) si la respuesta es sí : dado que el método feldenkrais® también enfatiza el desarrollo del proceso en el aprendizaje, ¿estaría dispuesto a continuar escribiendo el diario, aunque no sea día a día sino de vez en cuando y a compartir con la investigadora el resultado del aprendizaje dentro de 3 o 6 meses? 7. ¿tiene otras preguntas? chiang es • feldenkrais research journal, volume 7 (2023) 26 apéndice iv: encuesta posterior al estudio informe de caso sobre el impacto del método feldenkrais en pianistas experimentados — encuesta posterior al estudio investigadora: janice chenju chiang participante id: preguntas sensoriales generales: relajante _____ placentera _____ extraña ______ incómoda ______ desconocida ______ 2. ¿qué tipo de sensación tuvo después de recibir más de una lección de atm? relajante _____ placentera _____ extraña ______ incómoda ______ desconocida ______ 3. si antes de recibir las lecciones de atm había percibido tensión en alguna parte de usted, ¿cree que las lecciones de atm le ayudaron a identificar dónde estaba la tensión y cómo se ha producido con el movimiento? 4. ¿dónde comenzó a sentir una sensación nueva después de recibir la primera lección de atm? 5. ¿en qué otras partes de usted mismo sintió más sensaciones nuevas después de recibir varias lecciones de atm? 6. después de recibir las 8 lecciones de atm, ¿tiene una comprensión diferente de cómo era su organización antes? ¿es diferente de lo que pensaba antes, o igual? ¿cree que lo ayuda de alguna manera? 7. ¿tiene una imagen diferente de sí mismo después de recibir las lecciones de atm? puede responder a esta pregunta como desee. piano-playing related questions: 1. después de experimentar las ocho lecciones de atm, ¿cree que el método feldenkrais tiene impacto directo en su forma de tocar el piano? sí___________ no____________ si su respuesta es afirmativa, continúe con las siguientes preguntas. si su respuesta es no, puede detenerse aquí y pasar a las preguntas de la vida cotidiana. 2. basándose en lo que ha percibido, ¿cómo ha influido el método feldenkrais en su forma de tocar el piano? chiang es • feldenkrais research journal, volume 7 (2023) 27 a. técnica: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ b. tono: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ c. fraseo musical: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ d. audición: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ e. memoria: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ f. interpretación: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ g. control general: muy mejorada ________ bastante mejorada ________ algo mejorada ________ no ha mejorado mucho ________ no ha mejorado nada ________ por favor, continúe con la siguiente pregunta si hay alguna mejora respecto a lo anterior: 3. por favor, especifique en qué aspecto de cada categoría ha sentido la mejora gracias al método feldenkrais. utilice términos técnicos si es necesario, ej. octavas, terceras, escalas, etc. a. técnica: b. calidad del tono: c. fraseo musical: d. audición (habilidad de percepción auditiva): e. memorización: chiang es • feldenkrais research journal, volume 7 (2023) 28 f. interpretación: g. control global: 4. ¿cree que el hecho de haber seguido practicando cada atm ha contribuido a su mejora? sí _______ no _______ en caso afirmativo, indique la(s) razón(es): 5. ¿cuándo empezó a sentir que la sensación al hacer atm le ayudaba a tocar mejor el piano? por favor, marque la respuesta que corresponda. después de 1____ 2_____ 3______ 4______ 5_______ 6_______ 7______ 8______ lección(es). 6. ¿qué lección(es) cree que le han ayudado más? por favor, incluya también la fecha en que hizo esa(s) lección(es). 7. en comparación con antes de recibir estas clases de atm, ¿tenía alguna limitación de movimiento en alguna parte de su cuerpo que antes no podía percibir pero que pudo sentir después de recibir las clases de atm y que contribuyó a mejorar su forma de tocar el piano? por ejemplo, puede sentirse más flexible en ciertos movimientos que antes de la participación. 8. si antes tenía una historia de dolor o tensión que cree que puede ser la causa del impedimento para tocar el piano, ¿siente que ha mejorado después de recibir las clases de atm? 9. después de recibir las clases atm, ¿tiene una comprensión diferente de lo que significa "relajarse" al piano? ¿le ayuda más o menos? 10. después de recibir las clases de atm, ¿entiende de forma diferente lo que significa "postura" en el piano? ¿le ayuda más o menos? preguntas sobre la vida diaria: 1. algunas personas piensan que su rutina diaria ha cambiado después de recibir cierta cantidad de lecciones de atm. ¿siente usted algún cambio en su vida diaria? por ejemplo, la calidad del sueño o su dieta. 2. después de recibir las clases de atm, ¿siente algún cambio al caminar, sentarse o estar de pie? por favor, describa también los cambios si los hubiera. 3. después de recibir las lecciones atm, ¿cree que su nivel de conciencia y atención es diferente? ¿ha mejorado o empeorado? chiang es • feldenkrais research journal, volume 7 (2023) 29 4. después de recibir las lecciones atm, ¿cree que está pensando su movimiento de manera diferente? ¿eso le ayuda a realizar sus tareas mejor o de forma más eficiente en ciertos aspectos? 5. si está dispuesto, por favor comparta cualquier otro cambio que haya tenido después de recibir las lecciones atm, ya sea sensorial o en su vida diaria. gracias por su participación chiang es • feldenkrais research journal, volume 7 (2023) 30 frj 7 bowes es feldenkrais research journal volume 7 (2025) investigación original clases grupales para la mejoría de la incontinencia urinaria mediante el aprendizaje motor y la toma de conciencia sensorial basados en el método feldenkrais® de educación somática. deborah bowes doctora en fisioterapia (dpt), profesora y entrenadora del método feldenkrais feldenkrais movement and awareness, san francisco; universidad saybrook contacto: deborahjbowes@gmail.com traducción: lucía porta resumen antecedentes: objetivo y justificación el suelo pélvico funciona como un sistema neuromuscular integrado. la disfunción y los problemas de control motor en el sistema del suelo pélvico causan diversos tipos de malestar pélvico, incluidas la incontinencia urinaria (iu) y la descoordinación. muchas mujeres tienen disfunción del suelo pélvico y no lo saben, o tienen iu y no acuden a fisioterapia. se necesitan programas de tratamiento en grupo eficaces para reducir y prevenir la incontinencia y promover la salud pélvica. el objetivo de este informe es presentar un modelo de clases grupales que utiliza un método de aprendizaje sensoriomotor basado en el método feldenkrais® de educación somática, educación para la salud y acompañamiento en grupo. el método feldenkrais es un proceso educativo de aprendizaje sensoriomotor. el objetivo del programa fue mejorar la coordinación sensoriomotriz para reducir los síntomas de iu y las molestias pélvicas. descripción del caso este informe de caso de método mixto describe un programa de tratamiento en grupo de cinco semanas para 12 mujeres con iu que se acercaron sin derivación médica. se impartieron cinco clases semanales de dos horas, con un total de 10 horas. el programa incluyó: (1) lecciones de autoconciencia a través del movimiento® del método feldenkrais, (2) información relevante sobre la anatomía ósea, muscular y orgánica de la pelvis, (3) entrenamiento de la vejiga, incluida la relación refleja entre la vejiga y el suelo pélvico, y hábitos miccionales saludables, (4) el papel de los sistemas nerviosos parasimpático y simpático, y (5) el funcionamiento del suelo pélvico como sistema integrado. cada clase incluyó una ronda de conversación. la práctica en casa se realizó con lecciones de audio grabadas en cd de autoconciencia a través del movimiento. resultados las herramientas de medición utilizadas fueron el urogenital distress inventory 6 (udi-6) e incontinence 1 1en castellano, inventario de malestar urogenital 6. se ha elegido mantener el nombre en inglés ya que así se encuentra en la literatura sobre dicha temática. se mantiene esta modalidad a lo largo de todo el texto. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:deborahjbowes@gmail.com https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org impact questionnaire 7short form (iiq-7). los resultados de estas escalas demostraron la eficacia del 2 programa para reducir la iu de leve a moderada y los síntomas de malestar pélvico, como el dolor pélvico en las mujeres. según el udi-6, el 66% de las mujeres experimentó una reducción del malestar. conclusión este programa de suelo pélvico, que utiliza lecciones de autoconciencia a través del movimiento del método feldenkrais, educación para la salud que incluye entrenamiento de la vejiga y acompañamiento en grupo, es una opción eficaz para reducir la incontinencia urinaria leve-moderada y mejorar la calidad de vida. sería valioso realizar más investigaciones para ampliar este enfoque. palabras clave incontinencia urinaria, suelo pélvico, método feldenkrais, control motor, conciencia sensorial, clases grupales, salud de la mujer biografía deborah bowes, doctora en fisioterapia (dpt), profesora y entrenadora del método feldenkrais feldenkrais movement and awareness, san francisco; saybrook university deborah es fisioterapeuta graduada en la universidad de columbia, nyc, y posteriormente obtuvo un doctorado en fisioterapia por la universidad de shenandoah. es entrenadora certificada del método feldenkrais y ha impartido clases en más de 35 programas de formación del método feldenkrais en todo el mundo. es profesora adjunta del departamento de medicina mente-cuerpo de la universidad saybrook. sus prácticas de mente y cuerpo incluyen tai chi chuan, qigong, yoga, meditación vipassana y varias formas de danza. es la creadora del programa de audio pelvic health and awareness y ofrece cursos en línea en movementandcreativity.com. copyright ©: los derechos de autor de este artículo pertenecen a su(s) autor(es). cita: (publicado por primera vez en el) feldenkrais research journal, volume 7; 2025. marcas registradas: los términos feldenkrais® , método feldenkrais® , autoconciencia a través del movimiento®, atm® , integración funcional® , e if® son términos con marca registrada de la international feldenkrais federation® (iff) y de gremios y asociaciones profesionales de feldenkrais en muchos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. 2 cuestionario del impacto de la incontinencia 7-versión corta. bowes es • feldenkrais research journal, volume 7 (2025) 2 investigación original clases grupales para la mejoría de la incontinencia urinaria mediante el aprendizaje motor y la toma de conciencia sensorial basados en el método feldenkrais® de educación somática deborah bowes doctora en fisioterapia (dpt), profesora y entrenadora del método feldenkrais feldenkrais movement and awareness, san francisco; saybrook university impacto de la incontinencia urinaria la incontinencia urinaria afecta negativamente a la calidad de vida de la mujer (shumaker et al. 1994). la incontinencia urinaria (iu) afecta al estado de salud de la persona, a su calidad de vida, incluida la productividad, y a los gastos de atención en salud (tang et al. 2014). además, ge et al. (2017) informaron de una interrupción significativa del sueño y un aumento de la fatiga con la iu. pereira et al. (2019) estudiaron a 80 mujeres que estaban en tratamiento de fisioterapia y tenían una comorbilidad de iu, encontraron que la satisfacción sexual, la expresión y la autoimagen habían sufrido un impacto negativo, y esto significaba una reducción en su calidad de vida. también se ha estudiado el impacto en los cuidadores. talley et al. (2021) describieron un aumento de la carga para los cuidadores y un aumento de la institucionalización de las personas mayores con iu. estos impactos tienen consecuencias sociales: informaron de "consecuencias físicas, económicas y sociales, cambios en las funciones y el apoyo de la familia, y una necesidad de formación sobre estrategias de gestión de la incontinencia" (2021: 2). en 2008, nygaard et al. informaron que el 15,7% de las mujeres no embarazadas mayores de 20 años padecían incontinencia urinaria moderada-grave. este porcentaje aumenta con la edad (nygard et al. 2008). dependiendo de cómo se defina la iu, el método de medición, la edad de las mujeres, si viven en un domicilio particular o en una institución, el porcentaje puede oscilar entre el 5% y el 66% (choi et al. 2007). esta cifra puede ser incluso mayor, ya que muchas mujeres no hablan de la iu con ningún profesional de la salud. la iu afecta al bienestar físico, social y psicológico de las mujeres, tanto si viven en su domicilio particular como en una institución. también supone un elevado costo económico, que oscila entre los 16.000 y los 26.000 millones de dólares anuales, de los cuales el 37% se gasta en productos absorbentes y lavandería (choi et al. 2007; koch 2006). basta con echar un vistazo al volumen de productos para la incontinencia a la venta en la farmacia local para darse cuenta de que tratar la iu cuesta bowes es • feldenkrais research journal, volume 7 (2025) 3 dinero al consumidor y parece enormemente rentable para las empresas que fabrican los productos. el impacto medioambiental del aumento de la utilización de pañales para adultos es un problema importante y cada vez mayor. los pañales para adultos superan ya la cantidad de pañales para bebés en el flujo de residuos, como demuestra un reciente estudio australiano de brewster et al. (2022). en un hospital de rehabilitación de japón, ocho de cada 10 residentes llevan pañales y 200 residentes producen diariamente 400 libras de residuos de pañales (rich e inoue 2021). justificación de la elección de un programa de clases grupales muchos pacientes buscan un mayor control de su salud y opciones de autocuidado accesibles. las clases de educación para la salud ofrecen un modelo de autocuidado que atrae a muchos consumidores y su asequibilidad las convierte en una opción atractiva. la disfunción del suelo pélvico que provoca iu de leve a moderada puede tratarse en clases con grupos reducidos mediante lecciones de autoconciencia a través del movimiento®. la bibliografía avala la inclusión de ejercicios del suelo pélvico en un programa general de ejercicios para mujeres con el fin de mejorar su funcionamiento (kim et al. 2011). según los informes de investigación, el promedio de consultas para el tratamiento de la iu informado en un estudio observacional multicéntrico realizado en australia (neumann et al. 2005) es 5. para el entrenamiento y el tratamiento del suelo pélvico en clases grupales se notificaron grupos de 8 a 10 alumnas en los países bajos (janssen et al. 2001). el entrenamiento de los músculos del suelo pélvico suele denominarse ejercicios de kegel. el dr. arnold kegel promovió la idea de que la iu por estrés era el resultado de una falta de conciencia del funcionamiento y coordinación de los músculos del suelo pélvico (kegel 1948; y también cho y kim 2021). el dr. kegel se basó en los métodos tradicionales de las comadronas para restaurar la función de la vejiga y el suelo pélvico de la madre después del parto. estos métodos tradicionales incluían instrucciones para que la mujer utilizara su propio dedo para sentir la contracción de la musculatura del suelo pélvico. el dr. kegel inventó un dispositivo, denominado perineómetro, que se utilizaba internamente en la vagina y registraba la fuerza de las contracciones de la musculatura del suelo pélvico (kegel 1948). el uso del perineómetro es considerado un ejercicio de kegel y, al mismo tiempo, un tipo de dispositivo de biofeedback. actualmente, cualquier ejercicio del suelo pélvico se denomina comúnmente 3 kegel, pero sin el uso del dispositivo de biofeedback del perineómetro, es un ejercicio diferente. una mujer puede no tener la conciencia o la retroalimentación sensorial para ejercitar estos músculos correctamente. esto puede llevar a una falta de confianza respecto a si está o no ejercitando los músculos del suelo pélvico correctamente. también puede provocar que no haya reducción de los síntomas. esto puede hacer que las mujeres no realicen el 3 biorretroalimentación bowes es • feldenkrais research journal, volume 7 (2025) 4 entrenamiento de los músculos del suelo pélvico (emsp ). además, muchas mujeres no se 4 sienten cómodas física o psicológicamente utilizando un dispositivo interno. es posible que no puedan o no quieran comprar un dispositivo o utilizarlo con un terapeuta. probablemente algunas mujeres prefieran un programa autodirigido basado en la toma de conciencia que pueda realizarse de forma independiente y no invasiva, o que (algunas mujeres) no tengan acceso a un terapeuta especializado en suelo pélvico. un estudio realizado en 2013 por fan et al. utilizó las medidas udi-6 e iiq-7 y halló una mejoría significativa en la calidad de vida de las mujeres con iu gracias a los ejercicios de los músculos del suelo pélvico. el emsp puede tener una progresión de fases. gödel-purrer sugiere que la fase 1 es "el desarrollo de la capacidad de tomar conciencia de la región" (2006: 253). este informe de caso describe un enfoque de tratamiento único en la literatura. se trata de un programa de clases grupales, ofrecido como un programa de salud para público en general sin derivación médica, con un protocolo semi-estandarizado, utilizando el método feldenkrais, un proceso de aprendizaje sensoriomotor (feldenkrais 1991; hillier y worley 2015; stephens y hillier 2020). un programa exitoso para mejorar la continencia debería desarrollar la conciencia del sistema muscular del suelo pélvico. como el suelo pélvico está integrado funcionalmente con otros músculos profundos del cuerpo, se puede hacer uso de una retroalimentación concreta y observable en la forma de los propios movimientos de todo el cuerpo, incluyendo la columna vertebral, la pelvis, la cintura escapular, las caderas y la respiración. se ha propuesto que este proceso de dirigir la atención y notar cambios en muchos aspectos del aprendizaje sensoriomotor provoca un cambio en la manera en que el sistema nervioso gestiona y organiza todo el ser para realizar la acción. la teoría de la neuroplasticidad puede explicar cómo pueden producirse con relativa rapidez cambios en la eficacia, la coordinación, la configuración musculoesquelética, la sincronización y la facilidad. en las lecciones de autoconciencia a través del movimiento se hace hincapié en la clarificación de la imagen del movimiento como algo conectado a la propia sensación (doidge 2007; stephens y hillier 2020). se ha demostrado que el entrenamiento del suelo pélvico mejora o incluso cura los síntomas de iu (bø y sherburn 2005; liebergall-wischnitzer et al. 2009). además, el entrenamiento específico de la vejiga también es una parte importante de un programa de tratamiento de la incontinencia urinaria (choi et al. 2007, ucsf 2022-2024). las mujeres con iu se benefician de un programa que explique la relación recíproca entre la vejiga y el suelo pélvico. las contracciones completas efectivas del suelo pélvico pueden inhibir la contracción de la vejiga y detener la micción, las ganas de orinar y las pérdidas involuntarias de orina. el entrenamiento de la vejiga requiere ser consciente de las sensaciones de la micción, las ganas de orinar y la habilidad de utilizar los músculos del suelo pélvico para controlar la micción. los médicos y fisioterapeutas recomiendan los ejercicios del suelo pélvico como intervención inicial para la 4 se usa la sigla emsp para ejercicios/entrenamiento de los músculos del suelo pélvico. en ingles pfme (pelvic floor muscles exercises) bowes es • feldenkrais research journal, volume 7 (2025) 5 incontinencia (koch 2006). una revisión sistemática de 2018 de 31 ensayos de investigación, concluyó según los datos disponibles, podemos estar seguros de que el entrenamiento muscular del suelo pélvico puede curar o mejorar los sistemas de iue [incontinencia urinaria de esfuerzo] y todos los demás tipos de iu [incontinencia urinaria]. puede reducir el número de episodios de pérdidas, la cantidad de pérdidas..., y los síntomas en cuestionarios específicos de iu....los hallazgos de la revisión sugieren que el emsp podría incluirse en los programas de tratamiento conservador de primera línea para mujeres con iu. (dumoulin et al. 2018) el reentrenamiento de la vejiga es un elemento valioso que debe incluirse en los programas para mejorar los síntomas de incontinencia urinaria. una revisión sistemática de 15 ensayos publicada en 2023 (funada et al.) mostró pruebas de leves a moderadas de su eficacia en el tratamiento de la iu. el entrenamiento de la vejiga se incluyó como parte de la educación para la salud de este estudio. la mayoría de las veces, el tratamiento de iu se proporciona de forma individual y en un entorno médico por parte de un fisioterapeuta o una enfermera con formación especial (choi et al. 2007). este modelo tiene limitaciones en estados unidos, ya que el costo del tratamiento individual es caro y prohibitivo para muchas mujeres. sin cobertura de seguro médico, muchas mujeres pagan de su bolsillo el tratamiento individual. además, es posible que el seguro médico no cubra la fisioterapia, que se necesite una derivación médica del médico de cabecera para recibir los servicios y que haya que hacer copagos elevados. incluso en el mejor de los casos, la mujer debe pedir primero ayuda para esta afección. sin embargo, menos del 38% de las mujeres han hablado alguna vez de la incontinencia urinaria con su médico (koch 2006). las razones para no buscar tratamiento para la incontinencia urinaria incluyen la creencia de que la iu es un proceso normal del envejecimiento, o que se sienten avergonzadas o apenadas. algunas mujeres pensaban que el problema no tenía solución o que su médico lo trataría a la ligera, o tenían miedo de que el médico les sugiriera una intervención quirúrgica. las mujeres que no consideraban la cirugía una solución aceptable eran menos propensas a buscar ayuda (koch 2006). un programa de entrenamiento del suelo pélvico ofrecido como plan de bienestar o salud pélvica puede sortear alguno de los obstáculos mencionados. las clases grupales son rentables. el componente educativo puede abordar ideas erróneas sobre la iu. los debates en grupo pueden proporcionar apoyo y motivación. los anuncios de clases grupales sacan el tema a la luz y pueden ayudar a educar al público sobre la prevalencia del problema y sobre la existencia de soluciones. en un estudio (koch 2006), el 16% de las mujeres afirmó haber buscado ayuda para la iu gracias a una campaña de salud pública. si la clase tiene un componente de bienestar, las mujeres que sientan vergüenza podrían animarse a asistir. cada bowes es • feldenkrais research journal, volume 7 (2025) 6 educador en salud pélvica podría influir positivamente en la vida de más mujeres. el tratamiento en grupo con ejercicios del suelo pélvico y entrenamiento vesical es tan eficaz como el tratamiento individual (janssen et al. 2001). las investigaciones describen programas eficaces de entrenamiento de la musculatura del suelo pélvico. sin embargo, existen diversos parámetros en cuanto al tipo de emsp que debe realizarse, las repeticiones necesarias para disminuir los síntomas y la duración del programa de ejercicios (koch 2006). se han demostrado diferencias en los programas eficaces en cuanto al tipo de (1) ejercicio, (2) duración, (3) repeticiones, (4) intensidad y (5) tiempo necesario para mostrar mejoría. según cho y kim (2021), "los regímenes específicos de ejercicio varían considerablemente en frecuencia e intensidad, y aún no se ha determinado el régimen de ejercicio ideal" (2021: 383). las mujeres con iu tienen dificultades con el control motor del suelo pélvico y también con la coordinación del sistema del suelo pélvico (madill et al. 2009; sapsford 2004). borello-france et al. 2006 descubrieron que el pronóstico de mejora de los síntomas de iu de esfuerzo es muy bueno, con una mejoría de al menos el 65% de las mujeres y una curación completa del 16%. se observan resultados similares en los programas de entrenamiento del suelo pélvico con ejercicios individuales y en grupo que prescriben un número determinado de ejercicios y repeticiones (choi et al. 2007; janssen et al. 2001). la bibliografía identificada en el momento del estudio de investigación hacía hincapié en que los ejercicios del suelo pélvico debían realizarse durante un número determinado de repeticiones. este número variaba y oscilaba entre una y docenas de contracciones al día. este estudio se diseñó para explorar si un enfoque de aprendizaje sensoriomotor que no hiciera hincapié en el número de repeticiones podría ser eficaz. en lugar de un número preestablecido, en este estudio, las repeticiones de los ejercicios se determinaron en función de la comodidad del individuo al moverse y de su capacidad para moverse con atención dirigida. otra característica importante fue el uso del movimiento exploratorio. stephens y hillier (2020), citando a corbetta et al. (2018) señalan que "confirmaron la eficacia del proceso de aprendizaje exploratorio en su estudio sobre la adquisición de habilidades infantiles" (2018: 230). un enfoque sensoriomotor del ejercicio, como el que se encuentra en la teoría y la práctica del método feldenkrais, sugiere que la capacidad de sentir el movimiento es esencial para aprender nuevos patrones, como las contracciones del suelo pélvico y la activación del sistema del suelo pélvico. la capacidad de mantener la atención en la sensación de las contracciones es una parte importante del aprendizaje. además, un movimiento cómodo refuerza el compromiso con el proceso de aprendizaje y aumenta la motivación y la sensación de logro. en este contexto, un número determinado de repeticiones es menos importante, y puede resultar menos eficaz que un enfoque sensoriomotor. la bibliografía indicaba que existía una amplia gama de variables de tratamiento posibles y que este programa coincidía con otros programas de suelo pélvico en (1) tamaño del grupo, (2) bowes es • feldenkrais research journal, volume 7 (2025) 7 historial de síntomas de las participantes, (3) número de sesiones ofrecidas y (4) educación para la salud proporcionada (choi et al. 2007; janssen et al. 2001). la autora preveía que el programa sería eficaz para mejorar la iu, pero era importante descubrir si el programa (1) era eficaz para mujeres con iu leve o moderada, (2) con qué tipo de factores de riesgo, (3) identificar cualquier beneficio o barrera no previstos para la participación en el programa y (4) que el mismo contara con tarea para el hogar. las alumnas participaron en novedosas exploraciones de movimiento, denominadas clases de autoconciencia a través del movimiento. en lugar de hacer hincapié en el número de repeticiones, se hace hincapié en que los alumnos desarrollen una mayor capacidad cinestésica para percibir y sentir el suelo pélvico funcionando como un sistema coordinado. en este programa, las lecciones de autoconciencia a través del movimiento se combinaron con la educación pertinente para reducir la incontinencia urinaria. el aprendizaje sensoriomotor puede ser el proceso fundamental para las mujeres con incontinencia urinaria y otras afecciones del suelo pélvico. las mujeres con iu tienen dificultades con el control motor del suelo pélvico y también con la coordinación del sistema del suelo pélvico (madill et al. 2009; sapsford 2004). borello-france et al. 2006 descubrieron que el pronóstico de mejoría de los síntomas de incontinencia urinaria de esfuerzo (iue) es muy bueno, con al menos un 65% de mujeres que mejoran y un 16% que se curan por completo. se observan resultados similares en los programas de entrenamiento del suelo pélvico con ejercicios individuales y en grupo que prescriben un número determinado de ejercicios y repeticiones (choi et al. 2006; janssen et al. 2001). cho y kim (2021) han observado que "las pacientes obtienen mejores resultados con emsp [entrenamiento / ejercicios para los músculos del suelo pélvico] regulares y una técnica adecuada. el primer paso del emsp es enseñar a la paciente a identificar los músculos del suelo pélvico, a contraerlos y relajarlos" (2021: 381). uno de los problemas para aprender a utilizar el suelo pélvico es que el componente sensorial y cinestésico no se percibe con facilidad. no hay un movimiento articular claro que percibir y, a diferencia de cuando se mueve una extremidad y se siguen señales externas de retroalimentación, como cambios de presión en superficies de apoyo o la trayectoria de la extremidad en el espacio, la persona debe percibir el trabajo muscular por sí misma. en casos de trauma y abuso, puede haber una disminución de la sensibilidad u otros aspectos psicosociales que pueden reducir la capacidad de percibir las sensaciones musculares de la zona del suelo pélvico. si no se puede sentir o ver lo que ocurre como resultado de la contracción muscular, es difícil saber qué está ocurriendo realmente. las mujeres que reciben instrucciones escritas o verbales para hacer "kegels" pueden no estar haciendo lo que creen que están haciendo y pueden estar utilizando una técnica que podría favorecer la incontinencia, como empujar el bowes es • feldenkrais research journal, volume 7 (2025) 8 abdomen hacia fuera y empujar hacia abajo (bump et al. 1991). por qué se utilizó el método feldenkrais un concepto clave del método feldenkrais es la propuesta de "que si una persona puede llevar la atención a los procesos cinestésicos y a la organización corporal subyacente a cualquier movimiento, estaría proporcionando la retroalimentación biológica que regula la coordinación óptima del movimiento en el umbral perceptivo" (russell 2020: 223) en su debate sobre los posibles mecanismos de acción del método feldenkrais, stephens y hillier (2020) se basan en el trabajo de vereijken y whiting (1990), sugiriendo que "el uso de la retroalimentación intrínseca ha demostrado ser especialmente valioso para el aprendizaje" (1990: 230). dado que la función de los músculos del suelo pélvico está integrada con otros músculos como una unidad funcional neuro-músculo-esquelética (sapsford 2004), el aprendizaje sensoriomotor mediante patrones de movimiento de todo el cuerpo puede ofrecer una solución para mejorar la función del sistema del suelo pélvico. así lo sugiere el trabajo de sapsford (2004) que describe las sinergias musculares entre los músculos del suelo pélvico, el diafragma y los músculos abdominales. el suelo pélvico es sinérgico con los abdominales, que responden conjuntamente para gestionar cualquier cambio en la presión intra abdominal (madill et al. 2009; sapsford 2004). para abordar todos los componentes del sistema del suelo pélvico, tanto en sus funciones de sostén como de movimiento, es necesario utilizar movimientos que integren el uso de las piernas, el abdomen, los brazos y la columna vertebral. en el movimiento, el sistema nervioso utiliza sinergias y patrones para organizar la función (berthoz 2000). otros componentes funcionales del sistema investigados son los músculos profundos de la espalda y el diafragma respiratorio (richardson et al. 2004). el método feldenkrais es congruente con los principios del reentrenamiento del control postural motor (connors et al. 2010). las clases grupales de autoconciencia a través del movimiento del método feldenkrais utilizan componentes del aprendizaje motor para mejorar la acción. la capacidad de realizar tareas funcionales requiere el uso de una acción muscular coordinada, de modo que la estabilidad y el movimiento estén en equilibrio óptimo, con una sincronización adecuada, la organización de la respiración, la evocación de imágenes y la secuenciación específica de la activación muscular (lee 2004; sapsford et al. 2013). las mujeres con iue presentan patrones de control motor alterados, concretamente en la sincronización de los músculos del suelo pélvico con los abdominales (madill et al. 2009). las lecciones de autoconciencia a través del movimiento hacen hincapié en la toma de conciencia de la sincronización para mejorar la función. medición de resultados en relación a la incontinencia urinaria en el momento de realizar este estudio existían varias escalas para medir la mejoría de los síntomas de iu y para evaluar la calidad de vida relacionada con dichos síntomas. se utilizaron el urogenital distress inventory -udi-6short form y el incontinence impact questionnaire bowes es • feldenkrais research journal, volume 7 (2025) 9 -iiq-7 para mediciones previas y posteriores. (shumaker et al. 1994; ubersax et al. 1995). estudios posteriores también han confirmado el valor de estas herramientas de medición (fan et al. 2013). las mediciones, validadas por la investigación, son sencillas de administrar y puntuar y se han utilizado en otros estudios de investigación para el tratamiento de la iu. estas herramientas de medición no diferencian el tipo de iu de cada persona. las medidas han sido validadas y son fiables (uebersax et al. 1995). la segunda cumbre internacional sobre incontinencia de la organización mundial de la salud clasificó el udi y el idi-6 entre los cinco 5 cuestionarios altamente recomendados para evaluar los síntomas de la incontinencia, y el iiq y el iiq-7 entre los cinco cuestionarios altamente recomendados para evaluar el impacto de la incontinencia en (shumaker et al. 1994; uebersax et al. 1995). la escala del urogenital distress inventory-udi-6 short from y el incontinence impact questionnaire-iiq-7 tiene un puntaje de 0-100. skorupska et al. (2021) clasificaron las puntuaciones inferiores a 33 en el udi-6 como de impacto leve y las puntuaciones superiores a 33 como de mayor molestia (shumaker et al. 1994; uebersax et al. 1995). skorupska et al. (2021) descubrieron: "el mayor impacto de la iu en la calidad de vida (cdv) relacionada con la salud se observa en las mujeres que obtuvieron una puntuación de 9 o más en el cuestionario iiq-7, y dichas mujeres sintieron una calidad de vida deteriorada" (resumen). los objetivos del programa fueron (a) reducir los síntomas de estrés, urgencia e iu mixta; (b) mejorar el control motor del movimiento que incluía los músculos del suelo pélvico, (c) mejorar la coordinación de la respiración con el ejercicio, (d) mejorar la conciencia sensorial de los músculos del suelo pélvico, (e) incluir el sistema del suelo pélvico en movimientos funcionales como pasar de estar sentado a estar de pie, y (f) proporcionar educación para la salud relevante para una función saludable de la pelvis y la vejiga. métodos selección de estudiantes se seleccionó una muestra por conveniencia de doce mujeres para las clases grupales a partir de un conjunto de aproximadamente treinta mujeres que respondieron al boletín informativo practice de la investigadora en el que se anunciaba el programa y se pedían participantes voluntarias. muchas mujeres recibieron el boletín directamente de la autora, otras oyeron hablar del programa a una amiga o a un profesional de la salud. cada encuestada fue examinada por teléfono para determinar su idoneidad para las clases grupales y si cumplía los requisitos de participación. los requisitos incluían (1) tener síntomas de iu, estrés, urgencia o mixtos, (2) dominio del inglés, (3) capacidad para acostarse en decúbito supino sobre una colchoneta en el suelo, (4) capacidad para permanecer sentada 5 the world health organization’s second international consultation on incontinence, world health organization (who). bowes es • feldenkrais research journal, volume 7 (2025) 10 durante treinta minutos, (5) acceso a un reproductor de cd para poder realizar las lecciones grabadas en cd del programa para el hogar de autoconciencia a través del movimiento, y (6) capacidad para asistir a las cinco clases. los motivos de exclusión de la participación fueron (1) antecedentes recientes de lesión, enfermedad grave o intervención quirúrgica, (2) dolor intenso, o (3) ser certificada como profesora del método feldenkrais. no se requería prescripción médica, ya que el programa de ejercicios se consideraba un programa de tipo autoeducación y bienestar ofrecido sin la necesidad de una derivación médica. se recopiló un historial más largo de síntomas de incontinencia urinaria de las mujeres que pasaron por el cribado inicial. en éste se identificaron diversos factores de riesgo de iu (seshan et al. 2016). se admitió en el estudio a mujeres que presentaban síntomas compatibles con incontinencia urinaria de esfuerzo, de urgencia y/o mixta. tamaño del grupo y duración las clases, de dos horas de duración, se impartieron los sábados por la mañana durante cinco semanas consecutivas en el estudio de movimiento privado de la autora. el número de semanas se fijó en 5. esta decisión se basó en la necesidad de semanas consecutivas de tratamiento y en que la bibliografía informaba de que 5 era el número medio de visitas de tratamiento (neumann et al. 2005). el tamaño de la clase se limitó a 12 (participantes) por varios factores: el tamaño de grupo recomendado en la bibliografía (janssen et al. 2001), así como la disponibilidad de espacio en el estudio privado de la autora, la necesidad de que la profesora observara la calidad del movimiento de cada alumna, especialmente el movimiento del abdomen, y de permitir el debate en grupo. la autora también esperaba que entre 1 y 3 alumnas abandonaran, sin embargo, el 100% de las participantes se mantuvo a lo largo de todo el programa. la guía guide for physical therapist practice (apta 2003), recomienda que las personas con 6 disfunción del suelo pélvico se clasifiquen en el patrón 4c impaired muscle performance. el 7 plan de intervención recomendado para el patrón 4c incluye ejercicio terapéutico, respiración y relajación, educación para la salud, acompañamiento en grupo y un programa domiciliario de ejercicios y escritura de un diario. la revisión del historial de cada mujer, así como los resultados de las mediciones iniciales ud-6 e iiq-7 de las participantes, sugirieron que estas mujeres probablemente tenían disfunción muscular del suelo pélvico. las mujeres con iu tienen dificultades con el control motor del suelo pélvico y también con la coordinación del sistema del suelo pélvico (madill et al. 2009; sapsford 2004). la consideración de todos estos factores condujo al diseño de la intervención. 7 deterioro del rendimiento muscular 6 guía para la terapia física práctica bowes es • feldenkrais research journal, volume 7 (2025) 11 intervención la intervención incluyó procesos semanales de aprendizaje sensoriomotor denominados lecciones de autoconciencia a través del movimiento del método feldenkrais, así como educación para la salud sobre la función del suelo pélvico, entrenamiento de la vejiga, acompañamiento en grupo y escritura de un diario. el contenido de educación para la salud incluyó información sobre, por ejemplo, hábitos miccionales, anatomía y fisiología relevantes, aspectos emocionales de la iu y debates en grupo. en la primera reunión, se entregó a las participantes (1) diarios para anotar observaciones, ideas, preguntas y actividades de práctica en casa, (2) un programa de cd de audio con seis lecciones de autoconciencia a través del movimiento para realizar en casa (bowes 2006), (3) un folleto con información de educación para la salud sobre el sistema del suelo pélvico y hábitos miccionales saludables, y (4) se entregó y recogió el udi-6 y el iiq-7. las participantes firmaron un consentimiento informado. de la segunda a la quinta semana, las participantes recibieron material escrito adicional diseñado para desarrollar sus conocimientos sobre el suelo pélvico, las sensaciones corporales asociadas a la micción y la higiene miccional. se dedicaron 30 minutos, cada semana, a compartir experiencias, debatir y formular preguntas y respuestas. el reentrenamiento de la vejiga incluyó información sobre la relación refleja entre los músculos del suelo pélvico y la vejiga, cómo orinar de forma que se redujera la tensión en el suelo pélvico, la frecuencia de la micción, la posición del cuerpo para orinar, la ingesta de líquidos y el uso de los músculos del suelo pélvico para inhibir adecuadamente la micción. a muchas mujeres se les ha dicho que detengan el flujo de orina durante cada micción y es importante comunicarles que se trata de información errónea, ya que altera los patrones de micción saludables. autoconciencia a través de las lecciones de movimiento: educación somática las lecciones de autoconciencia a través del movimiento son la modalidad de clase grupal del método feldenkrais, en las que el profesor guía verbalmente, sin demostrar los movimientos. los alumnos son dirigidos por el profesor para explorar secuencias de movimiento, autoorganizarse para realizar la tarea y atender a señales sensoriales como la respuesta de presión en el suelo o el patrón de la respiración. las lecciones de autoconciencia a través del movimiento comienzan con una exploración corporal. en dicha exploración corporal, el profesor dirige la atención del alumno al contacto con el suelo, la sensación de longitud de la columna vertebral y las relaciones de las partes del cuerpo, la calidad de la respiración y otras diversas sensaciones físicas relacionadas con la intención de la lección. en las lecciones para mejorar el suelo pélvico, se presta atención a (1) la sensación de la columna vertebral, la pelvis, las articulaciones de la cadera y las piernas, (2) la respiración en la parte baja del abdomen y la espalda baja, (3) el movimiento de la caja torácica con la respiración y (4) la sensación general de relajación que se consigue en dicho momento. tras la exploración, el profesor da una indicación verbal para un movimiento. bowes es • feldenkrais research journal, volume 7 (2025) 12 mientras el estudiante explora este movimiento, se dan otras indicaciones para centrar su atención en diversos aspectos del mismo. se fomenta una actitud sin prejuicios hacia la experiencia corporal y exploración de movimiento del estudiante. los movimientos se encadenan gradualmente, fomentando la participación de todo el cuerpo de forma fácil y coordinada. las variaciones del movimiento se introducen de forma estructurada y congruente con la intención de las posibilidades de aprendizaje de la lección. los cambios percibidos en la presión contra el suelo proporcionan información sobre el uso de las fuerzas del suelo y sobre cómo se mueve todo el cuerpo. la orientación verbal llama la atención sobre el cambio entre el enfoque interno y externo. notar la relación del ciclo respiratorio con el movimiento, es decir, si se está inhalando o exhalando, garantiza que el estudiante no retenga la respiración, y también puede utilizarse para calibrar la intensidad y la calidad del movimiento. en las clases de autoconciencia a través del movimiento, se pide al estudiante que se mueva de forma fácil y relajada sin dejar de respirar. se presta atención a la calidad del movimiento, es decir, si es suave en todo el recorrido o entrecortado; si el movimiento es reversible, es decir, si se puede parar y empezar en cualquier punto de la trayectoria; y cuál es la sincronización de los movimientos de las distintas partes del cuerpo con la respiración. se pide al estudiante que desarrolle un sentido coherente del patrón de movimiento (berthoz 2000). los estudiantes describen este estado como una agradable sensación en todo el cuerpo de un patrón de movimiento armonioso, integrado y coordinado (berthoz 2000; feldenkrais 1991; smyth 2018; stephens y hillier 2020). en una lección de autoconciencia a través del movimiento pueden incluirse otros aspectos a los cuales prestarle atención y variaciones de movimiento en función de las necesidades que el profesor perciba en el estudiante. el control motor puede mejorarse observando la propia velocidad, el inicio del movimiento, los planos de acción, la orientación, el esfuerzo empleado o la secuencia del movimiento de las partes del cuerpo, y la sincronización. el profesor de autoconciencia a través del movimiento no muestra los movimientos, sino que sigue dando indicaciones verbales basadas en la cinestesia (preguntas, sugerencias, instrucciones) o imágenes para promover el aprendizaje motor independiente y la toma de conciencia. a lo largo de la clase, se pide a los estudiantes que se muevan en un rango cómodo y sin dolor. al final de la clase, se repite la exploración corporal para fomentar el aprendizaje del estudiante mediante la observación de cambios en elementos como las diferencias en la organización corporal, la respiración y el estado de ánimo en comparación con el inicio de la clase. lecciones de sensibilización y salud pélvica. breve descripción las clases se realizan en diferentes posiciones tanto por la novedad que genera esto, como para activar toda la musculatura del sistema del suelo pélvico. las posiciones corporales utilizadas fueron decúbito supino con las piernas largas o las rodillas flexionadas, sentada en el bowes es • feldenkrais research journal, volume 7 (2025) 13 suelo y de pie. resulta interesante que un estudio de borello-france et al. (2006) demostrara que la posición para realizar los ejercicios no afectaba los resultados. en el apéndice b se encuentra una breve descripción de cada lección de autoconciencia a través del movimiento. estas descripciones de las seis lecciones básicas no transmiten la riqueza sensoriomotora de cada lección, ya que la atención dirigida a diferentes partes del cuerpo hace que los movimientos sean progresivamente más complejos. todas las lecciones hacen hincapié en la respiración y en la percepción del movimiento a través de toda la columna vertebral. las instrucciones de movimiento incluyen el descanso y la relajación entre las contracciones del suelo pélvico. la lentitud y la facilidad son cualidades que se enfatizan en las lecciones de autoconciencia a través del movimiento. se impartieron dos lecciones por semana, similares a las clases grabadas en cd para realizar en casa. educación para la salud el contenido de educación para la salud incluyó aspectos anatómicos: (1) huesos de la pelvis, caderas y columna vertebral, considerando su forma, músculos y articulaciones; (2) diafragma respiratorio; (3) sistema vesical; (4) útero y recto, específicamente su posición y relación entre sí y con el suelo pélvico. el temario de fisiología incluyó el reflejo miccional-suelo pélvico, la fisiología de la eliminación y la relación de la respiración con el sistema nervioso simpático y parasimpático. el de salud incluyó (1) definiciones de los tipos de iu, (2) hábitos miccionales saludables, (3) aproximación a la realidad de las imágenes que las alumnas tenían de las partes de su cuerpo. por ejemplo, una mujer pensaba que la oscilación del diafragma respiratorio era mucho mayor de lo que era, otra no sabía que las costillas se movían. se mostró un modelo anatómico musculoesquelético del suelo pélvico y se utilizaron ilustraciones de the female pelvis de blandine calais-germain (2003). 8 acompañamiento en grupo se pidió confidencialidad para el programa a todas las participantes. durante la conversación grupal, las estudiantes hicieron preguntas o compartieron sus experiencias. el tiempo asignado al debate podría haber sido más largo, ya que las participantes así lo solicitaron. la mayoría de las participantes afirmó que nunca habían hablado de estos temas con otras personas que compartieran experiencias similares. las lecciones de autoconciencia a través del movimiento parecieron estimular una reflexión y respuestas profundas en muchas de las participantes. muchas estudiantes afirmaron haber aumentado su conciencia sobre el suelo pélvico y haber comprendido mejor su vida, sus hábitos miccionales y cómo su autoimagen estaba cambiando con la mejora de la sensación y el control del suelo pélvico. 8 pelvis femenina. bowes es • feldenkrais research journal, volume 7 (2025) 14 cuadro 1: intervenciones semanales semana lecciones de movimiento educación para la salud acompañamiento en grupo 1 respiración, inclinación de piernas (lecciones atm 1, 2) hábitos miccionales saludables, sistema del suelo pélvico, ilustraciones del suelo pélvico presentaciones, uso de diario personal 2 respiración, inclinación de piernas con elevación de cabeza (lecciones atm 1, 3) definiciones de incontinencia, demostración con modelo de suelo pélvico, estrategias para la incontinencia de urgencia. preguntas y respuestas de la primera semana, deberes, imágenes que surgieron en las lecciones, confusión sobre la respiración 3 toma de conciencia de los glúteos (lección 7 de atm. esta lección no está en el programa grabado para realizar casa), inclinación pélvica (atm lección 4, folleto nº 3) estreñimiento, estrategias de micción nocturna, "jic" , 9 respiración, papel del sistema nervioso simpático y parasimpático charla sobre la digestión, el sueño, la autoimagen, la conciencia y cómo se cambia 4 respiración, en posición sentada levantando los lados derecho e izquierdo de la pelvis (lección atm 1, 5) automovilización de la pelvis (folleto nº 2) sistema esquelético: relaciones entre la pelvis, el sacro, las caderas y la columna vertebral, preguntas y respuestas papel de la práctica en la mejoría, informes de mejoría de los síntomas, cambios en la respuesta sexual 5 respiración, sentarse inclinando la pelvis (atm lección 6) revisión de todos los movimientos. cómo cambiar los patrones de movimiento y seguir respirando preguntas y respuestas, repaso de todo el material del curso cómo continuar en el futuro, cambios personales notados, toma de conciencia 9 «jic» se refiere a «joint-in-contact» (articulación en contacto), un término utilizado para describir la forma en que el método feldenkrais propone explorar y tomar mayor conciencia de las articulaciones y de cómo se mueven, en lugar de centrarse en posturas o movimientos específicos. bowes es • feldenkrais research journal, volume 7 (2025) 15 programa de ejercicios en casa los ejercicios en casa proporcionaban opciones a cada alumna. los recursos eran (1) seis lecciones grabadas de autoconciencia a través del movimiento en cd (bowes 2006), (2) instrucciones escritas para una lección adicional en la que se exploraba el uso de los glúteos, (3) instrucciones escritas para la automovilización del sacro y la pelvis. se orientó a las estudiantes sobre estas exploraciones durante el programa. se pidió a las estudiantes que seleccionaran una práctica diaria, ya fuera utilizando los cds, los folletos o haciendo lo que recordaban de la clase. se las alentó a hacer algo que les resultara interesante. las instrucciones incluyeron una rutina sugerida: (1) lección inicial de respiración consciente a través del movimiento, (2) cualquier otra lección, rotando lo que eligieran cada día, y (3) utilizar hábitos miccionales saludables. la novedad es una característica importante a emplear en el aprendizaje motor (berthoz 2000; doidge 2007). el número de repeticiones de cada variación viene determinado por el nivel de comodidad de cada estudiante y su capacidad para mantener la atención en cómo se está moviendo. por lo general, el número de repeticiones será inferior a 15. resultados características y demografía de las estudiantes las edades de las participantes oscilaban entre los 46 y los 68 años, con una media de 52 años, y todos eran blancas no hispanas con diversos historiales laborales y ocupaciones. todas declararon que hacían ejercicio entre 2 y 3 horas a la semana, combinando caminar con otras formas de ejercicio, como artes marciales, ballet, yoga y pesas en el gimnasio. la mitad de las participantes (n=6) había hablado de incontinencia urinaria y había pedido ayuda a un médico. una persona había recibido tratamiento quirúrgico para la suspensión de la vejiga, cinco habían recibido instrucciones verbales o un folleto escrito sobre los ejercicios de kegel. once participantes (91%) no habían recibido terapia o tratamiento para la iu, pero el 83% (n=10) habían utilizado los ejercicios de kegel de forma independiente, aunque los habían interrumpido cuando sus síntomas no mejoraron. las participantes presentaban síntomas de iu desde hacía 2-32 años. el 25% (n=3) informó de antecedentes de trauma sexual. del grupo, el 58% (n=7) había tenido 1-2 hijos, y el 42% (n=5) no tenía antecedentes de parto. una mujer informó de dos partos por cesárea; 6 tuvieron partos vaginales. las características de las participantes en el grupo de estudio se resumen en las tablas 2 y 3. tabla 2. duración de los síntomas de iu duración de los síntomas de iu 2, 4, 5, 5, 10, 10, 11, 20, 20, 25, 30, 32 años media 14,5 años bowes es • feldenkrais research journal, volume 7 (2025) 16 tabla 3: otras características ¿habló alguna vez la estudiante de la iu con su médico? 6 sí 6 no historial de parto 7 sí 5 no tipo de nacimiento 6 vaginal 1 cesárea tratamiento previo de la iu 1 sí (suspensión de la vejiga) 11 no experiencia con los ejercicios de kegel 10 sí 2 no historial de traumas sexuales 3 sí 9 no cirugías abdominales 7 sí 5 no prótesis total de cadera 1 bilateral 11 no otras condiciones médicas como imc >26, 10 hipertensión, antecedentes de cáncer, dolor crónico 11 sí 1 no el 91% (n=11) de las mujeres presentaban otros trastornos médicos. entre ellas, hipertensión (n=2), hipotensión (n=1), hipercolesterolemia (n=2), lumbalgia crónica (n=3), migraña (n=2), escoliosis (n=2), reflujo gástrico (n=3), trastorno bipolar (n=1), depresión (n=1), diabetes (n=1), artritis (n=1), hipoglucemia (n=1) y tratamiento del linfoma no hodgkin lnh (n=1). en cuanto a los antecedentes quirúrgicos, el 58% (n=7) tenían antecedentes de cirugía abdominal, incluida histerectomía, apendicectomía, ooforectomía, reparación de prolapso vesical, exploración tubárica laparoscópica, colecistectomía y reparación de obstrucción del cuello vesical con escisión de endometrioma y exploración tubárica laparoscópica. una mujer se sometió a una prótesis total de cadera bilateral por abordaje posterior. las 10 participantes que se acercaron sin referencia médica presentaban pérdidas de orina, síntomas compatibles con incontinencia de esfuerzo, de urgencia o mixta, o ambas. la información sobre otras condiciones de salud mostró que cada mujer tenía uno o más factores de riesgo para desarrollar iu (seshan et al. 2016). recolección de datos los cuestionarios udi-6 y iiq-7 se administraron al principio de la primera clase y al final de la última. los diarios fueron para referencia personal de las participantes y no fueron revisados 10 índice de masa corporal bowes es • feldenkrais research journal, volume 7 (2025) 17 por la investigadora. las preguntas de evaluación cualitativa posteriores a la intervención (apéndice a) se administraron al final de la última sesión. resultados las puntuaciones de las estudiantes en el udi-6 oscilaban inicialmente entre 54 y 16,6 y, tras la intervención, entre 33 y 8,3. las puntuaciones de 1-33 se consideraban leves, de 34 a 66 moderadas y de 67 a 100 graves. inicialmente, siete estudiantes tenían iu moderada y cinco leve. después del programa, 11 tenían síntomas leves y 1 moderados. las puntuaciones de las estudiantes mejoraron en un 66% (n=8), no mejoraron en un 16% (n=2) y empeoraron en un 16% (n=2). el mayor cambio en la puntuación se produjo en el grupo con síntomas moderados. puntuaciones pre y post udi-6 e iiq-7 las puntuaciones previas a la intervención en el udi-6 oscilaban entre 16,6 y 54 y en el iiq-7 entre 4,7 y 54. en el udi-6, esto se traduce en un 42% (n=5) con incontinencia urinaria leve y un 58% (n=7) con iu de gravedad moderada. el impacto en la calidad de vida (cdv), el iiq-7 mostró que el 92% (n=11) de las mujeres tenían un impacto leve y el 8% (n=1) un impacto moderado. tabla 4: puntuaciones iniciales en el udi-6 y el iiq-7 estudiante udi-6 pre gravedad de la iu síntomas iiq-7 pre impacto en la calidad de vida a 54 moderado 42.8 moderado l 54 moderado 19 suave h 54 moderado 19 suave g 54 moderado 9.5 suave c 45.8 moderado 28.5 suave b 37.5 moderado 4.7 suave i 37.5 moderado 9.5 suave j 33 suave 19 suave f 29 suave 33.3 suave d 25 suave 4.7 suave e 25 suave 9.5 suave k 16.6 suave 14.2 suave el hecho de que el 66% de las mujeres mostrara una mejoría a través de una puntuación más baja en el udi-6, se encuentra dentro del rango de mejoría registrado en otros programas de entrenamiento del suelo pélvico (choi et al. 2007; koch 2006). bowes es • feldenkrais research journal, volume 7 (2025) 18 las puntuaciones iniciales del iiq-7 fueron de 42,8-14,2 y, tras la intervención, de 28,5-0. inicialmente, la calidad de vida de 11 mujeres estaba ligeramente afectada y la de 1 era moderada. tras la intervención, 10 sufrieron un impacto leve, el 75% (n=9) mostró una mejora y un menor impacto, y 2 mostraron que su calidad de vida (cdv) ya no se veía afectada por la incontinencia urinaria. las puntuaciones del iiq-7 muestran que el 16% (n=2) empeoró y el 0,8% (n=1) no mostró mejoría. las mayores mejoras se observaron en las mujeres cuya cdv se vio más afectada por la iu, con puntuaciones iniciales del iiq-7 superiores a 19. tabla 5: puntuaciones antes y después de la intervención en el udi-6 y el iiq-7 correlacionadas con la asistencia y al registro en su diario de tareas. estudiante udi-6 pre udi-6 email cambio: (-) = mejora iiq-7 pre iiq-7 email: cambio: (-) = mejora asistencia diario de tareas a 54 33 21 42.8 23 19.8 100% sí l 54 33 21 19 0 19 100% sí h 54 12.5 41.5 19 14.2 4.8 100% sí g * 54 54 sin cambios 9.5 23 +13.5 80% no c 45.8 16.6 29.2 28.5 4.7 23.8 100% sí b 37.5 33 4.5 4.7 4.7 sin cambios 100% sí i 37.5 20.8 16.7 9.5 4.7 4.8 100% sí j 33 33 sin cambios 19 4.7 -14.3 100% sí f 29 20.8 8.2 33.3 28.5 4.8 100% sí d 25 33 + 8 4.7 0 4.7 100% sí e * 25 33 + 8 9.5 14.2 + 4.7 80% no k 16.6 8.3 8.3 14.2 4.7 9.5 100% sí *(la estudiante e faltó a la 5ª clase y envió por email su cuestionario posterior a la intervención. la estudiante g faltó a la 3ª clase) resultados cualitativos el udi-6 y el iiq-7 no midieron algunos de los beneficios y experiencias relatados por las estudiantes durante el curso. se utilizó un cuestionario cualitativo posterior a la intervención para intentar extraer los beneficios no medibles (mehling et al. 2005). por ejemplo, una estudiante afirmó que su problema de estreñimiento había desaparecido. el estreñimiento es otro problema del suelo pélvico que se ha tratado con ejercicios del suelo pélvico; sin embargo, ninguna de las herramientas era sensible a la medición del estreñimiento (harrington et al. 2006). dos estudiantes afirmaron poder mantener relaciones sexuales sin dolor por primera vez bowes es • feldenkrais research journal, volume 7 (2025) 19 en varios años. una estudiante informó que la fascitis plantar que padecía desde hacía tiempo desapareció durante el curso. esto apunta al uso de diferentes herramientas de evaluación para este tipo de programa, que serían sensibles a otras mejoras de todo el cuerpo o del suelo pélvico (barber et al. 2005), o a cambios en la calidad de vida. respondiendo a la pregunta: "¿ha habido alguna experiencia de la que se sienta realmente satisfecha?", nueve estudiantes citaron el acompañamiento y la conversación en grupo. por ejemplo: escuchar a las demás. conocer y estar con las otras mujeres. compartir experiencias verbalmente y escuchar las de las demás. aprendí muchísimo de las experiencias de otras mujeres. fue una parte importante de la experiencia. el programa era diferente de otras clases grupales a las que he asistido porque todas disponíamos de tiempo durante y después de las sesiones para escuchar los comentarios y observaciones de las demás, lo cual era útil porque generaba más comentarios e información por parte de la profesora. formar parte de un grupo de mujeres elocuentes y solidarias. es estupendo poder hablar y escuchar las experiencias y mejoras de otras mujeres. me gusta contar con el apoyo de otras mujeres del grupo. esta selección de declaraciones cualitativas de las estudiantes representa otros resultados no mensurables del programa. estas declaraciones se hicieron en el cuestionario cualitativo administrado después de la última clase. soy más consciente del suelo pélvico. siento la interconexión del esqueleto y los músculos y cómo interactúan y se afectan mutuamente. mis sensaciones sexuales se sienten ahora física y emocionalmente. la mejor parte fue aprender que puedo controlar mi cuerpo una vez que tengo la conciencia corporal. tenía miedo de debilitarme aún más. ahora este miedo ha disminuido. siento una mayor autoeficacia, siendo proactiva y cuidando de mí misma. bowes es • feldenkrais research journal, volume 7 (2025) 20 fue importante estar en grupo y escuchar las experiencias de las demás. el programa me ayudó a resolver mis dolores de espalda. me hizo más receptiva al sexo, que ha sido ausente y doloroso y poco atractivo durante años. me alegra saber que sigo teniendo sensibilidad y sensaciones en la zona genital, por dentro y por fuera. aprendí muchísimo de las experiencias de otras mujeres. la verdad es que es asombroso. el resultado más espectacular es no tener que levantarse tantas veces durante la noche. el mayor impacto fue en mis pies. el dolor en los talones disminuyó notablemente. siento que está abriendo mi curiosidad y tengo más esperanzas. debate el 66% de las mujeres mostró mejoría en ambas medidas, es decir, una disminución de los síntomas de incontinencia urinaria y un menor impacto en su calidad de vida. el porcentaje de mejora es coherente con otros estudios que midieron la mejora de la cdv tras el tratamiento individual con ejercicios de los músculos del suelo pélvico (emsp) y un programa de ejercicios en grupo, en los que el 60% de las mujeres informaron de una mejora (janssen et al. 2001). las dos estudiantes cuyas puntuaciones empeoraron en ambas medidas habían faltado a una clase y no completaron el diario de tareas. esto podría significar que la asistencia a todas las clases era importante para el trabajo, la información o la motivación, o quizás que no utilizaron el programa para realizar en casa. en futuros programas, tener una sesión individual privada con la profesora para revisar las exploraciones, discutir cualquier barrera para comprometerse con el contenido y responder a cualquier pregunta individual podría mejorar los resultados. hubo un 100% de permanencia en el programa, lo que difiere de otros estudios de investigación. por ejemplo, en australia, el 25% de las mujeres abandonó un programa de tratamiento ambulatorio de iu de 4-6 visitas (neumann et al. 2005). en los países bajos, un programa de clases grupales registró una tasa de abandono o no inicio del 7,9% (janssen et al. 2001). el programa australiano implicaba tratamiento individual y no incluía la dinámica de apoyo grupal. el marco temporal de los países bajos era más largo y, aunque se trataba de un programa grupal, la duración era de 3 meses de clases y un seguimiento 9 meses después. tal vez un tiempo más corto para la intervención fue importante para la permanencia, así como el componente de acompañamiento en grupo. sería pertinente una mayor investigación sobre la permanencia de participantes en programas de trabajo grupal. bowes es • feldenkrais research journal, volume 7 (2025) 21 este estilo de enseñanza y aprendizaje en este informe de caso fue muy diferente de todos los demás métodos para el entrenamiento de la musculatura del suelo pélvico (choi et al. 2007). las instrucciones dadas a los estudiantes en una lección de autoconciencia a través del movimiento enfatizan un enfoque no lineal que utiliza múltiples estrategias como la variabilidad y las restricciones para realizar cualquier tarea (harbourne y stergiou 2009; lafe y pacheco 2019). la variabilidad del movimiento humano incluye variaciones para la habilidad motora y el rendimiento (harbourne y stergiou 2009). en lugar de entrenar al estudiante para "hacerlo de determinada manera", el alumno explora las variaciones de movimiento en diferentes posiciones que conducen a un estado dinámico saludable. la variabilidad es una propiedad inherente a la regulación del movimiento (corbetta 2009). las estudiantes fueron entrenadas para utilizar su sentido cinestésico para moverse y sentir en diferentes posiciones y explorar cada acción con diferentes variaciones de movimiento. el número de repeticiones fue determinado por cada una en función de su sensación de facilidad, comodidad y la capacidad de mantener una respiración fácil mientras se movían, así como de prestar atención al modo en que realizaban cada acción. se invitaba a las estudiantes a percibir las sensaciones internas y también al entorno, y se les pedía que detuvieran un movimiento cuando estuvieran cansadas y no pudieran seguir estando atentas. un breve descanso refrescaba la capacidad de atención cuando la estudiante reanudaba el movimiento. la duración del curso de sólo 5 semanas fue una limitación, a pesar de que algunas intervenciones exitosas informan de un número medio de 5 sesiones de tratamiento individual (neumann et al. 2005). existen publicaciones que sugieren que la duración óptima de los programas de entrenamiento grupal de los músculos del suelo pélvico es de 9-12 semanas (borello-france et al. 2006; janssen et al. 2001; koch 2006). una limitación de este informe de casos fue que las estudiantes se acercaron al programa sin derivación médica. es posible que haya habido un factor contextual y que las expectativas de mejora fueran altas. las estudiantes completaron diarios con entradas abiertas, escribiendo sus pensamientos, sensaciones y experiencias. parece que a las estudiantes les gustaron los diarios y todas los trajeron a cada clase. un comentario escrito en el cuestionario cualitativo: creo que el cuaderno es una parte crucial del programa. el mero hecho de tener esa cosa brillante sobre la mesa como recordatorio, y luego pensar en lo que he hecho. se incluyó la escritura de un diario para alentar a las mujeres a tomar notas durante el componente educativo de la clase. tras años impartiendo clases del método feldenkrais, he aprendido que las personas pueden tener respuestas, percepciones y experiencias personales profundas a partir de las lecciones de autoconciencia a través del movimiento. de mi experiencia clínica, he aprendido que el trabajo del suelo pélvico va más allá de lo físico y puede estimular experiencias profundamente personales para la reflexión. el diario también era un lugar práctico para llevar un registro de las tareas realizadas. volvería a utilizar el diario, bowes es • feldenkrais research journal, volume 7 (2025) 22 pero separaría los registros de los tareas para facilitar la recopilación y el análisis de datos y fomentar el cumplimiento. se suponía que completar el diario de tareas demostraba que la estudiante cumplía con los ejercicios en casa. las tareas no se registraban de forma organizada. esta fue una limitante para el informe de caso. sería útil disponer de datos sobre qué se hacía para el programa en casa, con qué frecuencia y en qué cantidad. al analizar los datos, las dos estudiantes cuyas puntuaciones no mejoraron tampoco completaron los diarios de tareas. en un programa futuro, sería mejor disponer de formularios estandarizados para anotar las tareas y la respuesta a las mismas. así sería más fácil saber lo que es útil y tal vez delinear criterios de selección de estudiantes para un mayor éxito. otra limitación del estudio fue que las estudiantes sólo presentaban síntomas de leves a moderados. es posible que el formulario corto del udi-6 y el iiq-7 no fueran lo suficientemente sensibles para este grupo. además, varias estudiantes tuvieron problemas para responder a los cuestionarios en la última clase. algunas estudiantes parecían apresuradas o incapaces de concentrarse en las preguntas. en el futuro, otras medidas que formulen más preguntas pueden ser útiles para detectar cambios en otras funciones del suelo pélvico o en la calidad de vida, como la mejora de la respuesta sexual, el estreñimiento o el sueño. el pelvic floor distress inventory pfdi-20 completo (de arruda et al. 2022) podría ser útil para ello. en la 11 estructura del programa debe tenerse en cuenta la posibilidad de reservar tiempo suficiente en la última clase para completar las preguntas. el udi-6 y el iiq-7 no midieron todos los beneficios cualitativos y las experiencias del programa, tal y como las relataron verbalmente las estudiantes durante el curso. la autora elaboró un cuestionario cualitativo que se utilizaría después de la intervención para intentar extraer los beneficios no medibles (mehling et al. 2005). en el futuro, puede ser útil el uso de un proceso sistemático de recolección de datos. sería interesante medir los cambios en la conciencia corporal y los efectos que pueden tener en la disfunción del suelo pélvico. es posible que existan diferentes herramientas para este tipo de programas que sean sensibles a otras mejoras de todo el cuerpo o del suelo pélvico (barber et al. 2005). la intervención de este informe de caso se basó en un programa original desarrollado por la autora llamado pelvic health and awareness. éste era multifacético e incluía respiración y 12 relajación, lecciones de autoconciencia a través del movimiento, educación para la salud, entrenamiento de la vejiga, escritura de un diario y apoyo grupal. las conversaciones y el acompañamiento en grupo sacaron a la luz algunas de las afirmaciones cualitativas que no sólo se referían a la incontinencia urinaria, sino también a la sexualidad, el empoderamiento, la esperanza y la autoimagen. 12 salud pélvica y autoconciencia 11 inventario de malestar del suelo pélvico bowes es • feldenkrais research journal, volume 7 (2025) 23 este programa atrajo a mujeres proactivas en su atención de la salud, que disfrutaban de la camaradería de estar en un grupo con otras mujeres y que podían reflexionar sobre su experiencia. sería útil saber para quién no funciona este programa. esa podría ser una pregunta para futuras investigaciones. otras cuestiones que se sugieren para futuros estudios son: ¿cuáles son las mejores medidas a utilizar para un programa de entrenamiento de los músculos del suelo pélvico basado en la sensoriomotricidad? ¿cómo contribuye un incremento de la conciencia del suelo pélvico y/o corporal a la mejora de la calidad de vida? ¿qué cambios en la autoimagen son útiles para mejorar la iu? ¿pueden las clases de autoconciencia a través del movimiento influir en la mejoría a largo plazo de los síntomas de iu? ¿puede un enfoque sensoriomotor ayudar a las mujeres con iu moderada-grave? conclusión la incontinencia urinaria puede tratarse en clases grupales para mujeres con síntomas de leves a moderados utilizando lecciones de autoconciencia a través del movimiento del método feldenkrais, combinadas con educación para la salud, acompañamiento en grupo y escritura de un diario. este programa grupal tuvo otros beneficios además de la mejoría de la iu. por ejemplo, las declaraciones cualitativas revelaron una mejora de la función sexual y de la sensibilidad a las sensaciones sexuales, menos dolor en las relaciones sexuales, menos miedo a perder la función en el futuro, conciencia de las conexiones corporales sentidas, reducción del dolor de espalda y la apreciación del valor de compartir experiencias específicas de la identidad y la vida de una mujer. el tiempo de conversación para que las mujeres aprendieran de las experiencias de las demás demostró ser un complemento valioso para un programa de entrenamiento del suelo pélvico en grupo. este programa consiguió mitigar el sufrimiento de la incontinencia urinaria de leve a moderada. en este estudio, el 66% de las mujeres mejoró sus síntomas de iu. la mayoría de las participantes mejoró las puntuaciones de calidad de vida relacionadas con la iu, con una mayor mejoría en las más afectadas por la incontinencia urinaria. ellas sintieron un mayor control sobre este aspecto de su función y valoraron la sensación de acompañamiento de otras mujeres para hablar de lo que suele ser un aspecto vergonzante de la vida de muchas mujeres. se podría incluir el uso del cuestionario abarcativo pelvic floor distress inventory pfdi-20 (de arruda et al. 2022), útil para futuros estudios, junto con una recopilación sistemática de datos cualitativos en primera persona. este estudio señala el valor de la investigación futura de este enfoque para aliviar la carga de la iu. bowes es • feldenkrais research journal, volume 7 (2025) 24 gracias gracias a karol connors, coeditora de este volumen del feldenkrais research journal y a los 13 revisores ciegos por su valiosa ayuda y sugerencias que han contribuido a hacer realidad este trabajo. biografía deborah bowes, doctora en fisioterapia (dpt), profesora y entrenadora del método feldenkrais movement and awareness, san francisco; universidad saybrook deborah se graduó en fisioterapia en la universidad de columbia, nyc, y posteriormente obtuvo un doctorado en fisioterapia en la universidad de shenandoah. es entrenadora certificada del método feldenkrais y ha enseñado en más de 35 programas de formación del método feldenkrais en todo el mundo. es profesora adjunta del departamento de medicina mente-cuerpo de la universidad saybrook. sus prácticas de mente y cuerpo incluyen tai chi chuan, qigong, yoga, meditación vipassana y varias formas de danza. es la creadora del programa de audio pelvic health and awareness y ofrece cursos en línea a través de movementandcreativity.com. 13 revista de investigación feldenkrais bowes es • feldenkrais research journal, volume 7 (2025) 25 references apta (american physical therapy association) (2003) guide to physical therapist practice 2n ed. alexandria, va: american physical therapy association barber, m. d., walters, m. d., and bump, r. c. 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(2021) ‘identification of the urogenital distress inventory-6 and the incontinence impact questionnaire-7 cutoff scores in urinary incontinent women’. health and quality of life outcomes, 19 (1), 1-6. available at https://doi.org/10.1186/s12955-021-01721-z smyth, c. (2018) the lived experience of the feldenkrais method. proquest dissertations publication no.: 13857460. [doctoral dissertation, saybrook university] proquest dissertations global. available at https://www.proquest.com/docview/2269043436 stephens, j. and hillier, s. (2020) ‘evidence for the effectiveness of the feldenkrais method’. kinesiology review, 9 (3), 228-235. available at https://doi.org/10.1123/kr.2020-0022 talley, k. m., davis, n. j., peden-mcalpine, c., martin, c. l., weinfurter, e. v.. and wyman, j. f. (2021) ‘navigating through incontinence: a qualitative systematic review and meta-aggregation of the experiences of family caregivers’. international journal of nursing studies, 123, 104062. available at https://www.sciencedirect.com/science/article/abs/pii/s0020748921002091 tang, d.h., colayco, d.c., khalaf, k.m., piercy, j., patel, v., globe, d., and ginsberg, d. (2014) ‘impact of urinary incontinence on healthcare resource utilization, health‐related quality of life and productivity in patients with overactive bladder’. bju international, 113 (3), 484-491. available at https://bjui-journals.onlinelibrary.wiley.com/doi/abs/10.1111/bju.12505 ucsf (university of california san francisco). (2022-2023) patient education: bladder training. san francisco: university of california san francisco. available at https://www.ucsfhealth.org/education/bladder-training (accessed 23 november, 2024) uebersax, j. s., wyman, j. f., shumaker s. a., mcclish, d., and fantl, j. (1995) ‘short forms to assess life quality and symptom distress for urinary incontinence in women.’ neurological urodynamics, 14, 131-9. available at https://doi.org/10.1002/nau.1930140206 vereijken, b., and whiting, h.t. 1990 ‘in defense of discovery learning’. canadian journal of sport sciences/journal canadien des sciences du sport, 15 (2), 99-106. available at pmid: 2383829 bowes es • feldenkrais research journal, volume 7 (2025) 30 https://doi.org/10.1007/bf00451721 https://doi.org/10.1186/s12955-021-01721-z https://www.proquest.com/docview/2269043436 https://doi.org/10.1123/kr.2020-0022 https://www.sciencedirect.com/science/article/abs/pii/s0020748921002091 https://bjui-journals.onlinelibrary.wiley.com/doi/abs/10.1111/bju.12505 https://www.ucsfhealth.org/education/bladder-training https://doi.org/10.1002/nau.1930140206 apéndices apéndice a: preguntas cualitativas para después de la intervención preguntas de evaluación cualitativa tras la intervención (mehling, et al., 2005) 1. ¿qué fue importante para tí? por favor, siéntete libre de compartir con tus propias palabras y comentarios acerca de tu experiencia. me gustaría conocer algunos de tus pensamientos, sentimientos y respuestas al programa. si piensas o sientes algo diferente sobre tu cuerpo, tu suelo pélvico, tus molestias o dificultades, o la vida en general. 2. ¿hubo alguna información que te resultara especialmente útil? 3. ¿hubo alguna experiencia de la que te alegras de haber vivido? 4. ¿tienes alguna sugerencia para mejorar algún aspecto de las clases o del programa? apéndice b: breves descripciones de las lecciones de feldenkrais autoconciencia a través del movimiento utilizadas en el programa 1. respiración para relajar y equilibrar el sistema nervioso. esta lección se realiza en decúbito supino con las rodillas flexionadas. la lección explora la emisión de tres sonidos diferentes: sss, shh, haa, sonido con la exhalación mientras se siente el movimiento de las costillas y el abdomen. está diseñada para relajar y calmar el sistema nervioso simpático. se realiza antes de cualquiera de los otros ejercicios como un tipo de calentamiento, no de los músculos, sino del sistema nervioso. 2. activación de los lados derecho e izquierdo del suelo pélvico. esta lección se realiza en decúbito supino con las rodillas flexionadas. se pide a la estudiante que mueva las rodillas de un lado a otro y que permita que el movimiento recorra toda la columna hasta la cabeza, percibiendo la columna como una cadena cinética. después de sentir el movimiento esquelético completo, la lección avanza utilizando el suelo pélvico para ayudar a mover las piernas individualmente o al mismo tiempo. se pide a la estudiante que coordine la respiración con el patrón de movimiento. esta lección está diseñada para ayudar a equilibrar la fuerza y el control de cada lado del suelo pélvico. la principal estrategia de movimiento es el uso de los músculos auxiliares, los aductores de las piernas y los oblicuos abdominales. 3. involucrando los abdominales. esta lección se realiza en decúbito supino con las rodillas flexionadas. utiliza el patrón de movimiento aprendido en la lección nº 2 con el añadido de levantar la cabeza con ayuda de las manos mientras se mueven las rodillas. la respiración se coordina con las piernas. una vez que el movimiento se percibe como un patrón corporal coherente, se añade el uso del suelo pélvico al levantar y bajar la cabeza. esta lección está bowes es • feldenkrais research journal, volume 7 (2025) 31 diseñada para trabajar todos los músculos abdominales y mejorar la coordinación del suelo pélvico con el diafragma respiratorio. 4. activación de la parte anterior y posterior del suelo pélvico. esta lección se realiza en decúbito supino con las rodillas flexionadas. se pide a la estudiante que incline suavemente la pelvis hacia adelante y hacia atrás y que perciba la respuesta o la conexión con la columna vertebral y la cabeza. tras el movimiento esquelético completo de flexión y extensión suaves, la estudiante explora los hábitos de uso de la parte anterior y posterior del suelo pélvico. mediante el uso de imágenes sencillas con diferentes combinaciones de inclinación de la pelvis e inclusión del suelo pélvico, esta lección está diseñada para mejorar la capacidad de sentir y coordinar el suelo pélvico con el movimiento funcional. la estudiante puede percibir su hábito de uso del triángulo anterior o posterior del suelo pélvico. la lección incluye la diferenciación de una contracción del suelo pélvico, con movimiento de la pelvis y sin él. 5. posición sentada dinámica con los lados derecho e izquierdo del suelo pélvico. esta lección se realiza sentada en una silla de base plana. se utiliza una pequeña toalla doblada colocada bajo una tuberosidad isquiática. se pide a la estudiante que levante y baje la tuberosidad isquiática que no está sobre la toalla. la atención se centra en cómo el desplazamiento del peso de un lado a otro afecta a toda la columna vertebral. una vez realizado el movimiento esquelético completo, se pide a la estudiante que active los lados derecho e izquierdo del suelo pélvico con movimientos más lentos y más rápidos. esta lección está diseñada para aprender a utilizar el suelo pélvico de forma dinámica al sentarse. 6. posición sentada dinámica con la parte anterior y posterior del suelo pélvico. esta lección se realiza sentada en una silla de base plana. se pide a la estudiante que incline lentamente la pelvis hacia delante y hacia atrás y que observe cómo cambia la postura. la flexión y extensión completas y suaves de la columna se combinan con la inclinación de la pelvis hacia adelante y hacia atrás. las estudiantes exploran el uso de la parte delantera o trasera del suelo pélvico con diferentes direcciones de inclinación de la pelvis. al final de la lección, se presta atención a la bipedestación para percibir cómo el suelo pélvico participa en el apoyo de las caderas, las piernas y la columna vertebral. esta lección está diseñada para aprender a utilizar el suelo pélvico de forma dinámica al sentarse. 7. toma de conciencia de los glúteos. esta lección se realiza en decúbito supino, decúbito prono, decúbito lateral, sentada en el suelo y de pie. se pide a la estudiante que contraiga los glúteos de diferentes maneras y que perciba la relación con la respiración, la rotación externa de las piernas, la disminución de la extensión lumbar y la elevación de los arcos de los pies. esta lección permite a la estudiante sentir la relajación de los glúteos y del suelo pélvico. la lección está diseñada para mejorar el uso de los glúteos y disminuir el trabajo extra (parasitario) en esta zona. bowes es • feldenkrais research journal, volume 7 (2025) 32 ​investigación original ​ clases grupales para la mejoría de la incontinencia urinaria mediante el aprendizaje motor y la toma de conciencia sensorial basados en el método feldenkrais® de educación somática. resumen palabras clave biografía investigación original ​ clases grupales para la mejoría de la incontinencia urinaria mediante el aprendizaje motor y la toma de conciencia sensorial basados en el método feldenkrais® de educación somática ​impacto de la incontinencia urinaria justificación de la elección de un programa de clases grupales por qué se utilizó el método feldenkrais medición de resultados en relación a la incontinencia urinaria métodos selección de estudiantes tamaño del grupo y duración intervención autoconciencia a través de las lecciones de movimiento: educación somática lecciones de sensibilización y salud pélvica. breve descripción educación para la salud acompañamiento en grupo programa de ejercicios en casa resultados características y demografía de las estudiantes recolección de datos resultados puntuaciones pre y post udi-6 e iiq-7 resultados cualitativos debate conclusión gracias biografía references apéndices ​apéndice a: preguntas cualitativas para después de la intervención ​apéndice b: breves descripciones de las lecciones de feldenkrais autoconciencia a través del movimiento utilizadas en el programa feldenkrais research journal • volume 7 (2023) systematic reviews the effectiveness of the feldenkrais method: a systematic review of the evidence susan hillier international centre for allied health evidence, sansom institute of health research, school of health science, university of south australia anthea worley school of health science, university of south australia contact: susan.hillier@unisa.edu.au this article was originally published in evidence-based complementary and alternative medicine; 2015. volume 2015, article id 752160. the pdf version of the article follows. the html version can be found at hindawi: https://doi.org/10.1155/2015/752160 abstract the feldenkrais method (fm) has broad application in populations interested in improving awareness, health, and ease of function. this review aimed to update the evidence for the benefits of fm, and for which populations. a best practice systematic review protocol was devised. included studies were appraised using the cochrane risk of bias approach and trial findings analysed individually and collectively where possible. twenty rcts were included (an additional 14 to an earlier systematic review). the population, outcome, and findings were highly heterogeneous. however, meta-analyses were able to be performed with 7 studies, finding in favour of the fm for improving balance in ageing populations (e.g., timed up and go test md −1.14 sec, 95% ci −1.78, −0.49; and functional reach test md 6.08 cm, 95% ci 3.41, 8.74). single studies reported significant positive effects for reduced perceived effort and increased comfort, body image perception, and dexterity. risk of bias was high, thus tempering some results. considered as a body of evidence, effects seem to be generic, supporting the proposal that fm works on a learning paradigm rather than disease-based mechanisms. further research is required; however, in the meantime, clinicians and professionals may promote the use of fm in populations interested in efficient physical performance and self-efficacy. keywords feldenkrais method, awareness through movement, functional integration, systematic review, cochrane approach, mechanisms of action, function, functional reach, balance training, dexterity, self-efficacy, reduced perceived effort, body image perception copyright ©: the copyright for this paper remains with the author(s). published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:susan.hillier@unisa.edu.au https://doi.org/10.1155/2015/752160 https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org please cite: feldenkrais research journal, volume 7; 2023. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. review article the effectiveness of the feldenkrais method: a systematic review of the evidence susan hillier1 and anthea worley2 1international centre for allied health evidence, sansom institute of health research, school of health science, university of south australia, p.o. box 2471, adelaide, sa 5001, australia 2school of health science, university of south australia, p.o. box 2471, adelaide, sa 5001, australia correspondence should be addressed to susan hillier; susan.hillier@unisa.edu.au received 16 december 2014; revised 4march 2015; accepted 9march 2015 academic editor: cun-zhi liu copyright © 2015 s. hillier and a. worley. this is an open access article distributed under the creative commons attribution license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. the feldenkraismethod (fm) has broad application in populations interested in improving awareness, health, and ease of function. this review aimed to update the evidence for the benefits of fm, and for which populations. a best practice systematic review protocol was devised. included studies were appraised using the cochrane risk of bias approach and trial findings analysed individually and collectively where possible. twenty rcts were included (an additional 14 to an earlier systematic review). the population, outcome, and findings were highly heterogeneous. however, meta-analyses were able to be performed with 7 studies, finding in favour of the fm for improving balance in ageing populations (e.g., timed up and go test md −1.14 sec, 95% ci −1.78,−0.49; and functional reach test md 6.08 cm, 95% ci 3.41, 8.74). single studies reported significant positive effects for reduced perceived effort and increased comfort, body image perception, and dexterity. risk of bias was high, thus tempering some results. considered as a body of evidence, effects seem to be generic, supporting the proposal that fmworks on a learning paradigm rather than disease-based mechanisms. further research is required; however, in the meantime, clinicians and professionals may promote the use of fm in populations interested in efficient physical performance and self-efficacy. 1. introduction the feldenkrais method (fm) was developed over a period of decades in the last century by dr. moshe feldenkrais. he claimed the basis of the approach was founded in the human potential for learning how to learn [1]. as such, he operationalized an experiential process or set of processes, whereby an individual or a group could be guided through a series of movementand sensation-based explorations.the purpose of these explorations was to practise the nonlinear process of sensing the difference between twoormore options to achieve the stated movement task, and making a discernment about which may feel easier, that is to say, performed with less effort.these perceptual discernments are predicated on a judgement that is positive (pleasurable, easy, and with less effort) compared with experiencing a less favourable feedback signal such as pain, strain, or discomfort. further to this, the participants are encouraged to generate many alternative movement solutions to the guided task to increase the opportunity for further distinctions and improvements to be made. thus the process of intention, action, gaining feedback, making decisions, and reenacting with adaptations constitutes the learning framework in a somatic context [2]. the two modes of delivery that are offered to the public are either individual, manually directed lessons (functional integration, fi) or group, verbally directed classes (awareness through movement, atm). the nomenclature for both reflects the fundamentals of the approach—that movement has to be based on a functional or meaningful intention for the system to engage and that by becoming aware of what and how we act (move) we become in a better place to choose an alternative behaviour (movement pattern) [3]. both modes of delivery apply the same principles of perceptual exploration through movement that is passively and/or actively performed. the method has been applied in varied domains across countries, from general education or children with learning issues to enhancing performance in sports and theatre. hindawi publishing corporation evidence-based complementary and alternative medicine volume 2015, article id 752160, 12 pages http://dx.doi.org/10.1155/2015/752160 http://dx.doi.org/10.1155/2015/752160 2 evidence-based complementary and alternative medicine the clinical applications have received the most interest in the published literature because of the intuitive appeal of basing a health recovery process on a learning paradigm and because of the inherent fostering of self-efficacy that occurs particularly in a group setting. in the climate of evidence-based practice in the health domain, any approach being offered to the public is being scrutinized for evidence of effectiveness and, if effective, for what type of benefit and of what magnitude for any clinical population. an earlier systematic review of the evidence for the method was published in 2005 by ernst and canter [4]. this review included six randomised controlled trials (rcts) of low to moderate quality in populations such as people with multiple sclerosis, chronic low back pain, and neck issues. they concluded that there was promising evidence but its credibility was tempered due to the low number of studies, high level of clinical heterogeneity between studies, and methodological flaws. the methods employed by ernst and canter [4] were robust for the time; however, their risk of bias assessment used a now discarded tool (the jadad) and their search covered until 2003. therefore, it is timely to systematically update the evidence for the feldenkrais method with current review procedures. this review had the aims of (1) systematically identifying and appraising the evidence for the effectiveness of the feldenkrais method across domains; (2) determining what is the nature and order of magnitude of any beneficial effects and for which population/s. 2. materials and methods 2.1. criteria for considering studies for this review. we employed systematic review methods based on the prisma guidelines [5]. 2.2. types of studies. weconsidered all types of primary studies in the first instance in order to fully explore the potential populations and outcomes covered. in the final inclusion only studies with a random allocation and a stated control group were included. any secondary researches (systematic and semisystematic reviews) found were not included, but rather their included studies were retrieved in full and added to the potential pool in order for all primary studies to be appraised with a consistent method. 2.3. types of participants and outcomes. we included any population where there was an outcome of interest related to improvement in health and/or function. 2.4. types of interventions and comparisons. either form of feldenkrais method (functional integration or awareness through movement) was included as the sole approach for the intervention group.the comparison group could include placebo, inactive control, or an alternate method. 2.5. search methods for identification of studies. we searched the databases of amed (allied and complementary medicine), embase classic + embase, ovid medline(r), cochrane, psycinfo, pubmed, and google scholar from inception to july 2014. we considered all languages (the search was open to all listed journals irrespective of language) and publication status (we would include unpublished trials wherever found, e.g., through experts in the field or grey literature such as organizational websites). the search terms included variations and combinations of methodology terms (such as randomised, trial, clinical, and controlled), with intervention terms such as feldenkrais method, (awareness through movement and functional integration). an example of the terms employed in the electronic search strategy is presented in table 1. from the generated lists from each database, duplicates were removed and the first high level sift was performed by one author based on title alone. the second level of review was performed by both authors and required retrieval of the abstract at theminimum.the retained studies were examined in full to confirm inclusion. those excluded were recorded with reasons. all retrieved studies were checked for additional references, and experts in the field were contacted to assist in identifying any further studies published or unpublished. experts were provided from the membership of peak fm bodies (the australian feldenkrais guild and the international feldenkrais federation) and were asked to supply further papers by email. 2.6. data collection and analysis. relevant data were extracted from each of the included studies using a standard trial summary sheet by one author and checked by the second. data included author, date, study design, population sample, intervention, comparison, outcome measures, results, and comments. a risk of bias evaluation was also performed for each study by one author using standard cochrane tables [26] with checking and data entry by the second author. any disagreements were resolved by consensus, with a third party if necessary. where possible, data were extracted for meta-analyses. we planned to extract and analyse data to calculate individual and total effect sizes through odds ratios or mean differences (fixed effect or random effect if the studies were small and/or heterogeneous) and 95% confidence intervals. statistical heterogeneity would be evaluated based on visual inspection of forest plots and on the "2 statistic. it was not anticipated that any other analyses would be possible (e.g., subgroup or publication bias) due to a paucity of studies. if we found that meta-analyses were not possible, then results would be synthesized and reported narratively. 3. results 3.1. included studies. the systematic search yielded over 1,300 initial titles for high pass screening. see figure 1 for the prisma flow diagram. with duplicates and obviously irrelevant titles removed, 124 records were considered at the evidence-based complementary and alternative medicine 3 table 1: example of search strategy. number searches results 1 (clinical trial or randomised trial or controlled trial).mp. [mp = ab, hw, ti, sh, tn, ot, dm, mf, dv, kw, nm, kf, ps, rs, an, ui] 1900972 2 (feldenkrais or awareness through movement or functional integration).mp. [mp = ab, hw, ti, sh, tn, ot, dm, mf, dv, kw, nm, kf, ps, rs, an, ui] 2239 3 1 and 2 47 4 removing duplicates from 3 40 table 2: list of papers excluded with reasons. studies reason for exclusion kirkby (1994) controlled trial bearman (1999) pre/posttest (no control) seegert (1999) controlled trial huntley (2000) systematic review dunn (2000) pre/posttest (no control) fialka-moser (2000) commentary malmgren-ohlsen (2001, 2002, 2003) controlled trial kerr (2002) controlled trial emerich (2003) review junker (2003) posttest (no control) galantino (2003) review gard (2005) review mehling (2005) review liptak (2005) review batson (2005) pre/posttest (no control) wennemer (2006) pre/posttest (no control) porcino (2009) descriptive mehling (2009) review (assessment) connors (2010) content analysis connors (2011a) controlled trial connors (2011b) pre/posttest (no control) mehling (2011) inquiry (phenomenological) ohman (2011) pre/posttest (no control) laird (2012) review mehling (2013) intervention (not exclusively feldenkrais) gross (2013) review webb 2013 pre/posttest (no control) abstract level by both authors, with an additional two studies provided from experts in the field (newly published, one rct, one non-rct). seventy-seven abstracts were excluded at this stage because they were did not report an investigation of the fm and/or did not involve a trial of effect. forty-seven fulltext articles were reviewed against the criteria and further 27 excluded with reasons noted in table 2. fourteen newrctswere included alongwith the original six studies from the ernst and canter [4] review. see table 3 for details of all included studies. from this total of 20 studies, there were seven studies sufficiently homogenous to allow for meta-analyses. 3.2. description of studies. publication dates ranged from 1991 [12] to 2014 [25]. populations under investigation in the included rcts ranged from healthy volunteers [6, 12, 15– 17, 19, 24], healthy ageing [21–23], institutional ageing [25], people withmultiple sclerosis [7–11, 13], eating disorders [14], myocardial infarct [18], and sleep bruxism [20]. studies generally had small sample sizes with a mean of 40.8 participants (sd 23.5). the nature of the feldenkrais interventions also varied in delivery mode, intensity, and frequency.the predominant methods were single or multiple atm lessons delivered either in a group or individually using audio recording. the comparison groups were most commonly an alternate form of therapy. fourteen trials had active controls (such as relaxation classes or generic movement/balance classes) and six had a passive or inactive control (usual activities/no intervention). outcomes were also highly heterogeneous in keeping with the needs of the diverse populations and are listed in table 3. the measures related to performance or activity outcomes (e.g., balance or dexterity), symptoms (e.g., pain, effort or mood) or were related to quality of life. 3.3. excluded studies. table 2 summarises the list of studies (27) that were retrieved but excluded. reasons for exclusion were predominantly around design: two were systematic reviews; five were controlled trials (not randomly allocated); eight had no control group; eightwere nonsystematic reviews; onewas not exclusively feldenkrais in the intervention group; one was a content analysis of an intervention; one was a phenomenological analysis; and one was a commentary. 3.4. risk of bias in included studies. risk of bias was high in most studies. less than a quarter of the studies had adequate random allocation processes and only a third had blinding of outcome assessments. it has to be acknowledged that for trials requiring an intervention like feldenkrais it may be difficult or inappropriate to expect blinding of therapists or even participants, though participants can be blinded to the intervention of interest if there is a plausible comparison group (such as a relaxation or other forms of movementbased class). figures 2 and 3 summarize the risk of bias analysis. it can be seen that a definitive judgement could not be made in many cases as it could not be confirmed whether 4 evidence-based complementary and alternative medicine sc re en in g in clu de d el ig ib ili ty id en tifi ca tio n records identified through database searching (after high level title screening) (n = 176) additional records identified through other sources (n = 2) records after duplicates removed (n = 124) records screened (n = 124) records excluded (n = 77) full-text articles assessed for eligibility (n = 47) full-text articles excluded, with reasons (n = 27) studies included in qualitative synthesis (n = 20) studies included in quantitative synthesis (meta-analysis) (n = 7) figure 1: prisma flow diagram. random sequence generation (selection bias) allocation concealment (selection bias) blinding of participants and personnel (performance bias) blinding of outcome assessment (detection bias) incomplete outcome data (attrition bias) selective reporting (reporting bias) other biases 0 25 50 75 100 low risk of bias unclear risk of bias high risk of bias (%) figure 2: risk of bias graph: review authors’ judgements about each risk of bias item presented as percentages across all included studies. evidence-based complementary and alternative medicine 5 ta bl e 3: ra nd om ise d co nt ro lle d tri als of fm (e rn st an d ca nt er ,2 00 5[ 4] ,#=6) wi th up da te d rc ts #=14. au th or (y ea r) st ud yd es ig n sa m pl e in te rv en tio n co nt ro l o ut co m e re su lts co m m en ts ru th an d ke ge rr eis (19 92 ) [6 ] rc t 2p ar all el gr ou ps 30 he alt hy vo lu nt ee rs si ng le fm se qu en ce pa rti cip at io n in ot he r ra nd om ac tiv iti es d eg re eo fn ec k fle xi on (g on io m et er ); pe rc eiv ed eff or t du rin gfl ex io n g re at er de gr ee of ne ck fle xi on (g on io m et er )( !<0.01 ); les s pe rc eiv ed eff or td ur in gfl ex io n (!<0.0 5) st ud yh as pi lo tc ha ra ct er jo hn so n et al. (19 99 )[ 7] rc t 2gr ou p cr os so ve r( 2p ha se s) 20 pe op le wi th m s fm :8×45 m in se ss io ns at we ek ly in te rv als 8w ee ks sh am no nt he ra pe ut ic bo dy wo rk l an d r ha nd de xt er ity (p eg bo ar d te st) ; 8s ym pt om /p er fo rm an ce sc or es ; 5m oo d sc ale s n sd le ss pe rc eiv ed str es sf ol lo wi ng fm (!=0.0 1) po sit iv er es ul tc ou ld be du e to m ul tip le te sti ng fo r sig ni fic an ce lu nd bl ad et al. (19 99 )[ 8] rc t 3p ar all el gr ou ps 97 fe m ale sw ith ne ck an d sh ou ld er pr ob lem s fm :4 in di vi du al se ss io ns ,1 2g ro up se ss io ns of 50 m in s pw ,f or 16 we ek s, ho m ea ud io ta pe s (c 1) ph ys io th er ap y2 × 50 m in sp er we ek fo r1 6 we ek s; ho m ee xe rc ise s (c 2) no in te rv en tio n cl in ica la ss es sm en ts (4 m ea su re s) ; ph ys io lo gi ca lt es ts (18 m ea su re s) co m pl ain ti nd ice s( 5m ea su re s) ; va sp ain ra tin gs (2 m ea su re s) ; di sa bi lit ya nd sic k lea ve m ea su re s( 4 m ea su re s) pr ev ale nc eo fn ec k pa in an d di sa bi lit yd ur in gl eis ur ed ec re as ed in fm ve rs us c1 or c2 (!<0.0 5) 31 of 33 m ea su re sn sd im po rta nt ba se lin e di ffe re nc es ,p os sib le re gr es sio n to th em ea n. h ig h dr op ou tr at ea nd pe r pr ot oc ol an aly sis .m ul tip le te sti ng fo rs ig ni fic an ce st ep he ns et al. (2 00 1) [9 ] rc t 2p ar all el gr ou ps 12 pe op le wi th m s fm :8 ×2–4h ou rs se ss io ns ov er 10 we ek s ed uc at io na ls es sio ns ov er 10 we ek s 3c lin ica lt es ts of ba lan ce ; 3s ym pt om sc ale s si gn ifi ca nt im pr ov em en ti n fm co m pa re d to c fo rm ct si b an d ba lan ce co nfi de nc es ca le; ot he r4 ou tc om es n sd ve ry sm all sa m pl es ize .n o ba se lin ed at ao rs ta tis tic al an aly sis av ail ab le sm ith et al. (2 00 1) [10 ] rc t 2p ar all el gr ou ps 26 pa tie nt sw ith ch ro ni cl ow ba ck pa in fm :o ne 30 -m in ut e se ss io n at te nt io n co nt ro l pa in (m cg ill ); an xi et y( st ai ) fm no tc re du ce d aff ec tiv e di m en sio n of pa in pr epo st (!=0.0 4)cnot fm im pr ov ed se ns or yd im en sio n of pa in pr e/ po stt es t( !=0.03 ) n sd fo re va lu at iv ed im en sio n of pa in or an xi et y o nl ya cu te eff ec ts we re m ea su re d. ba se lin e di ffe re nc es be tw ee n fm an d c in du ra tio n of ba ck pa in m ay be im po rta nt g rü be le ta l. (2 00 3) [11 ] rc t 2p ar all el gr ou ps 66 pa tie nt sw ith ca nc er fm :5×50 m in ut es se ss io ns of fu nc tio na l in te gr at io n in ad di tio n to co nv en tio na l th er ap ies c: no ad ju nc tt he ra py bo dy im ag eq ue sti on na ire ; fr an kf ur te rb od yc on ce pt sc ale s; qu ali ty of lif e; se ns eo fm ov em en t; an d bo dy aw ar en es s bo th gr ou ps im pr ov ed in all ou tc om em ea su re s n on sig ni fic an tt re nd fa vo ur ed fm ad di tio na lr ct s br ow n an d ke ge rr eis (19 91 ) [12 ] rc t 2p ar all el gr ou ps 21 (12 m en an d 9 wo m en ) vo lu nt ee rs pa in -fr ee fm :4 5m in au di o ta pe “a ct iv at in gt he fle xo rs” les so n c: lis te ne d to th es am e 45 m in au di o ta pe m od ifi ed to in clu de on ly in str uc tio ns pe rta in in g to ex er cis em ov em en ts em g ac tiv ity of fle xo rs an d ex te ns or s( u l) pe rc ep tio n of eff or td ur in g fle xi on m ov em en t n sd th er ew as an ov er all de cr ea se in m ea n fle xo ra ct iv ity wi th no ch an ge in m ea n ex te ns or ac tiv ity fo rb ot h gr ou ps . ch in n et al. (19 94 )[ 13 ] rc t 2p ar all el gr ou ps 23 su bj ec ts wi th up pe rb ac k, ne ck , or sh ou ld er di sc om fo rt fm :s in gl ea tm les so n; 22 m in au di o ta pe c: sin gl es ha m tre at m en t; 30 m in s ge nt le ne ck an d sh ou ld er ex er cis es fu nc tio na lr ea ch ta sk ; pe rc eiv ed eff or td ur in gt he ta sk n sd re du ce d pe rc eiv ed eff or ti n fm gr ou p (!<0.0 5) sm all sa m pl es ize 6 evidence-based complementary and alternative medicine ta bl e 3: co nt in ue d. au th or (y ea r) st ud yd es ig n sa m pl e in te rv en tio n co nt ro l o ut co m e re su lts co m m en ts la um er et al. (19 97 )[ 14 ] rc t 2p ar all el gr ou ps 30 pa tie nt sw ith ea tin gd iso rd er fm :9 -h ou rc ou rs e c: di d no tp ar tic ip at ei n fm bo dy ca th ex is sc ale ; bo dy pa rts sa tis fa ct io n sc ale ; bo dy pe rc ep tio n; em ot io n in ve nt or y; an or ex ia n er vo sa -in ve nt or yf or se lfra tin g; ea tin gd iso rd er in ve nt or y2 fm pa rti cip an ts sh ow ed in cr ea sin gc on te nt m en tw ith re ga rd to pr ob lem at ic zo ne so f th eir bo dy an d th eir ow n he alt h an d ac ce pt an ce an d fa m ili ar ity wi th th eir bo dy fu ll ar tic le in g er m an ja m es et al. (19 98 )[ 15 ] rc t 3p ar all el gr ou ps 48 he alt hy un de rg ra du at e stu de nt s fm :4×45m in ut e se ss io ns ov er 2w ee ks of 4 di ffe re nt at m les so ns re co rd ed on au di oc as se tte re lax at io n: 4×45m in se ss io ns ov er 2w ee ks lis te ne d to re lax at io n tra in in ga ud io ca ss et te c: no su pe rv ise d les so ns h am str in gl en gt h (m od ifi ed ak e te st) n sd in su ffi cie nt ex po su re ,l ow sta tis tic al po we r h op pe re ta l. (19 99 )[ 16 ] st ud y1 :r ct 2p ar all el gr ou ps st ud y2 :s ub sa m pl eo fs tu dy 1 st ud y1 :7 5 un de rg ra d ph ys io stu de nt s st ud y2 :3 9 pa rti cip an ts fro m st ud y1 st ud y1 :f m :s in gl e at m ,4 5m in au di o ca ss et te les so n (n o pr io rf m ex pe rie nc e) st ud y2 :4 di ffe re nt at m les so ns ov er 2 we ek s st ud y1 :c :l ist en ed to so ft no nv er ba lm us ic st ud y2 :s am ea tm les so ns ov er 4 se ss io ns in 2w ee ks wh en su bj ec ts ha d pr io rf m ex pe rie nc e m od ifi ed ak e te st (h am str in g len gt h) ; si ta nd re ac h te st; bo rg ’s 6– 20 ra tin go fp er ce iv ed ex er tio n (d ur in gs it an d re ac h te st) st ud y1 :n sd st ud y2 :f or pe rc eiv ed ex er tio n sig ni fic an tm ain eff ec t !=0.00 03. n sd ot he rs in bo th stu di es th er ew as a sig ni fic an td iff er en ce in ex er tio n lev els be tw ee n m ale sa nd fe m ale sw ith m ale se xe rti ng m or e irr es pe ct iv eo fg ro up ko lt an d m cc on vi lle (2 00 0) [17 ] rc t 2p ar all el gr ou ps 54 un de rg ra d ph ys io th er ap y stu de nt sw ith no pr io rf m ex pe rie nc e fm :4×45 m in at m les so ns vi a au di oc as se tte ov er a 2we ek pe rio d re lax at io n: 4×45m in re lax at io n se ss io ns vi a au di oc as se tte ov er a 2we ek pe rio d c: no sp ec ifi ct as ks ov er 2we ek pe rio d bi po lar fo rm of th ep ro fil eo f m oo d sta te s( po m sbi ) n sd co m po se dan xi ou ss co re so ft he po m sbi di d va ry sig ni fic an tly ov er tim e( !=0.00 1)foral l pa rti cip an ts. fe m ale si n fm an d re lax at io n gr ou ps re po rte d sig ni fic an tly lo we ra nx iet ys co re s at co m pl et io n co m pa re d wi th co nt ro l n o di ffe re nc es be tw ee n fm an d re lax at io n gr ou ps lö we et al. (2 00 2) [18 ] ps eu do ra nd om ize d, co ns ec ut iv ea llo ca tio n 60 pa tie nt s tra ns fe rr ed to no rm al wa rd aft er ac ut e tre at m en tf or m i fm :2×30 m in in di vi du al se ss io ns re lax at io n: 2×30m in in di vi du al pm r c: no bo dy -o rie nt ed in te rv en tio ns bo dy im ag eq ue sti on na ire (f kb -2 0, g er m an ve rs io n) ; h os pi ta la nx iet ya nd d ep re ss io n sc ale -g er m an ve rs io n (h ad sd ); m un ich q ua lit yo fl ife d im en sio ns li st (m ld l) ; g er m an ve rs io n g en er ali ze d se lfeffi ca cy sc ale (g se s) n sd o ve ra ll im pr ov em en ts we re se en in m ld l, g se s, an d fk b20 st ep he ns et al. (2 00 6) [19 ] rc t 2p ar all el gr ou ps 38 gr ad ua te stu de nt s fm :5×15 m in at m se ss io ns /w k, au di ot ap eo ve r 3we ek pe rio d c: re gu lar da ily ac tiv iti es ak e (h am str in gm us cle len gt h) si gn ifi ca nt in cr ea se in ha m str in g m us cle len gt h (!=0.0 05)in at m gr ou p co m pa re d wi th co nt ro l pa rti cip an ts va rie d gr ea tly in th ed ur at io n an d nu m be ro f ho m es es sio ns co m pl et ed q ui nt er o et al. (2 00 9) [2 0] rc t 2g ro up (c ro ss ov er de sig n fo r co nt ro l) 3to 6ye ar -o ld ch ild re n wi th sle ep br ux ism fm :3 hr se ss io ns × 10 du rin g1 0we ek pe rio d ba se d on at m c: no de ta ils va rio us m ea su re so fj oi nt fu nc tio n; no ct ur na lb ru xi sm st at ist ica lly sig ni fic an ti nc re as eo f cv a an gl e( !=0.0) fo rf m c.f .c . aft er in te rv en tio n 77 % pa re nt si n fm re po rte d no no ct ur na l br ux ism c.f .1 5.3 8% fo rc at ba se lin et wo gr ou ps we re co m pa ra bl e evidence-based complementary and alternative medicine 7 ta bl e 3: co nt in ue d. au th or (y ea r) st ud yd es ig n sa m pl e in te rv en tio n co nt ro l o ut co m e re su lts co m m en ts vr an tsi di se ta l. (2 00 9) [2 1] rc t 2g ro up s( cr os so ve rd es ig n fo r co nt ro l) 55 pa rti cip an ts ag ed ≥55year s fm :g et tin g gr ou nd ed gr ac ef ul ly pr og ra m (b as ed on at m )2×40– 60 m in se ss io ns /w k ov er 8 we ek s c: co nt in ue wi th us ua l ac tiv ity fr en ch ay ac tiv ity in de x; h um an ac tiv ity pr ofi le; as se ss m en to fq ua lit yo fl ife ; m od ifi ed fa lls effi ca cy sc ale ; ab br ev iat ed m en ta lt es ts co re ; fo ur -s qu ar es te p te st; tim ed up an d go te st; th es te p te st; ti m ed si t-t ost an d te st; cl in ica ls tri de an aly ze r; fo rc epl at fo rm m ea su re so fg ait , m ob ili ty, an d fu nc tio n; sa tis fa ct io n su rv ey si gn ifi ca nt eff ec ts fo rg ait sp ee d (!=0.0 28)and m od ifi ed fa lls effi ca cy sc ale (!=0.0 03)forf m gr ou p; ne ar sig ni fic an te ffe ct fo r tim ed up an d go te st (!=0.0 56) po sit iv ef ee db ac k fro m su rv ey n o sig ni fic an tb as eli ne di ffe re nc es be tw ee n gr ou ps . h ig h cla ss at te nd an ce u llm an n et al. (2 01 0) [2 2] rc t 2g ro up s 47 re lat iv ely he alt hy in de pe nd en tly liv in g ≥65-yea r-o ld s fm :1 ho ur at m se ss io ns 3x /w ee k fo r 5w ee ks (p ro vi de d by in str uc to r) c: wa itl ist fa lls effi ca cy sc ale ; ac tiv iti es sp ec ifi cb ala nc e co nfi de nc es ca le; tim ed up an d go an d tu g wi th ad de d co gn iti ve ta sk ;g ai tr ite w alk wa ys ys te m ; ta nd em sta nc e ba lan ce (!=0.0 30)and m ob ili ty (!=0.0 42)incr ea se d fo rf m , wh ils tf ea ro ff all in gd ec re as ed (!=0.0 42). at ba se lin eg ro up s co m pa ra bl ee xc ep tf or hi gh er bm ii n in te rv en tio n gr ou p h ill ier et al. (2 01 0) [2 3] ps eu do ra nd om ize d co nt ro l tri al 2g ro up s 22 he alt hy pe op le po str et ire m en t fm :a tm cla ss , 1h r/w ee k fo r8 we ek s c: ge ne ric ba lan ce cla ss 1h r/w ee k fo r8 we ek s sf -3 6; pa tie nt sp ec ifi cf un ct io na ls ca le (p sf s) ;t im ed up an d go te st; fu nc tio na lr ea ch te st (f rt ); si ng le le gs ta nc et im e( sl s) ; w alk on fl oo re ye sc lo se d (w o fe c) si gn ifi ca nt tim ee ffe ct fo ra ll m ea su re se xc ep tf or w o fe c si gn ifi ca nt im pr ov em en ts fo rb ot h gr ou ps fo rs f36 ,p sf s, an d fr t. sl si m pr ov ed fm (!=0.0 16) po st ho ci nd iv id ua la na lys is co m pa ris on sm ad e bi tte re ta l. (2 01 1) [2 4] rc t 3a rm s 29 he alt hy un iv er sit y stu de nt s fm 1: at m les so n 1×40m in , do m in an th an d; fm 2: sa m eb ut no nd om in an th an d c: re lax at io n les so n 1×40m in pu rd ue pe gb oa rd te st; g rip -li ft te st; su bj ec tiv ec ha ng es fm 1s ig ni fic an tg ro up by tim e in te rv en tio n eff ec tw he n co m pa re d to co nt ro lg ro up fo r de xt er ity n am bi et al. (2 01 4) [2 5] rc t 3a rm s 60 in sti tu tio na liz ed ag ein gp eo pl e fm :a tm cla ss es 3×6we ek s pi :p ila te sc las se s3×6 we ek s c: sh am wa lk in g3×6 we ek s. fu nc tio na lr ea ch te st; tim ed up an d go te st; d yn am ic ga it in de x; ra n d -3 6 fo rq ua lit y of lif e bo th fm an d pi im pr ov ed all m ea su re s( !<0.00 0);c im pr ov ed tu g an d d g io nl y rc t: ra nd om ise d co nt ro lle d tri al; fm :f eld en kr ais m et ho d; m s: m ul tip le sc ler os is; l: left ;r :r ig ht ;c :c on tro l;p w :p er we ek ;v as :v isu al an alo gu es ca le; m ct si b: m od ifi ed cl in ica lt es to fs en so ry in te gr at io n an d ba lan ce ;n sd :n o sig ni fic an td iff er en ce ;s ta i: st at e/ tr ait an xi et yi nd ex ;e m g :e lec tro m yo gr ap hy ;u l: up pe rl im b; at m :a wa re ne ss th ro ug h m ov em en t( les so n) ;m in :m in ut es ;a ke :a ct iv ek ne ee xt en sio n te st; m i: m yo ca rd ia li nf ar ct ;p m r: pr og re ss iv em us cle re lax at io n; c.f .:c om pa re d wi th ;s f36 :s ho rt fo rm 36 ;p i: pi lat es . 8 evidence-based complementary and alternative medicine ra nd om se qu en ce ge ne ra tio n (s ele ct io n bi as ) bitter et al. 2011 brown and kegerreis 1991 chinn et al. 1994 hillier et al. 2010 hopper et al. 1999 james et al. 1998 johnson et al. 1999 kolt et al. 2000 laumer et al. 1997 lundblad et al. 1999 nambi et al. 2014 quintero et al. 2009 ruth and kegerreis 1992 smith et al. 2001 stephens et al. 2001 stephens et al. 2006 ullman et al. 2010 vrantsidis et al. 2009 al lo ca tio n co nc ea lm en t ( se lec tio n bi as ) bl in di ng o f p ar tic ip an ts an d pe rs on ne l ( pe rfo rm an ce b ia s) bl in di ng o f o ut co m e a ss es sm en t ( de te ct io n bi as ) in co m pl et e o ut co m e d at a ( at tri tio n bi as ) se lec tiv e r ep or tin g ( re po rti ng b ia s) o th er b ia se s + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + − − − − löwe et al. 2002 grübel et al. 2003 figure 3: risk of bias summary: review authors’ judgements about each risk of bias item for each included study. therewas a clear risk of bias (given a red status) orwhether the authors had simply not stated the process in sufficient detail for a judgement to be made; hence the risk of bias indicator was left blank. 3.5. effects of interventions. sufficiently homogenous data (same population, intervention, comparator, and outcome measure) were able to be extracted to performmeta-analyses in the areas of balance training in ageing populations. four studies [21–23, 25] reported on the timed up and go assessment for balance and mobility, just failing to find in favour of feldenkrais classes (figure 4(a)); pooling postintervention measures gave a mean difference of −0.78 s (95% ci−1.69, 0.13), $ = 0.09. however, heterogeneity was high ("2 =49%). therefore, a sensitivity analysis was performed as one study by hillier et al. [23] compared feldenkrais to another balance class whereas the other three studies compared the fm class to wait list control or no class. removal of hillier et al. [23] (figure 4(b)) revealed a larger effect size with a mean difference of −1.13 (95% ci −1.7, −0.56), $ = 0.0001, and heterogeneity reduced to a negligible level ("2 = 5%). it was also noted that nambi et al. [25] had narrow outcome variability which led to a heavier weighting in the metaanalysis. two studies [21, 22] evaluated balance confidence using the falls efficacy scale after fm classes (figure 5). pooled results trended in favour of the fm, however, failed to reach significance (md 0.59, 95% ci −0.08, 1.26; $ = 0.08). two studies [23, 25] evaluated balance using the functional reach test after fm classes (figure 6)—pooled results found in favour of the fm classes (compared to nothing or another generic balance class) with a mean difference of 6.08 cm (95% ci 3.41,8.74), $ < 0.00001. meta-analysis was also able to be performed using three studies measuring the influence of fm classes on hamstring length in healthy populations [15, 16, 19]. the authors all reported the measure as an active knee extension test; however, on visual inspection, the results appeared heterogeneous in terms of magnitude and range; therefore, a standardized mean difference (rather than md) was calculated. no significant effect was found after the intervention compared to control (smd 0.15, 95% ci −0.49, 0.79; $ = 0.65) and statistical heterogeneity was unacceptably high ("2 = 73%) (figure 7). single randomised controlled studies reported statistically significant, positive benefits compared to control interventions and included the following: (i) greater neck flexion and less perceived effort after a single fm lesson for neck comfort [6]; reduced prevalence of neck pain and disability in symptomatic women after fm (individual and group sessions compared to conventional care or home exercises) [8]; reduced perceived effort in fm group for people with upper torso/limb discomfort [13]; (ii) improved balance in people with ms after eight fm sessions [9]; (iii) improved body image parameters in people with eating disorders after a nine-hour fm course [14]; (iv) reduction in nocturnal bruxism in young children after 10-week course of fm lessons [20]; (v) improved dexterity in healthy young adults after a single session of fm class [24]. seven of the 20 studies failed to show any superior positive effects of fm compared to other comparison modalities. see table 3 for details. no studies reported adverse events. evidence-based complementary and alternative medicine 9 study or subgroup total (95% ci) mean 7.06 15 11.53 12.15 sd 1.72 1 4.06 2.9 total 11 20 25 26 82 mean 6.92 16.1 11.51 14.34 sd 0.88 1 4.13 4.3 total 11 20 22 29 82 weight 29.2% 43.1% 11.8% 15.9% 100.0% iv, random, 95% ci feldenkrais control mean difference mean difference iv, random, 95% ci 0 5 10 favours feldenkrais favours control −10 −5 heterogeneity: "2 = 0.40; #2 = 5.90, df = 3 (p = 0.12); i2 = 49% test for overall effect: z = 1.67 (p = 0.09) 0.14 [−1.00, 1.28] −1.10 [−1.72, −0.48] 0.02 [−2.33, 2.37] −2.19 [−4.11, −0.27] −0.78 [−1.69, 0.13] hillier et al. 2010 nambi et al. 2014 ullman et al. 2010 vrantsidis et al. 2009 (a) study or subgroup total (95% ci) mean 7.06 15 11.53 12.15 sd 1.72 1 4.06 2.9 total 11 20 25 26 71 mean 6.92 16.1 11.51 14.34 sd 0.88 1 4.13 4.3 total 11 20 22 29 71 weight 81.7% 7.4% 10.9% 100.0% iv, random, 95% ci not estimable feldenkrais control mean difference mean difference iv, random, 95% ci favours feldenkrais favours control 0 5 10−10 −5 −1.10 [−1.72, −0.48] 0.02 [−2.33, 2.37] −2.19 [−4.11, −0.27] −1.14 [−1.78, −0.49] heterogeneity: "2 = 0.03; #2 = 2.10, df = 2 (p = 0.35); i2 = 5% test for overall effect: z = 3.45 (p = 0.0006) hillier et al. 2010 nambi et al. 2014 ullman et al. 2010 vrantsidis et al. 2009 (b) figure 4: (a) effect sizes of feldenkrais versus control for the timed up and go test (measured in seconds; balance and mobility). (b) effect sizes of feldenkrais versus control for the timed up and go test (measured in seconds; balance andmobility) withhillier 2010 removed (control group was alternate balance class). study or subgroup total (95% ci) mean 9.6 8.63 sd 1.7 1.6 total 25 26 51 mean 9.35 7.73 sd 1.7 1.9 total 22 29 51 weight 47.4% 52.6% 100.0% iv, random, 95% ci feldenkrais control mean difference mean difference iv, random, 95% ci favours control favours feldenkrais 0.25 [−0.72, 1.22] 0.90 [−0.03, 1.83] 0.59 [−0.08, 1.26] 0 5 10−10 −5 heterogeneity: "2 = 0.00; #2 = 0.90, df = 1 (p = 0.34); i2 = 0% test for overall effect: z = 1.73 (p = 0.08) ullman et al. 2010 vrantsidis et al. 2009 figure 5: effect sizes of feldenkrais versus control for the falls efficacy scale (balance confidence). study or subgroup total (95% ci) mean 31.89 36.7 sd 3.98 2.7 total 11 20 31 mean 27.62 29.6 sd 4.97 4.7 total 11 20 31 weight 36.2% 63.8% 100.0% iv, random, 95% ci 4.27 [0.51, 8.03] 7.10 [4.72, 9.48] 6.08 [3.41, 8.74] feldenkrais control mean difference mean difference iv, random, 95% ci favours control favours feldenkrais 0 5 10−10 −5 heterogeneity: "2 = 1.43; #2 = 1.55, df = 1 (p = 0.21); i2 = 36% test for overall effect: z = 4.47 (p < 0.00001) hillier et al. 2010 nambi et al. 2014 figure 6: effect sizes of feldenkrais versus control for the functional reach test (measured in cm; balance). 10 evidence-based complementary and alternative medicine study or subgroup total (95% ci) mean 20.9 33.5 149 sd 11.1 2.41 7.4 total 75 14 18 107 mean 21.5 34.4 141.8 sd 13.7 2.56 7.6 total 75 17 15 107 weight 41.6% 29.4% 29.0% 100.0% iv, random, 95% ci feldenkrais control std. mean difference std. mean difference iv, random, 95% ci 0 1 2 favours control favours feldenkrais −0.05 [−0.37, 0.27] −0.35 [−1.07, 0.36] 0.94 [0.21, 1.66] 0.15 [−0.49, 0.79] −2 −1 heterogeneity: "2 = 0.23; #2 = 7.31, df = 2 (p = 0.03); i2 = 73% test for overall effect: z = 0.46 (p = 0.65) james et al. 1998 stephens et al. 2006 hopper et al. 1999 figure 7: effect sizes of the feldenkrais method on the active knee extension test. 4. discussion 4.1. summary of main results. the majority of the 20 included studies reported significant positive effects of fm in a variety of populations and outcomes of interest. a high risk of bias/poor methods reporting does temper the interpretation of these findings.the low amount of confirmed/reported adherence to best practice conduct of rcts may be partially attributable to the age of the studies when knowledge in the area of trial conduct was less. neverthelessmeta-analyses in the area of balance training in ageing populations were found in favour of the fm classes for clinical measures such as the timed up and go and functional reach tests. both of these measures are predictive of falls risk. whilst the tug effect size was probably not clinically significant (1to 2-second change), the functional reach test effect size would arguably indicate a clinically meaningful change (able to reach further 6 cm). given the positive effects in particular outcome domains it is interesting to speculate on themechanism of action of the fm; however, it is to be noted that this was not the purpose of the review. the favourable evidence for reduced perceptions of effort, improved dexterity, improved comfort and reduced bruxism all support the proposed mechanism of action via promotion of awareness, relaxation andmore efficient action. inconsistent results were found for improving hamstrings length indicating that a “relaxation” effect may be variable. the populations varied in age and diagnosis indicating that a beneficial effect is possible across different domains; again this is consistent with the use of the fm in diverse populations and also consistent with the notion that it is not a healing or disease-specific mechanism of action but rather one based on more generic learning and self-improvement. the findings of this updated review have strengthened since the 2005 review by ernst and canter [4]. we were also able to locate studies prior to 2005 that were not found by the original sr authors, presumably due to improved database access. as the previous authors reported, the studies are still highly varied and of often questionable quality. there is an ongoing issue of poor reporting, resulting in risks being judged “unclear”; it is unknown whether this hides undeclared risk or is simply an omission of reporting. this review is not without its own limitations.this review includes all trials aimed at improving health and/or function so we have trials of healthy individuals as well as people with a clinical presentation.we have not included an analysis of publication bias, though we are confident that by using experts in the field and checking grey literature (organizational websites) we have made every effort to capture unpublished (negative) trials. we attempted to account for statistical heterogeneity and can conclude that the analysis for the timed up and go ismore robust with the removal ofhillier et al. [23] (figure 4(b)) because the comparator group differs from the other studies (alternate balance class versus no intervention) and secondly this studywas pseudorandomized (allocation based on enrolment day).the question of inactive controls is vexed and permissible when proof of concept or pilot/phase 1 trials are being conducted. we encourage readers to take the stage of research and the design into account in their interpretation. 4.2. implications for practice. there is promising evidence that fm may be considered for balance classes in ageing populations, both as a preventative approach and for people at risk of falls.there is also some evidence for the use of fm where reduced effort, efficiency of movement, and awareness can play a part in reducing pain or discomfort. 4.3. implications for research. further high quality research is required comparing fm to other modalities. investigations should focus on the impact on self-efficacy, functional independence, and ease and efficiency of functioning, both as strategies for promotion of wellness and wellbeing and also for people with impairment who wish to improve their sense of ease. mechanisms of effect also need to be investigated. particular attention needs to be paid to the reporting of best practice trial design and to controlling for a potential placebo effect. 5. conclusions there is further promising evidence that the fm may be effective for a varied population interested in improving functions such as balance. careful monitoring of individual impact is required given the varied evidence at a group level and the relatively poor quality of studies to date. evidence-based complementary and alternative medicine 11 disclosure funding was from professional bodies involved in promoting fm but the bodies were not involved in the conduct of the review other than to identify experts within their membership to identify any missed/unpublished trials. conflict of interests the authors declare that there is no conflict of interests regarding the publication of this paper. authors’ contribution anthea worley conducted the search and preliminary inclusions. both authors contributed to the review of all papers and constructed the final report. one of the authors (susan hillier) was also author for two included studies; these were independently scrutinized. acknowledgments the authors wish to acknowledge the financial assistance of the australian feldenkrais guild and the international feldenkrais federation in supporting the costs of the search and appraisal. references [1] m. feldenkrais, awareness through movement: health exercises for personal growth, arkana, london, uk, 1990. [2] k. a. connors, m. p. galea, c. m. said, and l. j. remedios, “feldenkrais method balance classes are based on principles of motor learning and postural control retraining: a qualitative research study,” physiotherapy, vol. 96, no. 4, pp. 324–336, 2010. [3] p. a. buchanan and b. d. ulrich, “the feldenkrais method: a dynamic approach to changing motor behaviour,” research quarterly for exercise and sport, vol. 72, no. 4, pp. 315–323, 2001. [4] e. ernst and p. h. canter, “the feldenkrais method—a systematic review of randomised clinical trials,” physikalische medizin rehabilitationsmedizin kurortmedizin, vol. 15, no. 3, pp. 151–156, 2005 (german). [5] d. moher, a. liberati, j. tetzlaff, d. g. altman, and the prisma group, “preferred reporting items for systematic reviews and meta-analyses: the prisma statement,” plos medicine, vol. 6, no. 7, article id e1000097, 2009. [6] s. ruth and s. kegerreis, “facilitating cervical flexion using a feldenkrais method: awareness through movement,” journal of orthopaedic and sports physical therapy, vol. 16, no. 1, pp. 25– 29, 1992. [7] s. k. johnson, j. frederick, m. kaufman, and b. mountjoy, “a controlled investigation of bodywork in multiple sclerosis,” journal of alternative and complementary medicine, vol. 5, no. 3, pp. 237–243, 1999. [8] i. lundblad, j. elert, and b. gerdle, “randomized controlled trial of physiotherapy and feldenkrais interventions in female workers with neck-shoulder complaints,” journal of occupational rehabilitation, vol. 9, no. 3, pp. 179–194, 1999. [9] j. stephens, d. dushuttle, c. hatcher, j. shmunes, and c. slaninka, “use of awareness through movement improves balance and balance confidence in people withmultiple sclerosis: a randomized controlled study,” neurology report, vol. 25, no. 2, pp. 39–49, 2001. [10] a. smith, g. kolt, and j. mcconville, “the effect of the feldenkraismethod on pain and anxiety in people experiencing chronic low back pain,”newzealand journal physiotherapy, vol. 29, no. 1, pp. 6–14, 2001. [11] r. grübel, g. erbacher, and a. larisch, “die wirksamkeit der feldenkrais-methode bei krebs-betroffenen,” erfahrungsheilkunde, vol. 52, no. 02, pp. 71–83, 2003 (german). [12] e. brown and s. kegerreis, “electromyographic activity of trunk musculature during a feldenkrais awareness through movement lesson,” isokinetics and exercise science, vol. 1, no. 4, pp. 216–221, 1991. [13] j. chinn, d. trujilo, s. kegerreis, and t. worrel, “effect of a feldenkrais intervention on symptomatic subjects performing a functional reach,” isokinetics and exercise science, vol. 4, no. 4, pp. 131–136, 1994. [14] u. laumer, m. bauer, m. fichter, and m. helmut, “therapeutische effekte der feldenkrais-methode ’bewusstheit durch bewegung’ bei patienten mit essstorungen [therapeutic effects of the feldenkrais method (awareness through movement) in eating disorders],” psychotherapie psychosomatik medizinische psychologie, vol. 47, no. 5, pp. 170–180, 1997 (german). [15] m. james, g. kolt, j. mcconville, and p. bate, “the effects of a feldenkrais program and relaxation procedures on hamstring length,” australian journal of physiotherapy, vol. 44, no. 1, pp. 49–54, 1998. [16] c. hopper, g. s. kolt, and j. c. mcconville, “the effects of feldenkrais awareness throughmovement on hamstring length, flexibility, and perceived exertion,” journal of bodywork and movementtherapies, vol. 3, no. 4, pp. 238–247, 1999. [17] g. s. kolt and j. c. mcconville, “the effects of a feldenkrais (atm) awareness through movement program on state anxiety,” journal of bodywork and movementtherapies, vol. 4, no. 3, pp. 216–220, 2000. [18] b. löwe, k. breining, s. wilke, r. wellmann, s. zipfel, and w. eich, “quantitative and qualitative effects of feldenkrais, progressive muscle relaxation, and standard medical treatment in patients after acute myocardial infarction,” psychotherapy research, vol. 12, no. 2, pp. 179–191, 2002. [19] j. stephens, j. davidson, j. derosa, m. kriz, and n. saltzman, “lengthening the hamstring muscles without stretching using ‘awareness through movement’,” physical therapy, vol. 86, no. 12, pp. 1641–1650, 2006. [20] y. quintero, c. c. restrepo, v. tamayo et al., “effect of awareness through movement on the head posture of bruxist children,” journal of oral rehabilitation, vol. 36, no. 1, pp. 18– 25, 2009. [21] f. vrantsidis, k. d. hill, k. moore, r. webb, s. hunt, and l. dowson, “getting grounded gracefully: effectiveness and acceptability of feldenkrais in improving balance,” journal of aging and physical activity, vol. 17, no. 1, pp. 57–76, 2009. [22] g. ullmann, h. g. williams, j. hussey, j. l. durstine, and b. a. mcclenaghan, “effects of feldenkrais exercises on balance, mobility, balance confidence, and gait performance in community-dwelling adults age 65 and older,” journal of alternative and complementary medicine, vol. 16, no. 1, pp. 97–105, 2010. 12 evidence-based complementary and alternative medicine [23] s. hillier, l. porter, k. jackson, and j. petkov, “the effects of feldenkrais classes on the health and function of an ageing australian sample: pilot study,”the open rehabilitation journal, vol. 3, no. 1, pp. 62–66, 2010. [24] f. bitter, s. hillier, and l. civetta, “change in dexterity with sensory awareness training: a randomised controlled trial,” perceptual and motor skills, vol. 112, no. 3, pp. 783–798, 2011. [25] g.nambi, p. s. trivedi, s.m.momin, s. patel, andd. p. pancholi, “comparative effect of pilates and feldenkrais intervention on functional balance and quality of life in ambulatory geriatric population: a randomized controlled study,” international journal of health sciences and research, vol. 4, no. 3, pp. 71–77, 2014. [26] j. p. t. higgins and s. green, eds., cochrane handbook for systematic reviews of interventions version 5.1.0,the cochrane collaboration, 2011, http://www.cochrane-handbook.org/. 9uwelaumergermanversion.pdf feldenkrais research journal • volume 1 (2004) article wirkungen der feldenkrais-methode 'bewußtheit durch bewegung' bei eßgestörten patienten im rahmen einer stationären therapie uwe laumer lehrstuhl für psychologie i., universität regensburg abstract das ziel der vorliegenden arbeit war, wirkungen der feldenkrais-gruppenmethode 'bewußtheit durch bewegung' bei eßgestörten patienten im rahmen eines stationären therapieprogramms zu erfassen. ausgehend von der geschichtlichen entwicklung der feldenkrais-methode und ihrer einordnung in die vielfalt körperund bewegungstherapeutischer verfahren werden zunächst die theoretischen grundlagen der methode erläutert, um dann näher auf die grundlegenden prinzipien der gruppenmethode einzugehen und verschiedene anwendungsund forschungsgebiete anzudeuten. anschließend erfolgt die darstellung von symptomatik, diagnostischen kriterien, epidemiologie sowie erklärungsund behandlungsansätzen der drei eßstörungsformen anorexia nervosa, bulimia nervosa und adipositas und ihrer gemeinsamkeiten, sowie eine beschreibung des behandlungskonzepts von eßstörungen der psychosomatischen klinik, in der die untersuchung durchgeführt wurde. aus der wirkmöglichkeit einer körperund bewegungstherapeutischen herangehensweise an die problematik der eßstörungen geht schließlich die fragestellung und zielsetzung der empirischen untersuchung hervor. um im rahmen eines integrativen stationären therapieprogramms die wirkungen eines feldenkraiskurses herauszufiltern, wurden anhand von fragebögen veränderungen in den bereichen der zufriedenheit und akzeptanz des eigenen körpers, der psychischen befindlichkeit und weiteren eßstörungstypischen bereichen erfaßt. eine weitere frage bezog sich auf die individuellen erfahrungen der kursteilnehmer. für den quantitativen teil der untersuchung kam dabei ein fremdwartegruppen-design zur anwendung. eine gruppe von 15 eßgestörten patienten (mit anorexia nervosa, bulimia nervosa und adipositas) nahm zusätzlich zur standardtherapie an einem speziell auf die eßstörungsproblematik abgestimmtem feldenkrais-kursprogramm mit neun terminen innerhalb von vier wochen teil. diese gruppe wurde mit einer weitgehend parallelisierten kontrollgruppe verglichen, die standardtherapie ohne feldenkrais erhielt. die patienten beider gruppen nahmen im untersuchungszeitraum an keiner anderen bewegungstherapeutischen behandlung teil. nach abschluß des kurses wurden zusätzlich mit den teilnehmern der experimentalgruppe interviews durchgeführt. die quantitativen ergebnisse zeigten verbesserungen in der zufriedenheit mit eßstörungsspezifischen problematischen körperzonen und der eigenen gesundheit, sowie der akzeptanz und vertrautheit mit dem eigenen körper. weiter zeigte sich eine zunahme von spontanem und selbstsicherem verhalten, die abnahme eines gefühls der hilflosigkeit sowie des wunsches, in die sicherheit der frühen kindheit zurückzukehren. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org die qualitativen ergebnisse, die sich auf offene fragen und interviews stützten, weisen auf die förderung der körperbewußtheit, klärung des körperbildes und die entspannende und angenehme wirkung der stunden hin. es wurden tranceerfahrungen und insbesondere während der atemstunden emotionale erlebnisse berichtet. sieben teilnehmer gaben positive wirkungen in bezug auf ihre eßstörungsproblematik an. die angesprochenen bereiche sind dabei die übermäßige gedankliche beschäftigung mit essen, figur und gewicht, veränderungen des körperbildes, die wahrnehmung innerer reize wie hunger und sattheit sowie alternative verhaltensweisen bei einem heißhungeranfall. für manche kursteilnehmer ergaben sich allerdings in bestimmten stunden auch probleme wie übelkeit oder schwindelgefühle. schließlich wurde von einer integration von übungselementen in den alltag berichtet und acht personen bekundeten ihr interesse an einer fortsetzung des kurses und weiterer beschäftigung mit der feldenkrais-methode. keywords feldenkrais method, contemporary dance, choreographic research, intention, awareness copyright ©: the copyright for this paper remains with the author(s). first published: diplomarbeit als teil der diplomprüfung für psychologie universität regensburg (1993) please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. regensburger arbeiten zur allgemeinen und klinischen psychologie unter der leitung von prof. dr. adolf vukovich wirkungen der feldenkrais-methode 'bewußtheit durch bewegung' bei eßgestörten patienten im rahmen einer stationären therapie uwe laumer diplomarbeit als teil der diplomprüfung für psychologie universität regensburg 21.9.1993 vorwort hier möchte ich mich bei allen bedanken, die mich bei dieser arbeit unterstützt haben. an erster stelle danke ich herrn prof. dr. a. vukovich, der mir durch seine spontane offenheit die bearbeitung dieses themas ermöglicht hat. ganz herzlich danke ich auch dr. manfred bauer, der mich während des ganzen verlaufs der arbeit betreute und bei vorbereitung, durchführung, auswertung und darstellung wertvolle anregungen und hilfestellungen gab. von der medizinisch-psychosomatischen klinik roseneck danke ich dem leiter der klinik, prof. m. fichter, der dem projekt zugestimmt hat, dem wissenschaftlichen leiter dr. winfried rief, der mir in bezug auf die praktische durchführung viele wichtige hinweise gab, sowie besonders dr. helmut milz, der mich entscheidend bei der realisierung unterstützt hat. ebenso möchte ich den teams der vier eßstörungsstationen danken, die der teilnahme von patienten an der untersuchung zustimmten und mich während des kursverlaufs ermutigten und mir rückmeldung gaben. insbesondere danke ich den mitarbeitern der abteilung sportund bewegungstherapie für ihre freundlichkeit, unterstützung und kollegialität, sowie hella neubert, der feldenkraislehrerin der klinik, die mich in vielen gesprächen unterstützte und viele fachliche anregungen gab. vor allem danke ich den patientinnen und patienten, die an der untersuchung teilgenommen haben und von denen ich viel gelernt habe. zusammenfassung das ziel der vorliegenden arbeit war, wirkungen der feldenkrais-gruppenmethode 'bewußtheit durch bewegung' bei eßgestörten patienten im rahmen eines stationären therapieprogramms zu erfassen. ausgehend von der geschichtlichen entwicklung der feldenkrais-methode und ihrer einordnung in die vielfalt körperund bewegungstherapeutischer verfahren werden zunächst die theoretischen grundlagen der methode erläutert, um dann näher auf die grundlegenden prinzipien der gruppenmethode einzugehen und verschiedene anwendungsund forschungsgebiete anzudeuten. anschließend erfolgt die darstellung von symptomatik, diagnostischen kriterien, epidemiologie sowie erklärungsund behandlungsansätzen der drei eßstörungsformen anorexia nervosa, bulimia nervosa und adipositas und ihrer gemeinsamkeiten, sowie eine beschreibung des behandlungskonzepts von eßstörungen der psychosomatischen klinik, in der die untersuchung durchgeführt wurde. aus der wirkmöglichkeit einer körperund bewegungstherapeutischen herangehensweise an die problematik der eßstörungen geht schließlich die fragestellung und zielsetzung der empirischen untersuchung hervor. um im rahmen eines integrativen stationären therapieprogramms die wirkungen eines feldenkraiskurses herauszufiltern, wurden anhand von fragebögen veränderungen in den bereichen der zufriedenheit und akzeptanz des eigenen körpers, der psychischen befindlichkeit und weiteren eßstörungstypischen bereichen erfaßt. eine weitere frage bezog sich auf die individuellen erfahrungen der kursteilnehmer. für den quantitativen teil der untersuchung kam dabei ein fremdwartegruppen-design zur anwendung. eine gruppe von 15 eßgestörten patienten (mit anorexia nervosa, bulimia nervosa und adipositas) nahm zusätzlich zur standardtherapie an einem speziell auf die eßstörungsproblematik abgestimmtem feldenkrais-kursprogramm mit neun terminen innerhalb von vier wochen teil. diese gruppe wurde mit einer weitgehend parallelisierten kontrollgruppe verglichen, die standardtherapie ohne feldenkrais erhielt. die patienten beider gruppen nahmen im untersuchungszeitraum an keiner anderen bewegungstherapeutischen behandlung teil. nach abschluß des kurses wurden zusätzlich mit den teilnehmern der experimentalgruppe interviews durchgeführt. die quantitativen ergebnisse zeigten verbesserungen in der zufriedenheit mit eßstörungsspezifischen problematischen körperzonen und der eigenen gesundheit, sowie der akzeptanz und vertrautheit mit dem eigenen körper. weiter zeigte sich eine zunahme von spontanem und selbstsicherem verhalten, die abnahme eines gefühls der hilflosigkeit sowie des wunsches, in die sicherheit der frühen kindheit zurückzukehren. die qualitativen ergebnisse, die sich auf offene fragen und interviews stützten, weisen auf die förderung der körperbewußtheit, klärung des körperbildes und die entspannende und angenehme wirkung der stunden hin. es wurden tranceerfahrungen und insbesondere während der atemstunden emotionale erlebnisse berichtet. sieben teilnehmer gaben positive wirkungen in bezug auf ihre eßstörungsproblematik an. die angesprochenen bereiche sind dabei die übermäßige gedankliche beschäftigung mit essen, figur und gewicht, veränderungen des körperbildes, die wahrnehmung innerer reize wie hunger und sattheit sowie alternative verhaltensweisen bei einem heißhungeranfall. für manche kursteilnehmer ergaben sich allerdings in bestimmten stunden auch probleme wie übelkeit oder schwindelgefühle. schließlich wurde von einer integration von übungselementen in den alltag berichtet und acht personen bekundeten ihr interesse an einer fortsetzung des kurses und weiterer beschäftigung mit der feldenkrais-methode. kapitel 1. einführung 5 inhaltsverzeichnis vorwort zusammenfassung 1 einführung........................................................................................................................1 2 die feldenkrais-methode................................................................................................3 2.1 geschichtliche entwicklung der feldenkrais-methode ...........................................3 2.2 einordnung der feldenkrais-methode.......................................................................7 2.3 theoretischer ansatz der feldenkrais-methode.....................................................10 2.3.1 über das lernen ..............................................................................................10 2.3.2 die einheit von körper und geist ..................................................................12 2.3.3 selbstbild..........................................................................................................13 2.3.4 bewegung als bester weg einer veränderung...............................................15 2.3.5 gesundheit .......................................................................................................17 2.3.6 bewußtheit .......................................................................................................18 2.4 zwei feldenkrais-verfahren ....................................................................................20 2.4.1 die einzelbehandlung 'funktionale integration' ...........................................21 2.4.2 die gruppenmethode 'bewußtheit durch bewegung' ...................................23 2.5 forschung..................................................................................................................28 2.6 anwendungsbereiche................................................................................................30 3 eßstörungen................................................................................................................... 32 3.1 anorexia nervosa ......................................................................................................32 3.1.1 symptomatik....................................................................................................32 3.1.2 diagnose...........................................................................................................33 3.1.3 epidemiologie ..................................................................................................34 3.1.4 erklärungsund behandlungsansätze ............................................................34 3.2 bulimia nervosa ........................................................................................................36 3.2.1 symptomatik....................................................................................................36 3.2.2 diagnose...........................................................................................................37 3.2.3 epidemiologie ..................................................................................................38 3.2.4 erklärungsund behandlungsansätze ............................................................38 3.3 adipositas..................................................................................................................40 3.3.1 symptomatik....................................................................................................40 kapitel 1. einführung 6 3.3.2 diagnose...........................................................................................................41 3.3.3 epidemiologie ..................................................................................................42 3.3.4 erklärungsund behandlungsansätze ............................................................42 3.4 gemeinsamkeiten der verschiedenen eßstörungen ................................................44 3.5 die behandlung von eßstörungen in der medizinisch psychosomatischen klinik roseneck ......................................................................45 4 zusammenfassung theoretischer grundlagen und zielsetzung der untersuchung .................................................................................... 48 5 fragestellung.................................................................................................................. 50 6 untersuchungsdesign.................................................................................................... 51 6.1 fremdwartegruppen-design.....................................................................................51 6.2 gruppenbildung ........................................................................................................51 6.3 zeitlicher ablauf.......................................................................................................52 6.4 kursprogramm und kursleitung ..............................................................................53 6.5 praktische durchführung..........................................................................................54 7 beschreibung der stichprobe ...................................................................................... 56 7.1 diagnose, alter und vorbehandlungszeit ...............................................................56 7.2 familienstand und schulbildung .............................................................................57 7.3 parallelisierung der stichproben..............................................................................57 7.4 vorerfahrung.............................................................................................................58 8 beschreibung der erhebungsinstrumente................................................................. 60 8.1 zufriedenheit mit dem eigenen körper ...................................................................60 8.2 akzeptanz des eigenen körpers...............................................................................61 8.3 psychische befindlichkeit ........................................................................................61 8.4 anorexia-nervosa-inventar zur selbstbeurteilung..................................................62 8.5 eating disorders inventory ......................................................................................63 8.6 offene fragen ...........................................................................................................64 8.7 interviews ..................................................................................................................64 8.7.1 das halbstrukturierte interview......................................................................64 8.7.2 der interviewleitfaden ....................................................................................65 8.7.3 durchführung der interviews..........................................................................66 9 darstellung der ergebnisse ........................................................................................ 67 kapitel 1. einführung 7 9.1 zufriedenheit mit dem eigenen körper ...................................................................67 9.2 akzeptanz des eigenen körpers...............................................................................70 9.3 psychische befindlichkeit ........................................................................................72 9.4 anorexia-nervosa-inventar zur selbstbeurteilung..................................................73 9.5 eating disorders inventory ......................................................................................75 9.6 offene fragen ...........................................................................................................78 9.6.1 fazit des kurses und bedeutsame erfahrungen während des kurses.........................................................................................79 9.6.2 erlebte veränderungen ...................................................................................80 9.6.3 erlebte veränderungen der körperwahrnehmung ........................................80 9.6.4 einschätzung der feldenkrais-stunden..........................................................81 9.7 auswertung der interviews ......................................................................................83 9.7.1 kategorie 1: allgemein intensivere und bewußtere körperwahrnehmung.......................................................................................85 9.7.2 kategorie 2: spezifische kinästhetische erfahrungen...................................86 9.7.3 kategorie 3: entspannende und beruhigende wirkung ................................87 9.7.4 kategorie 4: angenehme übungen und sonstige angenehme empfindungen .............................................................................88 9.7.5 kategorie 5: tranceinduzierende wirkung....................................................89 9.7.6 kategorie 6: positive wirkungen im bereich der eßstörungsproblematik .............................................................................90 9.7.7 kategorie 7: emotionale erfahrungen während der stunden.......................94 9.7.8 kategorie 8: weitere wirkungen....................................................................95 9.7.9 kategorie 9: probleme während der stunden ................................................95 9.7.10 kategorie 10: störungen von außen .............................................................96 9.7.11 kategorie 11: unangenehme übungselemente ...........................................97 9.7.12 kategorie 12: schwierigkeiten, einen zugang zu finden, oder geringes interesse..................................................................................97 9.7.13 kategorie 13: integration von übungselemente in den alltag...................98 9.7.14 kategorie 14: interesse an weiterer beschäftigung mit der feldenkrais-methode........................................................................99 10 diskussion.................................................................................................................... 100 10.1 verhältnis zum eigenen körper ...........................................................................101 10.2 psychische befindlichkeit ....................................................................................103 10.3 spezifische eßstörungsproblematik ....................................................................103 10.4 offene fragen .......................................................................................................105 10.5 interviews ..............................................................................................................106 kapitel 1. einführung 8 10.6 zusammenfassung und ausblick .........................................................................110 11 literaturverzeichnis .................................................................................................. 113 anhang a: fragebögen zu meßzeitpunkt 1 und 2 b: wortlaut des kursverlaufs c: transkripte der interviews d: zusammenstellung der antworten auf die offenen fragen kapitel 1. einführung 9 1. einführung das interesse an körperorientierten zugängen in der behandlung seelisch und psychosomatisch kranker, aber auch zur persönlichkeitsförderung von gesunden menschen ist in den letzten jahren ständig gewachsen. offenbar nimmt in unserer kultur das bewußtsein zu, daß der "lebendige, wahrnehmungsund ausdrucksfähige leib als 'grundlage der person' zum zentrum eines neuen lebensverständnisses" werden muß (petzold, 1992, s. 7). aufgrund der verarmung sinnlicher erfahrung in der modernen industriegesellschaft, einem bewegungsinaktiven lebensstil, der überforderung des körpers durch streßsituationen und der zunahme psychosomatischer erkrankungen finden die körper-, bewegungs-, leibund atemtherapien immer stärkeres interesse. die körpertherapien die lange eine stellung am rand der etablierten psychiatrischen und psychotherapeutischen behandlungsverfahren einnahmen werden in der akademischen psychologie und klinischen psychotherapie vermehrt zur kenntnis genommen und können als ein neues paradigma in der psychotherapie betrachtet werden, das die traditionellen wege in sinnvoller weise ergänzt. die mehrzahl der körperorientierten verfahren geht auf die bahnbrechenden arbeiten von wilhelm reich (1970, 1972) zurück. inzwischen sind aber, insbesondere auf dem hintergrund der humanistischen psychologie, auch andere strömungen stärker geworden, etwa integrierte ansätze, die verschiedene ansätze von körperund psychotherapie verbinden sowie aus dem bereich der gestalttherapeutischen verfahren der leibarbeit oder der bewegungstherapie. eines dieser verfahren ist die ganzheitliche bewegungspädagogik, die von dem physiker und judolehrer moshé feldenkrais entwickelt wurde. nach der ersten theoretischen begründung 1949 entwickelte feldenkrais die methodik seiner gruppenmethode wie auch der einzelbehandlung kontinuierlich weiter. nach weiteren veröffentlichungen ende der 60er jahre und einer erfolgreichen praxis verbreitet sich die feldenkrais-methode seither und findet heute zunehmendes interesse und anwendung in den verschiedensten bereichen, wie z.b. in der psychosomatik und der behandlung von eßstörungen. eßstörungen, wie anorexia nervosa, bulimia nervosa und adipositas sind in den letzten jahren stark angestiegen und haben vermehrt beachtung gefunden, was auch die vielzahl der veröffentlichungen zu diesem thema zeigt. bei der entstehung und symptomatik dieser erkrankungen ist das gestörte verhältnis zum eigenen körper ein entscheidender faktor. so ist z.b. eine verzerrte körperwahrnehmung wie auch eine gestörte kapitel 1. einführung 10 wahrnehmung von propriound interozeptiven reizen typisch für alle formen von eßstörungen. die anwendung körperund bewegungstherapeutischer verfahren in der stationären behandlung von eßstörungspatienten liegt deshalb nahe. die einbindung der feldenkrais-methode als integrativer bestandteil eines stationären therapieprogramms, wie dies seit einigen jahren in der medizinisch-psychosomatischen klinik roseneck praktiziert wird, ist jedoch neu. der inhaltliche schwerpunkt dieser arbeit liegt nun bei der ersten erfassung von wirkungen eines feldenkrais-kursprogramms im rahmen eines stationären therapieprogramms einer psychosomatischen klinik. die beschreibung dieser wirkungen und der individuellen erfahrungen der teilnehmer an diesem kursprogramm sollen anregungen geben für weitere forschung und für die weiterentwicklung der anwendungen der feldenkrais-methode im bereich der eßstörungen und der psychosomatik im allgemeinen. vor der darstellung der praktischen durchführung der untersuchung an der klinik roseneck, wird im folgenden zunächst der theoretische hintergrund und die praxis der feldenkrais-methode dargestellt sowie auf die verschiedenen formen von eßstörungen und deren gemeinsamkeiten eingegangen. kapitel 2. die feldenkrais-methode 11 2. die feldenkrais-methode "gründliche änderungen, wenn sie von dauer sein sollen, sind undenkbar, ohne umbildung der muskulären und der verhaltensgewohnheiten überhaupt. der ganze mensch muß in bewegung kommen. denkbahnen und eßverhalten, gewohnheiten des gefühls und der atmung, geschlechtsleben, haltung, gang, kurz: der gebrauch und umgang mit sich selbst wie mit anderem und anderen bedürfen der umerziehung." (feldenkrais, 1987a, s. 220) im folgenden kapitel wird zunächst die geschichtliche entwicklung der feldenkraismethode dargestellt und anschließend ein kurzer überblick über eine mögliche einordnung im bereich der körperund bewegungstherapeutischen verfahren gegeben. danach wird näher auf die theoretischen grundlagen der methode eingegangen, um dann die beiden verfahrensweisen 'funktionale integration' und 'bewußtheit durch bewegung' zu erläutern. zum schluß werden verschiedene anwendungsund forschungsgebiete beschrieben. 2.1 geschichtliche entwicklung der feldenkrais-methode 1904 in rußland geboren entschloß sich moshé feldenkrais im alter von 15 jahren seine eltern zu verlassen und ins damalige palästina zu gehen. er arbeitete dort fünf jahre lang als pionier, später als landvermesser und besuchte in der folge das gymnasium. er interessierte sich für psychologie, pädagogik und jiu-jitsu und lehrte diese kunst der selbstverteidigung in der palästinensischen bürgerwehr, wobei die bewegungen möglichst optimal sein mußten, da es in den straßenkämpfen der damaligen zeit oftmals ums überleben ging (leri, 1986). sein interesse in jiu-jitsu (und später in judo) sowie die erste beschäftigung mit der 'selbstverbesserungs-philosophie' von emile coué waren richtungsweisend für sein denken. nachdem er 1929 sein erstes buch über 'jiu-jitsu und selbstverteidigung' geschrieben hatte, übersetzte und kommentierte der junge autor coués berühmtes buch über autosuggestion ins hebräische. neben diesen aktivitäten arbeitete feldenkrais als nachhilfelehrer und er war stolz darauf, kindern mit lernschwierigkeiten zu helfen, sich für das lernen zu interessieren, ohne sie dazu zu zwingen. diese pädagogische haltung stammte aus der philosophie des jiu-jitsu, niemals direkt gegen den widerstand des gegners vorzugehen, sondern dessen eigene stärke zu benutzen, um ihn zu kontrollieren. diese idee wurde später kapitel 2. die feldenkrais-methode 12 zentral für feldenkrais' denken: geh' niemals gegen die mechanismen des widerstands eines menschen, sondern arbeite positiv damit, um der person zu helfen, sich zu verbessern (hanna, 1984). feldenkrais bekam ein stipendium und studierte in paris elektroingenieurswissenschaft. er schloß 1933 sein studium zum diplomingenieur ab, wurde im gleichen jahr forschungsassistent von frederic-juliot curie im berühmten laboratorium, in dem madame curie gearbeitet hatte, und erwarb sich in der folge einen doktortitel in physik an der sorbonne in paris. in paris traf er auch dr. jigoro kano, den begründer des modernen judo, wurde dessen schüler und erlangte als erster europäer einen schwarzen gürtel im judo. bereits 1934 hatte er den 'jiu-jitsu-club de france' gegründet, der sich bald über das ganze land ausbreitete. vor dem einmarsch der deutschen nazis in frankreich floh feldenkrais nach england und arbeitete dort in der u-boot-ortungsforschung der alliierten und als judolehrer. in dieser zeit schrieb er drei bücher über judo, diesmal in englischer sprache (feldenkrais, 1941, 1944, 1952). es war die kombination aus seinem wissen über mechanik und seinen experimenten, die judo-konzepte beim lernen von bewegungen anzuwenden, die den ursprung seiner berühmten 'feldenkrais-übungen', später 'bewußtheit durch bewegung' genannt, bildeten (hanna, 1984). in dieser zeit verschlimmerte sich zudem eine alte knieverletzung bei der arbeit auf den rutschigen u-boot-decks, seine gehfähigkeit war ernsthaft gefährdet und es drohte eine operation mit ungewissem ausgang. feldenkrais beschloß aber, sich der operation nicht zu unterziehen und experimentierte statt dessen mit seinen bewegungen und so gelang es ihm, seine gehfähigkeit völlig wiederherzustellen (reese, 1991a). er beschäftigte sich während der kriegsjahre weiter mit psychologie, insbesondere der psychoanalyse, bei der er eine zeit als analysand engagiert war, dehnte diese studien aber nun auf anatomie und neurophysiologie aus. zwei andere wichtige einflüsse in dieser zeit waren sein interesse am werk von f.m. alexander (alexander, 1988) und an der philosophie von gurdieff. alexander zeigte als erster, daß die körperhaltung nicht fixiert oder statisch ist, sondern durch bestimmte praktiken verändert und verbessert werden kann. und gurdieff argumentierte, neben vielen anderen, daß die persönliche entwicklung ein lebenslanger prozeß fortdauernder veränderungen und verbesserungen der selbst-bewußtheit von geist und von körper ist. 1949 publizierte feldenkrais sein wissenschaftliches hauptwerk 'body and mature behaviour' mit dem untertitel: 'a study of anxiety, sex, gravitation and learning'. hier zeigte sich das eigentümliche gemisch von interessen, die er seit den zwanziger jahren verfolgt hatte: psychotherapie, psychoanalyse, physik und selbsterziehung. zentral für kapitel 2. die feldenkrais-methode 13 das buch ist die einsicht, daß das psychologische phänomen von angst und furcht begründet ist in der unkonditionierten, reflexhaften angst vor dem fallen, einer autonomen reaktion, die durch erregung des vestibulär-auditiven systems ausgelöst wird und durch die eine kontraktion aller beugemuskeln und simultan dazu eine hemmung aller streckmuskeln bewirkt wird. dies als unkonditionierten, frühkindlichen reflex betrachtend, fordert er das gesamte feld der psychotherapie insbesondere der psychoanalyse heraus, indem er argumentiert, daß alle anderen ängste und gefühle der furcht als konditionierte, gelernte reaktionen auf die angeborene angst vor dem fallen entstehen. so wie freud die angst als zentrales problem der neurose angesehen hat, behauptet feldenkrais zusätzlich, daß alle neurosen durch eine aufeinanderfolgende serie von konditionierungen entstehen, die auf der unkonditionierten fall-angst basieren. deshalb wird jeder psychotherapeutischen behandlung, der es nicht gelingt, diese gelernten reaktionen muskulärer gewohnheit aufzuheben, es auch nicht gelingen, die neurose zu beseitigen (hanna, 1984). dieser sichtweise am nächsten kam wilhelm reich (1970, 1972), der behauptete, daß orgasmische impotenz der ursprung der angst sei, was im wesentlichen eine somatisation von freuds position war. feldenkrais geht in 'body and mature behaviour' weit über diesen standpunkt reichs hinaus, indem er den ursprung der angst in einem allgemein anerkannten physiologischen mechanismus der menschlichen spezies begründet (vgl. ayres, 1984, s. 20). reich behauptete, daß jeder neurotiker eine sexuelle dysfunktion hat. feldenkrais behauptete etwas viel allgemeineres: daß jeder neurotiker eine person ist, dessen beugemuskeln gewohnheitsmäßig kontrahiert sind, wodurch die bauchmuskulatur verhärtet, atmung und verdauung eingeschränkt sind und so übelkeit, schwindelgefühl und das gefühl der angst entstehen können. flacher atem und angespannter brustkorb und bauch sind, nach feldenkrais, eine allgemeine begleiterscheinung der erfahrung der angst. orgastische impotenz aufgrund einer rigidität des beckens ist daher nur eine von vielen physiologischen dysfunktionen, die aus diesem flexor-reflex heraus entstehen. freuds denken bildete hier eine basis für das allgemeinere ziel der entwicklung eines erziehungsprogramms zur verbesserung menschlicher funktionsstörungen, das eher an lehren und lernen interessiert war, als an krankheit und heilung. die frage von angst und neurose lieferte einen ausgangspunkt, von dem aus diese probleme als weit mehr als psychologische probleme gesehen werden konnten: als allgemeine probleme von fehlangepaßtem verhalten, das auf einer somatischen grundlage beruht. aus diesem blickwinkel heraus wird deutlich, daß neurotisches fehlverhalten nicht effektiv verändert werden kann, indem allein das unbewußte bewußt gemacht wird, sondern es muß kapitel 2. die feldenkrais-methode 14 sich zudem der physiologische habitus ändern, der die zugrundeliegende struktur der unbewußten tiefen des menschlichen verhaltens bildet. 40 jahre bevor neurophysiologen wie der nobelpreisträger roger sperry es verkündeten, vertrat feldenkrais die ansicht, daß der wesentliche ausdruck der gehirnfunktion die motorische aktivität ist: neben internen endokrinologischen vorgängen sind alle aktionen des gehirns muskulärer art. die motorische aktivität ist demnach das zentrum aller menschlichen aktivität und gelernte gewohnheiten motorischer aktivität sind der ursprung von emotionaler instabilität und verhaltensstörungen. deshalb ist, nach feldenkrais, die neu-erziehung muskulärer und haltungsmäßiger gewohnheiten der einzig durchgreifende und gründliche weg, um den ganzen psycho-physischen organismus zu verbessern. eine behandlung, die die physiologischen grundlagen des verhaltens nicht oder nur oberflächlich berührt, reicht dazu nicht aus. muskuläre umerziehung ist, nach feldenkrais, der angemessene ausgangspunkt. denn sobald die muskulären gewohnheiten des angst-musters verändert sind, entfällt für die meisten menschen die notwendigkeit einer psychotherapie. wenn sie es dennoch wünschen, sind sie nun bereit, optimal davon zu profitieren. die meisten personen können aber ihr leben selbstverantwortlich gestalten, wenn erst die angst ihre spitze verloren hat durch die auflösung unkontrollierbarer muskulärer spannungen (hanna, 1984). so wurde in 'body and mature behaviour' (feldenkrais, 1949) die theorie einer, in diesem sinn ganzheitlichen, somatischen erziehung formuliert, aber ein konkretes praktisches programm wurde erst angedeutet. während dieser jahre arbeitete feldenkrais in london aber bereits mit bewegungs-klassen, die durch die judophilosophie inspiriert waren und lehrte auf zwei arten: indem er gruppen von leuten mit hilfe verbaler instruktion durch bestimmte bewegungsmuster führte und gelegentlich, indem er mit seinen eigenen händen bestimmte hinweise dazu gab (hanna, 1984). dies war der anfang der beiden feldenkrais-techniken, die er in der folge weiter entwickelte. 1949 verließ feldenkrais england und wurde direktor der elektronischen abteilung des israelischen verteidigungsministeriums. er fuhr fort die einzeltechnik 'funktionale integration' zu entwickeln und zu praktizieren und begann reguläre klassen in der gruppenmethode 'bewußtheit durch bewegung' zu geben, wobei die beiden verfahren erst später, in der zeit in den usa, diese namen erhielten. so begab sich z.b. der erste israelische premierminister david ben-gurion bei feldenkrais in behandlung und half ihm bei der ausstattung eines ständigen instituts in tel aviv, das noch heute besteht. in diesem institut war feldenkrais bis mitte der siebziger jahre hauptsächlich tätig und kapitel 2. die feldenkrais-methode 15 machte sich durch erfolgreiche arbeit mit international bekannten persönlichkeiten und künstlern sowie einer großen anzahl schwerkranker, von der schulmedizin oft aufgegebener patienten einen namen. er war bald in ganz israel bekannt, insbesondere als eine art geheimtip für pathologische fälle, bei denen konventionelles wissen und diagnose nicht nützten. 1969 begann feldenkrais in tel aviv eine gruppe von 13 landsleuten auszubilden. 1972 erschien ein weiteres buch 'bewußtheit durch bewegung', das in mehrere sprachen übersetzt wurde. im selben jahr wurde feldenkrais in die usa eingeladen, um im esalen-institut in kalifornien einen monatsworkshop zu geben und in gesundheitsinstituten und universitäten seine arbeit vorzustellen. ein jahr später gab er wiederum einen monatsworkshop für das esalen-institut, im alter von 69 jahren und noch relativ unbekannt. in dieser zeit in den usa wurde er u.a. beeinflußt von milton erickson und fritz perls, der ende der 60er jahre die psychotherapie in esalen populär gemacht hatte (mcneely, 1992). 1975 begann feldenkrais ein dreijähriges trainingsprogramm in san francisco und wurde während dieser jahre eine bekannte figur in den usa. wenige jahre später begann ein zweites trainingsprogramm, das 1980 und 1981 in amherst, massachusetts, stattfand und an dem etwa 200 personen teilnahmen. aufgrund einer gehirnblutung konnte moshé feldenkrais aber diese ausbildung nicht mehr selbst zu ende führen. er starb 80jährig im juli 1984. seither sind in ausbildungen, deren richtlinien von moshé feldenkrais und seinen engsten schülern festgelegt wurden, über 1000 feldenkrais-lehrer ausgebildet worden. feldenkrais schrieb fünf bücher über seine methode (feldenkrais, 1949, 1978, 1981, 1987a, 1989) und sein lehren ist in vielen stunden auf tonund videobändern aufgezeichnet. 2.2 einordnung der feldenkrais-methode aus der beschreibung der entwicklung der methode geht hervor, daß die feldenkraismethode ein verfahren der somatischen erziehung ist, das über bewegung einen zugang zur veränderung der ganzen person sucht. mit somatisch ist dabei die lebendige, von innen kommende wahrnehmung von sich selbst gemeint, im unterschied zur von außen kommenden wahrnehmung dessen, was wir einen "körper" nennen (hanna, 1990, s. 34). es werden hier die verschiedenen möglichkeiten, die feldenkrais-methode einzuordnen, kurz erwähnt, da dies in der praxis sehr unterschiedlich gehandhabt wird. kapitel 2. die feldenkrais-methode 16 moshé feldenkrais (1987a) selbst beschreibt seine arbeit folgendermaßen: das verfahren, das ich vorschlage, ist keine behandlung, sondern umerziehung des erwachsenen. prophylaxe und therapie erweisen sich hier demnach als bloße nebenerscheinung funktionsund das bedeutet menschengerechten umlernens. und so, meine ich, sollte es auch sein; denn zumal wenn krankheit nur allzu oft fehlgesteuertes lernen ist, so geht es um lehren und lernen, und nicht um krankheit und heilung. (s. 221) so ist die feldenkrais-methode von ihrem selbstverständnis her "eine lernmethode und keine medizinische oder therapeutische heilbehandlung" (deutsche feldenkrais-gilde, 1992, s. 1). sie hat eine reedukation erworbener bewegungsund verhaltensmuster zum ziel und basiert stark auf neurophysiologischen und -psychologischen grundprinzipien, wie sie in der bewegungsentwicklung des menschen zum tragen kommen. wegen der zentralen stellung, die das umund neulernen in der methode einnimmt, ist sie deshalb eindeutig keine medizinische oder paramedizinische arbeitsweise, sondern muß als pädagogisch im weitesten sinn des wortes betrachtet werden (wurm, 1986). trotzdem ergeben sich aus der natur der sache und den grundlagen der arbeit überschneidungen (vgl. kap. 2.6). in der psychologischen literatur wird die feldenkrais-methode den körpertherapien zugeordnet. petzold (1992) spezifiziert dabei die körpertherapien folgendermaßen: 1. funktionale körpermethoden zu ihnen gehören verschiedene westliche methoden der atemtherapie, bewegungsorientierte methoden wie die alexander-technik; die feldenkrais-methode oder die eutonie, sensory awareness, relaxationsmethoden und verschiedene massageverfahren. die funktionalen ansätze sind auf das 'richtige' atmen, bewegen, entspannen zentriert. sie wirken im 'streueffekt' auch psychotherapeutisch, ohne biographisch aufdeckend zu arbeiten. 2. konfliktorientierte körperverfahren zu ihnen gehören die klassische reichianische vegetotherapie, die orgontherapie, wie sie reich in seiner letzten schaffensperiode entwickelt hat, und die verschiedenen neoreichianischen verfahren, darunter das bekannteste, die bioenergetische analyse von a. lowen (1988). diesen ansätzen geht es um das aufdecken "im körper verdrängten traumatischen materials", das zu blockierungen des vitalen energieflusses, zur muskulären panzerung geführt hat. 3. integrative verfahren kapitel 2. die feldenkrais-methode 17 die bioenergetik, die thymopraktik und die lomi-therapie haben sowohl konfliktzentrierte als auch funktionale methoden entwickelt, die kombiniert oder auch separat eingesetzt werden können (petzold, 1992, s. 243) die feldenkrais-methode wird also von petzold (1992) in dieser rein westlich orientierten betrachtungsweise als bewegungsorientierte methode den funktionalen körpertherapien zugeordnet. in den alten östlichen traditionen existieren eine vielzahl weiterer systeme von bewegungsund körpertherapie, die in unserem jahrhundert die entwicklung westlich geprägter verfahren zweifellos mitgeprägt haben. gerade in letzter zeit werden asiatische methoden wie yoga (cubley, 1976), t'ai chi, judo, aikido, shiatsu, chi gong und andere im westen zunehmend populärer und darüber hinaus entstehen ansätze, die westliche und östliche einflüsse verbinden (leigh, 1989). alle diese methoden haben viele prinzipien gemeinsam. sie orientieren sich an entwicklung, wachstum und förderung von vorhandenen potentialen des organismus und der ganzen person (milz, 1992) und teilen die annahme einer engen wechselseitigen beziehung zwischen körperlichen und psychologischen funktionen. sie gehen davon aus, daß sich eine überdauernde psychotherapeutische veränderung nur einstellt, wenn sich auch die körperbewußtheit des individuums verändert. sie gehen weiter davon aus, daß es zeit und energie erfordert, um körperbewußtheit zu entwickeln, und daß körperbewußtheit eine fähigkeit ist, die gelernt und praktiziert werden muß (pruzinsky, 1990). im psychotherapieführer von kraiker und peter (1991) wird die feldenkrais-methode in der rubrik "weitere entspannungsverfahren" erwähnt. nach feldenkrais (1988a, s. 185) ist seine methode aber "keine entspannung, denn wirkliche entspannung kann nur durch vollständige ruhigstellung erreicht werden. das ziel ist nicht komplette entspannung, sondern gesunde, kräftig leichte und angenehme anstrengung". eine weitere einordnung nimmt die deutsche stiftung warentest vor, von der alle möglichen verfahren aus dem gesundheitsbereich untersucht und beurteilt wurden. hier wird die feldenkrais-methode unter 'unkonventionelle heilmethoden' eingestuft (stiftung warentest, 1992). nach überzeugung des leiters der forschungsgruppe der deutschen feldenkrais-gilde wird aber in fünf bis zehn jahren ein allgemeines theoriekonzept der feldenkrais-methode das bis heute noch aussteht formuliert sein. dadurch wird die feldenkrais-methode aus der grauzone eines alternativen behandlungsverfahrens herauskommen und allgemein als grundlagendisziplin anerkannt werden. und zwar nicht als eine weitere krankengymnastische technik oder paramedizinische arbeitsweise, sondern als eigenständige disziplin der kapitel 2. die feldenkrais-methode 18 bewegungswissenschaft, wobei dieser prozeß in den usa ("movement science", "kinesiologie") bereits weiter fortgeschritten ist als in deutschland (roger russell, persönliche mitteilung, april 1993). nach diesem überblick über die entwicklung der feldenkrais-methode und die möglichkeiten der einordnung werden nun die theoretischen grundlagen näher erörtert. 2.3 theoretischer ansatz der feldenkrais-methode in diesem kapitel sollen wesentliche grundlagen und annahmen der feldenkraismethode ausführlicher dargestellt werden. 2.3.1 über das lernen wie aus dem vorangegangenen kapitel zur einordnung hervorgeht, ist die feldenkraismethode nach ihrer selbsteinschätzung ein verfahren der somatischen erziehung, also eine lernmethode. die art von lernen, die in der feldenkrais-methode zur anwendung kommt, ist organisches lernen. damit ist die art und weise gemeint, wie kleinkinder und kinder durch versuch und irrtum lernen, den kopf zu heben, zu krabbeln, zu gehen etc.. dieses organische lernen ist langsam und kümmert sich nicht um die bewertung etwaiger ergebnisse als gut oder schlecht. es hat keinen erkennbaren zweck und wird einzig gelenkt von dem gefühl der befriedigung, das sich einstellt, wenn ein neuer versuch als weniger ungeschickt empfunden wird als der vorangegangene (feldenkrais, 1987a). insbesondere die bewegungslektionen der gruppenmethode, die sich z.b. mit bewegungsmustern wie saugen, greifen, rollen, krabbeln beschäftigen und auch der augehand-koordination eine große wichtigkeit beimessen, lassen dabei den einfluß des entwicklungsmodells von piaget auf feldenkrais' auffassung der kindlichen entwicklungsstadien erkennen (feldenkrais, 1987b, s. 7). tiere sind bei der geburt mit den meisten verhaltensmustern ausgestattet, die sie während ihres lebens benutzen werden und die größe ihres gehirns ändert sich in ihrer entwicklung nur wenig. der mensch hat von allen säugern das komplexeste zentralnervensystem, hat aber bei der geburt nur einige wenige reflexe zur verfügung. wir lernen die meisten muster, die wir zum überleben brauchen, und im erwachsenenalter ist unser gehirn etwa fünfmal so groß wie bei der geburt. im vergleich zu tieren haben wir eine unendliche kapazität, verschiedenste verhaltensmuster zu erlernen. kapitel 2. die feldenkrais-methode 19 der mensch geht auf seinen zwei beinen. in der aufrechten haltung ist der physikalische schwerpunkt auf der höchstmöglichen ebene und daraus entsteht ein labiles gleichgewicht, in dem die potentielle energie maximal ist. der stehende körper ist daher jederzeit bereit zu bewegung in alle richtungen. die aufrechte haltung ist also eine biologische qualität des menschlichen körperbaus. deshalb sollte aufrecht-stehen keinerlei empfindung von anstrengung, halten oder bewußtem tun beinhalten. die aktuelle haltung ist aber immer das resultat aus den angeborenen mechanismen der körperstruktur, und daraus, was wir gelernt haben, um uns unserer physikalischen und sozialen umgebung anzupassen (wurm, 1986). die bahnen im nervensystem eines embryos, eines kleinkindes und eines kindes werden nach feldenkrais durch die erfahrungen, die es in seiner spezifischen umwelt macht, gleichsam verdrahtet. ein solches organisches lernen kann aber auch unvollkommenheiten, fehler und mißlingen mit sich bringen. so ist vieles von dem, was wir gelernt haben, zum schaden des systems, weil es unter emotionalem druck oder dem stress von elementaren bedürfnissen zu einer zeit gelernt wurde, als unsere unmittelbare abhängigkeit von anderen unsere wirklichen bedürfnisse verzerrte (wurm, 1986). verläuft der organische lernoder reifungsprozeß im idealfall reibungslos, werden nach und nach alle möglichen bewegungsmuster entwickelt und integriert. wird dieser prozeß jedoch aus irgendwelchen gründen gestört, so bauen sich alle weiteren funktionen auf einem unvollständigen muster auf. bewegungsmuster oder haltungen wobei haltung als dynamischer prozeß der organisation des körpers im schwerefeld verstanden wird sind dabei nach feldenkrais das resultat einer komplexen neuromuskulären organisation. dazu müssen informationen aus verschiedenen quellen koordiniert werden. feldenkrais (1949) nennt hier als impulsquellen die gleichgewichtsorgane im innenohr, die propriorezeptoren des kinästhetischen sinns, die rezeptoren der haut, viszerale rezeptoren sowie die im kopf lokalisierten telerezeptoren. vom organischen lernen unterscheidet feldenkrais die schulische, akademische lehr und lernweise unter der anleitung von lehrern. hier soll nach einem bestimmten lehrplan in einer festgesetzten zeitspanne ein vorgeschriebenes pensum bewältigt werden. feldenkrais schreibt dazu (1987a): diese schulische lehrund lernweise hat unsere eltern geformt, hat ihre überzeugungen geprägt und die art, wie sie lernen verstehen. ob sie es noch so gut meinen, eltern scheinen sich in das organische lernen doch so störend einzumischen, daß viele therapien die kapitel 2. die feldenkrais-methode 20 entstehung und entfaltung der meisten dysfunktionen bis zu den eltern zurückführen können. (s. 61) in der feldenkrais-methode soll nun ein organisches, somatisches lernen neu ermöglicht werden, in dem u.a. an möglicherweise unvollständig ausgebildeten motorischen mustern gearbeitet wird und sozusagen eine nachreifung ermöglicht wird. ein solches lernen ist nach feldenkrais lebendig und lebhaft, geschieht bei guter laune und mit häufigen kurzen pausen und verglichen mit schulischem lernen ist die einstellung dazu weniger ernst. ein solches lernen soll zu anderen, neuen weisen führen, dinge zu tun, die einer bereits tun kann, und so die möglichkeiten erweitern, frei zu wählen, d.h. neue reaktionsweisen werden geformt, die funktionell angemessener sind. "wer über nur eine verfahrensweise verfügt, hat keine wahl als zwischen tun und nichttun" (feldenkrais, 1987a, s. 65). in der praxis der feldenkrais-methode soll dies erreicht werden durch differenzierung bekannter, eingefahrener bewegungsund verhaltensmuster. dadurch sollen vielerlei möglichkeiten verfügbar werden, um auf unterschiedliche situationen jeweils angemessen reagieren zu können. um dieses ganzheitliche verständnis des lernens näher zu erläutern, soll als nächstes auf feldenkrais' auffassung der beziehung von körper und geist eingegangen werden. 2.3.2 einheit von körper und geist die art und weise, in der leib und seele vereint sind, hat durch die jahrhunderte die menschen beschäftigt. der allgemein bekannte spruch "ein gesunder geist in einem gesunden körper" und ähnliche aussagen drücken diese verbundenheit aus. nach anderen auffassungen schafft ein gesunder geist einen gesunden körper. feldenkrais behauptet nun, daß die einheit von körper und geist eine konkrete realität ist, daß sie keine in irgendeiner weise verbundenen dinge, sondern in ihren funktionen ein untrennbares ganzes sind. die kontinuität der geistesfunktionen wird also durch die entsprechenden motorischen funktionen ermöglicht oder zumindest gestärkt. er belegt diesen punkt durch einige beispiele (1988a): 1. .... die meisten menschen können nicht klar denken, ohne dabei den motorischen sektor des gehirns ausreichend zu mobilisieren, indem sie die in der muskulatur des sprechapparats verankerten wortmuster, die die gedanken repräsentieren, vergegenwärtigen. 2. .... um deutlich den inhalt dessen, was wir beim lesen sehen, wahrzunehmen, benötigen wir die zeit, die für das überblicken des kapitel 2. die feldenkrais-methode 21 teilstücks von den augenmuskeln benötigt wird. hier wird die funktionale einheit von wahrnehmung und motorischem antrieb deutlich. (s. 176) diese beispiele weisen darauf hin, daß eine verbesserung in der geschwindigkeit und klarheit des denkens durch eine optimierung motorischer aktivität und durch einen reibungslosen ablauf der muskelfunktionen zu erreichen ist. in bezug auf die verbindung von gefühlen und bewegung ist diese beziehung deutlich. wir zeigen normalerweise ein klares bild der muskelbewegungen, das sogar für ein objektives einschätzen der intensität unserer gefühle ausreicht. was zuerst kommt das bild der muskelbewegungen oder das gefühl -, war gegenstand vieler theorien und ist nach feldenkrais unmöglich zu unterscheiden. er nimmt an, daß die motorischen funktionen wesentlicher bestandteil der höheren funktionen des menschen sind. "dies trifft nicht nur für die höheren funktionen wie singen, malen, lieben zu, die ohne muskelaktivität unmöglich sind, sondern auch auf das denken, erinnern und das gefühl" (feldenkrais, 1988a, s. 178). aus dieser sichtweise der einheit von körper und geist läßt sich auch feldenkrais' begriff des selbstbildes (synonym: ich-bild) verstehen, der im folgenden näher erläutert wird. 2.3.3 selbstbild zur eher verwirrenden verwendung verschiedenster begriffe wie körperschema, körperbild, körperliches selbst, body image, body concept und vielen anderen in der umfangreichen literatur zum bereich der körpererfahrung sei verwiesen auf die übersicht von bielefeld (1986). laut bielefeld weisen die mangelnde einheit in begriffswahl und -verständnis nur auf die unterschiedlichen philosophischen, anthropologischen, psychologischen, medizinischen und letztlich auch pädagogischen und therapeutischen ansätze hin. feldenkrais (1978) schreibt zum begriff des selbstbildes: ein jeder bewegt sich, empfindet, denkt, spricht auf die ganz ihm eigentümliche weise, dem bild entsprechend, das er sich im lauf seines lebens von sich gebildet hat. um art und weise seines tuns zu ändern, muß er das bild von sich ändern, das er in sich trägt. das kapitel 2. die feldenkrais-methode 22 bedeutet natürlich nicht nur das ersetzen einer reaktion durch eine andere, sondern eine änderung in der dynamik seiner reaktionen. (s. 31) das selbstbild besteht nach feldenkrais aus vier teilen, die an jeder handlung mehr oder weniger beteiligt sind: bewegung, sinnesempfindung, gefühl und denken. um sich zu bewegen, braucht man, bewußt oder unbewußt, mindestens einen seiner sinne, wodurch auch gefühl und denken miteinbezogen werden. das selbstbild ist aber nicht statisch. es ändert sich von handlung zu handlung, aber mit der zeit wird das so geänderte zur gewohnheit, d.h. die handlungen nehmen einen starren charakter an. zumindest was die elementaren bewegungen betrifft, beruht der begriff des selbstbildes auf konkreten ergebnissen: bei den grundbewegungen verbinden sich die betreffenden zellen der motorischen sowie der sensorischen region der großhirnrinde zu einer gestalt, die derjenigen des körpers ähnlich ist. die neurologen nennen diese gestalt den 'homunculus'. unser selbstbild ist nach feldenkrais kleiner als es sein könnte. es besteht nur aus den zellengruppen, die einer tatsächlich benützt hat oder benützt. wir gebrauchen daher nur einen bruchteil unseres leistungspotentials. dieses selbstbild, das man sich von sich macht, ist nun nach feldenkrais teils ererbt, teils anerzogen; zu einem drittem teil kommt es durch selbsterziehung zustande (feldenkrais, 1978, s. 19). der ererbte teil ist dabei im wesentlichen festgelegt, lange bevor von der identität des menschen überhaupt die rede sein kann. die erziehung bestimmt die sprache, dadurch auch die spezifischen formen der begriffe, des denkens und reagierens, die sozialen normen und allgemeinen lebensgewohnheiten. diese sind aber nicht merkmale des menschen als einer gattung, sondern kennzeichnen einzelne gruppen oder personen. die selbsterziehung schließlich ist beim neugeborenen noch kaum vorhanden, nimmt aber zu, indem der organismus wächst und stabiler wird. das kind entwickelt allmählich individuelle züge, wählt oder verwirft gegenstände und handlungen, je nach seiner eigenart. wir hören aber gewöhnlich auf, uns weiter zu entwickeln und zu lernen, sobald wir genügend fertigkeiten entwickelt haben, um unseren unmittelbaren zweck zu erreichen. der entwicklung des einzelnen wird dabei von der gesellschaft nach der pubertät ein vorzeitiges ende gesetzt. denn die bedürfnisse der gesellschaft sind solcher art, daß die jungen selbst in diesem "niederen entwicklungsstadium ihre nützlichen glieder sein können. in der tat beschränkt sich das lernen nach der pubertät auf das erwerben praktischer und fachlicher kenntnisse, während die eigentliche, d.h. die nicht spezialikapitel 2. die feldenkrais-methode 23 sierte weiterentwicklung nur zufällig und in ausnahmefällen fortgesetzt wird" (feldenkrais, 1978, s. 39). der biologische grundtrieb eines jeden organismus ist aber, sich völlig auszuwachsen und zu entwickeln. ebenso drängt es auch die zellen, die den menschlichen körper und das nervensystem bilden, zu wachsen und ihre spezifischen funktionen zu erfüllen. trotzdem bleiben im ganzen organismus viele zellen untätig aufgrund einseitiger tätigkeit oder, weil die eine oder andere funktion gar nicht erst zur reife gelangt ist. beides kommt häufig vor und, um vom standpunkt der gesellschaft aus ein nützliches funktionierendes glied zu sein, braucht ein organismus seine fähigkeiten auch gar nicht voll zu entwickeln. obwohl sich das selbstbild nach feldenkrais (1978) im lauf vieler jahre gebildet hat, erscheint es nach außen, als wäre es nicht erworben, sondern angeboren und naturgegeben. deshalb besteht auch die schwierigkeit beim umlernen darin, daß verhaltensweisen geändert werden sollen, die alt und schon eingefahren sind. es soll aber nicht einfach eine handlung durch eine andere ersetzt, sondern ihre qualität und die art, wie sie ausgeführt wird, verändert werden und damit ihre ganze dynamik. um ein vollständiges selbstbild zu haben, müßte sich "einer der gesamten oberfläche seines körpers innesein: vorne, hinten, an den seiten, zwischen den beinen, usw., und aller gelenke in seinem skelett obendrein. das ist ein idealzustand und dementsprechend selten" (feldenkrais, 1978, s. 47). um eine idee von den lücken im eigenen selbstbild zu bekommen, kann man folgendes versuchen: legen sie sich auf den rücken und schließen sie die augen. spüren sie mental den ganzen körper methodisch durch, von den fersen angefangen nach oben. wie sie ihre aufmerksamkeit auf die verschiedenen stellen ihres körpers richten, werden sie bemerken, daß sie zu bestimmten stellen leichter kontakt bekommen als zu anderen, und daß diese stellen während einer handlung gewöhnlich nicht bewußt sind. tatsächlich sind bestimmte teile des körpers im selbstbild während einer handlung niemals präsent. so besteht meist eine differenz zwischen dem bild und der wirklichkeit. das selbstbild kann dabei "verkleinerte oder aufgeblasene wirklichkeit sein, der maske angepaßt, nach der einer von seinesgleichen beurteilt werden möchte" (feldenkrais, 1978, s. 47). aus diesen überlegungen ergibt sich, daß der weg über die systematische korrektur des bildes kürzer und gründlicher sein wird als der über die korrektur einzelner handlungen und einzelner fehler in verhaltensweisen. "die korrektur einzelner handlungen gleicht dem spiel auf einem verstimmten instrument. ... verbessert man die allgemeine dynamik des bildes, so entspricht das dem stimmen des instruments" (feldenkrais, 1978, s. 48). kapitel 2. die feldenkrais-methode 24 feldenkrais' ansatz zielt also auf den motorischen und sensorischen teil des selbstbildes ab, der mit bewegung zusammenhängt. weshalb er die korrektur von bewegung als den besten weg zu einer verhaltensänderung ansieht, soll im folgenden näher begründet werden. 2.3.4 bewegung als bester weg einer veränderung nach feldenkrais (1988a) existieren im wesentlichen zwei möglichkeiten zur verhaltensänderung eines menschen, entweder über die psyche oder über die soma: der vorteil, die einheit von geistesund körperfunktionen über die soma anzugehen liegt in der tatsache, daß mit dem muskulären ausdruck des körpers einfacher umzugehen ist. er ist konkreter und einfacher zu lokalisieren. es ist auch unvergleichlich einfacher, eine person auf das aufmerksam zu machen, was an ihrem körper geschieht. man erhält auf diese weise schnellere und direktere resultate. (s. 179) wie im vorigen kapitel bereits erwähnt, besteht nun das selbstbild und damit jedes verhalten nach feldenkrais aus den bestandteilen sinnesempfindung, gefühl, denken und bewegung. keines der vier teile besteht losgelöst von den anderen. aus dieser wechselwirkung ergibt sich, daß die behandlung eines bestandteils auf die anderen und somit auf den ganzen menschen wirkt. zur bedeutung von bewegung in dieser wechselwirkung berichtet feldenkrais (1988b) einige interessante experimente mit umkehrbrillen: nachdem versuchspersonen am anfang alles auf dem kopf stehend sahen, begann sich nach einiger zeit alles, was sie berühren konnten, wieder umzukehren und normal auszusehen. jedoch alles, was nicht berührt werden konnte, verblieb weiterhin umgekehrt. in einem weiteren experiment schob eine person eine andere, die im rollstuhl saß, und beide trugen umkehrbrillen. die versuchsperson, die die andere schob, begann bald ganz normal zu sehen und nach ein paar stunden war sie fähig, sich ganz normal zu bewegen. die im rollstuhl herumgeschobene person sah weiterhin alles in der falschen, umgekehrten weise. feldenkrais (1978) begründet nun in neun punkten, warum für ihn die korrektur von bewegung der beste weg einer verhaltensänderung ist: 1. da das nervensystem vorwiegend mit bewegung beschäftigt ist, steht die motorische aktivität im zentrum aller menschlichen aktivität. kapitel 2. die feldenkrais-methode 25 2. es ist leichter die qualität einer bewegung zu erkennen, als die eines der anderen faktoren. "wir wissen viel mehr von bewegung als von liebe, zorn, neid oder selbst vom denken"(s. 59). 3. wir haben von bewegung größere erfahrung als vom fühlen und denken. 4. wie einer gebaut ist und in welchem ausmaß er sich bewegen kann, ist für seine selbsteinschätzung wahrscheinlich wichtiger als irgend etwas sonst. 5. am anfang jedes tuns steht muskeltätigkeit. ohne muskeltätigkeit kann einer keinen laut von sich geben, kann er weder sehen noch hören. und selbst der ungeübte beobachter kann fehler im regulieren der intensität von bewegungen erkennen. 6. bewegungen spiegeln des zustand des nervensystems. ein muskel zieht sich zusammen infolge von impulsen vom nervensystem. die struktur des muskelbildes der aufrechten haltung, des gesichtsausdrucks und der stimme spiegeln daher den zustand des nervensystems. also können "weder haltung, noch ausdruck, noch stimme verändert werden ... ohne eine änderung auch im nervensystem, von dem aus die muskeln zu äußeren, sichtbaren änderungen in gang gesetzt werden" (s. 61). d.h., daß bewegung und tätigkeit besserungen erst dann aufweisen werden, wenn zuvor eine änderung im gehirn und im nervensystem geschehen ist. das bedeutet: eine besserung körperlicher tätigkeit spiegelt eine änderung in dem kontrollzentrum, das diese tätigkeit regiert. 7. das meiste dessen, was in einem vorgeht, wird hauptsächlich durch die muskulatur bewußt. was in einem geschieht, erfährt einer, "sobald seine gesichtsmuskeln, sein herz oder seine atmungsmuskulatur sich zu einer gestalt organisieren, die wir als furcht kennen, als angst, als lachen oder als sonst ein gefühl" (s. 62). 8. atmen ist bewegung und unsere atmung spiegelt jede anstrengung des gefühls oder des körpers und jede störung. sie reagiert empfindlich auch auf die vegetativen prozesse. das skelett ist aber so gebaut, daß es fast unmöglich ist, die atmung richtig zu organisieren, wenn nicht auch das skelett gegen das schwerefeld richtig organisiert ist. die atmung selbst kann daher nur in dem maße gebessert werden, indem indirekt die organisation der skelettmuskulatur verbessert wird. 9. den letzten punkt hält feldenkrais für den wichtigsten: haltung, sinnesempfindung, gefühl und denken sowie auch die chemischen und hormonalen prozesse bilden in jedem augenblick ein integriertes ganzes. innerhalb jeder solchen integrationsfigur wird einer sich aber nur der teile bewußt werden, in denen seine muskeln und die hülle (haut und schleimhäute) beteiligt sind. in der muskulatur kann wiederum keine änderung geschehen, ohne daß ihr eine entsprechende änderung in der motorischen region der gehirnrinde voranginge. da nun die strukturen im gehirn, in denen gefühle und denken vor sich gehen der motorischen region der gehirnrinde sehr nahe sind, und da im gehirn erregung und impulse dazu neigen sich auszubreikapitel 2. die feldenkrais-methode 26 ten und auf benachbarte gewebe überzugreifen, wird eine drastische veränderung in der motorischen region parallele wirkungen aufs denken und aufs fühlen haben. (feldenkrais, 1978, s. 66) durch eine grundsätzliche änderung in der motorischen grundlage einer integrationsfigur wird daher der zusammenhalt des ganzen zerstört und dadurch dem denken und dem gefühl der gewohnte rahmen, d.h. die gewohnheit, entzogen. in diesem zustand ist es viel leichter, änderungen im denken und fühlen herbeizuführen, da sich die muskulatur, durch die man sich seines denkens und fühlens bewußt wird, geändert hat. so hat die gewohnheit ihre stärkste, die stütze der muskeln verloren und läßt sich jetzt ändern. nach der darstellung der vorteile eines somatischen ansatzes zur veränderung von verhalten werden als nächstes feldenkrais' allgemeine konzepte von gesundheit und bewußtheit erörtert. 2.3.5 gesundheit zunächst heißt gesundheit nach feldenkrais in erster linie, "daß alle wesentlichen funktionen eines menschen ohne längere unterbrechung arbeiten können müssen. das bewußtsein, das zentralnervensystem, das herz usw. müssen gleichmäßig arbeiten" (feldenkrais, 1988c, s. 19). aus systemtheoretischer sichtweise ist das menschliche nervensystem nun mit seinen mindestens 3 x 1010 teilen ein sehr großes system. große systeme haben die eigenschaft, daß sie weiter funktionieren, auch wenn einzelne teile davon ausfallen. jede großfirma wäre ein gutes beispiel dafür. die gesundheit eines solchen systems kann man messen an dem schock, den es verträgt, ohne daß es zusammenbricht. aus diesem blickwinkel heraus läßt sich gesundheit demnach an dem schock messen, den ein mensch ertragen kann, ohne daß seine übliche lebensweise beeinträchtigt wird. je gesünder ein mensch also ist, desto leichter findet er, nach feldenkrais (1988c), nach beträchtlichen schocks zurück zu seiner gewohnten lebensweise. das menschliche nervensystem ist aber nicht in dem zustand geboren, wie er bei erwachsenen vorzufinden ist. es wird vielmehr geformt, indem die sinne die außenwelt mehr und mehr differenzieren. ein solcher lernprozeß kann aber nicht einwandfrei und fehlerlos in allen menschen vorgehen. einige der latenten neigungen, die wir besitzen, sind auch nie soweit ausdifferenziert und entwickelt worden, und deshalb hat, nach feldenkrais, "jeder erwachsene verborgene träume. unsere kultur, unsere eltern und schulbildung zwingen uns, diese träume zu unterdrücken als kindliche absichten, die kapitel 2. die feldenkrais-methode 27 eines erwachsenen nicht würdig sind....lassen sie mich behaupten, daß der gesunde mensch derjenige ist, der seine verborgenen träume ausleben kann" (feldenkrais, 1988c, s. 22). am anfang der individuellen entwicklung differenzieren sich die fähigkeiten in richtung einer feineren und vollständigeren vielfalt. mit zunehmender sexueller reife spezialisieren wir uns, nach feldenkrais, in einem immer enger werdenen bereich von handlungen und erfahrungen. es kommt der punkt, wo unsere bildung und erziehung uns nicht helfen können, uns weiter zu entwickeln, sondern im gegenteil uns einschränken und in richtungen drängen, die in der folge unsere gesundheit gefährden. das handeln ist dann mehr und mehr begrenzt auf die spezialisierung, in der wir uns auszeichnen. wir werden ungesund, so daß wir in den ruhestand treten müssen, bevor wir biologisch alt sind. altersbeschwerden z.b. beginnen meist mit der selbstauferlegten beschränkung neue körperliche muster zu formen, mit anderen worten, wenn einer aufhört zu lernen und sich weiterzuentwickeln. zuerst wählt eine person haltungen und einstellungen, um der würde seiner position gerecht zu werden, wodurch bestimmte handlungen, wie auf-dem-boden-sitzen oder springen, verworfen und dadurch bald unmöglich werden. die wiederaufnahme und re-integration solcher handlungsweisen hat einen verjüngenden effekt, nicht nur auf die mechanik des körpers, sondern auch auf die persönlichkeit als ganzes (wurm, 1986). einigen wenigen gelingt es nun, ihren gesunden lebensablauf bis ins hohe alter fortzusetzen. diese gesunden menschen haben entdeckt, "daß lernen das geschenk des lebens ist. ein ganz besonderes lernen: sich selbst kennen zu lernen. sie lernen kennen, 'wie' sie handeln, und dadurch sind sie in der lage, 'das' zu tun, was sie wollen (feldenkrais, 1988c, s. 22). 2.3.6 bewußtheit der begriff der bewußtheit spielt bei feldenkrais eine wichtige rolle. er nannte seine gruppenmethode 'bewußtheit durch bewegung', und er unterscheidet zwischen bewußtsein und bewußtheit, was ihm in der fülle der literatur zu diesem thema eine sonderstellung verleiht (bielefeld, 1986). feldenkrais bringt nun den begriff der bewußtheit insbesondere in verbindung mit der entwicklung der strukturen des menschlichen nervensystems, die er systematisch untersucht hat. dabei hat er die verknüpfungen der verschieden gruppen von nervenstrukturen, d.h. ihrer vegetativen, reflexartig-automatischen und bewußten anteile besonders berücksichtigt (milz, 1985). er spricht hier vom rhinischen, limbischen und supralimbischen system (feldenkrais, 1978). die dritte gruppe von kapitel 2. die feldenkrais-methode 28 strukturen des supralimbischen systems weist nun strukturelle eigentümlichkeiten auf, durch die sich dieser teil grundsätzlich von allen anderen lebewesen unterscheidet. struktur und gewebe dieses anteils sind zwar vererbt, aber ihre funktion hängt weitgehend von den erfahrungen ab, die einer macht. als beispiel führt feldenkrais an, wie die muttersprache die entwicklung der muskulatur der zunge etc. weitgehend bestimmt. die meisten tätigkeiten, die von diesem dritten system ausgehen, werden aber über einen umweg durch die ersten beiden systeme ausgeführt. diese verzögerung zwischen dem denkvorgang im dritten system und dessen umsetzung in handlung ist aber lang genug, um die ausführung auch hemmen zu können. "daß eine pause möglich ist zwischen der entstehung einer denkfigur zu irgendeiner bestimmten handlung und deren ausführung als handlung, bildet die physische grundlage der bewußtheit" (feldenkrais, 1978, s. 73). wessen bewußtheit nicht geweckt ist, der handelt laut feldenkrais nach der art der beiden älteren gehirnsysteme, obwohl die absicht zu handeln vom höheren, dritten system ausgegangen war. oft erweist sich die handlung sogar als das gerade gegenteil der ursprünglichen absicht. das geschieht, wenn die absicht zu handeln, die vom höheren system ausgeht, das mit den gefühlen nur schwach verbunden ist, die niederen systeme in gang setzt, die mit den gefühlen viel stärker verbunden sind. deren handeln ist schneller, die verzögerung zwischen absicht und ausführung kürzer und es kommt zu einer affekthandlung, z.b. bei einem versprecher. "das obere system, das im menschen höher als in allen anderen lebewesen entwickelt ist, ermöglicht die bewußtheit. das heißt: einer kann seine organischen bedürfnisse erkennen und sich die mittel wählen, um sie zu befriedigen" (feldenkrais, 1978, s. 76). nach feldenkrais hat die evolution der lebewesen eine richtung dahingehend, den umfang der bewußtheit zu erweitern, "d.h. ihre fähigkeit zu erhöhen, ältere vorgänge zu lenken, die während früherer evolutionsperioden entwickelt worden sind, und die vielfalt diese vorgänge zu vermehren, sie zu hemmen oder zu beschleunigen" (feldenkrais, 1978, s. 77). alle höher entwickelten tiere haben bewußtsein und es hat einen beträchtlichen umfang. sie kennen die umwelt, in der sie leben, ihren platz in der gruppe, der herde, oder dem rudel und sie können gemeinsam handeln, um einem der ihren zu helfen. der mensch hat ein höher entwickeltes abstraktionsvermögen, dank dem er, wenn er es gebraucht, unterscheiden kann, was in ihm vorgeht. so kann er z.b. wissen, daß er etwas weiß oder nicht weiß. feldenkrais gibt nun folgende definition von bewußtheit: "bewußtheit ist bewußtsein und das erkennen dessen, was im bewußtsein vor sich geht, oder dessen, was in uns vor sich geht, während wir bei bewußtsein sind" (feldenkrais, 1978, s. 78). kapitel 2. die feldenkrais-methode 29 zur verdeutlichung führt er ein altes tibetisches gleichnis an: es sagt, daß ein mensch, der sich seiner selbst nicht bewußt ist, einem wagen gleiche, dessen fahrgäste die begierden, dessen pferde die muskeln sind, und der wagen selbst ist das skelett. die bewußtheit ist der schlafende kutscher. solange er schläft, wird der wagen ziellos bald hierhin, bald dorthin gezerrt. jeder fahrgast will an ein anderes ziel, jedes der pferde zieht in eine andere richtung. ist der kutscher wach und hält die zügel, so wird er pferde und wagen so lenken, daß jeder fahrgast sein ziel erreicht. (feldenkrais, 1978, s. 83) nach der darstellung allgemeiner theoretischer grundlagen der feldenkrais-methode wird im nächsten kapitel auf ihre techniken und verfahrensweisen eingegangen. 2.4 zwei feldenkrais-verfahren die feldenkrais-methode ist eine form neuromuskulärer umerziehung, in der sanfte bewegung und gelenkte aufmerksamkeit benützt werden, um selbst-bewußtheit zu fördern und das neuromuskuläre selbstbild, auf dem bewegung basiert, zu verbessern. feldenkrais hatte dabei zwei leitprinzipien in seiner arbeit: 1. bewegung sollte nur durch die skelettstruktur (den bewegungsumfang der gelenke und bänder) und nicht durch eine muskuläre behinderung beschränkt sein. 2. jede handlung sollte mit dem geringsten nötigen aufwand und maximaler effizienz ausgeführt werden. er schreibt dazu: die gesunden, koordinierten bewegungen des körpers folgen dem prinzip der geringsten aktion; die muskeln erfüllen ihre aufgaben mit dem geringsten aufwand an metabolischer energie. angesichts der regeln, die die arbeitsweise des gesamten menschlichen körpers bestimmen, kann man entscheiden, welches verhalten normal oder anormal ist. (feldenkrais, 1988a, s. 180) feldenkrais entwickelte zwei miteinander verknüpfte methoden. beide methoden arbeiten mit hilfe von bewegung direkt mit dem nervensystem und zielen auf eine veränderung neuronaler muster. die erste methode 'bewußtheit durch bewegung' besteht aus verbal vermittelten bewegungslektionen und wird vor allem in gruppenarbeit angewendet. das spektrum der bewegungen reicht von klein bis groß und umfaßt jede funktion des körpers, sowie aufmerksamkeit, vorstellungskraft, wahrnehmung, einstellungen und kognition. die bewegungen zielen auf die neu-programmierung neuromuskulärer bahnen; sie transformieren alte gewohnheiten und etablieren neue wege des denkens, fühlens und der bewegung. die zweite methode 'funktionale kapitel 2. die feldenkrais-methode 30 integration' ist eine mit den händen vermittelte einzelbehandlung, die dann verwendet wird, wenn eine größere individuelle aufmerksamkeit nötig ist. sensomotorisches lernen wird hier durch ausgefeilte berührungstechniken und passive bewegung ermöglicht. feldenkrais-lehrer werden in ihrer ausbildung dafür sensibilisiert, in einem prozeß nonverbaler kommunikation genau zu spüren, was für ihre schüler erforderlich ist. da in der vorliegenden studie die gruppenmethode 'bewußtheit durch bewegung' zur anwendung kam, soll diese eingehender erörtert werden, wobei zuerst auf die einzelbehandlung 'funktionale integration' nur kurz eingegangen wird. 2.4.1 die einzelbehandlung 'funktionale integration' die arbeit an der individuellen problematik einzelner menschen heißt 'funktionale integration'. die behandlungen in der funktionalen integration finden gewöhnlich auf einem behandlungstisch statt, der etwas länger, breiter und niedriger als ein massagetisch ist. in der einzelarbeit wird durch den gebrauch der hände, durch spezifische techniken, bei denen körper und körperteile in verschiedenen variationen passiv bewegt werden sowie durch arbeit an der muskulatur eine verbindung der verschiedenen körpersegmente angestrebt. nach feldenkrais (1987) wird niemals ein krankes glied oder gelenk behandelt, bevor nicht eine besserung des kopf-halsverhältnisses und der atmung erreicht wurde. dies kann aber nur durch eine besserung der wirbelsäule und der thorax-struktur geschehen. dafür aber müssen becken und unterleib korrigiert werden. in der praxis ist das verfahren deshalb eine aufeinanderfolgende serie von schrittweisen annäherungen, die jede eine weitere besserung des gerade behandelten gliedes erlaubt. die funktionale integration wendet sich an die ältesten teile unseres sensoriellen systems, die auf berührung, die empfindungen von zug und druck, auf die wärme der hand und ihre streichelbewegungen reagieren. dabei reguliert sich der tonus der muskulatur, der atem wird tiefer und regelmäßiger, die haut weitet sich und wird besser durchblutet. die im wörtlichen sinn be-handelte person empfindet dabei ihre primitivsten, d.h. entwicklungsgeschichtlich ursprünglichen, vom bewußtsein vergessenen verhaltensschemata und erinnert sich des wohlgefühls eines heranwachsenden kleinen kindes (feldenkrais, 1987). rywerant (1985) beschreibt in seinem lehrbuch über funktionale integration, daß sich mittels dieser technik "der lehrer der besonderheiten in der neuromotorischen funktionsweise des schülers bewußt werden" (s. 18) kann. ein wichtiger faktor ist kapitel 2. die feldenkrais-methode 31 dabei, daß der lehrer sensibilität und intuition entwickelt hat, um die bedürfnisse des schülers wahrzunehmen und eine angemessene vorgehensweise zu entwickeln. der schüler wird dann durch passende behandlung auf diese besonderheiten und die alternativen möglichkeiten, seine motorischen funktionen zu kontrollieren, aufmerksam gemacht. dabei reicht die wirkung dieser behandlungssitzungen von einer steigerung des wohlbefindens, der lebenskraft sowie der effizienz der motorischen funktionen im allgemeinen bis zu einer graduellen schmerzlinderung und zurücknahme motorischer beeinträchtigung. die behandlungen dauern etwa eine stunde und werden der problematik jedes klienten individuell angepaßt. feldenkrais (1988a, s. 184) hält je nach schwere der beeinträchtigung eine "behandlungszeit von 30-40 sitzungen anfangs in täglichem abstand, und dann zwei bis dreimal pro woche" für erforderlich, bis die wichtigsten beschwerden verschwunden sind, wobei bedeutende besserungen auch bereits nach wenigen behandlungen auftreten können. anfangs finden die behandlungen im liegen statt, um den einfluß der schwerkraft auf den körper so weit wie möglich auszuschalten und so das nervensystem zu entlasten. in der folge können dann verschiedene positionen des sitzens, stehens, gehens und balancierens angewendet werden. weitere einzelheiten sollen bei der beschreibung der gruppentechnik vermittelt werden. obwohl die funktionale integration ursprünglich eine rein nonverbale vorgehensweise ist, wird gegebenenfalls auch verbale kommunikation miteinbezogen, was u.a. auf den einfluß von milton erickson auf moshe feldenkrais und seine schüler zurückzuführen ist (vgl. auch kap. 2.4.2). systematische untersuchungen über die wirksamkeit der funktionalen integration (chester, 1982; ginsburg, 1986; hanna, 1980; shelhav-silberbush, 1987) sind noch selten, häufiger sind veröffentlichungen über fallstudien (z.b. hanna, 1990; rywerant, 1985; talmi, 1981). 2.4.2 die gruppenmethode 'bewußtheit durch bewegung' die wirkungsweise insbesondere der gruppenmethode gründet sich auf den prozeß des sensomotorischen lernens. sensomotorisch, weil die sinne, also gesichts-, gehör-, gleichgewichts-, tastsinn und der kinästhetische sinn in verbindung mit bewegung eingesetzt werden. dieses sensomotorische lernen beruht auf dem prozeß einer informationsrückkopplung zwischen den sinnen (insbesondere dem kinästhetischen sinn, der stellung und bewegung des körpers im raum sowie den spannungszustand der kapitel 2. die feldenkrais-methode 32 muskulatur an das gehirn rückmeldet), den muskeln und dem gehirn: während einer bewegung senden kinästhetischer sinn, gleichgewichtsund gesichtssinn dem gehirn informationen über die haltung des körpers und die aktivitäten der muskeln. das gehirn reagiert darauf, indem es die efferenten signale an die muskeln modifiziert. die vielfältigen neuromuskulären regelkreise werden so benutzt, um veränderungen der bewegungsund haltungsmuster zu bewirken (juhan, 1992). eine typische 'bewußtheit durch bewegung'-lektion dauert etwa eine stunde und besteht aus verbalen bewegungsanweisungen und hinweisen für sensorische aufmerksamkeit, die rund um ein funktionales bewegungsmuster organisiert sind. 'bewußtheit durch bewegung' gründet, wie in kapitel 2.3 ausgeführt, auf feldenkrais' verständnis des kindlichen lernens und der motorischen entwicklung sowie der struktur und funktion des menschlichen körpers und gehirns. es werden viele bewegungen unterrichtet, die aus der frühen kindheit stammen, wie z.b. den kopf zu rollen oder zu krabbeln, und es werden bewegungsabfolgen zusammengesetzt, die bei kindern natürlicherweise auftreten. der prozeß des organischen, kindlichen bewegungslernens durch versuch und irrtum wird so genutzt, daß die schüler in ihren bewegungsfolgen und -ansätzen aus ihren eigenen sensomotorischen erfahrungen lernen und nicht durch von außen vorgegebene modelle oder vorschriften. feldenkrais erarbeitete eine vielzahl von lektionen1 die eine umfassende exploration aller gelenke und jeder muskelgruppe im körper, sowie ein breites panorama menschlicher bewegungsmöglichkeiten erfassen. bevor einige grundlegende prinzipien näher erörtert werden, soll ein einfaches beispiel einer bewegungslektion die allgemeine beschreibung verdeutlichen: stellen sie sich bitte so hin, daß ihre füße etwa schulterbreit auseinanderstehen. strecken sie ihren linken arm vor ihrem körper waagrecht aus. drehen sie jetzt ihren arm und körper so weit nach links, wie es ihnen ohne überstrecken und anstrengung möglich ist. merken sie sich einen punkt an der wand, den sie in dieser haltung sehen, damit sie festhalten können, wie weit sie sich gedreht haben. kehren sie dann in ihre ausgangsposition zurück. drehen sie jetzt langsam den arm nach links, während sie den kopf und die augen nach rechts drehen. nehmen sie dann wieder ihre ausgangsposition ein. wieder 1viele dieser lektionen sind auf audiound videokassettenserien aufgezeichnet, die hauptsächlich der ausund weiterbildung von feldenkrais-lehrern dienen und nicht öffentlich zugänglich sind. es existieren jedoch eine reihe von transkripten und audio-kassettenserien von öffentlichen workshops von m. feldenkrais und von einigen seiner schüler (vgl. reese, 1991b), die verfügbar sind. zu weiteren beispielen von bewegungslektionen, die in gedruckter form vorliegen, vgl. fußnote 2. kapitel 2. die feldenkrais-methode 33 holen sie diese bewegung fünfbis zehnmal, behutsam und ohne überstrecken. kehren sie in die ausgangsposition zurück. merken sie sich nun einen punkt, der direkt vor ihnen ist. drehen sie dann den arm nach links und den kopf nach rechts, während sie mit den augen diesen punkt weiter fixieren. (ihr arm wird sich nach links und ihr kopf nach rechts drehen, während sich die augen nach links bewegen). kehren sie wieder in ihre ausgangsposition zurück. wiederholen sie jetzt diese bewegung fünfbis zehnmal, ohne überanstrengung. machen sie jetzt die probe aufs exempel. drehen sie ihren arm und körper nach links, so weit es ihnen ohne anstrengung möglich ist. wie weit können sie sich jetzt im vergleich zum beginn der übung drehen? merken sie einen unterschied? wiederholen sie nun die erste übung mit dem rechten arm. im unterschied zu vorhin stellen sie sich jetzt aber die weiteren übungen nur vor, anstatt sie wirklich fünfbis zehnmal auszuführen. prüfen sie dann wieder, wieviel bewegungfreiheit sie dadurch gewonnen haben. nehmen sie sich ausreichend zeit, um diese übungen zu erforschen. (milz 1985, s. 127)2 nach den gleichen prinzipien wie in der einzelarbeit (vgl. kap. 2.4.1) wird mit der rückenlage und mit dem üben des aufmerksamen wahrnehmens des eigenen körpers begonnen. da die reaktion des nervensystems auf den zug der schwerkraft habituell geworden ist, besteht keine möglichkeit, daß die muskeln auf den gleichen reiz in anderer weise reagieren. die position der rückenlage reduziert nun den einfluß der schwerkraft auf den körper so weit wie möglich und entlastet das nervensystem, sodaß eine veränderung im nervensystem erreicht werden kann. der kontakt des körpers mit dem boden wird untersucht, und man lernt unterschiede zu entdecken, punkte, an denen der kontakt mehr oder weniger ausgeprägt ist. durch dieses training wird das bewußtsein für die lage der muskeln entwickelt, die den schwachen kontakt durch ihre permanente übermäßige spannung produzieren und teile des körpers vom boden hochhalten. eine gewisse verbesserung in der haltung kann schon durch das bewußte erfassen der muskeln und ihrer funktionen erzielt werden, 2weitere beispiele von bewegungslektionen finden sich in anhang b dieser arbeit, sowie in verschiedenen büchern über die feldenkrais-methode, z.b. feldenkrais (1978, 1990); hanna (1990); masters und houston (1983); triebel-thome (1991); zemach-bersin und reese (1990) sowie auf verschiedenen tonkassetten, die im buchhandel erhältlich sind, z.b. walterspiel (1989). kapitel 2. die feldenkrais-methode 34 aber "darüber hinaus wird keine verbesserung möglich sein, wenn nicht auch das skelett und seine orientierung bewußt erfaßt werden" (feldenkrais, 1988a, s. 185). die feldenkrais-arbeit soll zu bewußten aktionen führen, d.h. zu der fähigkeit, praktisch gleichzeitig kontakt mit seinem eigenen skelett, den muskeln und der umgebung herzustellen. dies ist daher kein entspannungsverfahren, wie in kapitel 2.2 bereits ausgeführt. es ist aber nötig, unnütze muskelanspannungen und anstrengungen zu reduzieren, um sich selbst besser regulieren zu können. man muß also die kinästhetische sensibilität erhöhen, um feinere unterschiede wahrnehmen zu können. feldenkrais bezieht sich hier auf das fechner-weber'sche gesetz (fechner, 1964), welches besagt, daß für einen großen bereich menschlicher wahrnehmung und aktivität der unterschied im reiz, der den am geringsten wahrnehmbaren unterschied in der wahrnehmung bewirkt, immer im gleichen verhältnis zum gesamten reiz steht. "es ist deshalb naheliegend, daß, bevor man unterschiede in einer anstrengung feststellen kann, man diese anstrengung reduzieren muß. verfeinerte ausführung von bewegungsabläufen wird nur möglich, wenn die sensibilität, d.h. die fähigkeit, unterschiede zu fühlen, verbessert wird" (feldenkrais, 1988a, s. 185). häufig werden zu diesem zweck in den lektionen sehr kleine, kaum wahrnehmbare bewegungen verwendet, die den latenten tonus (den grad der unbewußten kontraktion) in den muskeln in einem erstaunlichen ausmaß reduzieren. in wenigen minuten kann z.b. ein bein oder ein arm an der bearbeiteten körperseite dazu gebracht werden, sich länger oder leichter anzufühlen als an der anderen seite (feldenkrais, 1988a). ein weiteres grundprinzip ist die reversibilität von bewegungen. jede bewegung (mit ausnahme von sprüngen etc.) sollte in jeder phase gestoppt werden können und umkehrbar sein. umkehrbarkeit ist ein zeichen für eine optimalere koordination von bewegung, im gegensatz zu einem automatischen bewegungsablauf, der zwanghaftem verhalten gleichkommt (feldenkrais, 1989). um unnötige anstrengungen und muskelanspannungen zu reduzieren, wird die gruppe wiederholt ermutigt, alles ein bißchen weniger gut zu machen, weniger schnell, weniger elegant etc.. diese innere haltung ermöglicht, fortschritte zu verspüren, ohne daß man sich anspannt. leistungen, für die man sonst zahlreiche arbeitsstunden benötigt, können in dieser geistesund körperhaltung innerhalb kurzer zeit erzielt werden. sehr oft wird in einer stunde nur mit einer körperhälfte gearbeitet, die andere hälfte wird so gelassen, wie sie ist. so wird ein gefühl des unterschiedes erfahren, man trägt zwei bilder in seinem eigenen körper, das gewohnte und das angestrebte bessere. aufgrund der neurologischen verbindungen der gehirnhälften wird meist ein transfer kapitel 2. die feldenkrais-methode 35 des lernens auf die ungeübte seite erfahren. dieser lerntransfer kann sich nach feldenkrais (1988a) auch in völlig unterschiedlichen bereichen zeigen, wie z.b. in der sprechgewohnheit, der art der aufmerksamkeit oder des beobachtens. oft werden die bewegungen anschließend nur in der vorstellung mit der anderen seite ausgeführt, und es zeigt sich, daß nur ein bruchteil der zeit benötigt wird, um die gleiche qualität von bewegung zu erreichen, wie auf der zuerst bearbeiteten seite. es werden zudem weitere imaginationstechniken verwendet, z.b. wird ein bereich des eigenen skeletts in der vorstellung mit einer farbe angemalt oder gummibänder werden vorgestellt, die z.b. schulter und hüfte verbinden, und anderes mehr. ein anderes wichtiges prinzip ist das aufmerksame betrachten des körperbildes. dies wird auf zwei parallele arten geübt: die eine art besteht darin, durch konkrete bewegungen nach den oben erwähnten prinzipien eine empfindung von länge, weite und leichtigkeit in einer körperhälfte hervorzubringen. mit der anderen hälfte des körpers wird nur geistig gearbeitet, indem die unterschiede im spannungszustand der muskeln der beiden hälften und in der wahrnehmung der orientierung im raum erspürt werden. die andere art besteht darin, von anfang an beide körperhälften zu betrachten und die aufmerksamkeit auf die empfindung der distanz zwischen verschiedenen stellen des körpers (entweder auf nur einer seite oder zwischer linker und rechter seite) zu richten, bis sie mit dem tatsächlichen abstand übereinstimmt. zum beispiel soll die breite des mundes vorgestellt werden, anschließend mit geschlossenen augen mit beiden zeigefingern dieser abstand angedeutet werden und dann diese distanz mit der tatsächlichen breite verglichen werden (vgl. feldenkrais, 1978). ein weiteres wichtiges merkmal der gruppenarbeit ist die fortgesetzte neuheit der situation, da so ein optimales lernen ermöglicht wird. eine konfiguration wird dazu in vielen variationen wiederholt, bis sie beherrscht wird. viele übungen benutzen agonismus und antagonismus, indem abwechselnd der agonist bearbeitet wird, bis man beim aufhören feststellt, daß der antagonist sich gelängt hat und kontrollierbar geworden ist. ebenso handhaben viele übungen die positive und negative induktion, d.h. sie nutzen die nachwirkung der verlängerten, ununterbrochen aufrechterhaltenen leistung. beispiel: stellen sie sich nahe an eine wand, vielleicht mit der rechten seite, und drücken sie mit dem handrücken so gegen die wand, als ob sie sie wegdrücken wollten. nachdem der druck für etwa eine minute ausgeübt wurde, hört man auf und läßt den rechten arm 'machen, was er will'. der rechte arm hebt sich bis in schulterhöhe mit einer seltsamen leichtigkeit ähnlich der eines schwebezustandes. wenn man den arm durch seinen willen gesteuert kapitel 2. die feldenkrais-methode 36 herunterfallen und wieder frei läßt, wird sich der gleiche vorgang einige male mit abnehmender amplitude wiederholen. ein zentrales element für lernen im allgemeinen und für die spezielle lernmethode in 'bewußtheit durch bewegung' ist aufmerksamkeit. mittels gelenkter aufmerksamkeit soll die bewußtheit für den eigenen körper und seine funktionen und dadurch für sich selbst entwickelt werden: aber ganz gleich welche übung oder welches prinzip angewendet werden, ist eine unterrichtsstunde so aufgebaut, daß es nicht möglich ist, ohne konzentration, ohne den versuch, unterschiede zu spüren, und ohne richtige aufmerksamkeit dem nächsten schritt zu folgen. mechanische wiederholung ohne aufmerksamkeit wird unmöglich gemacht und abgelehnt. (feldenkrais, 1988a, s. 188) der gebrauch der sprache in lektionen der gruppentechnik, wie auch der ansatz der ganzen methode und die zugrundeliegende philosophie des lernens zeigen parallelen zu milton ericksons hypnotherapeutischem ansatz (reese, 1991a). feldenkrais benutzte eine hochentwickelte sprache, um physische bewegungen zusammen mit angemessenen bildern, sensorischen und psychologischen hinweisen zu übermitteln. seine sprache beinhaltete viele "erickson'sche" hypnotische arten der kommunikation, um lernen auf einer tiefen ebene des selbst zu bewirken. so rufen 'bewußtheit durch bewegung'lektionen oft einen tranceähnlichen zustand hervor (reese, 1985). als beispiel für die parallelen zwischen beiden ansätzen mag das "utilisationsprinzip" (erickson & rossi, 1981) dienen, das als ein zentraler baustein in ericksons arbeit betrachtet wird und ebenso wichtig für das verständnis von feldenkrais' ansatz ist: feldenkrais und erickson glichen sich oft dem erfahren und verhalten ihrer schüler und klienten an, um deren lernen und änderung zu fördern. erickson war, um ein anderes beispiel zu nennen, bekannt für die anwendung indirekter und oft paradoxer techniken in hypnose und psychotherapie. ebenso vermied feldenkrais direkte und offensichtliche ansätze und betont, daß eine indirekte lösung oft die effektivste und eleganteste ist. so umgeht er z.b. das problem des widerstands, indem er meist mit dem gewohnheitsmäßigen bewegungsund haltungsmuster des patienten geht. wenn also einer gewohnheitsmäßig etwas zusammengekrümmt ist, wird er ermutigt, sich noch etwas mehr zusammenzukrümmen, um so zu erreichen, daß er sich aufrichtet. auch wird meistens nicht direkt mit einem betroffenen körperteil gearbeitet, sondern versucht, die allgemeine struktur des körpers zu verändern, um so indirekt veränderungen in der betroffenen region zu bewirken (feldenkrais, 1990). kapitel 2. die feldenkrais-methode 37 2.5 forschung das interesse an forschung im bereich der feldenkrais-methode hat in den letzten jahren zugenommen, jedoch sind systematische untersuchungen zur wirksamkeit der gruppenmethode noch selten. die vorliegenden untersuchungen und projekte werden hier kurz umrissen. frydmann und frydmann (1982) erforschten über einen zeitraum von drei jahren die auswirkung von feldenkrais-lektionen auf den erwerb einer fremdsprache und die beständigkeit des erlernten. die experimentalgruppe durchlief ein zehnstündiges training in der woche, die einem sprachkurs vorausging, sowie eine 50-minütige bewegungslektion vor jeder sprachunterrichtsstunde. sie erwies sich hinsichtlich des sprachlernprozesses gegenüber einer kontrollgruppe sowie gegenüber einer weiteren gruppe, die ein entspannungsprogramm mit klassischer musik durchlaufen hatte, als deutlich überlegen. ebenso zeigte sich das feldenkrais-training als förderlich hinsichtlich leistungen des visuellen und auditiven gedächtnisses als auch der verfeinerung der visuellen wahrnehmung. in ihrem buch 'transforming body image' beschreibt hutchinson (1985) ein trainingsprogramm, um ein negatives körperund selbstbild adipöser frauen zu verändern. sie zitiert darin (s. 13) ihre dissertation, in der untersucht wurde, wie ein siebenwöchiger therapeutischer prozeß, genannt 'transforming body image' der aus imaginationsübungen und elementen von feldenkrais-lektionen bestand auf das körperbild einer gruppe von adipösen frauen wirkte. die experimentalgruppe zeigte hier im vergleich zu einer kontrollgruppe deutliche veränderungen in bezug auf körperbild und selbstbild. eine kalifornische studie beschäftigte sich mit neuen wegen der schlaganfallrehabilitation (bach-y-rita, 1981), wobei u.a. beide feldenkrais-verfahren (vgl. kapitel 2.4) angewendet wurden. es wurde mit patienten gearbeitet, die zwei oder mehr jahre keine verbesserungen ihrer symptomatik zeigten, also an einem punkt waren, an dem die übliche medizinische prognose als negativ und aussichtlos beschrieben wird. für die arbeit nach hirnverletzung und schlaganfällen wurden dauer und abfolge der bewegungslektionen verkürzt, wobei das training in gruppenarbeit sowie in einzelbehandlungen stattfand. bach-y-rita beschreibt eine veränderte wahrnehmung zuvor nicht gespürter körperliche impulse, die eine rasche besserung der depressiven stimmungslage der patienten zur folge hatte und ihnen wieder ein vollständigeres bild des eigenen körpers vermittelte, lange bevor wesentliche funktionale besserungen aufkapitel 2. die feldenkrais-methode 38 treten konnten. nach den erfahrungen dieser studie ist die von der schulmedizin vertretene auffassung, daß nach dem erreichen bestimmter plateaus der besserung nach zwei jahren kein weiterer fortschritt mehr möglich sei, nicht haltbar. ein weiterer fortschritt hänge entscheidend von einer ganzheitlichen behandlung ab. von der deutschen multiple sklerose gesellschaft (saar) (liegt noch nicht als publikation vor) wird zur zeit ein forschungsprojekt durchgeführt zur wirkung der feldenkrais-methode 'bewußtheit durch bewegung' bei multipler sklerose, bei dem zwei gruppen von etwa 25 betroffenen über einen zeitraum von jeweils einem jahr an 11 wochenenden 30 volle tage an einem feldenkrais-programm teilnehmen, das speziell auf diese gruppe zugeschnitten ist. die erste gruppe startete im mai 1990, die zweite im mai 1991, ergebnisse werden in kürze erwartet. die studie wird von einem erfahrenen feldenkrais-lehrer durchgeführt und ärztlich und psychologisch betreut (bost, 1991). eine weitere studie zur wirkung der feldenkrais-methode bei lernbehinderten kindern wurde im rahmen einer dissertation (c. shelhav, persönliche mitteilung, juli 1993) in einer lernbehinderten-schule in gummersbach durchgeführt. sie wurde von einer der engsten mitarbeiterinnen von m.feldenkrais geleitet. eine experimentalgruppe von 13 kindern erhielt über eine zeitraum von sechs wochen eine stunde 'bewußtheit durch bewegung' pro tag, die in den normalen unterrichtsablauf integriert war. zusätzlich erhielten die kinder einzelstunden in 'funktionaler integration'. diese gruppe wurde mit einer parallelisierten kontrollgruppe verglichen. veränderungsmessungen wurden mit hilfe von videos, verhaltensbeobachtungen, fotographien (bezüglich körperhaltung) sowie intelligenztests vorgenommen. die vorläufigen ergebnisse zeigen eine verbesserung der kommunikation zwischen den kindern sowie in bezug auf das schulische lernen, insbesondere auf die motivation zum lernen. weiter weist die experimentalgruppe verbesserungen der körperhaltung und der beweglichkeit auf, wobei sich hier bei der kontrollgruppe keine veränderungen ergeben. die iq-tests zeigen keine unterschiede zwischen den gruppen. 2.6 anwendungsbereiche die feldenkrais-methode hat im großen bereich der haltungsstörungen sehr gute erfolge zu verzeichnen. besonders bewährt hat sie sich in der praxis der psychomotorischen entwicklungsförderung von cerebralen paresen bei kindern, die anwendung bei spastikern zeigt kapitel 2. die feldenkrais-methode 39 ebenfalls gute erfolge (shelhav-silberbush, 1987; yaron, 1985). ein weiterer bereich ist die förderung der motorischen bewegungsentwicklung bei gesunden kindern (rosenholtz, 1991). sie findet verwendung bei allen funktionsstörungen bei und nach hirntraumata und anderen zentralen störungen (bach-y-rita, 1981) sowie in der rehabilitation (feldenkrais, 1981; ginsburg, 1986). es gibt außerdem verschiedene ansätze, die feldenkrais-methode im geriatrischen bereich (gutman, herbert & brown, 1977) sowie in der schmerzbehandlung (rywerant, 1981) einzusetzen. weitere anwendungsmöglichkeiten zeigen sich in der arbeit mit patienten mit multipler sklerose (bost, 1991), parkinsonsyndrom, muskelatrophien und rheumatischen erkrankungen, die mit bewegungseinschränkungen und einem dysfunktionalen gebrauch des körpers einhergehen. zudem gibt es versuche, die einzelbehandlung 'funktionale integration' in der psychiatrischen behandlung einzusetzen (talmi, 1981). auf der basis der feldenkrais-methode können zudem visualisationstechniken zur leistungsförderung im sport angewendet werden. ebenso stellt die betonung der integration des gesamten körpers in jeder bewegung eine ergänzung zu den routineprogrammen der athleten dar (strauch, 1984). feldenkrais' methoden wurden bereits beim laufen (heggie, 1992), skifahren (heggie, 1980), reiten (tellington-jones & bruns, 1985) und anderen sportarten angewendet. in hinblick auf eine verbesserung von effizienz, eleganz und koordination von bewegung finden feldenkrais-lektionen und -ideen anwendung in schauspielund tanztrainings (myers, 1980), bei zahlreichen theaterund tanzgruppen, musikkonservatorien (linklater, 1972) und im bereich der stimmbildung (apel, 1992). feldenkrais' methoden können zudem in verschiedene formen hypnotischer erziehung und therapie integriert werden. 'bewußtheit durch bewegung' kann nützlich sein, um bei bestimmten menschen, die normalerweise trance gegenüber resistent sind, eben diese aufgrund des dabei erreichten tiefen stadiums der entspannung hervorzurufen, was durch die langsamen, angenehmen bewegungen und den sensorischen focus erreicht wird (reese, 1991a). schließlich sei auf die breiten anwendungsmöglichkeiten insbesondere der gruppenarbeit im pädagogischen bereich, in prävention (z.b. bei haltungsbeschwerden, streßsymptomatik, bewegungseinschränkungen u.ä.) und erwachsenenbildung, als ansätze zur entwicklung der persönlichkeit und zum gewinn eines unentfremdeten bezuges zur kapitel 2. die feldenkrais-methode 40 eigenen leiblichkeit hingewiesen (petzold, 1985). so finden elemente und grundlegende prinzipien von feldenkrais-lektionen z.b. eingang in neuere rückenschulprogramme, die zur zeit gerade erprobt werden (k. weiker, persönliche mitteilung, juni 1993) sowie im bereich der fortbildung von krankengymnasten und ergotherapeuten. ebenso ist die feldenkrais-methode zur behandlung verschiedener psychosomatischer störungen, die u.a. mit einer verminderung oder störung der bewegungsfähigkeit oder mit einem gestörten verhältnis zum eigenen körper und einem inkompletten körperbild einhergehen, angezeigt. dies soll in der vorliegenden studie für das gebiet der eßstörungen untersucht werden, wobei zunächst auf die theoretischen grundlagen dieser problematik eingegangen wird. kapitel 3. eßstörungen 41 3. eßstörungen in diesem kapitel wird in gegebener kürze auf die theorie der eßstörungen eingegangen, da die vorliegende untersuchung patientinnen und patienten mit verschiedenen eßstörungen zum untersuchungsgegenstand hatte. bei den eßstörungen unterscheidet man die drei verschiedenen störungsformen anorexia nervosa, bulimia nervosa und adipositas. für jedes krankheitsbild sollen zunächst symptomatik, diagnostische kriterien, epidemiologie und verschiedene erklärungsund behandlungsansätze dargestellt werden, um dann ein gemeinsames modell der eßstörungen sowie das behandlungskonzept der medizinischpsychosomatischen klinik roseneck vorzustellen. 3.1 anorexia nervosa 3.1.1 symptomatik das auffälligste symptom der anorexia nervosa ist die starke abmagerung, welche durch keine somatischen ursachen begründet ist, sondern durch nahrungseinschränkung oder -verweigerung entsteht. die letalität durch verhungern liegt hier bei etwa 10%. ebenso treten als weitere symptome amenorrhoe und obstipation auf, wie auch andere folgen der somatischen unterernährung (z.b. herz und kreislaufstörungen, ödeme, hypokaliämie) (gerlinghoff & backmund, 1989). neben einer gewichtsphobie besteht eine extreme ablehnung von nahrungsaufnahme und trotz starker hungergefühle beschränken die patienten ihre nahrung auf ein minimum. anorexie-patienten zeigen gleichzeitig ein großes interesse an essen und nahrungsmitteln, sie kochen gern für andere, sammeln rezepte und horten nahrungsmittel (karren, 1986). dazu kommt häufig ein mißbrauch von abführmitteln und medikamenten. begleitend zur kalorienreduktion wird oft ein kalorienreduzierendes körpertraining durchgeführt, ruhepausen werden vermieden und der nächtliche schlaf auf ein minimum reduziert. ein weiteres symptom besteht in der störung der körperwahrnehmung der patienten. sie nehmen ihre extreme abmagerung oft nicht wahr, fühlen sich immer noch zu dick oder wollen ihr jetzt erreichtes "idealgewicht" halten. anorexie-patienten werden als sehr leistungsorientiert und -motiviert beschrieben. defizite im sozialverhalten und soziale rückzugstendenzen sind bei vielen patienten beobachtbar. ebenso fehlt häufig das interesse an sexualität und der eigenen körperlichen reifung (meermann, 1981). kapitel 3. eßstörungen 42 3.1.2 diagnose hier soll das dsm-iii-r (wittchen, saß, zaudig, & koehler, 1989) herangezogen werden, da es die genauesten diagnostischen kriterien und abgrenzungen gegenüber anderen krankheitsbildern aufweist und häufig in der praxis eingesetzt wird. diagnostische kriterien der anorexia nervosa a) das körpergewicht wird absichtlich nicht über dem der körpergröße oder dem alter entsprechenden minimum gehalten, d.h. gewichtsverlust auf ein gewicht von 15% oder mehr unter dem zu erwartenden gewicht bzw. während der wachstumsperiode ausbleiben der zu erwartenden gewichtszunahme mit der folge eines gewichts von 15% oder mehr unter dem zu erwartenden gewicht. b) starke angst vor gewichtszunahme oder angst vor dem dickwerden, obgleich untergewicht besteht. c) störungen der eigenen körperwahrnehmung hinsichtlich gewicht, größe oder form, d.h. die person berichtet sogar im kachektischen zustand, sich "zu dick zu fühlen", oder ist überzeugt, ein teil des körpers sei "zu dick", obgleich ein offensichtliches untergewicht besteht. d) bei frauen aussetzen von mindestens drei aufeinanderfolgenden menstruationszyklen, deren auftreten sonst zu erwarten gewesen wäre (primäre oder sekundäre amenorrhoe). (bei frauen liegt eine amenorrhoe vor, wenn die menstruation nur bei gabe von hormonen, z.b. östrogen eintritt.) (s. 99) differentialdiagnostisch muß die anorexia nervosa von der bulimia nervosa abgegrenzt werden. bei der anorexia nervosa besteht im gegensatz zur bulimia nervosa ein starker, oft lebensbedrohlicher gewichtsverlust. es kann aber auch eine bulimia nervosa bei personen mit anorexia nervosa vorkommen, dann werden beide diagnosen gegeben (wittchen et al., 1989). kapitel 3. eßstörungen 43 3.1.3 epidemiologie magersucht wurde erstmals ende des 19.jahrhunderts detailliert beschrieben. betroffen sind in erster linie mädchen und junge frauen. von der gesamtzahl der anorektischen patienten liegt der anteil der männlichen personen bei 6,4% (karren, 1986). die zahl der ersterkrankungen steigt vom elften bis zum vierzehnten lebensjahr sprunghaft an und fällt dann langsam bis zum 33.lebensjahr ab. der altersmittelwert beträgt 17,5 jahre (karren, 1986). schätzungen zufolge kommt ein erkrankungsfall auf 100 bis 150 mädchen in der pubertät (gerlinghoff & backmund, 1989). das krankheitsbild nimmt in der heutigen zeit in den industrieländern beträchtlich zu, während es in der dritten welt kaum zu beobachten ist. führt man diese kulturell unterschiedliche auftretenshäufigkeit nicht auf verschiedene erhebungsmethoden und unterschiedliche psychiatrische diagnostik zurück, liegt die vermutung nahe, daß die besonderen lebensbedingungen in urbanisierten und industrialisierten regionen mit hohem lebensstandard nicht nur das kollektive diätverhalten weiblicher jugendlicher und junger frauen, sondern auch die entwicklung und verbreitung der anorexia nervosa und anderer psychosomatischer erkrankungen fördern. (karren 1986, s. 22) 3.1.4 erklärungsund behandlungsansätze ausschlaggebend für die entstehung der anorexia nervosa sind individuelle, familiendynamische und soziokulturelle faktoren. die wurzeln der erkrankung reichen bis in die frühe kindheit, ja sogar zuweilen in die familiendynamik einer großelterlichen herkunftsfamilie zurück (gerlinghoff & backmund, 1989). in der verhaltenstherapie wird die anorexia nervosa unter dem aspekt des gestörten eßverhaltens betrachtet. da hier störung und symptom gleichgesetzt werden, wird die anorexia nervosa häufig als phobische vermeidung einer gewichtszunahme oder von nahrungsmitteln gesehen. die verhaltensorientierten behandlungsansätze wollen vor allem eine gewichtszunahme herbeiführen und das eßverhalten verändern. neuerdings werden auch defizite im sozialverhalten in die therapie miteinbezogen (karren 1986). neben operanten verstärkungstechniken werden dabei interventionen, die eine systematische desensibilisierung der angst vor übergewicht oder vor kapitel 3. eßstörungen 44 nahrungsaufnahme beinhalten eingesetzt. häufig dient der therapeut dabei als modell, indem er gemeinsam mit den patienten die mahlzeiten einnimmt. in der psychoanalyse wird die anorexia nervosa als orale störung in der frühkindlichen beziehung zur mutter aufgefaßt. dabei lernt das kind nicht, körperliche empfindungen und gefühle zu differenzieren, es entwickelt kein autonomieund identitätsgefühl. das kind kann sich nicht von seiner mutter lösen und fühlt sich durch die umwelt kontrolliert. dadurch können anorexie-patienten nach meinung von analytikern pubertäre entwicklungsaufgaben nicht bewältigen. es leben die präödipalen separations-individuations-konflikte wieder auf. einerseits will sich die anorektische jugendliche dem mütterlichen einfluß entziehen, andererseits verspürt sie den wunsch, in mütterlicher obhut zu bleiben, um die unzureichende zuwendung aus der kindheit nachzuholen. aufgrund dieses konflikts wird es unmöglich, sich von der mutter zu lösen. durch die körperlichen veränderungen während der pubertät müssen sich die jugendlichen mit dem eigenen geschlecht identifizieren. anorexie-patientinnen haben es durch ihr ambivalentes verhältnis zu ihren müttern damit sehr schwer. die mangelnde geschlechtsidentifikation erschwert ihnen zudem den zugang zu gleichaltrigen, insbesondere zum männlichen geschlecht. die psychoanalytischen behandlungsansätze versuchen eine veränderung der persönlichkeit der patientin zu erreichen. sie soll sich emotional von ihrer mutter lösen und ihre ich-identität aufbauen, so daß sie ihre symptomatik aufgeben kann (karren, 1986). die familientherapeutischen behandlungsansätze betrachten vor allem die spezifischen interaktionsund kommunikationsstrukturen in der sogenannten magersuchts-familie. das verhalten einer anorektikerin wird dabei nicht von vornherein als pathologisch eingestuft, sondern im rahmen eines pathologischen familiären interaktionssystems durchaus als normal angesehen. innerhalb der magersuchts-familie wurden abgrenzungsschwierigkeiten zwischen den einzelnen familienmitgliedern und konfliktvermeidungsverhalten beobachtet. besonders interessant erscheint hier die systemische betrachtungsweise des mailänder teams um selvini palazzoli (1982), die bestimmte spielregeln innerhalb der typischen magersuchtsfamilie feststellen konnte. familientherapeuten sehen in der entwicklung einer psychosomatischen krankheit wie der anorexia nervosa, den ausdruck einer familiären krise. häufig sind äußere veränderungen die ursache oder in der familie selbst stehen veränderungen an, die die homöostase der familienorganisation ins wanken bringen (karren, 1986). kapitel 3. eßstörungen 45 in seinem vortrag "grenzen des gewissens" geht hellinger (1992) in seiner ihm eigentümlichen systemischen sichtweise auf die kraft der bindung in beziehungen ein. in bezug auf die magersucht umreißt er eine familienkonstellation, in der der vater aus der familie drängt. die dynamik dieser situation ist nach hellinger: 'lieber ich als du', im sinne einer rettung. also zum beispiel: lieber ich in gefangenschaft als du; lieber will ich verschwinden, als daß du weggehen mußt; lieber sterbe ich als du; lieber bin ich krank als du. dahinter steht eine liebe, ein sich-opfern, gepaart mit der idee, daß der andere dann bleiben könne (...) ein guter satz für die magersüchtige ist dann: lieber papa, auch wenn du gehst ich bleibe. (weber, 1993, s. 291) 3.2 bulimia nervosa 3.2.1 symptomatik bulimie-patientinnen erleben meist täglich mindestens einen heißhungeranfall, der zwischen 15 minuten und vier stunden dauert und während dem sie ihre nahrungsaufnahme nicht kontrollieren können. manche patientinnen können ihr eßverhalten mehrere tage kontrollieren, so daß sich heißhungerphasen und symptomfreie phasen abwechseln. die heißhungeranfälle geschehen meist heimlich, häufig wissen weder familienangehörige noch freunde von der krankheit. die freßattacken werden als suchtartiges verhalten erlebt, die patientinnen essen, bis sie wirklich nicht mehr können. dadurch wird das anschließende erbrechen erleichtert (paul & pudel, 1985). ein teil der betroffenen berichtet, daß sie sich in einem zustand verminderter bewußtseinskontrolle befinden und erst nach einer heißhungerattacke feststellen, was sie überhaupt gegessen haben (paul, 1987). bei einem heißhungeranfall nehmen die patientinnen durchschnittlich 3000 bis 4000 kcal auf. meist werden dabei lebensmittel bevorzugt, die sie sich eigentlich verboten haben, da sie angeblich dick machen. nach einer heißhungerattacke überwiegen bei den betroffenen negative gefühle. sie fühlen sich deprimiert, sie hassen sich selbst und sind unzufrieden. fast regelmäßig wird nach einer heißhungerattacke erbrochen. zwei drittel der patienten führen jedesmal ein selbstinduziertes erbrechen herbei. hinzu kommt häufig der mißbrauch von appetitzüglern und abführmitteln. die heißhungerattacken treten auf, weil die betroffenen "ein unwiderstehliches verlangen haben zu essen", bzw. weil "sie einfach nicht mehr aufhören können, wenn kapitel 3. eßstörungen 46 sie nur eine kleinigkeit gegessen haben" (paul & pudel, 1985, s. 77). hunger und appetit als auslöser für heißhungeranfälle werden selten genannt. vermutlich haben die patientinnen aufgrund ihrer symptomatik keine körperempfindungen mehr in bezug auf hunger und sättigung. als auslöser werden des weiteren frustration, langeweile, ärger oder wut genannt. interessant ist weiterhin, daß bulimie-patientinnen durchschnittlich weniger wiegen als eine gesunde vergleichsgruppe. selbst sehen sie sich jedoch nicht so schlank und halten sich eher für übergewichtig, wünschen sich aber eine schlanke figur. dabei wird die verzerrte körperwahrnehmung deutlich (paul & pudel, 1985). kennzeichnend für die symptomatik ist außerdem die übertriebene beschäftigung mit figur und gewicht. typisch für das krankheitsbild sind die hohen gewichtsschwankungen, die bei manchen bulimie-patientinnen mehr als 20 kg betragen können. interessant ist auch, daß einige patientinnen vor ihrer bulimie-symptomatik eine anorektische phase durchliefen, andere dagegen zuvor übergewichtig waren (paul, 1987). 3.2.2 diagnose bei den diagnosekriterien wird auch hier das dsm-iii-r (wittchen et al., 1989) herangezogen: diagnostische kriterien der bulimia nervosa a) wiederholte episoden von freßanfällen (schnelle aufnahme einer großen nahrungsmittelmenge innerhalb einer bestimmten zeitspanne). b) das gefühl, das eßverhalten während der freßanfälle nicht unter kontrolle halten zu können. c) um einer gewichtszunahme entgegenzusteuern, greift der betroffene regelmäßig zu maßnahmen zur verhinderung einer gewichtszunahme, wie selbstinduziertes erbrechen, den gebrauch von laxantien oder diuretika, strengen diäten oder fastenkuren oder übermäßiger körperlicher betätigung. d) durchschnittlich zwei freßanfälle pro woche über einen mindestzeitraum von drei monaten. e) andauernde, übertriebene beschäftigung mit figur und gewicht. (s. 101) kapitel 3. eßstörungen 47 differentialdiagnostisch muß die bulimia nervosa von der anorexia nervosa abgegrenzt werden. bei der anorexia nervosa besteht im gegensatz zur bulimia nervosa ein starker, oft lebensbedrohlicher gewichtsverlust. es kann aber auch eine anorexia nervosa bei personen mit einer bulimia nervosa vorkommen, dann werden beide diagnosen gegeben (wittchen et al., 1989). 3.2.3 epidemiologie über die erkrankungshäufigkeit liegen nur schätzungen vor, da die betroffenen ihre krankheit häufig verheimlichen. somit ist von einer hohen dunkelziffer auszugehen (paul, 1987). der ernährungsbericht der deutschen gesellschaft für ernährung (1988) geht z.b. davon aus, daß etwa 3,5% prozent aller frauen zwischen 18 und 35 jahren von der bulimie betroffen sind. die meisten patientinnen sind zwischen 14 und 35 jahre alt, der krankheitsbeginn liegt meist zwischen 14 und 20 jahren. vorher hatten die patientinnen ein normales eßverhalten, die symptomatik trat häufig erst nach einer gewichtsreduktion auf. die mehrzahl der betroffenen sind frauen. ähnlich wie bei der anorexia nervosa wird von einem geschlechtsverhältnis von 10:1 ausgegangen. als ursache dafür werden die gesellschaftlichen verhältnisse mitangesehen (paul, 1987). 3.2.4 erklärungsund behandlungsansätze aus der sicht der verhaltenstherapie geben paul und pudel (1985) folgendes allgemeines erklärungsmodell der bulimia nervosa: während einer unsicheren phase, häufig während der pubertät, wird extrem stark auf das erscheinungsbild geachtet. dabei beginnen die patientinnen maßnahmen zur gewichtsreduktion. der einsetzende gewichtsverlust wird als positiv erlebt und von der umwelt verstärkt. bei einigen patientinnen kann sich daraus ein zwang zum fasten entwickeln mit einer daraus resultierenden anorexie. die meisten personen verfügen jedoch nicht über solch starke kontrollmechanismen, so daß die zügelung des eßverhaltens in spannungsund erregungssituationen aufgegeben werden muß. durch den gewichtsverlust und die nahrungskarenz drehen sich die gedanken der patientinnen permanent um das essen, was eine verstärkende funktion darstellt. dadurch entstehen anfangs sporadisch heißhungerattacken. die angst vor gewichtszunahme wird durch die einnahme von diuretika und/oder laxantien, aber auch durch selbst-induziertes erbrechen gemindert. diese angstreduktion verstärkt den medikamentenabusus und das erbrechen. dies läßt kapitel 3. eßstörungen 48 die patientinnen in erregungsund spannungszuständen immer häufiger auf das "fressen" mit anschließendem erbrechen zurückgreifen. eine verstärkende wirkung zeigt die einsetzende erregungsund spannungsreduktion. der kontrollverlust über das eigene eßverhalten wird mit selbstverachtung und selbsthaß bewertet, was zum teil zu depressionen und suizidalen gedanken führt. das dadurch verstärkte minderwertigkeitsund unsicherheitsgefühl will wieder die äußere attraktivität steigern bzw. erhalten, was diesen paradoxen kreislauf aufrechterhält (paul & pudel, 1985). in verhaltenstherapeutischen behandlungskonzepten werden nun verschiedene schwerpunkte gesetzt. so überwiegt in manchen behandlungskonzepten eher die veränderung der verzerrten meinungen und überzeugungen hinsichtlich aussehen und gewicht, in anderen steht das erlernen von gesundem eßverhalten und körperlicher aktivität im vordergrund und in einem weiteren ansatz sollen die betroffenen lernen, die auslösesituationen zu identifizieren und statt essen andere streßreduzierende verhaltensweisen einzusetzen (nuntzinger & de zwaan, 1989). fichter (1989, s. 230) legt bei seinem therapiemodell für bulimie-patientinnen den schwerpunkt auf die "bearbeitung von defiziten in der interozeptiven und emotionalen wahrnehmung, dem aufbau sozialer kompetenz und auf die verbesserung direkter emotionaler ausdrucksfähigkeit". der psychoanalytische erklärungsansatz sieht die ursache für die bulimia nervosa in einer frühkindlichen deprivation in der mutter-kind-beziehung während der oralen phase. da die bedürfnisse des kindes nicht befriedigt werden, erlebt es frustrationen, die zu einer oralen fixierung führen. die sadomasochistische qualität und die primitive wut werden durch das unkontrollierte hinunterschlingen der nahrung deutlich. die bulimikerin bleibt dabei gleichzeitig auf einer stufe primären narzißmus' stehen; so ist sie unfähig zu reifen objektbeziehungen. während der pubertät werden diese themen wieder aktuell. orale fixierung und die fixierung auf den eigenen körper bewirken, daß sich die bulimikerin von den neuen aufgaben überfordert fühlt. die weibliche rolle wird abgelehnt und die daraus resultierenden ungelösten konflikte führen zu bulimischem verhalten. die heißhungerattacken werden als oral-sadistische impulse gesehen. das essen ist für die bulimikerin eine waffe, die sie aus rachegefühlen gegen die mutter einsetzt. zusammenfassend wird das bulimische eßverhalten beschrieben als ein versuch, einerseits trost und schutz, andererseits selbständigkeit und unabhängigkeit zu erlangen, um die unbefriedigenden zwischenmenschlichen beziehungen zu ersetzen (ziolko, 1982). kapitel 3. eßstörungen 49 als hauptdynamik jeder sucht (alkohol-, drogenund eßsucht) beschreibt hellinger (weber, 1993) aus systemischer sichtweise, daß derjenige von seinem vater nicht nehmen kann oder darf. die mutter vermittelt dem kind: nur was von mir kommt, ist gut, und was vom vater kommt und von seiner familie, taugt nichts. das darfst du nicht nehmen. nimm nur von mir! das kind sagt dann: wenn ich nur von dir nehmen darf, mutter, dann räche ich mich und nehme soviel, daß es mir schadet. die sucht ist sozusagen die rache und sühne für das nicht-nehmen des vaters. (s. 290) bei der bulimie findet sich nun (ähnlich wie bei der magersucht) eine solche dynamik: "auch die mütter bulimischer töchter sagen zu diesen: 'nur was von mir kommt, ist gut; was vom vater kommt, darfst du nicht nehmen.' dann nimmt die patientin das essen und spuckt es wieder aus" (weber, 1993, s. 298). die lösung liegt für hellinger darin, daß derjenige "angesichts der mutter vom vater nimmt und ihm raum gibt" (weber, 1993, s. 290). 3.3 adipositas 3.3.1 symptomatik die adipositas ist ein symptom, das durch eine vielzahl von faktoren entsteht. neben physiologischen sind auch genetische faktoren von bedeutung. zudem beeinflussen persönlichkeitsfaktoren, erlernte eßgewohnheiten aus der kindheit und das essen, um emotionale bedürfnisse zu befriedigen die entstehung und aufrechterhaltung von adipositas. die meisten untersuchungen in bezug auf eine spezifische persönlichkeitsstruktur weisen jedoch darauf hin, daß es eine einheitliche persönlichkeitsstruktur adipöser nicht gibt (pudel, 1978). in auslösenden situationen wird essen zur ersatzbefriedigung. essen wird zu einem symbol der liebe und geborgenheit; es entschädigt für schmerzen und verluste. dies haben viele fettsüchtige von kindheit an gelernt und diese verhaltensweise hat sich zu einem psychosomatischen reaktionsmuster stabilisiert (bräutigam & christian, 1981). sowohl ihr eßverhalten als auch ihr körpergewicht empfinden adipöse als nicht kontrollierbar. sie schämen sich wegen ihrer unfähigkeit, sich nicht beherrschen zu können und versuchen, ihr eßverhalten zu verbergen. ihrem körper stehen sie selbst oftmals aggressiv bis feindlich gegenüber. durch ihr dicksein können sie momentan nicht glücklich sein, so träumen sie von einer "schlanken" zukunft. aber das essen und der kapitel 3. eßstörungen 50 dicke körper bringen auch vorteile: der krankheitsgewinn schützt vor selbstkritik, an allem ist der körper schuld. des weiteren lehnen sich adipöse oft unbewußt dagegen auf, bestimmte rollen zu spielen. sie wollen nicht attraktiv und dynamisch sein, wie man es von ihnen erwartet. zudem konnten bei adipösen körperbildstörungen festgestellt werden, d.h. sie halten sich für dicker als sie sind (mader, 1986). neben sozialen benachteiligungen bringt das übergewicht auch körperliche folgeerscheinungen mit sich. dazu zählen krankheiten wie diabetes, gicht, bluthochdruck, herzinfarkt, schlaganfall, gallensteine und karies. jedoch werden die körperlichen schäden oft als weniger gravierend beurteilt als die sozialen nachteile und die daraus resultierenden störungen des seelischen wohlbefindens (mader, 1986). 3.3.2 diagnose äußerlich leiden adipositaspatienten an übergewicht. unter adipositas sollten man aus medizinischer sicht nur die behandlungsbedürftigen oder gesundheitsrelevanten formen verstehen. demnach müßte eine definition der adipositas auf dem grad des übermaßes an körperfett beruhen, bei dem das gesundheitsrisiko für jeden einzelnen anzusteigen beginnt. gegenwärtig existiert eine solche definition jedoch noch nicht. die grenzen des normalgewichts sind nicht einheitlich definiert, so daß die übergänge von belanglosem übergewicht zu pathologischer fettsucht fließend sind (großklaus, 1990). um das individuelle gesundheitsrisiko abschätzen zu können, wird international, sowohl von national institute of health der usa, als auch von der who, die bildung des body mass index (bmi) empfohlen. der bmi wird berechnet aus dem körpergewicht (in kg) dividiert durch die körperlänge (in m)2. der bmi wird empfohlen, da dieser größenunabhängigere aussagen erlaubt als der zuvor übliche broca-index. dieser broca-index wurde berechnet durch die körpergröße in cm minus 100. für den bmi wurden normtabellen entwickelt, welche auf den gewichtstabellen der amerikanischen lebensversicherungen beruhen. ein bmi von 20-25 kg/m2 wird für beide geschlechter und alle altersklassen als akzeptabel betrachtet. ein bmi von 25,130 kg/m2 wird als übergewichtig eingestuft, bei einem bmi größer als 30 kg/m2 spricht man von adipositas (großklaus, 1990). im icd 10 (bundesministerium für jugend, familie und gesundheit, 1991) wird adipositas als eigenständige krankheit aufgeführt. es fällt hier unter endokrine, ernährungsund stoffwechselerkrankungen und bekommt den diagnoseschlüssel e66 fettsucht (adipositas). kapitel 3. eßstörungen 51 im dsm-iii-r wird adipositas nicht unter dem abschnitt eßstörungen abgehandelt, da die adipositas oft nicht mit psychischen störungen oder verhaltensstörungen einhergeht. sind jedoch psychische faktoren für entstehung und verlauf von bedeutung, so kann als zusatzdiagnose "körperlicher zustand, bei dem psychische faktoren eine rolle spielen" (wittchen et al., 1989, s. 97) gegeben werden. 3.3.3 epidemiologie in allen kulturländern nimmt die adipositas rasch zu. mehr als die hälfte aller bundesbürger sind übergewichtig. insgesamt leiden mehr frauen als männer an adipositas (bräutigam & christian, 1981). untersuchungen zur schichtzugehörigkeit von adipösen kamen zu unterschiedlichen ergebnissen, ebenso existieren studien, in denen kein zusammenhang zwischen körpergewicht und schichtzugehörigkeit nachgewiesen werden konnte (pudel, 1978). zwischen der kindheit und dem 40. lebensjahr ist ein monotoner anstieg der adipositashäufigkeit zu verzeichnen. doppelt so groß ist der anstieg zwischen dem 40. und dem 50. lebensjahr. ab dem 50. lebensjahr fällt die häufigkeitskurve steil ab (stunkard & pudel, 1986). 3.3.4 erklärungsund behandlungsansätze nach weitverbreiteter auffassung liegt dem übergewicht eine positive energiebilanz zugrunde. aufgrund dieser erklärung der adipositas sollen reduktionsmaßnahmen, wie totales fasten oder energiereduzierte mischkost, zur therapie von übergewicht eingesetzt werden. als problematisch erweist sich dabei, den erzielten gewichtverlust langfristig zu stabilisieren. nachdem das einfache ursache-wirkungsschema der positiven energiebilanz in der adipositastherapie langfristig keine befriedigenden erfolge zeigte, ist es erweitert worden. den subjektiven körpergefühlen von appetit, hunger und sättigung wird nun eine entscheidende regulative funktion für die nahrungsaufnahme zugesprochen, da sie die menge der energieaufnahme bestimmen. der unterschied zwischen normalgewichtigen und adipösen ist in diesem zusammenhang, daß normalgewichtige ohne kognitive kontrolle spontanes eßverhalten zeigen, sie achten auf ihre körpersignale und halten langfristig ihr normales gewicht. zu den adipösen werden dabei auch die latent adipösen gezählt, die aufgrund restriktiven kapitel 3. eßstörungen 52 eßverhaltens ihr normalgewicht haben und halten, wobei ein zusammenbruch dieser kontrolle zu einer gewichtszunahme führen würde (pudel, 1987). in der adipositas-verhaltenstherapie geht man nun davon aus, daß die verhaltensstörungen bei der nahrungsaufnahme erlernte reaktionen sind. pudel (1978) nennt als ziele neben einer gewichtsabnahme die gewichtskonstanz. durch die verhaltenstherapeutischen maßnahmen sollen die eßgewohnheiten und die aktivitätsbereitschaft der patienten so verändert werden, daß sowohl weniger kalorien aufgenommen, als auch mehr kalorien verbraucht werden. da verschiedene faktoren die adipositas mitbedingen, muß aber jedes therapieprogramm individuell ausgerichtet sein. wichtig ist dabei eine sorgfältige verhaltensanalyse, in der bedingungen, die zu einem bestimmten verhalten führen und die konsequenzen, die das verhalten stabilisieren, herausgearbeitet werden. die psychoanalyse sieht in der adipositas eine regression mit fixierung an die orale befriedigung. das essen wird zum ersatz für fehlende muttterliebe, viel essen wehrt aufkommende depressionen ab. des weiteren lassen sich bei adipösen narzißtische züge erkennen. sie haben die tendenz sich selbst sehr hoch und unrealistisch einzuschätzen. außer ihrer fettleibigkeit haben sie sehr wenig konflikte im vergleich mit altersgleichen. beschrieben werden die betroffenen als passiv, bequem, kontaktgestört, aggressionsgehemmt und mit wenig interessen. unter den adipösen findet man viele einzelkinder; in der familie haben die eltern häufig schwierigkeiten miteinander und das kind wird als objekt benützt, um diese schwierigkeiten zu lösen. eine emotionale distanz der eltern zu ihrem kind bringt für diese schuldgefühle mit sich, die sie in der oralen verwöhnung abzubauen versuchen. das füttern ist das einzig liebevolle ausdrucksmittel (bräutigam & christian, 1981). die psychoanalytische therapie will einen emotionalen nachreifungsprozeß in gang setzen. dabei wird am anfang versucht, das eßverhalten mit der aktuellen lebenssituation in verbindung zu bringen. hunger kann alle emotionen ersetzen, deshalb besteht ein großer teil der psychoanalytischen arbeit darin, hungergefühle in die eigentlichen gefühle zu übersetzen. ziele sind ein dauerhafter gewichtsverlust ohne gewichtsschwankungen, eine kontrolle des eßzwangs und ein psychischer wachstumsprozeß, der eine bessere beziehung zu sich selbst und zur umwelt beinhaltet. 3.4 gemeinsamkeiten der verschiedenen eßstörungen bruch (1973) war die erste, die gemeinsamkeiten bei patienten mit verschiedenen eßstörungen beschrieb. danach leiden alle eßstörungspatienten an störungen des kapitel 3. eßstörungen 53 körperbildes (rosen, 1990), an störungen der wahrnehmung von propriound interozeptiven signalen sowie an einem gefühl persönlicher ineffektivität. vandereycken und pierloot (1981) schlagen vor, die statische weise des diagnostizierens aufzugeben, und von der dichotomen auffassung anorexia nervosa und adipositas abzuweichen, da beide symptome denselben pathogenetischen lernprozeß voraussetzen: das körperbild ist gestört, die wahrnehmung verzerrt, innere reize werden nicht adäquat verarbeitet und alle eßgestörten patienten fühlen sich hilflos und ineffektiv. betrachtet man noch die bulimia nervosa, so stellt man fest, daß manche betroffenen vorher an einer anorexia nervosa oder an einer adipositas erkrankt waren. nach vandereycken und pierloot (1981) stellt die bulimia nervosa eine position zwischen der anorexia nervosa mit bulimie und erbrechen einerseits und der adipositas, die mit impulsivem fressen einhergeht, andererseits, dar. sie entwickelten daher ein dimensionales modell der eßund gewichtsstörungen (vgl. abb. 1). abb.1: das dimensionale modell der eßund gewichtsstörungen von vandereycken & pierloot (1981, s. 72). abbildung 1 zeigt ein kontinuum mit anorexia nervosa am einen und adipositas am anderen pol. an der dimension dysorexia sind störungen des eßverhaltens, auf der dimension dysponderosis störungen der gewichtsreduktion angesiedelt. vandereycken & pierloot vermuten, daß die mehrzahl der personen mit eßund gewichtsstörungen im lauf der zeit von einer der abgebildeten fünf gruppen der fastenden, sich kapitel 3. eßstörungen 54 übergebenden bzw. abführmittel mißbrauchenden, eßund magersüchtigen, "dünnen" dicken und extrem übergewichtigen personen zur anderen wechseln. dabei ist nicht nur eine entwicklung von der adipositas zur bulimia nervosa oder zur anorexia nervosa, sondern auch eine umgekehrte entwicklung möglich (karren, 1986, s. 14). in den bekannten diagnostischen kategorien, die die verschiedenen eßstörungen differenzieren, werden die gemeinsamkeiten dabei etwas vernachlässigt. allen eßgestörten patientinnen ist aber gemeinsam, daß sich ihre gedanken immer wieder ums essen drehen. ebenso ist das gewicht und der körper von besonderer bedeutung und alle verspüren den wunsch nach gewichtsabnahme. jedoch haben die verschiedenen diagnosegruppen unterschiedliche "lösungsmuster", um eine gewichtsabnahme herbeizuführen. die meisten eßgestörten patienten haben außerdem viele diäten hinter sich, die häufig von heißhungeranfällen durchbrochen wurden, und allen ist nahrungsrestriktion bekannt (meermann, 1981; pudel, 1978). 3.5 die behandlung von eßstörungen in der medizinischpsychosomatischen klinik roseneck die klinik roseneck, in der die vorliegende untersuchung durchgeführt wurde, hat sich auf verschiedenen stationen auf die behandlung von eßstörungen spezialisiert. auf diesen werden anorexia nervosaund bulimia nervosa-patienten sowie adipöse gemeinsam behandelt, da trotz individueller motivation sowie körperlicher und psychischer verfassung eßgestörte patienten viele gemeinsamkeiten aufweisen. die meisten patienten sind weiblich und in der altersgruppe von 16-35 jahren. die behandlungsdauer liegt in der regel zwischen 12 und 16 wochen. schon vor aufnahme des patienten in die klinik besteht kontakt zur klinik, um u.a. die motivationale ausgangslage zu erfassen. bei klinikaufnahme bekommt jede patientin einen bezugstherapeuten (arzt oder diplom-psychologe) zugeteilt. außerdem übernimmt im wechsel immer eine patientin die erstbetreuung von neuankömmlingen. diese zeigt den "neuen" die klinik und stellt so gleich den kontakt zu den mitpatienten sicher. zu therapiebeginn erstellt jede patientin gemeinsam mit ihrem bezugstherapeuten einen therapieplan mit den therapiezielen. außerdem wird die eigene motivation nochmals überprüft. die adipösen erwarten meist bei aufnahme eine reduktionsdiät und sind dann enttäuscht, wenn sie erfahren, daß dies nicht der fall ist. erst durch adipöse mitpatienten, die ohne reduktionsdiät abgenommen haben, werden sie ermutigt ihr diätdenken aufzugeben und auf eigene hungerund sättigungsmechanismen zu achten. kapitel 3. eßstörungen 55 für die bulimie-patientinnen hat anfangs der kontakt mit anderen betroffenen eine entlastende funktion. so geben sie häufig sofort in den ersten tagen ihre oft jahrelang praktizierte symptomatik auf. hier ist schon in der anfangsphase wichtig, die bulimiepatientinnen auf rückfälle vorzubereiten. bei den anorexie-patientinnen ist der anfangskontakt meist schwierig. ihr, durch ihre symptomatik bedingtes äußeres verliert unter den anderen eßgestörten patienten im klinikkontext seine bedeutung. sie sind nichts besonderes mehr, was sie ja eigentlich sein wollen. für die anorexie-patientinnen ist es deshalb sehr wichtig in der anfangssphase vertrauen zu gewinnen. der allgemeine therapieplan für alle eßgestörten besteht aus einzelund gruppentherapie, welche vom jeweiligen bezugstherapeuten geleitet wird. wenn möglich, wird in die therapie die familie miteinbezogen. eltern und geschwister, bzw. partner und kinder werden zu einem familiengespräch eingeladen. zusätzlich wird mit den eßgestörten patienten körperarbeit gemacht. durch die sport und bewegungstherapie soll ein positiverer bezug zum eigenen körper hergestellt werden. die sporttherapie umfaßt dabei frühsport, wirbelsäulengymnastik, hockergymnastik, bewegungsbad und wandern. die bewegungstherapie umfaßt tanztherapie und die feldenkrais-methode 'bewußtheit durch bewegung', die meist mit gruppen von patienten einer station durchgeführt wird sowie einzelarbeit. um die wahrnehmungsund ausdrucksfähigkeit zu erhöhen, nehmen die patientinnen an einer ergotherapie teil. entspannungstechniken, selbstsicherheitstraining und ein anti-diät-kurs (rief, stock & fichter, 1991) werden von den co-therapeuten unter supervision durchgeführt. für die ganze therapeutische arbeit ist die therapeutische gemeinschaft ein wichtiger gesichtspunkt. viele eßgestörte patienten leben vorher in isolation; diese soll durchbrochen werden. zudem wird ein schwerpunkt auf das hier und jetzt gesetzt, was bedeutet, daß man sein hungergefühl und seinen sättigungspunkt im hier und jetzt erlebt und lernt, danach zu handeln. die eßgestörten patientinnen werden in der klinik roseneck mit einem anti-diät-modell konfrontiert, d.h. es gibt für keines der beschriebenen krankheitsbilder diäten. sowohl die adipösen, wie die anorexia nervosaund bulimia nervosa-patientinnen sollen lernen, nicht mehr nach erlaubten und verbotenen nahrungsmitteln zu unterscheiden und kalorien zu zählen, sondern auf ihre eigenen mechanismen und bedürfnisse zu achten. problematisch für viele patientinnen ist die entlassung aus der klinik. die umstellung in das alltagsleben bedeutet häufig wieder rückfälle. deshalb wird den patientinnen kapitel 3. eßstörungen 56 schon während ihres aufenthaltes empfohlen, kontakt zu selbsthilfegruppen oder therapeuten an ihrem heimatort aufzunehmen. manchmal wird eine phase der realitätserprobung innerhalb der behandlungszeit eingeschoben. in einem vorbereiteten therapieurlaub kann das leben zu hause erprobt werden. die dort auftretenden probleme können dann in der klinik nochmals bearbeitet werden (brunner, 1987). kapitel 4. zielsetzung der untersuchung 57 4. zusammenfassung theoretischer grundlagen und zielsetzung der untersuchung das allgemeine ziel der vorliegenden untersuchung besteht darin, einen beitrag zu leisten zur erforschung der wirkungen der feldenkrais-methode und ihrer nützlichkeit und anwendbarkeit im psychosomatischen bereich, hier speziell im bereich der eßstörungen. aus der darstellung der feldenkrais-methode in kapitel 2 wurde deutlich, daß die methode über bewegung einen zugang zur veränderung der ganzen person eröffnet. sie stellt einen ganzheitlichen, bewegungsorientierten ansatz zu verhaltensänderung und persönlichem wachstum dar (pruzinsky, 1990). durch die praxis der feldenkraismethode werden bestehende bewegungs-, haltungsund atemmuster bewußter, wodurch sich das selbstund körperbild klärt. dadurch können neue und angemessenere alternativen von bewegung und verhalten entwickelt werden, was sich "im 'streueffekt' natürlich auch psychotherapeutisch auswirkt" (petzold, 1992, s. 243) und veränderungen auch im emotionalen und mentalen bereich hervorruft. aus der übersicht über die problematik der eßstörungen in kapitel 3 zeigte sich, daß zwischen den verschiedenen formen von eßstörungen gemeinsamkeiten bestehen, wie sie bereits von bruch (1973) beschrieben wurden. darunter fallen störungen des körperbildes, störungen der wahrnehmung von propriound interozeptiven signalen sowie ein gefühl persönlicher ineffektivität. als diagnostische kriterien im dsm-iii-r (wittchen et al., 1989) gelten dabei in bezug auf die anorexia nervosa die störung der körperwahrnehmung sowie in bezug auf die bulimia nervosa als folge einer verzerrten körperwahrnehmung die übertriebene beschäftigung mit figur und gewicht. hinzu kommt bei der anorexia nervosa ein mangelndes interesse an körperlicher reifung und bei der adipositas ein gestörtes verhältnis zum eigenen körper. aus diesen aspekten geht die bedeutsamkeit und wirkmöglichkeit einer körperund bewegungstherapeutischen herangehensweise an die problematik der eßstörungen hervor, wie sie in integrativer form bereits z.b. in der psychosomatischmedizinischen klinik roseneck praktiziert wird (brunner, 1987). bei der durchsicht der verfügbaren literatur konnten keine untersuchungen zum thema 'feldenkrais und eßstörungen' gefunden werden, so daß auf keinerlei erfahrungswerte zurückgegriffen werden konnte und die vorliegende arbeit den charakter einer erkundungsstudie hat. es gibt, da die erforschung der methode erst am anfang steht, allgemein erst wenige wissenschaftliche arbeiten darüber, so auch im bereich der psychosomatik. zu nennen ist hier lediglich eine dissertation (zitiert nach kapitel 4. zielsetzung der untersuchung 58 hutchinson, 1985, s. 13), in der elemente von feldenkrais-übungen in einem umfassenderen trainingsprogramm zur veränderung des körperbilds adipöser frauen angewendet wurden. im weitergesteckten rahmen der anwendung bewegungstherapeutischer verfahren bei eßstörungen gibt es bereits eine ganze reihe von untersuchungen verschiedener methoden, insbesondere im bereich der tanztherapie (stark, aronow & mcgeehan, 1989; zusammenfassend vgl. pruzinsky, 1990). in der vorliegenden studie wird nun versucht, im rahmen eines integrativen, stationären therapieprogramms mit quantitativen und qualitativen methoden die wirkungen eines feldenkrais-kurses in den bereichen des verhältnisses zum eigenen körper, der psychischen befindlichkeit sowie in weiteren für die eßstörungsproblematik typischen bereichen herauszufiltern und die individuellen erfahrungen der kursteilnehmer darzustellen. insgesamt verfolgt diese untersuchung die absicht, das psychologische wissen darüber zu erweitern, in welchen bereichen die feldenkrais-methode bei eßgestörten patienten wirkt. durch die erfassung allgemeiner und spezifischer wirkungen entstehen voraussetzungen für eine fruchtbare nutzung, insbesondere für die entwicklung spezifischer kursprogramme im stationären rahmen, aber auch im ambulanten bereich und in selbsthilfegruppen. kapitel 5. fragestellung 59 5. fragestellung aus dem ziel, wirkungen eines feldenkrais-kurses im rahmen eines stationären therapieprogramms für eßgestörte patienten auf unterschiedlichen ebenen zu erfassen, ergeben sich fragen zu folgenden fünf bereichen. a) verhältnis zum eigenen körper verändert sich durch die teilnahme am feldenkrais-kurs die zufriedenheit mit dem eigenen körper sowie die akzeptanz des eigenen körpers? b) psychische befindlichkeit ergeben sich durch die teilnahme am feldenkrais-kurs veränderungen in der spontaneität des verhaltens sowie beim psychischen wohlbefinden? c) eßstörungsspezifische problematik verändert sich durch die teilnahme am feldenkrais-kurs das figurbewußtsein sowie das gefühl der überforderung? ergeben sich durch die teilnahme am feldenkrais-kurs als positiv zu bewertende veränderungen in den bereichen drive for thinness, bulimia, body dissatisfaction, interoceptive awareness, maturity fears, asceticism, impulse regulation sowie social insecurity? d) subjektive einschätzung des kurses wie beschreiben die patienten der experimentalgruppe nach dem feldenkrais-kurs in antworten auf offene fragen ihr persönliches fazit des kurses, interessante erfahrungen, allgemeine veränderungen, veränderung der wahrnehmung ihres körpers sowie den wert des kurses für ihre gesundheit und allgemeine befindlichkeit? e) erfahrungen und persönliches erleben welche erfahrungen berichten die patienten der experimentalgruppe nach dem feldenkrais-kurs in einem halbstrukturierten interview? kapitel 6. untersuchungsdesign 60 6. untersuchungsdesign wie bereits erwähnt liegen keine forschungsergebnisse zu diesem speziellen thema vor. es ist deshalb von interesse, informationen auf möglichst vielen ebenen zu erhalten. dies wurde hier realisiert einerseits durch eine quantitative zugangsweise, wobei für eine adäquate auswertung der daten die hinzunahme einer kontrollgruppe erforderlich war. zum anderen waren insbesondere die subjektiven erfahrungen der teilnehmer an der experimentalgruppe von interesse, was methodisch durch die verwendung eines qualitativen verfahrens umgesetzt wurde (bortz, 1984). 6.1 fremdwartegruppen-design eine gruppe von 15 eßgestörten patienten erhielt einen feldenkrais-kurs mit neun terminen innerhalb von vier wochen zusätzlich zur standardtherapie der psychosomatischen klinik roseneck (vgl. kap. 3.5). in bezug auf die quantitativen daten wurde diese gruppe verglichen mit einer kontrollgruppe von 15 eßgestörten patienten derselben klinik, die standardtherapie allerdings ohne feldenkrais erhielt. dabei wurde darauf geachtet, daß die kontrollgruppe der feldenkrais-gruppe so gut wie möglich in alter, vorbehandlungszeit und diagnose entspricht (vgl. kap. 7). es erschien in anbetracht des umfangreichen stundenplans der patienten nicht sinnvoll für die kontrollgruppe eine 'placebo-behandlung' durchzuführen, die dem feldenkraiskurs in zeitlichem umfang entspricht. auch eine zeitlich vergleichbare behandlung der kontrollgruppe mit z.b. tanztherapie erschien hier nicht sinnvoll, da die untersuchung den charakter einer erkundungsstudie hat und erst einmal nur mögliche wirkungen der feldenkrais-methode erfaßt werden sollten. bei beiden gruppen wurde darauf geachtet, daß die patienten während wartezeit und untersuchungszeitraum keine weitere bewegungstherapeutische behandlung (wie z.b. tanztherapie) erhielten. außerdem nahmen die patienten der feldenkrais-gruppe während der wartezeit vor beginn des kurses an keinen feldenkrais-stunden teil. 6.2 gruppenbildung die beiden gruppen wurden jeweils aus patienten der vier eßstörungsstationen der klinik mit den diagnosen anorexia nervosa, bulimia nervosa und adipositas kapitel 6. untersuchungsdesign 61 zusammengestellt. diese vorgehensweise entspricht dem behandlungskonzept der klinik, bei dem patienten der verschiedenen eßstörungsformen auf den stationen und auch in den gruppentherapien zusammengefaßt sind. zudem war dies notwendig, da nur so in wenigen wochen eine angemessene gruppenstärke erreicht und dadurch eine lange wartezeit der kontrollgruppe vermieden werden konnte. 3 eine feste gruppe erschien im vergleich zu einer offenen gruppe sinnvoller, da hier ein aufbauendes kursprogramm durchgeführt werden kann. bei den vorüberlegungen zu der untersuchung wurde zwar ein design mit einer offenen gruppe ohne kontrollgruppe diskutiert, welches bei einer anderen studie an der klinik roseneck verwendung fand (rief et al., 1991). aber bei einer offenen gruppe würden häufig neue teilnehmer dazukommen und andere ausscheiden, es müßte immer wieder eine einführung gegeben werden, es würde kein intensiveres gruppengefühl entstehen und ein entwicklungsprozeß wäre erschwert. 6.3 zeitlicher ablauf abbildung 2 verdeutlicht die zusammenstellung von feldenkrais-gruppe und kontrollgruppe und den zeitlichen ablauf der untersuchung. woche: 1 2 3 4 5 6 7 8 9 10 11 12 fg: ? bildung der fg ? feldenkrais-kurs ? ? ? 1.messung 2.messung kg: ? bildung der kg ? standardtherapie ? ? ? 1.messung 2. messung abb. 2: zeitlicher ablauf der gruppenbildung und des ablaufs der untersuchung 3dies bedeutete aber einen erheblichen aufwand, da normalerweise in der klinik nur stationsbezogene gruppen durchgeführt werden. kapitel 6. untersuchungsdesign 62 fg = feldenkrais-gruppe; kg = kontrollgruppe wie aus abbildung 2 ersichtlich wurden während drei wochen neuaufgenommene patienten der vier eßstörungs-stationen gesammelt. mit dieser gruppe wurde dann ein feldenkrais-kurs mit einem vortermin und neun stunden durchgeführt. während der durchführung des feldenkrais-kurses wurden wiederum während drei wochen neuaufnahmen von den vier stationen gesammelt, welche dann die kontrollgruppe bildeten. die messungen für jede gruppe fanden jeweils nach einem vortermin sowie nach einem zeitraum von vier wochen und zwei tagen statt. eine zusätzliche überlegung in bezug auf die messungen war, kurzfristige effekte in bezug auf das momentane körperliche wohlbefinden (frank, 1990) vor und nach einer feldenkrais-stunde zu erheben. die erhebung von kurzzeiteffekten wurde aber verworfen, da vor allem längerfristige wirkungen von interesse waren und eine störung der stunden durch das ausfüllen von fragebögen und die ablenkung der aufmerksamkeit dadurch vermieden werden sollte. 6.4 kursprogramm und kursleitung der kurs umfaßte einen kurzen einführungstermin sowie neun feldenkrais-lektionen 'bewußtheit durch bewegung' zu je etwa 45 minuten, die jeweils montags und dienstags über einen zeitraum von vier wochen gehalten wurden. das inhaltliche konzept des kurses orientierte sich an der bewegungsentwicklung des kindes (vgl. kap. 2.3.1). es wurde eine serie von typischen feldenkrais-lektionen zusammengestellt, die in methodenspezifischer weise verschiedene entwicklungstufen der kindlichen entwicklung thematisieren. drei der lektionen dienten hier insbesondere der bewußtmachung und klärung des atemmusters. dabei wurde aber keine strenge reihenfolge eingehalten und berücksichtigt, daß die teilnehmer des kurses so gut wie keine erfahrung mit dieser art von bewegungen haben. die zusammenstellung der stunden hatte also den charakter eines anfängerund einführungskurses. der verlauf des kurses gestaltete sich dabei folgendermaßen: nach einem einführungstermin wurde in der 1. stunde begonnen mit den ersten kindlichen bewegungsthemen, wie bewegungen der lippen (saugen), des kopfes, der augen und den ersten rollbewegungen. thema der 2. stunde war das heben des kopfes in rückenlage (arbeit mit der beugemuskulatur). die 3. stunde arbeitete mit den bewegungen beim atmen, vor allem bei der bauchatmung. inhalt der 4. stunde kapitel 6. untersuchungsdesign 63 waren bewegungen der beine (beine aufstellen) in verbindung und differenzierung mit dem rollen des kopfes. in der 5. stunde wurde die verbindung von verschiedenen körperhaltungen (von 'in sich zusammengesunken' bis 'übertrieben aufgerichtet') und dazugehörigen gefühlen untersucht. in der 6. stunde wurde mit seitlichen rollbewegungen weiter der rote faden der kindlichen bewegungsentwicklung verfolgt. die 7. stunde diente der weiteren erforschung des eigenen atemmusters sowie der verbindung verschiedener arten zu atmen mit gefühlen. in der 8. stunde wurde insbesondere mit strampelbewegungen der arme und beine und der wahrnehmung der beiden körperhälften gearbeitet. die 9. stunde schließlich thematisierte wiederum den atem, insbesondere die verschiedenen phasen und den rhythmus des atems (zum genauen wortlaut der bewegungslektionen vgl. anhang b). zugleich wurden in den stunden elemente betont, von denen vermutet wurde, daß sie wirksam sein könnten für die eßstörungsspezifische problematik, wie z.b.: mit bauchatmung arbeiten und den bauch aufblasen "wie einen ballon". hinweise während der bewegungspausen, wie z.b. "wie atme ich beim essen?" arbeit mit lippen (saugbewegungen), zunge und mundraum. in der vorstellung eine strichfigur zeichnen oder stellen des eigenen körpers (z.b. brustbein) anmalen. stellen des eigenen körpers selbst berühren und ertasten (z.b. wange, brustkorb, brustbein, kopf, bauch). das gefühl für den inneren und äußeren raum entwickeln (körpergrenzen spüren, ausdehnung des äußeren raums vorstellen, körpervorderseite, -rückseite, -volumen spüren). das kursprogramm wurde von einem 'feldenkrais-lehrer in ausbildung' durchgeführt (deutsche feldenkrais-gilde e.v., 1992).4 6.5 praktische durchführung die patienten beider gruppen hatten vor meßzeitpunkt 1 maximal drei wochen behandlungszeit in der klinik hinter sich und in den allermeisten fällen keine vorerfahrung in der feldenkrais-methode (vgl. kap. 7). 4 zum zeitpunkt der untersuchung hatte der autor den ersten teil einer akkreditierten feldenkraisausbildung abgeschlossen und war berechtigt, öffentlich kurse in der gruppenmethode 'bewußtheit durch bewegung' zu geben. während eines zweimonatigen praktikums in der abteilung bewegungstherapie der klinik roseneck leitete er viele feldenkrais-gruppen mit eßstörungspatienten und führte auch das kursprogramm mit der experimentalgruppe selbst durch. kapitel 6. untersuchungsdesign 64 mit der feldenkrais-gruppe wurde eine vorbesprechung durchgeführt und die fragebögen verteilt, mit der bitte, diese noch am gleichen tag auszufüllen. am nächsten tag begann der kurs, der in der folge jeweils an den gleichen wochentagen zur selben uhrzeit durchgeführt wurde. nach der letzten stunde wurden wiederum fragebögen verteilt mit der bitte, diese möglichst bald auszufüllen. am selben wochentag zur gleichen uhrzeit wie bei der feldenkrais-gruppe wurde mit der kontrollgruppe eine vorbesprechung durchgeführt und entsprechend die fragebögen verteilt. nach einem zeitraum von vier wochen wurde diese gruppe wiederum versammelt und es wurden wiederum fragebögen verteilt, mit der bitte diese möglichst bald auszufüllen. die feldenkrais-stunden fanden in der regel in einem angenehmen, hellen und ruhigen raum der klinik roseneck statt. die stunden (zu je 45 minuten reiner behandlungszeit) fanden aus raumtechnischen gründen jeweils am montagvormittag und dienstagnachmittag statt. daß die termine jeweils vor und nach dem mittagessen lagen, ergab sich zufällig aus der raumbelegung, sollte aber interessante rückmeldungen erbringen. kapitel 7. beschreibung der stichprobe 65 7. beschreibung der stichprobe die untersuchung wurde durchgeführt mit 30 patienten mit eßstörungen, die in der zeit zwischen dem 2.1.1992 und dem 3.3.1992 in der medizinisch-psychosomatischen klinik roseneck aufgenommen wurden. die patienten waren auf vier reinen eßstörungs-stationen untergebracht. die feldenkrais-gruppe und die kontrollgruppe bestanden jeweils aus 15 patienten (vgl. tab. 1). 7.1 diagnose, alter und vorbehandlungszeit von den 15 patienten der feldenkrais-gruppe bekamen neun die diagnose bulimia nervosa, zwei die diagnose anorexia nervosa, eine davon erhielt die zusatzdiagnose bulimia nervosa und vier die diagnose adipositas. von den 15 patienten der kontrollgruppe bekamen neun die diagnose bulimia nervosa, zwei die diagnose anorexia nervosa, davon eine die zusatzdiagnose bulimia nervosa und vier die diagnose adipositas, davon zwei die zusatzdiagnose bulimia nervosa. die diagnosestellung erfolgte durch die therapeuten; sie bezogen sich in ihren diagnosekriterien auf das dsm-iii-r (wittchen et al., 1989). der altersrange der patienten der feldenkrais-gruppe reichte von 20 bis 42 jahren, für die kontrollgruppe von 18 bis 51 jahren. der alters-mittelwert betrug für die feldenkrais-gruppe 29.0, für die kontrollgruppe 28.8 jahre. die vorbehandlungszeit betrug im mittel für die feldenkrais-gruppe 1.2, für die kontrollgruppe 1.0 wochen. tabelle 1: haupt-diagnose, anzahl der patienten jeder störungsform, alter und vorbehandlungszeit der patienten beider gruppen. feldenkrais-gruppe kontrollgruppe diagnose n am alter am vor n am alter am vor bn 9 29.0 1.1 9 26.6 1.2 an 2 25.5 2.0 2 24.0 0.5 ad 4 33.7 1.2 4 36.0 1.0 gesamt 15 29.0 1.2 15 28.8 1.0 legende: n = anzahl der patienten; am alter = arithmetisches mittel alter; am vor = mittlere vorbehandlungszeit in der klinik bei mzp1 (in wochen); bn = bulimia nervosa; an = anorexia nervosa; ad = adipositas. kapitel 7. beschreibung der stichprobe 66 7.2 familienstand und schulbildung familienstand und schulbildung der patienten beider gruppen sind tabelle 2 und tabelle 3 zu entnehmen. tabelle 2: vergleich zwischen feldenkraisund kontrollgruppe in bezug auf den familienstand der patienten (angabe der absolutzahlen). fg kg ledig ohne partner 7 4 ledig mit partner 4 6 verheiratet 4 4 geschieden, getrennt oder verwitwet und z.zt ohne partner 1 legende: fg = feldenkrais-gruppe; kg = kontrollgruppe tabelle 3: vergleich zwischen feldenkraisund kontrollgruppe in bezug auf die schulbildung der patienten (angabe der absolutzahlen). fg kg hauptschule 8 6 realschule mit abschluß 2 1 realschule ohne abschluß 1 gymnasium ohne abschluß 1 abitur 1 2 höhere fachschule mit abschluß 1 2 hochschule ohne abschluß 1 2 hochschule mit abschluß 2 legende: fg = feldenkrais-gruppe; kg = kontrollgruppe 7.3 parallelisierung der stichproben soweit dies der therapiebetrieb in der klinik roseneck zuließ, wurde die kontrollgruppe möglichst parallel zur feldenkrais-gruppe in bezug auf diagnostische kriterien, alter und vorbehandlungszeit in der klinik zusammengestellt (vgl. tab. 4). kapitel 7. beschreibung der stichprobe 67 tabelle 4: parallelisierung der stichproben hinsichtlich vorbehandlungszeit in der klinik, diagnose und alter. feldenkrais-gruppe kontrollgruppe vpn-nr. v d a vpn-nr. v d a 1 3 bn 23 1 3 bn 25 2 1 bn 26 2 1 bn 25 3 2 bn 28 3 3 bn 30 4 0 bn 42 4 0 bn 27 5 2 bn 30 5 3 bn 31 6 0 bn 30 6 0 bn 30 7 1 bn 38 7 1 bn 27 8 0 bn 20 8 0 bn 21 9 1 bn 24 9 0 bn 24 10 1 an 29 10 1 an 30 11 3 an+bn 22 11 0 an+bn 18 12 1 ad 41 12 1 ad+bn 51 13 3 ad 30 13 2 ad 42 14 0 ad 29 14 0 ad 28 15 1 ad 35 15 1 ad+bn 23 legende: vpn-nr. = versuchspersonennummer; v = vorbehandlungszeit in der klinik vor mzp1 (in wochen); d = diagnose (bn= bulimia nervosa; an= anorexia nervosa; ad= adipositas); a = alter. 7.4 vorerfahrung auf die bei meßzeitpunkt 1 gestellte frage "haben sie bereits erfahrungen mit irgendwelchen körpertherapeutischen methoden (z.b. feldenkrais, tanztherapie, autogenes training, yoga etc.) gemacht?" antworteten von der feldenkrais-gruppe acht patienten mit nein. drei patienten hatten in einem früheren klinikaufenthalt erfahrungen mit autogenem training, vier in geringem umfang (1-3 stunden) erfahrungen mit feldenkrais gemacht. von der kontrollgruppe hatten fünf patienten keinerlei erfahrungen mit körpertherapeutischen methoden gemacht. sechs patienten hatten in einem früheren klinikaufenthalt erfahrung mit autogenem training, fünf mit feldenkrais, zwei mit tanztherapie, sechs mit progressiver muskelentspannung und drei mit yoga gemacht (mehrfachnennungen waren möglich) (vgl. tab. 5). kapitel 7. beschreibung der stichprobe 68 tabelle 5: vergleich zwischen feldenkraisund kontrollgruppe in bezug auf vorerfahrung in körpertherapeutischen methoden (angabe der absolutzahlen, mehrfachnennungen waren möglich). vorerfahrung fg kg nein 8 5 autogenes training 3 6 feldenkrais 4 5 tanztherapie 2 pme 6 yoga 3 legende: fg= feldenkrais-gruppe, kg= kontrollgruppe kapitel 8. beschreibung der erhebungsinstrumente 69 8. beschreibung der erhebungsinstrumente da die untersuchung einen explorativen charakter hatte, wurden daten auf verschiedenen ebenen, also mit hilfe von quantitativen (fragebögen) als auch qualitativen instrumenten (interviews), und in unterschiedlichen bereichen erhoben. zugleich sollte sich die belastung der versuchspersonen durch fragebögen etc. in grenzen halten, da in der klinik standardmäßig umfangreiche befragungen durchgeführt werden. in der folge werden die verwendeten instrumente im einzelnen beschrieben. 8.1 zufriedenheit mit dem eigenen körper auf der grundlage der 'body cathexis scale' (bcs) (secord & jourard, 1953), einem der ersten instrumente auf diesem gebiet, und der 'body parts satisfaction scale' (bpss)5 (berscheid, walster & bohrnstedt, 1973) wurde eine liste von 34 items zusammengestellt, bei denen zufriedenheit oder unzufriedenheit mit verschiedenen körperteilen und -funktionen angegeben werden sollte. dies wurde so gehandhabt, da keine der ursprünglichen skalen (bcs sowie bpss) für unseren zweck ideal erschien. die verwendete skala deckt sich mit 20 von 25 items der bpss, weggelassen wurden die fünf items größe der geschlechtsorgane, erscheinung der geschlechtsorgane, ohren, zähne, kinn. hinzugenommen wurden 13 items (rücken, nacken/hals, kopf, lippen, atmung, körperhaltung, verdauung, leichtigkeit der bewegungen, eleganz der bewegungen, gesundheit, appetit, schlaf, lebendigkeit), die teilweise in der bcs verwendung finden und weitere bereiche abdecken sollten. die split-half-reliabilität der ursprünglichen liste von 46 items von körperteilen und -funktionen der bcs wird mit .81 angegeben (secord & jourard, 1953). wie bei der bpss sollte zufriedenheit oder unzufriedenheit mit dem eigenen körper auf einer sechsstufigen ratingskala eingeschätzt werden, die von 'völlig zufrieden' bis 'völlig unzufrieden' reichte. 5 die bpss wurde 1973 von 62 000 lesern der zeitschrift 'psychology today' beantwortet. davon wurde eine der amerikanischen bevölkerung repräsentative stichprobe von 2 000 fragebögen ausgewertet. kapitel 8. beschreibung der erhebungsinstrumente 70 8.2 akzeptanz des eigenen körpers für den bereich der akzeptanz des eigenen körpers wurden items aus dem 'fragebogen zum körpererleben' (fke) von paulus (1982) herangezogen.6 der fke wurde bei einer stichprobe von 691 studenten angewendet. aus subskala 1 'akzeptierung des eigenen körpers und integration ins selbsterleben', welche 43 items umfaßt, wurden die 21 höchstladenden und inhaltlich für die untersuchung sinnvollen items ausgesucht. die berechneten reliabilitätskoeffizienten weisen die genannte subskala 1 als hoch reliabel aus (paulus, 1982). die antworten sollten entsprechend dem fke auf einer 4-stufigen skala von 'trifft fast gar nicht zu' bis 'trifft stark zu' eingeschätzt werden. 8.3 psychische befindlichkeit zur messung der psychischen befindlichkeit wurden zwei subskalen aus dem emotionalitätsinventar (emi-b) von ullrich de muynck und ullrich verwendet (1978a). das emi-b wurde zur therapiekontrolle entwickelt. es soll eine differenzierte aussage über klinisch relevante emotionale reaktionsklassen erlauben. anhand einer gesamtstichprobe von n=1062, die etwa zur hälfte "normale" (n=550) und psychiatrische patienten (n=512) enthielt, wurden sieben faktoren extrahiert. die subskalen weisen mit 0.97 eine recht hohe innere konsistenz des tests aus, die testretest-reliabilität liegt zwischen 0.7 und 0.9. die kennwerte klinischer gruppen zeigen eine gute externe validität der subskalen und die kriteriumsvalidität ist als gut zu bezeichnen (ullrich de muynck & ullrich, 1978b). in der untersuchung wurden die zwei faktoren 'gehemmtes vs. spontanes befinden' und 'gestörtes allgemeinbefinden vs. wohlbefinden' verwendet. sie wurden gewählt, weil der feldenkrais-methode eine wirkung in richtung einer verbesserung der allgemeinen körperlichen sowie psychischen befindlichkeit sowie einer abnahme gehemmten verhaltens und zunahme spontanen verhaltens zugeschrieben wird (feldenkrais, 1989). 6 hier erschienen die frankfurter körperkonzeptskalen (fkks) von deusinger,i.m., wie sie im testkatalog des bdp 1991/92 beschrieben sind, ebenfalls sehr interessant, insbesondere die skalen 3 (selbstkonzept der körperlichen erscheinung) und 4 (selbstakzeptanz und akzeptanz durch andere). wie beschrieben zeigen hier vorbefunde, daß unterschiede zwischen körperkonzepten magersüchtiger patienten mit personen der normalbevölkerung bestimmt werden können. leider waren die fkks noch in vorbereitung und konnten trotz eines persönlichen kontakts mit prof. deusinger, die mir skalen und auswertungsanleitung vor erscheinen zu verfügung gestellt hätte nicht mehr eingesetzt werden. kapitel 8. beschreibung der erhebungsinstrumente 71 1. gehemmtes vs. spontanes befinden: die neun items des faktors decken inhaltlich den bereich eines 'gehemmten, schüchternen, zurückhaltenden, verschlossenen' vs. 'spontanen, freien, offenen und selbstsicheren' befindens ab. 2. gestörtes allgemeinbefinden vs. wohlbefinden: die 18 items des faktors definieren inhaltlich vor allem in ihrer positiven polung einen bereich des wohlbefindens ('ausgeglichen, klar, entscheidungsfreudig, locker, gelöst, quicklebendig, unbefangen, stabil, ruhig, wohl') und der ungestörten selbstbewertung. die 27 items der beiden skalen wurden auf einem blatt zusammengefaßt. sie wurden mit der instruktion: 'während der letzten woche fühlte ich mich vorwiegend...' eingeleitet. die vorherrschenden gefühle werden zwischen zwei gegensätzlichen eigenschaftspaaren in jede richtung nach drei ausprägungsgraden ('sehr', 'deutlich', 'eher') eingeschätzt. 8.4 anorexia-nervosa-inventar zur selbstbeurteilung (anis) das anorexia-nervosa-inventar zur selbstbeurteilung (anis) (fichter & keeser, 1980) wurde ursprünglich als instrument zur erfassung anorektischer symptome konzipiert, ist aber für alle eßstörungen anwendbar und wird in der klinik roseneck standardmäßig eingesetzt. es wurde mit 118 gesunden schülerinnen und 101 magersüchtigen patientinnen entwickelt. eine faktorenanalyse ergab sechs faktoren mit insgesamt 32 items. das instrument gestattet eine gute unterscheidung zwischen gesunden und magersüchtigen patienten und ist sensibel für die erfassung klinischer veränderungen. die reliabilitäten der einzelnen subskalen werden zwischen .80 und .90 angegeben (fichter & keeser, 1980). in der studie wurden zwei faktoren verwendet, die im zusammenhang stehen mit konzepten wie der übertriebenen beschäftigung mit essen, figur und gewicht und dem gefühl persönlicher ineffektivität, wie sie von h. bruch (1973) formuliert wurden. 1. figurbewußtsein: auf diesen faktor laden zehn items hoch zu den bereichen: fasten, diät, eßverhalten und angst vor dem dickwerden. 2. gefühl der überforderung: die sieben items des faktors erstrecken sich auf die bereiche: ohnmacht gegenüber äußeren einflüssen und erwartungen, einengung durch äußere anforderungen, innere leere, unruhe, anpassung und gefühl der eigenen unzulänglichkeit. kapitel 8. beschreibung der erhebungsinstrumente 72 8.5 eating disorder inventory-2 (edi) um den vielfältigen bedingungen und dimensionen von eßstörungen gerecht zu werden, wurde in der studie zusätzlich das eating disorder inventory-2 (edi) (garner, 1990) verwendet, das in der klinik roseneck standardmäßig in deutscher übersetzung eingesetzt wird. das edi ist ein weitverbreitetes instrument zur messung von symptomen, die im allgemeinen mit eßstörungen einhergehen. es existieren normen, die anhand einer stichprobe von 889 eßgestörten patienten entwickelt wurden sowie weitere normen für gesunde stichproben. es ist zur überprüfung von therapiefortschritten geeignet. die test-retest-reliabilität liegt bei verschiedenen studien um die .80. eine vielzahl von untersuchungen weist darauf hin, daß die edi-subskalen klinisch relevante erfahrungsdimensionen von eßstörungspatienten messen, daß sie zwischen stichproben von eßstörungspatienten und nicht-patienten unterscheiden und sensitiv für klinische veränderungen sind. inhalts-, kriteriumsbezogeneund konstrukt-validität können daher als gut bezeichnet werden (garner, 1990). es liefert standardisierte subskalen-werte für elf dimensionen. die acht für die untersuchung verwendeten subskalen (drive for thinness, bulimia, body dissatisfaction, interoceptive awareness, maturity fears, asceticism, impulse regulation und social insecurity) werden in der folge beschrieben: drive for thinness (7 items): die klinischen manifestation eines intensiven drangs, dünner zu sein oder die angst, dick zu sein, ist wesentlich für eine diagnose von anorexia nervosa und bulimia nervosa. die items dieser subskala messen exzessive beschäftigung mit diät, gewicht und der angst vor gewichtszunahme. bulimia (7 items): tendenz, an unkontrollierbare eßanfälle zu denken oder diese auszuführen. body dissatisfaction (9 items): unzufriedenheit mit den allgemeinen körperformen und mit den maßen jener körperregionen, die für eßstörungspatienten von größter wichtigkeit sind (z.b. bauch, hüften, oberschenkel, gesäß). interoceptive awareness (10 items): fähigkeit, emotionale zustände zu erkennen und adäquat zu reagieren. die subskala berührt auch ungewißheit in der identifikation von hunger und sattheit. maturity fears (8 items): wunsch, in die sicherheit der kindheit zurückzukehren. asceticism (8 items): tendenz, den eigenen selbstwert zu erhöhen durch die verfolgung von idealen wie selbst-disziplin, selbst-verleugnung, selbstbeschränkung, selbstopfer und kontrolle über körperliche bedürfnisse. kapitel 8. beschreibung der erhebungsinstrumente 73 impulse regulation (11 items): tendenz zu impulsivität, substanzmißbrauch, rücksichtslosigkeit, feindseligkeit, destruktivität in beziehungen und selbstzerstörung. social insecurity (8 items): glauben daran, daß soziale beziehungen spannungsgeladen, unsicher, enttäuschend und allgemein von armseliger qualität sind (garner, 1990). die fragen sollten auf den momentanen zustand bezogen auf einer sechsstufigen ratingskala von 'nie' bis 'immer' eingeschätzt werden. 8.6 offene fragen zusätzlich wurden offene fragen formuliert, um weitere informationen zu erhalten, die durch die fragebögen nicht erfaßt werden konnten. bei meßzeitpunkt 2 wurden den teilnehmern des feldenkrais-kurses fünf offene fragen gestellt, die sie mit eigenen worten schriftlich beantworten sollten. diese fragen zielten auf das persönliche fazit nach dem kurs, auf bedeutsame erfahrungen während des kurses, auf veränderungen der wahrnehmung sowie auf die persönliche einschätzung der feldenkrais-stunden für die eigene gesundheit und befindlichkeit (vgl. anhang d). 8.7 interviews darüber hinaus erschien es als wichtig und aufschlußreich, das subjektive erleben und die persönliche meinung der teilnehmer des feldenkrais-kurses angemessen zu berücksichtigen. als geeignete methode dazu erschien das halbstrukturierte interview. 8.7.1 das halbstrukturierte interview ein halbstrukturiertes interview ist ein gespräch mit offenen fragestellungen, die dem interviewten die möglichkeit geben, die thematik erzählend darzustellen. dabei wird die individuelle "qualität jeder einzelnen antwort im gegensatz zur typisierten art des formellen fragebogens" (bureau of applied social research, 1969, s. 145) berücksichtigt. als instrumente des interviewverfahrens dienten leitfaden und tonbandaufzeichnung. der interviewleitfaden stellt orientierungsrahmen und gedächtnisstütze für den kapitel 8. beschreibung der erhebungsinstrumente 74 gesprächsleiter dar. die reihenfolge der behandelten themenbereiche kann willkürlich erfolgen, der befragte soll selbst seinen eigenen "erzählstrang" entwickeln; dabei "bleibt es dem geschick des interviewers überlassen, wann er gewisse grundfragen stellt, wie er sie formuliert und welch zusätzlicher sondierungsfragen er sich bedient." (bureau of applied social research, 1969, s. 146). die tonbandaufzeichnung hat den vorteil, daß der gesamte gesprächskontext erfaßt wird; um die interviews zu analysieren ist jedoch anschließend eine vollständige transkription der gespräche notwendig. besonders wichtig für die qualität dieser form der datenerhebung ist neben dem guten kontakt zwischen interviewer und gesprächspartner sowie einer atmosphäre von verständnis und wohlwollen insbesondere die art der gesprächsführung. mit hilfe der techniken der klientenzentrierten gesprächsführung, empathie, kongruenz und bedingungslose wertschätzung (rogers, 1983) wurde eine unverkrampfte und offene gesprächsbasis geschaffen, die die interviewpartner motivierte, auch emotional bedeutsame inhalte anzusprechen. zudem kannte der interviewer die interviewpartner bereits, da er den feldenkrais-kurs selbst durchgeführt und deren erfahrungen während des kurses begleitet hatte, und diese hatten in feedbacks während des kursverlaufs dem kursleiter bereits manche erfahrungen mitgeteilt, wodurch eine gewisse vertrautheit bestand. 8.7.2 der interviewleitfaden aus allgemeinen überlegungen und den beobachtungen während des kurses ergaben sich die themenschwerpunkte für den interviewleitfaden. im verlauf des gesprächs wurden dann folgende themenbereiche angesprochen: a) allgemeine einschätzung des kurses. b) veränderung der körperwahrnehmung. c) gedanken, bilder, gefühle während der stunden. zusätzliche sondierungsfragen berührten themen wie: angenehme/unangenehme stunden. veränderung des eßverhaltens. unterschiedliche wirkungen der stunden vormittags/nachmittags. etwas in den alltag mitnehmen aus dem kurs. einschätzung und erfahrungen bei den atemstunden. unterschiedliche wahrnehmung der körperhälften. kapitel 8. beschreibung der erhebungsinstrumente 75 das "auffangen" von gefühlen. 8.7.3 durchführung der interviews nach abschluß des kurses und nachdem sämtliche fragebögen ausgefüllt waren, wurden alle 15 teilnehmer interviewt. die interviews fanden entweder in der cafeteria der klinik oder im garten des klinikgeländes statt. die gesprächsdauer betrug etwa 1015 minuten. jedes interview wurde auf tonband aufgezeichnet, womit alle teilnehmer ohne einwände einverstanden waren. danach wurden die interviews vollständig transkribiert, damit die für die auswertung notwendige form der gespräche vorlag. die daten wurden anonymisiert, die interviewreihe chronologisch durchnumeriert und die namen verschlüsselt (vgl. anhang c). kapitel 9. darstellung der ergebnisse 76 9. darstellung der ergebnisse im folgenden werden für jedes verwendete erhebungsinstrument die ergebnisse dargestellt.7 bei den berechnungen, die mit dem programmpaket spss-x (schubö, uehlinger, perleth, svöger & sierwald, 1991) durchgeführt wurden, wurde jeweils ein signifikanzniveau von 0.050 zugrunde gelegt. 9.1 zufriedenheit mit dem eigenen körper da man nicht von einer normalverteilung ausgehen konnte und die stichprobe klein ist, wurden hier die veränderungen innerhalb jeder gruppe mit dem wilcoxon-test für paardifferenzen berechnet. die ergebnisse zeigt tabelle 6, in der feldenkrais-gruppe und kontrollgruppe einander gegenübergestellt sind. 7 für die beschreibung der einzelnen statistischen verfahren wird auf bortz (1989) und bortz, lienert und boenke (1990) verwiesen. kapitel 9. darstellung der ergebnisse 77 tabelle 6: vergleich von feldenkrais-gruppe und kontrollgruppe hinsichtlich der werte für zufriedenheit mit körperteilen und -funktionen bei mzp1 und mzp2. (angabe der rohwerte; signifikanzprüfung mittels wilcoxon-test.) feldenkrais-gruppe kontrollgruppe rohwerte z-wert p rohwerte z-wert p mzp1 mzp2 mzp1 mzp2 füße 45 46 -.219 .413 53 55 -.414 .339 beine 32 42 -1.511 .065 35 35 -.169 .433 knie 37 41 -.910 .181 51 46 -1.050 .146 hüften/oberschenkel 23 34 -1.883 .029 32 30 -.044 .482 gesäß 24 37 -2.395 .008 30 31 -.420 .337 bauch 22 26 -.829 .203 20 21 -.676 .249 rücken 44 44 -.350 .363 36 32 -.529 .277 schultern 49 50 -.059 .476 42 39 -.139 .444 oberkörper 35 45 -1.882 .023 31 33 -.400 .345 arme 48 55 -1.859 .031 44 47 -.666 .252 hände 53 59 -.980 .163 40 47 -1.267 .102 nacken 54 58 -.824 .199 43 48 -.823 .205 kopf 48 55 -1.007 .157 49 51 -.431 .333 haare 44 47 -.533 .297 41 39 -.350 .363 gesicht 46 45 -.235 .407 44 49 -.929 .176 nase 42 50 -1.333 .091 46 51 -1.153 .124 mund 47 53 -1.243 .108 52 53 -.236 .406 lippen 48 51 -.666 .252 52 53 -.236 .406 augen 55 53 -.101 .459 56 51 -.533 .297 haut 42 46 -.770 .220 39 40 -.622 .533 allg. körperl. erschein. 34 44 -1.732 .041 29 30 -.350 .363 gewicht 25 32 -1.184 .118 28 32 -.764 .222 größe 53 57 -1.183 .118 42 46 -1.066 .143 atmung 54 56 -.489 .312 46 46 -.152 .439 körperhaltung 31 38 -1.467 .071 33 33 .000 .500 körperformen 26 30 -1.183 .118 28 28 -.177 .429 verdauung 46 52 -1.303 .096 45 41 -1.183 .118 stimme 53 52 -.177 .429 47 40 -1.188 .117 leichtigkeit der beweg. 44 39 -.755 .225 35 36 -.177 .429 eleganz der bewegung 30 37 -1.244 .106 313 26 -.770 .220 gesundheit 39 50 -2.250 .012 34 31 -.676 .249 appetit 38 45 -1.007 .157 40 31 -1.330 .091 schlaf 46 43 -.296 .383 43 38 -.414 .339 lebendigkeit 42 45 -.509 .305 26 28 -.770 .220 legende: mzp1= meßzeitpunkt 1; mzp2= meßzeitpunkt 2; allg. körperl. erschein.=allgemeine körperliche erscheinung; leichtigkeit der beweg.= leichtigkeit der bewegung. kapitel 9. darstellung der ergebnisse 78 wie aus tabelle 6 ersichtlich ergaben sich für die feldenkrais-gruppe bei sechs items signifikante ergebnisse. bei der kontrollgruppe waren keine signifikanten veränderungen festzustellen. abbildung 3 zeigt die rohwerte dieser sechs items (hüften/oberschenkel, gesäß, oberkörper, arme, allgemeine körperliche erscheinung, gesundheit) für beide gruppen und meßzeitpunkte. r oh w er te 0 10 20 30 40 50 60 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 23 34 24 37 35 45 48 55 34 44 39 50 32 30 30 31 31 33 44 47 29 30 34 31 fg kg hüften/ober gesäß oberkörper arme allg. körperl. gesundheit schenkel erscheinung abbildung 3: signifikante items aus dem fragebogen zur 'zufriedenheit mit dem eigenen körper'. gegenüberstellung der rohwerte von feldenkrais-gruppe und kontrollgruppe je item bei meßzeitpunkt 1 und 2. zunahme der rohwerte bedeutet zunahme der zufriedenheit. (mzp= meßzeitpunkt; allg. körperl. erscheinung = allgemeine körperliche erscheinung; fg = feldenkrais-gruppe; kg = kontrollgruppe.) aus abbildung 3 ist ersichtlich, daß sich bei der feldenkrais-gruppe die zufriedenheit mit hüften/oberschenkeln, gesäß, oberkörper, armen, der allgemeinen körperlichen erscheinung sowie der gesundheit signifikant verbessert, wogegen bei der kontrollgruppe in diesen bereichen lediglich geringfügige veränderungen nach oben und unten eintreten. interessant sind hier insbesondere die verbesserungen bei der feldenkrais-gruppe in den für eßstörungen typischen bereichen, wie hüften/oberschenkel, gesäß und der allgemeinen körperlichen erscheinung sowie die verbesserung in der zufriedenheit mit der eigenen gesundheit. diese ergebnisse deuten darauf hin, daß die feldenkrais-methode verbesserungen in der zufriedenheit mit gerade für eßstörungen problematischen körperzonen sowie eine positivere einschätzung und einstellung in bezug auf die eigene gesundheit bewirkt. kapitel 9. darstellung der ergebnisse 79 kapitel 9. darstellung der ergebnisse 80 9.2 akzeptanz des eigenen körpers es wurden hier wiederum die veränderungen innerhalb jeder gruppe mit dem wilcoxon-test für paardifferenzen berechnet. die ergebnisse zeigt tabelle 7, in der feldenkrais-gruppe und kontrollgruppe einander gegenübergestellt sind. tabelle 7: vergleich von feldenkrais-gruppe und kontrollgruppe hinsichtlich der werte für akzeptanz des eigenen körpers bei mzp1 und mzp2 (signifikanzprüfung mittels wilcoxon-test). feldenkraisgruppe kontrollgruppe z-wert p z-wert p 1. meinen körper empfinde ich oft als unangenehm -1.717 .043 -.253 .399 2. in meinen bewegungen wirke ich oft ungeschickt und ungelenk -1.171 .043 -.674 .250 3. meine bewegungen wirken oft unbeholfen -.980 .163 -.801 .211 4 ich habe manchmal körperliche empfindungen, die mir unklar und rätselhaft bleiben -.591 .277 -.338 .367 5. ich sehe unreif aus -1.135 .088 -1.095 .137 6. ich fühle mich manchmal in meinem körper wie gefangen -1.048 .147 -.338 .367 7. es fällt mir schwer mich meinen bekannten und freunden körperlich zu nähern -1.400 .080 -.912 .180 8. durch meine körperliche konstitution fühle ich mich in meinem handlungsspielraum oft eingeschränkt -1.572 .057 -.943 .173 9. mein körper erscheint mir manchmal irgendwie fremd und fern -.840 .200 -1.213 .112 10. der eindruck, den ich mit meinem körper erwecke, stimmt oft nicht mit meinen wirklichen gefühlen überein -.888 .197 -.296 .383 11. es würde mir besser gehen, wenn ich anders aussähe -2.022 .021 -.730 .233 12. der eindruck, den ich mit meinem körper erwecke ist eher negativ -1.352 .088 .000 .500 13. wenn ich mich im spiegel genau betrachte komme ich mir manchmal fremd und unheimlich vor -2.100 .017 -.591 .554 14. ich habe selten freude an meinem körper -1.681 .046 .000 .500 15. wenn ich mich bewege verspüre ich oft meine eigene körperliche schwere als hinderlich .000 .500 -.140 .444 16. es gefällt mir oft nicht wie ich mich gebe und bewege .000 .500 -.404 .343 17. ich verspüre oft eine körperliche unruhe in mir -1.121 .131 -1.483 .069 18. insgeheim fürchte ich manchmal die anderen könnten mich wegen meines körperlichen aussehens ablehnen -.314 .376 .000 .500 19. körperlich fühle ich meistens unausgeglichen -1.480 .069 -1.095 .136 20. ich bin weniger zufrieden mit meinem körper als meine altersund geschlechtgenossen -1.078 .140 .000 .500 21. nach außen zeige ich oft eine kühle körperliche fassade gleich einer maske -1.120 .131 -.943 .176 legende: fg=feldenkrais-gruppe, kg= kontrollgruppe kapitel 9. darstellung der ergebnisse 81 wie aus tabelle 7 ersichtlich ergaben sich für die feldenkrais-gruppe bei fünf items signifikante unterschiede, bei der kontrollgruppe waren keine signifikanten veränderungen festzustellen. abbildung 4 zeigt die rohwerte dieser fünf items (items 1, 2, 11, 13, 14) für beide gruppen und meßzeitpunkte. r oh w er te 0 5 10 15 20 25 30 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 mzp 1 mzp 2 30 23 21 14 28 22 23 14 30 24 28 29 22 20 16 19 24 21 24 24 fg kg item 1 item 2 item 11 item 13 item 14 abb. 4: mangel an akzeptanz des eigenen körpers. signifikante items aus dem fragebogen zur 'akzeptanz des eigenen körpers'. gegenüberstellung der rohwerte von feldenkrais-gruppe und kontrollgruppe je item bei meßzeitpunkt 1 und 2. abnahme der rohwerte bedeutet abnahme des mangels an akzeptanz. (mzp= meßzeitpunkt; fg= feldenkrais-gruppe; kg= kontrollgruppe; item 1: meinen körper empfinde ich oft als unangenehm; item 2: in meinen bewegungen wirke ich oft ungeschickt und ungelenk; item 11: es würde mir besser gehen, wenn ich anders aussähe; item 13: wenn ich mich im spiegel betrachte, komme ich mir manchmal fremd und unheimlich vor; item 14: ich habe selten freude an meinem körper.) aus abbildung 4 wird deutlich, daß sich bei der feldenkrais-gruppe bei den items 1, 2, 11, 13 und 14 signifikante verbesserungen der akzeptanz des eigenen körpers ergeben, wogegen sich bei der kontrollgruppe bei diesen items nur eine geringfügige zuoder abnahme zeigte. demnach ergab sich für die feldenkrais-gruppe, daß der eigene körper nach dem kurs als angenehmer empfunden wird (item 1), daß die eigenen bewegungen als weniger ungeschickt und ungelenk erlebt werden (item 2), daß das eigene aussehen mehr akzeptiert wird (item 11), daß fremdheit und furcht beim betrachten des eigenen spiegelbildes abnehmen (item 13) und daß mehr freude in bezug auf den eigenen körper empfunden wird (item 14). interessant ist insbesondere die deutliche verbesserung bei item 13, das einen für eßstörungen typischen bereich der fremdheit gegenüber dem eigenen körper beschreibt. kapitel 9. darstellung der ergebnisse 82 diese ergebnisse deuten darauf hin, daß die feldenkrais-methode die akzeptanz des eigenen körpers in verschiedenen bereichen fördert, und sich dadurch insbesondere die vertrautheit mit dem eigenen körper verbessert. 9.3. psychische befindlichkeit berechnet wurden hier die werte für die zwei subskalen des emotionalitätsinventars emi-b, 'gestörtes allgemeinbefinden vs wohlbefinden' sowie 'gehemmtes vs spontanes befinden'. die ergebnisse der varianzanalyse für beide subskalen zeigen die tabellen 8 und 9. tabelle 8: subskala 'gestörtes allgemeinbefinden vs wohlbefinden' q.d.v. df ms f p fehler 26 508.72 gruppe 1 1321.14 2.60 0.119 fehler 26 88.06 zeitpunkt 1 157.79 1.79 0.192 gruppe mal zeitpunkt 1 82.57 0.94 0.342 tabelle 9: subskala 'gehemmtes vs spontanes befinden' q.d.v. df ms f p fehler 26 107,40 gruppe 1 240,29 2.24 0.147 fehler 26 25.30 zeitpunkt 1 157.79 6.24 0.019 gruppe mal zeitpunkt 1 171.50 6.78 0.015 die werte für die subskala 'gestörtes allgemeinbefinden vs wohlbefinden' (vgl. tab. 8) zeigen, daß im bereich eines allgemeinen wohlbefindens und einer ungestörten selbstbewertung (vgl. kap. 8.3) keine signifikanten änderungen eingetreten sind. im spezifischeren bereich 'hemmung' ergaben sich jedoch deutliche veränderungen bei der feldenkrais-gruppe, wie aus tabelle 9 ersichtlich. abbildung 5 zeigt die gruppenmittelwerte des signifikanten werts 'spontanes vs gehemmtes befinden' für beide gruppen und meßzeitpunkte (vgl. tab. 8). kapitel 9. darstellung der ergebnisse 83 sk al en m itt el w er te 0 5 10 15 20 25 30 35 40 mzp1 mzp2 37,9 31,1 38,5 38,7 fg kg abb. 5: mittelwerte von feldenkrais-gruppe und kontrollgruppe bei meßzeitpunkt 1 und 2 für die subskala 'gehemmtes vs. spontanes befinden' aus dem emotionalitätsinventar emi-b. (mzp = meßzeitpunkt; fg = feldenkrais-gruppe; kg = kontrollgruppe.) aus abbildung 5 ist ersichtlich, daß die feldenkrais-gruppe bedeutsame verbesserungen im bereich 'gehemmtes vs spontanes befinden' aufweist, wogegen sich die kontrollgruppe hier etwas verschlechtert. dieses ergebnis deutet darauf hin, daß die feldenkrais-methode eine abnahme eines gehemmten, schüchternen, zurückhaltenden und verschlossenen befindens sowie die zunahme eines spontanen, freien, offenen und selbstsicheren befindens fördert. 9.4. anorexia-nervosa-inventar zur selbstbeurteilung (anis) berechnet wurden hier die werte der zwei subskalen 'figurbewußtsein' und 'gefühl der überforderung'. die ergebnisse der varianzanalyse für beide subskalen zeigen die tabellen 10 und 11. tabelle 10: subskala 'figurbewußtsein' q.d.v. df ms f p fehler 26 280.12 gruppe 1 4.57 0.02 0.899 fehler 26 41.32 zeitpunkt 1 87.50 2.12 0.158 gruppe mal zeitpunkt 1 12.07 0.29 0.593 kapitel 9. darstellung der ergebnisse 84 tabelle 11: subskala 'gefühl der überforderung' q.d.v. df ms f p fehler 25 135.02 gruppe 1 3.52 0.03 0.873 fehler 25 12.11 zeitpunkt 1 45.13 3.73 0.065 gruppe mal zeitpunkt 1 77.72 6.42 0.018 bei der subskala 'figurbewußtsein' (vgl. tab. 10) konnten keine signifikanten veränderungen festgestellt werden, d.h. in den bereichen fasten, diät, eßverhalten und angst vor dem dickwerden waren keine wirkungen der feldenkrais-methode beobachtbar. wie aus tabelle 11 ersichtlich, ergaben sich aber für den bereich des 'gefühls der überforderung' deutliche veränderungen. abbildung 6 zeigt die gruppenmittelwerte des signifikanten werts 'gefühl der überforderung' für beide gruppen und meßzeitpunkte. sk al en m itt el w er te 0 2 4 6 8 10 12 14 16 18 20 mzp 1 mzp 2 18,4 14,2 16,6 17,1 fg kg abb. 6: mittelwerte von feldenkrais-gruppe und kontrollgruppe bei meßzeitpunkt 1 und 2 für die subskala 'gefühl der überforderung' aus dem anorexia-nervosa-inventar zur selbstbeurteilung (mzp = meßzeitpunkt; fg = feldenkrais-gruppe; kg = kontrollgruppe.) aus abbildung 6 ist ersichtlich, daß die feldenkrais-gruppe deutliche verbesserungen im bereich 'gefühl der überforderung' zeigt, wogegen die kontrollgruppe hier ein zunahme aufweist. die sieben items des faktors erstrecken sich auf für eßstörungen typische bereiche wie gefühle der ohnmacht und hilflosigkeit gegenüber äußeren anforderungen und erwartungen sowie auf gefühle der inneren leere, unruhe und minderwertigkeit. kapitel 9. darstellung der ergebnisse 85 das ergebnis deutet darauf hin, daß die feldenkrais-methode verbesserungen in bezug auf gefühle der hilflosigkeit gegenüber äußeren anforderungen, der inneren leere, der unruhe und der minderwertigkeit bewirkt. 9.5. eating disorder inventory berechnet wurden hier die werte der acht subskalen "drive for thinness", "bulimia", "body dissatisfaction", "interoceptive awareness", "maturity fears", "ascetism", "impulse regulation" und "social insecurity". die ergebnisse der varianzanalyse zeigen die in tabelle 12 wiedergegebenen varianztafeln. tabelle 12: varianztafeln der subskalen des eating disorders inventory subskala: drive for thinness q.d.v. df ms f p fehler 28 119.17 gruppe 1 0.02 0.00 0.991 fehler 28 15.58 zeitpunkt 1 40.02 2.57 0.210 gruppe mal zeitpunkt 1 7.35 0.47 0.498 subskala: bulimia q.d.v. df ms f p fehler 28 128.45 gruppe 1 317.40 2.47 0.127 fehler 28 30.56 zeitpunkt 1 459.27 15.03 0.001 gruppe mal zeitpunkt 1 0.00 0.00 1.000 subskala: body dissatisfaction q.d.v. df ms f p fehler 28 228.89 gruppe 1 360.15 1.57 0.220 fehler 28 22.10 zeitpunkt 1 0.82 0.04 0.849 gruppe mal zeitpunkt 1 40.02 1.81 0.189 kapitel 9. darstellung der ergebnisse 86 fortsetzung tabelle 12: varianztafeln der subskalen des eating disorders inventory subskala: interoceptive awareness q.d.v. df ms f p fehler 28 110.99 gruppe 1 91.27 0.82 0.372 fehler 28 15.56 zeitpunkt 1 17.07 1.10 0.304 gruppe mal zeitpunkt 1 3.27 0.21 0.650 subskala: maturity fears q.d.v. df ms f p fehler 28 96.52 gruppe 1 198.02 2.05 0.163 fehler 28 8.79 zeitpunkt 1 10.42 1.19 0.286 gruppe mal zeitpunkt 1 40.02 4.55 0.042 subskala: ascetism q.d.v. df ms f p fehler 28 36.80 gruppe 1 25.35 0.69 0.414 fehler 28 10.85 zeitpunkt 1 2.82 0.26 0.614 gruppe mal zeitpunkt 1 40.02 3.69 0.065 subskala: impulse regulation q.d.v. df ms f p fehler 28 91.71 gruppe 1 45.07 0.49 0.489 fehler 28 16.66 zeitpunkt 1 2.40 0.14 0.707 gruppe mal zeitpunkt 1 13.07 0.78 0.383 subskala: social insecurity q.d.v. df ms f p fehler 28 48.08 gruppe 1 96.27 2.00 0.168 fehler 28 5.80 zeitpunkt 1 11.27 1.94 0.174 gruppe mal zeitpunkt 1 4.27 0.74 0.398 kapitel 9. darstellung der ergebnisse 87 abbildung 7 zeigt die gruppenmittelwerte des signifikanten werts der subskala 'maturity fears' für beide gruppen und meßzeitpunkte. sk al en m itt el w er te 0 2 4 6 8 10 12 14 16 18 20 mzp 1 mzp 2 15,7 13,2 17,7 18,5 fg kg abb. 7: mittelwerte von feldenkrais-gruppe und kontrollgruppe bei meßzeitpunkt 1 und 2 für die subskala 'maturity fears' aus dem eating disorders inventory.(mzp = meßzeitpunkt; fg = feldenkrais-gruppe; kg = kontrollgruppe.) abbildung 7 zeigt eine deutliche abnahme bei der feldenkrais-gruppe und eine zunahme bei der kontrollgruppe im bereich 'maturity fears'. die acht items der subskala 'maturity fears' erfassen den wunsch in die sicherheit der frühen kindheit zurückzukehren, mit fragen wie "die anforderungen der erwachsenenwelt sind mir zu groß" oder "ich habe das gefühl, daß die menschen als kinder am glücklichsten sind". dieses ergebnis deutet darauf hin, daß die feldenkrais-methode dahingehend wirkt, daß der wunsch abnimmt, in eine kindliche abhängigkeit zurückzukehren, und erwachsenes, reiferes verhalten und die übernahme von verantwortung für das eigene leben gefördert wird. bei der subskala 'bulimia' ergab sich aufgrund des faktors 'gruppe' ein signifikanter unterschied. abbildung 8 zeigt die gruppenmittelwerte für beide gruppen und meßzeitpunkte. kapitel 9. darstellung der ergebnisse 88 sk al en m itt el w er te 0 5 10 15 20 25 mzp 1 mzp 2 21,6 1617 11,4 fg kg abb. 8: mittelwerte von feldenkrais-gruppe und kontrollgruppe bei meßzeitpunkt 1 und 2 für die subskala 'bulimia' aus dem eating disorders inventory. (mzp = meßzeitpunkt; fg = feldenkrais-gruppe; kg = kontrollgruppe.) aus abbildung 8 ist ersichtlich, daß beide gruppen verbesserungen um genau den gleichen betrag aufweisen. da das ausgangsniveau aber sehr verschieden ist, kann dieser befund nicht interpretiert werden. in den weiteren subskalen "drive for thinness", "body dissatisfaction", "interoceptive awareness", "ascetism", "impulse regulation" und "social insecurity" waren keine signifikanten unterschiede und damit auch keine wirkungen der feldenkrais-methode beobachtbar. 9.6. offene fragen wie bei der beschreibung der erhebungsinstrumente angeführt (vgl. kap. 8.6) wurden zusätzlich offene fragen formuliert, um weitere informationen zu erhalten, die durch die fragebögen nicht erfaßt werden konnten. diese fragen zielten auf das persönliche fazit nach dem kurs, auf bedeutsame erfahrungen während des kurses, auf allgemeine veränderungen und veränderungen der körperwahrnehmung sowie auf die einschätzung der feldenkrais-stunden für persönliche gesundheit und befindlichkeit. die offenen fragen lauteten wie folgt: 1. welches fazit ziehen sie für sich nach dem feldenkrais-kurs? 2. was geschah in ihnen während des feldenkrais-kurses? welche erfahrungen waren für sie interessant oder bedeutsam? 3. konnten sie aufgrund der feldenkrais-stunden irgendwelche veränderungen bei sich feststellen? kapitel 9. darstellung der ergebnisse 89 4. hat sich die wahrnehmung ihres körpers durch die feldenkrais-stunden irgendwie verändert? 5. wie würden sie den wert der feldenkrais-stunden für ihre gesundheit und ihre allgemeine befindlichkeit einschätzen? 9.6.1 fazit des kurses und bedeutsame erfahrungen während des kurses die fragen 1 und 2 (fazit und bedeutsame erfahrungen) wurden zusammen ausgewertet, da die antworten inhaltlich weitgehende überschneidungen aufwiesen. aus den nennungen konnten folgende kategorien gebildet werden (mehrfachnennungen waren möglich): tabelle 13: kategorien der antworten auf die offenen fragen 1 und 2 (angabe der häufigkeiten in absolutzahlen) kategorie häufigkeit bewußtere wahrnehmung des eigenen körpers, von körperfunktionen und teilen des körpers 11 entspannung, angenehmes körperempfinden und erfahrung der ruhe 11 wunsch, die feldenkrais-methode besser kennenzulernen 4 bewußtwerden der eigenen atmung 3 bewußtwerden mangelnder konzentrationsfähigkeit 3 gefühl der überforderung oder erschöpfung nach einer stunde 3 beruhigende wirkung der stimme des kursleiters 2 zunehmende leichtigkeit von bewegungen im verlauf einer stunde 2 erkennen von einschränkungen und zwängen 1 erfahrung der eigenen autonomie 1 entspannung als möglichkeit, von zwanghaften gedanken ans essen loszukommen 1 erfahrung des nicht-perfekt-sein-müssens 1 emotionale erlebnisse 1 freundlicheres umgehen mit dem eigenen körper 1 aus tabelle 13 läßt sich entnehmen, daß auf die fragen nach dem persönlichen fazit und nach bedeutsamen erfahrungen die beiden kategorien 'bewußtere wahrnehmung des körpers...' und 'entspannung und erfahrung der ruhe...', mit jeweils elf nennungen die größte mächtigkeit haben. kapitel 9. darstellung der ergebnisse 90 dies zeigt an, daß die feldenkrais-methode nützlich ist, um die wahrnehmungsfähigkeit des eigenen körpers zu verbessern und zu fördern, und daß mit hilfe der methode entspannung und ruhe erfahren werden kann. die weiteren nennungen geben einen einblick in die möglichen wirkungen der feldenkraismethode, wobei diese inhaltlich von der auswertung der interviews bestätigt werden und dort näher behandelt werden sollen (vgl. kap. 9.7). 9.6.2 erlebte veränderungen aus den antworten auf frage 3 (konnten sie veränderungen feststellen) ergaben sich folgende antwortkategorien (mehrfachnennungen waren möglich): tabelle 14: kategorien der antworten auf die offene frage 3 (angabe der häufigkeiten in absolutzahlen) kategorie häufigkeit bewußteres spüren des körpers 7 keine veränderungen 4 entspannung und ruhe 4 bewußtere atmung 4 positiveres umgehen mit sich selbst 3 bewußterer umgang mit schmerzen 2 leichtere bewegungen 1 bessere durchblutung 1 besserer schlaf 1 entspannen als alternative zum essen 1 aus tabelle 14 läßt sich entnehmen, daß sieben personen als veränderung angeben, daß sie ihren körper bewußter spüren, wobei nicht nur ein bewußteres spüren des körpers während der stunden gemeint ist, sondern eine allgemeine verbesserung der körperwahrnehmung. vier personen konnten keine veränderungen feststellen und jeweils vier nennungen bezogen sich auf eine förderung von entspannung und ruhe sowie eine bewußtere atmung. kapitel 9. darstellung der ergebnisse 91 9.6.3 erlebte veränderung der körperwahrnehmung die antworten auf die frage 4 (veränderung der körperwahrnehmung durch die stunden) sind aus abbildung 9 ersichtlich. demnach geben elf personen eine bewußtere wahrnehmung des eigenen körpers an, zwei personen antworteten mit nein, eine mit wenig und eine gab keine antwort. dieses ergebnis stimmt mit den antworten auf die ersten fragen überein und weist darauf hin, daß die feldenkrais-methode tatsächlich bei eßgestörten patienten eine bewußtere wahrnehmung des eigenen körpers fördert. antwortkategorien anzahl der nennungen 0 2 4 6 8 10 12 nein wenig bewußtere wahrnehmung keine antwort 2 1 11 1 abb. 9: antwortkategorien und anzahl der nennungen für die offene frage 4 'veränderung der körperwahrnehmung durch die stunden' (häufigkeiten in absolutzahlen) 9.6.4 einschätzung der feldenkrais-stunden auf die frage 5 (allgemeine einschätzung der feldenkrais-stunden für gesundheit und allgemeine befindlichkeit) gaben zwölf personen eine positive einschätzung, eine gab keine antwort und zwei gaben an, daß die stunden keinen besonderen wert für sie gehabt hätten (vgl. abbildung 10). antwortkategorien anzahl der kursteilnehmer 0 2 4 6 8 10 12 wertvoll keine antwort kein wert 12 1 2 abbildung 10: allgemeine einschätzung der feldenkrais-stunden für gesundheit und allgemeine befindlichkeit (häufigkeiten in absolutzahlen) kapitel 9. darstellung der ergebnisse 92 aus abbildung 10 läßt sich entnehmen, daß 12 der 15 personen den feldenkrais-kurs für ihre gesundheit und allgemeine befindlichkeit als wertvoll einschätzen. dies weist darauf hin, daß für einen großen teil der gruppe die feldenkrais-stunden eine positive wirkung auf gesundheit und allgemeine befindlichkeit gehabt haben. um obige abbildung transparenter zu machen, sind im folgenden beispielhaft einige zitate aus den antworten der kategorie "wertvoll" sowie der kategorie "kein wert" wiedergegeben (nummer der versuchsperson vor jeder antwort): person 12 : "als sehr gut. eine fortsetzung würde ich befürworten." person 1: "mir ging's nach den stunden besser, entspannter. die stunden haben spaß gemacht." person 2: "beachtenswert, um die ständig aufgebaute spannung bei der bulimie etwas abzubauen und besser an unterdrückte gefühle heranzukommen. gut auch die erfahrung des nicht-perfekt-sein-müssens." person 14: "sehr hoch. ich fühle mich gesünder dadurch, daß ich bewußter auf meinen körper achte." person 15: "könnte mir vorstellen, daß ich, wenn ich weitermache, damit meine gesundheit verbessern könnte." person 10: "sehr gut für jemanden, der seinen körper mehr wahrnehmen möchte, bzw. entspannung und ruhe sucht." person 7: "sehr wertvoll, weil ich mich seit dem kurs gedanklich und körperlich viel gelöster und entspannter fühle." person 4: "positiv, obwohl ich mit entspannung und körperwahrnehmung schon immer schwierigkeiten hatte." person 13: "hatte die empfindung, mir etwas gutes zu tun. die anfängliche skepsis ist in begeisterung umgeschlagen." die zwei antworten der kategorie "kein wert" lauteten wie folgt: person 8: "ich habe halt gelernt, mich auf meinen körper zu konzentrieren, aber das ist nicht das wichtigste." person 11: "der feldenkrais-kurs ist mir schwer gefallen, weil ich mich mit mir selbst beschäftigen mußte. außerdem, glaube ich, ist er nicht ganz meine fall." kapitel 9. darstellung der ergebnisse 93 9.7. auswertung der interviews nach abschluß des kurses und nach abgabe der zweiten fragebögen wurden mit den 15 teilnehmern der feldenkrais-gruppe interviews durchgeführt. die interviews wurden transkribiert und die qualitativen daten, d.h., die in schriftlicher form vorliegenden interviews, wurden mit hilfe der inhaltsanalytischen technik nach mayring (1990) ausgewertet. in mehreren arbeitsschritten wurden die transkribierten tonbandaufzeichnungen durchgesehen und dabei eine satz-für-satz-analyse vorgenommen. dabei wurde das datenmaterial in kategorien eingeteilt, wobei aufgrund geringer häufigkeiten darauf verzichtet wurde unterkategorien zu bilden. unterschiedliche aspekte einer kategorie wurden aber mit hilfe der jeweils entsprechenden ankerbeispiele dargestellt. dies alles erfolgte entsprechend den von mayring (1990) aufgestellten regeln: 1. definition von kategorien, 2. erläuterung durch ankerbeispiele, 3. benennung und differenzierung der kategorien. die antworten ließen sich unter folgenden kategorien zusammenfassen: a) allgemein intensivere und bewußtere körperwahrnehmung b) spezifische kinästhetische erfahrungen c) entspannende und beruhigende wirkung d) angenehme übungen und sonstige angenehme empfindungen e) tranceinduzierende wirkung f) positive wirkungen im bereich der eßstörungs-problematik g) emotionale erfahrungen während der stunden h) weitere wirkungen i) probleme während der stunden j) störungen von außen k) unangenehme übungselemente l) schwierigkeiten, einen zugang zu finden, oder geringes interesse m) integration von übungselementen in den alltag n) interesse an weiterführung des kurses und an weiterer beschäftigung mit der feldenkrais-methode abbildung 11 zeigt die absoluten häufigkeiten der antwortkategorien. kapitel 9. darstellung der ergebnisse 94 kategorien häufigkeiten 0 2 4 6 8 10 12 14 16 18 20 interesse an weiterer beschäftigung integration in den alltag geringes interesse unangenehme übungselemente störungen von außen probleme während der stunden weitere wirkungen emotionale erfahrungen wirkungen in bezug auf die eßstörung tranceinduzierende wirkung angenehme übungselemente entspannende wirkung kinästhetische erfahrungen bewußtere körperwahrnehmung 8 7 5 4 4 11 5 9 8 8 12 11 20 11 abbildung 11: die antwortkategorien der interviews und ihre absoluten häufigkeiten um abbildung 11 transparenter zu machen, wird im folgenden der kodierleitfaden dargestellt, anhand dessen das sprachliche material nach inhaltlichen strukturierungsgesichtspunkten ausgewertet wurde. dieser kodierleitfaden beinhaltet erstens die definition der kategorien, zweitens ankerbeispiele, bei denen es sich um die exemplarische illustration der kategorien anhand von prototypischen textstellen handelt, und drittens die kodierregeln, die zum zweck von eindeutigen zuordnungen die einzelnen kategorien gegeneinander abgrenzen (vgl. mayring, 1990). kapitel 9. darstellung der ergebnisse 95 9.7.1 kategorie 1: allgemein intensivere und bewußtere körperwahr-nehmung elf kursteilnehmer berichteten von überdauernden, also über die übungsstunden hinausgehenden veränderungen der körperwahrnehmung. davon bezogen sich acht nennungen auf allgemeine veränderungen, zwei weitere nennungen auf die atmung und eine auf die verbesserte körperwahrnehmung bei körperlicher betätigung. "die körperwahrnehmung hat sich wesentlich gebessert. ich hab am anfang immer das gefühl gehabt, ich muß meinen körper anfassen, um ihn zu spüren. während des kurses hab ich dann immer mehr gewußt wie ich aussehe, also ohne mich im spiegel anzukucken oder anfassen zu müssen. also ich hab jetzt ein bild davon, wie ich aussehe (...) ich schwimm also sehr gern, da spür ich meinen körper mehr, das gleitet so richtig durchs wasser, und ich streck mich da manchmal so richtig und genieß das. und je mehr ich mich auf die bewegung konzentriere, desto leichter fällt's mir. ich kann mir vorstellen, daß sich das durch die übungen so verändert hat." (frau ad, bulimia nervosa, s. 5) 8 "jetzt merk ich wieder, daß ich beine hab und daß ich füße hab und finger hab und einfach das, was ich vorher gar nicht mehr gekannt hab (....) und mit der atmung, ich konnte doch sonst nur durch den mund atmen. das war glaub ich, in der 3.stunde, auf einmal war die nase frei, und seitdem atme ich durch die nase." (frau do, bulimia nervosa, s. 7) "das ist ein verlauf. es ist also nicht so bei mir, daß, wenn ich jetzt eine stunde gemacht hab, daß ich dann meinen körper total wahrnehme oder so, sondern ich achte einfach mehr und mehr drauf. es ist zwar noch sehr selten, aber auf jeden fall ist es in bewegung gekommen." (frau re, bulimia nervosa, s. 4) aus den zitaten läßt sich erkennen, daß der eigene körper und die atmung durch die bewegungslektionen im allgemeinen und bei körperlicher betätigung bewußter wahrgenommen und erlebt wird. es zeigt sich der beginn eines entwicklungsprozesses 8 in den beispielen sind auslassungen von textteilen, die zugunsten einer strafferen darstellung ausgespart bleiben, mit '(...)' gekennzeichnet. erläuterungen des verfassers befinden sich in eckigen klammern '[ ]', fragestellungen des interviewers sind in spitzen klammern '< >' gesetzt. die angegebenen seitenzahlen beziehen sich auf das vollständig verschriftete datenmaterial (vgl. anhang c). kapitel 9. darstellung der ergebnisse 96 wie er typischerweise von der feldenkrais-methode angeregt wird in dem sich u.a. eine veränderung und vervollständigung des körperbildes andeutet. 9.7.2 kategorie 2: spezifische kinästhetische erfahrungen zwanzig nennungen beschreiben methodenspezifische kinästhetische erfahrungen (vgl. kap. 2.4.2), die als folge der anleitungen während einer bewegungslektion gemacht wurden. darunter fallen empfindungen von leichtigkeit, schwere, wärme und durchblutung; unterschiedliche wahrnehmung der körperhälften; bewußtere wahrnehmung des bodens; veränderte empfindung der qualität einer bewegung; veränderte wahrnehmung einzelner körperteile, organe und der atmung; sowie wirkungen der imaginationsübungen. "...und ich hab auch einmal, das war die letzte stunde, die wahrnehmung gehabt, als wie wenn die ganzen glieder einzeln dagelegen wären. alles einzeln, füße, beine und bauch, das war alles weg von mir, das war alles einzeln dagelegen. als wie wenn man's wieder zusammenbauen müßte. ich bin ja ganz ebenerdig dagelegen und da hab ich das gefühl gehabt, als wie wenn da beim kopf ein loch gewesen wäre, und der kopf wär quasi in der luft gewesen. wärme und durchblutung hab ich auch gemerkt, und ich merk es auch jetzt noch, wenn ich sport treib, das wird alles warm, das war vorher nicht. das schreib ich hundertprozentig den übungen zu, weil ich hab ja gar nicht mehr gewußt, was ich habe. <wie, was ich habe?> ja, welche organe ich hab, das hab ich einfach wieder alles gespürt. oder das herz schlagen gehört." (frau do, bulimia nervosa, s. 8) "während der stunden fielen mir manche sachen ein bißchen schwer, das fühlte sich irgendwie plump an. und das wird ja immer wiederholt bis zum schluß und am ende fiel's mir leicht, fast automatisch. obwohl es dieselbe bewegung war, hatte ich das gefühl, es geht fast von alleine." (frau ad, bulimia nervosa, s. 6) "zum beispiel, wo die übung dran war, sich in den boden sinken zu lassen, wurde ich also regelrecht, das hab ich gemerkt, schwer. ich hab gedacht, irgendwann gibt jetzt was nach. und danach hab ich eine wahnsinnige leichtigkeit gehabt. (...) da war ich also schwerelos, wenn man so sagen kapitel 9. darstellung der ergebnisse 97 will. ich hab zwar meine einzelnen körperteile gespürt, aber leicht, regelrecht leicht." (frau ro, anorexia nervosa, s. 1) "... da hab ich mir gedacht, bist du ausgeleiert, bist du steif, irgendwie, faules fleisch. das war auf der rechten seite ganz extrem." (frau he, adipositas, s. 11) aus den obigen interviewpassagen wird ersichtlich, daß neben einer sich im verlauf des kurses verändernden körperwahrnehmung (vgl. kategorie 1, kap. 9.7.1) während den einzelnen stunden spezifische kinästhetische erfahrungen gemacht wurden. typische wirkungen von feldenkrais-stunden sind die ungewohnte und ungewöhnliche wahrnehmung einzelner körperteile, die empfindungen von schwere, leichtigkeit, wärme und durchblutung sowie die unterschiedliche wahrnehmung der körperhälften. bewegungen, die am anfang einer stunde schwerfallen, werden häufig am ende mit großer leichtigkeit ausgeführt. 9.7.3 kategorie 3: entspannende und beruhigende wirkung elf äußerungen beziehen sich speziell auf die entspannende und beruhigende wirkung der bewegungslektionen während einer stunde. diese kategorie unterscheidet sich damit von kategorie 4 (vgl. kap. 9.7.4), in der insbesondere angenehme empfindungen angesprochen werden. "an allererster stelle war's entspannend für mich, total. und ich merk halt, daß mir das fehlt, daß ich mich schon entspannen will und daß ich mir entspannung immer nur übers essen hole, aber im grunde das auch keine entspannung ist. und selber gebe ich mir da immer keinen raum dafür, und da war es halt gut, daß es ein kurs ist, und dann war das gegeben, ich durfte mich jetzt entspannen. und dann hab ich das so gern in anspruch genommen und habe auch so richtig losgelassen, mich flachgelegt und genossen." (frau ad, bulimia nervosa, s. 5) "ich hab mich also auch regelrecht gehen lassen können. gedankenmäßig, problememäßig hab ich da total abgeschaltet. da hab ich dann alles irgendwie hinter mir gelassen. ich hab mich also wirklich voll nur auf das, was mir im moment jetzt gekommen ist konzentriert." (frau ro, anorexia nervosa, s. 1) kapitel 9. darstellung der ergebnisse 98 "hauptsächlich war's sehr entspannend. aber vor dem essen war's immer besser, weil man da nicht so müde ist als wie nach dem essen. da war das so anstrengend, da bin ich letztes mal eingeschlafen dabei." (frau zm, bulimia nervosa, s. 10) "also sehr beruhigend haben die [übungsstunden] auf mich gewirkt." (frau st, bulimia nervosa, s. 2) in diesen aussagen wird die entspannende und beruhigende wirkung der stunden hervorgehoben. durch die aufmerksam ausgeführten bewegungsfolgen entsteht ein meditativer effekt und das erleben des 'hier und jetzt' wird gefördert. eine für eßstörungen charakteristische spannung, die häufig nur über essen (und brechen) entladen wird, kann mit hilfe von körperlicher entspannung abgebaut werden. 9.7.4 kategorie 4: angenehme übungen und sonstige angenehme empfindungen zwölf kursteilnehmer beschreiben hier allgemeine angenehme empfindungen bei den übungen, z.b. daß sie die stunden einfach genießen konnten oder daß ihnen die zwanglosigkeit bei den übungen gutgetan hat. zu dieser kategorie gehören zudem äußerungen, die angenehme empfindungen bei bestimmten übungselementen beschreiben, wie z.b. beim kopfdrehen, bei atemübungen oder beim berühren des eigenen bauchs. "angenehm war noch diese atemübung, wo wir den bauch berührt haben, weil ich normalerweise meinen bauch gar nicht anfasse." (frau he, adipositas, s. 11) "die ganzen stunden waren eigentlich angenehm, hinterher fühlte man sich freier, leichter." (herr ba, adipositas, s. 10) "das war gut, daß da kein zwang war mitzumachen. da war ich angenehm davon überrascht, daß es so frei ist..." (frau zi, bulimia nervosa, s. 2) in feldenkrais-stunden wird immer wieder darauf hingewiesen, daß es nicht um leistung und das erreichen eines bestimmten ziels, sondern um den prozeß an sich und die qualität einer bewegung geht. die stunden sollen angenehm sein, wodurch der kapitel 9. darstellung der ergebnisse 99 lernprozeß gefördert wird. die obigen zitate lassen erkennen, daß verschiedene elemente von übungen oder die stunden insgesamt als angenehm empfunden wurden. 9.7.5 kategorie 5: tranceinduzierende wirkung acht kursteilnehmer schilderten tranceähnliche zustände während mancher übungen, wobei vier teilnehmer von inneren, bildlichen erlebnissen oder einem verlust des zeitgefühls, und weitere vier von der beruhigenden, entspannenden wirkung der stimme des kursleiters berichteten. "also mir hat das ganz viel gebracht, das daliegen, loslassen, keine gedanken festhalten, von allem lösen, da sind richtig filme abgelaufen. <was für filme waren das?> ja, ein durcheinander. das ist für mich richtig wie hypnose gewesen. das waren mal bunte bilder, und ich hab's auch nicht festgehalten. was finsteres hab ich eigentlich gar nicht gesehen. <wie meinen sie, fast wie hypnose?> dadurch, daß ich alles loslassen konnte. und ich nur sie gehört habe und ich hab mich da voll hingegeben. das ist alles leicht gegangen dann." (frau do, bulimia nervosa, s. 7) "... einfach nur wahrnehmen, wie mein körper auf diese übungen reagiert, oder auf die sprache reagiert von jemand, der so spricht, wie du in den übungen gesprochen hast. die sprache hat mich dabei doch am meisten beruhigt. dieses sehr langsame, deutliche sprechen und die ruhe, die ich so nicht kannte (...) <manchmal in den stunden hatte es den anschein, als wenn sie irgendwie weggegangen sind. sind ihnen da irgendwelche bilder, erinnerungen oder gefühle gekommen?> ich war gedanklich da irgendwo ganz woanders. wie in so einem traumbild. (...) durch diese konzentration kam ich da unweigerlich ran. ich hab da also nicht geschlafen, sondern hab mehr so phantasiebilder gehabt (...) das sind einfach wunschbilder, und es war gut da reinzugehen. vom ablauf der stunde bekam ich halt nichts mit in diesem fall..." (herr wd, adipositas, s. 9) "...und manchmal hab ich ein gefühl gehabt, wie wenn ich vier stunden geschlafen hätte, auch wenn ich nicht geschlafen hab. insgesamt war's, wie wenn ich etliche stunden ganz woanders war. (frau zm, bulimia nervosa, s. 10) kapitel 9. darstellung der ergebnisse 100 die aussagen zeigen, daß während mancher stunden tranceähnliche zustände erlebt werden. die stimme des kursleiters und die ruhige art des sprechens fördern die erfahrung von ruhe und tiefer erholung teilweise verbunden mit einem verlust des zeitgefühls. dabei können bilder und 'filme' vor dem inneren auge erscheinen. eine kursteilnehmerin vergleicht diesen zustand mit einer art hypnose. sie führt das darauf zurück, daß sie sich voll an die stimme des kursleiters hingegeben hat. dies weist auf die tranceinduzierende wirkung der bewegungslektionen hin und gibt einen hinweis auf die möglichkeiten hypnotherapeutischer interventionen in der feldenkrais-methode. 9.7.6 kategorie 6: positive wirkungen im bereich der eßstörungs-problematik sieben teilnehmer berichteten von wirkungen des kurses in bezug auf ihr eßverhalten. die angesprochenen bereiche der eßstörungsproblematik sind dabei die übermäßige gedankliche beschäftigung mit essen, figur und gewicht, die veränderungen des körperbildes, die wahrnehmung innerer reize wie hunger und sattheit sowie alternative verhaltensweisen bei einem heißhungeranfall. die stellen der interviews, die diese kategorie bilden werden hier vollständig wiedergegeben, da sie für die untersuchung von besonderem interesse sind. übermäßige gedankliche beschäftigung mit essen, figur und gewicht zitat 1 "oder es war einmal, da, eben weil ich ja unter eßstörung leide, da ist es mir nicht so gut gegangen, und ich hab ziemlich oft ans essen gedacht und war eben da in feldenkrais dringelegen und konnte tatsächlich dann abschalten, das hat mir unheimlich gutgetan. [das war in der vormittags-stunde, also vor dem essen.] und danach bin ich zum essen gegangen, mit einer ganz anderen einstellung, das hat gutgetan, viel entspannter, nicht mit so einem zwang oder drang dahinter." (frau zi, bulimia nervosa, s. 2) zitat 2 "wichtig ist gewesen, daß ich kurz nach dem mittagessen immer feldenkrais gehabt hab, und daß ich dann einfach mich mit den gedanken nicht immer nur aufs essen konzentrieren konnte, einfach keine zeit dazu gehabt hab, und das war ganz gut. weil ich dann nachher einfach überhaupt keine probleme mehr mit dem essen gehabt hab. bei mir ist ja nur das kapitel 9. darstellung der ergebnisse 101 mittagessen das problem (...) und da hab ich nicht mehr so drangedacht, daß ich voll wäre oder daß ich zunehmen könnte. und auch den restlichen tag hab ich's mir dann gutgehen lassen. weil ich einfach meinen körper bewußt erlebt hab, daß er einfach jetzt nicht so aufgeschwemmt ist oder nicht so voll." (frau sc, bulimia nervosa, s. 4) die zitate zeigen, daß veränderungen auftreten in bezug auf die zwanghafte gedankliche beschäftigung mit dem essen, wie sie symptomatisch für patientinnen mit bulimia nervosa ist. durch die realistischere wahrnehmung des eigenen körpers wird eine entspanntere einstellung zum essen gewonnen, was sich auf das befinden insgesamt positiv auswirkt. veränderungen des körperbildes zitat 3 "sonst hab ich immer nach dem essen gebrochen, und montags war die stunde nach dem essen und ich konnte mich einfach nicht aufs brechen konzentrieren, hab keine zeit dazu gehabt. und auch wenn ich [nach der vormittagsstunde] zum essen gegangen bin, hab ich auch nicht gebrochen. also irgendwie hab ich einfach gemerkt, daß mein bauch also nach dem essen nicht so ist, wie ich's mir eigentlich immer vorstelle. so wie ein ballon. sondern, daß er einfach ganz normal ist." (frau sc, bulimia nervosa, s. 4) genauer als in zitat 2 berichtet frau sc, daß sie durch die feldenkrais-stunden davon abgehalten wurde, sich auf das brechen zu konzentrieren, und daß sie ihren bauch nicht wie einen ballon, sondern ganz normal wahrgenommen habe. dies weist auf die veränderung eines gestörten körperbildes hin und zeigt, daß durch die feldenkraismethode ganz konkrete veränderungen des eßverhaltens bewirkt werden. wahrnehmung innerer reize wie hunger und sattheit zitat 4 "bei einer stunde vor dem essen hab ich das erste mal wieder meinen magen knurren gehört. ich mein, ich hab eßstörungen, ich hab normal kein sättigungsgefühl. daß ich überhaupt hunger hab, daß hab ich gar nicht mehr kapitel 9. darstellung der ergebnisse 102 gewußt, das war mir gar nicht mehr bewußt. und da auf einmal, ich hab's auch in der stations-gruppe erzählt, hat mir der magen geknurrt. das hab ich gar nicht mehr gekannt. und jetzt mittlerweile knurrt er auch, das hab ich auch erst da wieder kennengelernt, in diesem kurs jetzt." (frau do, bulimia nervosa, s. 7) frau do schildert, daß sie in einer stunde das erste mal wieder ihren magen knurren hörte und gespürt hat, daß sie hunger hat. dies weist darauf hin, daß durch eine verbesserung der körperbewußtheit wieder interozeptive reize wie hunger (und auch sattheit) erlebt werden können, was ein elementares anliegen bei der therapie von eßstörungen ist. zitat 5 "ich muß auch sagen, nach dem feldenkrais hab ich auch viel mehr hunger gehabt. also am montag nicht, weil das nach dem essen war. aber, also am dienstag [nach der vormittagsstunde], da bin ich immer mit einem hunger an den tisch hingegangen, daß ich mir gedacht hab, na! also das hab ich noch nie so mitgekriegt. also aber nach dem feldenkrais hab ich immer hunger gehabt, weil ich total entspannt war, und dann ist der hunger gekommen, nicht so verkrampft war ich dann. da hab ich's gar nicht mehr erwarten können, bis es essen gegeben hat. da hab ich schon kleinigkeiten gebraucht bis zum essen." (frau ko, bulimia nervosa, s. 13) frau ko gibt an, daß sie aufgrund der stunden (vor dem mittagessen) immer total entspannt war und dann viel mehr hunger gehabt hat. dies zeigt, daß durch entspannung, die in feldenkrais-stunden erfahren wird, die wahrnehmung von hunger gefördert wird. zitat 6 "ich bin jetzt auch am phasetisch und irgendwie hat sich bei mir beim essen was verändert. <meinen sie, daß diese übungen etwas damit zu tun haben?> gefühlsmäßig ja. indem ich von selber schon langsamer gegessen habe. mehr in mich reingehorcht habe, während dem essen, ob hunger oder satt." (herr wd, adipositas, s. 8) herr wd beschreibt, daß er langsamer ißt und während des essens mehr in sich hineinhorcht, ob er noch hunger hat oder schon satt ist. er führt diese veränderungen auf die übungen zurück. dies läßt den schluß zu, daß durch verbesserung der kapitel 9. darstellung der ergebnisse 103 körperbewußtheit wieder hunger und sättigung erlebt werden und sich dadurch das eßverhalten verändert. alternative verhaltensweisen bei einem heißhungeranfall zitat 7 "das hab ich auch mal gemacht, als ich mal abends so einen hungeranfall kriegte. als das dann kam und dann kam auch diese erinnerung an einen rat aus der einzeltherapie, daß man eben versuchen sollte, die dinge auch mal anders zu kompensieren, und nicht mit essen, sondern versuchen soll, reinzuhorchen, was das denn wirklich ist. als ich mir dann auch keinen anderen rat mehr wußte, hab ich angefangen, mich zu entspannen, dann ließ das tatsächlich nach. das war also eine eher seltsame erfahrung, würd ich sagen. weil ich gedacht habe, das kann man normalerweise nur mit essen kriegen." (frau he, adipositas, s. 11) frau he berichtet, wie sie einen hungeranfall aufgefangen hat, indem sie sich entspannte und in sich hineinhorchte. das zitat weist darauf hin, daß durch die feldenkrais-methode die fähigkeit zur bewußten entspannung gefördert wird. dies kann als alternative zur spannungsabfuhr durch übermäßiges essen genutzt werden. zitat 8 "essen war bei mir 'ne sache, um streß, gefühle, alles mögliche wegzudrücken, mich auszuschalten. und jetzt ist es vielleicht so, daß ich mich lieber hinlege und dann schaue, was jetzt eigentlich bei mir los ist. aber das ist jetzt nicht nur feldenkrais alleine. es sind sicher die ganzen sachen, z.b. anti-diät, daß man mal dahinterschaut, in was für einem kreislauf man drin ist. aber einfach mal von dieser eß-schiene wegkommen und hinlegen und jetzt schau mal, was bei dir los ist." (frau rm, bulimia nervosa, s. 3) frau rm erklärt, wie sie früher essen benützt hat, um sich auszuschalten, und daß sie sich jetzt statt dessen entspannt und sich bewußt macht, was bei ihr los ist. sie führt diese entwicklung zum einen auf die feldenkrais-stunden, zum anderen auf weitere bestandteile des therapieprogramms, wie den anti-diät-kurs der klinik (vgl. kap. 3.5.) zurück. kapitel 9. darstellung der ergebnisse 104 9.7.7 kategorie 7: emotionale erfahrungen während der stunden neun nennungen bezogen sich allgemein auf emotionale erfahrungen während der stunden, wovon fünf nennungen von einer art von existentiellen erfahrungen und einsichten berichten. "also daß wir uns nicht anstrengen sollten, das fand ich auch total schön. einfach das so zu machen, wie ich's kann, und es ist okay. das hab ich genossen, nicht so perfekt sein zu müssen. weil ich halt oft merk, es muß gut sein, ich muß das gut machen, um anerkennung zu bekommen... <wie waren denn die atemstunden für sie?> irgendwie hatte ich das gefühl, da so eine blockade freizuatmen oder sowas. erstmal hab ich da gemerkt, wie flach ich atme, und als es dann mehr durchströmte, tat es auch manchmal weh, kribbelte und dann kam irgendwie mehr zurückgeflossen. viele gefühle kamen dann hoch. bei dem einen mal war ich in einer schlechten phase, da kamen so die ganzen depressionen hoch, deswegen mußt ich dann auch so weinen. das war schrecklich, da dacht ich, ja was mach ich denn jetzt, da hab ich so den boden verloren, und ich lag ja schon, aber es ging tief, tief runter, und da war ich richtig erschrocken. <hätten sie sich gewünscht, daß das irgendwie aufgefangen wird?> ja, das gefühl hatte ich oft, daß mich in diesen stunden einfach jemand nimmt und hält und wärme gibt. da hab ich mich dann mehr wie so ein kleines kind, bedürftig oder so gefühlt." (frau ad, bulimia nervosa, s. 5) frau ad betont im ersten teil des zitats, daß sie es genossen hat, nicht so perfekt sein zu müssen. es ist ein elementares prinzip der feldenkrais-methode, immer wieder darauf hinzuweisen, die übungen etwas weniger gut und nicht perfekt zu machen. die aussage zeigt, daß die feldenkrais-methode geeignet ist, in dem für manche eßstörungen typischen bereich eines übertriebenen perfektionismus anregungen für veränderungen zu geben. weiter schildert frau ad, wie sie bei einer atemstunde ein strömen, dann viele gefühle, wie trauer und den wunsch nach geborgenheit und wärme spürte. dies zeigt, daß insbesondere die lektionen der feldenkrais-methode, die mit dem atem arbeiten, veränderungen starrer emotionaler muster anregen. "vor allen dingen bin ich also in den stunden, also zweimal, so richtig mit einem hochgefühl da raus, weil ich das gefühl hatte, ich stehe also erst einmal so richtig seit längerer zeit. dieses wohlbefinden, dazustehen und kapitel 9. darstellung der ergebnisse 105 überhaupt mittendrin zu stehen. (...) also so ein gefühl hab ich schon jahrelang nicht mehr gehabt." (frau he, adipositas, s. 11) am ende einer feldenkrais-stunde läßt man die teilnehmer meist zum stehen kommen und spüren, wie sie dastehen. frau he schildert, wie sie am ende zweier stunden dabei ein hochgefühl und wohlbefinden erlebt hat, daß sie jahrelang nicht mehr gehabt hat. grundlegende körperliche funktionen, wie z.b. das stehen werden häufig am ende einer feldenkrais-stunde mit einer völlig neuen qualität erlebt. dies kann dann zu emotionalen reaktionen oder existentiellen erfahrungen führen, wie in diesem fall zu einem hochgefühl 'mittendrin zu stehen'. 9.7.8 kategorie 8: weitere wirkungen fünf nennungen beziehen sich auf sonstige wirkungen, die durch die anderen kategorien nicht erfaßt werden, wie besseres einschlafen oder vermindertes zähneknirschen. "und gut schlafen konnt ich auch. sonst kann ich immer nicht einschlafen, und in der zeit, wo ich feldenkrais hatte, hab ich mich so entspannen können, da konnt ich total gut einschlafen. den ganzen tag war ich dann besser drauf. (...) und das mit dem zähneknirschen ist auch leichter geworden." (frau ko, bulimia nervosa, s. 14) frau ko schildert, daß sie in der zeit des feldenkrais-kurses besser einschlafen konnte und ihr zähneknirschen leichter geworden ist. dies deutet darauf hin, daß aufgrund der entwicklung des körpergefühls und der regulierung eines zu hohen (oder zu niedrigen) muskeltonus' veränderungen in verschiedensten bereichen auftreten können. 9.7.9 kategorie 9: probleme während der stunden in elf äußerungen wurden probleme während oder nach einer stunde beklagt. vier teilnehmer berichteten von übelkeit und schwindelgefühlen, weitere nennungen beziehen sich auf rückenschmerzen, atemprobleme, erschöpfung, widerwillen gegen entspannung, verärgerung über die eigene unfähigkeit sowie auf hörprobleme. kapitel 9. darstellung der ergebnisse 106 "ich weiß zwar, worum's geht, aber wenn's dann heißt, konzentrieren sie sich auf den arm, ich persönlich vom verstand her bin bereit, alles schön brav mitzumachen. aber es geht nicht. es fällt mir regelrecht schwer, ich verkrampf mich dann. (...) z.b. zum schluß bei manchen übungen fühlte ich mich unwohl, hatte kopfschmerzen und übelkeit." (frau kl, bulimia nervosa zusatzdiagnose: alkoholund medikamentenabusus, s. 6) "also am anfang ist's mir immer schlecht geworden. mit der linken seite, da hab ich immer schwierigkeiten gehabt, da hab ich nämlich immer meine lähmungen [laut diagnose psychogene lähmungen] gehabt und da ist es nicht so gut gegangen. nach einer der ersten stunden mußt ich mich dann auch übergeben. nachdem sie mir dann aber gesagt haben, daß ich die übungen dann nur mit der rechten seite ausführen soll, hab ich das gemacht und dann ist's einwandfrei gewesen." (frau ko, bulimia nervosa, s. 13) die zitate machen deutlich, daß es für manche patienten schwierig sein kann, sich auf die meist ruhigen und langsamen bewegungsfolgen einzulassen. und da bei vielen lektionen insbesondere der gleichgewichtsund raumsinn angesprochen wird, können sich probleme ergeben, wie übelkeit, schwindelgefühle oder kopfschmerzen. zudem ist auf spezifische einschränkungen mancher teilnehmer zu achten. 9.7.10 kategorie 10: störungen von außen drei interviewpartner beschwerten sich über störungen während der stunden durch laute atemgeräusche zweier adipöser kursteilnehmer, eine teilnehmerin beklagte die ihrer ansicht nach zu große gruppe. "...oder wenn's vielleicht eine kleinere gruppe wäre, dann ging's auch wieder, aber diese große gruppe..." (frau rm, bulimia nervosa, s. 3) "also unangenehm war das mit dem schnarchen [der beiden adipösen männer]. wenn ich mich beim feldenkrais entspannt habe, dann ist schnarchen für mich, als würd mir jemand in den magen reinhauen. also das ist dann zack weil ich dann wirklich ganz offen bin. und da bin ich dann total unruhig gewesen, ich hab mich auch geärgert, daß ich nichts gesagt habe zu den typen." (frau rm, bulimia nervosa, s. 3) kapitel 9. darstellung der ergebnisse 107 die aussagen machen deutlich, daß die größe der gruppe sowie laute atemund schnarchgeräusche zweier adipöser kursteilnehmer mit 'pick-wick-syndrom'9 (vgl. pschyrembel, 1990), als störend empfunden wurden. 9.7.11 kategorie 11: unangenehme übungselemente vier teilnehmer beklagten sich über die achte lektion, die ihnen schwerfiel oder unangenehm war. "die übung mit dem brett, die hat mich absolut gestört, das war mir unangenehm. da hab ich so gespürt, daß mein körper aufklappt und auseinanderfällt, was normal eine einheit ist. und mir einfach diese bewegungsabläufe in dieser übung, daliegen wie ein kleines kind, was mit händen und füßen strampelt, zuwider waren." (herr wd, adipositas, s. 9) die aussage bezieht sich auf die achte stunde, bei der ein imaginäres brett in verschiedenen variationen mit händen und füßen betastet wurde. hier sind zwei erklärungen denkbar: entweder, weil die stunde eher mäßig gelungen ist, oder weil eine abwehr gegen die kindlichen bewegungsmuster (strampeln) dieser übung bestand. 9.7.12 kategorie 12: schwierigkeiten, einen zugang zu finden, oder geringes interesse vier kursteilnehmerinnen gaben an, daß es für sie schwierig war, sich auf diese art bewegungslektionen einzulassen. eine teilnehmerin hatte eher geringes interesse an dem kurs. "ich hab mich angestrengt, die einzelnen körperteile wahrzunehmen, das war irgendwie sehr schwierig für mich. aber hinterher hab ich mich auch nicht besser gespürt." (frau zm, bulimia nervosa, s. 10) "vielleicht bereu ich das jetzt im nachhinein, daß ich die ganze sache nicht ernstgenommen hab (...) in soviel kliniken war ich jetzt schon, wo ich 9 beim pick-wick-syndrom kommt es aufgrund hochgradiger fettsucht und fettablagerung in der umgebung der lungen zu somnolenz und anfallsweise auftretenden schlafzuständen. kapitel 9. darstellung der ergebnisse 108 immer ein bißchen was mitgemacht hab. das funktioniert bei mir nicht." (frau kl, bulimia nervosa, s. 7) die zitate zeigen, daß es für einige teilnehmer der gruppe schwierig war, den eigenen körper wahrzunehmen, oder daß eine eher geringe motivation für diese art von körperarbeit vorhanden war. dieses ergebnis bestätigt beobachtungen bei feldenkraisgruppen mit gesunden personen, bei denen ebenfalls meist einige teilnehmer sich erst mit der zeit auf die ungewohnten bewegungsfolgen einlassen können. es scheint, daß gerade personen mit noch gering entwickeltem körpergefühl oder einem eher gestörten verhältnis zum eigenen körper hier anfangsschwierigkeiten und widerstände haben. 9.7.13 kategorie 13: integration von übungselementen in den alltag sieben interviewpartner berichteten, daß sie elemente aus den übungen auch nach den stunden wiederholt und genutzt haben, um besser einschlafen zu können, sich zu entspannen, bei aufregung oder einfach aus interesse. "und wenn ich mich aufreg, dann sag ich mir jetzt ruhig, entspannen, entspannen, locker sehen. oder die atmungen hab ich auch selber gemacht, also wenn ich mich wieder aufgeregt hab. ich hab viel vom feldenkrais, da mach ich immer viel." (frau ko, bulimia nervosa, s. 13) "meistens hab ich die übungen am abend dann aufgeschrieben (...) ja, in den letzten wochen hab ich schon dann gekuckt, wie liege ich oder so, und hab bestimmte übungen mal gemacht." (frau we, adipositas, s. 12) "und wenn ich nicht einschlafen kann (...) ich hab da einfach versucht, mich zu entspannen und einen gewissen wortlaut aus den stunden mir wieder zurückzurufen und das an mir selber auszuprobieren. da konnte ich total gut einschlafen." (frau ro, anorexia nervosa, s. 1) die aussagen lassen erkennen, daß die fähigkeit entsteht, sich z.b. bei kritischen situationen oder einschlafschwierigkeiten selbst zu entspannen, oder daß einfach interesse an der entwicklung der eigenen körperbewußtheit geweckt wurde. wichtige prinzipien oder bestimmte elemente von übungen wurden bereits während des kurses in den alltag übernommen. kapitel 9. darstellung der ergebnisse 109 9.7.14 kategorie 14: interesse an weiterführung des kurses und an weiterer beschäftigung mit der feldenkrais-methode sechs kursteilnehmer äußerten ihr interesse daran, den kurs fortzuführen oder nochmals einen kurs in der klinik zu machen, zwei teilnehmer wollten sich darüber hinaus selbständig anhand von büchern und weiteren kursen auch außerhalb der klinik mit der feldenkrais-methode befassen. "und ich kann wirklich jedem feldenkrais empfehlen und ich möcht es auch weitermachen, möchte mir auch das buch kaufen. also ich war begeistert vom feldenkrais." (frau sc, bulimia nervosa, s. 4) "vier wochen fand ich auf jeden fall viel zu kurz. (...) aber ich denk mir, wenn ich das länger machen würde, könnten stärkere veränderungen passieren." (frau ad, bulimia nervosa, s. 5) "mir persönlich hat's ganz viel gebracht und ich würd's auch gern wieder machen." (frau sc, bulimia nervosa, s. 8) aus den interviewpassagen wird das interesse an und der wunsch nach weitergehender beschäftigung mit der feldenkrais-methode in der klinik oder auch nach dem klinikaufenthalt ersichtlich. bei längerer kursdauer werden stärkere veränderungen für möglich gehalten. kapitel 10. diskussion 110 10. diskussion vor einer abschließenden diskussion der befunde sollen folgende methodische aspekte in betracht gezogen werden. die stichprobe der vorliegenden untersuchung war mit 15 personen je experimental und kontrollgruppe relativ klein. eine vergrößerung der gruppen hätte aber eine unzumutbare wartezeit für viele patienten zur folge gehabt, zudem wäre es nicht sinnvoll gewesen, mit einer wesentlich größeren gruppe einen feldenkrais-kurs durchzuführen, da die überschaubarkeit der gruppe, das eingehen auf einzelne personen und die entwicklung eines gruppengefühls entscheidend eingeschränkt gewesen wäre. als alternative dazu wäre ein zweiter durchlauf des programms denkbar gewesen. dies hätte aber, obwohl wünschenswert, den zeitlichen rahmen und organisatorischen aufwand der untersuchung gesprengt. ebenfalls um eine zu lange wartezeit für viele patienten zu vermeiden, mußten die beiden gruppen aus patienten der verschiedenen eßstörungsformen zusammengestellt werden (vgl. kap. 7). dadurch waren die gruppen heterogen und aussagen können nicht spezifisch für eine eßstörungsform formuliert werden. diese art der gruppenbildung entsprach dem behandlungskonzept der klinik, bei dem patienten mit unterschiedlichen eßstörungen gemeinsam auf einer station untergebracht sind und an den verschiedenen gruppentherapien teilnehmen (vgl. kap. 3.4). die vorliegenden ergebnisse beleuchten einen relativ kurzfristigen effekt, der mit zwei messungen in einem zeitraum von etwa einem monat erfaßt wurde. die fragebogen-meßinstrumente im bereich des verhältnisses zum eigenen körper ('zufriedenheit mit dem eigenen körper' und 'akzeptanz des eigenen körpers') wurden jeweils aus items bestehender fragebögen zusammengestellt, da diese entweder zu umfangreich, nur teilweise relevant oder unbefriedigend erschienen (vgl. kap. 8.1 und 8.2). in den bereichen 'psychische befindlichkeit' und 'spezifische eßstörungsproblematik' (emi-b, anis, edi-2, vgl. kap. 8.3, 8.4 und 8.5) wurden jeweils nur die subskalen aus den erprobten instrumenten verwendet, die für die untersuchung am interessantesten erschienen, um die versuchspersonen nicht mit einer zu umfangreichen befragung zu überfordern. 10.1 verhältnis zum eigenen körper ein allgemeines merkmal aller formen von eßstörungen ist ein gestörtes verhältnis zum eigenen körper (bruch, 1973). eßstörungspatienten sind unzufrieden mit dem eigenen körper, ihre körperwahrnehmung ist gestört und das körperbild verzerrt. die kapitel 10. diskussion 111 feldenkrais-methode als bewegungstherapeutisches verfahren arbeitet nun insbesondere auf eine verbesserung der körperwahrnehmung und eine klärung des körperbildes hin, wodurch sich u.a. zufriedenheit und akzeptanz bezüglich des körpers verbessern sollen. die vorliegenden ergebnisse zur zufriedenheit mit dem eigenen körper bestätigen die wirksamkeit dieser vorgehensweise bei eßgestörten patienten. die im vergleich zu den restlichen items des fragebogens zur 'zufriedenheit mit dem eigenen körper' niedrigen rohwerte der items 'hüften/oberschenkel', 'gesäß' und 'bauch' bestätigen die befunde in der literatur, in denen diese körperbereiche als eßstörungstypische problemzonen (insbesondere bei anorexia nervosa und bulimia nervosa) beschrieben werden (garner, 1990). dabei ist zu bedenken, daß sich der hier verwendete fragebogen aus items zweier verschiedener erhebungsinstrumente zusammensetzte. die ergebnisse zeigen nun eine größere zufriedenheit gerade bei den problematischen körperzonen 'hüften/oberschenkel' und 'gesäß' sowie bei den items 'oberkörper' und 'arme' nach dem feldenkrais-kurs. es wird zudem eine positivere einschätzung und einstellung deutlich in bezug auf 'allgemeine körperliche erscheinung' und 'gesundheit', was auf ein allgemein verbessertes körpergefühl und verhältnis zum eigenen körper hinweist. bei der akzeptanz des eigenen körpers zeigt sich, daß durch die feldenkrais-stunden der eigene körper als angenehmer empfunden wird (item 1). die eigenen bewegungen werden als weniger ungeschickt und ungelenk empfunden (item 2), was sich aus der methodenspezifischen vorgehensweise erklären läßt, die auf eine größere qualität und flexibilität von bewegungen abzielt (feldenkrais, 1978). das eigene aussehen wird mehr akzeptiert (item 11), und es wird mehr freude am eigenen körper empfunden (item 14), was die verbesserung in der zufriedenheit mit bestimmten problemzonen und der 'allgemeinen körperlichen erscheinung' (vgl. vorhergehenden abschnitt) bestätigt. ein besonders interessantes ergebnis ist die abnahme von fremdheit und furcht beim betrachten des eigenen spiegelbildes (item 13), was auf die klärung eines verzerrten körperbildes hinweist. durch die entwicklung der körperbewußtheit nähert sich das subjektive bild des eigenen körpers dem tatsächlichen körperbau an und die wahrnehmung des körpers wird realistischer (feldenkrais, 1978). durch das erspüren und bewegen und durch das gelegentliche betasten des eigenen körpers wird dieser vertrauter. so erscheint auch das eigene spiegelbild als weniger fremdartig. in den vorüberlegungen zur durchführung dieser untersuchung wurde außerdem eine ganze reihe weiterer instrumente zur erforschung von veränderungen des körperbildes, der körperwahrnehmung und der zufriedenheit mit den körperformen kapitel 10. diskussion 112 geprüft (thompson, penner & altabe, 1990). deren anwendung hätte aber den rahmen dieser arbeit gesprengt, zudem mußte die belastung der versuchspersonen durch zusätzliche testverfahren in grenzen gehalten werden.10 10.2 psychische befindlichkeit feldenkrais versteht körper und geist (oder leib und seele, oder soma und psyche) "als zwei verschiedene aspekte ein und derselben einheit mensch" (wurm, 1989, s. 7). körperliches verhalten wirkt sich daher auch auf den inneren menschen (auf das denken und fühlen) aus, so wie sich denken und fühlen auf den körper und sein verhalten auswirken. daraus leitet sich der ansatz der feldenkrais-methode ab, über die körperliche bewegung eine veränderung zu bewirken in bezug auf die allgemeine psychische befindlichkeit und die abnahme von zwanghaftem und zunahme von spontanem verhalten. die messung zur psychischen befindlichkeit zeigt keine veränderung im bereich des allgemeinen psychischen wohlbefindens. das ergebnis in der skala 'gehemmtes vs. spontanes befinden' weist jedoch auf eine abnahme von gehemmtem und zwanghaftem und auf eine zunahme von spontanem, offenem und selbstsicherem befinden und verhalten hin. zwanghaftes verhalten in verschiedenen formen ist symptomatisch für alle eßstörungen und zeigt sich immer auch als körperverhalten in haltung und handlung. wenn sich nun ein übermäßig erhöhter (oder schlaffer) tonus der muskulatur reguliert und rigide, gewohnheitsmäßige haltungsund bewegungsmuster bewußter werden, so ergeben sich neue möglichkeiten des verhaltens und spontane, der jeweiligen situation angepaßte reaktionsmöglichkeiten (feldenkrais, 1989). 10 für den bereich des körperbildes existieren eine reihe von apparativen verfahren, mit denen verschiedene dimensionen der subjektiven wahrnehmung des eigenen körpers untersucht werden, wie z.b. die genauigkeit der einschätzung eigener körpermaße (site-estimation-accuracy) (vgl. zusammenfassend cash & brown, 1987; slade & russell, 1973). ein weiterer interessanter aspekt wäre die qualität und differenziertheit der wahrnehmung des eigenen körpers gewesen. es konnten hierzu aber keine geeigneten fragebogen-verfahren gefunden werden, und beim versuch der entwicklung eines eigenen fragebogens im vorfeld der untersuchung tauchten vielfältige probleme und fragen auf. zur einschätzung einer allgemeinen zufriedenheit mit den körperformen wurde außerdem die 'body image assessment procedure' in erwägung gezogen (fallon & rozin, 1985; keeton, cash & brown, 1990; thompson et al., 1990). kapitel 10. diskussion 113 10.3 spezifische eßstörungsproblematik im bereich der eßstörungen gab es in der letzten zeit eine entwicklung hin zu einem verständnis insbesondere von anorexia nervosa und bulimia nervosa als störungen mit vielfältigen bedingungen und dimensionen, in denen die symptommuster nur der letztendliche ausdruck einer vielzahl von unterschiedlichen entwicklungen sind. biologische, psychologische, familiäre und soziokulturelle faktoren sind alle für die entwicklung von eßstörungen relevant, obwohl die bedeutung jedes einzelnen faktors in der heterogenen patientenpopulation stark variieren kann. auch wenn die eßstörungen aus verschiedenen theoretischen perspektiven heraus beschrieben werden, gibt es bemerkenswerte überschneidungen in bezug auf die charakteristischen klinischen themen (garner, 1990). eine ganze reihe dieser themen findet sich in den in dieser arbeit verwendeten subskalen aus anis und edi-2 wieder: "figurbewußtsein", "gefühl der überforderung", "drive for thinness", "bulimia", "body dissatisfaction", "interoceptive awareness", "maturity fears", "asceticism", "impulse regulation" und "social insecurity". wirkungen des feldenkrais-kurses konnten bei folgenden aspekten festgestellt werden: im bereich des 'gefühls der überforderung' (anis subskala 2) zeigen sich verbesserungen in bezug auf gefühle der hilflosigkeit gegenüber äußeren anforderungen, der inneren leere, der unruhe und der minderwertigkeit. das gefühl der ineffektivität ist typisch für alle eßstörungen (bruch, 1973) und das ergebnis weist darauf hin, daß durch die entwicklung des körpergefühls auch das selbstgefühl und selbstvertrauen gefördert wird und damit die fähigkeit, konstruktiv mit äußeren anforderungen umzugehen. eine überraschende verbesserung der feldenkrais-gruppe zeigt sich bei der edisubskala 'maturity fears', bei der der wunsch erfaßt wird, in die sicherheit der frühen kindheit zurückzukehren. dies scheint eine grundannahme der feldenkrais-theorie wie sie in 'body and mature behaviour' (1949) formuliert ist zu bestätigen, daß durch die bewegungslektionen, die ja als roten faden die bewegungsentwicklung des kindes haben, eine art reifungsoder nachreifungsprozeß auf der körperlichen ebene und damit der ganzen persönlichkeit bewirkt wird. ein weiteres (hoch-)signifikantes ergebnis zeigt sich bei der edi-subskala 'bulimia'. hier geht für die experimentalund die kontrollgruppe die tendenz zurück, an unkontrollierte eßanfälle zu denken oder diese auszuführen. beide gruppen verbessern sich dabei in exakt dem gleichen ausmaß, was den schluß nahelegt, daß der feldenkrais-kurs hier keine zusätzliche wirkung zeigt, aber das standardtherapieprogramm der klinik in diesem bereich äußerst wirksam ist. das sehr kapitel 10. diskussion 114 unterschiedliche ausgangsniveau beider gruppen bei mzp 1 zeigt die schwerere beeinträchtigung der feldenkrais-gruppe, zugleich kann aus diesem grund dieses ergebnis nur sehr vorsichtig interpretiert werden. aufgrund der verbesserungen mit den typischen problemzonen bei der 'zufriedenheit mit dem eigenen körper' (vgl. kap. 10.1) würde man ein signifikantes ergebnis auch in der edi-subskala 'body dissatisfaction' erwarten, die ebenfalls die unzufriedenheit mit jenen problemzonen (bauch, hüfte, oberschenkel, gesäß, allgemeine körperformen) mißt. bei betrachtung der mittelwerte sieht man nun auch eine abnahme der unzufriedenheit der feldenkrais-gruppe (und zugleich eine zunahme der unzufriedenheit der kontrollgruppe) in diesem bereich. in den weiteren subskalen "figurbewußtsein" (anis) sowie "drive for thinness", "interoceptive awareness", "asceticism" und "social insecurity" (edi) konnten keine signifikanten veränderungen festgestellt werden. 10.4 offene fragen mit den fünf offenen fragen sollte die persönliche meinung der teilnehmer in bezug auf den feldenkrais-kurs erfaßt werden. diese fragen wurden sehr kurzfristig formuliert und durch die antworten zeigte sich, daß die fragen 1-4 sehr ähnliche bereiche ansprechen und nur wenig differenzieren. so geht es immer um verschiedene aspekte von erfahrungen und veränderungen durch die stunden. im hinblick auf das fazit und bedeutsame erfahrungen (frage 1 und 2) wurde vor allem die bewußte wahrnehmung des eigenen körpers, von körperfunktionen und teilen des körpers (11 nennungen) sowie entspannung, angenehmes körperempfinden und die erfahrung der ruhe angegeben (11 nennungen, mehrfachnennungen waren möglich). bei den allgemeinen veränderungen (frage 3) wurde wiederum das bewußtere spüren des körpers (4 nennungen) sowie entspannung und ruhe (3 nennungen) und bewußtere atmung (3 nennungen) am häufigsten angegeben. hinsichtlich einer veränderung der körperwahrnehmung durch die stunden (frage 4) gaben wiederum elf personen eine bewußtere wahrnehmung des eigenen körpers an, was die nennungen bezüglich der ersten drei fragen bestätigt. die feldenkrais-methode arbeitet insbesondere mit gelenkter aufmerksamkeit und dem erspüren des körpers in ruhe und bewegung, um eine bewußtere wahrnehmung zu erreichen (feldenkrais, 1978). die achtsam ausgeführten bewegungen können dabei einen erhöhten muskeltonus in erstaunlichem maß senken, wodurch sich die entspannende und beruhigende wirkung ergibt (feldenkrais, 1988a). die nennungen scheinen die wirksamkeit dieser vorgehensweise zu bestätigen. kapitel 10. diskussion 115 bei der frage 5 (wert der stunden für gesundheit und allgemeine befindlichkeit) gaben 12 der 15 teilnehmer eine positive einschätzung. die kursteilnehmer fühlen sich gesünder dadurch, daß sie bewußter auf ihren körper achten sowie gedanklich und körperlich viel gelöster und entspannter (z.b. auch in bezug auf die ständig aufgebaute spannung bei der bulimie). dieses ergebnis bestätigt die deutliche verbesserung bei dem item 'gesundheit' aus dem fragebogen zur zufriedenheit mit dem eigenen körper (vgl. 10.1) und weist auf das potential der feldenkrais-methode bei der therapie psychosomatischer erkrankungen hin. zudem kann die subjektive positive einschätzung der eigenen gesundheit ein starker therapiefördernder und -motivierender faktor sein. 10.5 interviews neben den allgemeinen tendenzen, die mit hilfe von fragebogenverfahren deutlich werden sollten, erschienen interviews als besonders geeignet, um spezifische wirkungen und das subjektive erleben der kursteilnehmer zu erfassen. aufgrund der tatsache, daß zum bereich 'feldenkrais und eßstörungen' kaum untersuchungen vorliegen, sind qualitative verfahren bei der erforschung der wirkungen des ganzheitlichen ansatzes einer 'bewegungserziehung zur verbindung von körper und geist' (feldenkrais, 1988a) wohl am ehesten angemessen. der leitfaden wurde dabei kurz gehalten, so daß die interviewpartner ihr erleben erzählend darstellen konnten. aufgrund der ergebnisse dieser studie könnte für weitere untersuchungen in diesem bereich ein ausführlicherer und differenzierterer leitfaden entwickelt werden. die kategorie 1 faßt über die übungsstunden hinausgehende veränderungen der körperwahrnehmung zusammen. interessant ist dabei insbesondere, wie sich ein entwicklungsprozeß zur vervollständigung des körperbildes sowie zur bewußtwerdung der eigenen atmung andeutet. die nennungen bestätigen dabei die ergebnisse der offenen fragen 1-3. die nennungen der kategorie 2 (häufigkeit 20) beziehen sich auf spezifische kinästhetische erfahrungen während der stunden. dies läßt sich aus der vorgehensweise der feldenkrais-methode erklären, bei der die entwicklung des kinästhetischen sinnes (der wahrnehmung von stellung der gliedmaßen im raum sowie des spannungszustandes der muskulatur) besonders gefördert wird (vgl. juhan, 1992). hier beeindrucken interviewpassagen, in denen alle glieder als einzeln daliegend empfunden wurden, was wiederum auf bewußtwerdung des körperbildes hinweist kapitel 10. diskussion 116 (feldenkrais, 1978). interessant insbesondere für eßstörungen sind methodenspezifische empfindungen von schwere und leichtigkeit oder von unterschieden der körperhälften (feldenkrais, 1988a). die aussagen der kategorie 3 betonen die entspannende und beruhigende wirkung der stunden. dies bestätigt die nennungen bei den offenen fragen 1-3 in bezug auf entspannung und ruhe. hier deutet sich die nützlichkeit von feldenkrais-übungen an, um die hyperaktivität, innere spannung und unruhe, die häufig insbesondere von patienten mit anorexia nervosa und bulimia nervosa erlebt wird (bruch, 1973) und oft nur über essen (und erbrechen) abgebaut werden kann auszugleichen und zu beruhigen (feldenkrais, 1988a). im unterschied zu den entspannenden und beruhigenden wirkungen, die in kategorie 3 genannt werden, und die vermutlich auch als angenehm empfunden wurden, sprechen die aussagen der kategorie 4 explizit angenehme empfindungen an. insbesondere wird die zwanglose atmosphäre erwähnt, die zu den grundlegenden prinzipien der pädagogischen haltung in der feldenkrais-methode zählt (feldenkrais, 1988a). dabei wird leistungsdruck oder teilnahmezwang abgelehnt. dagegen soll eine lockere, freie und anregende lernatmosphäre geschaffen werden, die das interesse an der entwicklung der eigenen bewußtheit fördert (feldenkrais, 1987a). für eßstörungspatienten, die im allgemeinen ihren körper ablehnen (bruch, 1973; selvini palazzoli, 1982), scheint diese art von strukturbildender, sanfter körperund bewegungstherapie besonders geeignet. im unterschied zu anderen verfahren wie z.b. der bioenergetik (lowen, 1988), bei denen grenzen überschritten und 'panzerungen durchbrochen' werden, sollen hier die eigenen grenzen gerade geachtet werden, wodurch der widerstand umgangen wird (feldenkrais, 1990). von acht kursteilnehmern wurden tranceähnliche zustände berichtet (kategorie 5). dies weist auf die parallelen der feldenkrais-methode zum hypnotherapeutischen ansatz von m. erickson hin (reese, 1985). die art und weise des sprechens bei der anleitung von gruppenstunden (z.b. rhythmus, stimmführung, spezifische hinweise), in verbindung mit den aufmerksam ausgeführten bewegungen scheinen dazu geeignet zu sein, einen zustand tiefer entspannung und aufnahmebereitschaft herbeizuführen. dies könnte für störungsspezifische hypnotherapeutische interventionen genutzt werden. die aussagen zur veränderung der eßstörungsproblematik (kategorie 6) sind von besonderem interesse. kapitel 10. diskussion 117 die zitate zeigen, daß durch die feldenkrais-stunden eine übermäßige beschäftigung mit essen, figur und gewicht abnehmen kann. aufgrund der gelenkten aufmerksamkeit haben die übungen allgemein den charakter einer bewegungsmeditation, wobei sich durch die konzentration und gleichzeitige entspannung der kreislauf eines zwanghaften denkens auflösen kann (feldenkrais, 1989). indem sich außerdem zugleich ein verzerrtes körperbild normalisiert und der körper realistischer wahrgenommen wird, wird diesen gedanken gleichsam die basis entzogen. dies kann sich dann ganz konkret in veränderungen des eßverhaltens (hier z.b.: aufhören des selbstinduzierten erbrechens) auswirken. durch die entwicklung der körperbewußtheit und einer regulierung des muskeltonus werden auch wieder vermehrt innere reize wahrgenommen, wie magenknurren, hunger oder sattheit. die förderung der wahrnehmung interozeptiver reize ist ein wesentliches ziel bei der therapie von eßstörungen und trägt zu einer normalisierung des eßverhaltens bei. die aussagen deuten auch darauf hin, daß die patienten in diesen stunden lernen, sich zu entspannen und in sich hineinzuhorchen. so können, anstatt zu "essen, um sich auszuschalten", alternative verhaltensweisen entdeckt und erprobt werden. interessante hinweise ergaben sich auch darauf, ob die stunden vor oder nach dem mittagessen stattfanden. hier wurde einerseits genannt, daß in der stunde vor dem essen sich die einstellung zum anschließenden essen oder das körperbild veränderte, andererseits konnte sich eine patientin in der stunde nach dem essen "einfach nicht aufs brechen konzentrieren" (vgl. s. 91, in der vorliegenden arbeit). dies gibt hinweise auf eine bewußte berücksichtigung der essenszeiten bei der zeitlichen einteilung von feldenkrais-gruppen im klinikablauf. die aussagen der kategorie 7 berichten von emotionalen erfahrungen während der stunden. es zeigt sich, daß durch die bewußtmachung von bewegungs-, haltungsund atemmustern auch emotionale muster berührt werden, was in den verschiedenen körpertherapien auf unterschiedliche weise genutzt wird (vgl. petzold, 1988, 1992). dies geschieht auch und insbesondere bei der arbeit mit dem atem (grof, 1987; middendorf, 1992). drei der neun kursstunden waren solche atemlektionen, bei denen bei manchen teilnehmern gefühlsinhalte auftauchten. hier wurde zudem der wunsch nach gehaltenwerden, nähe und geborgenheit geäußert. ein charakteristisches merkmal insbesondere für anorexia nervosa und bulimia nervosa ist ein übertriebener perfektionismus (karren, 1986). eine teilnehmerin schildert hier, daß sie die atmosphäre des nicht-perfekt-sein-müssens genossen hat. zur pädagogischen grundhaltung in der feldenkrais-methode gehört, daß es nicht um das kapitel 10. diskussion 118 erreichen eines bestimmten ziels geht (z.b. bei einer bewegung), sondern um die qualität des weges dahin. diese innere haltung, alles etwas weniger gut zu machen, die in den stunden vermittelt wurde, kann dabei einen übermäßigen leistungsanspruch abschwächen, wodurch allgemein der prozeß des lernens gefördert wird (feldenkrais, 1987a, 1988a). ein weiterer aspekt in dieser kategorie waren existentielle erfahrungen. ausgehend von der funktionellen einheit von psyche und soma verwandeln sich durch die änderung von körperlichen mustern auch andere aspekte der person. so können sich veränderungen im mentalen, spirituellen und emotionalen bereich ergeben, wie z.b. erfahrungen von identität und autonomie. die nennungen von erfahrungen wie "...überhaupt mittendrin zu stehen...", oder "...einfach platz einzunehmen, also meinen platz mir zu suchen...", scheinen diese vermutung zu bestätigen. in bezug auf 'weitere wirkungen' werden in kategorie 8 verbesserungen bei einschlafstörungen sowie bei zähneknirschen genannt. letzteres ist im diagnosenschlüssel des icd-10 (dilling, mombour & schmidt, 1991) unter 'andere somatoforme störungen' eingeteilt. dies läßt wiederum den entspannenden und den muskeltonus regulierenden effekt der stunden erkennen (vgl. kategorie 3 'entspannende und beruhigende wirkung'). die äußerungen der kategorie 9 'probleme während der stunden' zeigen, daß nicht selten schwindelgefühle oder übelkeit während (oder nach) einer stunde auftreten können sowie verschiedene andere schwierigkeiten, wie sie typisch für körperarbeit sind. hier ist besonders wichtig, daß der kursleiter diese probleme wahrnimmt oder in feedbackrunden erfragt und spezifische einschränkungen mancher teilnehmer berücksichtigt (yalom, 1989). ein weiteres grundprinzip der feldenkrais-methode, das in diesem bezug elementare bedeutung erhält, ist dabei, die teilnehmer nicht zu überfordern, sondern schwierigkeitsgrad, dauer und rhythmus einer bewegungslektion den möglichkeiten einer gruppe anzupassen, um so das interesse an den stunden zu fördern und zu erhalten und eine optimale wirkung erzielen zu können (feldenkrais, 1988a). 'störungen von außen' (kategorie 10), also z.b. aufgrund spezifischer einschränkungen von gruppenmitgliedern sind möglichst gering zu halten, indem auf diese teilnehmer besonders geachtet und rücksicht genommen wird. zudem kann es nötig sein, derartige probleme (wie z.b. laute atemgeräusche) in der gruppe anzusprechen, wenn der verlauf einer stunde beeinträchtigt wird oder sich manche kursteilnehmer stark gestört fühlen (yalom, 1989). empfehlenswert wäre außerdem eine gruppengröße von etwa kapitel 10. diskussion 119 zwölf personen, da dies ein optimales eingehen auf spezifische bedürfnisse ermöglicht. förderlich sind zudem ruhige, helle und angenehme räume, wie sie in der klinik roseneck vorhanden waren. in der kategorie 11 beklagten sich vier teilnehmer über eine spezielle lektion, die ihnen schwerfiel oder unangenehm war. diese stunde ist nach eigener einschätzung des kursleiters eher mäßig gelungen und beinhaltet zudem bewegungselemente, die geeignet sind, eine abwehr hervorzurufen. auf diese lektion sollte vielleicht deshalb in einer eventuellen weiterentwicklung des kursprogramms verzichtet werden. die aussagen der kategorie 12 berichten von schwierigkeiten, einen zugang zu dieser art von körperarbeit zu finden. dies deutet darauf hin, daß es wichtig ist, anfangsschwierigkeiten und spezifische widerstände (z.b. bei bestimmten bewegungen) zu berücksichtigen. so ist die ablehnung und der widerwillen sich mit dem eigenen körper zu befassen, gerade für anorexia nervosa und bulimia nervosa charakteristisch. ein grundprinzip der feldenkrais-methode ist hier, auf jeden fall eine freizügige, spielerische und lockere atmosphäre zu schaffen, überforderung gerade in den ersten stunden zu vermeiden und interesse und motivation der teilnehmer anzuregen (feldenkrais, 1987a, 1988a). die umsetzung dieses prinzips hängt dabei vor allem von der erfahrung und vom geschick des kursleiters und natürlich der schwere der symptomatik der patienten ab. die nennungen der kategorie 13 zeigen, daß wichtige prinzipien oder bestimmte elemente von übungen von manchen teilnehmern bereits während des kurses in den alltag übernommen wurden. denkbar wäre hier, einzelne oder alle lektionen auf band aufzunehmen und diese den teilnehmern zur verfügung zu stellen, wenn sie sie selbständig wiederholen möchten. aus den äußerungen der kategorie 14 geht das interesse von acht der 15 teilnehmer an einer weiterführung des kurses in der klinik oder einer weiteren beschäftigung mit der feldenkrais-methode hervor. bei längerer kursdauer werden stärkere veränderungen für möglich gehalten. ein kurs mit etwa neun terminen kann dabei einen entwicklungsprozeß anregen, der in einer fortführung vertieft werden könnte. auch die verfügbarkeit geeigneter literatur (z.b. transkripte von übungen) und kassettenprogrammen könnte hier förderlich sein. kapitel 10. diskussion 120 10.6 zusammenfassung und ausblick in einem überblick über die ergebnisse der fragebögen zeigen sich verbesserungen in der zufriedenheit mit spezifischen problemzonen und der eigenen gesundheit sowie der akzeptanz und vertrautheit mit dem eigenen körper. weiter ergibt sich eine zunahme von spontanem, offenem und selbstsicherem verhalten, die abnahme eines gefühls der hilflosigkeit sowie des wunsches, in die sicherheit der frühen kindheit zurückzukehren, was auf die entwicklung von selbstgefühl, selbstvertrauen und einen allgemeinen reifungsprozeß der ganzen persönlichkeit hinweist. ein überblick über die antworten auf die offenen fragen und interviews deutet auf die förderung der körperbewußtheit, klärung des körperbildes und die entspannende und angenehme wirkung der stunden hin. es wurden tranceerfahrungen und emotionale erlebnisse berichtet und sieben teilnehmer gaben veränderungen in bezug auf ihre eßstörungsproblematik an. fünf personen hatten schwierigkeiten mit dieser art der körperarbeit und es gab auch verschiedene probleme wie übelkeit, schwindelgefühle oder störungen durch andere kursteilnehmer. es wurde von einer integration von übungselementen in den alltag berichtet und acht personen bekundeten ihr interesse an weiterer beschäftigung mit der feldenkrais-methode. die quantitativen ergebnisse einer studie mit einer relativ kleinen stichprobe sind insbesondere interessant, um hinweise auf allgemeine wirkungen in den verschiedenen bereichen zu geben. eine verbindung mit qualitativen verfahren, die den ganzheitlichen ansatz der feldenkrais-methode berücksichtigen, erscheint dabei fruchtbar und vorteilhaft, um spezifische wirkungen zu erkennen. für weitere forschung könnten hier wiederum interviews, einzelfallanalysen und weitere qualitative verfahren, wie z.b. eine serie von körperzeichnungen11 oder die anfertigung von knetfiguren12, von interesse sein. da die stichprobe aus verschiedenen formen von eßstörungen bestand, war die anzahl von teilnehmern der einzelnen störungsformen (anorexia nervosa, bulimia nervosa, 11die anweisung gebräuchlicher zeichentests lautet dabei meist "zeichnen sie eine person", oder ähnlich (abraham, 1978). machover (1949) versteht diese 'draw-a-person'-technik als ein projektives verfahren der persönlichkeitsdiagnostik. frühe anwendungen finden sich im goodenough-harris draw-a-mantest, wobei die zeichnungen hier vor allem als maß der intellektuellen entwicklung von kindern genützt wurden (harris, 1963). 12 die modellierung von knetfiguren als verfahren zur untersuchung von veränderungen des körperbildes während eines methodenspezifischen lernprozesses findet in der eutonie (alexander, 1976), einer der feldenkrais-methode verwandten bewegungsmethode, verwendung. die modellierung von knetfiguren vor und nach einem feldenkrais-kurs oder vor und nach einer stunde erscheint reizvoll und interessant auch die räumliche komponente des körperbilds wird erfaßt , aber auch sehr aufwendig durchzuführen und schwierig auszuwerten. kapitel 10. diskussion 121 adipositas) zu gering, um diese untergruppen statistisch auswerten zu können. hier wäre die untersuchung der wirkungen bei den einzelnen eßstörungen von interesse. außerdem wäre ein vergleich der feldenkrais-methode mit anderen verfahren aufschlußreich. aufgrund der erfahrungen dieser studie könnte das zur anwendung gekommene kursprogramm weiterentwickelt und optimiert werden. verschiedene elemente wie das berühren und ertasten des eigenen körpers, das gefühl für den inneren und äußeren raum und die körpergrenzen entwickeln, die arbeit mit lippen, zunge und mundraum, hypnotherapeutische hinweise in bezug auf das eßverhalten sowie die arbeit mit der verbindung von atem, haltung und gefühlsmustern scheinen dazu geeignet. denkbar wäre auch das anbieten von weiterführenden vertiefungskursen im stationären rahmen, eventuell in verbindung mit feldenkrais-einzelbehandlungen sowie die durchführung von feldenkrais-kursen im rahmen von selbsthilfegruppen. erfahrungen, die die patienten während eines kurses machen, könnten im rahmen eines stationären aufenthaltes auch für eine weiterführende therapeutische arbeit in der einzelund gruppentherapie genutzt werden. hierzu wäre eine enge kooperation mit den bezugstherapeuten der patienten nötig, wie sie durch teamsitzungen gegeben ist. insbesondere emotionale erlebnisse und tranceerfahrungen sowie veränderungen in körperwahrnehmung und eßverhalten könnten für den fortschritt des individuellen therapieprogramms genutzt werden. aufgrund der behutsamen und strukturbildenden vorgehensweise und der entwicklung von körperbewußtheit und selbstgefühl und den daraus folgenden wirkungen kann die feldenkrais-gruppenmethode 'bewußtheit durch bewegung' als ein wertvoller bestandteil eines stationären therapieprogramms bei eßstörungen bezeichnet werden. kapitel 11. literaturverzeichnis 122 11. literaturverzeichnis abraham, a. 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(1982). hyperphage eßstörungen. münchner medizinische wochenzeit schrift, 124, 685-688. kapitel 11. literaturverzeichnis 130 feldenkrais research journal • volume 7 (2025) systematic review the effects of the feldenkrais method in the area of motor functioning – a scoping literature review nicola zollinger bsc. environmental sciences, feldenkrais practitioner, board member sfv for research, education and international affairs contact: nicolazollinger@feldenkrais.ch abstract the feldenkrais method is a well-known somatic method, which uses sensorimotor learning processes to improve a variety of human functioning. this scoping literature review focuses on the feldenkrais method used to improve motor functioning and provides an overview of the quantitative literature published in this area. forty-one studies are included in this review, their study characteristics are summarized, and their risk of bias assessed. overall, the existing literature makes it seem plausible that the feldenkrais method improves different aspects of motor functioning through principles of motor learning in different populations for different conditions and aims. keywords feldenkrais method, motor functioning, motor learning, coordination, functional movement patterns, functional integration, awareness through movement, balance, range of motion, muscle tone, breathing, posture copyright ©: the copyright for this paper remains with the author(s). please cite: (first published in the) feldenkrais research journal, volume 7 ; 2025. service marks: the terms feldenkrais ® , feldenkrais method ® , awareness through movement ® , atm ® , functional integration ® , and fi ® are service marked terms of the international feldenkrais ® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais ® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org mailto:nicolazollinger@feldenkrais.ch https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org/ systematic review the effects of the feldenkrais method in the area of motor functioning – a scoping literature review nicola zollinger bsc. environmental sciences, feldenkrais practitioner, board member sfv for research, education and international affairs table of contents 1. introduction p.3 2. methods p.4 3. study characteristics p.5 4. risk of bias assessment p.10 5. summary of the studies p.12 5.1 mobility and balance p.12 5.1.1 individuals with neurological conditions p.20 5.2 dexterity p.22 5.3 breathing p.23 5.4 posture p.25 5.5 muscle tone p.25 5.6 general health assessment p.25 6. discussion p.26 6.1 lack of studies including functional integration p.28 6.2 possible mechanisms of action p.29 6.3 recommendations for future research p.29 7. conclusion p.30 references p.31 appendices appendix 1 – data overview p.39 appendix 2 – outcome measurements p.42 zollinger • feldenkrais research journal, volume 7 (2025) 2 1. introduction the feldenkrais method is a sensorimotor learning system and uses verbally and manually guided exploration of movements to increase people’s self-awareness and to improve their movement abilities (stephens and hillier 2020). the feldenkrais method is applied in different domains, such as personal development, health, and in the performing arts (russell 2020). the wide field of application is due to the assumption that an improvement in sensorimotor functioning also affects a person’s general well-being and can help with mental complaints as well, by changing and completing a person’s self-image of action (lyttle 1997: russell 2020). moshe feldenkrais (1904-1984), the founder of the feldenkrais method described conscious human experience as consisting of the four elements ‘thinking’, ‘sensing’, ‘feeling’ and ‘moving’, all of which are functions of the human nervous system and when a change in ‘sensing’ and ‘moving’ is achieved, the patterns of ‘thinking’ and ‘feeling’ can also be altered (feldenkrais 2011). the feldenkrais method is applied in two modalities: verbally guided group sessions called ‘awareness through movement®’ lessons and manually guided individual sessions called ‘functional integration®’ lessons. several reviews and overviews have been done in the past, with the earliest systematic review of a small number of studies by ernst and canter (2005), followed by a systematic review using cochrane review methodology by hillier and worley (2015), and a review by stephens and hillier (2020) which updated hillier and worley (2015) and provided a discussion of possible mechanisms of action. berland et al. (2022) performed a systematic review about the feldenkrais method’s usage as a modality within physiotherapy practice and the most recent systematic review by martin et al. (2024) explored the potential of the feldenkrais method in the realm of psychiatric care. in between there have been several limited overviews of the available research literature (buchanan 2012; smyth 2016; stephens 2007). the aim of this review is to give a scoping review in the area of motor functioning, since improvement of motor functioning is a primary and direct target of practicing the feldenkrais method and an important aspect in all domains, in which the feldenkrais method is applied. by providing an overview and critically assessing the risk of bias of all included studies, in addition to the existing reviews, this paper proposes to shed light on how the feldenkrais method was assessed in studies around motor functioning up to now, to report on the study characteristics, the different research designs and approaches, as well as the results. it also provides the interested reader with easy access to the findings of the available literature in this area. the four research questions for this review were: 1) what available studies exist which have assessed the effects of the feldenkrais method in the area of motor functioning and what were their results? 2) what were the study characteristics? 3) what was the risk of bias of each study? 4) what can be learned for future studies? zollinger • feldenkrais research journal, volume 7 (2025) 3 how to read this review this review begins with some information about how it was conducted, some general characteristics of the studies (areas of research, populations, intensity and duration of interventions), the two modes of feldenkrais method practice, and the basis of the risk of bias assessment. since this review gives a summary of 41 studies and is thus extensive in length and scope, the table of content facilitates reading this review and gives readers who are looking for specific studies and information a better and faster way to get oriented. for accessing all the data of the studies and to identify single studies, please see the appendices. in the narrative description of each research study there is a description of the study purpose and design, followed by ‘findings’ and ‘risk of bias’ (identified by bold subheadings). this review finishes with a discussion, including possible mechanisms of action, and recommendations for future studies. 2. methods type of review this review can best be conceptualized as a scoping review (arksey and o’malley 2005). this review combines elements of a systematic review, by assessing the risk of bias, with elements of a narrative review. its aim is to give an overview of the research literature in the context of the feldenkrais method used to improve motor functioning. it tracks the research development over time, describes and summarizes the different studies, critically evaluates their risk of bias and identifies research gaps in the existing literature. search strategy and selection process the literature research was performed using the following search engines and databases between january 2021 and december 2022: feldenkrais zotero research database, cochrane library, scopus, web of science, pubmed and google scholar. the following search words and expressions were used: feldenkrais, feldenkrais method, atm, awareness through movement, fi, functional integration. additionally, all reference lists of the studies found online were cross-checked for studies not found in the online databases. eligibility criteria in this review, all studies, except single case studies, were included which quantitatively evaluated the effects of the feldenkrais method on an area of motor functioning as a main outcome measure and were able to be found as full articles in digital or printed format. in total, 41 studies were assessed and included in this review (figure 1). zollinger • feldenkrais research journal, volume 7 (2025) 4 figure 1. flowchart for the study selection process 3. study characteristics this section provides an overview of different characteristics of the included studies to get a broader picture of how the effect of the feldenkrais method on motor functioning was assessed. the complete table with all information can be found in appendix 1 (table 1, parts 1 and 2). timeline development the first study found was published in 1977 (gutman et al.). whilst no studies were published in the 1980s, nine studies were performed in the 1990s and eight studies from 2000 until 2009. with 13 studies from 2010-2014 and seven studies between 2015 and 2019, the 2010s with 19 studies were the most active years in researching the feldenkrais method around motor functioning until now. from 2020 until the end of 2022, three studies were conducted. zollinger • feldenkrais research journal, volume 7 (2025) 5 figure 2. timeline development of the number of publications, which studied the effects of the feldenkrais method on motor functioning overall, there is a weak trend towards an increase of the publication volume over time with the most productive period from 2010-2014 (figure 2). area of study most studies reviewed looked at the effect on mobility in terms of range of motion (rom) of a body part around a joint or a fixed body point. second, most studies looked at the effects of the feldenkrais method on balance, mostly with elderly people to prevent falling (summarized in figure 3 below). in addition, two studies evaluated the effect on hand dexterity, two on breathing, and two on posture. one study looked at the change of muscle tone following a session in functional integration. several studies combined measurements of different areas, for example, seven studies also included measurements on quality of life and some studies combined measurements in the category of mobility and balance. for an overview of the different outcome measurements used in the different categories, see appendix 2. zollinger • feldenkrais research journal, volume 7 (2025) 6 figure 3. areas of study sample populations the sample size range was from very small (four participants) to large (>60), with most studies having a sample size between 10 and 30 participants (figure 4). of the 41 studies, six studies conducted a sample size calculation. the age-distribution shows a concentration of participants between 20 and 30 years of age and over 60 years. many studies were done with students in university contexts, however another major focus for research has been the study of effects on balance with an ageing sample population. (cook et al. 2014; hillier et al. 2010; nambi et al. 2014). figure 4. distribution of the number of subjects per study zollinger • feldenkrais research journal, volume 7 (2025) 7 figure 5. frequency ratio symptomatic vs. healthy individuals twenty-five of 41 studies involved samples of healthy people with no illness or disability, while 16 studies had samples of symptomatic individuals (figure 5). thirty-two of the 41 studies reported a mean age number and studies who reported a median figure were not included in the histogram (figure 6). figure 6. age distribution of the different sample populations zollinger • feldenkrais research journal, volume 7 (2025) 8 duration, sessions, and intensity this section provides information about the duration of the interventions, the number of sessions per study and how often per week a session was performed. this information gives orientation for researchers who are planning a future study and are asking themselves how long and how intense the intervention should be and what has been studied up to now (figure 7). figure 7. overview of study durations the study duration ranged from one week to 30 weeks with most studies looking at sessions conducted within one week. when looking at the number of sessions (figure 8), most studies looked at the effect of 7-8 sessions, but also seven (7) single-session studies were conducted. the intensity (sessions/week) was low in most studies, with 1-2 sessions per week in 30 of 39 studies (two studies did not include information on session-intensity) (figure 9). figure 8. number of studies showing different numbers of practice sessions zollinger • feldenkrais research journal, volume 7 (2025) 9 figure 9. overview of the intensity of practice per study, measured as sessions per week awareness through movement or functional integration even though the feldenkrais method consists of two parallel modalities, individual sessions in functional integration and group sessions in awareness through movement, only two of the 41 studies looked at the effectiveness of functional integration. this means that studies which investigated the effect of personal sessions of the feldenkrais method to improve motor functioning are largely underrepresented in the literature. follow up and sample size calculation two of the 41 studies included follow-up measurements (causby et al. 2016; kang et al. 2021) and six of the 41 studies performed a sample size calculation prior to the study. 4. risk of bias assessment risk of bias of all the studies was assessed using several different methodologies. these were: 1) the 2011 oxford cebm levels of evidence, 2) pedro-scale for randomized controlled trials, 3) the robins-i assessment tool for non-randomized studies of interventions. the oxford cebm levels of evidence range from level 1-5 (2016). since there were no systematic reviews (level 1) and no articles about mechanistic reasoning included (level 5), the studies were graded from level 2 to level 4. randomized controlled studies are classified as level 2, non-randomized controlled studies as level 3 and non-controlled studies as level 4. for randomized controlled studies (level 2), the pedro-scale (hegenscheidt et al. 2010) was used to further assess their quality and for non-randomized controlled studies, the robins-i zollinger • feldenkrais research journal, volume 7 (2025) 10 assessment tool was used to evaluate the risk of bias ( www.riskofbias.info , n.d.) a decision tree was established to make the different studies comparable in their risk of bias, which led to the creation of five different categories of risk of bias: ‘very low’, ‘low’, ‘moderate’, ‘serious’ and ‘critical’ (figure 10). randomized controlled studies with a pedro-score of 7 or higher were given the label ‘very low’ and the ones with a pedro-score lower than 7 were given the label ‘low’. the cut-off score of 7 for a ‘very low’ risk of bias was chosen, because it is suggested in the literature that studies with a pedro-score of 6-8 describe a good-quality study (maher et al. 2003). non-randomized controlled studies could, depending on their robins-i assessment, be classified as low, moderate, serious or critical, according to the robins-i-tool assessment (sterne et al. 2016). non-controlled studies were given the label ‘critical’. the pedro-score of each study can be found in table 1, part 2 in appendix 1. figure 10. risk of bias decision tree the quality of the studies in terms of risk of bias, ranged from ‘very low’ to ‘critical’. figures 11 and 12 show the number of the different studies in each risk of bias category for the ocebm classification and the categories defined by the decision tree. in the ‘summary’ section, the risk of bias category is added at the end of each study description, for the reader to critically put into perspective the results of a study. for one study (buchanan and vardaxis 2000), it was not possible to assess its risk of bias, due to lack of information. zollinger • feldenkrais research journal, volume 7 (2025) 11 http://www.riskofbias.info/ figure 11. pie chart of levels of evidence by ocebm figure 12. pie chart levels of evidence by decision tree 5. summary of the studies the aim of this section is to give a comprehensive overview and to present the studies and their results that assessed the area of motor functioning. to improve readability, this section is subdivided into the following sub-categories: ‘mobility and balance’, ‘posture’, ‘hand dexterity’, ‘breathing’, ‘muscle tone’ and ‘general health assessment’. within each sub-category the studies are presented and described along with their year of publication. 5.1 mobility and balance out of the studies included for this review, the vast majority, 22 out of 41 studies, investigated the effect of feldenkrais awareness through movement (atm) lessons on some aspects of mobility and balance. the first study, done by gutman et al. (1977) was a non-randomized controlled trial with a healthy sample of 38 ageing participants, which compared the effects of a six-week feldenkrais method lesson program (three hours per week) to no intervention and to a conventional exercise program for the elderly. findings: there were no significant differences between the groups, but the feldenkrais method lesson group improved in all measures, which included rotational flexibility, balance, self-perceived health status and number of body parts painful or difficult to move. risk of bias: serious in 1991, brown and kegerreis performed a randomized-controlled study to test the difference of one awareness through movement lesson on a flexion task with 21 young and pain free participants. elements of kinesthetic awareness, imagery and visualization, as well as cues pertaining to lightness, comfort and ease were excluded in the control group and the lesson only included movement instructions. electromyographic activity of the flexor and extensor muscles along with perceived level of effort were compared preto post-intervention in both groups. findings: no significant changes were found between the groups, but within both groups there zollinger • feldenkrais research journal, volume 7 (2025) 12 were significant changes in flexor emg activity and in perceived exertion ratings. this study suggests the feldenkrais method may achieve its intended goal of facilitating movement with less effort and greater flexibility. it also suggests that the feldenkrais method may produce a perceptual recognition of a physiological change in muscular activity that is not the direct result of the use of suggestion, imagery, or visualization. a change was produced in the amount of muscular activity required to perform a movement task. risk of bias: low a randomized controlled study done by ruth and kegerreis (1992) looked at the effect of one single awareness through movement lesson in 30 healthy participants on the range of motion of active neck and head movements and the accompanying perceived effort compared to a control group with no intervention. findings: the experimental group showed significant improvements in range of motion and perceived effort, compared to the control group. this study provides data that support assertions that immediate physical and perceptual changes can be affected with the use of feldenkrais method awareness through movement sequences. risk of bias: low a randomized controlled study by chinn et al. (1994) looked at the effect of a single feldenkrais method awareness through movement intervention on a functional reach task on 23 participants with upper back, neck, or shoulder discomfort. in the functional reach task, subjects were lying supine and reaching up along a wall. participants rated the level of perceived exertion preand post-treatment on a visual analog scale (vas). the control group followed a sham intervention, consisting of tape-recorded instructions of general upper body exercises. findings: results showed significant reduction in exertion for the awareness through movement group and no significant difference in exertion for the sham treatment group. in both groups, there were no significant increases in the functional reach measurement. the authors concluded that a single feldenkrais method intervention produced positive effects in participants with upper back, neck and/or shoulder discomfort. risk of bias: low hall et al. (1994) compared in a randomized controlled trial with 60 participants the effects of feldenkrais method awareness through movement group classes to tai chi classes, and to a no intervention control group on balance in healthy older women. the feldenkrais method and tai chi group both attended a total of 32 sessions, with two sessions per week for 16 weeks. findings: the feldenkrais method group improved significantly in the falls efficacy scale (fes), the berg balance test, the timed up and go test, and the pro balance master test. there were no significant changes in the control group with no intervention. the tai chi group improved significantly in several outcome measurements as well. the improvement of movement times in the pro balance test for the feldenkrais method group indicates that participants were quicker to respond and correct their balance, once they are outside their base of support. according to the authors, both tai chi and feldenkrais method classes are suitable to promote health and balance in this age group. risk of bias: low zollinger • feldenkrais research journal, volume 7 (2025) 13 brown et al. (1996) evaluated the effect of awareness through movement lessons on the mobility of a healthy elderly sample with 23 participants in a non-randomized controlled study. the experimental group took part in three awareness through movement lessons per week for six weeks. the control group received no intervention. findings: the awareness through movement group showed significant improvements in right ankle dorsiflexion and in the timed up and go test. no significant improvements were found in the functional reach test and other active range of motion measurements. whilst participants did not show a significant change in the dartmouth coop measures of perceived functioning and health, 10 out of 12 participants showed improvement in their scores from pre-exercise to post-exercise. risk of bias: moderate james et al. (1998) investigated the effects of a feldenkrais method awareness through movement program and relaxation procedures on hamstring length measured by knee extension. in a randomized controlled trial, 48 healthy undergraduate students were randomly allocated to either feldenkrais method lessons, relaxation, or a control group with no intervention. participants in the feldenkrais method and relaxation group participated in four 45-minute lessons over a two-week period. findings: no significant effects were found between groups and even though there was a trend present for the feldenkrais method group for an increase in hamstring length, the degree of change was not statistically significant. the authors questioned whether a test like the active knee extension test, which measures hamstring length in relative isolation is an appropriate way to assess the effectiveness of the feldenkrais method, since it is suggested that the feldenkrais method improves functional movement patterns, rather than single-joint action. risk of bias: very low in a similar study, hopper et al. (1999) measured the effect of a single awareness through movement lesson for participants, with and without prior experience of the feldenkrais method, as well as the effect of four lessons over a two-week period on hamstring length, flexibility, and perceived exertion. in studying the effect of a single feldenkrais method lesson for those with no prior experience, 75 healthy participants were randomly allocated to either the feldenkrais method group or the control group. the participants in the control group listened to relaxing music for 45-minutes, whereas the feldenkrais method group performed the lesson “lengthening the hamstrings and spine” by frank wildman. findings: participants in the feldenkrais method group improved significantly in sit and reach measurements after one lesson, but their counterparts in the control group did not. no significant effects were found in perceived exertion and in the active knee extension test after one lesson with no prior experience. after four lessons, both the experimental and control group showed significant improvements in the sit and reach measurements over time. for perceived exertion, the feldenkrais method group experienced significantly less exertion during the sit and reach test across all measurement times. no significant differences between groups were found for the modified active knee extension measurements. the authors argued that their research provides zollinger • feldenkrais research journal, volume 7 (2025) 14 support that the feldenkrais method works by providing alternative motor patterns (bate 1994) and new methods of muscle recruitment to improve functional movements. risk of bias: low buchanan and vardaxis (2000) measured the effects of eight feldenkrais awareness through movement group lessons over two weeks on balance during standing, in a non-randomized controlled design. the sample consisted of 20 adult, injury-free women. an amti force plate was used to measure several characteristics in standing. findings: the center of pressure distribution (cop) changed within the feldenkrais method group from elliptical to circular. this was achieved by decreasing the extreme excursions in the medial-lateral and anterior-posterior direction in sway, thus suggesting that the feldenkrais method can improve balance and postural control in standing. risk of bias: not enough information to study the effect of sensory-imagery in a feldenkrais method awareness through movement lesson on mobility, dunn and rogers (2000) had 12 healthy participants listen to a 30-minute guided sensory-imagery lesson, in which only one side of the body, the left side was imagined to be brushed with a soft bristle over different body segments and the right side served as a control. to test the differences between the two sides, participants were asked to perform a sit and reach test, with one foot’s sole resting at the inside of the opposite knee and the other leg stretched out against the upright side of a box. like this, the forward-bending mobility was measured for each side. findings: results showed that the side that was actively imagined during the sensory exercise, felt lighter and longer for most participants after the guided lesson (two participants reported that the opposite side from that which they worked on felt lighter and longer). for 10 out of 12 participants there was a significant increase in forward flexion on that side. the authors concluded that exercises directed to sensory responses could be beneficial for the enhancement of functional movement. risk of bias: low stephens et al. (2005) studied the effect of 10 awareness through movement lessons undertaken within two days, on coordination, economy of movement and general health in a healthy elderly population with 31 participants. the study was a non-randomized controlled study (using a convenience sample) and the participants were between the ages 68 and 89 and healthy. there was no intervention in the control group. in their data analysis, stephens et al. divided the participants into two groups, one “young/old” (under 78 years old) and an “old/old” group (78 and over). findings: in the results of the coordination task (supine to stand), they observed significant changes as an interaction of group x age x time. in both measures, movement time and movement units, there was a significant decrease in the younger group and an increase in the older group. this result is quite puzzling, since both age groups in the experimental group reported that the supine to stand task became easier after the awareness through movement lessons. the authors suggest that the older group realized that they could move more slowly and carefully in a complex movement, that is unfamiliar for most 80-year-olds. no significant changes were observed in the economy of movement task. there zollinger • feldenkrais research journal, volume 7 (2025) 15 was a significant improvement in the vitality and mental health scores in the experimental group. risk of bias: moderate stephens et al. (2006) conducted a randomized controlled study, where they measured the effect of awareness through movement lessons on an active knee extension test in a healthy sample of 33 individuals. there was no intervention in the control group. participants in the awareness through movement lesson group were asked to perform a 15-minute awareness through movement session five times a week during a three-week period, guided by an audiotaped awareness through movement lesson sequence. the lesson consisted of variations of movements, requiring lengthening of the hamstring muscle in different postural configurations. findings: even though the effectively practiced session ranged between 8 and 15 minutes and the total minutes of practice ranged from 80 to 300, a regression analysis showed no significant effect on hamstring length change in the awareness through movement group as a result of number of practice sessions, total number of practiced minutes or the amount of delay between the last practice session and the final measurement. overall, the awareness through movement group gained significantly more hamstring muscle length, compared to the control group, with a mean number of 11 sessions and 177 practiced minutes. risk of bias: low in a large randomized controlled study with 55 participants, vrantsidis et al. (2009) studied the effectiveness and acceptability of feldenkrais method awareness through movement lessons to improve balance in a healthy elderly sample. the intervention consisted of a twice-weekly group class over eight weeks. there was no intervention in the control group. the awareness through movement classes were part of the “getting grounded gracefully” program, which is designed to specifically improve balance in a variety of postural configurations. findings: there was a significant change in the modified falls efficacy scale for the intervention group, a significant improvement in gait speed and a non-significant improvement in the timed up-and-go test. these results all suggest some improvement in dynamical balance in the intervention group compared to the control group. this is one of the few studies which conducted a sample size calculation prior to the study and who blinded assessors. the authors conclude that even though the study was underpowered to detect a clinically meaningful change, these results and the positive participant feedback on the feldenkrais method classes warrant further research on the feldenkrais method to improve function and balance in older people. risk of bias: very low in 2010, hillier et al. tested the effects of feldenkrais method classes compared to a control group, who participated in a generic balance class. twenty-two individuals of a healthy, ageing population self-selected one of the two classes, without being aware of which class they chose. the study was described as a pseudo-randomized controlled trial. both classes were held once per week for eight weeks. findings: the results showed significant improvements in both classes for the patient specific functional scale (psfs) and the functional reach test (frt). only the feldenkrais method group improved significantly in the single leg stance test (sls). zollinger • feldenkrais research journal, volume 7 (2025) 16 neither the feldenkrais method group, nor the balance class reached significance for the timed up-and-go test and the walk on the floor with eyes closed (wofec) measurement. risk of bias: low in a similar, randomized controlled study in 2010, ullmann et al. studied the effects of a five-week (60 min, three times per week) feldenkrais method lesson program on mobility and balance in a healthy, ageing sample with 47 participants (mean age 76 years). there was no intervention in the control group. the outcome measures were balance (tandem stand), mobility (timed up-and-go), gait characteristics, balance confidence and fear of falling. findings: balance and mobility increased significantly in the feldenkrais method group, and fear of falling decreased significantly. the authors concluded that the feldenkrais method exercises offer an effective way to improve balance and mobility in older adults. risk of bias: low heister (2010) looked at the effects of awareness through movement lessons on different samples of athletes, including 30 individuals. it was a pre-post study design with no control group. the three different subgroups were ageing athletes above 30 years of age, professional athletes consisting of girls between 10-14 years who train in gymnastics for 15-25 hours a week, and a group of disabled athletes with impaired vision. the intervention took place during 2 x 1 hours for four weeks. outcome measure was a self-assessment questionnaire, asking about the self-perception during a single-leg stance with eyes closed on each leg. findings: the author reported significant improvements in the feeling of stability, shoulder tension and freedom of breath in all subgroups and in the number of equalizing movements in most subgroups. risk of bias: critical connors et al. (2011) also studied the effects of a feldenkrais method program to improve balance in older adults in a non-randomized controlled study with 63 participants. the awareness through movement classes of the “getting grounded gracefully” program were conducted twice a week for one hour for 10 weeks. there was no intervention for the control group. findings: the feldenkrais method group showed significant improvements at re-testing on all measures, including the activities specific balance confidence questionnaire (abc), the four-square step test (fsst) and self-selected gait speed. the feldenkrais method class was thought by the authors to enable a freer gait style, resulting from improved balance confidence due to greater intersegmental control between the lower limbs, pelvis, trunk, and head. risk of bias: moderate bellafiore et al. (2012) looked at the influence of feldenkrais method classes on spine health in professional orchestral musicians in a randomized controlled trial with a small sample (n=17). there was no intervention in the control group. the experimental group took part in two hours of awareness through movement classes per week for four weeks. findings: there was no significant effect detected on muscle fitness and flexibility of the spine, measured by a sit and reach and trunk lift test. there was a positive trend in both measures in participants in the feldenkrais method group and a slight worsening in the control group, suggesting that the zollinger • feldenkrais research journal, volume 7 (2025) 17 awareness through movement classes prevented a worsening of these abilities. the authors mentioned that the absence of a significant effect might be due to the small sample size and the brief length of intervention. risk of bias: low in a 2012 study, khurana et al. investigated the effect of feldenkrais method group classes on hamstring lengthening in a non-controlled study with young, healthy individuals (n=25). the study mentions that feldenkrais method classes were given for 15 consecutive days, but no information about the duration of the exercises is given in the text. findings: even though the study mentions an angle increase in the 90-90 single leg raise test (slr), no information is given about whether this increase was significant or clinically meaningful. risk of bias: critical a randomized controlled trial by bipinbhai (2013) compared the effectiveness of the alexander technique, the feldenkrais method, and conventional balance exercises to improve balance in older adults with balance problems. each of the three groups consisted of 15 individuals and received lessons for five days in a week for one month. findings: the feldenkrais method group improved significantly in the assessment with the berg balance scale (bbs) and the functional reach test (frt) in standing. compared to the conventional exercises, the feldenkrais method group improved balance significantly more, when assessed with the frt in standing and the bbs. the study overall suggests that all three groups showed significant improvement in some balance measures. between group comparison suggests that the alexander technique group and the feldenkrais method group improved balance more than undertaking conventional exercises. while comparing the feldenkrais method group and the alexander technique group, there was no significant difference in improving the balance in older adults. risk of bias: very low in 2013, webb et al. investigated the effect of feldenkrais method awareness through movement classes on people (n=15) with osteoarthritis. the study was a prospective study with preand post-measure, but no control group. the classes were held twice per week for 30 weeks. findings: the participants improved in the four-square step test (4sst) and kinematic analysis showed a decreased anterior pelvic tilt, which reduced the forward inclination of the trunk and reduced loads and the low back when walking. a major limitation of the study was that there was no control group and that no information is given as to whether the results were significant. risk of bias: critical cook et al. (2014) performed a non-randomized controlled study, to investigate the effect of a feldenkrais method intervention on balance and gait in healthy women between the ages of 40 and 80 (n=46). the intervention was short, with one to two classes during five consecutive days. findings: the results showed significant improvements in quality of life, balance confidence, and gait characteristics, but there were no improvements in a two-footed balance test with eyes closed. the authors concluded that since it is not likely that physical properties of the muscles zollinger • feldenkrais research journal, volume 7 (2025) 18 and tendons changed during five days of intervention, that the effects were due to changes in neurological control of the muscles. risk of bias: serious a randomized controlled study by nambi et al. (2014) compared the effects of feldenkrais method lessons and pilates classes to a control group in an ambulatory geriatric population (n=60). each group had 20 participants and all groups completed six weeks of intervention with three sessions per week. the control group received instructions to warm up, walk for 12 minutes and cool down afterwards. the outcome measurements included the functional reach test (frt), timed up-and-go test (tug) and dynamic gait index for functional balance. quality of life was also measured at baseline and after six weeks of training. findings: the results showed significant improvement in functional balance and quality of life, both in the feldenkrais method and the pilates group, but not in the control group. the authors concluded that both pilates classes and feldenkrais method lessons are effective in improving functional balance and decreasing propensity to fall in an ambulatory, geriatric population. risk of bias: very low maddali-bongi et al. (2017) performed a pilot study to assess the effects of feldenkrais method group sessions on patients with ankylosing spondylitis. there was no control group and only descriptive statistics was performed. ten patients visited a total of 10 sessions, twice per week. additionally, patient-tailored home exercises, chosen by the therapist, were performed daily for 30 minutes. findings: the study results showed improvements in pain, fatigue, global health status and lumbar and cervical mobility. the authors conclude that the results are promising, but should be validated with larger, randomized controlled studies. risk of bias: critical palmer (2017) studied the effects of feldenkrais method lessons to improve healthy older adults’ awareness, comfort, and function. the study design was a non-randomized controlled trial with blinded assessors and 87 participants. to compare the effect of lesson intensity, the experimental group was divided into two subgroups, of which one took 12 lessons in six weeks and the other in 12 weeks. there was no intervention in the control group. outcome measures included tandem stance, functional reach test, timed up and go and the optimal survey for self-reported changes in activities. the analysis method allowed for correlation analysis between number of attended lessons and outcome measurements, since the number of visited lessons differed individually (with a minimum of eight lessons). findings: results showed a significant correlation between the number of lessons visited and the improvements in functional reach and in the optimal survey for the experimental group. there was also a significant improvement compared to the control group in the optimal survey for self-reported changes in activities, but there was no significant difference between the experimental and control group in the other outcome measures. also, it seemed that it is not the density of the sessions which is important, but the total number of visited lessons, since the six and the 12-weeks group experienced similar improvements. risk of bias: moderate zollinger • feldenkrais research journal, volume 7 (2025) 19 in a randomized controlled trial, torres-unda et al. (2017) investigated whether feldenkrais method group classes improve functioning and body balance in middle-aged people with intellectual disability (id) (n=32). the experimental group received 30 awareness through movement lessons, with one lesson per week while the control group did not receive any movement intervention. physical functioning was assessed with the short physical performance battery (sppb) and balance by a stabilometry test. the sppb is a composite score of performance (0–12) based on three functional tasks: walking speed, chair rise test, and standing balance (guralnik et al. 1994). findings: after 30 awareness through movement classes, the experimental group significantly improved their chair rise test score, their total sppb score, and significantly reduced their sway area in the stabilometric test. there was also a significant interaction between group and time for the sppb total score, meaning that individuals in the experimental group improved their functioning more than controls. the improvement of the sppb total score for the experimental group was considered clinically meaningful. overall, these findings indicate that individuals with intellectual disability significantly improved their physical functioning by participating in a feldenkrais method intervention and that the feldenkrais method could be a good tool for the prevention of loss of functioning and body balance in middle-aged individuals with intellectual disability. risk of bias: low 5.1.1 individuals with neurological conditions seven studies within the category of mobility and balance were conducted with symptomatic individuals having a neurological condition. in a multiple case study, stephens et al. (1999) looked at the effect of 10 awareness through movement classes over 10 weeks on four women with multiple sclerosis (ms). outcome measures included the fatigue severity scale, index of wellbeing, motion analysis of gait and supine to stand task. findings: the primary outcome result was an increased sense of wellbeing, and improvement of balance and control of movement. risk of bias: critical in a randomized controlled trial with a crossover design, johnson et al. (1999) studied the effect of eight individual functional integration (fi) sessions on 20 individuals with multiple sclerosis. one half of the group received functional integration sessions, while the other half received a sham intervention, where the practitioner moved clockwise around the table and lightly laid his hands on different body parts. the sham intervention was designed to control for effects of attention, touching and the personality of the practitioner. when asking the participants whether they noticed the difference between the two interventions, all participants reported that they noticed a difference and reported the feldenkrais method sessions as being more effective. the outcome measures included tests for hand dexterity, ms performance scales and questionnaires on psychological variables such as perceived stress, anxiety, and depression. findings: the results showed no effect of the feldenkrais method and sham sessions on ms symptoms, levels of functional ability, and upper extremity performance. there was a significant zollinger • feldenkrais research journal, volume 7 (2025) 20 difference for perceived stress and lowered anxiety after feldenkrais method sessions, but not after the sham intervention. the authors conclude that the greatest treatment effect was on psychological variables and that the importance of this cannot be underestimated, since stress has been implicated in both onset and disease activity in ms. risk of bias: very low another study by stephens et al. (2001) investigated the effect of awareness through movement classes on people with ms in a randomized controlled design with a small sample size (n=12). while the awareness through movement group participated in eight awareness through movement classes, with a total of 20 hours during a 10-week period, the control group participated in four 90 minute educational classes. findings: the results showed a significant improvement in the feldenkrais method group for balance and balance confidence. the authors suggest that awareness through movement classes incorporate basic principles of balance training and combine it with kinaesthetically based, exploratory movements. risk of bias: low a randomized controlled study by teixeira-machado et al. (2017) looked at the effects of 50 sessions, done twice per week, in feldenkrais awareness through movement classes to improve motor functionality in parkinson’s disease (pd). thirty participants with pd were divided into an experimental and a control group. the control group received educational lectures during the experimental period. outcome measurements included a timed-up-and-go test, rollover task, 360-degree turn-in-place task, functional-reach test, sitting-and-standing test, berg balance scale and hip-flexion strength test. findings: the feldenkrais method group significantly improved in all measures when compared to before treatment, but also when compared to the control group. the authors conclude that the feldenkrais method helps patients with pd to improve motor functioning, without neglecting the emotional wellbeing. risk of bias: very low a non-controlled study by kang et al. (2021) analyzed the effect of a dance intervention using the feldenkrais method on motor and non-motor symptoms in nine participants with parkinson’s disease (pd). the participants visited an awareness through movement class once per week during a six-month period. this is the only study analyzed for this paper, which conducted a follow-up measurement after six months of the end of the intervention. findings: the results showed significant improvement in gait velocity and step length between three and six months, but then worsened again until the follow up measurement. mobility, as measured by the tinetti scale, decreased significantly during the intervention period. the parkinson’s disease quality of life test showed a significant improvement after six months, but after 12 months, there was no more effect being observable. the authors discuss several study limitations, such as small sample size, no correction for type 1 error, and no control group. risk of bias: critical a two-armed, randomized controlled pilot study, by serrada et al. (2022) studied whether body awareness training with the feldenkrais method can improve recovery following a stroke. participants (n=20) had a diagnosis of a stroke (three months to six years ago) and were zollinger • feldenkrais research journal, volume 7 (2025) 21 randomly assigned to either the experimental or control group. the experimental group took part in two face-to-face lessons of 45-minutes each week for 10 weeks while the control group listened to recordings in their home with the same lessons. in comparison to the home-based group, the class-based group reported greater acceptance and perceived effects, as well as the likelihood to continue practicing the feldenkrais method after program completion. the importance of the therapist and a connection with others for feedback, company and socialization, comparison, and motivation were of utmost importance for the class-based group. findings: preand post-intervention measures showed significant improvements in the class-based group compared to the home-based group in arm and leg motor impairment scales, body awareness and quality of life. the improvements in arm and leg motor functioning and quality of life are clinically meaningful according to the authors. the home group took longer to complete (13 – 25 weeks) and had reduced adherence, perhaps reflecting the effect of peer-group versus individual motivation. participants drop-out and withdrawal rate although low and equally distributed between groups was an issue. the important clinical messages were reported as the following: 1) body awareness classes are feasible and safe for people in chronic phase after a stroke. 2) functional movements and directed attention develop a better understanding of the ‘new’ body after stroke. 3) improved body awareness may provide benefits in recovery after stroke. 4) peer support and group interaction may be beneficial for recovery. risk of bias: low 5.2 dexterity two studies were performed investigating the effects of feldenkrais awareness through movement lessons on hand dexterity. a very well-designed, double-blinded randomized controlled study with healthy students (n=29) by bitter et al. (2011) evaluated the effect of a single, two-hour, feldenkrais method sensory awareness lesson for hand dexterity. the outcome measures were the purdue pegboard test, a grip-lift manipulandum task, and perceived changes using a questionnaire designed for the study. the students were randomly assigned to one of three groups: 1) feldenkrais method lesson with the dominant hand; 2) feldenkrais method lesson with the non-dominant hand; and 3) sham intervention in the form of progressive muscle relaxation. a sample size calculation was performed in order to have enough participants in each group to detect a meaningful effect in the grip force task. findings: the results showed significant improvements in the purdue pegboard test for the experimental group compared to the control groups. for the grip-lift task, only the maximum grip force to hold the manipulandum decreased significantly in the dominant-hand group compared to the non-dominant and control group. all participants in the dominant and non-dominant hand group reported that the intervention hand felt different after the lesson compared to before the lesson and felt different to the hand that didn’t receive the sensory attention. the authors concluded that a single sensory-awareness lesson improves hand dexterity in healthy adults, making it a useful intervention for populations requiring high zollinger • feldenkrais research journal, volume 7 (2025) 22 dexterity, such as musicians and medical professionals who require high hand dexterity. risk of bias: very low in another randomised controlled trial, causby et al. (2016) investigated the effect of additional sensory awareness training and motor practice for learning scalpel skills in podiatry students. forty-four participants were randomly assigned to three groups; 1) a sensory awareness group, receiving one 40-minute feldenkrais method session and practicing two audio recordings at home, one of which targeted the dominant hand. 2) a motor practice group, practicing scalpel holding and, 3) a control group, who received the standard teaching only. participants were evaluated on psychological measures (intrinsic motivation inventory) and dexterity measures (purdue pegboard test, grooved pegboard test, and a grip-lift task). findings: the only significant group difference over time was displayed by the control group on preload duration of the non-dominant hand for the grip-lift task. but it should be noted that the groups differed significantly at baseline testing, with the control group performing significantly poorer, and therefore having the better improvement rate since the improvement is related to the amount to improve. the authors mention several factors leading to no differences between the groups. first, the low number of participants (n=44), second the short additional training period for the two experimental groups (two weeks), which might not have been long enough to show training effects. the authors also mention the study by bitter et al. (2011) and say that the significant effects of that study might be due to immediate testing, which does not evaluate lasting change. overall, this study showed no significant improvements of additional sensory and motor training, which took place over the course of two weeks, compared to standard scalpel teaching practice. risk of bias: low 5.3 breathing three studies were conducted to evaluate the effects of awareness through movement lessons on breathing abilities. ramli and roslina (2012) conducted a randomised controlled trial to compare group lessons of the feldenkrais method to improve rehabilitation in patients with chronic obstructive pulmonary disease (copd) with a standard pulmonary rehabilitation program. thirty-six patients with a mean age of 65.7 years participated in the study and both the experimental feldenkrais method group and the control group took part in interventions twice per week for eight weeks. outcome measurements included forced expiratory volume in one second (fev1), the borg score and the 6-minute walk test (6mwt). the borg score allows patients to grade the intensity of their breathlessness, while the 6mwt measures how far patients can walk in 6 minutes. findings: neither the experimental, nor the control group showed significant improvement in fev1. for the borg score, there was a significant improvement in the standard protocol control group only, but both groups improved significantly in the 6mwt as a within-group effect. there was no significant difference detected between the two groups for the 6mwt. since the standard pulmonary rehabilitation program involves high intensity exercise and increased cardiovascular zollinger • feldenkrais research journal, volume 7 (2025) 23 endurance, the authors suggest the change in the borg score for the control group is a consequence of desensitization. the improved distance in the 6mwt in the feldenkrais method group is consistent with a true physiological training effect and the various movement patterns in the feldenkrais method classes which may have improved respiratory muscle function and gas exchange. the authors conclude that both interventions demonstrated relevance to copd patients. while some patients might better tolerate the feldenkrais method lessons, it does not provide better outcomes than the standard protocol. risk of bias: low another observational pilot study was done by ramli et al. (2013) to study the feldenkrais method as an alternative therapy for patients with chronic obstructive pulmonary disease (copd). eleven participants, aged between 53 and 73 years participated in the study, all of whom were diagnosed with a severe copd. patients received one feldenkrais method awareness through movement lesson per week over the course of eight weeks. the content of the lessons varied from week to week and included topics of awareness, relaxation, breathing, and trunk mobility. outcome measurements before and after the intervention included the 6-minute walking test, lung function tested through spirometry and quality of life. findings: results showed a significant improvement in the 6-minute walk test and forced expiratory volume, both with large effect sizes. quality of life measures did not change significantly throughout the course of the intervention. the authors addressed several limitations, such as a small sample size and the lack of a control group with randomized allocation. the results of this pilot study were promising but need to be confirmed by future studies with a larger sample, control group and random allocation of patients with copd. risk of bias: critical a well-designed randomised controlled trial by mohan et al. (2021) evaluated the effects of feldenkrais method awareness through movement lessons to improve respiratory characteristics in patients with non-specific lower back pain (ns-lbp). forty participants were randomly assigned to the experimental and control group. whilst the control group received a standard physiotherapy intervention three times per week, the experimental group received feldenkrais method awareness through movement lessons combined with the routine physiotherapy protocol. the authors conducted a sample size calculation and assessors remained blinded to the treatment conditions. outcome measures included respiratory muscle strength, respiratory muscle endurance, assessment of breathing patterns, pain perception, chest expansion, and core stability. findings: results showed significant improvements in expiratory and inspiratory muscle strength for the experimental group, but not for the control group. respiratory muscle endurance only improved significantly in the control group. additionally, there was a significant reduction in pain and a significant improvement in chest expansion in the experimental group alone. also, lumbo-pelvic stability improved in the experimental group alone. breathing patterns showed a non-significant improvement in the experimental group. the authors conclude that the feldenkrais method is a potential additional form of exercising, which could improve respiratory function, pain and lumbo-pelvic stability components in populations with lower back pain. risk of bias: very low zollinger • feldenkrais research journal, volume 7 (2025) 24 5.4 posture two papers studied the effect of feldenkrais method interventions on posture. in these two studies the effect on skeletal alignment in standing was evaluated. quintero et al. (2009) studied the effect of ten once per week feldenkrais awareness through movement sessions on head posture in bruxist children. the study design was a randomised controlled trial and included 26 children between 3-6 years of age. there was no intervention in the control group. findings: results showed significant improvements in head posture after the intervention compared to the control group with a clinically meaningful change in the craniovertebral angle (cva). risk of bias: very low gil (2018) conducted a study to assess the effects of a feldenkrais method program and a so-called “motion and posture” (map) program on posture and quality of life. the motion and posture program is derived from the feldenkrais method but combines it with more conventional stability exercises. the study design was a non-randomized controlled trial, and 243 participants took part in either 14 feldenkrais method or map lessons. findings: quality of life improved in both groups and lordosis gap decreased in both groups as well. whilst the decrease of the lordosis gap was bigger in the motion and posture group, kyphosis only improved in the feldenkrais method group. the authors conclude that quality of life and posture can be improved by both programs. unfortunately, the paper did not provide clear information about whether the improvements were statistically significant from preto post-intervention. risk of bias: critical 5.5 muscle tone one randomized controlled trial by brummer et al. (2018) studied the effect of feldenkrais method functional integration on muscle tone in the supine position. thirty volunteers received one individual functional integration session, in randomized order either first on the right or on the left side of the body. evaluation consisted of pressure points and contact surface, documented with the xsensor-measurement-system as well as of subjective sensations. findings: results showed that pressure increases differentially on the side that is treated first and overall pressure and contact surface increased significantly after the treatment. the authors reported large effect sizes and observed power for all effects close to 1, meaning that a replication of the study would not need a much larger sample size. in conclusion their results demonstrated that the treatment sessions with the feldenkrais method changed muscle tone, leading to a more relaxed supine position with respect to pressure and contact surface on the mat. risk of bias: very low 5.6 general health assessment even though this literature review is focusing on motor functioning, the author included the results of the evaluated studies described above, which also assessed the effect of feldenkrais zollinger • feldenkrais research journal, volume 7 (2025) 25 method sessions on a general sense of subjective wellbeing, most often evaluated by questionnaires on quality of life. in the study by gutman et al. (1977), whilst not yielding significant statistical differences between groups, participants in the feldenkrais method group worried less about their health after the intervention. also, 26.3 % reported that they had more energy after the course, compared to before. in addition, more participants (32 %) in the feldenkrais method group than in the control groups (11-21%) reported that they slept better after the program. in the study by hall et al. (1994), participants in the feldenkrais method group significantly increased their vitality and physical functioning, as measured by the sf-36 quality of life (qol) questionnaire. the multiple case study by stephens et al. (1999) reported a generally increased sense of wellbeing and the study by stephens et al. (2005) reported an improvement of the sf-36 vitality and mental health subscale scores in the experimental group, indicating an increased sense of wellbeing after participating in awareness through movement classes. however, the observational pilot-study by ramli et al. (2013) did not show any significant changes in quality of life between the baseline and post-intervention period. cook et al. (2014) mentions improvements in quality of life after the feldenkrais method intervention for women between 40 and 80 years of age. the randomized controlled trial by nambi et al. (2014) showed significant improvements in qol in an ambulatory geriatric population. as seen by these results, the feldenkrais method seems to have beneficial effects on subjective wellbeing, perceived stress, as well as mental health, and a general sense of health. 6. discussion first, it must be noted, that the studies described in this review on the feldenkrais method and motor functioning are very heterogeneous in terms of their study characteristics, risk of bias, and area of investigation. while most studies found a significant positive effect, some studies did not. focusing on the studies with a “very low” or “low” risk of bias, some patterns can be detected, and the different results can lead to an overall picture. in the area of mobility and balance , several studies report an improvement in perceived exertion of movement tasks (brown and kegerreis 1991; chinn et al. 1994; ruth and kegerreis 1992) and an emg measurement during a flexion task showed reduced muscle activity after the intervention (brown and kegerreis 1991), suggesting that the feldenkrais method can improve movement efficiency. several studies report an improvement in functional movement patterns, such as reaching (bipinbhai 2013; dunn and rogers 2000; hillier et al. 2010; hopper et al. 1999; nambi et al. 2014). the best studied effect is the improvement of balance and mobility in the aging population (bipinbhai 2013; hillier et al. 2010; nambi et al. 2014; ullmann et al. 2010; vrantsidis et al. 2009). interesting are the different results of two studies investigating the change of hamstring flexibility, measured in an active-knee-extension test. while james et al. (1998) found no significant effect after four awareness through movement sessions within two weeks, stephens et al. (2006) found significant improvements after 8-15 sessions over the zollinger • feldenkrais research journal, volume 7 (2025) 26 course of three weeks. a possible explanation for this difference might be the length and intensity of the study or the lessons used as intervention to target active hamstring muscle flexibility. in studies with symptomatic individuals having a neurological condition, the functional integration study by johnson et al. (1999) showed no improvements in hand dexterity or multiple sclerosis (ms) performance scales, but significant reductions in anxiety levels and perceived stress. on the other hand, the awareness through movement study by stephens et al. (2001) showed significant improvements on balance and balance confidence in individuals with multiple sclerosis. the study by teixeira-machado et al. (2017) found significant improvements on a variety of functional outcome measures for individuals with parkinson’s disease. serrada et al. (2022) found clinically meaningful effects of awareness through movement classes for stroke recovery, tested by leg and arm motor-impairment scales, body awareness, and quality of life. for the dexterity of the hand , one study by bitter et al. (2011) found significant improvements after one two-hour feldenkrais awareness through movement session compared to a sham intervention of progressive muscle relaxation. in another study, when compared to a standard protocol for hand dexterity teaching for learning scalpel skills over two weeks, additional awareness through movement sessions were not beneficial (causby et al. 2016). several questions arise from these findings: are the effects in the study by bitter et al. (2011) lasting effects, or were the positive results a consequence of immediate testing? would the results of the study by causby et al. (2016) differ if it would take place over a longer period and with more consistent baseline characteristics between the groups? two good studies on breathing both found significant improvements in respiratory muscle function (mohan et al. 2021; ramli and roslina 2012). also, the study on head posture in bruxist children found clinically meaningful improvements (quintero et al. 2009). interestingly, the functional integration study by brummer et al. (2018), showing a significant lowering of muscle tone in the supine position, corresponds with the effect of the functional integration study by johnson et al. (1999) who reported decreased levels of anxiety and stress. it is a well-established psychophysiological fact, that high levels of stress and anxiety are directly linked to a higher overall muscle tone in the body (hazlett et al. 1994; plüss et al. 2009; sainsbury and gibson 1954). the several positive effects of awareness through movement and functional integration lessons on quality of life further suggest a positive effect on self-perception, body awareness, and overall sense of wellbeing and vitality. in comparison to standard treatment protocols and general exercises, the results are mixed. the study by hillier et al. (2010) showed small advantages of awareness through movement sessions in improving balance, compared to a generic balance class. chinn et al. (1994) found zollinger • feldenkrais research journal, volume 7 (2025) 27 an improvement in perceived exertion following awareness through movement sessions compared to general upper body exercises. ramli and roslina (2012) did not find the feldenkrais method classes to be superior to a standard treatment approach for copd patients. bipinbhai (2013) found the feldenkrais method classes to be better in improving balance in older adults than a general balance class. while causby et al. (2016) did not find the feldenkrais method to be an improvement compared to a standard scalpel training in students, the study by henry et al. (2020) found the feldenkrais method being used in addition to physiotherapy being more effective than physiotherapy alone in treating breathing problems for people with non-specific lower back pain. no studies reported risks or adverse effects, making the feldenkrais method a very safe form of intervention. this is in line with findings from other authors (ernst 2022). when looking at the number of sessions needed to see an effect, some studies reported significant improvements after only one session, while other studies showed an effect after eight or more sessions over the course of several weeks. it remains unclear whether and how long these effects last. the number of sessions needed to see an effect seems to depend on what the goal of the intervention is and no suggestions for the amount and intensities can be given based on the current findings. 6.1 lack of studies including functional integration the reasons for having few studies including the manual modality of functional integration are assumed to be manifold. one reason is that sessions in functional integration do not follow a fixed protocol and there is great interand intra-individual variability between functional integration sessions, even for the same conditions. this is due to the reason that the feldenkrais method conceptualizes human organisms and their neuromuscular system as a dynamic, complex, and adaptive system and therefore interventions in functional integration follow an exploratory process, using so called meta-principles along specific technical aspects of manipulation (buchanan 2012; russell 2020). this interand intra-individual variability poses challenges to the replicability of functional integration studies. further, it is difficult to adequately control for confounding practitioner-client interaction effects, which are known to be substantial in hands-on body-mind practices (mehling et al. 2005). nevertheless, as mehling et al. (2005) suggest, several ways exist to minimize bias in studies of hands-on bodywork for challenges regarding blinding, control group and bias in recruitment and attrition. another reason for the lack of studies including functional integration is the cost factor, as having multiple individual sessions is more resource intensive than giving group sessions. the author further suggests conceptualizing hands-on studies in functional integration with a ‘black-box’ model, where the specific manipulations are of less importance. since every functional integration session uses the same set of basic principles, the likelihood and therefore zollinger • feldenkrais research journal, volume 7 (2025) 28 the replicability of different sessions is still given. also, combining quantitative with qualitative outcome measures might better grasp the reality of the effects of functional integration. 6.2 possible mechanisms of action thinking and theorizing about the mechanism of action by which the feldenkrais method improves motor functioning has been taken up by many authors in the past. focusing on the group modality awareness through movement, there is a common understanding that the feldenkrais method improves, changes and provides new functional whole-body movement patterns (bate 1994; bisges and newton 1992; dunn and rogers 2000; hopper et al. 1999; james et al. 1998; rywerant 1983; serrada et al. 2022). stephens and hillier (2020) provide a section on the mechanism of action in their recent review, concluding that the feldenkrais method changes the pattern of movement coordination as a result of a process of sensorimotor learning. an in-depth analysis of the elements of motor learning and postural control was done by connors et al. (2011), which found that motor learning and postural control theory provides a sound theoretical basis for the effectiveness of the feldenkrais method in improving balance. bate (1994) provided a similar approach in explaining some effects of the feldenkrais method with motor control theories, while stephens et al. (2001) state that awareness through movement sessions incorporate basic principles of balance training. an outline of several principles related to the efficient use of the neuromuscular system can also be found in the article of lyttle (1997). additionally, several authors point out the exploratory learning nature of the feldenkrais method (russell 2020; wildman 1986). this is also the topic of the theoretical article by lafe and pacheco (2019), which elaborates the connection between the feldenkrais method and the search strategy approach to skill acquisition based on dynamical systems theory. also, the importance of awareness and attention is stressed by several authors (clark et al. 2015; mattes 2016; wildman 1986). wildman (1986) described the feldenkrais method as a process to develop attention and to improve the ability to make sensory distinctions that are connected to improving motor ability. 6.3 recommendations for future research designing and planning research programs to study the feldenkrais method is a difficult and complex undertaking. when looking at the current literature, the author recommends the following for future studies. 1) focusing on randomized controlled studies with a sample-size calculation, especially in studies with symptomatic individuals where the aim is to investigate the clinical effect of functional outcomes for these clinical populations. 2) studies with control groups either receiving a well-designed sham intervention or a standard treatment approach. 3) more studies on the effects of functional integration, especially with children with cerebral palsy or people in neurorehabilitation in general. this is a frequently recommended and utilized application of functional integration sessions zollinger • feldenkrais research journal, volume 7 (2025) 29 (shelhav-silberbush 1988; panova et al. 2017). currently a five-year long study with 20 children with cerebral palsy is being conducted at the university hospital in padova, italy. this is the first long-term study of this kind (chioggia redazione web 2023). 4) more studies with different age groups as sample population. 5) design studies to assess the effects of feldenkrais method interventions on joint mobility and basic coordination of voluntary movement like right-left, up-down, back-front, hand-eye and eye-foot coordination in comparison to assessing more complex, context-dependent motor actions, such as walking, running, jumping, climbing, crawling, swimming, throwing, reaching for something and changing of elementary body position. the international classification on function, disability, and health (icf) by the who could serve as a possible framework (stucki 2005). 6) use repeated measurements designs to compare the effect of different amounts of sessions and intensities. 7) include follow-up assessments to assess the retention of intervention effects. 7. conclusion in many areas of study and for many aspects of motor functioning, studying the various possibilities and potential of the feldenkrais method has been limited. nevertheless, this scoping review of research studies and scholarly literature about the feldenkrais method and motor functioning gives evidence and makes it seem plausible that the feldenkrais method works through principles of motor control and motor learning to improve functions mediated through the neuromuscular system. functions such as balance, mobility, intraand inter-muscular coordination, whole-body coordination, breathing, posture, and muscle tone can be improved by the feldenkrais method. further research is needed to specify the effects and the amount of practice needed for the retention of newly found functional movement patterns in the variety of the population who can benefit from the feldenkrais method. acknowledgements the author thanks the swiss feldenkrais association, sfv, for their financial funding, which made this review possible. also, a big thanks to cliff smyth and joanne page, for providing valuable feedback to the first draft of this review and helping in editing this article. conflict of interest the author was member of the board of directors of the swiss feldenkrais association (sfv) while conducting this review. the author claims to have worked according to best practices and in line with scientific procedures and has no personal financial benefit regarding the outcome of this review. zollinger • feldenkrais research journal, volume 7 (2025) 30 references arksey, h., and o’malley, l. 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(2017) ‘the feldenkrais method improves functioning and body balance in people with intellectual disability in supported zollinger • feldenkrais research journal, volume 7 (2025) 37 https://journals.lww.com/jnpt/abstract/2001/25020/use_of_awareness_through_movement_improves_balance.2.aspx https://journals.lww.com/jnpt/abstract/2001/25020/use_of_awareness_through_movement_improves_balance.2.aspx https://doi.org/10.1123/kr.2020-0022 https://feldenkraisresearchjournal.org/index.php/journal/article/view/98 https://doi.org/10.1136/bmj.i4919 https://doi.org/10.1097/01.phm.0000179521.70639.83 https://doi.org/10.1515/ijdhd-2016-0006 employment: a randomized clinical trial’. research in developmental disabilities , 70, 104–112. available at doi: https://doi.org/10.1016/j.ridd.2017.08.012 ullmann, g., williams, h. g., hussey, j., durstine, j. l., and mcclenaghan, b. a. (2010) ‘effects of feldenkrais exercises on balance, mobility, balance confidence, and gait performance in community-dwelling adults age 65 and older’. the journal of alternative and complementary medicine , 16 (1), 97–105. available at doi: https://doi.org/10.1089/acm.2008.0612 vrantsidis, f., hill, k. d., moore, k., webb, r., hunt, s., and dowson, l. (2009) ‘getting grounded gracefully©: effectiveness and acceptability of feldenkrais in improving balance’. journal of aging and physical activity , 17 (1), 57–76. available at doi: https://doi.org/10.1123/japa.17.1.57 webb, r., cofré lizama, l. e., and galea, m. p. (2013) ‘moving with ease: feldenkrais method classes for people with osteoarthritis’. evidence-based complementary and alternative medicine , 2013, 1–12. available at doi: https://doi.org/10.1155/2013/479142 wildman, f. (1986) ‘learning – the missing link in physical therapy: a radical view of the feldenkrais method’. physical therapy forum , 5 (8) www.riskofbias.info. (n.d.) risk of bias tools current version of robins-i . [online] available at: https://www.riskofbias.info/welcome/home/current-version-of-robins-i www.zotero.org. (n.d.) zotero | your personal research assistant . [online] available at: https://www.zotero.org/groups/4149568/iffrg/collections/mw22kmsn [accessed 29 jan. 2024] biography nicola zollinger completed his studies in environmental sciences at eth zurich and graduated from his feldenkrais training in 2021 in aurillac, france. he worked as an assistant to a lecturer of mathematical system analysis at his university for three years, where he gained a deeper understanding of complex systems. he also wrote the content for a series of six published videos that explain the feldenkrais method to the public and published several articles about the feldenkrais method on the website for complementary therapies in switzerland. zollinger • feldenkrais research journal, volume 7 (2025) 38 https://doi.org/10.1016/j.ridd.2017.08.012 https://doi.org/10.1089/acm.2008.0612 https://doi.org/10.1123/japa.17.1.57 https://doi.org/10.1155/2013/479142 https://www.riskofbias.info/welcome/home/current-version-of-robins-i https://www.zotero.org/groups/4149568/iffrg/collections/mw22kmsn appendix 1 table 1, part 1 data overview zollinger • feldenkrais research journal, volume 7 (2025) 39 nr. study year atm/fi area nr. of subjects age sessions duration [weeks] intensity [sessions per week] healthy sample 1 gutman et al. 1977 atm mobility, balance, general health assessment 38 70.9 18 6 3 yes 2 brown and kegerreis 1991 atm mobility 21 28 1 1 1 yes 3 ruth & kegerreis 1992 atm mobility 30 11-36 1 na na yes 4 hall et al. 1994 atm balance, general health assessment 60 71.65 32 16 2 yes 5 chinn et al. 1994 atm mobility 23 18-59 1 1 1 no 6 brown et al. 1996 atm mobility 23 75.92 18 6 3 yes 7 stephens et al. 1998 atm mobility 4 38.5 10 10 1 no 8 james 1999 atm mobility 48 23.1 4 2 2 yes 9 hopper et al. 1999 atm mobility 75 18.9 1 or 4 2 2 yes 10 johnson et al. 1999 fi mobility 20 44.8 8 8 1 no 11 buchanan & vardaxis 2000 atm balance 20 na 8 4 2 yes 12 dunn & rogers 2000 atm mobility 12 23 1 1 1 yes 13 stephens et al. 2001 atm balance 12 56.2 8 10 1 no 14 batson & deutsch 2005 atm mobility, balance 4 56 15 6 na no 15 stephens et al. 2005 atm mobility, general health assessment 31 79 10 1 10 yes 16 stephens et al. 2006 atm mobility 33 25.9 11 on average 3 4 on average yes 17 quintero et al. 2008 atm posture 26 4.7 10 10 1 no 18 vrantsidis et al. 2009 atm balance 55 75.4 16 8 2 yes 19 manuél heister 2010 atm balance 30 na 8 4 2 no 20 hillier et al. 2010 atm balance, general health assessment 22 na 8 8 1 yes 21 ullmann et al. 2010 atm mobility, balance 47 75.6 15 5 3 yes 22 connors et al. 2011 atm mobility, balance 63 75 (md) 20 10 2 yes 23 bitter et al. 2011 atm dexterity 29 23 1 1 1 yes 24 khurana et al. 2012 atm mobility 25 21-26 15 2 7 yes 25 ramli & roslina. 2012 atm breathing 36 65.7 16 8 2 no 26 bellafiore et al. 2012 atm mobility 17 34 8 4 2 no table 1, part 2 nr. study ocbm level of evidence type of control blinding follow-up results sign. sample size calculation pedro score for rct risk of bias 1 gutman et al. 3 no intervention no blinding no no no na serious 2 brown and kegerreis 2 atm without suggestions no blinding no yes no 6/11 low 3 ruth & kegerreis 2 no intervention no blinding no yes no 5/11 low 4 hall et al. 2 no intervention no blinding no yes no 6/11 low 5 chinn et al. 2 sham intervention (exercise) no blinding no yes/no no 4/11 low 6 brown et al. 3 no intervention no blinding no yes no na moderate 7 stephens et al. 4 no control group no blinding no na no na critical 8 james 2 no intervention/relaxation blinded assessors no no no 8/11 very low 9 hopper et al. 2 no intervention no blinding no yes no 6/11 low zollinger • feldenkrais research journal, volume 7 (2025) 40 27 ramli et al. 2013 atm breathing 11 63.8 8 8 1 no 28 bipinbhai 2013 atm balance 45 71.36 20 4 5 yes 29 webb et al. 2013 atm mobility, general health assessment 15 67 60 30 2 no 30 cook et al. 2014 atm mobility, balance, general health assessment 46 60 5-10 1 5-10 yes 31 nambi et al. 2014 atm balance, general health assessment 60 70 18 6 3 yes 32 causby et al. 2016 atm dexterity 44 23 7 2 3-4 yes 33 maddali-bongi et al. 2017 atm mobility 10 55.3 10 + daily home exercises 5 2 no 34 palmer 2017 atm balance 87 76 (md) 12 6 or 12 1 or 2 yes 35 torres-unda et al. 2017 atm mobility, balance 32 48.94 30 30 1 no 36 teixeira-machado et al. 2017 atm mobility, balance 30 61 50 25 2 no 37 gil 2018 atm posture 243 24 14 14 1 yes 38 brummer et al. 2018 fi muscle tone 30 37.9 1 1 1 yes 39 mohan et al. 2021 atm breathing 34 18-55 24 8 3 no 40 kang et al. 2021 atm mobility 9 69.1 24 24 1 no 41 serrada et al. 2022 atm mobility 20 68.4 20 10 2 no 10 johnson et al. 2 sham intervention blinded assessors no yes no 7/11 very low 11 buchanan & vardaxis 3 no information on control group no blinding no yes no na na 12 dunn & rogers 4 no control group/right body side as control / pseudo-randomization no blinding no yes no na low 13 stephens et al. 2 education (4 sessions) no blinding no yes no 5/11 low 14 batson & deutsch 4 no control group no blinding no yes no na critical 15 stephens et al. 3 no intervention no blinding no yes no na moderate 16 stephens et al. 2 no intervention no blinding no yes no 5/11 low 17 quintero et al. 2 no intervention no blinding no yes yes 7/11 very low 18 vrantsidis et al. 2 no intervention blinded assessors no yes yes 8/11 very low 19 manuél heister 4 no control group no blinding no yes/no no na critical 20 hillier et al. 3 generic balance class blinded assessors no yes no na low 21 ullmann et al. 2 no intervention no blinding no yes no 6/11 low 22 connors et al. 3 no intervention no blinding no yes no na moderate 23 bitter et al. 2 sham intervention (pmr) double-blinded no yes yes 10/11 very low 24 khurana et al. 4 no control group no blinding no yes no na critical 25 ramli & roslina. 2 pulmonary rehabilitation program no blinding no no no 5/11 low 26 bellafiore et al. 2 no intervention no blinding no no no 6/11 low 27 ramli et al. 4 no control group no blinding no yes no na critical 28 bipinbhai 2 alexander and balance class no blinding no yes no 7/11 very low 29 webb et al. 4 no control group no blinding no yes no na critical 30 cook et al. 3 no intervention no blinding no yes no na serious 31 nambi et al. 2 pilates and walking exercises no blinding no yes no 7/11 very low 32 causby et al. 2 motor practice, usual teaching blinded assessors yes no yes 5/11 low 33 maddali-bongi et al. 4 no control group no blinding no na no na critical 34 palmer 3 waitlist blinded assessors no yes/no no na moderate 35 torres-unda et al. 2 no intervention no blinding no yes no 6/11 low zollinger • feldenkrais research journal, volume 7 (2025) 41 36 teixeira-machadeo et al. 2 educational lecture no blinding no yes no 7/11 very low 37 gil 4 no control group no blinding no yes no na critical 38 brummer et al. 2 crossover design no blinding no yes no 7/11 very low 39 mohan et al. 2021 2 physiotherapy blinded assessors no yes yes 9/11 very low 40 kang et al. 4 no control group no blinding yes yes/no no na critical 41 serrada et al. 2 home-based atm audios blinded assessors no yes yes 6/11 low appendix 2 table 2 outcome measurements outcome measurement publication philadelphia geriatric centre morale scale gutman et al. 1977 viro scale (a scale for assessing interview behavior of elderly people) gutman et al. 1977 height, weight, heart rate, blood pressure gutman et al. 1977 range of motion rotation flexibility gutman et al. 1977 balance rail test gutman et al. 1977 dermatome scoring system for pain and stiffness gutman et al. 1977 borg scale perceived exertion, visual analog scale of perceived exertion (vas) brown & kegerreis 1991, ruth & kegerreis 1992, chinn et al 1994, hopper et al. 1999, ramli & roslina 2012 emg activity brown & kegerreis 1991 range of motion with cervical goniometer ruth & kegerreis 1992 functional arm reach test (supine, along wall) chinn et al. 1994 zollinger • feldenkrais research journal, volume 7 (2025) 42 functional reach test (standing, forward reach) brown et al. 1996, hillier et al. 2010, bipinbhai 2013, nambi et al. 2014, palmer 2017, teixeira-machado et al. 2017 modified functional reach test (in sitting) brown et al. 1996, bipinbhai 2013 sf 36 qol, aqol, rand -36, srs-22 hall et al. 1994, stephens et al. 2005, vrantsidis et al. 2009, hillier et al. 2010, ramli et al. 2013, webb et al. 2013, nambi et al. 2014, gil 2018 fai daily living index hall et al. 1994, vrantsidis et al. 2009 falls efficacy scale hall et al. 1994, vrantsidis et al. 2009, ullmann et al. 2010 timed up and go test (tug) hall et al. 1994, brown et al. 1996, vrantsidis et al. 2009, hillier et al. 2010, ullmann et al. 2010, bipinbhai 2013, nambi et al. 2014, palmer 2017 teixeira-machado et al. 2017 berg balance test hall et al. 1994, batson & deutsch 2005, bipinbhai 2013, teixeira-machado et al. 2017 physical activity scale (pase) hall et al. 1994 pro balance master test hall et al. 1994 dartmouth coop brown et al. 1996 range of motion – active knee extension test james et al. 1998, hopper et al. 1999, stephens et al. 2006 fatigue severity scale (fss) stephens et al. 1998 index of wellbeing (iwb) stephens et al. 1998 zollinger • feldenkrais research journal, volume 7 (2025) 43 peak motus 2d motion analysis of gait and supine to stand stephens et al. 1998, stephens et al. 2005 sit and reach measurement hopper et al. 1999, dunn & rogers 2000, bellafiore et al. 2012 pegboard test for hand dexterity johnson et al. 1999, bitter et al. 2011, causby et al. 2016 hospital anxiety and depression scale (had) johnson et al. 1999 ms-self efficacy scale johnson et al. 1999, stephens et al. 2001 perceived stress scale (pss) johnson et al. 1999 performance quality of life johnson et al. 1999 amti force plate for 7 standing tasks buchanan & vardaxis 2000, webb et al. 2013 prospective falls record stephens et al. 2001 equiscale functional balance stephens et al. 2001 mctsib balance protocol stephens et al. 2001, vrantsidis et al. 2009 abc balance confidence scale stephens et al. 2001, ullmann et al. 2010, connors et al. 2011 dynamic gait index (dgi) batson & deutsch 2005 stroke impact scale (sis) batson & deutsch 2005, serrada et al. 2022 lateral cephalogram quintero et al. 2009 human activity profile (hap) vrantsidis et al. 2009, webb et al. 2013 abbreviated mental score vrantsidis et al. 2009 four square step test vrantsidis et al. 2009, connors et al. 2011, webb et al. 2013 step test vrantsidis et al. 2009 zollinger • feldenkrais research journal, volume 7 (2025) 44 clinical stride analyzer (csa) vrantsidis et al. 2009 timed sit to stand vrantsidis et al. 2009, teixeira-machado et al. 2017 single leg stance time (sls) hillier et al. 2010 walk on floor eyes closed (wofec) hillier et al. 2010 self-selected gait speed ullmann et al. 2010, connors et al. 2011 grip lift test bitter et al. 2011, causby et al. 2016 trunk lift test bellafiore et al. 2012 6 min walk test (6mwt) ramli & roslina 2012, ramli et al. 2013, webb et al. 2013 forced expiratory volume ramli & roslina 2012, ramli et al. 2013 stair climbing test webb et al. 2013 western ontario mcmaster universities osteoarthritis scale webb et al. 2013 tekscan pressure mat cook et al. 2014 intrinsic motivation inventory (imi) causby et al. 2016 trail making test a & b ullmann et al. 2010 vas for pain maddali-bongi et al. 2017 vas for fatigue maddali-bongi et al. 2017 bas-g maddali-bongi et al. 2017 basdai maddali-bongi et al. 2017 mases maddali-bongi et al. 2017 schöber test maddali-bongi et al. 2017 finger floor distance (ffd) maddali-bongi et al. 2017 tandem stance palmer 2017 zollinger • feldenkrais research journal, volume 7 (2025) 45 optimal self report palmer 2017 short physical performance battery (sppb) torres-unda et al. 2017 stabilometric platform torres-unda et al. 2017 xsensor pressure mapping system brummer et al. 2018 lesson effect questionnaire gil 2018 digital inclinometer gil 2018 maximal inspiratory pressure (mip) mohan et al. 2021 maximal expiratory pressure (mep) mohan et al. 2021 maximum voluntary ventilation (mvv) mohan et al. 2021 total faulty breathing scale (tfbs) mohan et al. 2021 cloth tape measure for chest expansion mohan et al. 2021 pressure biofeedback device (pbu) for core stability mohan et al. 2021 unified parkinson’s disease rating scale (updrs) kang et al. 2021 gait analysis kang et al. 2021 non.motor symptoms scale (nmss) kang et al. 2021 parkinson disease questionnaire (pdq-39) kang et al. 2021 asberg depression rating scale kang et al. 2021 tinetti scale kang et al. 2021 hoehn and yahr stage kang et al. 2021 erasmus nottingham sensory assessment serrada et al. 2022 maia (multidimensional assessment of interoceptive awareness) serrada et al. 2022 fugl-meyer upper and lower extremity serrada et al. 2022 zollinger • feldenkrais research journal, volume 7 (2025) 46 ten metre walk test (10mwt) serrada et al. 2022 patient specific functional scale (psfs) serrada et al. 2022 figure-of-eight walk test teixeira-machado et al. 2017 rollover task teixeira-machado et al. 2017 360-degree turn-in-place task teixeira-machado et al. 2017 hip-flexion strength test teixeira-machado et al. 2017 zollinger • feldenkrais research journal, volume 7 (2025) 47 microsoft word neubeck_volker_diplomarbeit_endfassung_die letzte.doc feldenkrais research journal • volume 2 (2005) article evaluation der feldenkrais-methode® auswirkungen auf gesundheitsbezogene lebensqualität, selbstwirksamkeitserwartung und körperbild grit gürlich freie universität, berlin volker neubeck freie universität, berlin abstract die feldenkrais-methode ist eine form somatischen lernens, die kleine bewegungen und direkte aufmerksamkeit nutzt, um bewegung zu erweitern und menschliches funktionieren durch bewusstheit durch bewegung oder funktionale integration zu vergrößern. viele menschen besuchen in ihrer freizeit feldenkrais-kurse und lernen mit hilfe dieser methode. die vorliegende arbeit untersuchte die motive von menschen für die teilnahme an feldenkrais-kursen bewusstheit durch bewegung und auf welche weise die teilnehmer ihrer subjektiven einschätzung nach von der methode profitieren. basierend auf den zielen der feldenkrais-methode war ein weiteres anliegen der studie zu untersuchen, ob die teilnahme an den kursen auswirkungen auf die gesundheitsbezogene lebensqualität, die selbstwirksamkeitserwartung und das körperbild hat. insgesamt nahmen 148 personen an dieser untersuchung teil, 92 davon besuchten feldenkrais-kurse. die anderen 56 personen waren teilnehmer von sprachkursen und stellten in dieser untersuchung die kontrollgruppe dar, die in ihrer freizeit keine feldenkrais-kurse besucht. den teilnehmern beider gruppen wurde zu beginn des erhebungszeitraums und nach vier wochen ein fragebogen zum gesundheitszustand (sf-12), zur allgemeinen selbstwirksamkeitserwartung (swe) und zum körperbild (fkb-20) ausgeteilt. die teilnehmer der feldenkrais-kurse beantworteten zusätzlich in einem qualitativen teil fragen hinsichtlich ihrer motivation zur teilnahme an den kursen und zu subjektiv empfundenen auswirkungen aufgrund der methode. obwohl nach auswertung der quantitativen daten keine signifikanten veränderungen in der feldenkrais-gruppe sichtbar waren, deuten die qualitativen antworten insgesamt auf positive veränderung aufgrund der ausübung der feldenkrais-methode hin. trotz des kurzen erhebungszeitraums von nur vier wochen gaben 56% der teilnehmer der feldenkrais-gruppe verbesserungen insbesondere in den bereichen köpergefühl, entspannung, schmerzen und ausgeglichenheit an. da die methode praktisch frei von nebenwirkungen ist, sollten weitere untersuchen zur wirksamkeit auch mit anderen zielvariablen z.b. auswirkungen auf stimmung und wohlbefinden, selbstkonzept durchgeführt werden. angeregt durch neuere forschungserkenntnisse aus der neurologie, welche die grundannahmen der feldenkrais-methode stützen, sollten zukünftige untersuchungen auch bildgebende verfahren mit einbeziehen. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org keywords feldenkrais, somatic, self-efficacy, body image, quality of life copyright ©: the copyright for this paper remains with the author(s). first published: diplomarbeit, freie universität, berlin (2004) please cite: feldenkrais research journal, volume 2; 2005. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. freie universität berlin fachbereich erziehungswissenschaften und psychologie diplomstudiengang psychologie diplomarbeit evaluation der feldenkrais-methode® auswirkungen auf gesundheitsbezogene lebensqualität, selbstwirksamkeitserwartung und körperbild grit gürlich & volker neubeck erstgutachterin: prof. dr. renate soellner zweitgutachter: prof. dr. dieter kleiber abgabedatum: 15. dezember 2004 wir erklären an eides statt, dass wir diese diplomarbeit selbständig und ohne fremde hilfe verfasst, andere als die angegebenen quellen nicht benutzt und die den benutzten quellen wörtlich oder inhaltlich entnommenen stellen als solche kenntlich gemacht haben. uns ist bekannt: bei der verwendung von inhalten aus dem internet haben wir diese zu kennzeichnen und mit datum sowie der internet-adresse (url) ins literaturverzeichnis aufzunehmen. diese arbeit hat keiner anderen prüfungsbehörde vorgelegen. wir sind mit der einsichtnahme in der bibliothek und auszugsweiser kopie einverstanden. alle übrigen rechte behalten wir uns vor. zitate sind nur mit vollständigen bibliographischen angaben und dem vermerk "unveröffentlichtes manuskript einer diplomarbeit" zulässig. berlin, den ____________ _____________ grit gürlich volker neubeck "man kann durchaus behaupten, daß eine ausgeglichenere ausnutzung des nervensystems, die man erreicht, wenn man besser mit sich umgeht, das leben verlängert." (feldenkrais, 1949/1994, s. 178) an dieser stelle möchten wir unseren dank aussprechen. als erstes möchten wir den teilnehmern der feldenkraisund sprachkurse für ihre teilnahme an dieser studie, insbesondere für ihre bereitschaft zum ausfüllen unserer fragebögen danken. ganz herzlich möchten wir auch den kursleiterninnen der feldenkraisund sprachkurse für ihre bereitschaft, die fragebögen in ihren kursen auszuteilen, danken. besonders möchten wir uns für ihre hilfsbereitschaft und ihr engagement bedanken. in alphabetischer reihenfolge seien genannt: ute birk, kirsten jacobs, petra lembkefuchs, claudia mosch, dr. bianca ploog, dr. uta ruge, florian schäffler, heike schmidt, irene sieben, eve strauß, thorsten strauß, susanne wolk und jochen zoller. darüber hinaus bedanken wir uns bei herrn bernd heller für seine beratung und unterstützung mit den psychologischen tests und bei herrn prof. dr. norbert klinkenberg für seine ideen zur unserer untersuchung. ebenso sei frau barbara pieper für ihre hilfreichen anregungen gedankt. bei abiba saibou und jens eiserman möchten wir uns für ihre hilfe und ideen zur auswertung bedanken. für ihre bereitschaft, uns bei unserem forschungsprozess zu begleiten, bedanken wir uns bei unseren professoren frau dr. renate soellner und herrn dr. dieter kleiber. allen hier nicht namentlich genannten personen, die uns während dieser zeit unterstützt haben, sei ebenfalls gedankt. inhalt inhalt zusammenfassung .......................................................................................................... 3 vorwort............................................................................................................................ 4 einleitung......................................................................................................................... 6 1 theorie ........................................................................................................................ 10 1.1 die feldenkrais-methode ............................................................................... 10 1.1.1 allgemeine grundlagen und begriffe..................................................... 10 1.1.2 zur person von moshé feldenkrais ........................................................ 17 1.1.3 bewusstheit durch bewegung................................................................. 19 1.1.4 funktionale integration........................................................................... 25 1.1.5 wirkfaktoren der feldenkrais-methode.................................................. 29 1.1.6 studien zur feldenkrais-methode........................................................... 36 1.2 evaluation psychologischer interventionsmaßnahmen .................................. 40 1.2.1 allgemeine grundlagen.......................................................................... 40 1.2.2 gütekriterien für interventionsmaßnahmen............................................ 41 1.2.3 anforderungen für den nachweis der wirksamkeit ............................... 44 1.3 feldenkrais-forschung und evaluation .......................................................... 47 1.3.1 gütekriterien und feldenkrais-methode................................................. 47 1.3.2 besonderheiten bei der evaluation von feldenkrais............................... 50 1.3.3 zielvariablen ........................................................................................... 52 1.4 konstrukte....................................................................................................... 53 1.4.1 gesundheitsbezogene lebensqualität ..................................................... 53 1.4.2 selbstwirksamkeitserwartung ................................................................. 55 1.4.3 körperbild............................................................................................... 57 1.5 fragestellung und hypothesen........................................................................ 61 2 methode ...................................................................................................................... 63 2.1 untersuchungsdesign ...................................................................................... 63 2.2 erhebungsinstrumente .................................................................................... 65 2.3 stichprobenerhebung ...................................................................................... 68 2.4 methoden der datenauswertung ..................................................................... 69 2.4.1 auswertung qualitativer daten ............................................................... 69 inhalt 2.4.2 auswertung quantitativer daten ............................................................. 72 3 ergebnisse................................................................................................................... 75 3.1 stichprobenbeschreibung................................................................................ 75 3.2 ergebnisse qualitativer inhaltsanalyse............................................................ 78 3.3 ergebnisse quantitativer daten ....................................................................... 89 3.3.1 gesundheitsbezogene lebensqualität ..................................................... 89 3.3.2 selbstwirksamkeitserwartung ................................................................. 92 3.3.3 körperbild............................................................................................... 93 4 diskussion ................................................................................................................... 95 literaturverzeichnis ................................................................................................... 101 anhang a..................................................................................................................... 115 anhang b ..................................................................................................................... 116 zusammenfassung 3 zusammenfassung die feldenkrais-methode ist eine form somatischen lernens, die kleine bewegungen und direkte aufmerksamkeit nutzt, um bewegung zu erweitern und menschliches funktionieren durch bewusstheit durch bewegung oder funktionale integration zu vergrößern. viele menschen besuchen in ihrer freizeit feldenkrais-kurse und lernen mit hilfe dieser methode. die vorliegende arbeit untersuchte die motive von menschen für die teilnahme an feldenkrais-kursen bewusstheit durch bewegung und auf welche weise die teilnehmer ihrer subjektiven einschätzung nach von der methode profitieren. basierend auf den zielen der feldenkrais-methode war ein weiteres anliegen der studie zu untersuchen, ob die teilnahme an den kursen auswirkungen auf die gesundheitsbezogene lebensqualität, die selbstwirksamkeitserwartung und das körperbild hat. insgesamt nahmen 148 personen an dieser untersuchung teil, 92 davon besuchten feldenkrais-kurse. die anderen 56 personen waren teilnehmer von sprachkursen und stellten in dieser untersuchung die kontrollgruppe dar, die in ihrer freizeit keine feldenkrais-kurse besucht. den teilnehmern beider gruppen wurde zu beginn des erhebungszeitraums und nach vier wochen ein fragebogen zum gesundheitszustand (sf-12), zur allgemeinen selbstwirksamkeitserwartung (swe) und zum körperbild (fkb-20) ausgeteilt. die teilnehmer der feldenkrais-kurse beantworteten zusätzlich in einem qualitativen teil fragen hinsichtlich ihrer motivation zur teilnahme an den kursen und zu subjektiv empfundenen auswirkungen aufgrund der methode. obwohl nach auswertung der quantitativen daten keine signifikanten veränderungen in der feldenkrais-gruppe sichtbar waren, deuten die qualitativen antworten insgesamt auf positive veränderung aufgrund der ausübung der feldenkrais-methode hin. trotz des kurzen erhebungszeitraums von nur vier wochen gaben 56% der teilnehmer der feldenkrais-gruppe verbesserungen insbesondere in den bereichen köpergefühl, entspannung, schmerzen und ausgeglichenheit an. da die methode praktisch frei von nebenwirkungen ist, sollten weitere untersuchen zur wirksamkeit auch mit anderen zielvariablen z.b. auswirkungen auf stimmung und wohlbefinden, selbstkonzept durchgeführt werden. angeregt durch neuere forschungserkenntnisse aus der neurologie, welche die grundannahmen der feldenkrais-methode stützen, sollten zukünftige untersuchungen auch bildgebende verfahren mit einbeziehen. vorwort 4 vorwort stellen sie sich folgende szene vor: eine mutter steht mit ihrem kleinen kind an einer straße. sie möchte diese straße überqueren und sie möchte ihrem kind beibringen, später selbst straßen sicher zu überqueren. das kind ist in einem alter, in dem es die begriffe rechts und links kennt. die frau erklärt, dass man erst nach links schaut, dann nach rechts und noch mal nach links. und wenn alles frei ist, dann erst geht man über die straße. das kind tut ihr gleich, indem es seinen kopf in die erwähnten richtungen dreht. sie überqueren gemeinsam die straße. an dieser szene scheint nichts besonderes. ist es vielleicht auch nicht. mutter und kind sind sich ihrer person selbst bewusst, ihnen sind die begriffe links und rechts bekannt und sie drehen köpfe und körper in diese richtungen. was das nervensystem während dieser momente an leistung vollbringt, ist den handelnden personen zum glück nicht bewusst. müssten wir alle diese dinge selbst steuern, könnten wir uns nicht im raum bewegen. wir können an dieser stelle nicht alles aufzählen, was das nervensystem hier leistet. genannt seien beispielsweise der gleichgewichtssinn, die drehbewegung und koordination von kopf und körper, die bewegung der augen, die kontraktion einzelner muskeln und ihr zusammenspiel und weitere bereiche. aber was passiert eigentlich alles, z.b. wenn sich die augen in eine richtung drehen? oder wenn man einmal betrachtet, welches muskelzusammenspiel erforderlich ist, um die augen scharf stellen zu können. wie geht bewegung vonstatten? solche oder ähnliche fragen hat sich der (atom-)physiker dr. moshé feldenkrais mitte des 20. jahrhunderts gestellt. sie scheinen einfach und doch sind sie unserer meinung nach sehr zentral. denn wie sich ein mensch bewegt, drückt auch etwas darüber aus wie sich dieser mensch im leben bewegt. um die nach moshé feldenkrais benannte methode soll es in der vorliegenden diplomarbeit gehen. wir freuen uns, wenn sie sich, liebe leser, für unsere diplomarbeit interessieren. sie haben nun alle freiheiten und möglichkeiten, wie sie mit diesen informationen umgehen. wir möchten diese freiheiten nicht einschränken, ihnen aber trotzdem eine empfehlung mit auf den weg geben. wenn sie auch nur einen teil der zeit, die sie zum lesen dieser diplomarbeit benötigen, darauf verwenden, feldenkrais einmal selbst auszuprobieren, sei es nun eine stunde bewusstheit durch vorwort 5 bewegung1 (engl. awareness through movement, abk. atm (kapitel 1.1.3)) oder die funktionale integration (engl. functional integration, abk. fi (kapitel 1.1.4)), dann werden sie wahrscheinlich viel mehr dabei lernen, als wenn sie diese arbeit "nur" lesen. wir schließen uns damit einer empfehlung von moshé feldenkrais zur funktionalen integration an: "sie sollten funktionale integration probieren." (feldenkrais, 1981/1981, s. 208). 1die begriffe feldenkrais®, feldenkrais-methode®, feldenkrais-funktionale integration®, feldenkrais-bewusstheit durch bewegung® sind rechtlich geschützt. in dieser arbeit wird aus gründen der besseren lesbarkeit auf das zeichen für geschützte wortmarken verzichtet. einleitung 6 einleitung "betrachten wir einen amüsanten aspekt. jede person, die sie kennen, hat einen körper. vielleicht haben sie an diese einfache beziehung noch nie einen gedanken verschwendet, bitte sehr: eine person, ein körper; ein geist, ein körper – ein erstes prinzip." (damasio, 2000, s. 174) mit diesem, von dem neurologen damasio (2000) formulierten, grundlegenden prinzip geht die aufhebung der dualistischen sichtweise, dass körper und geist getrennt voneinander existieren können, einher. damasio (1995) hält den von descartes formulierten dualismus für widerlegt und vertritt die annahme, dass der körper für den geist "mehr beisteuert als nur grundlegende lebensfunktionen und modulatorische effekte, die sich im gehirn bemerkbar machen. vielmehr liefert er einen inhalt, der wesentlicher bestandteil normaler geistiger funktionen ist" (s. 302). auch der physiker dr. moshé feldenkrais war von einer untrennbarkeit von körper und psyche überzeugt (feldenkrais, 1967/1978) und entwickelte eine methode, welche die menschen über bewegung zur reife bringen kann. aus folgender aussage wird jedoch deutlich, dass es ihm um mehr als nur um bewegung ging: "die bewegungen sind gar nichts. was ich will sind nicht bewegliche körper, sondern bewegliche gehirne. ich will, daß jeder mensch seine menschliche würde wiederherstellen kann” (feldenkrais nach kirschner, 1985, s. 34). feldenkrais (1949/1994) sah sein ganzes programm als "eines der umerziehung und nicht der therapeutischen behandlung" und es ging ihm dabei "um lehren und lernen und nicht um krankheit und heilung" (s. 255). trotzdem ist die feldenkrais-methode schwer zu definieren: im vorwort der feldenkrais guild of north america [fgna] (1997) zur feldenkrais-methode steht, dass jeder versuch der definition der feldenkrais-methode als "producing a somewhat static . . . of a highly fluid and dynamic method" (s. 1) angesehen werden sollte. die feldenkrais-methode ist keine medizinische behandlung, keine massage, keine körperarbeit und erst recht keine therapeutische technik (fgna, 1997; rywerant, 1983). vielmehr handelt es sich bei der feldenkrais-methode um einen weg "of handling the body by communicating specific sensations to the central nervous system in order to improve the functions of the motor system" (vorwort von hanna in rywerant, 1983). einleitung 7 im jahr 1986 wurde auf der ersten internationalen konferenz zur gesundheitsförderung die so genannte ottawa-charta verabschiedet (world health organisation, 1986). demnach zielt gesundheitsförderung auf einen prozess, "allen menschen ein höheres maß an selbstbestimmung über ihre gesundheit zu ermöglichen und sie damit zur stärkung ihrer gesundheit zu befähigen" (s. 1). ein weiteres ziel dieser charta ist es, ein "umfassendes körperliches, seelisches und soziales wohlbefinden zu erlangen" (s. 1). häufig wird im zusammenhang mit gesundheitsthemen deshalb das römische sprichwort: "anima sana in corpore sano" (juvenal2) ["in einem gesunden körper wohnt ein gesunder geist."] zitiert. nach brähler (1995) kommt dem körpererleben des menschen eine wichtige bedeutung zu, welche unabhängig von herrschenden theorien ist und die lebenswirklichkeit des menschen widerspiegelt. dieses körpererleben wird außerdem unabhängig von philosophischen anschauungen und dem konstruierten leib-seeleproblem konzipiert. allerdings bemängelt brähler (1995), dass dem körperempfinden in der klassischen schulmedizin eher wenig bedeutung beigemessen wird, was seiner meinung nach an der art und struktur der ausbildung der ärzte und mediziner liege. als reaktion darauf gibt es auf dem markt der so genannten alternativen verfahren inzwischen zahlreiche angebote, deren wirkung teilweise noch nicht ausreichend wissenschaftlich belegt ist. eine übersicht hierzu findet sich bei kaptchuk und eisenberg (2001). um zukünftig aussagen über die wirksamkeit von alternativen verfahren treffen zu können, gewinnen modelle zur qualitätssicherung immer mehr an bedeutung. gerade im hinblick auf die im gegenwärtigen sozialund gesundheitssystem immer weniger gefüllten kassen ist deshalb die qualitätssicherung von "eminenter bedeutung" (hager, patry und brezing, 2000, s. 2). auch die feldenkrais-methode könnte als ein alternatives verfahren angesehen werden, deren wirkung noch nicht ausreichend belegt ist (hopper, kolt & mcconville, 1999). die grundlagen der feldenkrais-methode bilden erkenntnisse aus physik, anatomie, psychologie und pädagogik (feldenkrais, 1949/1994). moshé feldenkrais hat jede person als ein individuum angesehen und untersucht, wie sich diese person in ihrer umwelt "bewegt". bei der feldenkrais-methode handelt sich um eine theorie einer ganzheitlichen somatischen erziehung, immer mit blick auf die individuellen gegebenheiten einer einzelnen person. der begriff 'soma' bezeichnet nach gold (2004) das, "what each of us ist, to ourselves" (s. 1) und gewinnt im gesundheitsbereich 2 altrömischer satiriker, geb. um 60 n. chr., gest. 127 n. chr. einleitung 8 zunehmend an bedeutung (gold, 2004). 'education' verdeutlicht, dass es um lernen und empowerment geht. bei somatischer erziehung übernimmt das individuum einen hohen grad an eigenverantwortung für sich und seine prozesse. die anwendungsgebiete der methode sind so vielfältig wie das leben selbst (russell, 2004). welche gründe gibt es, die feldenkrais-methode aus zu üben und inwiefern profitieren die teilnehmer von feldenkrais-gruppen? die beantwortung dieser frage ist ein ziel dieser arbeit. ein weiteres ziel ist die frage, ob durch die teilnahme veränderungen der gesundheitsbezogenen lebensqualität, der selbstwirksamkeitserwartung und des körperbilds hervorgerufen werden. als nächstes folgt ein überblick über den aufbau dieser diplomarbeit. der theorieteil beginnt mit einer darstellung der feldenkrais-methode. dazu wird die methode vorgestellt und die wichtigsten grundbegriffe werden erläutert (kap. 1.1.1). es folgt eine kurze beschreibung des lebens und der person moshé feldenkrais' (kap. 1.1.2), was für das entstehen der methode und zu ihrem verständnis beitragen soll. die beiden grundformen der praktischen ausführung der feldenkrais-methode bewusstheit durch bewegung (kap. 1.1.3) und funktionale integration (kap. 1.1.4) werden anschließend vorgestellt. dann folgt ein abschnitt mit möglichen wirkfaktoren der feldenkrais-methode. hier werden die physikalischen und psychophysiologischen grundgedanken zusammengefasst und anhand neuerer forschungsergebnisse auf dem gebiet der neuround verhaltensphysiologie ergänzt (kap. 1.1.5). das kapitel endet mit einem überblick über aktuelle studien zur untersuchung der feldenkrais-methode (kap. 1.1.6). im abschnitt "evaluation psychologischer interventionsmaßnahmen" (kap.1.2) wird zunächst allgemein auf die evaluation von interventionsmaßnahmen eingegangen (kap. 1.2.1). anschließend werden wichtige gütekriterien für interventionsmaßnahmen vorgestellt (kap. 1.2.2) und anforderungen an evaluationsstudien und an wirksamkeitsnachweise (kap. 1.2.3) erläutert. kapitel 1.3 gibt einen überblick über die besonderheiten bei der evaluation der feldenkrais-methode (kap. 1.3.2). außerdem wird die methode an den unter kapitel 1.2.2 vorgestellten "allgemeinen gütekriterien für interventionsprogramme" gemessen. aufgrund dieser erkenntnisse werden zielvariablen für mögliche untersuchungen zur methode (kap.1.3.3) abgeleitet. einleitung 9 im kapitel 1.4 geht es um die darstellung der in dieser evaluation untersuchten konstrukte "gesundheitsbezogene lebensqualität" "selbstwirksamkeit" und "körperbild". der methodische teil (kap. 2) enthält eine beschreibung der durchgeführten untersuchung. es werden die erhebungsinstrumente (kap. 2.2) sowie die konzeption und durchführung der untersuchung (kap. 2.1 und 2.3) vorgestellt und die vorgehensweise bei der datenauswertung einschließlich der verwendeten auswertungsmethoden werden erläutert (kap. 2.4). die ergebnisse der untersuchung werden in kapitel 3 dargestellt. dabei wurde versucht, die durch qualitative und quantitative methoden gewonnenen ergebnisse in die eingangs gestellten forschungsfragen zu integrieren. im letzten kapitel (4) erfolgt die diskussion der gewonnenen ergebnisse und ihre einordnung vor dem hintergrund der in den ersten kapiteln dargestellten theoretischen annahmen. theorie die feldenkrais-methode 10 1 theorie 1.1 die feldenkrais-methode in diesem kapitel werden die der feldenkrais-methode zu grunde liegenden theoretischen annahmen und das leben von moshé feldenkrais vorgestellt. ergänzt werden die theoretischen annahmen durch neuere forschungserkenntnisse aus dem bereichen neurologie und durch aktuelle studien zur untersuchung der feldenkraismethode. 1.1.1 allgemeine grundlagen und begriffe "mit hilfe der feldenkrais-methode können wir uns erfahren als menschen, die fähig sind, das zu tun, was ihnen angemessen ist, das, was sie in ihrer entwicklung weiterbringt." (triebel-thome, 1989, s. 7). feldenkrais (1967/1978) geht davon aus, dass lernen am besten über körperliche bewegung stattfindet. kinder lernen auf diese art, z.b. den übergang vom krabbeln zum gehen durch spielerisches ausprobieren. aber irgendwann im leben gelangen die meisten menschen an einen punkt, an dem sie nicht mehr weiter lernen. das bedeutet, dass gelernte bewegungsabläufe und -muster nicht weiterentwickelt werden. nach auffassung von feldenkrais (1981/1986) haben die menschen das lernen aufgegeben, weil sie meinen, es sei jetzt zu spät dafür, ihr entwicklungsprozess sei abgeschlossen, sie könnten nichts neues mehr erlernen, sie hätten keine zeit oder es fehle ihnen die nötige fähigkeit. durch seine methoden bewusstheit durch bewegung (siehe kap.1.1.3) und funktionale integration (siehe kap.1.1.4) möchte feldenkrais die menschen dazu bringen, diesen lernprozess wieder aufzunehmen, alte bewegungsmuster aufzudecken und alternative bewegungen auszuprobieren (feldenkrais, 1967/1995). bei bewusstheit durch bewegung handelt es sich um ein gruppensetting, bei dem der feldenkrais-lehrer3 verbale bewegungsangebote unterbreitet, die die schüler ihren möglichkeiten entsprechend umsetzen. unter funktionaler integration versteht feldenkrais (1981/1981) das "anfassen, berühren, bewegen, dieses be-greifen und behandeln menschlicher körper" (s. 25). beide methoden ergänzen einander und durch 3 auf grund besserer lesbarkeit beschränken wir uns in der vorliegenden arbeit bei berufsund personenbezeichnungen auf die männliche form. theorie die feldenkrais-methode 11 ihre kombination "können patienten lernen, die in der gruppenarbeit vermittelten methoden auf art und weise des inneren dialogs der einzelarbeit für sich anzuwenden" (klinkenberg, 2000b, s. 56). in beiden techniken wendet feldenkrais alles an, was er gelernt hat, um "gesundheit, gemütsverfassung und können derer zu verbessern, die zu mir um hilfe kommen, und um sie besser zu befähigen, ihre schmerzen, ihre angst, ihre schwierigkeiten überhaupt zu meistern und loszuwerden" (feldenkrais, 1981/1986, s. 22). die verschiedenen lektionen der feldenkrais-methode sollen die bewusstheit des lernenden für seine art sich zu bewegen und zu verhalten vergrößern. dadurch werden das eigene ich-bild und das körperbild verbessert (feldenkrais, 1967/1995), was viele veränderungen nach sich zieht, z.b. eine subjektiv gesteigerte lebensqualität, verbesserung, zunahme und erweiterung von selbstvertrauen, lernvermögen, handlungskompetenz, leistungsfähigkeit und eigenwahrnehmung (pieper & weise, 1996, 2000). als ein weiteres ziel der feldenkrais-methode gilt, den schülern ein höchstmaß ihrer eigenen möglichkeiten durch die macht ihres geistes zugänglich zu machen. gleichzeitig ist es ein versuch, die geheimnisse des menschlichen gehirns und die veränderbarkeit habitueller motorischer verhaltensweisen zu erforschen mit dem ziel, den sensomotorischen teil des nervensystems zu reprogrammieren, damit er seine funktion besser ausführen kann (friedmann, 1989). "reorganisation der sensomotorischen teile des nervensystems, die eine bessere funktion dieser teile zur folge hat, bewirkt ein besseres allgemeingefühl, dessen ursache nicht körperliche übung, sondern die reprogrammierung des nervensystems ist, die heilend auf das muskelsystem wirkt" (s. 78f.). das ergebnis der re-edukation ist die fähigkeit, kontrolle über die erregungszustände des körpers zu erlangen und sich dessen bewusst zu werden, wie man zuvor erworbene bewegungsgewohnheiten verändern und neue, bessere und wirksamere entwickeln kann (friedmann, 1989). dass es dabei nicht unbedingt darum geht, ein konkretes ziel vor augen zu haben, beschreibt rywerant (1983): "the real importance of such a learning process is not the achievement of the ultimate goal, but the fact that new options for learning and improvement are being opened for the person" (s. 183). da feldenkrais (1967/1995) die meinung vertrat, dass die meisten menschen nur einen bruchteil ihres geistigen potentials ausnutzen, zielt seine methode auch darauf ab, die eigenen fähigkeiten besser zu nutzen und letztendlich zur selbstverwirklichung zu gelangen. theorie die feldenkrais-methode 12 dadurch, dass sich die feldenkrais-methode an das gesunde in uns wendet, macht es keinen unterschied, ob die anwender der feldenkrais-methode krank oder gesund, behindert oder nicht behindert, jung oder alt, künstler oder hochleistungssportler sind. sie kann in den unterschiedlichsten varianten und kontexten angewendet werden (feldenkrais-gilde, 2004b). feldenkrais (1967/1995) hat ausdrücklich betont, dass es sich bei seiner methode um eine lerntheorie und nicht um eine therapie handelt: worin unterscheidet sich organisches lernen von bloßer therapie? von therapie erwarten wir die wiederherstellung des status quo ante und nicht mehr als das. lernen hingegen ist wie leben, ein prozess der zeit, und er währt, wenn man bereit ist, es sich zu gewähren, ein leben lang. dieser prozess führt über das (früher schon einmal) erreichte, über den status quo hinaus zu immer neuer selbstfindung. er ist der spielerische, absichtslose lernprozess, durch den wir als kleine kinder gelernt haben und der dann irgendwann zum stillstand gebracht worden ist. was auf diese weise gelernt worden ist, ist gekennzeichnet durch mühelosigkeit. (s. 276) bei der feldenkrais arbeit handelt es sich weniger um eine festgelegte technik, als vielmehr um einen denkund arbeitsansatz, der die grundlage für einen lebendigen prozess bildet, den jeder einzelne immer wieder aufs neue angehen kann. jeder sammelt dabei seine eigenen erfahrungen, kommt zu eigenen ergebnissen und lernt auf seine eigene weise (feldenkrais, 1985/1992, 1949/1994). feldenkrais geht, im gegensatz zu der vielfach vorherrschenden dualistischen weltsicht des menschen, bestehend aus körper und psyche, von einer ganzheitlichen sichtweise vom menschen aus (klinkenberg, 2000b). er versteht "körper und geist (oder leib und seele, oder soma und psyche, oder struktur und funktion …) als zwei verschiedene aspekte ein und derselben einheit mensch" (feldenkrais 1985/1992, s. 7f.). folgende zitate mögen dies verdeutlichen: "körper und psyche sind niemals unabhängig voneinander" (feldenkrais, 1949/1994, s. 221) und "zwischen psychischer und körperlicher aktivität besteht kein wesentlicher unterschied" (feldenkrais, 1949/1994, s. 225). theorie die feldenkrais-methode 13 in der feldenkrais-theorie sind die grundlegenden handlungen eines menschen: bewegung, sinnesempfindung, gefühl und denken. diese sind an jedem tun, jeder handlung und jedem verhalten zu unterschiedlichen anteilen beteiligt (feldenkrais, 1967/1978). zur bewegung gehören sämtliche veränderungen des körpers als ein ganzes oder in seinen teilen in raum und zeit, in seinem zustand wie auch in der konfiguration seiner teile, sowie die atmung, essen und trinken, sprechen, herzschlag und blutkreislauf. zu den sinnesempfindungen zählt feldenkrais außer den fünf geläufigen sinnen zusätzlich den kinästhetischen sinn, der schmerz, orientierung im raum, vergehen der zeit und rhythmus beinhaltet. zu den gefühlen gehören neben freude, zorn und kummer auch gefühle der selbsteinschätzung: minderwertigkeit, depression, leidenschaften, ehrgeiz und gleichgültigkeit. und zum denken zählen alle funktionen des verstandes (feldenkrais, 1967/1978). wie in abbildung 1.1 dargestellt, sind diese vier elemente miteinander verknüpft und reagieren wechselseitig aufeinander, was durch nachfolgendes zitat von feldenkrais (1967/1978) nochmals verdeutlicht wird. um nachzudenken, muß einer wach sein und wissen, daß er wach ist und nicht träumt; das heißt, er muß seine körperliche stellung oder lage im verhältnis zum schwerefeld empfinden und erkennen können. das bedeutet aber, daß am denken auch bewegung, sinnesempfindung und gefühl beteiligt sind. um ärger oder freude fühlen zu können, muß einer in einer bestimmten haltung sein und in irgendeiner beziehung stehen zu einem anderen lebewesen oder gegen-stand. das heißt, zum gefühl gehört hier auch, daß er sich bewegt, daß seine sinne empfinden und daß er denkt. . . . schrumpft eines dieser elemente des tuns so weit, daß es kaum mehr vorhanden ist, dann kann das leben selbst gefährdet sein. es ist schwierig, ohne jegliche bewegung auch nur kurz am leben zu bleiben. ein lebewesen, das aller seiner sinne beraubt ist, lebt nicht mehr. kein lebenstrieb ohne gefühl: es ist das gefühl des erstickens, das uns atmen macht. ohne ein minimum wenigstens reflektorischen denkens würde nicht einmal ein käfer alt. (s. 31f.) theorie die feldenkrais-methode 14 sinnesempfindung bewegung gefühl denken abbildung 1.1 die vier grundlegenden elemente menschlichen seins nach m. feldenkrais (1967/1978, s. 31) zusammen bilden diese vier elemente das ich-bild, ein subjektives bild von uns, das wir in uns tragen, im gegensatz zur objektiv gegebenen form unseres körpers (klinkenberg 2000b). dieses ich-bild entsteht nach feldenkrais (1967/1978) durch drei prozesse: vererbung, erziehung und selbsterziehung. diese drei prozesse bestimmen das allgemeine verhalten des menschen. der teil, der durch vererbung entsteht, ist schon vor der geburt festgelegt und umfasst die biologischen eigentümlichkeiten des menschen, wie z.b. skelett, muskulatur, gewebe und sinne. die erziehung bestimmt die sprache, die wir sprechen und damit auch spezifische formen des denkens und reagierens, die innerhalb einer bestimmten gesellschaft allen gemeinsam sind. durch die erziehung wird auch weitgehend die richtung unserer selbsterziehung bestimmt, die feldenkrais (1967/1978) als den wichtigsten der drei prozesse ansieht. selbsterziehung wird deutlich in der art, wie wir selbst mit der erziehung, die uns zuteil wird, umgehen, was wir aufnehmen, um es zu lernen oder was wir verweigern. der anteil der selbsterziehung nimmt im laufe der kindlichen entwicklung zu. im säuglingsalter ist die selbsterziehung kaum ausgeprägt und wird nur ersichtlich in der ablehnung von allem, was den ererbten zügen des organismus fremd ist. erst mit zunehmender entwicklung des organismus handelt das kind vermehrt seinen individuellen neigungen entsprechend. da die selbsterziehung der einzige der drei mechanismen ist, dessen kontrolle weitestgehend bei uns selbst liegt, setzt hier auch die feldenkrais-arbeit an. während man sich gegen genetische einflüsse nicht wehren kann und auch die erziehung jedem mehr oder weniger auferlegt wird, ist die selbsterziehung bestimmt "vom theorie die feldenkrais-methode 15 kräfteverhältnis zwischen erziehung und ererbter eigenart, d.h. von der beharrlichkeit und strenge der erzieherischen einflüsse einerseits und andererseits von ererbten merkmalen und dem wirksamen funktionieren des nervensystems" (feldenkrais 1967/1978, s. 20). am anfang der kindlichen entwicklung ändert sich das ich-bild sehr oft von handlung zu handlung. diese handlungen hängen zum teil von unserer erbmasse ab, außerdem von dem, was wir im lauf unseres lebens erlebt haben, so z.b. von dem bild, das wir uns von uns gemacht haben, weiterhin von den physischen, kulturellen und sozialen umständen, unter denen wir herangewachsen sind und von denen, die unsere jetzige umwelt ausmachen (feldenkrais, 1986). jede handlungsweise, die man sich einmal zu eigen gemacht hat, wird die art und weise aller späteren handlungen mitbestimmen. mit zunehmendem alter aber werden bestimmte handlungen zur gewohnheit und nehmen einen starren charakter an. diese gewohnheiten machen uns blind für die große auswahl an alternativen, die uns zur verfügung stehen. weil gewohnheiten nützlich und in ihrem gebrauch so ökonomisch sein können, ziehen wir es vor, sie nicht zu verändern (feldenkrais, 1967/1978). nach feldenkrais, (1967/1978) wird eine gesunde entwicklung des ich-bildes von einer reihe physiologischer prozesse behindert. dazu zählt zum einen, dass der organismus mit tätigkeiten beschäftigt ist, die, je nach den erfordernissen der tätigkeit, die hemmung bestimmter zellen und die mobilisierung anderer verlangen. wenn der körper nun ständig mit solchen tätigkeiten beschäftigt ist, wird eine anzahl zellen fast immer gehemmt sein. zum anderen kann es vorkommen, dass die eine oder andere funktion überhaupt nicht zur reife gelangt, entweder, weil sie dem organismus wertlos erscheint, oder weil seine triebe ihn in eine andere richtung lenken und der organismus so nicht die zeit findet, diese funktion auszuüben. dadurch bleibt das ichbild in den meisten fällen hinter seinen möglichkeiten zurück, denn um ein "nützlich funktionierendes glied" (feldenkrais, 1967/1978, s. 40) in unserer gesellschaft zu sein, braucht ein organismus seine fähigkeiten gar nicht voll zu entwickeln. zur kehrseite der menschlichen leistungsfähigkeit zählt feldenkrais auch, dass man sich mit dem erreichen eines unmittelbaren ziels häufig bereits zufrieden gibt, ohne sein wirkliches potential auszuschöpfen. so geht feldenkrais davon aus, dass "unser ich-bild nur etwa 5% dessen erreicht, was es erreichen könnte." (s. 37). ein vollständiges ich-bild erscheint feldenkrais (1967/1978) als ideal und ist dementsprechend selten. eine beschränkung unserer fähigkeiten geht feldenkrais theorie die feldenkrais-methode 16 zufolge mit gefühlsschwankungen und verhaltensstörungen oder –fehlern einher, die ihrerseits das ergebnis übertriebener und fehlerhafter gewohnheitsbildung sind. um das ich-bild zu verändern, beschäftigte sich feldenkrais (1967/1978) vorwiegend mit der bewegung, weil er davon ausgeht, dass es vergleichsweise leichter ist, "die qualität einer bewegung zu erkennen, als die eines der anderen faktoren" (s. 59). außerdem haben wir "von bewegung mehr erfahrung als vom fühlen und denken, und auch unser vermögen zu ihr ist größer als zu diesen" (s. 59). da, wie in abbildung 1.1 dargestellt, die elemente bewegung, sinnesempfindung, gefühl und denken miteinander verbunden sind, erfahren durch änderungen in der bewegung bzw. auf der körperlichen ebene auch alle anderen bestandteile änderungen. so schreibt feldenkrais (1984/1990), dass es "keine aktion ohne empfindung, ohne gefühl, ohne denken [gibt], daher wird verbesserte aktion auch unser leben verbessern; das bedeutet, daß fühlen, empfinden, denken und handeln sich verbessern werden" (s. 46f.). für feldenkrais (1984/1990) war es wichtig, zwischen üben und lernen zu unterschieden, weil beim üben nur das wiederholt wird, was man bereits kennt; dies geschieht mit dem ziel, darin vertrauter und besser zu werden. "aber es ist nur das, was ihr kennt. ihr habt keine andere wahl, keine alternative, keine verbesserung. was wir wollen, ist ein "eureka"-erlebnis" (s. 135). im gegensatz dazu sieht feldenkrais lernen als einen vorgang an, bei dem man lernt, das, was man kann, auf andere art zu tun, so dass die wahlmöglichkeiten erweitert werden. wichtig ist für ihn, dass das lernen als angenehm empfunden wird, denn "das unmögliche wird nur dann machbar, wenn es bequem und angenehm durchzuführen ist. wenn es nicht angenehm ist, dann macht man es auch nicht mehr, nachdem man es gelernt hat; man wird es nie gebrauchen" (s.183). mittlerweile hat sich die feldenkrais-methode weltweit etabliert. es gibt einen internationalen dachverband (die international feldenkrais federation [iff]) und zahlreiche nationale feldenkrais-gilden z.b. in argentinien, österreich, frankreich, israel, den niederlanden, neuseeland und nordamerika (iff, 2004). in deutschland gibt es seit 1985 die feldenkrais-gilde deutschland e.v. (feldenkrais gilde, 2004a). die ausbildung zum feldenkrais-lehrer erfolgt nach international festgelegten standards (feldenkrais international training, 2004). weltweit existieren schulen zur ausbildung in der methode. in deutschland wird die feldenkrais-methode in ca. 80 klinischen einrichtungen im rahmen von therapien und reha-maßnahmen angewendet (feldenkrais-gilde, 2003b). neben klinischen anwendungsgebieten, wie z.b. als maßnahme nach theorie die feldenkrais-methode 17 bandscheibenvorfällen, bei der behandlung von multipler sklerose, bei beschwerden des bewegungsapparates sowie bei psychosomatischen störungen, wird die feldenkrais-methode vor allem auch in nichtklinischen bereichen eingesetzt, wie z.b. bei der ausbildung von musikern und schauspielern, in der pädagogik und als präventive maßnahme. ein weiterer anwendungsbereich ist die ambulante altenund krankenpflege sowohl für die patienten, als auch für die pflegenden selbst (czetczok, 1993). in berlin arbeiten derzeit mehr als 60 feldenkrais-lehrer (bundesweit ca. 1.800), die kurse in bewusstheit durch bewegung und funktionale integration anbieten (feldenkrais-gilde, 2003a). die feldenkrais-methode wird in der gesetzlichen krankenversicherung zurzeit weder "als heilmittel noch als maßnahme der primärprävention anerkannt" (cezanne, graf-pointner & höfer, 2004, s. 17). die kosten, die ca. 10-15 € pro termin bewusstheit durch bewegung betragen, werden von den teilnehmern selbst übernommen. nur in begründeten ausnahmefällen können die kosten von den kassen erstattet werden. 1.1.2 zur person von moshé feldenkrais die informationen zur person moshé feldenkrais sind dem nachwort von franz wurm entnommen (feldenkrais, 1967/1995) bzw. aus "body and mature behaviour – a study of anxiety, sex, gravitation & learning" (feldenkrais, 1949/1994). moshé feldenkrais wurde 1904 in slawuta (ukraine) als sohn einer jüdischen familie geboren. er starb im jahre 1984 an den späten folgen eines unfalls in tel-aviv (israel). als fünfzehnjähriger schloss er sich einer gruppe von bauarbeitern an und wanderte zu fuß in das damalige palästina aus. später studierte er maschinenbau und elektrotechnik an der sorbonne (paris) und erhielt einen doktortitel in angewandter physik. mit joliot-curie forschte er auf dem feld der radioaktivität. 1938 haben sie zusammen die erste kernspaltung auf französischem boden durchgeführt. nebenbei gründete feldenkrais den judo-club de france (auch 1938) und erhielt als erster europäer den schwarzen gürtel im judo. ebenfalls 1938 stellte feldenkrais (1967/1995) "erste arbeitshypothesen zu einer rationalen erklärung der akupunktur" (s. 242) auf, die ihn zur neurophysiologie führten. wegen des zweiten weltkrieges wurde er von der französischen regierung nach england geschickt. in seinem gepäck, das mit französischem staatssiegel verschlossen theorie die feldenkrais-methode 18 war, befand sich unter anderem die bauanleitung für die phosphorbombe. in england arbeitete er in der britischen admiralität an einer vorstufe des radars, später trainierte er fallschirmjäger. nach dem krieg kehrte er nach israel zurück und leitete seit 1951 die wissenschaftliche forschungsabteilung der israelischen streitkräfte. mit 26 jahren veröffentlichte er sein erstes buch mit dem titel autosuggestion. der durchbruch gelang 1949 mit der veröffentlichung von body and mature behaviour ("der weg zum reifen selbst", 1994), in dem er seine theorien und versuche in neuro und verhaltensphysiologie sowie neuropsychologie darstellte. weitere werke waren bewußtheit durch bewegung. der aufrechte gang (1967), abenteuer im dschungel des gehirns. der fall doris (1981), die entdeckung des selbstverständlichen (1981) und das starke selbst. anleitung zur spontaneität (entstehung in den vierziger jahren des 20. jh.). in tel-aviv gründete er das "feldenkrais-institut für die erforschung und verbesserung der bewegung". 1968 begann er in israel, die ersten auszubildenden in der feldenkrais-methode zu unterrichten (rywerant, 1983). seit mitte der 70er jahre werden die methoden bewusstheit durch bewegung und funktionale integration weltweit angewandt. den anstoß zur entwicklung der feldenkrais-methode gab eine alte knieverletzung, die sich feldenkrais beim fußballspielen zugezogen hatte und bei deren heilung ihm kein arzt helfen konnte. als junger mann spielte ich fußball und dabei riß mir ein kreuzband des knies. später stelle sich heraus, daß in allen stresssituationen meines lebens, während der deutschen invasion in frankreich usw., das knie anfing wehzutun und den ganzen tag geschwollen war: ich konnte nicht laufen. nach ein paar jahren konsultierte ich einen chirurgen. er untersuchte das knie und meinte nach einer röntgendiagnose, es müsse operiert werden. ich fragte ihn, ob es wahrscheinlich sei, daß die operation erfolgreich verlaufen würde? er antwortet, es bestünde eine 50%ige wahrscheinlichkeit. ich verabschiedete mich von ihm, ohne mich operieren zu lassen, obwohl er noch sagte, ich könnte mit diesem knie nicht mehr laufen ... bevor ich mit dem knie ärger bekam, hatte ich dreißig jahre erfahrung damit. ich verwandte eine menge zeit dafür, das knie richtig zu theorie die feldenkrais-methode 19 gebrauchen aber schließlich vergaß ich diesen älteren besseren weg. ... ich begann das knie korrekt zu gebrauchen und es wurde besser. ... nun, als das knie wieder in ordnung war, rutschte ich auf einer bananenschale aus, und die ganze sache war wie vorher. dies hat mich erschreckt, weil ich zu diesem zeitpunkt der meinung war, daß ich lediglich das tun würde, wozu ich mich entschlossen hatte. ich entdeckte, daß ich im moment des fallens meine theorie vergessen hatte und genau wieder das falsche tat. ich rutschte aus, wie jeder andere ausgerutscht wäre. es war etwas neues für mich, daß dinge entgegen meinem bewußtsein, entgegen meiner entscheidung abliefen. ich erkannte, daß ich mich bewegte, ohne zu wissen wie. ich brachte mich dadurch in eine krise. dann erkannte ich, daß die meisten leute in diesem sinne nicht wußten, was sie taten. sie wußten noch nicht einmal, daß sie es nicht wußten. ich las eine menge physiologieund psychologiebücher, und zu meinem großen erstaunen fand ich heraus, daß in bezug auf diese sache die menschen dumm, abergläubisch und idiotisch sind. es gab kein einziges buch, in dem zu finden war, wie wir funktionieren. (feldenkrais, 1966/1990a, s. 4f.) daraufhin studierte feldenkrais genau seine körperbewegungen und verfeinerte seine motorische körperorganisation, bis er wieder schmerzfrei gehen konnte. die grundzüge seiner daraus entwickelten verhaltenslehren bewusstheit durch bewegung und funktionale integration werden in den nächsten abschnitten vorgestellt. 1.1.3 bewusstheit durch bewegung "die art lernen, die mit bewußtheit durch bewegung einhergeht, ist eine quelle angenehmer empfindungen, deren klarheit verloren geht, wenn etwas die annehmlichkeit trübt." (feldenkrais, 1981/1986, s. 137). das wort bewusstheit gebraucht feldenkrais (1981/1986) für "bewußtes wissen, bewußtes erkennen, gewahrwerden oder innesein" (s. 138). er gebraucht es, um bewusstsein im sinne von wachsein plus erkennen oder wissen zu bezeichnen. theorie die feldenkrais-methode 20 warum ich diesen zustand >>bewußtheit<< nenne? bewußtsein ist die eigenschaft dessen, der bewußt ist. >>bewußtsein<< aber meint oft nur den zustand des wachseins. man ist >>bei bewußtsein<<, wenn man weder tot noch ohnmächtig ist, weder schläft noch träumt. demnach wäre einer sich bewußt, der bewußt bei bewußtsein wäre; der sein bewußtsein wahrnimmt, gewahrt; der sich seiner selbst inne wird und ungefähr dies sei hier vorderhand mit bewußtheit gemeint. (feldenkrais, 1967/1978, s. 55) bei bewusstheit durch bewegung handelt sich um eine methode, bestehend aus zahlreichen lektionen, in denen die feldenkrais-schüler den verbalen bewegungsanweisungen des feldenkrais-lehrers folgen und diese in eine selbstgesteuerte bewegung umsetzen. dem schüler werden angebote gemacht, die es ihm erlauben, sich seiner bewegungsmuster bewusst zu werden, neue handlungsmöglichkeiten zu entdecken und sie anzuwenden (triebel-thome, 1989). feldenkrais nannte seine klienten "schüler" oder "studenten", weil sie bei ihm lernten, sich auf eine neue art zu bewegen. die betonung bei der methode bewusstheit durch bewegung liegt nicht auf der jeweiligen bewegung, sondern auf der art und weise, wie man sich dabei lenkt und dirigiert, wie man diese bewegung ausführt (feldenkrais, 1981/1986). nach den worten von feldenkrais (1984/1990), ist beim lernen "nicht die tatsache, was man tut, sondern wie man es tut" (s. 33) wichtig, denn das wie ist nach feldenkrais (1981/1986) das kennzeichen unserer individualität, aus ihm erkennen wir unser vorgehen, den prozess unseres tuns. indem wir merken, wie wir dieses oder jenes tun, werden wir vielleicht eine andere verfahrensweise finden, und das bedeutet: wir gewinnen freie wahl, was bei feldenkrais (1984/1990) bedeutet, dass man zwischen alternativen wählen kann. folgendes zitat soll das unterstreichen: wenn man sprechen lernt, dann nur in einer, der "richtigen" art und weise. "ich liebe dich" ist richtig gesagt. man kann aber dieses "ich liebe dich" ganz sanft, bestimmt oder schrill aussprechen. wie ihr seht, gibt es viele arten, "ich liebe dich" zu sagen, und jede ist verschieden. jede hat einfluß auf die person, mit der man spricht. so gilt für alles was man tut – sprechen, schreiben, singen -, wenn man es nicht auf zwei verschiedene arten tun kann, gibt es keine freie wahl. theorie die feldenkrais-methode 21 deshalb bedeutet das wirklich wichtige lernen, imstande zu sein, bekanntes auf verschiedene arten ausführen zu können. je mehr möglichkeiten man hat, umso freier ist die wahl. und je größer deine auswahl an möglichkeiten ist, umso mehr bist du mensch. sonst wären wir nur wie computer, die man einschaltet, und die kluge sachen von sich geben, aber eben nur einspurig. (s.28) nur wenn jedem vielerlei möglichkeiten zur auswahl stehen, kann man auf ähnliche, aber unterschiedliche situationen verschieden und angemessen reagieren. wenn man diese wahl nicht hat, führt das nach feldenkrais (1981/1986) zu unsicherheit, zweifel oder angst. und "bei angst wird unsere innere organisation inadäquat oder fehlerhaft, dementsprechend auch unsere handlungen, und wir schneiden dann schlecht ab" (s. 91). in der regel beginnt eine feldenkrais-lektion mit der bewussten wahrnehmung der ausgangssituation und der genauen beobachtung der eigenen bewegungsabläufe. die schüler sollen versuchen, ein gefühl für die verschiedenen körperpartien zu entwickeln, in einer position, die maximale entspannung ermöglicht (vgl. feldenkrais, 1967/1978, klinkenberg, 2000b; triebel-thome, 1989). es handelt sich dabei um eine momentaufnahme der körperorganisation und der wahrnehmung. man forscht nach, wie man liegt, sitzt oder steht, eine bestimmte bewegung ausführt und was man empfindet. bestimmte veränderungen sind nur dadurch möglich, dass man die wahrnehmung für details dieser abläufe vergrößert. deshalb bestehen die lektionen meist aus sehr kleinen bewegungen, die erst am ende der stunde zu komplexen bewegungsabläufen zusammengesetzt werden. kleine bewegungen helfen, auch kleine unterschiede im körpergefühl wahrzunehmen. feldenkrais (1984/1990) beruft sich dabei auf das weber-fechner-gesetz (fechner, 1860; weber, 1851), demzufolge reize und reizreaktionen einem logarithmischen gesetz folgen. "die empfindlichkeit wird umso geringer, je größer der reiz ist. ist also der stimulus groß, können immer nur ganz große unterschiede wahrgenommen werden" (feldenkrais, 1984/1990, s.29). um die nötige sensibilität zu haben, muss man also die anstrengung oder den ursprünglichen reiz vermindern, sonst können kleine unterschiede nicht erkannt werden, denn "unsere sinnesorgane sind so beschaffen, daß sie desto besser unterscheiden, je kleiner, schwächer der reiz ist, der auf sie trifft" (feldenkrais, 1967/1978, s. 89). jede bewegung in den feldenkrais-lektionen sollte leicht und behutsam ausgeführt werden, bis kurz vor den punkt, an dem man eine leichte spannung oder ein ziehen spürt theorie die feldenkrais-methode 22 (feldenkrais, 1984/1990). außerdem soll die bewegung langsam erfolgen, damit der für die langsamen bewegungen zuständige teil des gehirns, der die handlungen organisiert, schritt halten kann mit dem tun. denn wenn die bewegungen zu schnell ausgeführt werden, setzen sich die vorher automatisch organisierten handlungsabläufe in gang. des weiteren sollte, was man lernen oder verändern möchte, angenehm sein. deshalb sollte man sich zu keiner übung zwingen, sondern aufhören, sobald man müde oder unruhig ist (feldenkrais, 1984/1990). ausgehend davon lernt der schüler, sich entspannter, lockerer, leichter und funktionsgerechter (effizienter) zu bewegen. entsprechend abbildung 1.1 geht feldenkrais (1984/1990) davon aus, dass ein mensch, der lernt sich leichter, lockerer und effizienter zu bewegen, auch gleichzeitig sein denken und fühlen schult. wenn veränderung geschieht, liegt das nicht so sehr daran, welche bewegung man ausführt, sondern wie man die bewegung ausführt. die art, in der man seine eigenen bewegungen organisiert, lässt einen erkennen, wie man sein ganzes leben organisiert (triebel-thome, 1989). so macht es einen großen unterschied, ob man eine bewegung langsam und ruhig ausführt oder schnell und hastig. die bewegungsmuster sind ein abbild des gesamtzustandes. wenn sie dem menschen bewusst werden, können ihm wesentliche zusammenhänge in sich selbst bewusst werden – man kann seine eigenen lebensmuster erkennen. wenn nun diese bewegungsmuster durch das erlernen neuer bewegungen aufgelöst werden, wird es auch möglich, die lebensmuster aufzulösen, alternativen zu erkennen und sie zu wählen. zusätzlich zum erkennen seiner bewegungsmuster und verändern seiner gewohnheiten soll man lernen, bei allem was man tut, jede überflüssige bewegung wegzulassen, alles, was die bewegung stört, erschwert, behindert oder ihr zuwiderläuft (feldenkrais, 1967/1978). diese unnötigen, zum zweck nicht erforderlichen handlungen bezeichnet feldenkrais (1985/1992) als "parasitäre handlungen" (s. 149). im gegensatz zu diesen zeichnen sich "koordinierte, gut gelernte handlungen" (s. 156) durch folgende merkmale aus (feldenkrais, 1985/1992): 1. mühelosigkeit – gutes handeln fühlt sich mühelos an, ungeachtet des tatsächlichen energieaufwandes. 2. widerstandslosigkeit die empfindung von widerstand entsteht, wenn die willkürliche skelettmuskulatur impulse empfängt, die einander widersprechen und steht im zusammenhang mit fehlern in der verteilung von kontraktion in der muskulatur. beispielsweise hilft das anspannen des kiefers nicht, etwas "zu erfinden, zu schaffen oder sonst zu tun" (feldenkrais, 1985/1992, s.157). je theorie die feldenkrais-methode 23 sensibler man gegenüber solchen widerständen ist, "desto feiner werden geschick und fähigkeit sein. das gilt ganz allgemein fürs denken, fühlen, für die sexualität, für alles handeln überhaupt" (s. 157). 3. umkehrbarkeit – eine korrekte handlung kann in jeder phase ihrer ausführung mühelos angehalten, ihre fortsetzung verweigert oder gewährt und sie kann umgekehrt werden. dies gilt aber nur bei absichtlichen handlungen und ist nach feldenkrais (1985/1992) das empfindlichste kriterium richtiger handlung und richtiger haltung. 4. atmung und fehlhaltung – anhalten des atems ist das auffallendste zeichen von fehlhaltung und falschem tun. viele dinge werden aus alten gewohnheiten heraus getan, mitunter schränken sie z.b. die atmung ein, überlasten bestimmte muskeln oder führen zu chronischen haltungsfehlern. da man sich aber über viele jahre hinweg an eine bestimmte haltung gewöhnt hat, fühlt man sich nur in dieser wohl. und obwohl die korrekte haltung besser und theoretisch leichter ist, strengt sie uns an, erstens, weil sie neu ist für uns und zweitens, weil uns die deformation, die als folge des haltungsfehlers eingesetzt hat, zusätzlich behindert (feldenkrais, 1949/1994). aus diesem grund bereitet eine haltung, die eigentlich mit einem minimum an anstrengung verbunden ist, erhebliche mühe. nach feldenkrais (1949/1994) gehen die herkömmlichen heilmethoden davon aus, dass man einfach das falsche verhalten beibehält und einige neue bewegungen dazulernt. die neue haltung lässt sich aber nur so lange aufrechterhalten, wie sich der betroffene bewusst darauf konzentriert. sobald die konzentration nachlässt, und das geschieht immer dann, wenn jemand mit größeren anforderungen aus der umwelt konfrontiert wird, kommt es automatisch zu einem rückfall und der alte haltungsfehler stellt sich wieder ein. aber feldenkrais (1985/1992) hält nicht die haltung für besser, "welche man in ermangelung anderer gefunden und beibehalten, sondern die, welche man aus dem erweiterten spielraum eigenen vermögens ausgewählt hat" (s. 212). oftmals finden in den einzelnen feldenkrais-lektionen die bewegungen im liegen statt, weil so die muskeln weniger gegen die schwerkraft arbeiten müssen als im stehen oder sitzen (feldenkrais, 1949/1994). wenn man flach auf dem boden liegt, befreit man das zentrale nervensystem (zns) von den gewohnten exterozeptiven impulsen, die von den fußsohlen ausgehen und verändert den größten teil der propriozeptiven impulse des gesamten körpers einschließlich der statolithischen und optischen impulse. auf diese weise ist man dann praktisch keinem reiz mehr theorie die feldenkrais-methode 24 ausgesetzt, der die gewohnten reaktionen auf die schwerkraft auslösen könnte. alle wesentlichen muskelaktivitäten, die mit der schwerkraft zusammenhängen, und die entsprechenden aktivitäten der nervenzentren sind in dieser lage weitgehend ausgeschaltet. feldenkrais (1985/1992) gibt dazu ein beispiel: wenn wir auf dem rücken liegen, den kopf vom boden ein wenig weggehoben, die knie gebeugt und die füße auf dem boden stehend, so sind alle diese vorbedingungen erfüllt. jetzt wird von der schwerkraft kein strecker auf einem der gewohnten wege übers nervensystem erregt, und nur ein minimum an muskelarbeit ist vonnöten, um in dieser stellung zu verharren. (s. 187) in den verschiedenen lektionen der feldenkrais-methode wird zunächst angeregt, bewegungen auf einer seite auszuführen (feldenkrais, 1986). so spürt man deutlicher den unterschied zwischen dem, was momentan ist, und dem, was noch möglich ist. die bewegungen können dann mit hilfe des denkens und der vorstellungskraft auf die andere seite übertragen werden. dabei kann es vorkommen, dass eine bewegung, die auf der zweiten seite nur ein paar minuten gedanklich ausgeführt wurde, viel leichter fällt, dass sie müheloser und selbstverständlicher scheint, als auf der seite, auf der sie tatsächlich ausgeführt wurde. eine wichtige rolle bei diesem prozess spielt das corpus callossum, welches die rechte gehirnhälfte mit der linken verbindet. auf diese weise wird alles, was eine hälfte des gehirns und eine hälfte des körpers gelernt haben, auf die andere seite übertragen (feldenkrais, 1984/1990). "das ist die art von lernen, die einen menschen in ein menschliches genie verwandelt" (s. 157). feldenkrais hat im laufe von 25 jahren ca. 600 verschiedene lektionen bewusstheit durch bewegung entwickelt. diese alexander yanai lektionen benannt nach einer straße in tel aviv wurden in verschieden gruppen unterrichtet und dabei auf audiobändern aufgezeichnet, um sie anschließend in anderen gruppen vom band abzuspielen. sie wurden solange verändert und immer wieder neu aufgenommen, bis feldenkais das gefühl hatte, dass sie exakt das hervorbrachten, worum es in derjenigen lektion gehen sollte (iff, 1996). inzwischen gibt es über 2000 bis 3000 verschiedene lektionen bewusstheit durch bewegung, die im laufe der zeit von m. feldenkrais und seinen schülern entwickelt wurden (russell, 2004). diese beschäftigen sich u.a. mit verschiedenen organisationsmöglichkeiten der atmung, mit der koordination der beugeund streckmuskeln, mit der differenzierung von kopfund rumpfbewegungen, theorie die feldenkrais-methode 25 dem erkennen unnützer und unbewusster anstrengungen in der beckenmuskulatur, der bewussten koordination von körperund augenbewegungen und mit den auswirkungen gedachter bewegungsentwürfe auf deren ausführung (klinkenberg, 2000b). aber feldenkrais (1981/1986) betont, dass er keine patienten behandelt, sonder lektionen gibt, um menschen zu helfen, über sich zu lernen. im unterricht wird nicht geheilt, sondern es werden dem menschen wege aufgezeigt, wie er seine möglichkeiten so erweitern und seine funktionen so verbessern kann, dass veränderung geschieht und die grenzen dessen erweitert werden, was möglich ist. denn der zweck der verschiedenen lektionen ist es, "das unmögliche möglich zu machen, das schwierige leicht, das leichte angenehm" (feldenkrais, 1967/1978, s. 87). 1.1.4 funktionale integration in seinem buch "die entdeckung des selbstverständlichen" erläutert feldenkrais (1981/1981) die von ihm entwickelte funktionale integration. bei der funktionalen integration handelt es sich um ein einzelsetting, in dem der feldenkrais-lehrer seinem schüler eine "lektion" gibt (hanna, 1994). es handelt sich dabei um ein verfahren nonverbaler kommunikation, bei dem der feldenkrais-lehrer zunächst die vorhandenen bewegungsmuster des klienten erkundet, anschließend dem schüler mögliche neue verhaltensmuster aufzeigt und auf die verschiedenen arten neuromuskulärer "antworten" des schülers achtet (rywerant, 1983). mit funktion ist das gemeint, "was wir tun, um uns selbst zu erhalten, um in wechselbeziehung mit der welt und anderen wesen zu treten. und funktionale integration ist der prozess, in dem wir eben das mit unserm ganzen selbst vollbringen." (ginsberg, 2004, s. 32). die bewegungen werden mit hilfe von zug und druck (feldenkrais, 1981/1981; rywerant, 1983) ausgeführt und sollen das nervensystem, insbesondere das somatosensorische system, welches auf zug und druck reagiert (kolb & whishaw, 1996), beeinflussen. die funktionale integration, schreibt feldenkrais (1981/1981), wendet sich an die ältesten teile unseres sensoriellen systems: die auf berührung reagieren, auf die empfindungen von zug und druck, auf die wärme der hand und ihre streichelbewegungen. die im wörtlichen sinn >>be-handelte<< person spürt zunehmend den sich verringernden muskeltonus, das tieferwerden ihres atems und seine regelmäßigkeit, wohlbehagen im unterleib, den besseren theorie die feldenkrais-methode 26 kreislauf in der sich weitenden haut und sie wird von diesem empfinden eingenommen. sie empfindet ihre primitivsten, d.h. entwicklungsgeschichtlich ursprünglichen, vom bewußtsein vergessenen verhaltensschemata und erinnert sich des wohlgefühls eines heranwachsenden kleinen kindes. (s. 179) die lektionen erfolgen auf eine nicht-direktive, nicht-invasive art (hanna, 1994; strauch, 1987) und sind nach hanna (1994) geniale und sanfte wege zur integration neuer sensomotorischer muster in unser zentralnervensystem. laut damasio (2000) sind sensomotorische fertigkeiten "jenes können, das sie erwerben, wenn sie schwimmen, fahrrad fahren, tanzen oder ein musikinstrumentspielen lernen" (s. 357). die lektionen oder sitzungen in funktionaler integration finden in der regel auf einem speziellen behandlungstisch statt, können aber auch im sitzen, stehen oder gehen ausgeführt werden. diese tische sind im aufbau massagetischen recht ähnlich, sie sind jedoch mit einer höhe von etwa 40 cm viel niedriger (czeczok, 1993; rywerant, 1983). die sitzungen dauern zwischen 45 minuten und einer stunde (strauch, 1987). um die funktionale integration verstehen zu können, muss man sich zunächst vergegenwärtigen, "wie wir handeln und uns bewegen und wie wir uns allgemein leiten, lenken und regieren" (feldenkrais, 1981/1981, s. 184). dazu führt feldenkrais den begriff der selbstleitung ein und versteht darunter die möglichkeit eines individuums sich zu bewegen. "die elementarste form der selbstleitung [eines erwachsenen ist] die nach links oder nach rechts, d.h. die drehbewegung um die wirbelsäule als senkrechte achse" (feldenkrais, 1981/1981, s. 185). nach feldenkrais sind dies keine einfachen bewegungen sondern komplexe organisationen des nervensystems. damit allein das aufrechtstehen im gravitationsfeld nicht gefährdet ist, müssen sämtliche informationen der telerezeptoren (augen, kopf, ohren) sowie der beine, der muskeln und der gelenke an das nervensystem weitergeleitet werden (feldenkrais, 1981/1981). "funktionale integration befasst sich nicht mit "körpern", sondern mit dem gesamten lebenden individuum" (hanna, 1994, s. 172). sie ist eine "methode somatischer erziehung" (s.172). feldenkrais selbst versteht seine methode als lernprozess und betont ausdrücklich, dass es sich nicht um ein therapeutisches mittel oder gar eine therapie handelt (feldenkrais, 1981/1981). rywerant (1983) unterstreicht, dass die funktionale integration "absolutly nonmedical" (s. 162) ist und bei bestehenden krankheiten vorher theorie die feldenkrais-methode 27 immer ärztlicher rat einzuholen ist. für einige krankheiten z.b. schlaganfall, hirnläsionen aber auch cerebrovaskuläre krankheiten bietet die funktionale integration neue entwicklungsmöglichkeiten (rywerant, 1983). auch strauch (1987) betont den lerncharakter der methode: "it is a way of learning to organize yourself more efficiently, so that action, even just being-in-the-world, becomes easier, more fluid, more fun" (s. 1). strauch (1987) vergleicht das, was bei der funktionalen integration passiert, mit biofeedback. seiner meinung nach geht die funktionale integration jedoch über normales biofeedback hinaus: "the practitioner is the biofeedback instrument – sensing and providing feedback (through touch) about internal processes more complex than those addressed by conventional biofeedback" (s. 1). die art und güte der funktionalen integration "hängt nicht von technik ab, auch nicht, von idee oder worten, sondern vom stand der eigenen entwicklung, von der eigenen sensibilität und davon, wie man selbst gelernt hat" ab schreibt ginsberg (2004, s. 9), sie ist also von der entwicklung des feldenkrais-lehrers abhängig. czetczok (1993) zitiert eine zusammenfassende definition der funktionalen integration nach rywerant (1985, s. 260): funktionale integration läßt sich als eine methode der körpermanipulation definieren, durch die der lehrer dem subjekt eine bewußtheit des neuromotorischen systems in den begriffen eines festgelegten vorrats an bewegungsmustern vermittelt, die gewohnheitsmäßig benutzt und gewöhnlich vermieden werden, und es so mit der erfahrung neuer, alternativer bewegungsmuster versorgt, die assimiliert werden können. (s. 1) eine etwas zeitgemäßere formulierung findet sich bei ginsberg (2004). ausgehend davon, dass es sich bei der funktionalen integration um eine spezielle art von kommunikation handelt, stellt er die funktionale integration als einen prozess dar, "der für das nervensystem eines menschen einen erkennbaren unterschied schafft, den die person anschließend aufnehmen und in ihr selbstbild integrieren kann" s. (39). im gegensatz dazu, schreibt ginsberg (2004), findet bei normaler, sprachlicher kommunikation keine neuorganisation statt. neben lernpsychologischen prinzipien, die auch in lektionen von bewusstheit durch bewegung wieder zu finden sind (siehe kap. 1.1.3), gibt es in der funktionalen theorie die feldenkrais-methode 28 integration zusätzlich noch eine vielzahl spezifischer "techniken", die der feldenkraislehrer "anwendet". diese bauen auf physikalischen-physiologischen prinzipien auf (vgl. rywerant, 1983). dies soll hier an den zwei beispielen effort substitution [mögliche übersetzung: "übernahme/ersatz der anstrengung bzw. arbeit"] und arbeiten mit constraints ["einschränkungen"] erläutert werden. diese techniken werden nicht mechanisch angewendet, sondern immer in bezug auf die individuellen gegebenheiten des schülers, denn "the variety of functional differences is as vast as the variety of human individuals" (rywerant, 1983, s. 161). zur effort substitution schreibt rywerant (1983): verlängert man einen einzelnen muskel, in dem man an beiden seiten an ihm zieht, so wird er sich anschließend wieder zusammenziehen. dieses phänomen nennt man "stretch reflex". normalerweise reguliert sich der muskeltonus eines menschen von selbst und passt sich den jeweiligen umweltbedingungen an (der körper als sich selbst regulierendes system). es kann passieren, dass sich durch starke beanspruchung der muskeln der muskeltonus unkontrolliert erhöht, was zu schmerzen führen kann. in manchen fällen ist die selbstregulation des körpers unterbrochen und die spannungen entwickeln sich zu chronischen verspannungen. in einer stunde funktionale integration spürt der feldenkrais-lehrer solche verspannungen (und die zugrunde liegenden sensomotorischen muster) auf und übernimmt mit seinen händen die muskelarbeit des schülers für 10 bis 20 sekunden. dadurch kann sich das sensorische muster der permanenten spannung dahingehend ändern, dass der muskel sich entspannt und zu seiner ursprünglichen länge zurückfindet (rywerant, 1983). mit einschränkungen ("constraints") wird nicht nur in der funktionalen integration sondern auch im gruppensetting gearbeitet (vgl. rywerant, 1983; shafarman, 1998). unter einschränkung versteht man die absichtlich hergestellte unbeweglichkeit von bestimmten körperteilen, die zur folge hat, dass sich andere körperteile zwangsweise bewegen müssen. beispiele dafür finden sich bei rywerant (1983). der feldenkrais-lehrer könnte beispielsweise die schulter eines klienten mit einer hand festhalten und den brustkorb mit der anderen hand leicht wegdrücken. der schüler lernt dadurch ganz neue bewegungsmöglichkeiten und empfindungen kennen, als wenn er z.b. nur seine schulter allein kreisen würde. bezüglich dem, was bei der funktionalen intergration passiert, gibt es noch viel zu erforschen. ginsberg (2004) schreibt dazu: "wir beginnen gerade erst, integration und funktionen zu verstehen. in der wissenschaftlichen welt sind das kaum anerkannte aspekte des lebens" (s. 34). theorie die feldenkrais-methode 29 abschließend soll noch ein zitat von feldenkrais (1981/1981) auf die funktionale integration neugierig machen "am ende [einer funktionalen integration] reibt man sich die augen, als wäre man aus einem erquickenden traum erwacht. >>normale<< menschen sind zu geschäftig und verpassen darüber etwas, das unschätzbar ist. sie sollten funktionale integration probieren" (s. 208). 1.1.5 wirkfaktoren der feldenkrais-methode im folgenden abschnitt sind die zentralen elemente der feldenkrais-arbeit zusammengefasst, die mögliche erklärungsansätze dafür bieten, warum das "programm" wirken könnte. zunächst erfolgt eine aufstellung von prinzipien aus der physik, psychophysik, sowie aus pädagogischer und allgemeiner psychologie, im nächsten abschnitt werden aktuelle neurologische studien, welche die theorie von feldenkrais unterstützen, vorgestellt. physikalische wirkfaktoren wie schon in den kapiteln 1.1.3 und 1.1.4 angedeutet, spielt in der feldenkraistheorie die wirkung der gravitationskraft auf den organismus eine große rolle (feldenkrais, 1949/1994). befindet sich der fötus im mutterleib noch in einem der schwerelosigkeit ähnlichen zustand, so muss das kind direkt nach der geburt lernen, sich im gravitationsfeld zu bewegen. es findet praktisch eine konditionierung auf die neue umgebung statt und die muskulatur des kindes wird erst langsam ausgebildet. gerade wenn kleinkinder lernen zu gehen, muss zunächst der gleichgewichtssinn für das stehen ausgebildet werden. jedes individuum ist dem gravitationsfeld ausgesetzt und das hat zum teil gravierende wirkung auf die haltung, die wiederum wirkung auf alle anderen bereiche denken, fühlen, sinnesempfindung und bewegung hat. feldenkrais (1949/1994) spricht in diesem zusammenhang vom anti-gravitationsgesetz, das der schwerkraft entgegenwirkt. psychologische/psychophysiologische wirkfaktoren 1. pausen als grundlagen des lernens regelmäßig wiederkehrenden pausen kommt in der feldenkrais-pädagogik eine besondere bedeutung zu, zum einen als zeit für die aufnahme der lernerfahrung und zum anderen als "physische grundlage der bewusstheit" (feldenkrais, 1967/1978, s.73). die pausen dienen nicht primär der erholung, sondern der selbstbeobachtung von möglichen veränderungen. lernen wird erst durch den theorie die feldenkrais-methode 30 besonderen rhythmus der pausen möglich, was mit lernpsychologischen erkenntnissen im einklang steht, nach denen die kognitive verankerung von eindrücken aus dem ultrakurzzeitgedächtnis erst nach einer erneuten verknüpfung mit anderen gedanken (assoziationen) geschieht (birbaumer & schmidt, 1999). 2. variieren von bewegungen nach klinkenberg (2000b) "besteht in dem variieren immer wieder neuer bewegungsmöglichkeiten und wechselnder aufmerksamkeitsfoci auf unterschiedlichste aspekte der bewegungsplanung, -gestaltung und wahrnehmung" (s. 104f.) ein hauptmerkmal der feldenkrais-methode. mechanisches wiederholen ohne begleitende und nachgehende aufmerksamkeit, wie es beispielsweise bei gymnastik der fall sein kann, bleibt ohne wirkung. 3. steuerung der kinästhetischen information ein weiteres merkmal der feldenkrais-methode ist, dass die schüler immer wieder dazu angehalten werden, bewegungen sehr langsam auszuführen und in ihrem radius klein zu halten, so dass von außen kaum noch eine bewegung erkennbar ist. je langsamer und kleiner die bewegungen ausgeführt werden, desto mehr nehmen informationsqualität und –quantität zu (klinkenberg, 2000b). diesen beobachtungen liegen sowohl das weber-fechner-gesetz (fechner, 1860; weber, 1851), auf das schon feldenkrais (z. b. 1961/1978; 1984/1990, 1985/1992) hinwies (siehe kap. 1.1.3), sowie die theorie der psychophysischen beziehung von stevens (stevens, 1975) zugrunde. nach dem weber-fechner-gesetz folgen reize und reizreaktionen einem logarithmischen gesetz. um die nötige sensibilität zu haben, muss man die anstrengung oder den ursprünglichen reiz vermindern, sonst können kleine unterschiede nicht erkannt werden (feldenkrais, 1984/1990), da unsere sinnesorgane so beschaffen sind, dass sie umso besser unterscheiden, je kleiner bzw. schwächer der reiz ist, der auf sie trifft (feldenkrais, 1967/1978). diese beziehung zwischen reizund empfindungsstärke gilt am besten für mittlere reizstärken. die beziehung bei sehr kleinen und sehr großen reizstärken lässt sich besser durch die funktion von stevens (1975) beschreiben, bei denen die reizund empfindungsstärke über eine potenzfunktion miteinander verbunden sind (birbaumer & schmidt, 1999). 4. vorstellung von bewegung die feldenkrais-methode nutzt oft anstelle bewusst ausgeführter bewegungen die alleinige vorstellung von bewegung (siehe kap. 1.1.3). zu diesem mentalen training schreibt rappaport (1975, zitiert nach czetczok, 1993), dass der gebrauch theorie die feldenkrais-methode 31 der imagination der "vielleicht wichtigste theoretische beitrag auf diesem gebiet" ist, "um auf diesem weg veränderungen im körper zu bewirken" (s. 7) denn, "wenn die vorstellung einer bewegung schon eine körperliche veränderung bewirken kann, hat sich eine neurophysiologische büchse der pandora geöffnet" (s. 7). birbaumer und schmidt (1999) schreiben dazu, dass "zur vorstellung von objekten und bewegung … dieselben hirnareale wie zu ihrer wahrnehmung benützt [werden]" (s. 696 f.). auch bei der vorstellung und durchführung von bewegungen werden dieselben hirnareale aktiviert. zusätzlich werden bei der vorstellung von bewegungen areale aktiviert, welche die ausführung der reaktion verhindern. nach birbaumer und schmidt (1999) lassen sich außerdem schon bei der vorstellung einer bewegung elektromyographische reaktionen in der muskulatur nachweisen, die in der vorgestellten bewegung aktiviert wird, ohne dass die bewegung äußerlich sichtbar ist. 5. unterweisung der kontralateralen seite feldenkrais-lehrer arbeiten normalerweise nicht direkt mit einer behinderung oder einem schmerzhaften, in seiner funktion eingeschränkten körperteil, weil damit aversive empfindungen oder eine verhinderung neurologischen lernens durch zu starke zielfixierung verbunden sind (strauch, 1996). vielmehr interessieren sie sich für die auswirkung der schädigung auf die restliche körperorganisation. im mittelpunkt steht eher die gesamtfunktion und –organisation der bewegung. eine verbesserung dieser führt meist auch zu einer verbesserung der ursprünglichen problematik. klinkenberg (2000b) beschreibt als ein häufig beobachtbares phänomen bei feldenkrais-teilnehmern, dass sich eine funktion auf der linken seite, z.b. die schulter-arm-bewegung verbessert, obwohl nur mit der anderen körperseite gearbeitet wurde. schon feldenkrais (1981/1986) hat für die dauer einer lektion ausschließlich an einer körperhälfte gearbeitet. damit wollte er "den größtmöglichen kontrast in den nervenstrukturen schaffen und das innewerden der unterschiede auch kinästhetisch erleichtern" (s. 116). er nahm an, "daß die veränderte organisation der einen seite der hirnrinde und der entsprechenden körperhälfte sich langsam in die andere seite ausbreiten würde" (s.116), wodurch die behandelte person auf der einen seite eine andere mobilisierung und handlungsweise spürt, als auf der anderen. dadurch lernt sie "direkt in ihrem gehirn und von ihrem inneren selbst" (s. 116). theorie die feldenkrais-methode 32 neurologische wirkfaktoren in den 80er jahren war unter neurologen häufig die meinung verbreitet, dass keine neuen neuronalen verbindungen im gehirn eines menschen gebildet werden können (ramachandran, 1993). man nahm an, dass eine einmal im fötus oder in der frühen kindheit geformte verbindung im späteren leben kaum noch veränderbar sei. diese stabilität der verbindungen im gehirn wird nach ramachandran oft als grund dafür angeführt, warum es nach einem schaden des nervensystems (z.b. nach einem schlaganfall) normalerweise wenig funktionale wiederherstellung gibt. jedermann bemerkt aber, dass einige veränderungen auch im erwachsenalter möglich sind, ansonsten wären solche phänomene wie gedächtnis und lernen nicht möglich (squire, 1987, nach ramachandran, 1993). zur plastizität des gehirns und der daraus sich möglicherweise ergebenden therapien schreibt ramachandran (1992): whatever the ultimate interpretation may be, however, our findings suggest that the adult mammalian brain has a latent capacity for much more rapid functional reorganisation over a much greater area than previously thought, a capacity that could conceivably be exploited for therapeutic purposes. (s. 1160) auch feldenkrais (1949/1994) vermutete, dass das gehirn eine viel größere plastizität besitzt. seine annahme, dass man durch eine vielzahl von verschiedenen bewegungen die beweglichkeit verbessern kann, begründete er mit neurobiologischen überlegungen, die denen des hirnchirurgen wilder penfield ähnelten. dieser beobachtete in den fünfziger jahren bei operationen am offenen gehirn, dass reizungen, verursacht durch kurze stromstöße, in bestimmten bereichen des kortex muskelkontraktionen an verschiedenen körperteilen z.b. gesicht, händen oder rumpf auslösten. diese beobachtungen legten die schlussfolgerung nahe, dass in diesen hirnarealen bestimmte, durch muskelerregung steuerbare regionen des körpers abgebildet sind. häufig gebrauchte und stark innervierte körperteile sind nach dieser theorie relativ stark im kortex repräsentiert (penfield & rasmussen, 1957). von einer ähnlichen abbildung des körpers im kortex ging feldenkrais (1967/1978) aus, er nahm jedoch im gegensatz zu penfield an, dass eine solche "körperkarte" hochdynamisch ist und nur einen teil eines neuronalen netzwerkes darstellt (marowsky, 2004). erstmals konnte die wandlungsfähigkeit der netzwerke im kortex durch tierversuche von pons (pons et al., 1991) belegt werden. er durchtrennte bei affen die theorie die feldenkrais-methode 33 nervenbahnen, die den arm mit dem rückenmark verbinden. infolge dessen war der arm taub und konnte keine bewegungen mehr ausführen. entsprechende bereiche im kortex, die ursprünglich für gefühl und bewegung der hand verantwortlich waren, reagierten nun auf berührungen im gesicht. pons et al. schlussfolgerten daraus, dass, wenn eine hirnregion aufgrund fehlender signale von außen arbeitslos wird, das entsprechende feld von benachbarten regionen übernommen wird. durch die untersuchung von phantomphänomenen bei menschen, denen gliedmaßen amputiert worden waren (ramachandran 1993), konnten diese annahmen bestätigt werden. den schlüssel zur veränderung dieser netzwerke stellten nach der überzeugung von feldenkrais (z.b. 1967/1978) bewusst wahrgenommene bewegungen dar. "je vielfältiger eine funktion wie sitzen oder balance halten ausgeübt werde, desto zahlreicher und unterschiedlicher seien die neuronalen netzwerke im kortex verknüpft und desto «stabiler» sei die funktion" (marowsky, 2004, s. 46). im gegensatz dazu verschlechtern monotone bewegungen, wie sie z.b. beim krafttraining ausgeführt werden, die bewegungsfähigkeit. durch die ständige wiederholung derselben bewegung wird diese zwar immer fester ins gehirn eingraviert, aber eine reorganisation der hirnareale bleibt aus (marowsky, 2004). diese annahme konnte in zahlreichen versuchen mit ratten (kleim, vij, ballard & greenough, 1997; kleim, barbay & nudo, 1998; kleim, swain, armstrong, napper, jones & greenough, 1998) gestützt werden. auch recanzone, merzenich, jenkins, grajski und dinse (1992) sowie wang, merzenich, sameshima und jenkins (1995) unterstützten mit ihren verschiedenen experimenten die hypothese, dass die kortikalen karten dynamisch sind. in verschiedenen versuchsanordnungen brachte man affen bei, mit den spitzen von zeige-, mittelund ringfinger verschiedene vibrationsfrequenzen zu unterscheiden. in folge dessen vergrößerte sich der diese finger repräsentierende hirnrindenbereich deutlich ähnliche beobachtungen wurden auch bei menschen gemacht. so fanden elbert, pantev, wienbruch, rockstroh und taub (1995) bei der untersuchung von violinenspielern heraus, dass die kortikale repräsentation der finger der linken hand größer war als bei einer kontrollgruppe von nicht-musikern. die menge der kortikalen reorganisation bei der repräsentation der finger korrelierte mit dem alter, in welchem die personen mit dem violinenspiel begonnen hatten. die forscher schlussfolgerten daraus, dass die repräsentation von verschiedenen körperteilen im primären somatosensorischen kortex des menschen abhängig ist von deren gebrauch und von theorie die feldenkrais-methode 34 ihrer veränderung, welche stattfindet, um sich an bedürfnisse und erfahrungen des individuums anzupassen. ähnliches berichteten pascual-leone und torres (1993) bei personen, die blindenschrift lesen. ihr experiment unterstützt die annahme, dass das lesen von blindenschrift mit einer vergrößerung derjenigen areale im sensomotorischen kortex verbunden ist, welche die zum lesen der blindenschrift benutzten finger repräsentieren. studien zur hirndurchblutung von malouin, richards, jackson, dumas und doyon (2003) belegen, dass mit zunehmender komplexität und anforderung an die sensorische und kognitive informationsverarbeitung progressiv höhere hirnregionen aktiviert werden. eine solche komplexität spiegelt sich in der feldenkrais-arbeit in form von vielfältigen bewegungen innerhalb einer und über viele feldenkrais-lektion wider (iff, 1996). zusammenfassend kann die reorganisation im menschlichen gehirn durch die vier prinzipien, in abbildung 1.2 dargestellt, beeinflusst werden. (elbert & rockstroh, 2004). practice makes perfect: enhanced stimulation of a body part enlarges its cortical representational zones and may change its topographic order. this cortical reorganization varies with functionally relevant changes in perceptual and behavioral activities in addition to those that produced them. fire together, wire together: synchronous, behaviorally relevant stimulation of adjacent peripheral receptor sites results in the integration of their cortical representation. the reverse is also true: asynchronous stimulation may lead to a segregation of representational zones. use it or lose it: lack or complete loss of afferent input leads to an invasion of representational zones located adjacent to the area deprived of its input. a permanent competition for cortical space enlarges those areas that are supplied by important information and leads to narrowing of others. you have to dream it to achieve it: changes are seen only in behaviorally relevant tasks and in response to practice that is so intense and extended that the brain continues to process the task during sleep, suggesting that the first sws and last rem stages during the night are of particular importance. abbildung 1.2 principles of cortical reorganization aus reorganisation of human cerebral cortex: the range of changes following use and injury von t. elbert und b. rockstroh, 2004, the neuroscientist, 10, s.132. die in abbildung 1.2 genannten prinzipien practice makes perfect und use it or lose it werden in der feldenkrais-einzel– und gruppenarbeit berücksichtigt. sinn und zweck der feldenkrais-methode ist die einflussnahme auf und änderung von zns und motorischem system (feldenkrais, 1949/1994; rywerant, 1983). theorie die feldenkrais-methode 35 aufgrund der neurologischen erkenntnisse zur plastizität des gehirns wurden innerhalb der letzten fünf jahre neue therapieformen wie beispielsweise die constraintinduced-movement-therapy (cim-therapie) (taub, uswatte & pidikiti, 1999) oder das sensorimotor retuning training (smr) (candia et al. 1999, 2002, 2003) entwickelt. theorie die feldenkrais-methode 36 ähnliche wie in der feldenkrais-arbeit (siehe kap. 1.1.4), macht sich die cim-therapie die arbeit mit einschränkungen zunutze. bei der cim-therapie handelt sich um ein verfahren, bei dem die verbindung von "constraints" (erzwungene bewegungseinschränkung der nicht betroffenen extremität, z.b. gesunder arm) und "induced movement" (bewegungsübungen mit der betroffenen extremität nach dem prinzip des shapings) auf die rehabilitation von funktionen von schlaganfallpatienten eingesetzt wird. das smr-verfahren (sensorimotor retuning) zur behandlung der fokalen dystonie (störungen des normalen spannungszustands der muskeln und gefäße) der hand wurde zwar zunächst unabhängig von der cim-therapie entwickelt, die wirksamen prinzipien glichen sich jedoch so weitgehend, dass die weiterentwicklung beider verfahren sich gegenseitig befruchtete. die in diesem kapitel dargestellten befunde zur lernbedingten veränderbarkeit von verhalten nach verletzungen des zentralen nervensystems bilden nach elbert und rockstroh (2003) "den grundstein für die entwicklung von neuen therapiemöglichkeiten für die rehabilitation von funktionen bei neurologischen erkrankungen" (s. 342). dabei sollen "neue, auf der grundlage von erkenntnissen zu kortikaler reorganisation, regeneration des rückenmarks, neurogenese, pharmakologischer und behavioraler beeinflussbarkeit von motorischen und sprachlichen funktionen entwickelte behandlungsansätze … aus verhaltensund neurowissenschaftlicher forschung" (s. 342) entstehen. und diese sollten "verhaltenstechniken in kombination mit anderen interventionsmethoden" mit einbeziehen und lernpsychologische erkenntnisse nutzen, "um das nervensystem systematisch zu modifizieren" (s. 342). 1.1.6 studien zur feldenkrais-methode die erste studie zur feldenkrais-methode wurde 1977 von gutman, herbert und brown veröffentlicht und innerhalb der darauf folgenden dekade erschienen nur wenige weitere studien. erst seit 1988 wurden dann stetig neue studien veröffentlicht (wildmann, 2004). moshé feldenkrais selbst hat nie in medizinischen fachzeitschriften publiziert (feldenkrais, 1967/1995). er veröffentlichte eine einzelfallstudie "the case of nora" (feldenkrais, 1977), in der er die fast einjährige unterweisung einer, durch einen schlaganfall in ihrer sprache, ihrem denken und ihrer bewegung geschädigten 60jährigen frau, in funktionaler integration beschreibt. weitere einzelfallstudien theorie die feldenkrais-methode 37 existieren in großer anzahl, da diejenigen feldenkrais-lehrer, die (assistenz-)trainer werden möchten, eine gewisse anzahl von einzelfallstudien beschreiben müssen (feldenkrais european training and accreditation board (eurotab), 2004). auf den internetseiten der deutschen feldenkrais-gilde (feldenkrais-gilde, 2004a) und der international feldenkrais federation (iff) befinden sich übersichten mit weiteren studien. auf der internetseite der iff (2004) sind außerdem eine reihe von unveröffentlichten diplomarbeiten aufgeführt. diese befassen sich z.b. mit der auswirkung der feldenkrais-methode auf das spielen von musikinstrumenten (eikmeier, 1992; sturm, 1993), mit ihrem einsatz in der verhaltenstherapie (diegelmann, 2000) oder bei der bildschirmarbeit (ernst, 1995). zudem existieren einzelne studien zu verschiedenen aspekten der feldenkrais-methode, z.b. zu bewegungsphysiologischen parametern (hopper et al., 1999) oder auswirkungen auf psychologische parameter (kerr, kotynia & kolt, 2002). einige studien untersuchen die effekte von feldenkrais bei bestimmten zielgruppen, wie z.b. bei patienten mit multipler sklerose (bost et al., 1993; stephens, dushuttle, hatcher, shmunes & slaninka, 2001), patienten mit essstörungen (laumer, bauer, fichter & milz, 1997) und patienten mit krebs (grübel, erbacher & larisch, 2003). über die feldenkrais-arbeit mit künstlern berichtet z.b. pergola (2004) und im sportlichen bereich, über skifahren und wandern, gillmayr (2004). im folgenden werden einige veröffentlichte studien, die für die von uns durchgeführte untersuchung ausschlaggebend waren, und deren ergebnisse ausführlicher vorgestellt. löwe et al. (2002) verglichen bei 60 patienten in der akutphase nach einem myokardinfarkt die wirksamkeit der feldenkrais-methode funktionale integration und der progressiven muskelentspannung mit einer kontrollgruppe (level i-studie4), die neben der normalen schulmedizinischen behandlung keine zusätzliche intervention erhielt. in allen gruppen wurden u.a. die konstrukte körperbild, lebensqualität und wahrgenommene selbstwirksamkeit mit hilfe von fragebögen zu zwei zeitpunkten erfasst. ergänzt wurde die untersuchung durch qualitative interviews mit offenen fragen. die auswertung der quantitativen fragebogendaten erbrachte keine signifikanten unterschiede zwischen den drei gruppen. auf qualitativer ebene stellten löwe et al. eine erhebliche verbesserung bei patienten fest, die entweder zusätzlich an dem feldenkrais-programm oder an der progressiven muskelentspannung teilnahmen. 4 die einteilung von studien in verschiedene level wird ende von kapitel 1.2.3 beschrieben. theorie die feldenkrais-methode 38 so berichteten die teilnehmer beider gruppen subjektive verbesserungen sowohl auf emotionaler als auch auf körperlicher ebene, z.b. verbesserung der körperwahrnehmung. dass diese effekte nur auf qualitativer ebene sichtbar waren, könnte nach auffassung der autoren u.a. an der kürze der behandlungszeit liegen, da die patienten nur zwei interventionen erhielten (löwe et al., 2002). in einer untersuchung (level i-studie) zu therapeutischen effekten der feldenkrais-methode bewusstheit durch bewegung bei patienten mit essstörungen von laumer, bauer, fichter und milz (1997) wurden bei den 15 teilnehmern einer neun stunden innerhalb von fünf wochen umfassenden feldenkrais-gruppe relevante parameter zum körpererleben, zur emotionalität und zur selbstwirksamkeit erfasst. im gegensatz zu einer kontrollgruppe ohne feldenkrais-intervention kam es zu teilweise signifikanten verbesserungen in der zufriedenheit mit spezifischen problemzonen des körpers und der eigenen gesundheit sowie der akzeptanz und vertrautheit mit dem eigenen körper. spontanes, offenes und selbstsicheres verhalten nahm zu und gefühle der hilflosigkeit nahmen ab, was nach angabe der autoren auf eine entwicklung von selbstgefühl und selbstvertrauen hinweist. in einer randomisierten kontrollierten klinischen verlaufsstudie (level i-studie) mit 76 stationären krebspatienten untersuchten grübel, erbacher und larisch (2003), ob eine intervention mit fünf stunden der feldenkrais-methode funktionale integration einfluss auf das körperbild, das körperkonzept, die körperwahrnehmung, das bewegungsempfinden und die lebensqualität hat. es zeigte sich auf bewegungsund körperbezogenen parametern tendenziell eine stärkere besserung bei den teilnehmern der feldenkrais-methode gegenüber den patienten der kontrollgruppe. die einstellung zum körperkontakt verbesserte sich signifikant bei der interventionsgruppe gegenüber der kontrollgruppe. insgesamt deuten die ergebnisse darauf hin, dass die feldenkraismethode einen positiven einfluss auf das körperbild, das körpererleben sowie das bewegungsempfinden hat. eine studie, die an einer nichtklinischen population durchgeführt wurde, untersuchte die veränderungen im bereich der state-angst (zustandsangst veränderlich im gegensatz zu trait-angst, persönlichkeitszug), während einer zehnwöchigen intervention mit der feldenkrais-methode bewusstheit durch bewegung (kerr, kotynia & kolt, 2002). 45 freiwillige wurden nach ihrer vorerfahrung mit der methode in zwei gruppen eingeteilt und erhielten einmal wöchentlich eine lektion bewusstheit durch bewegung. schon nach einer lektion konnte für beide gruppen eine abnahme des theorie die feldenkrais-methode 39 state-angst-scores gemessen werden. nach zehn wochen war bei beiden gruppen der state-angst-score signifikant niedriger als vor der intervention. die in diesen studien dargestellten effekte erlauben die annahme, dass die feldenkraismethode in einem breiten feld von anwendungsbereichen neue perspektiven zu eröffnen vermag. schmidt (1996) bemerkt in einem review zur wirksamkeit der feldenkrais-methode, dass "die wenigen vorliegenden studien mehrheitlich positive veränderungen bei unterschiedlichen zielkriterien (z.b. bewegungsparameter, psychologische parameter) zeigen und diese effekte mit der beanspruchten wirksamkeit in einklang stehen", was "eine weitere evaluierung notwendig und sinnvoll" (s. 7) macht. eine kritische einschätzung der feldenkrais-methode findet sich bei ives (2003). seiner meinung nach stützen die vorhandenen klinischen studien nicht, dass die feldenkrais-methode ein effektiver weg zur verbesserung von motorischen fähigkeiten ist. wirkungen wie verminderte schmerzen oder wohlbefinden entstehen eher auf psychologischer ebene (z.b. dadurch, dass die erwartung an effekte diese hervorbringen) und sind ausdruck eines sich selbst regulierenden systems und nicht auf die feldenkrais-methode zurück zu führen. seit 1996 gab es 29 veröffentlichungen zur feldenkrais-methode, von denen 22 in peer-reviewed journals (von experten begutachtet) erschienen sind. von diesen haben 16 ein randomisiert-kontrolliertes studiendesign, 13 erfüllten die level ikriterien (siehe kap. 1.2.3), vier die kriterien für level ii und sechs waren einzelfallstudien (stephens, 2004). im vergleich mit anderen alternativen verfahren existieren für die feldenkraismethode erst wenige untersuchungen. eine suche in einer internationalen datenbank für medizinische studien (u.s. national library of medicine, 2004) ergab unter dem suchbegriff "feldenkrais" 24 veröffentlichungen. im gegensatz dazu gibt es unter den begriffen "tai chi" 158, "progressive muskelrelaxation" 573, "yoga" 748 und "autogenes training" 988 anzeigen (stand: 01.12.2004). die meisten studien zur feldenkrais-methode untersuchen spezifische stichproben z.b. patienten, künstler, sportler. im ergebnis unserer literaturrecherche mangelt es an studien, welche die auswirkungen der feldenkrais-methode an einer sehr breiten und unspezifischen stichprobe untersuchen. ziel dieser arbeit ist es deshalb, motive, erwartungen und wünsche dieser personen zu erheben und auswirkungen der teilnahme an kursen bewusstheit durch bewegung zu untersuchen. theorie evaluation psychologischer interventionsmaßnahmen 40 1.2 evaluation psychologischer interventionsmaßnahmen 1.2.1 allgemeine grundlagen unter evaluation bzw. evaluierung bezeichnet man vorgehensweisen, um die wirkungen sozialer aktivitäten (projekte, programme, politiken) zu analysieren und deren wirksamkeit für bestimmte zielsetzungen zu beurteilen (scriven, 1972; hellstern/ wollmann, 1983 nach ferenszkiewicz, 1999). eine evaluation umfasst demnach: a) die identifikation (entdeckung, konzipierung, operationalisierung und messung) der ziele und wirkungen eines staatlichen handlungsprogramms, einer sozialen aktivität oder maßnahme; b) die klärung relevanter ursache-wirkungszusammenhänge, wobei im idealfall die ermittelte wirkung (abhängige variable) auf die getroffenen maßnahme (unabhängige variable) zurückzuführen ist; c) die rechtfertigung der ausgewählten untersuchungsdesigns und der verwendeten messund erhebungstechniken. unter interventionsmaßnahmen verstehen hager und hasselhorn (2000) "jede art von außengesteuerter, zielorientierter und systematischer beeinflussung von personen und/oder systemmerkmalen. jede interventionsmaßnahme besteht mindestens aus einer menge von zu bearbeitenden aufgaben bzw. problemen und mindestens einer methode der instruktion" (s. 41). sie dienen nach hager und hasselhorn vor allem den vier folgenden funktionen: entfaltung bzw. allgemeiner förderung, prävention, in kurativer weise und rehabilitation. interventionsmaßnahmen können auf der intrapersonellen ebene (z.b. beim gedächtnis oder der selbsterfahrung einer person) und bei interpersonellen systemen (zweierbeziehungen, familie, schulen, gemeinden usw.) ansetzten (baumann & perrez, 1998 nach hager & hasselhorn, 2000). interventionsmaßnahmen z.b. training, unterricht, beratung und therapie zielen nach hager und hasselhorn (2000) auf längerfristige wirkungen im so genannten l-statkompetenzbereich ab. für die erfolgsevaluation (summative evaluation) psychologischer interventionsmaßnahmen ergeben sich zwei dimensionen: die zeitliche (koder lkompetenzen : kurz oder langfristiger transfer) und die dimension der "distanz zwischen den inhalten und/oder kontexten der psychologischen interventionsmaßnahme und der zur erfolgskontrolle eingesetzten testund theorie evaluation psychologischer interventionsmaßnahmen 41 erhebungsverfahren" (s. 54) (stund/oder at-kompetenzen: st = situationstransfer, at = anforderungstransfer). als "ultimatives ziel" (friedrich & mandl, 1992, s. 37) gilt der zeitliche, der situative und der anforderungstransfer in form der übertragung der durch die intervention(smaßnahme) bewirkten veränderungen von erlebens und/oder verhaltensbereitschaften auf reale alltagssituation und anforderunge." (hager & hasselhorn, 2000, s. 59). sollen ... interventionsmaßnahmen wissenschaftlichen kriterien genügen, muss u.a. gezeigt werden, dass sie im hinblick auf die angestrebten ziele wirksam sind – dadurch unterscheiden sie sich von den vielen ansätzen, die eher auf glaubens oder wunschvorstellungen beruhen und vor allem von den fragwürdigen methoden, die primär auf eine erfolgreiche vermarktung und nicht auf eine wirkliche hilfe zur lösung von problemen konzipiert worden zu sein scheinen. (hager, patry & brezing, 2000, s. 1) im allgemeinen lässt sich sagen, dass mit hilfe einer evaluation eine aussage über die "verwendbarkeit oder güte eines gegenstandes" (s. 25) getroffen werden soll (sanders, 1999). im folgenden werden deshalb kriterien aufgeführt, die zur beurteilung einer interventionsmaßnahme herangezogen werden können. 1.2.2 gütekriterien für interventionsmaßnahmen "für die bewertung der wirksamkeit einer psychologischen interventionsmaßnahme werden ...kriterien benötigt, die geeignet sind, die güte und qualität des programmes selbst und die der nachweisbaren programmspezifischen wirkungen beurteilen zu können" (s. 74, hager & hasselhorn, 2000). in tabelle 1.1 ist eine übersicht über allgemeine gütekriterien für längerfristige interventionsmaßnahmen dargestellt (hager & hasselhorn, 2000). einige dieser gütekriterien werden hier ausführlicher beschrieben: die ziele einer interventionsmaßnahme sollten ethisch legitimierbar und die vorgehensweise(n) zum erreichen der ziele sollen ebenfalls ethisch legitimierbar sein (punkt 1: ethische legitimierbarkeit). das gütekriterium der theoretischen fundierung (punkt 2) soll implizieren, dass eine interventionsmaßnahme "nicht auf voraussetzungen beruhen [sollte], die mit wissenschaftlichen erkenntnissen unvereinbar sind" (perrez, 1998b, s. 55 nach hager & hasselhorn, 2000, s. 76). im theorie evaluation psychologischer interventionsmaßnahmen 42 idealfall sollte die grundlage der interventionsmaßnahme aus "bewährten psychologischen gesetzen hergeleitet" (s. 76) sein. tabelle 1.1 übersicht über die allgemeinen gütekriterien für interventionsmaßnahmen mit dem anspruch der generalisierung oder des transfers aus psychologische interventionsmaßnahmen: was sollen sie bewirken können? (s. 81) von w. hager & m. hasselhorn, 2000, bern: hans huber. 1. ethische legitimierbarkeit der 1.1 ziele und der 1.2. vorgehensweise(n) 2. theoretische fundierung des 2.1 programmes und 2.2 der vorgehensweise(n) 3. empirische fundierung: nachweis des auftretens der beabsichtigten veränderungen, ihrer generalisierung, ihrer intensität und ihrer persistenz (wirksamkeit) 3.1 nachweis der steigerung der intendierten programmspezifischen k-kompetenzen und ihrer intensität bei 3.1.1 programmnahen aufgaben und problemstellungen (fakultativ), bei 3.1.2 programmfernen aufgaben und problemstellungen (naher anforderungs-transfer), in 3.1.3 programmähnlichen erfassungskontexten (fakultativ), in 3.1.4 programmun ähnlichen erfassungskontexten (naher situations-transfer) 3.2 nachweis des zeitlichen transfers (generalisierung) (l-kompetenzen) und seiner intensität bei 3.2.1 programmnahen aufgaben und problemstellungen (fakultativ), bei 3.2.2 programmfernen aufgaben und problemstellungen (anforderungs-transfer), in 3.2.3 programmähnlichen erfassungskontexten (fakultativ), in 3.2.4 programmun ähnlichen erfassungskontexten (naher situations-transfer); oder 3.3 nachweis des situations-transfers (l-kompetenzen) und seiner intensität bei 3.3.1 programmnahen aufgaben und problemstellungen (fakultativ), bei 3.3.2 programmfernen aufgaben und problemstellungen (anforderungs-transfer); oder/und 3.4 nachweis des anforderungs-transfers (l-kompetenzen) und seiner intensität in 3.4.1 programmähnlichen erfassungskontexten (fakultativ), in 3.4.2 programmun ähnlichen erfassungskontexten (situations-transfer) 3.5 nachweis des erreichen von fernzielen 3.6 nachweis des transfers auf alltagssituationen (l-kompetenzen) und seiner intensität 3.7 nachweis des entwicklungsanschubs der l-kompetenzen und seiner intensität (fakultativ) 4. nachweis des fehlens von negativen oder schädlichen nebenund folgewirkungen 5. "bewährung" des programmes in der praxis 6. nachweis der verlässlichkeit unter standard-randbedingungen 7. nachweis der robustheit und verlässlichkeit unter verschiedenen randbedingungen 8. wirtschaftlichkeit relativ zu den zielen 9. routinisierbarkeit und adaptabilität 10. akzeptanz des programmes und zufriedenheit mit dem programm 10.1 akzeptanz der interventionsmaßnahme durch 10.1.1 die programmdurchführenden und durch die 10.1.2 programmempfänger(innen) 10.2 zufriedenheit der betroffenen mit dem jeweiligen programm zur wirksamkeit oder effektivität (punkt 3) schreiben hager und hasselhorn (2000), dass der "nachweis des auftretens der angestrebten veränderungen, ihrer generalisierung (transfer), ihrer intensität und ihrer persistenz" (s. 76) gegeben sein muss. das fehlen von negativen oder schädlichen nebenund folgewirkungen sollte empirisch nachgewiesen werden. hager und hasselhorn (2000) verstehen unter nebenwirkungen "einflüsse des programms, die nicht im vordergrund bei der programmkonzeption standen" (s.46) während folgewirkungen "konsequenzen der veränderten angestrebten disposition [oder kompetenz] sind" (s. 46). bei beiden wirkungen können sowohl "nicht schädliche" oder auch "positive" ausprägungen genauso wie "schädliche" oder auch "negative" ausprägungen auftreten. die punkt 3.2 theorie evaluation psychologischer interventionsmaßnahmen 43 bis 3.4 (zeitlichen, situationsund anforderungstransfers) wurden in kapitel (1.2.1) angeschnitten. theorie evaluation psychologischer interventionsmaßnahmen 44 die akzeptanz der und die zufriedenheit mit der interventionsmaßnahme (punkt 10) durch die programmausführenden und durch die programmempfänger sollte empirisch erfasst werden. nach hager und hasselhorn (2000) kann "der wert einer interventionsmaßnahme … daran gemessen werden, wie viele gütekriterien es wie gut zu erfüllen vermag" (s. 80). in kapitel 1.3.1 wird die feldenkrais-methode anhand dieser kriterien geprüft. zunächst folgen allgemeine anforderungen an wirksamkeitsstudien. 1.2.3 anforderungen für den nachweis der wirksamkeit die frage, ob ein programm wirksam ist, kann zunächst durch geeignete wirkmodelle und –theorien erklärt werden, sollte später aber durch empirische forschung bestätigt werden (hager & hasselhorn, 2000). wirkmodell/-theorie hager und hasselhorn (2000) sprechen von der wirksamkeit eines programms, "wenn beobachtbare performanzen oder leistungen durch eine interventionsmaßnahme beeinflusst werden, und zwar in der von den vertretern(inne)n des programmes behaupteten weise" (s. 44). in dieser arbeit soll es nicht nur um die wirksamkeit der feldenkrais-methode gehen, sondern das warum wird ebenfalls eine wesentliche rolle spielen: gemeint ist damit das wirkmodell, d.h. die wirkungskomponenten und wirkungsweisen, die wirkmechanismen und wirkprozesse (hager, patry & brezing, 2000, s.1). patry & perrez (2000) stellen die frage: "warum wirkt das programm, wenn es wirkt?" und führen dazu aus, dass "bei der wirkungsforschung … zunächst zu unterscheiden [ist], ob es nur darum geht, festzustellen, ob ein programm eine wirkung hat (prüfung der wirksamkeit) oder ob versucht werden soll, festzustellen, warum es wirkung zeigt (prüfung des wirkmodells)" (s. 28). patry und perrez (2000) unterscheiden auf der ebene des wirkmodells zwei bereiche, den programmbereich und den personenbereich. im programmbereich geht es darum, welche programmbausteine bzw. –maßnahmen welchen einfluss auf den lernenden haben. auf der ebene des personenbereichs geht es um den "lerner bzw. die lernerin, d.h. die teilnehmerin oder den teilnehmer am programm und was in ihr oder ihm passiert" (patry & perrez, 2000, s. 29). theorie evaluation psychologischer interventionsmaßnahmen 45 "die globale frage lautet: für welche personen lassen sich durch welche durchführenden welche programmziele unter welchen interventionsbedingungen mit welchen interventionsmethoden am besten erreichen?" (patry&perrez, 2000, s. 30). empirische voraussetzungen für wirksamkeitsnachweise die qualität einer untersuchung lässt sich nach lienert und raatz (1994) anhand von drei zentralen kriterien der testgüte beurteilen: objektivität, reliabilität und validität. im folgenden werden diese drei testgütekriterien näher erläutert. nach bortz und döring (1995) gibt die objektivität eines tests an, in welchem ausmaß die testergebnisse unabhängig vom testanwender sind. es lassen sich drei unterformen unterscheiden: durchführungsobjektivität, auswertungsobjektivität und interpretationsobjektivität. die durchführungsobjektivität meint, dass das testergebnis des probanden unbeeinflusst vom untersuchungsleiter ist. um eine hohe durchführungsobjektivität zu erreichen, sollten vom testleiter standardisierte instruktionen gegeben werden, die dem testanwender während der untersuchung keinen spielraum lassen (bortz & döring, 1995). unter auswertungsobjektivität ist zu verstehen, dass die auswertung eines tests oder fragebogens unabhängig von der person des auswerters ist. verschiedene auswerter sollten zu denselben ergebnissen kommen. unter interpretationsobjektivität versteht man, dass in die interpretation von testwerten keine individuellen deutungen einfließen. erreichen lässt sich das, indem man sich bei der interpretation an vergleichswerten bzw. normen orientiert. die reliabilität (zuverlässigkeit) gibt den grad der genauigkeit an, mit dem das geprüfte merkmal gemessen wird (bortz & döring, 1995). sie ist umso höher, je kleiner der zu einer untersuchung gehörende fehleranteil ist. die validität ist nach bortz und döring (1995) das wichtigste testgütekriterium. sie gibt an, ob ein test das misst, was er messen soll bzw. was er zu messen vorgibt. im bereich von medizinund gesundheitsforschung gibt es viele verschiedene arten von studien. eine möglichkeit besteht darin, studien nach ihrem studiendesign bezüglich reliabilität, validität und verallgemeinerbarkeit einzuteilen. eine ausführliche übersicht einer solchen einteilung wird vom oxford centre for evidencebased medicine (2001) veröffentlicht. die folgende, stark verkürzte einteilung ist in anlehnung an stephens (2004) aufgestellt. theorie evaluation psychologischer interventionsmaßnahmen 46 level i randomisierte-kontrollierte studien (rct-studien) mit einer großen anzahl von teilnehmern (mehr als 30 teilnehmer) über einen langen zeitraum (monate bis jahre) level ii rct-studien mit weniger teilnehmern (bis zu 30 teilnehmern) und kürzerer zeitlicher dauer level iii prospektives kohorten-studiendesign ohne eingangsmessung mit kontrollgruppe level iv querschnitts-kontroll-studiendesign oder retrospektives kohortenstudiendesign level v einzelfallstudien von jeder größe (case-studies) level i studien als basis für entscheidungen wird der höchste informationsgehalt zugeschrieben, wohingegen die einzelfallstudien im allgemeinen als am wenigsten verallgemeinerungsfähig angesehen werden (stephens, 2004). theorie – feldenkrais-forschung und evaluation 47 1.3 feldenkrais-forschung und evaluation 1.3.1 gütekriterien und feldenkrais-methode die feldenkrais-methode als modell somatischen lernens hat die entwicklung und reifung eines jeden menschen innerhalb seiner möglichkeiten zum ziel (feldenkrais, 1949/1994). klinkenberg (2000b) sowie pieper und weise (1996, 2000) schreiben der methode eine reihe von zielen zu (siehe kap. 1.1 und 1.3.3). kann die feldenkrais-methode als interventionsmaßnahme angesehen werden? für feldenkrais handelt es sich bei seiner methode um lernen, d.h. seiner methode liegen pädagogische konzepte und gedanken zugrunde. die methode könnte zu einer gruppe pädagogischer konzepte zugeordnet werden. in bezug auf die bezeichnung der handelnden personen in der feldenkrais-arbeit als "lehrer" und "schüler", sowie die durchführung in gruppen, kann man die methode auch als "unterricht" bezeichnen. in dieser arbeit soll die feldenkrais-methode als interventionsmaßnahme angesehen werden. in diesem abschnitt wird die feldenkrais-methode anhand der von hager & hasselhorn (2000) unterbreiteten "vorschläge für allgemeine gütekriterien" (s. 74), die für die beurteilung der qualität und der wirksamkeit psychologischer interventionsmaßnahmen geeignet sind, überprüft. dazu werden überblicksweise für jedes gütekriterium (siehe kap. 1.2.2) quellen als hinweis angeführt, die entweder die feldenkrais-methode stützen oder ihr widersprechen können. mit der nennung einher geht nicht der von hager & hasselhorn für viele kriterien geforderte empirische beleg. 1. ethische legitimierbarkeit: an dieser stelle sei auf die von der feldenkrais-gilde herausgegebenen ethischen richtlinien verwiesen. demnach ist feldenkrais "eine lernmethode, kein medizinisches oder heilverfahren und keine therapie" (feldenkrais-gilde, 2001, s. 1). die richtlinien regeln das verhältnis der an der methode beteiligten (feldenkrais-lehrer zu seinen schülern, zu kollegen, zur feldenkrais-gilde, zur öffentlichkeit und zu anderen fachleuten). zum verhältnis des feldenkrais-lehrers zum schüler heißt es, dass körperliche berührungen und sprachliche formulierungen im rahmen der feldenkrais-arbeit … ausschließlich am wohl der schülerinnen orientiert [sind]. dazu sollen sie klar und eindeutig und weder invasiv noch korrektiv sein. theorie – feldenkrais-forschung und evaluation 48 feldenkrais-lehrerinnen arbeiten nicht in positionen oder mit berührungen, die den schülerinnen unangenehm sind. (s. 2) 2. theoretische fundierung: in kapitel 1.1.5 wurden bereits die der methode zugrunde liegenden annahmen aus den bereichen psychologie, physik, physiologie sowie neurologische erkenntnisse zur neuroplastizität des nervensystems angeführt. nicht alle annahmen von feldenkrais sind heute noch aktuell. eine übersicht über neuere erkenntnisse aus den neurowissenschaften findet sich bei schleip (2000). 3. wirksamkeit oder effektivität: studien zur methode wurden bereits in kapitel 1.1.6 vorgestellt. obwohl die seit 1996 veröffentlichten studien sich in ihrer qualität verbessert haben, bedarf es weiterhin an studien zur methode (stephens, 2004). insbesondere langzeitwirkungen sollten weiter erforscht werden, denn wenn die gütekriterien zeitlicher transfer, situations-transfer und anforderungstransfer erfüllt werden, kann auf die veränderungen von l-stat-kompetenzen (siehe kap. 1.2) geschlossen werden. als das ursprüngliche fernziel von m. feldenkrais (1949/1994) könnte man die reife der persönlichkeit ansehen. nach feldenkrais wird dies aber praktisch von niemandem vollständig erreicht. transfer (generalisierung) des erlernten verhaltens, der strategien oder anderer interventionsinhalte auf alltagssituationen: dies könnte man als eines der hauptziele der feldenkrais-methode betrachten. bei der feldenkrais-methode wird in der regel in ganz normaler alltagskleidung gearbeitet; das trifft für bewusstheit durch bewegung sowie funktionale integration zu (vgl. strauch, 1996). dadurch soll der transfer in den alltag erleichtert werden. mit musikern wird z.b. direkt beim spielen der instrumente gearbeitet. möchte ein sportler seine möglichkeiten mit hilfe der feldenkrais-methode verbessern, erfolgt die funktionale integration beim ausführen der sportart (vgl. gillmayr, 2004). entwicklungsanschub der l-kompetenzen: nach strauch (1996) stellt die feldenkrais-methode ein mittel für langfristige zeitliche veränderungen dar und gilt nicht als behandlung für akute beschwerden. 4. fehlen von negativen oder schädlichen nebenund folgewirkungen: jain, janssen und decelle (2004) schreiben: "the method are benign [gutartig] in practice and have no strict contraindication. in any therapy, however, it is imperative the patient and the health care provider address certain issues (s. 822). theorie – feldenkrais-forschung und evaluation 49 5. bewährung in der praxis: die feldenkrais-methode wird in zahlreichen rehaeinrichtungen durchgeführt (feldenkrais-gilde, 2003b). in einer krankenhausstudie der who (nowak, lobnig, krajic & pelikan, 1998) wird die feldenkraismethode für das personal empfohlen, weil "evaluation showed, that an increased body awareness among the personnal led to a better interaction with the patients." (s. 54). 6. verlässlichkeit der wirksamkeit unter standard-randbedingungen. die "wirksamkeit" hängt in einem hohen maße von der erfahrung des feldenkraislehrers ab (ginsberg, 2004). im sprachgebrauch der feldenkrais-methode wird es schwer sein, das wort "standard" zu finden, da es sich um einen hoch fluiden ansatz handelt. trotzdem können z.b. feldenkrais-lektionen auf tonträger aufgenommen werden und für studien eingesetzt werden, wie z.b. bei brown und kegerreis (1991). 7. robustheit und verlässlichkeit unter verschiedenen randbedingungen: siehe punkt 6. 8. wirtschaftlichkeit relativ zu den zielen: bewusstheit durch bewegung könnte in großen gruppen (siehe kap. 1.1.3) und damit relativ kostengünstig durchgeführt werden. wenn es denn zu nachhaltigen veränderungen führt, braucht man keine weiteren kostspieligen therapien-/reha-maßnahmen. im hinblick auf den präventiven charakter z.b. zur vorbeugung von osteoporose oder (knie-, hüftgelenk-) arthrosen [z.zt. noch nicht hinreichend belegt] kann altersbedingten "volks-krankheiten", z.b. rückenschmerzen entgegengewirkt werden (russell, 2003). 9. routinisierbarkeit und adaptation. ähnlich wie die punkte 6. und 7. ist eine routinisierbarkeit mit der feldenkrais-sichtweise schwer zu vereinbaren, da jedes individuum so einzigartig ist und dementsprechend individuell behandelt werden möchte (rywerant, 1983). die alexander yanai lektionen sind mittels audiotape beliebig oft reproduzierbar. natürlich werden lektionen in bewusstheit durch bewegung in der praktischen arbeit wiederholt. dabei achten feldenkrais-lehrer allerdings immer auf variationen und auftretende unterschiede. so, wie jede schulunterrichtsstunde anders verläuft ist es auch in den feldenkrais-stunden. 10.1 akzeptanz der interventionsmaßnahme a) durch die programmausführenden: die ausbildung zum feldenkraispädagogen dauert in der regel vier jahre (feldenkrais european training and accreditation board [eurotab] (2004). damit ist allerdings die persönliche theorie – feldenkrais-forschung und evaluation 50 entwicklung der feldenkrais-lehrer keineswegs abgeschlossen. es werden laufend fortund weiterbildungen in der feldenkrais-methode angeboten, um sich weiter zu entwickeln (feldenkrais-gilde, 2004c). b) die programmempfänger(innen): dieser und der folgende punkt soll zum teil im rahmen dieser studie erhoben werden (siehe kap. 1.5). 10.2 zufriedenheit der betroffenen mit dem jeweiligen programm (vgl. z.b. löwe et al., 2002). aussagen zu diesem punkt sollen durch diese studie unter anderem untersucht werden. wie angedeutet stehen beispielsweise die punkte 6. und 7. nicht im focus der feldenkrais-arbeit und könnten als unvereinbar mit der sichtweise der methode angesehen werden. deshalb folgt ein kapitel, das sich mit den besonderheiten der methode befasst. 1.3.2 besonderheiten bei der evaluation von feldenkrais im jahr 2004 ist zum ersten mal das feldenkrais research journal erschienen. herausgeber ist die im jahr 2001 gegründete iff academy (iff, 2004b) bei der es sich wie bei der feldenkrais-methode selbst um einen "laufenden lernund entwicklungsprozess" handelt (s. 1). in der ersten ausgabe des feldenkrais research journals erschiennen verschiedene artikel, die sich z.b. mit dem stand der forschung zur feldenkrais-methode (ginsberg, 2004a; stephens, 2004; joly, 2004) und zur evaluation befassen (stephens, 2004). demnach gibt es auf der einen seite eine aktuelle diskussion unter feldenkrais-lehrern (engl. practitioners) "whether it is possible, useful or even desireable to do research on feldenkrais method considering the strong individual and idiosyncratic nature of the work" (stephens, j., 2004, s. 1). auf der anderen seite gibt es den wunsch von feldenkrais-lehrern auf die anerkennung der methode als heilmittel im rahmen der gesetzlichen krankenkassen (cezanne et al., 2004), was weitere forschung und wirksamkeitsstudien nötig macht. das die methode wirkt, davon ist die feldenkrais-"welt" überzeugt, wie folgendes zitat von smyth (2004) deutlich machen soll: "i believe that for us, as practitioners, and for most of our clients and students, we don't 'need' scientific research to 'prove' the feldenkrais method 'works'. we experience its effectiveness for improving our action in the world" (s. 1). nach ginsberg (2004a) ist die methode mehr als schwierig mit dem klassischen statistischen forschungsmodell zu erfassen: "if it is just to validate the method, i think theorie – feldenkrais-forschung und evaluation 51 we cannot succeed." ( s. 2). jain et al. (2004) betonen, dass im rahmen eines klassischen studiendesign erhebliche schwierigkeiten auftreten, z.b. die bestimmung der qualifikation der an der studie teilnehmenden feldenkrais-lehrer, die schwierigkeit eine kontrollgruppe zu konzipieren (,die sich regelmäßig trifft und ein placebo oder eine vorgetäuschte behandlung erhält) sowie eine große zufallsstichprobe. auf einem treffen von forschern in paris im jahre 2002 (learning, brain and movement) soll ein forscher die vermutung geäußert haben, das es mehr als 500 jahre brauchen würde, die methode in ihren einzelheiten zu erforschen (smyth, 2004). joly (2004) und auch schacker (2004) schlagen eine andere art von wissenschaft zu erforschung von programmen der "somatic education" vor, in der die person des forschers selbst mehr miteinbezogen ist ("embodiement science"). auch der neurologe oliver sacks "gibt zu bedenken, dass die medizinwissenschaft, ja alle wissenschaft vom menschen, die daten miteinbeziehen muss, die wir durch unsere gelebte erfahrung erhalten" (sacks, 1984,1990 nach ginsberg, 2004, s 24). so ähnlich wie in den 70er jahren experimente von forschern mit bewusstseinserweiternden psychotropen substanzen gemacht wurden, die zu halluzinierenden erfahrungen führten, so sollte nach joly`s meinung der forscher durch ausführung der methode am eigenen lebendigen körper zu wissenschaftlichen erfahrungen mit der methode kommen. feldenkrais hat in der fallbeschreibung "the case of nora" geschrieben, dass seine arbeitshypothese "irgendwo zwischen intuition und der glaubenslehre einer kommenden wissenschaft liegt" (feldenkrais, 1981, zitiert nach schacker, 2004, s. 1). schacker (2004) bezeichnet die feldenkrais-methode auch als eine "praktische kunst". dieses kapitel soll die schwierigkeiten und vielfältigen meinungen, die im zusammenhang mit der erforschung und evaluation der feldenkrais-methode bestehen, verdeutlichen. schacker (2004) schreibt dazu: "das macht einen dialog [der verschiedenen auffassungen von wissenschaft] schwierig und interessant zugleich" (s. 1). theorie – feldenkrais-forschung und evaluation 52 1.3.3 zielvariablen die verschiedenen lektionen der feldenkrais-methode sollen die bewusstheit des lernenden für seine art sich zu bewegen und zu verhalten vergrößern. dadurch werden das eigene ich-bild und das körperbild verbessert (feldenkrais, 1967/1995). damit gehen vielfältige veränderungen einher, z.b. eine subjektiv gesteigerte lebensqualität und größeres selbstvertrauen. nach pieper und weise (1996, 2000) sind wesentliche ziele der feldenkrais-arbeit: verbesserung, zunahme und erweiterung von selbstvertrauen, lernvermögen, handlungskompetenz, leistungsfähigkeit, eigenwahrnehmung, erweiterung des selbstbildes und des körperschemas. daraus abgeleitet und unter bezugnahme auf die in kapitel 1.1.6 vorgestellten studien ergeben sich für diese studie die untersuchungsrelevanten konstrukte gesundheitsbezogene lebensqualität, selbstwirksamkeitserwartung und körperbild, auf die im folgenden abschnitt eingegangen wird. theorie – konstrukte 53 1.4 konstrukte 1.4.1 gesundheitsbezogene lebensqualität bei dem begriff lebensqualität handelt es sich um ein konstrukt, in das zahlreiche faktoren wie z.b. gesundheit, kultur, einkommen, bildung, freizeitund berufsumfeld mit einfließen und interagieren, was zu einer gewissen unschärfe und vielen facetten des begriffs lebensqualität führt (wasem & hessel, 2000). bisher liegt noch keine einheitliche und allgemein anerkannte definition von lebensqualität vor, es wird aber eine gewisse eingrenzung durch das konzept der "gesundheitsbezogenen lebensqualität" erreicht (wasem & hessel, 2000). gesundheitsbezogene lebensqualität bezeichnet ein multidimensionales psychologisches konstrukt, welches durch mindestens vier komponenten zu operationalisieren ist: das psychische befinden, die körperliche verfassung, die sozialen beziehungen und die funktionale kompetenz der befragten (bullinger, 1994). von gesundheit weitgehend unabhängige aspekte wie religion, einkommen und umwelteinflüsse werden nicht berücksichtigt. bedeutend ist, dass die patienten selbst auskunft über ihr befinden und ihre funktionsfähigkeit geben. ausschlaggebend für diese patientenbezogene beschreibung des gesundheitszustandes sind zum einen ein paradigmenwechsel in der definition von gesundheit, der anlehnend an die definition der world health organisation, die den begriff gesundheit als "zustand des vollständigen körperlichen, geistigen und sozialen wohlbefindens und nicht allein das freisein von krankheit und gebrechen" (who, 1948) definiert, auch die psychischen und sozialen komponenten des gesundheitsbegriffs mit einbezieht. zum anderen spielt die veränderung der bevölkerungsstruktur mit einem steigenden prozentsatz an älteren personen eine wesentliche rolle, da dies mit einer erhöhten häufigkeit chronischer und langfristig behandlungsbedürftiger erkrankungen einher geht (bullinger, 1996). neu ist auch der versuch, die lebensqualität der patienten nicht nur implizit im arzt-patient-verhältnis zu berücksichtigen, sondern sie auch zunehmend explizit als zu messendes kriterium in die wahl und evaluation von therapien mit einzubeziehen (bullinger, 1997). bei der lebensqualitätsforschung handelt es sich um einen noch recht jungen bereich, dessen entwicklung in drei phasen verlief (bullinger, 1997). die erste phase mitte der 70er jahre zeichnete sich durch überwiegend philosophische arbeiten aus. anfang der 80er jahre erfolgte der übergang in die zweite phase, in der es um die konkrete messung der lebensqualität und die verstärkte entwicklung von theorie – konstrukte 54 messinstrumenten ging. seit anfang der 90er jahre steht in der dritten phase die anwendung der messinstrumente im mittelpunkt. als ziele der lebensqualitätsforschung nennt bullinger (1997) zunächst die beschreibung der lebensqualität bestimmter populationen in der bevölkerung. anhand dieser beschreibung sollen informationen für die gesundheitspolitische planung gewonnen werden. weitere ziele sind die bewertung von therapien, sowohl mit hilfe von querschnittund beobachtungsstudien, als auch durch randomisierte kontrollierte klinische studien. darüber hinaus geht es um die gesundheitsökonomische nutzung der lebensqualität, insbesondere um die frage, inwieweit das ergebnis komplexer behandlungsbemühungen gesundheitspolitisch und ökonomisch vertretbar ist. seit dem bestehen der lebensqualitätsforschung wurden eine reihe von messinstrumenten zur erfassung der gesundheitsbezogenen lebensqualität entwickelt (ravens-sieberer & cieza, 2000). dabei werden zwei mögliche perspektiven unterschieden: die subjektive sicht der person selbst und die einschätzung der lebensqualität der person durch andere (fremdeinschätzung). solche fremdurteile sind bei bestimmten erkrankungen oder jüngeren kindern unter umständen die einzige verfügbare informationsquelle. die instrumente zur messung der subjektiven gesundheit lassen sich nach verschiedenen gesichtspunkten kategorisieren. es gibt verfahren, welche die gesundheitsbezogene lebensqualität von populationen krankheitsübergreifend erfassen, sog. "generic instruments". andere instrumente untersuchen die gesundheitsbezogene lebensqualität aufgrund spezifischer erkrankungen (bullinger & kirchberger, 1998). des weiteren lassen sich uniund multidimensionale messinstrumente voneinander unterscheiden. bei den unidimensionalen messinstrumenten wird ein indexwert gebildet, in dem die einzelaspekte des gesundheitszustands einer person zu einer maßzahl aggregiert und meist auf einer kontinuierlichen skala abgebildet werden. bei den multidimensionalen instrumenten werden die angaben zur subjektiven gesundheit auf verschiedenen dimensionen erfasst und damit ein mehrdimensionales profil erstellt. außerdem unterscheidet man instrumente, die gesundheitsrelevante beeinträchtigungen und deren bewertungen individualisiert messen, von solchen, bei denen allen befragten dieselben lebensqualitätsdimensionen zur subjektiven einschätzung vorgegeben werden (böhmer, 2002). das konstrukt "lebensqualität" wird oft im rahmen klinischer studien berücksichtigt, um therapien zu bewerten, die gesundheitsökonomie berücksichtig die lebensqualität bei der betrachtung des nutzens von therapien im theorie – konstrukte 55 gesamtgesellschaftlichen kontext und auf institutioneller ebene wird dieser begriff im rahmen der qualitätssicherung zur beschreibung von versorgungsstrukturen eingesetzt (böhmer, 2002). in dieser studie werden im weiteren die begriffe "gesundheitsbezogene lebensqualität" und "gesundheitszustand" synonym verwendet. 1.4.2 selbstwirksamkeitserwartung in der psychologischen literatur gibt es differierende auffassungen, wenn von selbstwirksamkeit die rede ist. nach bund (2001) kann es sich dabei sowohl um ein psychologisches konstrukt, ein konzept oder um einen eigenständigen theorieansatz handeln. zunächst war die wahrnehmung von selbstwirksamkeit bei bandura (1979) als ein element seiner sozial-kognitiven theorie konzipiert worden. nach bund (2001) "gewannen jedoch die überlegungen zur entstehung und verhaltensregulativen wirkung von selbstwirksamkeitserwartungen zunehmend an bedeutung" (s. 19). die grundlage der sozial-kognitiven theorie bilden kognitive, motivationale, emotionale und aktionale prozesse die durch überzeugungen insbesondere durch handlungsergebnis-erwartungen und selbstwirksamkeitserwartungen gesteuert werden. bandura (1986) definiert selbstwirksamkeit als "people's judgment of their capabilities to organize and execute courses of action required to attain designated types of performances" (s. 391). nach schwarzer (2002) ist selbstwirksamkeitserwartung "... die subjektive gewissheit, neue oder schwierige anforderungssituationen aufgrund eigener kompetenz bewältigen zu können" (s. 521). die selbstwirksamkeitserwartung beeinflusst das denken, fühlen und handeln, sowie auf motivationaler ebene zielsetzung, anstrengung und ausdauer. so kann eine niedrige selbstwirksamkeitserwartung mit depressionen, angst und hilflosigkeit verbunden sein und dazu führen, dass menschen mit niedriger selbstwirksamkeit ein geringes selbstvertrauen und pessimistische gedanken über ihre fähigkeiten und persönliche entwicklung haben (schwarzer, 1992). auf der ebene des denkens erleichtert ein starkes gefühl von kompetenz kognitive prozesse und hohe leistungen. menschen mit hoher selbstwirksamkeitserwartung suchen sich anspruchsvollere aufgaben. sie setzen sich höhere ziele und gehen diesen nach. bei rückschlägen erholen sie sich schneller und behalten ihre ziele bei. theorie – konstrukte 56 das konzept der selbstwirksamkeitserwartung wurde auf verschiedene bereiche wie z.b. schule, emotionale störungen und mentale oder physische gesundheit übertragen. es wurde zu einer bedeutenden variablen in klinischer -, pädagogischer -, sozial-, gesundheits-, persönlichkeitsund entwicklungspsychologie (schwarzer, 1992). bandura geht von einer mehrdimensionalität persönlicher selbstwirksamkeitserwartungen aus. er unterscheidet zwischen niveau, stärke und generalität (bandura, 1997). das niveau bezieht sich auf die komplexität bzw. den schwierigkeitsgrad der aufgaben, für die kompetenzvorstellungen existieren und äußert sich in der beurteilung von handlungen als persönlich ausführbar oder nicht ausführbar (bund, 2001). handlungen mit einem geringen schwierigkeitsgrad erfordern demnach nur ein niedriges selbstwirksamkeitsniveau, schwierige und herausfordernde handlungen, die eine hohe anstrengungsbereitschaft erfordern, verlangen hingegen ein sehr hohes niveau persönlicher kompetenzüberzeugung. die stärke der selbstwirksamkeitserwartungen "spiegelt die sicherheit der eigenen wirksamkeitsbeurteilungen wider und bestimmt damit deren stabilität bei widersprechenden erfahrungen" (bund, 2001, s. 35). das bedeutet, dass personen mit sehr starken selbstwirksamkeitserwartungen sich auch bei wiederholenden negativen erfahrungen nicht vom glauben an die eigenen fähigkeiten abbringen lassen, während personen mit schwacher selbstwirksamkeitserwartung bei schwierigkeiten schnell aufgeben. die dimension der generalität umfasst den gültigkeitsbereich der selbstwirksamkeitserwartung. man kann hier eine einteilung in allgemeine und spezifische selbstwirksamkeitserwartung vornehmen. die allgemeine selbstwirksamkeitserwartung umfasst breite lebensbereiche und bringt eine optimistische einschätzung der generellen lebensbewältigungskompetenz zum ausdruck, während die spezifische selbstwirksamkeitserwartung sich auf bestimmte handlungen, bereiche bzw. situationen bezieht (schwarzer, 2002). auch bei der messung der selbstwirksamkeit wird unterschieden zwischen instrumenten, welche die selbstwirksamkeitserwartung bei bestimmten handlungen und situationen erfassen und solchen, die "generalisierte kognitionen für ganze verhaltensbereiche erfassen sollen" (bund, 2001, s. 39) wie z.b. selbstwirksamkeitsskalen zur ernährung und gewichtskontrolle (fuchs, leppin & schwarzer, 1992) und zur sportlichen aktivität (fuchs & schwarzer, 1994). nach bund (2001) bestehen instrumente zur messung der persönlichen selbstwirksamkeit in der regel aus mehreren items, die in einer hierarchischen abfolge zunehmend schwieriger theorie – konstrukte 57 werdende aufgaben oder situationen beschreiben. bei vielen messinstrumenten beurteilen die versuchsteilnehmer zunächst, welche der genannten aufgaben sie bewältigen können und auf einer zweiten skala, wie sicher sie sich ihrer einschätzung sind. 1.4.3 körperbild in den letzten drei jahrzehnten konnte in den westlichen industrienationen eine vermehrte hinwendung zum eigenen körper verzeichnet werden (clement & löwe, 1996), die in den 70er jahren mit einer verstärkten einbeziehung des körpers in den therapieund selbsterfahrungsbereich (brähler, 1995) begann. inzwischen ist nach brähler (1995) sowohl eine "wiederkehr des körpers in der kunst, in der literatur, im film und im theater festzustellen" (s. 4), als auch in der wissenschaft, wo die "wende zum körper" (s. 4) eine vielzahl von veröffentlichungen, die den körper zum gegenstand haben, hervorgebracht hat. diese vermehrte beachtung des körpers in verschiedenen bereichen bezieht sich dabei weniger auf den körper in seiner physischen dimension, sondern vielmehr auf die subjektive dimension der körperlichkeit (clement & löwe, 1996). es werden unterschiedlichste bemühungen unternommen, um das bild vom eigenen körper dem subjektiven ideal anzunähern. so erlebten beispielsweise verschiedene fitnesssportarten wie aerobic, joggen und body building einen enormen aufschwung (mrazek & rittner, 1986). allerdings bringt das subjektive bild, welches sich menschen von ihrem eigenen körper machen, auch zahlreiche probleme mit sich (clement & löwe, 1996), die seit den ersten jahren des 20. jahrhunderts systematisch erforscht werden. besonders "neurologisch interessierte forscher wie pick (1908), schilder (1923) und head (1926) beschrieben störungen der körperwahrnehmung" (clement & löwe, 1996, s. 9) und unternahmen erste definitionsversuche für begriffe wie "körperbild" und "körperschema". auch heute herrscht bezüglich der begrifflichkeit für die subjektiven aspekte der körperlichkeit keine einigkeit. "im deutschen sprachraum findet man ausdrücke wie "körperschema", "körperbewußtsein", "körperbild" … " (joraschky, 1995, s.34). nach clement und löwe (1996) bezieht sich der begriff "körperbild" auf die "kognitiven, affektiven und bewertenden aspekte des körperlichen selbstkonzeptes" (s. 9), d.h. man kann unter dem begriff "körperbild" denjenigen aspekt des selbstkonzeptes verstehen, "der sich aus der gesamtheit der einstellungen zum eigenen körper (wahrnehmungen, kognitionen, affekte und wertungen) konstituiert" (s. 9) . theorie – konstrukte 58 eine systematische einteilung der begriffe "körperschema" und "körperbild" findet sich bei strauß und appelt (2000), siehe abbildung 1.3. theorie – konstrukte 59 a. körperschema wahrnehmungpsychologischer ansatz repräsentanz der teile und grenzen des körpers in der wahrnehmung einer person b. körperbild persönlichkeitspsychologischer ansatz a) körperbewußtsein (body awareness) bewußte, verbale repräsentation einzelner körpermerkmale b) körperausgrenzung erleben der körpergrenzen (body boundary) c) körperkathexis (body cathexis) grad der befriedigung mit dem körper und einzelnen körperteilen d) körpererleben (body experience) bewußte erfahrung und beurteilung des körpers als ganzes abbildung 1.3 theoretische konzepte zum körpererleben aus erfahrungen mit einem fragebogen zum körpererleben (s. 221) von b. strauß & h. appelt, 2000, giessen: psychosozial. welches bild sich ein mensch von seinem körper macht, hängt von einer vielzahl biologischer, psychologischer und sozialer faktoren ab (clement & löwe, 1996). bei menschen ohne organische und psychische störungen wurden in vielen studien alter und geschlecht als wichtige variablen für die ausprägung des körperbildes identifiziert (z.b. carlson jones, 2004; mrazek, 1984; roth, 2002). demnach beurteilen frauen ihr äußeres meist kritischer und schreiben ihrem körper eine geringere fitness zu als männer. gleichzeitig deutet sich an, dass frauen ein höheres körperbewusstsein haben und z.b. gesundheitliche probleme sensibler wahrnehmen. eine besondere bedeutung kommt dem körperbild im medizinischen bereich zu, weil bei zahlreichen medizinischen problemen körperwahrnehmungsund körperbildstörungen eine rolle spielen z.b. bei der anorexia nervosa, bei der hypochondrischen störung und beim transsexualismus. diese erkrankungen sind durch eine störung des körperbildes definiert, d.h. die körperbildstörung ist hier ein notwendiges kriterium für die diagnosestellung (clement & löwe, 1996). außerdem gibt es eine reihe psychischer störungen, bei denen es zu beeinträchtigungen des körperbildes kommen kann. hierzu zählen z.b. depressive störungen, sexuelle funktionsstörungen, panikstörungen, alkoholsucht, wahnhafte störungen und schizophrenie. ein weiterer wichtiger untersuchungsschwerpunkt im medizinischen bereich liegt bei veränderungen im körperkonzept z.b. in folge von transplantationen theorie – konstrukte 60 (langenbach, stippel, beckurts, geisen & köhle, 2004), amputationen (marquard, dürdodt, kolbe & plocher, 2004), krebs (csorba, 1998) oder operationen (langer, prohaska, schreiber-frech, ringler & kubista, 1991; schönefuss, hawighorstknapstein, trautmann, könig & knapstein, 2001). nach clement & löwe (1996) lassen sich verschiedene methoden zur erfassung des körperbildes je nach art und ziel der messung in apparative methoden, projektive verfahren und fragebögen einteilen. apparative methoden messen die subjektive einschätzung der körpermaße mittels visueller techniken (videoverzerrverfahren, verzerrspiegel, einstellapparate u.a.). nachteil dieser verfahren ist die reduktion des körperbildes auf seine perzeptiven aspekte. projektive verfahren bestimmen z.b. unter verwendung der rorschach-tafeln die körperbildgrenzen. nachteil dieser methoden ist die geringe methodische validierung sowie geringe durchführungsund auswertungsökonomie. die praktikabelste operationalisierungsmethode stellen fragebögen dar (clement & löwe, 1996). sie zielen auf die erfassung von kognitiven und affektiven einstellungsaspekten. im deutschen sprachraum existieren allerdings im gegensatz zum angloamerikanischen sprachraum "nur wenige fragebögen, welche das konstrukt "körperbild" spezifisch zu erfassen suchen" (s. 13). theorie fragestellung und hypothesen 61 1.5 fragestellung und hypothesen aufgrund begrenzter literatur zur wirksamkeit der feldenkrais-methode, den methodologischen problemen von solcher art untersuchungen und den verschiedenen befunden bis zum h eutigen datum (hopper et al., 1999) versucht die vorliegende studie einen explorativen rahmen zu schaffen. dass die feldenkrais-welt an der erforschung der methode interessiert ist, zeigt das erscheinen der ersten ausgabe des feldenkrais research journals (2004). ginsberg (2004) sagt, dass die "stichhaltigkeit unseres ansatzes aufzuzeigen und ihn einem umfassenderen sozialen kontext zu stellen" (s. 52) von bedeutung ist. wie im kapitel 1.1.6 dargestellt existieren einige studien, die sich mit spezifischen (klinischen, musikern, sportler usw.) stichproben befassen. nach schmidt (1996) deuten die bislang veröffentlichten studien insgesamt auf verbesserungen in verschiedenen bereichen aufgrund der feldenkrais-methode. an studien zum gruppensetting bewusstheit durch bewegung mangelt es derzeit jedoch, insbesondere lag keine studie vor, bei der teilnehmer die feldenkrais-methode in ihrer freizeit ausüben. insbesondere aufgrund der in kapitel 1.3.1 aufgezeigten gütekriterien (z.b. punkt 10) ergeben sich fragen an die programmempfänger zur motivation, akzeptanz, nebenwirkungen und schwierigkeiten. die vorliegende untersuchung geht folgenden fragestellungen nach: 1. welche personen nehmen an feldenkrais-gruppen bewusstheit durch bewegung teil? wie lange besuchen sie schon feldenkrais-kurse und wie häufig gehen sie dorthin? 2. aus welchen gründen besuchen die teilnehmer die feldenkrais-gruppen? 3. wie profitieren sie von den gruppen (bewusstheit durch bewegung)? welche subjektiven veränderungen treten auf? 4. um aussagen über die empirische wirksamkeit der methode zu treffen, wurde folgende fragestellung gewählt: gibt es veränderung im allgemeinen gesundheitszustand? führt feldenkrais zu veränderungen in der selbstwirksamkeitserwartung? gibt es durch feldenkrais veränderungen im körperbild? theorie fragestellung und hypothesen 62 entsprechend dieser fragestellungen sollen die folgenden hypothesen überprüft werden: 4.1 es wird eine verbesserung der gesundheitsbezogenen lebensqualität zum zeitpunkt t2 gegenüber dem zeitpunkt t1 für die feldenkrais-intervention angenommen. 4.2 für die feldenkrais-intervention sind zum zeitpunkt t2 gegenüber zeitpunkt t1 ebenfalls veränderungen im sinne einer erhöhung der selbstwirksamkeitserwartung anzunehmen. 4.3 es wird erwartet, dass es durch die feldenkrais-arbeit zu einer höheren körperakzeptanz kommt, die sich im körperbild widerspiegelt. explorativ sollen zusammenhänge zwischen den subjektiven antworten aus den fragestellungen zwei und drei zu den motiven der teilnahme an den kursen sowie den empfundenen veränderungen und den in den fragebogenskalen erhobenen daten hergestellt werden. methode untersuchungsdesign 63 2 methode 2.1 untersuchungsdesign die vorliegende studie hat zum ziel, aussagen über mögliche wirkungen der feldenkrais-methode zu treffen. die teilnahme an feldenkrais-kursen wird in dieser arbeit als intervention verstanden und stellt somit die unabhängige variable dar. da im rahmen dieser diplomarbeit eine randomisierung (zufällige verteilung der versuchspersonen auf kontrollund interventionsgruppe) nicht durchführbar gewesen ist, wurde eine gruppe von personen (kontrollgruppe) untersucht, die nicht an feldenkrais-kursen teilnehmen. der untersuchungszeitraum erstreckte sich über vier wochen, in denen die teilnehmer entweder an vier terminen feldenkrais bewusstheit durch bewegung oder an vier terminen eines sprachkurses teilnahmen (siehe abbildung 2.1). als abhängige variablen wurden für diese studie die gesundheitsbezogene lebensqualität, die selbstwirksamkeitserwartung und das körperbild ausgewählt. abbildung 2.1 untersuchungsdesign entscheidend für die wahl der kontrollgruppe war, dass sie ähnliche randbedingungen (bezüglich häufigkeit, dauer und intensität der kurse) wie die interventionsgruppe aufweist, weil erst dadurch fundierte aussagen über mögliche wirkungen der interventionsmaßnahme getroffen werden können. in dieser studie wurden für die kontrollgruppe teilnehmer von sprachkursen ausgewählt, weil angenommen wurde, feldenkrais sprachkurs 1. woche 2. woche 3. woche 4. woche fk t1 fk t2 sk t1 skt2 legende: feldenkrais-fragebogen = fk sprachkurs-fragebogen = sk vortest-nachtest-vergleichsgruppen-plan methode untersuchungsdesign 64 dass sprachkurse ähnlich wie auch feldenkrais-kurse in der regel einmal wöchentlich für 60-90 minuten besucht werden. im sprachunterricht wie auch im feldenkraisunterricht geht es um lernen, wozu aufmerksamkeit und kognitive fähigkeiten notwendig sind. weiterhin wird angenommen, dass in beiden unterrichtsformen sozialkontakt zwischen lehrer-schüler und schüler-schüler in ähnlicher form stattfindet. die teilnahme an dieser studie erfolgte freiwillig und unentgeltlich. um die motivation der teilnehmer zu erhöhen, wurde ihnen die einsichtnahme in die diplomarbeit in aussicht gestellt. die feldenkrais-gruppe setzt sich aus teilnehmern von sieben verschiedenen feldenkrais-kursen zusammen. die sprachkurs-gruppe besteht aus teilnehmern verschiedener sprachkurse. die teilnehmer beider gruppen erhalten am anfang und am ende des vierwöchigen untersuchungszeitraums von ihrem kursleiter einen fragebogen, der -abgesehen von den offenen fragen zum thema feldenkraisidentisch ist. die fragebögen bzw. erhebungsinstrumente werden im nächsten abschnitt dargestellt. methode erhebungsinstrumente 65 2.2 erhebungsinstrumente für die interventionsund die kontrollgruppe wurden eigenständig fragebögen konzipiert (siehe anhang b). diese enthalten zum ersten erhebungszeitpunkt fragen zu alter, geschlecht und schulbildung (soziodemografischen daten). außerdem wurden drei, in der forschung bereits erprobte, fragebögen eingearbeitet: zum erfassen der gesundheitsbezogenen lebensqualität der fragebogen zum gesundheitszustand (sf12), für die überprüfung der selbstwirksamkeitserwartung der fragebogen zur allgemeinen selbstwirksamkeitserwartung (swe) und zur erfassung des körperbilds der fragebogen zum körperbild (fkb-20). in dem fragebogen für die interventionsgruppe wurden zusätzlich fragen zu motiven und gründen für die kursteilnahme, erwartungen an die feldenkrais-methode, problemen mit der methode, begleiterscheinungen und veränderungen, die sich seit anwendung der methode ergeben haben, gestellt. zum zweiten messzeitpunkt erhielten beide gruppen eine gekürzte form des ersten fragebogens, der wiederum die skalen zum gesundheitszustand, zur selbstwirksamkeitserwartung und zum körperbild enthielt. weiterhin wurden fragen zur häufigkeit der teilnahme an den kursen während des erhebungszeitraums gestellt. die feldenkrais-teilnehmer wurden zusätzlich befragt, ob innerhalb der letzten vier wochen veränderungen aufgetreten sind, die sie der feldenkrais-methode zuschreiben. der fragebogen zum gesundheitszustand (sf-36) (bullinger & kirchberger, 1998) ist die deutsche übertragung des short form-36 health survey, das innerhalb der medical outcome study in den usa entwickelt wurde. bei dieser studie handelt es sich um eine us-amerikanische längsschnittstudie, bei welcher über einen zeitraum von vier jahren verschiedene gesundheitsmaße bei personen mit körperlichen oder psychiatrischen erkrankungen erhoben wurden (ravens-sieberer & cieza, 2000). der sf-36 zählt inzwischen zu den standardinstrumenten der internationalen lebensqualitätsforschung (bullinger & kirchberger, 1998) und erfasst die subjektive gesundheit bzw. die gesundheitsbezogene lebensqualität. neben anderen indikationsbereichen wurde das instrument international zur evaluation von behandlungsverfahren eingesetzt. die bereiche der subjektiven körperlichen und psychischen gesundheit werden mit dem sf-36 auf insgesamt 8 dimensionen (körperliche funktionsfähigkeit, körperliche rollenfunktion, körperliche schmerzen, allgemeine gesundheit, vitalität, soziale funktionsfähigkeit, emotionale rollenfunktion und psychisches wohlbefinden) mit unterschiedlichen itemzahlen abgebildet. der sfmethode erhebungsinstrumente 66 36 liegt in drei verschiedenen versionen zur selbstbeurteilung, fremdbeurteilung und interviewform vor. ebenso gibt es die möglichkeit, zwischen der standardversion mit vierwöchigem zeitbezug sowie der akuten version mit einwöchigem zeitfenster zu wählen. die kurzform, der sf-12, ist formal identisch aufgebaut wie der sf-36, es sind jedoch nur 12 items zu beantworten. die entwicklung dieser kurzform basierte auf erkenntnissen aus den anwendungen des sf-36. so wurde festgestellt, dass der körperliche und der psychische faktor 80-85% der varianz der acht subskalen des sf36 aufklärten, sowohl in stichproben mit gesunden als auch in patientenpopulationen. je 6 der 12 items des sf-12 lassen sich der körperlichen (ksk) und der psychischen summenskala (psk) zuordnen. in der vorliegenden untersuchung wird der sf-12 aufgrund seiner wesentlich kürzeren bearbeitungsdauer von durchschnittlich nur 2 minuten in den erstellten fragebogen mit aufgenommen. der fragebogen zur allgemeinen selbstwirksamkeitserwartung (swe) (schwarzer & jerusalem, 1999) ist ein selbstbeurteilungsverfahren mit 10 vierstufigen items (von "stimmt nicht" über "stimmt kaum" und "stimmt eher" bis zu "stimmt genau") zur erfassung von allgemeinen optimistischen selbstüberzeugungen. er misst die optimistische kompetenzerwartung, also das vertrauen darauf, eine schwierige lage zu meistern, wobei der erfolg der eigenen kompetenz zugeschrieben wird. dieser fragebogen hat sich in einer reihe von forschungsprojekten als valides und reliables instrument erwiesen (bund, 2001). der fragebogen zum körperbild (fkb-20) (clement & löwe, 1996) ist ein kurzer fragebogen mit 20 fünfstufigen items zur diagnose von körperbildstörungen und zur erfassung subjektiver aspekte des körpererlebens, der sowohl im klinischen als auch im nichtklinischen bereicht anwendbar ist. die items beziehen sich sowohl auf das körperliche empfinden als auch auf die einstellung zum eigenen körper, wobei aspekte von bewegung, vitalität, attraktivität und subjektiver stimmigkeit thematisiert werden. inhaltlich werden zwei dimensionen in unabhängigen skalen erfasst: ablehnende körperbewertung (akb) und vitale körperdynamik (vkd). die skala akb thematisiert den anteil des körperbildes, der eine bewertung des eigenen körpers beinhaltet. dazu wird einerseits die äußere körpererscheinung beurteilt, andererseits wird das gefühl der stimmigkeit sowie das wohlbefinden im eigenen körper wertend beschrieben. die skala vkd thematisiert den energetischen und bewegungsbezogenen aspekt des körperbildes. sie beschreibt, wie viel kraft, fitness und gesundheit empfunden werden (clement & löwe, 1996). methode erhebungsinstrumente 67 methode stichprobenerhebung 68 2.3 stichprobenerhebung die untersuchung wurde an teilnehmern von feldenkrais-gruppen bewusstheit durch bewegung in berlin im zeitraum juni bis august 2004 durchgeführt. bei denjenigen feldenkrais-lehrern im postleitzahlenbereich 10119 bis 14197, die eine email adresse im adressverzeichnis der feldenkrais-gilde (2003) angegeben hatten (anzahl = 47), wurde angefragt, ob es möglich wäre, in ihren kursen einen fragebogen im rahmen dieser diplomarbeit zu verteilen. zwölf von ihnen erklärten sich dazu bereit. insgesamt wurden 180 fragebögen in den kursen von sieben verschiedenen feldenkrais-lehrern ausgegeben. die fragebögen für die kontrollgruppe wurden zeitgleich in verschiedenen privaten berliner sprachschulen verteilt. es zeichnete sich kurzfristig ab, dass der rücklauf der fragebögen aus den sprachschulen eher gering ausfallen würde. in einer sprachschule wurden nur zwei von 50 ausgeteilten fragebögen ausgefüllt. um trotzdem eine kontrollgruppe in die studie mit einbeziehen zu können, wurde kontakt zu leitenden mitarbeiterinnen von berliner volkshochschulen aufgenommen. die mitarbeiter von zwei volkshochschulen erklärten sich bereit, die fragebögen in ihren sprachkursen zu verteilen. aufgrund der sommerferien war dies allerdings erst im september 2004 möglich. durch die spätere erhebung in der kontrollgruppe konnte das ursprünglich geplante untersuchungsdesign nicht eingehalten werden. die erhebungszeiträume der interventionsund kontrollgruppe sind somit nicht identisch. methode methoden der datenauswertung 69 2.4 methoden der datenauswertung aufgrund der ziele dieser arbeit und der daraus abgeleiteten fragestellungen werden in diesem kapitel die qualitative inhaltsanalyse nach mayring (siehe kap. 2.4.1) und die verwendeten quantitativen verfahren (siehe kap. 2.4.2) vorgestellt. beide ansätze sind als genauso gültig anzusehen und sollten sich ohnehin in irgendeiner form ergänzen (schiffler und hübner, 2000). 2.4.1 auswertung qualitativer daten die auswertung der offenen fragen des fragebogens erfolgte mit hilfe der qualitativen inhaltsanalyse von p. mayring (2003). diese wird im folgenden kurz beschrieben (siehe organigramm in abbildung 2.2). bei dem vorgehen der induktiven kategoriendefinition werden die kategorien in einem verallgemeinerungsprozess direkt aus dem material abgeleitet, ohne bezug auf vorab formulierte theorienkonzepte zu nehmen. nach mayring (2003) hat dieses induktive vorgehen innerhalb qualitativer ansätze eine große bedeutung, weil es "nach einer möglichst naturalistischen, gegenstandsnahen abbildung des materials ohne verzerrungen durch vorannahmen des forscher" (s.75) strebt. als ausgangspunkt wird zunächst bestimmt, welches material gegenstand der analyse sein soll, um unwesentliches oder ausschmückendes auszuschließen (mayring, 2003). anhang b enthält tabellen, in denen die antworten der feldenkraisteilnehmer auf einen teil der fragen des fragebogens fk t1 aufgeführt sind. diese antworten sollen der gegenstand der analyse sein. als nächster schritt werden ein selektionskriterium sowie das abstraktionsniveau festgelegt. dies soll beispielhaft für die erste frage des fragebogens "wie sind sie zur feldenkrais-methode gekommen?" gezeigt werden. das selektionskriterium wäre die möglichkeit der zuordnung der antwort zu einer "person", "institution" oder "sache". im fall des selektionskriteriums "person" hätte die nennung "tochter" ein niedrigeres abstraktionsniveau als die direkte zuordnung oder bildung der kategorie "familienmitglied". um möglichst nah am material zu bleiben, wird versucht, die hauptintention der antwortenden person zu erfassen, d.h. es wird zunächst unmittelbar aus der aussage eine kategorie gebildet. das material wird zeile für zeile durchgegangen und bei jeder antwort überprüft, ob die antwort einer bereits bestehenden kategorie zugeordnet werden kann. wenn nicht, wird eine neue kategorie gebildet. nach durchsehen von ca. 10% des materials sollen die gebildeten kategorien methode methoden der datenauswertung 70 gegenstand, material ziel der analyse theorie festlegen des selektionskriteriums und des abstraktionsniveaus materialdurcharbeitung kategorienformulierung subsumption bzw. neue kategorienbildung revision der kategorien nach etwa 10-50 % des materials endgültiger materialdurchgang interpretation, analyse dahingehend überprüft werden, ob sie das ausgangsmaterial in adäquater weise widerspiegeln. in einem weiteren schritt werden, ausgehend von verschiedenen antworten, auf einem höheren abstraktionsniveau neue zusammenfassende kategorien oder auch oberkategorien gebildet. nach mayring (2003) erhält man abschließend ein "system an kategorien zu einem bestimmten thema" (s. 76), welches weiteren analyseschritten unterzogen werden kann. eine möglichkeit ist nach mayring (2003) z.b. die quantitative analyse, d.h. die erfassung der häufigkeiten der gebildeten kategorien. in diesem fall handelt es sich quasi um eine qualitativ-quantitative erhebung. die ergebnisse werden anschließend analysiert und im hinblick auf die fragestellung interpretiert. abbildung 2.2 prozessmodell induktiver kategorienbildung aus qualitative inhaltsanalyse. grundlagen und techniken (s. 75) von p. mayring, 2003, weinheim: beltz. copyright 2003 bei beltz-verlag methode methoden der datenauswertung 71 methode methoden der datenauswertung 72 2.4.2 auswertung quantitativer daten die dateneingabe, -aufbereitung und -auswertung erfolgte mit hilfe des statistikprogramms "statistical package for the social sciences" (spss version 11.0). die soziodemografischen daten der teilnehmer wurden mit verfahren der deskriptiven statistik ausgewertet. dazu wurden je nach vorliegendem skalenniveau mittelwerte und standartabweichungen bzw. häufigkeitsverteilungen ermittelt. für alle statistischen prüfungen wurde das signifikanzniveau auf α = .05 festgelegt. mit verfahren der inferenzstatistik sollte geprüft werden, ob es zwischen beiden gruppen hinsichtlich ihrer soziodemografischen daten signifikante unterschiede gibt. für intervallskalierte daten wie z.b. alter wurde der t-test für unabhängige stichproben verwendet, der eine normalverteilung der daten in der grundgesamtheit, varianzhomogenität der zu vergleichenden stichproben und die unabhängigkeit beider stichproben voraussetzt (bortz, 1999). die nominalskalierten daten beider gruppen (z.b. geschlecht oder schulbildung) wurden mit dem chi2-test ausgewertet. dafür müssen nach bortz (1999) folgende voraussetzungen erfüllt sein: unabhängigkeit der einzelnen beobachtungen, das heißt, dass für das beispiel schulbildung die ausprägung volksschule in keinem mathematischen zusammenhang zu der ausprägung abitur steht. die zweite voraussetzung ist, dass die merkmalskategorien so geartet sein müssen, dass jede beobachtungseinheit eindeutig einer merkmalskategorie zugeordnet werden kann. bezüglich der erwarteten häufigkeiten ist der chi2-test relativ robust. weiterhin sollte geprüft werden, ob es innerhalb der gruppen zum zweiten erhebungszeitpunkt veränderungen in den skalenmittelwerten gegeben hat. dafür wurde der t-test für abhängige stichproben gerechnet, der eingesetzt werden kann, wenn in einer stichprobe zwei messungen durchgeführt werden (messwiederholung). voraussetzung hierfür sind bei stichproben mit weniger als 30 messwertpaaren, "daß sich die differenzen in der grundgesamtheit normalverteilen" (bortz, 1999, s. 142). durch einer mehrfaktoriellen varianzanalyse mit messwiederholung soll geprüft werden, ob signifikante interaktionen zwischen den faktoren gruppenzugehörigkeit (unabhängige variable; treatment ja/nein) und zeit in bezug auf die konstrukte gesundheitsbezogene lebensqualität, selbstwirksamkeitserwartung und körperbild vorliegen (vgl. bortz, 1999; diehl & staufenbiel, 2001). die reliabilität der fragebogenskalen wurde zu beiden zeitpunkten für beide gruppen mittels interner konsistenz (cronbach´s alpha) berechnet. methode methoden der datenauswertung 73 allgemeiner gesundheitszustand (short-form sf-12): die auswertung der daten des sf-12 und damit die berechnung der körperlichen und der psychischen summenskala erfolgte in vier schritten (bullinger & kirchberger, 1998): 1. datenkorrektur und umkodierung von items 2. erstellen von indikator-variablen für die antwortkategorien der items 3. gewichtung und addition der indikator-variablen 4. standardisierung der skalenwerte an der amerikanischen normstichprobe diese werden mit hilfe des dem fragebogen beiliegenden auswertungsprogramms für spss standardisiert durchgeführt. aufgrund der kürze des fragebogens wird eine schätzung fehlender werte durch die mittelwerte der vorhandenen items von den autoren nicht empfohlen. (vgl. bullinger & kirchberger, 1998, s. 68). deshalb wurde der sf-12 bei personen, die ein oder mehrere items nicht beantwortet haben, nicht in die auswertung mit einbezogen. selbstwirksamkeitserwartung: die fragen zur allgemeinen selbstwirksamkeitserwartung wurden ausgewertet, indem die werte aller zehn antworten aufsummiert wurden, so dass man einen score zwischen 10 und 40 erhält. sofern nur ein item unbeantwortet blieb wurde für diesen fehlenden wert ein schätzwert aus dem skalenmittelwert errechnet. bei mehr als einer fehlenden antwort wurde der summenscore nicht berechnet und die skala nicht in die auswertung mit einbezogen. körperbild: die körperbildskala setzt sich aus den zwei subskalen ablehnende körperbewertung (akb) und vitale körperdynamik (vkd) zusammen. zur berechnung des skalensummenwertes für die skala akb wurden zuerst die items 5 "ich kann mit meinen körperlichen unvollkommenheiten gut leben" und 19 "ich fühle mich in meinem körper zu hause" in der weise umgepolt, dass die zahlenfolge der numerischen bewertung umgedreht wurde. im anschluss daran bildet man den skalensummenwert akb durch addition der punktwerte der items 2, 5, 6, 8, 10, 11, 13, 15, 18 und 19. zur berechnung des skalensummenwertes für die skala vkd ist keine umpolung von items zur bildung dieser skala erforderlich. um den skalensummenwert vkd zu erhalten, mussten die punktwerte der items 1, 3, 4, 7, 9, 12, 14, 16, 17 und 20 addiert werden. fehlende werte auf beiden skalen konnten auch hier durch einen methode methoden der datenauswertung 74 schätzwert ersetzt werden, der aufgrund des skalenmittelwertes berechnet wurde. da die autoren des fkb-20 empfehlen, nicht mehr als einen fehlenden wert pro skala auf diese weise zu ersetzen (clement & löwe, 1996, s.21), wurde dieser teil des fragebogens bei allen befragten, die zwei oder mehr fragen nicht beantwortet haben, unberücksichtigt gelassen. ergebnisse stichprobenbeschreibung 75 3 ergebnisse 3.1 stichprobenbeschreibung insgesamt nahmen n=148 personen an der studie teil. die anzahl der teilnehmer der feldenkraisund sprachkurse zu beiden erhebungszeitpunkten sind in tabelle 3.1 dargestellt. die feldenkrais-teilnehmer (t1: n = 92) kommen aus sieben verschiedenen feldenkrais-kursen. den zweiten fragebogen füllten 35 der 92 teilnehmer in dieser gruppe aus. der 'drop out' entstand, weil die befragung kurz vor den sommerferien stattgefunden hat und viele der teilnehmer zum zweiten erhebungszeitpunkt nicht mehr in die kurse gegangen sind. die kontrollgruppe setzt sich aus sprachkursteilnehmern verschiedener englischund französisch-kurse aus zwei berliner volkshochschulen zusammen. von den 56 teilnehmern, die den ersten fragebogen (sk t1) ausfüllten, haben 40 teilnehmer auch die fragen im zweiten fragebogen (sk t2) beantwortet. tabelle 3.1 teilnehmer der studie variable zeitpunkt n interventionsgruppe: feldenkrais-teilnehmer t1 92 t2 35 kontrollgruppe: sprachkurs-teilnehmer t1 56 t2 40 anmerkungen. feldenkrais-teilnehmer aus sieben verschiedenen feldenkrais-kursen, sprachkursteilnehmer aus vier verschiedenen englisch-/französisch-kursen als nächstes folgt eine beschreibung der soziodemographischen daten beider gruppen. diese sind in tabelle 3.2 dargestellt. in der feldenkrais-gruppe sind 88% der teilnehmer weiblich und 11% männlich. in der kontrollgruppe ist der anteil an männern mit 21% fast doppelt so hoch. der altersmittelwert der feldenkrais-teilnehmer liegt bei 55 jahren, wobei der jüngste teilnehmer 29 jahre und der älteste 79 jahre alt ist. in der gruppe der sprachkursteilnehmer liegt der altersdurchschnitt mit 53 jahren leicht darunter. die ergebnisse stichprobenbeschreibung 76 alterspanne reicht von 23 bis 71 jahren. die meisten teilnehmer beider gruppen gaben an, verheiratet zu sein oder in partnerschaft zu leben. in beiden gruppen haben ungefähr die hälfte der teilnehmer zwei oder mehr kinder. ein drittel der feldenkraisteilnehmer und ein viertel der sprachkurs-teilnehmer haben keine kinder. tabelle 3.2 soziodemographische daten variable feldenkraisgruppe sprachkurs gruppe p (n = 92) (n = 56) alter m 54.79 53.17 sd 12.42 12.86 .4521 n % n % geschlecht männlich 10 10.9 12 21.4 weiblich 81 88.0 44 78.6 .0852 fehlend 1 1.1 0 0 familienstand verheiratet 41 44.6 34 60.7 verwitwet 8 8.7 1 1.8 .2492 geschieden 13 14.1 6 10.7 ledig 14 15.2 6 10.7 in partnerschaft lebend 16 17.4 9 16.1 kinder keine 31 33.7 14 25.0 ein kind 17 18.5 15 26.8 .2652 zwei kinder 26 28.3 21 37.5 drei oder mehr kinder 18 19.6 6 10.7 schulabschluss volksschule 2 2.2 2 3.6 mittlere reife 24 26.1 7 12.5 .0642 abitur 60 65.2 39 69.6 polytechnische oberschule 4 4.3 8 14.3 kein schulabschluss 2 2.2 0 0 berufliche situation erwerbstätig 54 58.7 22 39.3 rentner 29 31.5 21 37.5 .0862 arbeitslos 3 3.3 2 3.6 hausfrau/-mann 5 5.4 9 16.1 student 1 1.1 2 3.6 anmerkungen. m: arithmetisches mittel, sd: standardabweichung, t-test für unabhängige stichproben1; chi2-test2; signifikanz niveau bei zweiseitiger testung (p = .05) etwa zwei drittel der teilnehmer aus interventionsund kontrollgruppe haben abitur als höchsten allgemeinen schulabschluss. in den feldenkrais-kursen haben ein viertel die mittlere reife (27%), in den sprachkursen sind es halb so viele (13%). außerdem haben 14% der sprachkurs-teilnehmer als höchsten allgemeinen schulabschluss die polytechnische oberschule angegeben, bei den feldenkraisteilnehmern nur 4%. die übrigen teilnehmer beider kurse verteilten sich auf volks und gemeindeschule oder hatten gar keinen schulabschluss. ergebnisse stichprobenbeschreibung 77 zum zeitpunkt t1 sind insgesamt 59% der feldenkrais-teilnehmer erwerbstätig, in der gruppe der sprachkurs-teilnehmer 39%. ungefähr ein drittel beider kurse sind rentner. beim vergleich der soziodemografischen daten beider gruppen mittels t-test und chi2-test ergab sich hinsichtlich des alters kein signifikanter unterschied. bei den kategorialen variablen geschlecht, familienstand, kinder und berufliche situation gab es auch keine signifikanten unterschiede zwischen den gruppen. die voraussetzungen für die berechnung beider testarten sind gegeben. ergebnisse qualitative inhaltsanalyse 78 3.2 ergebnisse qualitativer inhaltsanalyse ein ziel dieser arbeit ist das erfassen von gründen und motiven (motivation) der teilnehmer an der feldenkrais-arbeit bewusstheit durch bewegung und deren empfundene wirkung. die fragen des fragebogens "warum nehmen sie an einer feldenkrais-gruppe teil?" und "was versprechen sie sich von der feldenkrais-methode?" zielen darauf ab, etwas über die motivation der teilnehmer zu erfahren. mit den fragen, "gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen?" sowie "inwiefern profitieren sie von den feldenkrais-lektionen?" sollte untersucht werden, welche wirkung die teilnehmer der methode zuschreiben. zur ermittlung möglicher nebenwirkungen wurden die fragen: "in welchen bereichen haben sie schwierigkeiten mit der feldenkrais-methode?" und "treten bei ihnen irgendwelche begleiterscheinungen aufgrund der feldenkrais-methode auf?" gestellt. tabelle 3.3 zeigt eine übersicht über die gebildeten kategorien5. es ist ersichtlich, dass die gründe für die teilnahme (motivation) an den kursen vielfältig sind. neben aspekten der schmerzlinderung werden z.b. die überwindung von ängsten, berufliches interesse oder einfach spaß genannt. die der feldenkrais-arbeit zugeschriebenen wirkungen fallen z.b. in die kategorien schmerzlinderung, selbstbewusstsein, lernen oder kreativität. teilnehmer berichten auch von negativen wirkungen, so nannte ein teilnehmer z.b. "ich fühle mich nach den sitzungen oft benommen" (antwort nr. 89), ein anderer hat schwierigkeiten bei der durchführung verschiedener lektionen "bei allen übungen im vier-füßlerstand schmerzen mir die handgelenke sehr" (antwort nr. 32). die unter der oberkategorie motivation gebildeten kategorien sind teilweise mit denen unter der oberkategorie wirkung aufgeführten identisch. es lässt sich ablesen, dass die gründe für die teilnahme an den kursen mit den der methode zugeschriebenen wirkungen vielfach übereinstimmen. einige teilnehmer schrieben bei den fragen zur wirkung oft auch nur "siehe fragen vorher" oder "siehe oben". im folgenden werden die antworten der teilnehmer der interventionsgruppe auf einige der offenen fragen (fk t1), wie in kapitel 2.4.1 bereits angedeutet, anhand von prozentualen häufigkeiten dargestellt. im anhang b sind die kompletten tabellen 5 kategorien werden zur hervorhebung kursiv dargestellt ergebnisse qualitative inhaltsanalyse 79 angefügt, welche die antworten und die zuordnung zu den gebildeten kategorien für die einzelnen fragen aufführen. tabelle 3.3 hauptkategorien aus der analyse der qualitativen daten oberkategorie kategorie paraphrase/beispiel (antwort nr. ) entspannung "weil es sehr entspannend ist. ..." (1) wohlbefinden "ich fühle mich wohl durch die sanften bewegungen. ..." (6) stimmung "… viel leichter gestimmt ich nach hause gehe." (23) verbesserung der beweglichkeit "bewegungsfähigkeit erhalten + verbessern" (28) "zum erhalt von körperlicher beweglichkeit. ..." (36) bewusstheit "… entwicklung eines neuen bewusstseins..." (79) "… bewußtheit, aufmerksamkeit "… verbesserung des körpergefühls ..." (7) "… wahrnehmung meines körperbildes ..." (13) schmerzlinderung, reduktion "… rückenprobleme (lws-syndrom). ..." (37) neues über körperzusammenhänge lernen "… innere forschen nach körperlichen zusammenhängen…" (46) interesse, neugier "… möchte ausprobieren, ob mir die methode hilfe" (67) konzentrationsfähigkeit "… steigerung der konzentrationsfähigkeit … (7) spaß "… weil es spaß macht …" (75) "vorbeugende übungen für rücken …" (31) "… möchte aktiv etwas für meine gesundheit tun …" (67) selbstfindung "… um mich besser kennenzulernen …" (76) persönliche probleme "… innere unruhe, war nervös und traurig." (17) anleitung/gruppe "… mir gefällt die lehrerin …" (34) berufliches interesse "… berufliches interesse …" (13) ganzheitlichkeit "… der ganze körper angesprochen wird." (19) alternative "... sport ist wichtig, und von ... hauruck-sport halte ich nichts mehr" (49) selbstbewusstsein "… zu mehr selbstbewußtsein zu gelangen… " (8) körperfunktionen "… veränderung von atem und körperhaltung" (74) haltungsverbesserung "verbesserung der körperhaltung …" (86) angst überwinden "… ängste und unsicherheit überwinden." (8) wohlbefinden "… fühle mich dadurch wohler, lebendiger,…" (46) stimmung "… ich fühle mich öfter fröhlicher und ausgelassener…" (58) entspannung "… ich bin nach der stunde meist ausgeruht u. entspannt."(85) schmerzlinderung "keine schmerzen mehr im hws-bereich. …" (7) körperhaltung "körperliche veränderungen (verbesserungen) immer besser feststellen…" (10) beweglichkeit "… die beweglichkeit + koordination hat sich verbesser" (4) ganzheitliches körperbewusstsein "verbesserung des körperbewußtseins u. des körpergefühls" (26) transfer in den alltag "im arbeitsleben werde ich weniger hektisch, überlegter, geduldiger..." (10) selbstbewusstsein "… steigerung des selbstwertgefühls" (36) konzentrationsfähigkeit "...steigerung der konzentrationsfähigkeit…" (7) verhalten "… eingefahrene verhaltensweisen zu ändern oder zu belassen" (8) lernen "… ursachen von versp. durchschauen. …" (55) allgemeinbefinden "ich fühle mich ausgeglichener, ruhiger und einfach besser" (53) selbsthilfe "… kann ich selbst schmerz … beeinflussen (ohne medikamente !)" (25) körperbewusstsein "bewußteres körpergefühl" (86) schlaf "danach immer guten + sehr entspannten wohltuenden schlaf!" (12) zuversicht "… erfahrungen… geben mir zuversicht." (8) kreativität "… stärkt meine kreativität." (92) psychische ausgeglichenheit "psychische ... ausgeglichenheit" (29) schmerzen "manchmal schmerzen im ischias nach übungen oder kopfschmerzen" (63) benommenheit "ich fühle mich oft nach den sitzungen benommen…" (89) körperliche einschränkungen "bei allen übungen im vier-füßlerstand schmerzen mir die handgelenke sehr" (32) persönlicher art "wenn ich die bewegungen in gedanken durchführen muß" (18) unterrichtsform "wenn sie zu öde und unvariiert unterrichtet wird…" (80) integration in den alltag "integration in den alltag" (58) wirkung schwierigkeiten mit der methode anmerkungen. die tabelle enthält für jede genannte kategorie eine antwort. weitere antworten sind im anhang in tabelle b-2 bis b-7 aufgeführt. die oberkategorie wirkung ist in positive (+) und negative (-) kategorien gegliedert. motivation + körperempfinden,gefühl, bewusstsein verbesserung des gesundheitzustands ergebnisse qualitative inhaltsanalyse 80 • wie lange besuchen sie schon feldenkrais-kurse und wie oft gehen sie dorthin? die teilnehmer der stichprobe besuchen im durchschnitt seit 5 ½ jahren (m = 5.59, sd = 6.34) die kurse bewusstheit durch bewegung. 42 teilnehmer machen seit 2 jahren oder weniger feldenkrais. 18 davon haben im jahr 2004 mit der gruppenarbeit begonnen. seit mehr als 10 jahren gehen 22 teilnehmer in die feldenkrais-gruppen (abbildung 3.1). die mehrheit der teilnehmer (über 90%) geht einmal wöchentlich zur feldenkrais-gruppe. die restlichen teilnehmer besuchen entweder mehrmals oder unregelmäßig die gruppen. von den gruppenteilnehmern führen ein fünftel (n = 19) die lektionen auch zu hause durch. 0 2 4 6 8 10 12 14 16 18 20 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 jahre a nz ah l d er t ei ln eh m er abbildung 3.1 seit wie vielen jahren nehmen sie regelmäßig an feldenkrais-gruppen teil? ergebnisse qualitative inhaltsanalyse 81 0% 5% 10% 15% 20% 25% 30% 35% freunde, bekannte und kollegen medien/veröffentlichungen familienmitglied mitarbeiter / institutionen im gesundheitswesen kurse, workshops, seminare interesse beruf sonstiges alternative [keine antwort] • wie sind sie zur feldenkrais-methode gekommen? wie aus abbildung 3.2 zu ersehen ist, sind ein drittel der teilnehmer aufgrund von empfehlungen von freunden, bekannten oder kollegen, ein knappes fünftel (17%) aufgrund von medienberichten und veröffentlichungen und 12% durch familienmitglieder zur feldenkrais-methode gekommen. durch empfehlung von mitarbeitern des gesundheitswesens (ärzte, physiotherapeuten, chiropraktiker, psychologen usw.) sind 11% der studienteilnehmer zur methode gekommen. aufgrund der teilnahme an verschiedenen kursen, workshops oder seminaren (z.b. tanzkurse oder "körper"-seminare) entdeckten 9% die feldenkrais-methode. die restlichen nennungen entfielen auf die kategorien interesse, beruf, alternative zu anderen methoden oder sonstige nennungen. abbildung 3.2 wie sind sie zur feldenkrais-methode gekommen? ergebnisse qualitative inhaltsanalyse 82 0% 3% 6% 9% 12% 15% 18% 21% schmerzreduktion, -linderung beweglichkeit/haltung w ohlbefinden entspannung körperempfinden, -gefühl, -bild selbstfindung, selbtbewusstsein körperzusammenhänge neugier/ interesse gruppe/anleitung bewusstmachen spaß alternative gehirntätigkeit, konzentrationsfähigkeit prävention persönliche probleme berufliches interesse ganzheitlichkeit stimmung [keine antwort] • warum nehmen sie an einer feldenkrais-gruppe teil? abbildung 3.3 zeigt die anzahl der teilnehmer, deren antworten auf die frage nach den gründen zur teilnahme an den kursen in den entsprechenden kategorien eingeordnet wurden. demnach gibt es sehr viele individuelle gründe zur teilnahme an feldenkrais-gruppen. in dieser studie wurden die antworten der teilnehmer auf diese frage zu 18 kategorien zusammengefasst. unter der kategorie körperempfinden, -gefühl, -bild wurden der einfachheit halber eine ganze reihe von aussagen zusammengefasst und damit die regel, dass jede kategorie nur einen namen hat und sich trennscharf von einer anderen kategorie unterscheidet, durchbrochen (mayring, 2003). einzelne teilnehmer gaben in der regel mehr als einen grund für die teilnahme an (siehe anhang b). die am häufigsten genannte kategorie war schmerzreduktion, linderung (20%). dazu beispielhaft die aussage eines teilnehmers (antwort nr. 25): "leide seit ca. 20 j. an arthrose der hände und hws, konnte durch regelmäßiges training meinen beruf als krankengymnastin bis zu letzt ausüben, was sonst nicht möglich gewesen wäre oder nur mit starken schmerzmitteln". abbildung 3.3 warum nehmen sie an einer feldenkrais-gruppe teil? ergebnisse qualitative inhaltsanalyse 83 weiterhin wurden beweglichkeit (13%), wohlbefinden (12%) und entspannung (10%) genannt. weitere 6% der nennungen entfielen auf die kategorie körperempfinden, körpergefühl, körperbild. als weiteren grund feldenkrais-arbeit durchzuführen, gaben 6% der teilnehmer selbstbewusstsein, selbstfindung an. außerdem konnten die kategorien spaß, konzentrationsfähigkeit, prävention oder berufliches interesse aufgrund von teilnehmeraussagen gebildet werden. • was versprechen sie sich von der feldenkrais-methode? abbildung 3.4 stellt dar, dass die antworten der teilnehmer in viele verschiedene richtungen weisen. teilweise stimmten die gebildeten kategorien mit denen der vorherigen frage überein. deshalb wurde auch hier ein großteil der antworten den bereichen schmerzlinderung, -reduktion, -freiheit aber auch wohlbefinden, entspannung usw. zugeordnet. die meisten nennungen (fast ein fünftel) entfielen auf die kategorie erhaltung/ verbesserung der beweglichkeit. abbildung 3.4 was versprechen sie sich von der feldenkrais-methode? 0% 2% 4% 6% 8% 10% 12% 14% 16% 18% 20% erhaltung/verbesserung der beweglichkeit schmerzlinderung, -reduktion bewusstheit /erlernen körperwahrnehmung, -gefühl entspannung w ohlbefinden haltungsverbesserung körperliche und geistige gesundheit selbstbewusstsein körperfunktionen, körperteile selbstfindung sonstiges spaß, freude angst beruf neues anleitung sonstiges ergebnisse qualitative inhaltsanalyse 84 • gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? mit dieser frage sollte retrospektiv erhoben werden, welche veränderungen die teilnehmer berichten, seitdem sie sich mit der feldenkrais-methode beschäftigen. ein fünftel der teilnehmer gaben an, ein ganzheitlicheres körpergefühl zu haben. über veränderungen in ihrer körperhaltung berichten 15%, über eine verbesserung der beweglichkeit 10% und über schmerzlinderung 8%. weitere 8% der teilnehmer berichten eine veränderung des selbstwertgefühls. der kategorie lernen konnten vier nennungen (3%) zugeordnet werden. 0% 2% 4% 6% 8% 10% 12% 14% 16% 18% 20% ganzheitliches körpergefühl körperveränderungen/körperhaltung beweglichkeit schmerzlinderung selbstwertgefühl freude an beweglichkeit konzentrationsfähigkeit, weisheit, kreativität ja wohlbefinden stimmung verhaltensweisen/sachverhalten lernen sonstiges entspannung arbeitsleben tempo/achtsamkeit spontaneität/natürlichkeit nicht feststellbar, weiß nicht, noch keine nein [keine antwort] abbildung 3.5 gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? ergebnisse qualitative inhaltsanalyse 85 0% 5% 10% 15% 20% 25% 30% 35% 40% keine schwierigkeit bei der ausführung der methode körperliche einschränkungen unterrichtsform (fk-lehrer) integration in den alltag [keine antwort] • inwiefern profitieren sie von den feldenkrais-lektionen? die antworten auf diese frage ähneln sich im großen und ganzen mit denen der vorherigen frage. es wird deshalb auf eine grafische darstellung verzichtet. die meisten nennungen entfielen auf die kategorien entspannung (12%), körperbewusstsein (11%) und wohlbefinden (9%). schmerzlinderung/-reduktion wurde am vierthäufigsten (8%) genannt. • in welchen bereichen haben sie schwierigkeiten mit der methode? auf diese frage antworteten etwa 40% der studienteilnehmer, dass sie keine schwierigkeiten mit der methode haben (abbildung 3.6). ein drittel der teilnehmer gab an, schwierigkeiten bei der ausführung der lektionen zu haben. erklärungen dafür finden sich in den individuellen antworten (tabelle b6). meistens handelt es sich dabei um schwierigkeiten mit gewissen stellungen in den verschiedenen lektionen (z.b. "schmerzen in den handgelenken beim vierfüßlerstand" oder ähnliches). aufgrund körperlicher einschränkungen haben 13% der teilnehmer schwierigkeiten. abbildung 3.6 in welchen bereichen haben sie schwierigkeiten mit der methode? ergebnisse qualitative inhaltsanalyse 86 • treten bei ihnen irgendwelche begleiterscheinungen aufgrund der feldenkraismethode auf? diese frage wurde absichtlich so "offen" gestellt. wäre hier statt begleiterscheinungen nach nebenwirkungen gefragt worden, hätten die teilnehmer vielleicht verstärkt negative assoziationen gehabt (z.b. assoziation mit beipackzetteln von medikamenten) abbildung 3.7 zeigt die gebildeten kategorien bzw. oberkategorien. der überwiegende teil der teilnehmer (38%) gab an, keine negativen begleiterscheinungen zu erfahren. ein viertel der teilnehmer berichten von positiven begleiterscheinungen entweder physischer oder psychischer art. negative begleiterscheinungen verschiedener art beobachteten 18%. einige teilnehmer berichten in diesem zusammenhang von muskelkater bzw. schmerzen in bestimmten körperbereichen z.b. "zerrungsschmerz nach offensichtlich zu starker beteiligung bestimmter muskelgruppen" (antwort nr. 81), oder benommenheit "fühle mich nach den sitzungen benommen" (antwort nr. 89). abbildung 3.7 treten bei ihnen irgendwelche begleiterscheinungen aufgrund der fk-methode auf? 0% 5% 10% 15% 20% 25% 30% 35% 40% positive physische begleichterscheinungen negative physische begleiterscheinungen positive psychische begleiterscheinungen negative psychische begleiterscheinungen positive bzw. keine negativen begleiterscheinungen (ohne genauere beschreibung) nein bzw. keine negativen begleiterscheinungen (ohne genauere beschreibung) [keine antwort] ergebnisse qualitative inhaltsanalyse 87 • gab es in den letzten vier wochen veränderungen in den bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? diese frage wurde den feldenkrais-teilnehmern zum erhebungszeitpunkt t2 gestellt. fast die hälfte der teilnehmer (44%) stellte keine veränderungen während des erhebungszeitraums fest. die übrigen teilnehmer (56%) berichten über verschiedene positive veränderungen, die in den kategorien bzw. bereichen körpergefühl (15%), körperliche entspannung (10%), schmerzreduktion (5%) oder ausgeglichenheit (5%) auftraten. die restlichen 21% der genannten veränderungen verteilen sich auf insgesamt acht verschiedene kategorien (siehe tabelle b8 im anhang). • welche körperlichen beschwerden haben sie derzeit? diese frage wurde den teilnehmern beider gruppen gestellt. in der feldenkrais-gruppe haben zurzeit 83% der teilnehmer körperliche beschwerden. in der gruppe der sprachkursteilnehmer sind es 67%. eine auswertung der anzahl der beschwerden ergab, dass 19% der teilnehmer der feldenkrais-gruppe beschwerden einer art angaben und 81% zwei oder mehr arten von beschwerden. in der kontrollgruppe gaben 64% an, derzeit beschwerden in einem bereich zu haben; 36% gaben zwei oder mehr arten von beschwerden an. ergebnisse qualitative inhaltsanalyse 88 zusammenfassung der ergebnisse die teilnehmer dieser untersuchung geben auf die frage nach der motivation für die teilnahme an den feldenkrais-kursen eine ganze reihe von gründen an. die am häufigsten genannten gründe kommen aus den bereichen: schmerzlinderung, beweglichkeit(serhaltung und –verbesserung), verbessertes allgemeinbefinden und wohlbefinden, entspannung, bewussteres körperempfinden und –gefühl und veränderung der (körper-)haltung. eher selten genannte gründe für die teilnahme sind erhöhung des selbstbewusstseins, der konzentrationsfähigkeit, verbesserte körperfunktion, spaß, stimmung oder die (anleitung in der) gruppe. die dem arbeiten mit der methode zugeschriebenen wirkungen kommen aus den bereichen ganzheitliches körpergefühl, veränderungen des körpers und der körperhaltung, verbesserte beweglichkeit, schmerzlinderung, entspannung, wohlbefinden. seltener genannt wurden die bereiche konzentrationsfähigkeit, weisheit, kreativität, spontaneität, natürlichkeit und lernen. im folgenden kapitel werden die ergebnisse aus den skalen zum gesundheitszustand, zur selbstwirksamkeitserwartung und zum körperbild vorgestellt. ergebnisse – quantitative daten 89 3.3 ergebnisse quantitativer daten tabelle 3.4 t-test für abhängige stichproben: gesundheitszustand, selbstwirksamkeitserwartung und körperbild variable n m sd p n m sd p gesundheitszustand sf-12 körperliche summenskala t1 23 46.93 8.19 30 49.36 7.70 .11 .14 körperliche summenskala t2 23 48.63 10.21 30 50.36 6.59 psychische summenskala t1 23 46.5 8.72 30 47.18 9.58 .11 .19 psychische summenskala t2 23 48.45 9.12 30 48.41 7.93 selbstwirksamkeitserwartung t1 34 30.18 4.73 39 28.97 3.67 .39 .48 selbstwirksamkeitserwartung t2 34 30.03 5.02 39 28.95 3.86 körperbild fkb-20 ablehnende körperbewertung t1 35 20.54 6.46 40 19.18 4.42 .20 .41 ablehnende körperbewertung t2 35 20.14 5.99 40 19.30 5.02 vitale körperdynamik t1 35 32.69 8.33 38 32.55 5.52 .28 .26 vitale körperdynamik t2 35 33.06 7.69 38 32.89 5.71 anmerkungen. n : substichprobe, m: arithmetisches mittel, sd : standardabweichung, p: signifikanzniveau feldenkrais sprachkurs (einseitig p <.025), unterschiedliche stichprobengrößen resultieren aus fehlenden daten 3.3.1 gesundheitsbezogene lebensqualität zur erhebung der gesundheitsbezogenen lebensqualität wurde den teilnehmern der feldenkraisund der kontrollgruppe der fragebogen zum gesundheitszustand (sf12) vorgelegt. die interne konsistenz (cronbach´s alpha) lag für diesen fragebogen zu beiden erhebungszeitpunkten für beide gruppen zwischen α = .74 und .83. es wurde angenommen, dass sich innerhalb des erhebungszeitraums die gesundheitsbezogene lebensqualität in der interventionsgruppe gegenüber der kontrollgruppe verbessert. in tabelle 3.4 sind die mittelwerte für die körperliche und psychische summenskala des sf-12 dargestellt. ein vergleich der mittelwertdifferenzen zwischen ergebnisse – quantitative daten 90 den beiden zeitpunkten t2 und t1 ergab auf der körperlichen und auf der psychischen summenskala in der interventionsgruppe keine signifikante änderung. auch in der in der kontrollgruppe unterschieden sich die mittelwertdifferenzen nicht signifikant. körperliche summenskala 0 10 20 30 40 50 60 1 2 zeitpunkt m itt el w er t fk sk psychische summenskala 0 10 20 30 40 50 60 1 2 zeitpunkt m itt el w er t fk sk abbildung 3.8 mittelwerte für die subskalen ksk und psk des sf-12 für die feldenkraisund sprachkursgruppen zu beiden messzeitpunkten die auswertung mittels varianzanalyse zeigte keine interaktionseffekte zwischen den faktoren gruppe und zeit bezüglich der gesundheitsbezogenen lebensqualität. aufgrund der tatsache, dass keine interaktionseffekte aufgetreten sind, wurde näher untersucht, wie sich die verteilungen innerhalb der gruppen darstellen. aus abbildung 3.9 ist zu ersehen, dass die unterschiede zwischen den gruppenmittelwerten sehr gering sind. in beiden gruppen fallen die ausreißer-werte auf. ergebnisse – quantitative daten 91 3023 3023n = sprachkursfeldenkrais su m m en sc or e 70 60 50 40 30 20 10 sf-12 ksk t1 sf-12 ksk t2 106 98 60 98 697460 9 abbildung 3.9 mittelwerte, streuung, standartabweichung und außreißer-werte für die körperliche summenskala weil in der interventionsgruppe keine signifikanten veränderungen auftraten, wurden weitere berechnungen durchgeführt. aufgrund der tatsache, dass in der qualitativen inhaltsanalyse die kategorie schmerzreduktion/-linderung vielfach als grund für die kursteilnahme angegeben wurde, erfolgte die überprüfung der entsprechenden items in der interventionsgruppe mittels t-test für abhängige stichproben. für item acht ("inwieweit haben die schmerzen sie in den vergangenen 4 wochen bei der ausübung ihrer alltagstätigkeiten zu hause und im beruf behindert?") ergab sich von t1 (m = 2.30, sd = 1.10) zu t2 (m = 1.82, sd = .85) eine signifikante reduktion (t = 3.2, df =32, p = .003). in der kontrollgruppe änderte sich bei diesem item nichts. in einer substichprobe von teilnehmern, die seit zwei oder weniger jahren regelmäßig an feldenkrais-kursen teilnehmen, waren die mittelwerte auf der körperlichen summenskala zum zeitpunkt t2 signifikant höher als zu t1: (t = -2.628, df = 12, p = .022). bei teilnehmern, die schon länger als zwei jahren an den kursen teilnehmen, gab es keine signifikanten veränderungen (t = .719, df = 9, p = .491). die ergebnisse zeigen, dass sich die gesundheitsbezogene lebensqualität in beiden gruppen nicht signifikant verändert hat. die hypothese, dass es in der interventionsgruppe zu einer verbesserung der gesundheitsbezogenen lebensqualität während des erhebungszeitraums gegenüber der kontrollgruppe kommt, wurde nicht bestätigt. ergebnisse – quantitative daten 92 3.3.2 selbstwirksamkeitserwartung die hypothese, dass es in der interventionsgruppe zum zeitpunkt t2 gegenüber zeitpunkt t1 zu veränderungen im sinne einer erhöhung der selbstwirksamkeitserwartung kommt, wurde geprüft. über beide erhebungszeitpunkte und gruppen lag die spanne der internen konsistenz für die skala der allgemeinen selbstwirksamkeitserwartung zwischen α = .84 und .91. zum zeitpunkt t2 kam es in keiner der beiden gruppen zu signifikanten veränderungen der mittelwerte der selbstwirksamkeit. abbildung 3.10 zeigt die mittelwerte für die selbstwirksamkeitserwartung zwischen den gruppen zu beiden erhebungszeitpunkten. selbstwirksamkeitserwartung 0 5 10 15 20 25 30 35 1 2 zeitpunkt m itt el w er t feldenkrais sprachkurs abbildung 3.10 mittelwerte für die selbstwirksamkeitserwartung in der feldenkraisund sprachkursgruppe zu beiden messpunkten auch die auswertung mittels varianzanalyse zeigte bezüglich der selbstwirksamkeitserwartung keine interaktionseffekte zwischen den faktoren gruppe und zeit. in der skala allgemeine selbstwirksamkeitserwartung ergab sich über den erhebungszeitraum keine signifikante veränderung innerhalb beider gruppen. die angenommene hypothese, dass es zu verbesserungen in der selbstwirksamkeitserwartung bei der interventionsgruppe kommt, konnte nicht bestätigt werden. ergebnisse – quantitative daten 93 3.3.3 körperbild erwartet wurde, dass es durch die feldenkrais-arbeit zu veränderungen im körperbild kommt, die sich in den skalen des fragebogens zum körperbild widerspiegeln. die interne konsistenz für die körperbildskala reichte von α = .72 bis .91. wie in abbildung 3.11 zu sehen ist, gibt es auf der subskala ablehnende körperbewertung (akb) bei den feldenkrais-teilnehmern von t1 zu t2 eine geringe abnahme des mittelwertes, die nicht signifikant ist. auf der subskala vitale körperdynamik (vkd) gab es von t1 zu t2 eine zunahme, die auch nicht signifikant ist. in der kontrollgruppe waren die veränderungen in den subskalen akb und vkd über den erhebungszeitraum ebenfalls nur marginal. ablehnende körperbewertung 0 5 10 15 20 25 1 2 zeitpunkt m itt el w er t feldenkrais sprachkurs vitale körperdynamik 0 5 10 15 20 25 30 35 1 2 zeitpunkt m itt el w er t feldenkrais sprachkurs abbildung 3.11 mittelwerte für die subskalen akb und vkd für feldenkrais und sprachkurs-gruppe zu beiden messzeitpunkten im fragebogen zum körperbild kam es zu keinen signifikanten veränderungen auf beiden subskalen. die hypothese, dass es zu veränderungen in der interventionsgruppe kommt, konnte nicht bestätigt werden. zusammenfassung der qualitativen und quantitativen ergebnisse aus der qualitativen inhaltsanalyse der antworten aus den fragebögen für die feldenkrais-gruppe waren die häufigsten nennungen und die daraus gebildeten kategorien schmerzreduktion, -linderung, entspannung, wohlbefinden, verbesserung/ erhaltung der beweglichkeit und verbesserung des körperbewusstseins/körperempfindens. ergebnisse – quantitative daten 94 nach auswertung der quantitativen daten mittels t-tests und varianzanalyse konnten keine signifikanten veränderungen innerhalb und zwischen den gruppen für den erhebungszeitraum von vier wochen festgestellt werden. diskussion 95 4 diskussion in dieser studie wurde die wirkung der feldenkrais-methode bewusstheit durch bewegung auf die gesundheitsbezogene lebensqualität, die selbstwirksamkeitserwartung und das körperbild bei teilnehmern von feldenkraiskursen im vergleich zu einer kontrollgruppe untersucht. der vergleichsstudie liegt ein nicht randomisiertes vorher-nachher-design zur überprüfung der wirksamkeit der feldenkrais-methode zu grunde. die verwendeten skalen wurden schon in klinischen studien zur feldenkrais-methode eingesetzt. dies ist die erste studie, welche die fragebögen in laufenden kursen einsetzt und neben der erhebung von quantitativen daten gründe und motive für die teilnahme an den kursen sowie subjektiv erlebte veränderungen erfasst. die teilnehmer wurden zu veränderungen, die aufgetreten sind, seitdem sie sich mit der feldenkrais-methode beschäftigen, befragt (retrospektiv). weiterhin wurden offene fragen zu veränderungen während des erhebungszeitraums gestellt. die feldenkrais-gruppe setzt sich aus 35 teilnehmern (zu t1 95) von feldenkrais-kursen, die kontrollgruppe aus 40 teilnehmern (zu t1 56) von sprachkursen zusammen. aufgrund der ergebnisse aus den fragebogenskalen gibt es keine signifikanten veränderungen in den bereichen gesundheitsbezogene lebensqualität, selbstwirksamkeitserwartung und körperbild über einen vierwöchigen erhebungszeitraum in der interventionsgruppe gegenüber einer kontrollgruppe. aus diesem ergebnis lässt sich der schluss ziehen, dass mit der feldenkrais-methode keine verbesserung des gesundheitszustands in einem vierwöchigen zeitraum erreicht werden kann. weiterhin lässt sich schließen, dass in dieser untersuchung die teilnahme an den kursen zu keinen verbesserungen im körperbild führt und auch keinen einfluss auf die allgemeine selbstwirksamkeit hat. aufgrund der ergebnisse der qualitativen inhaltsanalyse der antworten der feldenkrais-teilnehmer zeigt sich ein etwas anderes bild. die hälfte der teilnehmer berichten selbst über den relativ kurzen erhebungszeitraum von veränderungen in den bereichen des körpergefühls, körperlicher entspannung, schmerzreduktion, ausgeglichenheit und weiteren bereichen. die andere hälfte konnte keine veränderungen während des erhebungszeitraums feststellen. in einer retrospektiven betrachtung berichtet die mehrzahl aller 96 teilnehmer (zu t1) über vielfältige veränderungen in verschiedenen bereichen. diese diskussion 96 veränderungen finden auf körperlicher (schmerzreduktion, verbesserung der beweglichkeit), emotionaler (bessere stimmung, weniger ängste, besseres selbstwertgefühl) oder kognitiver ebene (konzentrationsfähigkeit) statt. die teilnehmer bringen die erlebten veränderungen allerdings selten direkt mit den begriffen "gesundheit" oder auch "lernen" in verbindung. die ergebnisse stehen in einklang mit berichten aus der literatur und den ergebnissen anderer studien zur feldenkrais-methode. in der literatur wird häufig von einzelfällen berichtet, in denen personen innerhalb kürzester zeit fast unglaubliche veränderungen an sich feststellen konnten. ginsberg (2004b) berichtet z.b. von einem klienten, bei dem nach einer bestimmten lektion bewusstheit durch bewegung langjährig bestehende schmerzen verschwanden. in einer klinisch kontrolliertrandomisierten vergleichsstudie stellten löwe et al. (2002) unter anderem auf der skala "vitale körperdynamik" des fragebogens zum körperbild veränderungen über zwei interventionsgruppen und eine kontrollgruppe fest. zwischen den gruppen gab es keine signifikanten veränderungen. in ergänzenden qualitativen interviews berichteten 85% der teilnehmer der feldenkrais-intervention von verbesserungen z.b. positive effekte auf die stimmung, reduktion von krankheitssymptomen und entspannung. im gegensatz zu der studie von grübel et al. (2003), die eine abnahme der ablehnenden bewertung des körperbildes sowie eine zunahme der vitalisierung nach fünf interventionen (die teilnehmer erhielten sitzungen in funktionaler integration) feststellten, zeigten sich in unserer untersuchung auf beiden skalen des fragebogens zum körperbild keine signifikanten veränderungen während des erhebungszeitraums. die teilnehmer der studie von grübel et al. berichten auch über positive psychische auswirkungen, die nicht auf der skala "psychisches wohlbefinden" des verwendeten fragebogens (sf-36) abgebildet werden konnten. in einer studie von laumer et al. (1997) über neun termine bewusstheit durch bewegung für patienten mit essstörungen kam es teilweise zu signifikanten veränderungen auf einigen körperbezogenen parametern. in der vorliegenden sowie in den bisher veröffentlichten studien existiert eine diskrepanz zwischen den mittels standardisierten fragebögen erhobenen konstrukten und den erlebten veränderungen, welche die teilnehmer der methode zuschreiben. welche ansätze zur erklärung dieser diskrepanz können hergeleitet werden? diskussion 97 bei der feldenkrais-arbeit stellt der körper das mittel zum erleben von veränderungen dar (feldenkrais, 1967/1978). nach wiedemann (1995) stellt sich die erfassung des körpererlebens und des körperbildes insgesamt recht schwierig dar und hängt stark von den erhebungsinstrumenten und damit von den grundannahmen des wissenschaftlers ab. das könnte ein hinweis darauf sein, dass die verwendeten fragebögen das erleben der personen nicht differenziert genug erfassen. der fragebogen zum körperbild wurde bislang selten in verlaufsuntersuchungen eingesetzt (clement & löwe, 1996) und somit sind keine vergleichsmöglichkeiten vorhanden, inwieweit die beiden konstrukte "ablehnende körperbewertung" und "vitale körperdynamik" veränderungssensitiv genug sind, um gruppenunterschiede nachzuweisen. clement & löwe (1996) gehen davon aus, dass "das körperbild in gewissen grenzen veränderbar ist" (s. 7). auch feldenkrais (1967/1995) nennt ein ziel seiner methode die veränderung des körperbildes. in der lebensqualitätsund gesundheitsforschung existiert eine vielzahl von fragebögen, die den gesundheitszustand erfassen. die in dieser studie eingesetzte kurzform des fragebogens zum allgemeinen gesundheitszustand bzw. zur gesundheitsbezogenen lebensqualität (bullinger & kirchberger, 1998) ist in seiner vierwöchigen version unter anderem für veränderungsmessungen konzipiert worden. laut bullinger (1997) existieren drei verschiedene modelle in der lebensqualitätsforschung, von denen eines die subjektive bedeutung der persönlichen lebensqualität in den vordergrund stellt. dieses modell besagt, dass "lebensqualität eine prinzipiell nicht über verschiedene personen hinweg erfassbare größe [ist], weil sie per definitionem von person zu person in ihrer dimension variiert" (s. 77). für bestimmte bereiche existieren nach bullinger (1997) noch keine spezifischen erfassungsinstrumente. die feldenkrais-methode fällt möglicherweise in einen solchen bereich. eine weitere erklärung liegt in der ganzheitlichkeit der feldenkrais-methode. theoretische annahmen der feldenkrais-methode postulieren, dass veränderungen in einem der bereiche des denkens, fühlens, sinnesempfindung und bewegung (des gesamten selbstbildes) immer auch veränderungen in den anderen bereichen zur folge haben (feldenkrais, 1967/1978). die vielfältigen veränderungen, die mit dem ausführen der feldenkrais-methode einherzugehen scheinen, machen es nicht leicht, die methode und ihre wirkungen zu evaluieren. die veränderungen scheinen eher auf intraindividueller ebene nachzuvollziehen sein. dies lässt sich aus der großen anzahl an veränderungen, welche die teilnehmer dieser studie genannt haben, ablesen. im diskussion 98 einem kürzlich erschienen essay unterstreicht ginsberg (2004) auch den individuellen charakter der methode. der faktor "erfahrung mit der methode" und damit auch der zeitliche faktor scheint zusätzlich eine wichtige rolle zu spielen. ginsberg (2004a) schreibt dazu: "experience also shows that sustaining changes happen over a long period of practice with the method, not just with a few lessons" (s. 3). allerdings gibt es feldenkraislektionen, die für personen in spezifischen bereichen zu merklichen veränderungen innerhalb kürzester zeiträume führen können. vielleicht kommt es auf den "grad der bewusstheit" jedes einzelnen an, inwieweit in einer lektion entwicklung stattfindet. auch das spiegelt sich in den vielen verschiedenen wirkungen, welche die teilnehmer berichtet haben, wider und mag eine erklärung dafür sein, dass über standardisierte fragebögen veränderungen schwer gemessen werden können. ein beispiel soll dies verdeutlichen: für eine person liegt die motivation zur teilnahme an den kursen in der verbesserung der konzentrationsfähigkeit, für eine andere in der verbesserten beweglichkeit und für eine dritte person in der reduktion von schmerzen in muskeln und gelenken. zur erforschung der feldenkrais-methode bedarf es anscheinend verschiedener zugänge. zur implementierung der methode im gesundheitswesen (1) bedarf es einer größeren anzahl kontrolliert-randomisierter studien, welche die wirksamkeit und den nutzen der methode bei spezifischen krankheitsbildern untersuchen. auf der ebene der grundlagenforschung (2) bedarf es weiterer erkenntnisse über die wirkmechanismen insbesondere zwischen den bereichen des denkens, fühlens, der sinnesempfindungen und der bewegung und die auswirkungen darauf, wie menschen 'funktionieren'. auf subjektorientierter ebene (3) wäre interessant, inwiefern die feldenkrais-methode als modell somatischen lernens die 'somatische' kompetenz einer person und ihren grad an eigenverantwortung verändert. im folgenden werden für diese drei bereiche verschiedene ideen vorgeschlagen. (1) implementierung im gesundheitswesen für kontrolliert-randomisierte studien zur wirksamkeit der methode (insbesondere bewusstheit durch bewegung) bietet sich an, längere erhebungszeiträume von mindestens sechs monaten und für die nacherhebung 12 bis 24 monate zu wählen. dem liegt die vermutung zu grunde, dass sich veränderungen erst über einen längeren zeitraum entwickeln (ginsberg, 2004). in zukünftigen evaluationen müsste der faktor "erfahrung mit der methode" erhoben werden und zwar nicht nur auf der seite des diskussion 99 klienten sondern gerade auch auf der ebene des feldenkrais-lehrers. zusätzlich zu den in unserer studie verwendeten fragebögen, sollten instrumente zur erfassung von persönlichkeitsmerkmalen und subjektivem wohlbefinden, zu schmerzen und schmerzverarbeitung, zu emotionalität und entspannung verwendet werden. nützlich wären auch evaluationsstudien, welche die feldenkrais-methode mit entspannungsverfahren wie progressiver muskelrelaxation oder autogenem training vergleichen. in hinblick auf die in dieser arbeit häufig genannten aspekte der schmerzlinderung in muskeln und gelenken wären vergleichsstudien mit existierenden schmerztherapien schulmedizinischer art (z.b. physiotherapeutische maßnahmen, rückenschulen) von interesse. aufgrund der oben genannten diskrepanz sollte zusätzlich zu standardisierten studien auf forschungsmethoden der therapieforschung zurückgegriffen werden, die daten auf intraindividueller ebene erheben. als beispiele seien hier die verwendung der kelley-grid-methode (kelley, 1955), für die inzwischen auch ein spezielles körpergrid existiert und das goal attaining scaling genannt. bei diesen verfahren wird mit der definition der problembereiche durch die patienten gearbeitet und versucht, die veränderungen, die sich in diesen bereichen durch die therapie ergeben, zu dokumentieren (joyce, 1994 nach bullinger, 1997). (2) grundlagenforschung im bereich der grundlagenforschung könnten durch verwendung bildgebender verfahren neue erkenntnisse auf neuronaler ebene über das zusammenspiel von kognitionen, emotionen, sinnesempfindungen und bewegung gewonnen werden. zu unterstreichen ist, dass diese erkenntnisse nicht auf theoretischer ebene verbleiben sondern aus ihnen praktischer nutzen für das alltagsleben gezogen werden sollte. (3) subjektorientierte ebene auf subjektorientierter ebene bieten sich weitere möglichkeiten an. einzelfallstudien, durch video-dokumentationen ergänzt, existieren bereits in größerer anzahl. in einer datenbank könnten zusätzlich erfahrungsberichte mit der methode gesammelt werden. und nicht zuletzt sollte der forscher sich selbst, sein ganzes 'soma' mit in den forschungsprozess einbeziehen, weil ohne die gelebte erfahrung viele möglichkeiten unbeachtet bleiben. diese subjektorientierten ansätze können die erforschung der feldenkrais-methode sowie anderer wissenschaftlicher ansätze zusätzlich befruchten und zu neuen erkenntnissen führen. diskussion 100 in der feldenkrais-'welt' werden scheinbare gegebenheiten hinterfragt und es wird bewusst versucht, eine andere als die vorherrschende perspektive einzunehmen. dadurch können sich neue möglichkeiten für alle beteiligten auftun. so gehen annahmen der feldenkrais-methode über das verständnis von z.b. klassischer "naturwissenschaft" und "medizin" hinaus. die folgenden zitate sollen dies verdeutlichen. schacker (2004) schreibt z.b.: "die begriffsordnungen der (natur)wissenschaften sind … nicht so einfach in die praxis eines feldenkrais-lehrers zu übertragen" (s. 2) und "jede übertragung einer erfahrungsordnung in eine begriffsordnung ist prinzipiell ärmer als die gelebte erfahrung" (schacker, 2004). ginsberg (2004a) plädiert deshalb für ein "verschieben der wahrnehmungen" (s. 52) und merkt an, dass klassische "wissenschaftliche experimente für sich allein … nie ausgereicht haben, um grundsätze aufzustellen" (s. 52). beide autoren treten deshalb für einen dialog mit der "wissenschaft" ein, um voneinander zu lernen und sich gegenseitig zu befruchten. die anzahl und güte der studien zur feldenkrais-methode haben innerhalb der letzten dekade zugenommen. in dieser studie sind 11% der teilnehmer durch empfehlungen von mitarbeitern aus verschiedenen bereichen des gesundheitswesens zur feldenkrais-methode gekommen. die methode kann als frei von nebenwirkungen im allgemeinverständlichen sinn angesehen werden, wenn sie 'richtig' praktiziert wird. die akzeptanz der teilnehmer in den bislang veröffentlichten studien sowie dieser studie kann als hoch eingeschätzt werden. alle diese aspekte deuten auf interessante und vielfältige einsatzmöglichkeiten der methode hin. auch wenn die ergebnisse der fragebögen in dieser studie ein zweideutiges bild erscheinen lassen, so sprechen einige gründe dafür, dass es sich bei der methode um einen interessanten ansatz handelt, mit dem sich zu beschäftigen lohnt. letztendlich kann jeder nur seine eigenen erfahrungen mit der methode sammeln und sehen, ob sie ihm neue erkenntnisse bringt und zur persönlichen entwicklung beitragen kann. literaturverzeichnis 101 literaturverzeichnis bandura, a. 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[htmldokument]. verfügbar unter: http://www.euro.who.int/aboutwho/policy/ 20010827_2?language=german [27.11.2004]. anhang 115 anhang a abbildungen abbildung 1.1 die vier grundlegenden elemente menschlichen seins .................................... 14 abbildung 1.2 principles of cortical reorganization ............................................................... 34 abbildung 1.3 theoretische konzepte zum körpererleben...................................................... 59 abbildung 2.1 untersuchungsdesign ........................................................................................ 63 abbildung 2.2 prozessmodell induktiver kategorienbildung ................................................... 70 abbildung 3.1 seit wie vielen jahren nehmen sie regelmäßig an feldenkrais-gruppen teil?.................................................................................................................... 80 abbildung 3.2 wie sind sie zur feldenkrais-methode gekommen? ........................................ 81 abbildung 3.3 warum nehmen sie an einer feldenkrais-gruppe teil? .................................... 82 abbildung 3.4 was versprechen sie sich von der feldenkrais-methode?................................ 83 abbildung 3.5 gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? ................................................................ 84 abbildung 3.6 in welchen bereichen haben sie schwierigkeiten mit der methode?............... 85 abbildung 3.7 treten bei ihnen irgendwelche begleiterscheinungen aufgrund der fkmethode auf? .................................................................................................... 86 abbildung 3.8 mittelwerte für die subskalen ksk und psk des sf-12 für die feldenkraisund sprachkursgruppen zu beiden messzeitpunkten ................... 90 abbildung 3.9 mittelwerte, streuung, standartabweichung und außreißer-werte für die körperliche summenskala ................................................................................. 91 abbildung 3.10 mittelwerte für die selbstwirksamkeitserwartung in der feldenkraisund sprachkursgruppe zu beiden messpunkten....................................................... 92 abbildung 3.11 mittelwerte für die subskalen akb und vkd für feldenkrais und sprachkurs-gruppe zu beiden messzeitpunkten............................................... 93 tabellen tabelle 1.1 übersicht über die allgemeinen gütekriterien für interventionsmaßnahmen ... 42 tabelle 3.1 teilnehmer der studie....................................................................................... 75 tabelle 3.2 soziodemographische daten............................................................................. 76 tabelle 3.3 hauptkategorien aus der analyse der qualitativen daten ................................. 79 tabelle 3.4 t-test für abhängige stichproben: gesundheitszustand, selbstwirksamkeitserwartung und körperbild.................................................. 89 anhang 116 anhang b tabellen tabelle b1 wie sind sie zur feldenkrais-methode gekommen? ...................................... 117 tabelle b2 warum nehmen sie an einer feldenkrais-gruppe teil? .................................. 121 tabelle b3 was versprechen sie sich von der feldenkrais-methode?.............................. 131 tabelle b4 gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? .............................................................. 139 tabelle b5 inwiefern profitieren sie von den feldenkrais-lektionen? ............................ 146 tabelle b6 in welchen bereichen haben sie schwierigkeiten mit der feldenkraismethode?......................................................................................................... 154 tabelle b7 treten bei ihnen irgendwelche begleiterscheinungen aufgrund der feldenkrais-methode auf?............................................................................... 158 tabelle b8 gab es in den letzten 4 wochen veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? .................... 161 fragebögen fragebogen 1 (fk t1) ................................................................................................................ 164 fragebogen 2 (sk t1) ................................................................................................................ 172 fragebogen 3 (fk t2) ................................................................................................................ 178 fragebogen 4 (sk t2) ................................................................................................................ 183 aufteilung der kapitel ............................................................................................................. 187 anhang b – tabelle b-1 117 fortsetzung tabelle b1 wie sind sie zur feldenkrais-methode gekommen? nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 1 durch meine mutter, die bereits seit längerem feldenkrais macht. mutter familienmitglied 13 11,71% 70 meine mutter hat es empfohlen 2 durch ein langes gespräch mit meiner cousine; auf anraten meiner hausärztin cousine 6 durch meine schwester schwester 86 empfehlung der schwester 18 durch meine tochter tochter 40 empfehlung meiner tochter und auf grund eigenen interesses 21 durch anregung / beispiel meiner ehefrau ehefrau 33 durch meine frau, die krankengymnastin ist + peter schulz, der leiter der düsseldorfer gruppe ist. 54 über die empfehlung eines sohnes sohn 56 empfohlen von unserem sohn 59 durch meine mann, mitgenommen ehemann 88 eine schwiegermutter hat mir wegen meiner dauernd auftretenden rückenschmerzen feldenkrais empfohlen schwiegermutter 13 durch eine freundin freundin freunde, freund/freundin 19 17,12% 37 durch freundin 38 durch eine freundin, die auch probleme mit dem rücken hat. 39 durch freundinnen angeregt die feldenkrais machen 49 kennen gelernt durch ein früheres turnen, dann durch eine freundin auf ein spezielles angebot aufmerksam gemacht 53 durch eine freundin 55 durch eine freundin 61 einladung durch eine freundin 64 über die empfehlung einer freundin 74 empfehlung einer freundin 81 durch eine freundin 85 auf empfehlung meiner besten freundin, die das selbst schon gemacht hat. 87 durch die teilnahme einer freundin 91 durch freundin in israel 84 durch empfehlung eines freundes nach einem bandscheibenvorfall freund 42 durch freunde freunde 60 hinweis v. freunden anhang b – tabelle b-1 118 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 79 durch freunde freunde, freund/freundin 43 im freundeskreis, u.a. durch 1 feldenkrais-lehrerin freundeskreis 2 durch ein langes gespräch mit meiner cousine; auf anraten meiner hausärztin hausärztin mitarbeiter oder institutionen im gesundheitswesen 12 10,81% 17 auf rat meines arztes arzt 89 auf empfehlung der ärztin, hinweis einer bekannten 10 da ich rückenschmerzen hatte, wurde mir eine krankengymnastin empfohlen, die nach feldenkrais gearbeitet hat. krankengymnastin 25 durch eine krankengymnastin 33 durch meine frau, die krankengymnastin ist + peter schulz, der leiter der düsseldorfer gruppe ist. 69 durch meine physiotherapeutin 83 bandscheibenvorfälle, chronische rückenschmerzen -> empfehlung des chiropraktikers chiropraktiker 24 lust/ neugierde/ durch arbeit in kg-abteilung/ reha rehabilitationsmaßnahme 66 in der reha-maßnahme kennengelernt 52 durch die anregung meiner krankenkasse wegen anhaltender rückenschmerzen krankenkasse 72 empfehlung meines psychotherapeuten psychotherapeut 73 empfehlung eines psychologen psychologe 3 durch erzählungen einer bekannten bekannte (n) andere personen, bekannte oder kollegen 18 16,22% 7 erzählungen anderer 11 weil ich bewegung bzw. gymnastik wollte. eine bekannte, die gymnastik bez. turnen macht, hat mir feldenkrais empfohlen 19 habe von einer bekannten davon gehört und das es gut geholfen hat bei rückenschmerzen 27 ein bekannter hat mich auf die methode aufmerksam gemacht 30 die leiterin des institutes wohnte mit mir im selben haus 57 zufällige bekanntschaft mit der feldenkrais-lehrerin 89 auf empfehlung der ärztin, hinweis einer bekannten 90 durch bekannte 63 durch eine kollegin kollegin 82 durch empfehlung einer kollegin, die selbst feldenkrais macht. 50 mich hat schon immer körperarbeit interessiert. so kam ich automatisch in kontakt mit büchern von m. feldenkrais; leute, die f. machen bzw. ausbildung gemacht haben. 26 empfehlung einer tanzlehrerin tanzlehrerin 68 empfehlung einer tanzlehrerin anhang b – tabelle b-1 119 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 32 vor feldenkrais yogaerfahrungen und dabei in einer gruppe erste ansätze von feldenkrais durch eine lehrerin kennengelernt lehrerin andere personen, bekannte oder kollegen 33 durch meine frau, die krankengymnastin ist + peter schulz, der leiter der düsseldorfer gruppe ist. 44 durch die empfehlung einer dozentin f. tanzpädagogik dozentin 46 durch meine musiklehrerin, die mir "feldenkrais" empfahl; hatte bereits erfahrungen mit "körper+ atemarbeit" 4 über das vhs-angebot und durch intuitives interesse vhs-angebot medien/veröffentlichun-gen 19 17,12% 5 habe darüber gelesen und im fernsehen 1 sendung gesehen die mich angesprochen hat buch/fernsehen 8 angebot unserer kirchengemeinde (kircheblatt) weitere info über das internet kirchenblatt/internet 7 berichte aus den dmsg-publikationen dmsg-publikationen 9 durch dem kirchenblatt und fernsehen 15 durch einen artikel, der in unserem gemeindeblatt stand 22 durch fernsehsendung über m. feldenkrais 28 workshops (teilelemente), veröffentlichungen 34 lesen und ausprobieren 47 1985 neugier, interesse an alternativen methoden /1999 mir fiel beim tanzen mein mangelndes gleichgewicht auf, dann über thomas hanna buch "somatics" kam ich auf feldenkrais 50 mich hat schon immer körperarbeit interessiert. so kam ich automatisch in kontakt mit büchern von m. feldenkrais; leute, die f. machen bzw. ausbildung gemacht haben. 65 durch ein angebot in "evas arche" und neugier 75 durch einen flyer flyer 77 buch 92 durch das lesen moshé feldenkrais "bewußtheit durch bewegung" 4 über das vhs-angebot und durch intuitives interesse intuitives interesse, eigeninteresse, interesse 9 8,11% 7 intuition interesse an körperarbeit, 24 lust/ neugierde/ durch arbeit in kg-abteilung/ reha lust/neugier 40 emfehlung meiner tochter und auf grund eigenen interesses 47 1985 neugier, interesse an alternativen methoden /1999 mir fiel beim tanzen mein mangelndes gleichgewicht auf, dann über thomas hanna buch "somatics" kam ich auf feldenkrais 50 mich hat schon immer körperarbeit interessiert. so kam ich automatisch in kontakt mit büchern von m. feldenkrais; leute, die f. machen bzw. ausbildung gemacht haben. 65 neugier 24 lust/ neugierde/ durch arbeit in kg-abteilung/ reha arbeit in der kg-abteilung beruf 3 2,70% 58 schauspielschule und später durch einen bandscheibenvorfall schauspielschule anhang b – tabelle b-1 120 nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 80 durch meine beruf als medizinjournalismus beruf als medizinjournalismus beruf 12 weil keine andere krankengymnastik oder übungen, massagen usw. bei meinen ständigen verspannungen halfen. nichts anderes half (rückenschmerzen), ersatz für gymnastik alternative 2 1,80% 51 auf der suche nach ersatz für gymnastik, die ich nach einer fußoperation nicht mehr durchführen kann und dringend benötigt ersatz für gymnastik 14 ich war in einer gruppe nach middendorf und habe dort von der feldenkraisarbeit gehört. gruppe nach middendorf kurse, workshops, seminare 10 9,01% 23 über andere tanzkurse in der tanztangente anderen tanzkurs 31 angebot von der tanztangente, wo ich vorher moderndance u.a. gebucht hatte 41 ich habe einen anderen kurs in der t.t. besucht (jazz dance) und bin dadurch auf den f.k. aufmerksam geworden 45 eher zufällig "tanztangente" hat ein gutes renomee irene sieben gehörte dazu (meine feldenkrais-lehrerin) 62 ich kannte den namen feldenkrais durch modern dance und war neugierig was "feldenkrais" bewirkt 49 kennengelernt durch ein früheres turnen, dann durch eine freundin auf ein spezielles angebot aufmerksam gemacht turnen 71 durch das kursangebot des gesundheitsstudios, dessen mitglied ich bin. gesundheitsstudio 28 workshops (teilelemente), veröffentlichungen workshop 38 anregung durch andere "körper"-seminare seminare 35 empfehlung sonstiges 3 2,70% 76 empfehlung 48 auf empfehlung einer fachfrau 16,20,78 [keine antwort] keine antwort keine antwort 3 2,70% gesamtzahl/prozent 111 100,00% anhang b – tabelle b-2 121 fortsetzung tabelle b2 warum nehmen sie an einer feldenkrais-gruppe teil? nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 1 weil es sehr entspannend ist. weil es das körperempfinden und die beweglichkeit stärkt ist entspannend entspannung 19 10,38% 4 weil ich lust habe jede stunde etwas neues über die zusammenhänge in meinem körper zu lernen. weil diese form des lernen mir spaß macht und echte zufriedenheit gibt und mich außerdem beruhigt und sehr entspannt. beruhigt und sehr entspannt 10 ich komme innerlich zur ruhe, indem ich die bewegungen ausführe und dem dozenten zuhöre. es macht mir auch spaß, ungewöhnliche bewegungsabläufe zu machen. komme innerlich zu ruhe 12 für eine so intensive entspannung gibt es keine begründung: einmalig effektiv – weil es spaß macht intensive entspannung 19 weil ich dadurch keine schmerzen mehr im lendenwirbelbereich habe, und ich es als sehr entspannend und teilweise als meditativ empfinde. bei den meisten übungen fast immer der ganze körper angesprochen wird. 21 beweglichkeitserhaltung / vorbeugung bandscheibenvorwölbung (wiederholung) / entspannung 36 zum erhalt von körperlicher beweglichkeit. zum erhalt von körperlicher gesundheit. zur erlangung von körperbewusstsein. zur entspannung 37 ich habe ab und zu rückenprobleme (lws-syndr.). diese feldenkraisübungen geben eine große entspannung und mein gefühl für meinen körper hat sich verbessert. 39 zur entspannung / zur besseren beweglichkeit / um wohlbefinden 41 ich möchte meine beweglichkeit erhalten. dadurch, dass ich spannung loslasse wirkt f. auf mich entspannend. falsche bewegungsmuster werden aufgelöst. ich werde wachsamer und spüre meinen körper besser (auch ohne schmerzen) 53 weil es mir gut tut und mich entspannt; weil es mir danach besser geht 63 der entspannung – bewusste wahrnehmung – körperhaltung – umgang mit stress 64 ich werde 1x die woche in einen prozess geschickt, der mich entspannt, ruhig macht, wo ich mich mit mir selbst beschäftige. meine auszeit. daneben besseren sich meine rückenschmerzen 65 es entspannt mich tief. es trainiert mein hirn. es hilft mir, schmerzen nachhaltig abzustellen. ich habe gelernt, auf mich zu achten und nicht ehrgeizig zu sein. 72 bessere körperwahrnehmung, damit lernen die eigenen kräfte besser einzuschätzen; besser entspannen; gutes körpergefühl; krankheitssymtome differenzierter wahrnehmen, gezieltere behandlung einfordern "sich selbst fühlen" 77 verlangsamung des alltags (entschleunigung der bewegungen), entspannung, rückenschmerzen 80 zuerst, weil es mich gut entspannt, danach (ca. 1 jahr später) weil es mich selbstbewusster gemacht hat und meine haltung besser ist 81 ich habe eine vorwiegend sitzende tätigkeit in einem hektischen büro mit viele lärm + streß. die daraus resultierenden beschwerden (rücken, knie, hws, lws) lassen sich in der feldenkraisgruppe gut mildern. man kann abschalten, zu sich finden, körpergefühl entwickeln, entspannen. 91 tut mir gut, entspannt, macht probleme bewußt 2 weil es mir gut tut tut gut wohlbefinden körperlich 22 12,02% anhang b – tabelle b-2 122 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 4 weil ich lust habe jede stunde etwas neues über die zusammenhänge in meinem körper zu lernen. weil diese form des lernen mir spaß macht und echte zufriedenheit gibt und mich außerdem beruhigt und sehr entspannt. echte zufriedenheit wohlbefinden seelisch 6 ich fühle mich wohl durch die sanften bewegungen. das gehirn wird gefordert, aufzpassen welchen arm oder bein man in bewegung setzt. fühle mich wohl 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden 9 da es mir seelisch und köperlich gut tut 18 weil es mir gut tut und ich weniger schmerzmittel nehmen muß 23 es tut mir gut. ich bin jedes mal überrascht, dass ich wieder neues erfahren haben und wie viel leichter [nicht lesbar] gestimmt ich nach hause gehe. 24 ich bewege mich gerne, spüre mich gerne im fluß/ fließe in diesen weichen bewegungen es ist für mich kreative hingabe + hochgenuß kreative hingabe + hochgenuß 24 ich bewege mich gerne, spüre mich gerne im fluß/ fließe in diesen weichen bewegungen es ist für mich kreative hingabe + hochgenuß bewege mich gerne 29 um meine beweglichkeit zu erhalten, um mehr beweglichkeit im körperlichen und seelischen bereich zu finden, weil ich die lektionen als sehr wohltuend empfinde 34 mir gefällt die methode. mir gefällt die leiterin. es tut mir gut. 39 zur entspannung / zur besseren beweglichkeit / um wohlbefinden 47 1. bedürfnis mich und meinen körper kennenzu lernen 2. weil die stunde ausgesprochen angenehm + wohltuend für mich ist. 3. um meine muskulären verspannungen ab zu bauen. 4. meine haltung + bewegung für den alltag + den tanzunterricht besser zu koordinieren. 52 ruhige, entspannte atmosphäre, geborgenheit, kleinste bewegungen ohne schmerzen, dennoch große wirkung 53 weil es mir guttut und mich entspannt; weil es mir danach besser geht 54 weil diese regelmäßige arbeit mir gut tut 58 es tut mir sehr gut. ich komme zu mir. es stärkt mein selbstbewusstsein. ich lerne jedes mal mehr über meinen körper und das hilft mir in meinem beruf. 59 die beobachtung meiner selbst und meines körpers und dessen verhalten sind mir neuund interessieren mich sehr. in der ersten atm lag ich da und fühlte mich wohl, wollte das lernen. 75 weil es spaß macht und gut tut ! weil ich interesse an köperarbeit habe und mich darüber auch emotional und geistig weiterentwickele 83 es tut mir kurzund langfristig gut (körperliches & seelisches wohlbefinden), es macht (meistens) spaß, ich erweitere meine bewegungsmöglichkeiten, erhalte meine schmerzfreiheit. 90 es dient meinem wohlbefinden 91 tut mir gut, entspannt, macht probleme bewußt 23 es tut mir gut. ich bin jedes mal überrascht, dass ich wieder neues erfahren haben und wie viel leichter [nicht lesbar] gestimmt ich nach hause gehe. leichter gestimmt nach der stunde stimmung 1 0,55% 1 weil es sehr entspannend ist. weil es das körperempfinden und die beweglichkeit stärkt beweglichkeit wird gestärkt beweglichkeit/haltung 23 12,57% anhang b – tabelle b-2 123 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 3 um meine beweglichkeit zu verbessern beweglichkeit wird verbessert beweglichkeit/haltung 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden stabilität 11 ich wollte unter anleitung übungen anwenden. es macht mir spaß und macht mich beweglicher. außerdem macht es auch in der gruppe spaß. zuhause habe ich ein trimmdichrad, aber der feldenkrais spricht alle muskeln an. macht mich beweglicher 21 beweglichkeiterhaltung / vorbeugung bandscheibenvorwölbung (wiederholung) / entspannung beweglichkeitserhaltung 27 da ich am mikroskope arbeite ist meine beweglichkeit stark eingeschränkt, ich brauchte eine methode, die meiner zwangshaltung entgegen wirkt oder wieder auflöst und die ich jederzeit selber ausführen kann 28 bewegungsfähigkeit erhalten + verbessern 29 um meine beweglichkeit zu erhalten, um mehr beweglichkeit im körperlichen und seelischen bereich zu finden, weil ich die lektionen als sehr wohltuend empfinde 36 zum erhalt von korperlicher beweglichkeit. zum erhalt von körperlicher gesundheit. zur erlangung von korperbewußtsein. zur entspannung 39 zur entspannung / zur besseren beweglichkeit / um wohlbefinden 40 von kindheit an war ich akrobatisch/sportlich tätig. beruflich bedingt war die körperliche, d.h. sportl. betätigung auf 1-2 x wöchentlich beschränkt. um im alter noch ein mindestmaß an beweglichkeit zu bewahren und um einer arthrose im linken hüftgelenk entgegenwirken zu können, habe ich die mir als besonders geeignet erscheinende feldenkrais-methode erwählt. 41 ich möchte meine beweglichkeit erhalten. dadurch, dass ich spannung loslasse wirkt f. auf mich entspannend. falsche bewegungsmuster werden aufgelöst. ich werde wachsamer und spüre meinen körper besser (auch ohne schmerzen) 44 erweiterung des bewegungsrepertoire 47 1. bedürfnis mich und meinen körper kennenzu lernen 2. weil die stunde ausgesprochen angenehm + wohltuend für mich ist. 3. um meine muskulären verspannungen ab zu bauen. 4. meine haltung + bewegung für den alltag + den tanzunterricht besser zu koordinieren. meine haltung + bewegung für den alltag + den tanzunterricht besser zu koordinieren. 52 ruhige, entspannte atmosphäre, geborgenheit, kleinste bewegungen ohne schmerzen, dennoch große wirkung 56 um beweglich zu bleiben 60 in der hoffnung, beweglichkeit zu behalten, eventuell knieschmerzen i. rechten knie zu verlieren. 71 zur erhaltung meiner beweglichkeit, zur schmerzlinderung, zur vermeindung von gleichgewichtsstörungen 77 verlangsamung des alltags (entschleunigung der bewegungen), entspannung, rückenschmerzen entschleunigung der bewegungen 80 zuerst, weil es mich gut entspannt, danach (ca. 1 jahr später) weil es mich selbstbewusster gemacht hat und meine haltung besser ist haltung besser 83 es tut mir kurzund langfristig gut (körperliches & seelisches wohlbefinden), es macht (meistens) spaß, ich erweitere meine bewegungsmöglichkeiten, erhalte meine schmerzfreiheit. 87 ich möchte das aktivieren von verschied. bewegungsabläufen erlernen. 89 nach dem physiotherapeutische-methoden nur bedingt erfolg hatten, hat meine ärztin mir geraten, mir eine gruppe zu suchen. sie hält es für eine methode meine beweglichkeit zu erhalten, bzw. zurückzuerlangen. anhang b – tabelle b-2 124 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 32 starke rücken-lws-syndrom-schmerzen zwangen mich auf anderen wegen als den schulmedizinischen hilfe zu suchen. außerdem fasziniert mich die langsamkeit u. intensität, die absolute konzentration und feinfühligkeit kleinster bewegungsabläufe mit großer wirkung absolute konzentration und feinfühligkeit kleinster bewegungsabläufe bewußtmachen 6 3,28% 41 ich möchte meine beweglichkeit erhalten. dadurch, dass ich spannung loslasse wirkt f. auf mich entspannend. falsche bewegungsmuster werden aufgelöst. ich werde wachsamer und spüre meinen körper besser (auch ohne schmerzen) 46 ich schätze das angeleitet-werden in der gruppe, das sich zentrieren auf den eigenen körper u. seine empfindungen; das innere forschen nach körperlichen zusammenhängen u. verbindungen. zentrieren auf den eigenen körper u. seine empfindungen 63 der entspannung – bewusste wahrnehmung – körperhaltung – umgang mit stress 79 entdeckung von neuen möglichkeiten (im körper und im gehirn), entwicklung einer neuen bewusstsein, man kann diesen neuen "körperzustand" sofort spüren und genießen 91 tut mir gut, entspannt, macht probleme bewußt 92 1 weil es sehr entspannend ist. weil es das körperempfinden und die beweglichkeit stärkt körperempfinden, körpergefühl körper 11 6,01% 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden verbesserung des körpergefühls körperbild, körperbewußtsein 13 verbesserung meine rückenund schulterproblemewahrnehmung meines körperbildes – faszination der "feinstofflichkeit" der bewegungen – berufliches interesse 36 zum erhalt von korperlicher beweglichkeit. zum erhalt von körperlicher gesundheit. zur erlangung von korperbewußtsein. zur entspannung 37 ich habe ab und zu rückenprobleme (lws-syndr.). diese feldenkraisübungen geben eine große entspannung und mein gefühl für meinen körper hat sich verbessert. 41 ich möchte meine beweglichkeit erhalten. dadurch, dass ich spannung loslasse wirkt f. auf mich entspannend. falsche bewegungsmuster werden aufgelöst. ich werde wachsamer und spüre meinen körper besser (auch ohne schmerzen) 46 ich schätze das angeleitet-werden in der gruppe, das sich zentrieren auf den eigenen körper u. seine empfindungen; das innere forschen nach körperlichen zusammenhängen u. verbindungen. 63 der entspannung – bewusste wahrnehmung – körperhaltung – umgang mit stress 72 bessere körperwahrnehmung, damit lernen die eigenen kräfte besser einzuschätzen; besser entspannen; gutes körpergefühl; krankheitssymtome differenzierter wahrnehmen, gezieltere behandlung einfordern "sich selbst fühlen" 73 angefangen habe ich mit feldenkrais da ich unter tinitus und luftknappheit litt (beides psychosomatisch). jetzt ist der grund, dass ich ein besseres gespür für mich selbst entwickle, wenn ich 1x wöchentlich übe 81 ich habe eine vorwiegend sitzende tätigkeit in einem hektischen büro mit viele lärm + streß. die daraus resultierenden beschwerden (rücken, knie, hws, lws) lassen sich in der feldenkraisgruppe gut mildern. man kann abschalten, zu sich finden, körpergefühl entwickeln, entspannen. anhang b – tabelle b-2 125 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 13 verbesserung meine rückenund schulterproblemewahrnehmung meines körperbildes – faszination der "feinstofflichkeit" der bewegungen – berufliches interesse verbesserung rückenund schulterprobleme körperliche beschwerden 37 20,22% 14 durch unterschiedl. kurzsichtigkeit der augen < 2 dioptrin (unterschied), hatte ich eine orientierung des kopfes zur rechten seite schmerzreduktion, linderung 17 ich habe an migräne schon als kind gelitten. berufsbedingt hatte ich auch im rücken u. schulterbereich schmerzen. oft hatte ich auch eine innere unruhe, war nervös und traurig. migräne, schmerzen im rückenund schulterbereich 19 weil ich dadurch keine schmerzen mehr im lendenwirbelbereich habe, und ich es als sehr entspannend und teilweise als meditativ empfinde. bei den meisten übungen fast immer der ganze körper angesprochen wird. keine schmerzen mehr in der lendenwirbelsäule 21 beweglichkeiterhaltung / vorbeugung bandscheibenvorwölbung (wiederholung) / entspannung bandscheibenvorwölbung 22 probleme mit hüftgelenken als tänzerin hüftgelenke 25 leide seit ca. 20 j. an arthrose d. hände u. hws, konnte durch regelmäßiges training meinen beruf als krankengymnastin bis zu letzt ausüben, was sonst nicht möglich gewesen wäre od, nur mit starken schmerzmitteln. arthrose d. hände u. hws, 26 funktionale beschwerden im verdauungstrakt und gelenke/wirbelsäule beschwerden im verdauungstrakt und gelenke/wirbelsäule 27 da ich am mikroskope arbeite ist meine beweglichkeit stark eingeschränkt, ich brauchte eine methode, die meiner zwangshaltung entgegen wirkt oder wieder auflöst und die ich jederzeit selber ausführen kann 32 starke rücken-lws-syndrom-schmerzen zwangen mich auf anderen wegen als den schulmedizinischen hilfe zu suchen. außerdem fasziniert mich die langsamkeit u. intensität, die absolute konzentration und feinfühligkeit kleinster bewegungsabläufe mit großer wirkung rücken-lws-syndromschmerzen 35 gesundheitliche problem durch arbeit am mikroskop 37 ich habe ab und zu rückenprobleme (lws-syndr.). diese feldenkraisübungen geben eine große entspannung und mein gefühl für meinen körper hat sich verbessert. 38 schmerzen im rücken und hüftartrose 40 von kindheit an war ich akrobatisch/sportlich tätig. beruflich bedingt war die körperliche, d.h. sportl. betätigung auf 1-2 x wöchentlich beschränkt. um im alter noch ein mindestmaß an beweglichkeit zu bewahren und um einer arthrose im linken hüftgelenk entgegenwirken zu können, habe ich die mir als besonders geeignet erscheinende feldenkrais-methode erwählt. 43 vgl. s. 3, erste frage – dto. habe ich mir linderung für rückenund halswirbelschmerzen versprochen 47 1. bedürfnis mich und meinen körper kennenzu lernen 2. weil die stunde ausgesprochen angenehm + wohltuend für mich ist. 3. um meine muskulären verspannungen ab zu bauen. 4. meine haltung + bewegung für den alltag + den tanzunterricht besser zu koordinieren. muskulären verspannungen ab zu bauen 55 ich hatte mit schwindelgefühl zu tun, was von der verspannung des nacken und schulterbereiches herrührte. daraufhin begann ich mit feldenkrais und mein zustand hat sich entscheidend gebessert. bei durchaus immer wieder auftretenden verspannungen hilft jetzt meist eine feldenkraisübungsstunde, besonders gut eine einzelstunde 57 –häufige starke gelenkschmerzen gefühl von "fehlbewegungen", "fehlhaltungen" 60 in der hoffnung, beweglichkeit zu behalten, eventuell knieschmerzen i. rechten knie zu verlieren. anhang b – tabelle b-2 126 fortsetzung 61 verspannungen im nackenbereich + damit im zushang häufiger auftretende kopfschmerzen – schmerzen in der linken hüfte nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 62 um körperliche rückenund nackenschmerzen zu lindern; um beweglichkeit zu erhalten bzw. zu verbessern körperliche beschwerden 64 ich werde 1x die woche in einen prozess geschickt, der mich entspannt, ruhig macht, wo ich mich mit mir selbst beschäftige. meine auszeit. daneben besseren sich meine rückenschmerzen schmerzreduktion, linderung 65 es entspannt mich tief. es trainiert mein hirn. es hilft mir, schmerzen nachhaltig abzustellen. ich habe gelernt, auf mich zu achten und nicht ehrgeizig zu sein. 66 probleme im halswirbelund schulterbereich; ständig schmerzen bis hin zum einschlafen der linken hand bei tätigkeiten 68 verspannungsprobleme 69 wegen degenerativer ws-erkrankung mit chronischen schmerzen nach bandscheiben-op und zustand nach hüft-tep 70 rückenschmerzen, schlechte haltung 71 zur erhaltung meiner beweglichkeit, zur schmerzlinderung, zur vermeindung von gleichgewichtsstörungen 73 angefangen habe ich mit feldenkrais da ich unter tinitus und luftknappheit litt (beides psychosomatisch). jetzt ist der grund, dass ich ein besseres gespür für mich selbst entwickle, wenn ich 1x wöchentlich übe 74 orthopädische u. internistische probleme 77 verlangsamung des alltags (entschleunigung der bewegungen), entspannung, rückenschmerzen 81 ich habe eine vorwiegend sitzende tätigkeit in einem hektischen büro mit viele lärm + streß. die daraus resultierenden beschwerden (rücken, knie, hws, lws) lassen sich in der feldenkraisgruppe gut mildern. man kann abschalten, zu sich finden, körpergefühl entwickeln, entspannen. 82 da ich probleme im unteren wirbelsäulen-bereich (lendenwirbel) habe, suchte ich nach einer "sanften" methode, mit diesen beschwerden umgehen zu können bzw. sie evtl. auch zu beseitigen. 83 es tut mir kurzund langfristig gut (körperliches & seelisches wohlbefinden), es macht (meistens) spaß, ich erweitere meine bewegungsmöglichkeiten, erhalte meine schmerzfreiheit. 84 habe chronische rückenschmerzen, knieprobleme und andere beschwerden durch haltungsschäden durch verdrängung von warnsignalen des körpers und schlechte körperwahrnehmung schränke ich mich in meiner lebensqualität ein. 85 weil ich schon seit jahren auf der suche bin nach einer form der bewegung, die seelisches und körperliches vereint un dich seit ca. 15 jahren anhaltende bzw. wiederkehrende schmerzen im schulterblattmuskel rechts habe, auf die sich entspannende übung günstig auswirkt. 88 bandscheibenvorfall m. op als ich 15 war, von da ab immer wieder probleme mit dem rücken 4 weil ich lust habe jede stunde etwas neues über die zusammenhänge in meinem körper zu lernen. weil diese form des lernen mir spaß macht und echte zufriedenheit gibt und mich außerdem beruhigt und sehr entspannt. neues über die zusammenhänge in meinem körper zu lernen körperzusammenhänge lernen 9 4,92% 5 es interessiert mich – was nun bei mir passiert – durch das damit beschäftigen 13 verbesserung meine rückenund schulterproblemewahrnehmung meines körperbildes – faszination der "feinstofflichkeit" der bewegungen – berufliches interesse anhang b – tabelle b-2 127 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 23 es tut mir gut. ich bin jedes mal überrascht, dass ich wieder neues erfahren haben und wie viel leichter [nicht lesbar] gestimmt ich nach hause gehe. wieder neues erfahren neues über körperzusammenhänge lernen 41 ich möchte meine beweglichkeit erhalten. dadurch, dass ich spannung loslasse wirkt f. auf mich entspannend. falsche bewegungsmuster werden aufgelöst. ich werde wachsamer und spüre meinen körper besser (auch ohne schmerzen) 44 erweiterung des bewegungsrepertoire 46 ich schätze das angeleitet-werden in der gruppe, das sich zentrieren auf den eigenen körper u. seine empfindungen; das innere forschen nach körperlichen zusammenhängen u. verbindungen. 47 1. bedürfnis mich und meinen körper kennenzu lernen 2. weil die stunde ausgesprochen angenehm + wohltuend für mich ist. 3. um meine muskulären verspannungen ab zu bauen. 4. meine haltung + bewegung für den alltag + den tanzunterricht besser zu koordinieren. bedürfnis mich und meinen körper kennenzu lernen 58 es tut mir sehr gut. ich komme zu mir. es stärkt mein selbstbewusstsein. ich lerne jedes mal mehr über meinen körper und das hilft mir in meinem beruf. 72 bessere körperwahrnehmung, damit lernen die eigenen kräfte besser einzuschätzen; besser entspannen; gutes körpergefühl; krankheitssymtome differenzierter wahrnehmen, gezieltere behandlung einfordern "sich selbst fühlen" 76 um mich besser kennen zu lernen , um stereotypen meines bewegungsablaufs zu ermitteln, um zu lernen, "weniger" als "mehr" zu akzeptieren 33 um neue andere bewegungsstudien kennen + spüren zu lernen neugier/ interesse 8 4,37% 42 nach vielen anderen bewegungsformen (auch tanz) neue erfahrungen zu sammeln. neue erfahrungen zu sammeln. 50 – intensives interesse mich mit feldenkrais auseinanderzusetzten zeitpunkt (morgens v.d. arbeit); wohnortnähe sehr gute dozentin => so bin ich in diese gruppe gekommen 59 die beobachtung meiner selbst und meines körpers und dessen verhalten sind mir neuund interessieren mich sehr. in der ersten atm lag ich da und fühlte mich wohl, wollte das lernen. 67 –möchte ausprobieren, ob mir diese methode hilft – möchte aktiv etwas für meine gesundheit tun – um etwas neues (für mich) auszuprobieren (neugier) 75 weil es spaß macht und gut tut ! weil ich interesse an köperarbeit habe und mich darüber auch emotional und geistig weiterentwickele 6 ich fühle mich wohl durch die sanften bewegungen. das gehirn wird gefordert, aufzpassen welchen arm oder bein man in bewegung setzt. gehirn wird gefordert gehirntätigkeit 4 2,19% 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden steigerung der konzentrationsfähigkeit konzentrationsfähigkeit 32 starke rücken-lws-syndrom-schmerzen zwangen mich auf anderen wegen als den schulmedizinischen hilfe zu suchen. außerdem fasziniert mich die langsamkeit u. intensität, die absolute konzentration und feinfühligkeit kleinster bewegungsabläufe mit großer wirkung absolute konzentration 65 es entspannt mich tief. es trainiert mein hirn. es hilft mir, schmerzen nachhaltig abzustellen. ich habe gelernt, auf mich zu achten und nicht ehrgeizig zu sein. anhang b – tabelle b-2 128 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden spaß spaß 6 3,28% 10 ich komme innerlich zur ruhe, indem ich die bewegungen ausführe und dem dozenten zuhöre. es macht mir auch spaß, ungewöhnliche bewegungsabläufe zu machen. 11 ich wollte unter anleitung übungen anwenden. es macht mir spaß und macht mich beweglicher. außerdem macht es auch in der gruppe spaß. zuhause habe ich ein trimmdichrad, aber der feldenkrais spricht alle muskeln an. 12 für eine so intensive entspannung gibt es keine begründung: einmalig effektiv – weil es spaß macht 30 die feldenkrais-methode war mir aus literatur und vom hörensagen bekannt. ich war neugierig. ich bewege mich gern. die berührungspunkte als ärztin und meinem speziellen interesse an neurologie und physiologie sind gross. ich habe eine sehr gute lehrerin, die feldenkrais noch persönlich kannte. 75 weil es spaß macht und gut tut ! weil ich interesse an köperarbeit habe und mich darüber auch emotional und geistig weiterentwickele 83 es tut mir kurzund langfristig gut (körperliches & seelisches wohlbefinden), es macht (meistens) spaß, ich erweitere meine bewegungsmöglichkeiten, erhalte meine schmerzfreiheit. 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden verbesserung des gesundheitszustandes gesundheit/prävention 4 2,19% 18 weil es mir gut tut und ich weniger schmerzmittel nehmen muß weniger schmerzmittel 31 vorbeugende übungen für rücken + bewußte bewegungen vorbeugend 36 zum erhalt von korperlicher beweglichkeit. zum erhalt von körperlicher gesundheit. zur erlangung von korperbewußtsein. zur entspannung erhalt körperlicher gesundheit 67 –möchte ausprobieren, ob mir diese methode hilft – möchte aktiv etwas für meine gesundheit tun – um etwas neues (für mich) auszuprobieren (neugier) aktiv etwas für meine gesundheit tun 7 spaß, freude und genuß an den übungen – verbesserung der beweglichkeit – steigerung der konzentrationsfähigkeit – verbesserung des körpergefühls, stabilität, verbesserung des gesundheitszustandes, den kontakt mit mir zu finden kontakt mit mir finden selbstfindung, selbstbewußtsein 10 5,46% 58 es tut mir sehr gut. ich komme zu mir. es stärkt mein selbstbewusstsein. ich lerne jedes mal mehr über meinen körper und das hilft mir in meinem beruf. 64 ich werde 1x die woche in einen prozess geschickt, der mich entspannt, ruhig macht, wo ich mich mit mir selbst beschäftige. meine auszeit. daneben besseren sich meine rückenschmerzen 65 es entspannt mich tief. es trainiert mein hirn. es hilft mir, schmerzen nachhaltig abzustellen. ich habe gelernt, auf mich zu achten und nicht ehrgeizig zu sein. 73 angefangen habe ich mit feldenkrais da ich unter tinitus und luftknappheit litt (beides psychosomatisch). jetzt ist der grund, dass ich ein besseres gespür für mich selbst entwickle, wenn ich 1x wöchentlich übe anhang b – tabelle b-2 129 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 75 weil es spaß macht und gut tut ! weil ich interesse an köperarbeit habe und mich darüber auch emotional und geistig weiterentwickele selbstfindung, selbstbewußtsein 76 um mich besser kennen zu lernen , um stereotypen meines bewegungsablaufs zu ermitteln, um zu lernen, "weniger" als "mehr" zu akzeptieren 80 zuerst, weil es mich gut entspannt, danach (ca. 1 jahr später) weil es mich selbstbewusster gemacht hat und meine haltung besser ist 81 ich habe eine vorwiegend sitzende tätigkeit in einem hektischen büro mit viele lärm + streß. die daraus resultierenden beschwerden (rücken, knie, hws, lws) lassen sich in der feldenkraisgruppe gut mildern. man kann abschalten, zu sich finden, körpergefühl entwickeln, entspannen. 92 8 seelische probleme durch den tod des partners und teilweise überforderung durch beruf und pflege der mutter seelische probleme, überforderung persönliche probleme 2 1,09% 17 ich habe an migräne schon als kind gelitten. berufsbedingt hatte ich auch im rücken u. schulterbereich schmerzen. oft hatte ich auch eine innere unruhe, war nervös und traurig. innere unruhe, nervös und traurig 11 ich wollte unter anleitung übungen anwenden. es macht mir spaß und macht mich beweglicher. außerdem macht es auch in der gruppe spaß. zuhause habe ich ein trimmdichrad, aber der feldenkrais spricht alle muskeln an. unter anleitung gruppe/anleitung 7 3,83% 30 die feldenkrais-methode war mir aus literatur und vom hörensagen bekannt. ich war neugierig. ich bewege mich gern. die berührungspunkte als ärztin und meinem speziellen interesse an neurologie und physiologie sind gross. ich habe eine sehr gute lehrerin, die feldenkrais noch persönlich kannte. sehr gute lehrerin 34 mir gefällt die methode. mir gefällt die leiterin. es tut mir gut. 45 weil meine f-kraislehrerin eine beeindruckende persönlichkeit, tänzerin, journalistin + frau ist. sie heißt irene sieben. ich hab andere lehrerinnen erlebt, die mich nicht so motivieren würden. (nur vertretungsweise). f-kraislehrerin eine beeindruckende persönlichkeit 46 ich schätze das angeleitet-werden in der gruppe, das sich zentrieren auf den eigenen körper u. seine empfindungen; das innere forschen nach körperlichen zusammenhängen u. verbindungen. angeleitet-werden in der gruppe 50 – intensives interesse mich mit feldenkrais auseinanderzusetzten zeitpunkt (morgens v.d. arbeit); wohnortnähe sehr gute dozentin => so bin ich in diese gruppe gekommen 52 ruhige, entspannte atmosphäre, geborgenheit, kleinste bewegungen ohne schmerzen, dennoch große wirkung 86 erfahrungsaustausch ist in der gruppe möglich. andere übungen werden aufgrund unterschiedlicher anforderungen der teilnehmer kennengelernt. 13 verbesserung meine rückenund schulterproblemewahrnehmung meines körperbildes – faszination der "feinstofflichkeit" der bewegungen – berufliches interesse berufliches interesse 2 1,09% 29 um meine beweglichkeit zu erhalten, um mehr beweglichkeit im körperlichen und seelischen bereich zu finden, weil ich die lektionen als sehr wohltuend empfinde anhang b – tabelle b-2 130 nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 30 die feldenkrais-methode war mir aus literatur und vom hörensagen bekannt. ich war neugierig. ich bewege mich gern. die berührungspunkte als ärztin und meinem speziellen interesse an neurologie und physiologie sind gross. ich habe eine sehr gute lehrerin, die feldenkrais noch persönlich kannte. berufliches interesse 11 ich wollte unter anleitung übungen anwenden. es macht mir spaß und macht mich beweglicher. außerdem macht es auch in der gruppe spaß. zuhause habe ich ein trimmdichrad, aber der feldenkrais spricht alle muskeln an. spricht alle muskeln an ganzheitlichkeit 2 1,09% 19 weil ich dadurch keine schmerzen mehr im lendenwirbelbereich habe, und ich es als sehr entspannend und teilweise als meditativ empfinde. bei den meisten übungen fast immer der ganze körper angesprochen wird. der ganze körper angesprochen 48 da die körperliche belastung bei jazz-dance, rythm. gymnastik oft nicht mehr zu leisten war – orthopädische bewegung in verschiedener art aber zu langweilig und geistig stupide. körperliche belastung bei jazzdance, rythm. gymnastik oft nicht mehr zu leisten war alternative 6 3,28% 49 ein bischen sport ist wichtig, und von aerobic und hauruck-sport halte ich nichts mehr. 51 auf der suche nach ersatz für gymnastik, die ich nach einer fußoperation nicht mehr durchführen kann und dringend benötigt 82 da ich probleme im unteren wirbelsäulen-bereich (lendenwirbel) habe, suchte ich nach einer "sanften" methode, mit diesen beschwerden umgehen zu können bzw. sie evtl. auch zu beseitigen. 85 weil ich schon seit jahren auf der suche bin nach einer form der bewegung, die seelisches und körperliches vereint un dich seit ca. 15 jahren anhaltende bzw. wiederkehrende schmerzen im schulterblattmuskel rechts habe, auf die sich entspannende übung günstig auswirkt. 89 nach dem physiotherapeutische-methoden nur bedingt erfolg hatten, hat meine ärztin mir geraten, mir eine gruppe zu suchen. sie hält es für eine methode meine beweglichkeit zu erhalten, bzw. zurückzuerlangen. 15,16,20,78 [keine antwort] [keine antwort] [keine antwort] 4 2,19% gesamtzahl/prozent 183 100,00% anhang b – tabelle b-3 131 fortsetzung tabelle b3 was versprechen sie sich von der feldenkrais-methode? nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 1 in erster linie entspannung und haltungsverbesserung. entspannung entspannung 14 8,09% 5 entspannung + etwas gelassenheit 8 ich hoffe durch die feldenkrais-methode zu innerer ruhe und mehr selbstbewußtsein zu gelangen, ängste und unsicherheit zu überwinden. innerer ruhe 10 größere beweglichkeit, entspannung, gefühl der ruhe und ausgeglichenheit nach dem kurs, geschmeidigkeit 20 entspannung, beweglichkeit 26 bessere integration, balance, entspannung, beweglichkeit, körperliches selbstbewußtsein, vegetative entkrampfung balance 34 mehr beweglichkeit, entspannung 57 –schmerzlinderung – besseres körpergefühl -entspannung – "bewusstere bewegungsabläufe" 61 linderung der schmerzen durch alternative bewegungsabläufe – entspannung 64 entspannung, weniger rückenprobleme – mich selbst besser spüren 72 gutes körpergefühl entspannung krankheitsvorbeugung/gesundheitsvorsorge 73 entspannung, seelische ausgeglichenheit, auflösen von konzepten und gewohnheiten auf körperl. + seelischer ebene 81 körpergefühl entwickeln, entspannen, bewegungen erlernen bzw. erforschen, schwachpunkte erkennen, schwächen lernen 85 ein besseres verständnis für körperzusammenhänge, entspannung , reduzierung con schulterblattmuskel-probleme 2 wohlbefinden wohlbefinden wohlbefinden 14 8,09% 9 das ich mich wohler fühle und besser durchatmen kann sich wohler fühlen 10 größere beweglichkeit, entspannung, gefühl der ruhe und ausgeglichenheit nach dem kurs, geschmeidigkeit ausgeglichenheit nach dem kurs 11 mehr wohlbefinden, was ich immer nach den übungen auch erlebe 22 wohlbefinden, leichtigkeit, ökonomie, gesundheit leichtigkeit 39 es tut mir einfach rundum gut es tut mir einfach rundum gut 47 1. verfeinerung der körperwahrnehmung und damit allgemein der selbstund fremdwahrnehmung. 2. besserung von bewegungseinschränkungen 3. bessere koordination 4. wohlgefühl wohlgefühl 53 ausgeglichenheit, bewußtheit, aufmerksamkeit für meinen körper 59 verbesserte bewegungsabläufe und dadurch größeres wohlbefinden. 73 entspannung, seelische ausgeglichenheit, auflösen von konzepten und gewohnheiten auf körperl. + seelischer ebene anhang b – tabelle b-3 132 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 74 besserung der probleme und allgem. verbesserung des wohlbefindens über veränderung von atem u. körperhaltung allgem. verbesserung des wohlbefindens 80 kann man überall, z.b. beim schwimmen anwenden. spaß, allgemeines wohlbefinden, gibt halt in mir selbst 82 – weniger beschwerden (siehe oben) mehr ausgeglichenheit mehr bewusstsein über bewegungsabläufe im körper 90 wohlbefinden 6 das ich auch noch im alter mich gut bewegen kann (schmerzfrei) gut bewegen erhaltung/verbesserung der beweglichkeit 33 19,08% 7 erhalt von beweglichkeit, körperlicher und geistiger gesundheit – einen weg gegen die ms zu bestehen. erhalt von beweglichkeit 10 größere beweglichkeit, entspannung, gefühl der ruhe und ausgeglichenheit nach dem kurs, geschmeidigkeit größere beweglichkeit, 12 langfristige beweglichkeit – ausgeglichene bewußte bewegungen langfristige beweglichkeit 13 verbesserung der beweglichkeit und ein ganzheitliches bewegen (handeln) verbesserung der beweglichkeit 19 weiterhin schmerzfreiheitbessere wahrnehmung im körperlichen bereich. zur vorbeugung – damit man beweglicher bleibt. 20 entspannung, beweglichkeit 22 wohlbefinden, leichtigkeit, ökonomie, gesundheit leichtigkeit 25 bessere + schmerzfreie beweglichkeit, anleitung zur selbsthilfe 26 bessere integration, balance, entspannung, beweglichkeit, körperliches selbstbewußtsein, vegetative entkrampfung 27 das ich beweglich bleibe 33 dynamische beweglichkeit dynamische beweglichkeit 34 mehr beweglichkeit, entspannung 38 mehr beweglichkeit, schmerzlinderung 40 stabilisierung und weiterentwicklung meiner beweglichkeit, bewusstseinserweiterung für die wahrnehmung von bewegungsabläufen einer anderen, mir noch nicht bekannten art. 41 bewußtsein für den körper; klarere bewegungsmuster; auflösung von verspannungen; ich glaube, dass körper, geist u. seele eine einheit bilden . wenn ich für den körper etwas tue, tue ich es für geist u. seele auch. klarere bewegungsmuster 44 – mehr bewußtheit für meinen körper, beweglichkeit 46 erhaltung u. verbesserung der beweglichkeit; verbesserung der körperlichen wahrnehmung 47 1. verfeinerung der körperwahrnehmung und damit allgemein der selbstund fremdwahrnehmung. 2. besserung von bewegungseinschränkungen 3. bessere koordination 4. wohlgefühl 49 allgemeine körperliche beweglichkeit 50 umfassendere wahrnehmung von bewegungsmöglichkeiten,abläufen und die tatsache, daß man mit zunehmendem alter die bewegungsqualität verbessern kann ideale ergänzung zu meinem beruf (bereich kindesentwicklung) mit zunehmendem alter die bewegungsqualität verbessern anhang b – tabelle b-3 133 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 51 erhaltung meiner eingeschränkten bewegungsfähigkeit 54 ich hoffe, dadurch den körperlichen alterungsprozess meines bewegungsapparates verzögern zu können 56 deutlicheres körperbewusstsein + beweglichkeit 59 verbesserte bewegungsabläufe und dadurch größeres wohlbefinden. 66 ohne schmerzen zu leben und dieses ohne medikamente zu erreichen; bewegungsfreier zu werden; körper bewusster zu erleben bewegungsfreier zu werden 68 änderung der bisherigen bewegungsabläufe u. damit vermeidung heftiger verspannungen, lösung von blockierungen änderung der bisherigen bewegungsabläufe 69 durch training von körperfunktionen zu besserer, schmerzfreier haltung und bewegung zu kommen! 71 eine ausgeglichenere beweglichkeit, einen ausgewogeneren gang 75 bewusstere körperwahrnehmung und koordination von bewegung 84 –bessere körperwahrnehmung erlernen von alternativen bewegungsmustern bessere beweglichkeit, besonders beim älter werden 86 verbesserung der körperhaltung beweglichkeit zu erhalten. 88 die f-methode hat mir geholfen meine rückenprobleme in griff zu bekommen. gleiches erhoffe ich mir bei den neu aufgetretene knieproblemen. desweiteren erhoffe ich mir eine gewisse gelenkigkeit bis ins hohe alter gelenkigkeit 89 weniger verspannungen, mehr beweglichkeit, weniger schmerz 14 aufrichtung, bewußtsein durch bewegung bewußtsein durch bewegung bewußtheit / erlernen 21 12,14% 16 mich bewußt zu bewegen bewußt zu bewegen 18 mehr bewußtheit in der bewegung, schmerzfreiheit 30 jede feldenkrais-stunde ist ein erlebnis. die gruppe und ich lernen und entdecken dinge, die im laufe des lebens in vergessenheit gerieten. lernen und entdecken dinge 32 langfristig immer mehr bewußtheit für bewegungsabläufe; innehalten und wahrnehmen was tue ich da und wie tue ich es und gibt es einfachere, leichtere möglichkeiten. bewußtheit für bewegungsabläufe 40 stabilisierung und weiterentwicklung meiner beweglichkeit, bewusstseinserweiterung für die wahrnehmung von bewegungsabläufen einer anderen, mir noch nicht bekannten art. 41 bewußtsein für den körper; klarere bewegungsmuster; auflösung von verspannungen; ich glaube, dass körper, geist u. seele eine einheit bilden . wenn ich für den körper etwas tue, tue ich es für geist u. seele auch. bewußtsein für den körper 42 bewußtmachg. von bewegungszusammenhängen während d. bewegg 44 – mehr bewußtheit für meinen körper, beweglichkeit 48 einen hochinteressanten spaziergang (?) auf meine art in mir immer wieder neue zu erfühlende + bewegende bereiche immer wieder neue zu erfühlende + bewegende bereiche 53 ausgeglichenheit, bewußtheit, aufmerksamkeit für meinen körper bewußtheit, aufmerksamkeit für meinen körper 56 deutlicheres körperbewusstsein + beweglichkeit körperbewusstsein 57 –schmerzlinderung – besseres körpergefühl -entspannung – "bewusstere" bewegungsabläufe 66 ohne schmerzen zu leben und dieses ohne medikamente zu erreichen; bewegungsfreier zu werden; körper bewusster zu erleben anhang b – tabelle b-3 134 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 67 habe keine allzu hohen erwartungen, aber die hoffnung, meine beschwerden in den griff zu kriegen – ein besseres körpergefühl, bewusste bewegungsabläufe bewußtheit / erlernen 73 entspannung, seelische ausgeglichenheit, auflösen von konzepten und gewohnheiten auf körperl. + seelischer ebene auflösen von konzepten und gewohnheiten auf körperl. + seelischer ebene 75 bewusstere körperwahrnehmung und koordination von bewegung 81 körpergefühl entwickeln, entspannen, bewegungen erlernen bzw. erforschen, schwachpunkte erkennen, schwächen lernen 82 – weniger beschwerden (siehe oben) mehr ausgeglichenheit mehr bewusstsein über bewegungsabläufe im körper 84 –bessere körperwahrnehmung erlernen von alternativen bewegungsmustern bessere beweglichkeit, besonders beim älter werden 92 mehr über mich selbst in der bewegung sowie auch in meinem tun und handeln zu wissen. 19 weiterhin schmerzfreiheitbessere wahrnehmung im körperlichen bereich. zur vorbeugung – damit man beweglicher bleibt. bessere wahrnehmung im körperlichen bereich. körperwahrnehmung, -gefühl 17 9,83% 23 freude an bewegung und mehr sensibilität für den eigenen körper sensibilität für den eigenen körper körperliches selbstbewußtsein 26 bessere integration, balance, entspannung, beweglichkeit, körperliches selbstbewußtsein, vegetative entkrampfung körperliches selbstbewußtsein 29 die feldenkrais-methode führt zu ganzheitlichem körperbewusstsein ganzheitliches, größeres körperbewußtsein 31 biegsame wirbelsäule; weicher brustkorb, konzentration auf richtige bewegungsabläufe konzentration auf richtige bewegungsabläufe 46 erhaltung u. verbesserung der beweglichkeit; verbesserung der körperlichen wahrnehmung 47 1. verfeinerung der körperwahrnehmung und damit allgemein der selbstund fremdwahrnehmung. 2. besserung von bewegungseinschränkungen 3. bessere koordination 4. wohlgefühl 50 umfassendere wahrnehmung von bewegungsmöglichkeiten,abläufen und die tatsache, daß man mit zunehmendem alter die bewegungsqualität verbessern kann ideale ergänzung zu meinem beruf (bereich kindesentwicklung) wahrnehmung von bewegungsmöglichkeiten,abläufen 52 ein größeres körperbewusstsein; selbsthilfe bei schmerzattacken; eine bessere körperhaltung größeres körperbewusstsein; 57 –schmerzlinderung – besseres körpergefühl -entspannung – "bewusstere bewegungsabläufe besseres körpergefühl 60 selbstbesinnung auf körper u. körperfunktionen selbstbesinnung auf körper u. körperfunktionen 64 entspannung, weniger rückenprobleme – mich selbst besser spüren besser spüren 67 habe keine allzu hohen erwartungen, aber die hoffnung, meine beschwerden in den griff zu kriegen – ein besseres körpergefühl, bewusste bewegungsabläufe besseres körpergefühl 72 gutes körpergefühl entspannung krankheitsvorbeugung/gesundheitsvorsorge gutes körpergefühl 81 körpergefühl entwickeln, entspannen, bewegungen erlernen bzw. erforschen, schwachpunkte erkennen, schwächen lernen bewegungen erlernen bzw. erforschen, 84 –bessere körperwahrnehmung erlernen von alternativen bewegungsmustern bessere beweglichkeit, besonders beim älter werden bessere körperwahrnehmung 85 ein besseres verständnis für körperzusammenhänge, entspannung , reduzierung con schulterblattmuskel-probleme verständnis für körperzusammenhänge anhang b – tabelle b-3 135 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 8 ich hoffe durch die feldenkrais-methode zu innerer ruhe und mehr selbstbewußtsein zu gelangen, ängste und unsicherheit zu überwinden. mehr selbstbewußtsein selbstbewußtsein 5 2,89% 58 eine selbstbewusste und organische physische und innere haltung zum leben selbstbewußt organische physische und innere haltung zum leben 76 stärkung der seelenkräfte stärkung der seelenkräfte 80 kann man überall, z.b. beim schwimmen anwenden. spaß, allgemeines wohlbefinden, gibt halt in mir selbst gibt halt in mir selbst 83 zuversicht, dass ich mit jeder herausforderung umgehen kann, insbes. schmerzen, d.h. sicherheit. daraus heraus flexibilität, weniger stagnation, mehr änderungsmöglichkeiten. entdeckungen. mit herausforderungen umgehen 9 das ich mich wohler fühle und besser durchatmen kann besser durchatmen körperfunktionen, körperteile 5 2,89% 26 bessere integration, balance, entspannung, beweglichkeit, körperliches selbstbewußtsein, vegetative entkrampfung vegetative entkrampfung 31 biegsame wirbelsäule; weicher brustkorb, konzentration auf richtige bewegungsabläufe biegsame wirbelsäule; weicher brustkorb 35 auswege aus eingeschliffenen bewegungsmustern auswege aus eingeschliffenen bewegungsmustern 74 besserung der probleme und allgem. verbesserung des wohlbefindens über veränderung von atem u. körperhaltung veränderung von atem 3 nachlassen von rückenschmerzen nachlassen von rückenschmerzen schmerzlinderung, -reduktion 27 15,61% 6 das ich auch noch im alter mich gut bewegen kann (schmerzfrei) schmerzfreies bewegen schmerzfreiheit 15 weniger schmerzen im rückenbereich weniger schmerzen im rückenbereich 18 mehr bewußtheit in der bewegung, schmerzfreiheit schmerzfreiheit 19 weiterhin schmerzfreiheitbessere wahrnehmung im körperlichen bereich. zur vorbeugung – damit man beweglicher bleibt. 25 bessere + schmerzfreie beweglichkeit, anleitung zur selbsthilfe 37 weniger rückenschmerzen 38 mehr beweglichkeit, schmerzlinderung schmerzlinderung 41 bewußtsein für den körper; klarere bewegungsmuster; auflösung von verspannungen; ich glaube, dass körper, geist u. seele eine einheit bilden . wenn ich für den körper etwas tue, tue ich es für geist u. seele auch. auflösung von verspannungen 52 ein größeres körperbewusstsein; selbsthilfe bei schmerzattacken; eine bessere körperhaltung selbsthilfe bei schmerzattacken 57 –schmerzlinderung – besseres körpergefühl -entspannung – "bewusstere bewegungsabläufe schmerzlinderung 61 linderung der schmerzen durch alternative bewegungsabläufe – entspannung 62 durch das sanfte "neusortieren" des körpers so empfinde ich feldenkrais, schmerzfrei zu werden schmerzfrei zu werden 64 entspannung, weniger rückenprobleme – mich selbst besser spüren weniger rückenprobleme 65 zunächst nichts. dann stellten sich hocherfreuliche gesundungen ein. schmerzen verschwanden in schulter, leisten und ichias schmerzen verschwanden in schulter, leisten und ichias 66 ohne schmerzen zu leben und dieses ohne medikamente zu erreichen; bewegungsfreier zu werden; körper bewusster zu erleben ohne schmerzen zu leben anhang b – tabelle b-3 136 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 67 habe keine allzu hohen erwartungen, aber die hoffnung, meine beschwerden in den griff zu kriegen – ein besseres körpergefühl, bewusste bewegungsabläufe beschwerden in den griff kriegen schmerzlinderung, -reduktion 68 änderung der bisherigen bewegungsabläufe u. damit vermeidung heftiger verspannungen, lösung von blockierungen lösung von blockierungen 69 durch training von körperfunktionen zu besserer, schmerzfreier haltung und bewegung zu kommen! schmerzfreier haltung 70 verbesserung der haltung, weniger schmerzen 77 weniger rückenschmerzen 78 mit wenigen sehr effektiven bewegungen verschleiß oder verspannung zu lösen ! 82 – weniger beschwerden (siehe oben) mehr ausgeglichenheit mehr bewusstsein über bewegungsabläufe im körper weniger beschwerden 85 ein besseres verständnis für körperzusammenhänge, entspannung , reduzierung von schulterblattmuskel-probleme reduzierung von schulterblattmuskel-probleme 87 phys. erleichterungen u. psych. "stabilität" bezw. erkenntnisse über die eigenen beschwerden erkenntnisse über die eigenen beschwerden 88 die f-methode hat mir geholfen meine rückenprobleme in griff zu bekommen. gleiches erhoffe ich mir bei den neu aufgetretene knieproblemen. desweiteren erhoffe ich mir eine gewisse gelenkigkeit bis ins hohe alter rückenprobleme 91 besserung kontinuierlicher rückenbeschwerden 23 freude an bewegung und mehr sensibilität für den eigenen körper freude an bewegung spaß, freude 3 1,73% 45 vor der 1. lektion wußte ich gar nichts. seit 15 jahren habe ich viel vergnügen. effizienz, sinn + verstand gehören dazu. viel vergnügen 80 kann man überall, z.b. beim schwimmen anwenden. spaß, allgemeines wohlbefinden, gibt halt in mir selbst spaß 1 in erster linie entspannung und haltungsverbesserung. haltungsverbesserung haltungsverbesserung 8 4,62% 14 aufrichtung, bewußtsein durch bewegung aufrichtung 52 ein größeres körperbewusstsein; selbsthilfe bei schmerzattacken; eine bessere körperhaltung eine bessere körperhaltung 69 durch training von körperfunktionen zu besserer, schmerzfreier haltung und bewegung zu kommen! bessere haltung 70 verbesserung der haltung, weniger schmerzen verbesserung der haltung, 71 eine ausgeglichenere beweglichkeit, einen ausgewogeneren gang ausgewogeneren gang 74 besserung der probleme und allgem. verbesserung des wohlbefindens über veränderung von atem u. körperhaltung über veränderung von körperhaltung 86 verbesserung der körperhaltung beweglichkeit zu erhalten. verbesserung der körperhaltung 7 erhalt von beweglichkeit, körperlicher und geistiger gesundheit – einen weg gegen die ms zu bestehen. körperlicher und geistiger gesundheit körperliche und geistige gesundheit 6 3,47% 17 das erlernen, einen ausgleich für körper und seele zu finden. ausgleich für körper und seele 22 wohlbefinden, leichtigkeit, ökonomie, gesundheit gesundheit anhang b – tabelle b-3 137 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 41 bewußtsein für den körper; klarere bewegungsmuster; auflösung von verspannungen; ich glaube, dass körper, geist u. seele eine einheit bilden . wenn ich für den körper etwas tue, tue ich es für geist u. seele auch. körper, geist u. seele eine einheit bilden . wenn ich für den körper etwas tue, tue ich es für geist u. seele auch. 55 dass möglichst lange dieser positive gesundheitszustand erhalten bleibt positive gesundheitszustand erhalten 72 gutes körpergefühl entspannung krankheitsvorbeugung/gesundheitsvorsorge krankheitsvorbeugung/gesundheitsvorsorge 24 – immer wieder neue impulsekomme (bleibe) in kontakt mit mir komme und bleibe in kontakt mit mir selbstfindung 4 2,31% 48 einen hochinteressanten spaziergang (?) auf meine art in mir immer wieder neue zu erfühlende + bewegende bereiche ein hochinteressanter spaziergang zu mir …. 81 körpergefühl entwickeln, entspannen, bewegungen erlernen bzw. erforschen, schwachpunkte erkennen, schwächen lernen schwachpunkte erkennen, schwächen lernen 92 mehr über mich selbst in der bewegung sowie auch in meinem tun und handeln zu wissen. mehr über mich selbst in der bewegung sowie auch in meinem tun und handeln zu wissen 50 umfassendere wahrnehmung von bewegungsmöglichkeiten,abläufen und die tatsache, daß man mit zunehmendem alter die bewegungsqualität verbessern kann ideale ergänzung zu meinem beruf (bereich kindesentwicklung) ergänzung zum beruf (bereich kindesentwicklung) beruf 1 0,58% 8 ich hoffe durch die feldenkrais-methode zu innerer ruhe und mehr selbstbewußtsein zu gelangen, ängste und unsicherheit zu überwinden. ängste überwinden angst 2 1,16% 87 phys. erleichterungen u. psych. "stabilität" bezw. erkenntnisse über die eigenen beschwerden. psych. "stabilität" 24 – immer wieder neue impulsekomme (bleibe) in kontakt mit mir immer wieder neue impulse neues 1 0,58% 25 bessere + schmerzfreie beweglichkeit, anleitung zur selbsthilfe anleitung zur selbsthilfe anleitung 1 0,58% 26 bessere integration, balance, entspannung, beweglichkeit, körperliches selbstbewußtsein, vegetative entkrampfung bessere integration sonstiges 4 2,31% 45 vor der 1. lektion wußte ich gar nichts. seit 15 jahren habe ich viel vergnügen. effizienz, sinn + verstand gehören dazu. effizienz, sinn + verstand 47 1. verfeinerung der körperwahrnehmung und damit allgemein der selbstund fremdwahrnehmung. 2. besserung von bewegungseinschränkungen 3. bessere koordination 4. wohlgefühl besserung von bewegungseinschränkungen 74 besserung der probleme und allgem. verbesserung des wohlbefindens über veränderung von atem u. körperhaltung besserung der probleme anhang b – tabelle b-3 138 nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 79 ? [keine antwort] 1 0,58% 4 s.o. siehe oben [siehe oben] 6 3,47% 21 siehe vorher 28 s. vorherige frage 36 wie vor 43 vgl. letzte frage plus der dazugehörige antworte 63 siehe letzten punkt gesamtzahl/prozent 173 100,00% anhang b – tabelle b-4 139 fortsetzung tabelle b4 gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 37, 76, 79, 91 ja ja ja 4 2,74% 15 ich fühle mich hinterher leichter und zufriedener leichter und zufriedener wohlbefinden 4 2,74% 46 ich fühle mich wacher und präsenter in meinem körper, kann mehr spüren, fühle mich dadurch wohler, lebendiger, beweglicher, geschmeidiger, leistungsfähiger fühle mich wohler 69 wohlbefinden nach der stunde in der feldenkrais-methode wohlbefinden 82 – bewusstsein über körper u. bewegung hat sich gesteigert unmittelbar nach einer feldenkrais-lektion: gefühl von leichtigkeit, ausgeglichenheit gefühl von leichtigkeit, ausgeglichenheit 15 ich fühle mich hinterher leichter und zufriedener zufriedener stimmung 4 2,74% 30 mein körperbewusstsein ist groß geworden. ich kann mich gut konzentrieren. die stunden machen mich fröhlich und leicht. stunden machen mich fröhlich 36 ja bessere beweglichkeit, abbau von verspannungen, steigerung des selbstwertgefühls, körperliche glücksgefühle, fröhlichkeit fröhlichkeit 58 eindeutige veränderungen in der inneren stimmung. ich fühle mich öfter fröhlicher und ausgelassener, ausgeglichener! öfter fröhlicher und ausgelassener 21 größere beweglichkeit, entspanntheit. entspanntheit entspannung 3 2,05% 44 – mehr bewegungsmöglichkeiten im schulter + hüftbereich gelassenheit kraft aus bewegungen und gedanken zu nehmen gelassenheit 85 seit etlichen wochen habe ich weniger schmerzen in meiner o.g. problemzone. ich bin nach der stunde meist ausgeruht u. entspannt. ausgeruht u. entspannt 4 ja, sehr viele, jeder bereich, jede zelle hat sich zu einem bequemeren und natürlicheren zusammenspiel in der ganzköperbewegung umstrukturiert – rückenschmerzen sind verschwunden – die beweglichkeit + koordination hat sich sehr verbessert. rückenschmerzen sind verschwunden schmerzlinderung körper 12 8,22% 7 – keine schmerzen mehr im hws-bereich, steigerung der konzentrationsfähigkeit, steigerung des körpergefühls keine schmerzen mehr im hwsbereich 12 – aufrechtes gehen – z. t. schmerzfreies laufen schmerzfreies laufen 22 ja, s.o. + heilung meiner hüftgelenksarthrose; mehrung der kreativität heilung meiner hüftgelenksarthrose 39 weniger schmerzen in der schulter weniger schmerzen in der schulter anhang b – tabelle b-4 140 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 43 1) konzentration auf meine bislang schlechte körper(-schulter-)haltung + ihre veränderung 2) ganz winzige linderung bereits ganz winzige linderung bereits 57 deutliche reduzierung der schmerzen im bereich der ellenbogengelenke u. z.t. des schultergürtels deutliche reduzierung der schmerzen 64 körper: weniger rückenprobleme wenn ich regelmäßig dabei bin. für selbstwert o. spontaneität bin ich zu kurz dabei, ich mache ja erst seit april regelmäßig weniger rückenprobleme 66 tage ohne schmerzen tage ohne schmerzen 84 – besserung des tinitus linderung des gefühls der chronischen ohrenentzündung besserung des tinitus 85 seit etlichen wochen habe ich weniger schmerzen in meiner o.g. problemzone. ich bin nach der stunde meist ausgeruht u. entspannt. 89 es scheint so als würden die beschwerden im lendenwirbelbereich weniger werden 10 im laufe der jahre konnte ich die körperlichen veränderungen (verbesserungen) immer besser feststellen und teilweise auch verändern. im arbeitsleben werde ich weniger hektisch, überlegter, geduldiger und habe die arbeit immer besser organisiert festellung körperl. veränderungen im laufe der jahre körperveränderungen / körperhaltung 22 15,07% 12 – aufrechtes gehen – z. t. schmerzfreies laufen aufrechtes gehen 13 "auf – richtigkeit" zurückfahren mein sehr hohes tempo "auf – richtigkeit" 14 achtsamkeit, beweglichkeit, bessere koordination -> ich kann besser tanzen kann armu. beinarbeit besser koordinieren durch die beweglichkeit des brustbeins kann ich afrikanisch tanzen. armu. beinarbeit besser koordinieren 31 haltungsverbesserung haltungsverbesserung 32 ich bewege mich bewusster, aufgerichteter und spüre schneller als früher, wenn ich die haltung verliere, zusammensacke. aufgerichteter 33 stabilität des gerüstes, geschmeidigkeit stabilität des gerüstes 40 verbesserung der beweglichkeit, freude am erkennen von bisher noch nicht bekannten bewegungsabläufen. größere stabilität des hüftgelenks. größere stabilität des hüftgelenks 43 1) konzentration auf meine bislang schlechte körper(-schulter-)haltung + ihre veränderung 2) ganz winzige linderung bereits körper(-schulter-)haltung + ihre veränderung 46 ich fühle mich wacher und präsenter in meinem körper, kann mehr spüren, fühle mich dadurch wohler, lebendiger, beweglicher, geschmeidiger, leistungsfähiger wacher und präsenter in meinem körper 47 1. deutliche sensibilisierung der wahrnehmung von muskeltonus, haltung + bewegung. haltungsverbesserung, größere beweglichkeit von wirbelsäule, becken, brustkorb. sensibilisierung der wahrnehmung von muskeltonus, haltung 52 aufrechter gang, besseres atmen, innere weite, leichtigkeit beim gehen, entspannte schultern...; hält bei mir leider nur einen bis drei tage an aufrechter gang 54 ich habe einen rundrücken. ich fühle mich aufrechter werdend. aufrechter werdend 56 ich gehe bewusster gehe bewusster 62 nach den lektionen kann ich klarer sehen und denkenes setzt eine gelassenere einstellung zur momentanen situation ein. klarer sehen und denken 67 manchmal nach einer stunde ein gefühl der körperschwere, seelisch dann wie eine eiche, der kein sturm etwas anhaben kann. – bisher keine anhaltenden wirkungen außer, dass ich meine schlafhaltung verändert habe. schlafhaltung verändert anhang b – tabelle b-4 141 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 68 entspannung einiger muskelpartien entspannung einiger muskelpartien 73 ich spüre körperliche spannungen sehr viel schneller und finde geeignete methoden um diese wieder abzubauen viel leichter körperliche spannungen 77 gang gang 78 größere beweglichkeit verlagerung der schulterverkalkung ohne o.p. verlagerung der schulterverkalkung 80 verspannungen im schulterbereich fast vollständig verschwunden, weil ich merke, wann ich anfange, meinen körper zu verspannen, ich bin selbstbewusster, meine stimme hat sich verändert verspannungen im schulterbereich fast vollständig verschwunden, 88 durch die f-methode hat sich mein körpergefühl noch weiter verbessert körpergefühl verbessert 4 ja, sehr viele, jeder bereich, jede zelle hat sich zu einem bequemeren und natürlicheren zusammenspiel in der ganzköperbewegung umstrukturiert – rückenschmerzen sind verschwunden – die beweglichkeit + koordination hat sich sehr verbessert. beweglichkeit + koordination hat sich sehr verbessert beweglichkeit 14 9,59% 14 achtsamkeit, beweglichkeit, bessere koordination -> ich kann besser tanzen kann armu. beinarbeit besser koordinieren durch die beweglichkeit des brustbeins kann ich afrikanisch tanzen. beweglichkeit 21 größere beweglichkeit, entspanntheit. größere beweglichkeit 24 körper: weicher/ fließender, selbstverständlicher so wie bewegungen dürfen auch psychisch sich dinge leichter entwickeln/ es macht mich "weiser" körper: weicher/ fließender 25 selbstwertgefühl u. spontaneität haben sich gesteigert, freie körperliche beweglichkeit, großes maß an selbsterfahrung freie körperliche beweglichkeit 29 veränderungen im bewegungsablauf durch stärkere bewusstheit der zusammenhänge aller skelettteile. veränderungen im bewegungsablauf 36 ja bessere beweglichkeit, abbau von verspannungen, steigerung des selbstwertgefühls, körperliche glücksgefühle, fröhlichkeit bessere beweglichkeit 38 mehr beweglichkeit u. freude an bewegungen mehr beweglichkeit 40 verbesserung der beweglichkeit, freude am erkennen von bisher noch nicht bekannten bewegungsabläufen. größere stabilität des hüftgelenks. verbesserung der beweglichkeit 44 – mehr bewegungsmöglichkeiten im schulter + hüftbereich gelassenheit kraft aus bewegungen und gedanken zu nehmen mehr bewegungsmöglichkeiten 46 ich fühle mich wacher und präsenter in meinem körper, kann mehr spüren, fühle mich dadurch wohler, lebendiger, beweglicher, geschmeidiger, leistungsfähiger 47 1. deutliche sensibilisierung der wahrnehmung von muskeltonus, haltung + bewegung. haltungsverbesserung, größere beweglichkeit von wirbelsäule, becken, brustkorb. 70 bessere bewußtheit + beweglichkeit 78 größere beweglichkeit verlagerung der schulterverkalkung ohne o.p. 27 ich bin trotz mikroskop beweglicher geworden, kennen meinen körper besser, habe mehr freude an der bewegung. mehr freude an der bewegung freude an beweglichkeit 5 3,42% anhang b – tabelle b-4 142 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 36 ja bessere beweglichkeit, abbau von verspannungen, steigerung des selbstwertgefühls, körperliche glücksgefühle, fröhlichkeit 38 mehr beweglichkeit u. freude an bewegungen freude an bewegungen 40 verbesserung der beweglichkeit, freude am erkennen von bisher noch nicht bekannten bewegungsabläufen. größere stabilität des hüftgelenks. freude am erkennen von bisher noch nicht bekannten bewegungsabläufen 50 es tut mir gut, mit dem körper zu arbeiten, macht spaß; ich fühle mich "verwurzelter"; klarer und zielgerichteter – selbstbewußter! es tut mir gut, mit dem körper zu arbeiten, macht spaß 4 ja, sehr viele, jeder bereich, jede zelle hat sich zu einem bequemeren und natürlicheren zusammenspiel in der ganzköperbewegung umstrukturiert – rückenschmerzen sind verschwunden – die beweglichkeit + koordination hat sich sehr verbessert. jede zelle ganzheitliches körperbewußtsein/gefühl 27 18,49% 5 bewußtsein über bewegung – vielleicht sus.[nicht lesbar] selbstwertgefühl bewußtsein über bewegung 7 – keine schmerzen mehr im hws-bereich, steigerung der konzentrationsfähigkeit, steigerung des körpergefühls steigerung des körpergefühls 9 ich erspüre den körper anders ich erspüre den körper anders 20 bewußtere wahrnehmung des körpers. bewußtere wahrnehmung des körpers. 24 körper: weicher/ fließender, selbstverständlicher so wie bewegungen dürfen auch psychisch sich dinge leichter entwickeln/ es macht mich "weiser" körper selbstverständlicher 26 verbesserung des körperbewußtseins u. des körpergefühls verbesserung des körperbewußtseins u. des körpergefühls 27 ich bin trotz mikroskop beweglicher geworden, kennen meinen körper besser, habe mehr freude an der bewegung. kennen meinen körper besser 28 kann ich nach so kurzer zeit nicht sagen, allerdings gibt es elemente eines besseren/ schärferen körperbewusstseins besseren/ schärferen körperbewusstseins 29 veränderungen im bewegungsablauf durch stärkere bewusstheit der zusammenhänge aller skelettteile. zusammenhänge aller skelettteile 30 mein körperbewusstsein ist groß geworden. ich kann mich gut konzentrieren. die stunden machen mich fröhlich und leicht. köperbewußtsein 32 ich bewege mich bewusster, aufgerichteter und spüre schneller als früher, wenn ich die haltung verliere, zusammensacke. 41 ich nehme genauer wahr, was in mir passiert, spüre z.b. migräneansätze gleich im vorfeld; meine migräne überrollt mich nicht mehr so oft, sondern bei den ersten ansätzen stelle ich mein verhalten darauf ein. und natürlicheren zusammenspiel in der 42 sanfteres umgehen mit körperhaltungen, gesten, körperwendungen 43 1) konzentration auf meine bislang schlechte körper(-schulter-)haltung + ihre veränderung 2) ganz winzige linderung bereits 45 veränderungen sind weitreichend wirksamnach jeder lektion. selbstwertgefühle haben damit gar nichts zu tun. es ist der falsche begriff. 47 1. deutliche sensibilisierung der wahrnehmung von muskeltonus, haltung + bewegung. haltungsverbesserung, größere beweglichkeit von wirbelsäule, becken, brustkorb. 53 ja, in allen bereichen in allen bereichen anhang b – tabelle b-4 143 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 56 ich gehe bewusster ich gehe bewußter ganzheitliches körperbewußtsein/gefühl 60 bewusstwerden des körperbaus u. seine funktionen 61 deutlicheres körperbewusstsein (angenehm) genauere bewegungswahrnehmungkenntnis von zs.hängen versch. körperspannungen 67 manchmal nach einer stunde ein gefühl der körperschwere, seelisch dann wie eine eiche, der kein sturm etwas anhaben kann. – bisher keine anhaltenden wirkungen außer, dass ich meine schlafhaltung verändert habe. 70 bessere bewußtheit + beweglichkeit 72 psychotherapeutische behandlung der neurose mit gutem erfolg beendet; deutlich stabilisierte gesundheit; gutes überwinden von krisen aller lebensbereiche 82 – bewusstsein über körper u. bewegung hat sich gesteigert unmittelbar nach einer feldenkrais-lektion: gefühl von leichtigkeit, ausgeglichenheit 88 durch die f-methode hat sich mein körpergefühl noch weiter verbessert 90 gutes bzw. besseres körpergefühl 10 im laufe der jahre konnte ich die körperlichen veränderungen (verbesserungen) immer besser feststellen und teilweise auch verändern. im arbeitsleben werde ich weniger hektisch, überlegter, geduldiger und habe die arbeit immer besser organisiert im arbeitsleben weniger hektisch, geduldiger, besser organisiert arbeitsleben 2 1,37% 35 neue erfahrungen und möglichkeiten den arbeitsplatz zu optimieren. möglichkeiten den arbeitsplatz zu optimieren 5 bewußtsein über bewegung – vielleicht sus.[nicht lesbar] selbstwertgefühl selbstwertgefühl selbstbewusstsein / selbstwertgefühl 11 7,53% 18 tochter sagt, ich sei etwas selbstbewußter geworden selbstbewußter 25 selbstwertgefühl u. spontaneität haben sich gesteigert, freie körperliche beweglichkeit, großes maß an selbsterfahrung gesteigertes selbstwertgefühl mehr zuversicht 36 ja bessere beweglichkeit, abbau von verspannungen, steigerung des selbstwertgefühls, körperliche glücksgefühle, fröhlichkeit 48 veränderung des selbstwertgefühls und der natürlichkeit 50 es tut mir gut, mit dem körper zu arbeiten, macht spaß; ich fühle mich "verwurzelter"; klarer und zielgerichteter – selbstbewußter! 51 mehr zuversicht mehr zuversicht 67 manchmal nach einer stunde ein gefühl der körperschwere, seelisch dann wie eine eiche, der kein sturm etwas anhaben kann. – bisher keine anhaltenden wirkungen außer, dass ich meine schlafhaltung verändert habe. seelisch dann wie eine eiche, der kein sturm etwas anhaben kann 80 verspannungen im schulterbereich fast vollständig verschwunden, weil ich merke, wann ich anfange, meinen körper zu verspannen, ich bin selbstbewusster, meine stimme hat sich verändert anhang b – tabelle b-4 144 fortsetzung nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 83 ich wurde (zum ersten mal seit 10 jahren) komplett schmerzfrei und bin es seitdem fast immer. allerdings infolge von fi stunden, nicht aufgrund der gruppenstunden. ich bin manchmal körperlich schneller, z.b. etwas aufzufangen. kann mich besser gegen meine mutter durchsetzten und abgrenzen. kann mich besser gegen meine mutter durchsetzten und abgrenzen selbstbewusstsein / selbstwertgefühl 92 mein selbstwertgefühl wurde gestärkt ich lasse mich nicht mehr so schnell aus dem lot bringen. 7 – keine schmerzen mehr im hws-bereich, steigerung der konzentrationsfähigkeit, steigerung des körpergefühls steigerung der konzentrationsfähigkeit konzentrationsfähigkeit, weisheit, kreativität 5 3,42% 30 mein körperbewusstsein ist groß geworden. ich kann mich gut konzentrieren. die stunden machen mich fröhlich und leicht. gut konzentrieren 62 nach den lektionen kann ich klarer sehen und denkenes setzt eine gelassenere einstellung zur momentanen situation ein. klarer denken 24 körper: weicher/ fließender, selbstverständlicher so wie bewegungen dürfen auch psychisch sich dinge leichter entwickeln/ es macht mich "weiser" macht mich weiser 22 ja, s.o. + heilung meiner hüftgelenksarthrose; mehrung der kreativität mehrung der kreativität 13 "auf – richtigkeit" zurückfahren mein sehr hohes tempo zurückfahren meines hohen tempos tempo/achtsamkeit 2 1,37% 14 achtsamkeit, beweglichkeit, bessere koordination -> ich kann besser tanzen kann armu. beinarbeit besser koordinieren durch die beweglichkeit des brustbeins kann ich afrikanisch tanzen. achtsamkeit 25 selbstwertgefühl u. spontaneität haben sich gesteigert, freie körperliche beweglichkeit, großes maß an selbsterfahrung gesteigerte spontaneität spontaneität/natürlichkeit 2 1,37% 48 veränderung des selbstwertgefühls und der natürlichkeit veränderung der natürlichkeit 8 die feldenkrais-methode regt mich an, sachverhalte, situationen von mehreren seiten zu betrachten, eingefahrene verhaltensweise zu ändern oder zu belassen. änderung einfahrener verhaltensweisen verhaltensweisen/sachverhalten 4 2,74% 35 neue erfahrungen und möglichkeiten den arbeitsplatz zu optimieren. neue erfahrungen 41 ich nehme genauer wahr, was in mir passiert, spüre z.b. migräneansätze gleich im vorfeld; meine migräne überrollt mich nicht mehr so oft, sondern bei den ersten ansätzen stelle ich mein verhalten darauf ein. bei den ersten ansätzen stelle ich mein verhalten darauf ein 44 – mehr bewegungsmöglichkeiten im schulter + hüftbereich gelassenheit kraft aus bewegungen und gedanken zu nehmen kraft aus gedanken nehmen, was eng ist abzulegen, mehr weitblick anhang b – tabelle b-4 145 nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 55 häufig kann ich jetzt die ursachen von versp. durchschauen. ich hatte das gefühl, mehr weitblick zu erhalten (der kopf war besser durchblutet) und vieles, was eng und bedrückend ist abzulegen. ursachen von verspannungen durchschauen lernen 4 2,74% 61 deutlicheres körperbewusstsein (angenehm) genauere bewegungswahrnehmungkenntnis von zs.hängen versch. körperspannungen kenntnis von zs.hängen versch. körperspannungen 73 ich spüre körperliche spannungen sehr viel schneller und finde geeignete methoden um diese wieder abzubauen viel leichter methoden zum abbau von verspannungen finden 75 siehe oben, dadurch auch bewusstere arbeit an sich selbst auf geistiger ebene: über den körper zum geist arbeit an sich selbst ; über den körper zum geist 17 ich war seit beginn nicht mehr beim orthopäden. habe vor fünf jahren mit steptanz angefangen. seit beginn nicht mehr beim orthopäden sonstiges 4 2,74% 25 selbstwertgefühl u. spontaneität haben sich gesteigert, freie körperliche beweglichkeit, großes maß an selbsterfahrung selbsterfahrung 74 kurzzeitige besserung nach intensivkurs kurzzeitige verbesserung nach intensivkurs 83 ich wurde (zum ersten mal seit 10 jahren) komplett schmerzfrei und bin es seitdem fast immer. allerdings infolge von fi stunden, nicht aufgrund der gruppenstunden. ich bin manchmal körperlich schneller, z.b. etwas aufzufangen. kann mich besser gegen meine mutter durchsetzten und abgrenzen. bin in der lage schneller etwas aufzufangen 19 kann ich nicht bewußt zuordnen. kann ich nicht bewußt zuordnen. nicht zuordnenbar, nicht feststellbar, weiß nicht, noch nicht 4 2,74% 34 weiß nicht weiß nicht 63 noch nicht noch nicht 71 weiß nicht 3 bis jetzt noch nicht bis jetzt noch nicht nein 4 2,74% 49, 59, 87 nein nein 65 s.oben siehe oben siehe oben 1 0,68% 1,2,6,11,16,2 3,81,86 [keine antwort] [keine antwort] 8 5,48% gesamtzahl/prozent 146 100,00% anhang b – tabelle b-5 146 fortsetzung tabelle b5 inwiefern profitieren sie von den feldenkrais-lektionen? nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 1 ich bin sehr gespannt und kann gut vom tagesgeschehen abschalten. gut vom tagesgeschehen abschalten entspannung 17 11,97% 4 neue ideen, entspannung, anregung zu ungewöhnlichen tun, konzentration auf eigene zusammenhänge, freundliche atmosphäre und präzise sprache entspannung 14 entspannung – andere bewusstseinsebene 17 ich freue mich auf die 1 ½ stunden in der wochen, sie bedeuten ruhe und entspannung ganz für mich allein. ruhe und entspannung 25 durch langes training kann ich selbst schmerz u. größere beweglichkeit beeinflussen (ohne medikamente !)! nach körperlicher beanspruchung o.d. stress kann ich mich sofort wieder normalisieren. körpergefühl und bewegungszusammenhänge + erkannt. nach körperlicher beanspruchung o.d. stress kann ich mich sofort wieder normalisieren 26 sie helfen mir, mich entspannter zu konzentrieren helfen entspannter zu konzentrieren 31 sie haben 1 entspannenden wirkung u. erhöhen das bewußtsein für den körper 37 meine beweglichkeit hat sich gebessert. mein körpergefühl ist besser. ich gehe und bin nach d. stunde feldenkrais entspannter. gehe und bin nach d. stunde feldenkrais entspannter. 42 abschalten, konzentrieren auf bewegg. ohne kraftund muskelantrengg. abschalten 57 s.o. + insgesamt gute entspannungsmöglichkeit vom "alltagsstress" insgesamt gute entspannungsmöglichkeit vom alltagstress 61 entspannung, "schmerzursachenforschungmöglichkeit der linderung 63 ich entspanne mich, werde ruhiger ich entspanne mich und werde ruhiger 64 weniger rückenschmerzen, entspannung, einmal pro woche zeit für mich entspannung und einmal die woche zeit für mich 67 es macht mir spaß, neues über meinen körper zu lernen. nach d. sitzungen fühle ich mich körperl. u. seelisch völlig entspannt nach den sitzungen fühle ich mich körperlich und seelisch völlig entspannt 71 nach einzelsitzungen fühle ich mich rundum deutlich besser; physisch und psysisch 77 entspannung und körperspannung entspannung 81 wenigstens einmal pro woche weg von beruf, alltag, hektik und familie, aktive entspannung nur für mich. einmal pro woche weg von beruft, alltag, hektik und familie. aktive entspannung nur für mich 19 keine schmerzen im lendenwirbelbereich. immer wieder aufrichtung des ganzen körpers. bewegung ohne anstrengung ist sehr angenehm. event. neue oder alte bewegungsabläufe neu entdecken. bewegung ohne anstrengung ist sehr angenehm wohlbefinden allgemeinbefinden 13 9,15% 23 körper und geist fühlen sich befriedigt. sehr ungern versäume ich eine stunde. sie gibt anregungen für eigene bewegungsübungen. körper und geist fühlen sich befriedigt 24 – ich werde kreativer / gelöster / mutiger / leichter / weiter werde gelöster, leichter, weiter anhang b – tabelle b-5 147 fortsetzung 29 verbessertes allgemeinbefinden verbessertes allgemeinbefinden nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 41 s.o. es erhöht meine lebensqualität, wenn ich migränefrei bin, wenn ich beweglich bleibe und wenn ich spüre, was mit mir passiert; feldenkrais wirkt sich auf alle lebensbereiche positiv aus. feldenkrais wirkt sich auf alle lebensbereiche positiv aus wohlbefinden 46 meine körperliche beweglichkeit hat zugenommen und auch eine allgemeine gelassenheit und freude an meinem körper 47 mehr körperbewußtsein und damit veränderung von bewegungsabläufen bei alltagtätigkeit, beim joggen + tanzen. allgemein erhöhte sensibilität. 59 wohlbefinden, leichterer körper = leichteres leben wohlbefinden 66 fühle mich wohler; siehe oben fühle mich wohler 73 ich bin ausgeglichener, mehr bei mir. bessere körperhaltung, weniger rückenschmerzen ich bin ausgeglichener 74 kurzfristige besserung der orthop. u. intern. probleme ausgeglichenere stimmungslage ausgeglichene stimmungslage 82 manche übungen mache ich mitunter auch zu hause ( aber nur sporadisch) ich fühle mich ausgeglichener ich fühle mich ausgeglichener 90 besseres wohlbefinden besseres wohlbefinden 18 es geht mir körperlich besser es geht mir körperlich besser allgemeinbefinden 7 4,93% 53 ich fühle mich ausgeglichener, ruhiger und einfach besser ich fühle mich ausgeglichener, ruhiger und einfach besser 55 verstärkung meines positiven lebensgefühls; es hilft mir mich und meinen bewegungsapparat einigermaßen beweglich zu erhalten und wenig schmerzen zu haben; verstärkung meines positiven lebensgefühls 58 ich profitiere in einem stärkeren selbstwertgefühl und einem fröhlicheren leben. ich profitiere in einem stärkeren selbstwertgefühl und einem fröhlicheren leben. 59 wohlbefinden, leichterer körper = leichteres leben wohlbefinden, leichterer körper = leichteres leben 91 es geht mir gut 92 ich empfinde mehr lebensfreude u. es stärk meine kreativität. 6 schmerzfrei aufzustehen + hinzusetzen schmerzfrei aufzustehen und hinzusetzten schmerzlinderung 12 8,45% 13 deutlich weniger rückenprobleme deutlich weniger rückenprobleme schmerzreduktion 19 keine schmerzen im lendenwirbelbereich. immer wieder aufrichtung des ganzen körpers. bewegung ohne anstrengung ist sehr angenehm. event. neue oder alte bewegungsabläufe neu entdecken. keine schmerzen im lendenwirbelbereich 35 weniger körperliche beschwerden. mehr geduld und sanftheit mit mir selbst. weniger körperliche beschwerden 41 s.o. es erhöht meine lebensqualität, wenn ich migränefrei bin, wenn ich beweglich bleibe und wenn ich spüre, was mit mir passiert; feldenkrais wirkt sich auf alle lebensbereiche positiv aus. migräne 49 heilung von akuten schulterbeschwerden / geschultes bewusstsein für körperliche zusammenhänge heilung von akuten anhang b – tabelle b-5 148 fortsetzung schulterbeschwerden 55 verstärkung meines positiven lebensgefühls; es hilft mir mich und meinen bewegungsapparat einigermaßen beweglich zu erhalten und wenig schmerzen zu haben; weniger schmerzen nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 64 weniger rückenschmerzen, entspannung, einmal pro woche zeit für mich weniger rückenschmerzen schmerzlinderung 73 ich bin ausgeglichener, mehr bei mir. bessere körperhaltung, weniger rückenschmerzen weniger rückenschmerzen 74 kurzfristige besserung der orthop. u. intern. probleme ausgeglichenere stimmungslage kurzfristige besserung der orthopädische und internistischen probleme 84 akute probleme werden gelindert, so dass ich weiter am alltag teilnehmen kann durch bessere körperwahrnehmung vermeide ich schmerzhafte situationen vermeidung schmerzhafter situationen 89 nachlassende beschwerden nachlassende beschwerden 29 verbessertes allgemeinbefinden verbessertes allgemeinbefinden körperliche zufriedenheit 3 2,11% 37 meine beweglichkeit hat sich gebessert. mein körpergefühl ist besser. ich gehe und bin nach d. stunde feldenkrais entspannter. 46 meine körperliche beweglichkeit hat zugenommen und auch eine allgemeine gelassenheit und freude an meinem körper freude an meinem körper 19 keine schmerzen im lendenwirbelbereich. immer wieder aufrichtung des ganzen körpers. bewegung ohne anstrengung ist sehr angenehm. event. neue oder alte bewegungsabläufe neu entdecken. immer wieder aufrichtung des ganzen körpers haltung 2 1,41% 73 ich bin ausgeglichener, mehr bei mir. bessere körperhaltung, weniger rückenschmerzen bessere körperhaltung 27 wenn ich gelegentlich stolpere, wissen meine muskeln, was sie tuen müssen damit ich nicht falle (mein kopf ist jedesmal darüber erstaunt). wenn ich gelengentlich stoplere, wissen meine muskeln, was sie tun müssen. körperkompetenz 4 2,82% 30 ich bin immer noch beweglich. ich lerne immer noch neue zusammenhänge im zusammenspiel von körperfunktionen neue zusammenhänge im zusammenspiel von körperfunktionen 60 leichteres umgehen mit bewegung leichteres umgehen mit bewegung 77 entspannung und körperspannung körperspannung 16 ich kann mir mit bewegungen bei verspannungen, rückenschmerzen u. dgl. helfen ich kann mir bei verspannungen und rückenschmerzen helfen selbstmanagement, selbsthilfe 8 5,63% 23 körper und geist fühlen sich befriedigt. sehr ungern versäume ich eine stunde. sie gibt anregungen für eigene bewegungsübungen. anregung für eigene bewegungsübungen anhang b – tabelle b-5 149 fortsetzung 25 durch langes training kann ich selbst schmerz u. größere beweglichkeit beeinflussen (ohne medikamente !)! nach körperlicher beanspruchung o.d. stress kann ich mich sofort wieder normalisieren. körpergefühl und bewegungszusammenhänge + erkannt. beeinflussung von schmerz und größerer beweglichkeit ohne medikamente nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 35 weniger körperliche beschwerden. mehr geduld und sanftheit mit mir selbst. mehr geduld und sanftheit mit mir selbst selbstmanagement, selbsthilfe 52 manchmal fallen mir bei schmerzen einige übungen ein, die mir dann auch (begrenzt) helfen manchmal fallen mir bei schmerzen übungen ein, die mir dann auch begrenzt helfen 61 entspannung, "schmerzursachenforschungmöglichkeit der linderung schmerzursachenforschung 80 merke, wann ich mich verspanne, höre besser auf meinen körper, kann in anspannungssituationen besser atmen kann in anspannungssituationen besser atmen 84 akute probleme werden gelindert, so dass ich weiter am alltag teilnehmen kann durch bessere körperwahrnehmung vermeide ich schmerzhafte situationen durch bessere körperwahrnehmung vermeinde ich schmerzhafte situationen 31 sie haben 1 entspannenden wirkung u. erhöhen das bewußtsein für den körper sie erhöhen das bewußtsein für den körper körperbewusstsein 15 10,56% 32 es gibt mir eine gute wahrnehmung von mir selbst, wie bin ich heute / jetzt gerade in meinem körper und ich empfinde die zeit, die ich in der gruppe damit verbringe als puren luxus, nur für mich, völlig unabgelenkt, etwas zu tun es gibt mir eine gute wahrnehmung von mir selbst, wie bin ich in meinem körper 41 s.o. es erhöht meine lebensqualität, wenn ich migränefrei bin, wenn ich beweglich bleibe und wenn ich spüre, was mit mir passiert; feldenkrais wirkt sich auf alle lebensbereiche positiv aus. ich spüre, was mit mir passiert 42 abschalten, konzentrieren auf bewegg. ohne kraftund muskelantrengg. konzentration auf bewegung ohne kraft und muskelanstrengung 44 siehe frage oben – erfahre mehr über meine anatomie (mehr) körperbewußtsein 47 mehr körperbewußtsein und damit veränderung von bewegungsabläufen bei alltagtätigkeit, beim joggen + tanzen. allgemein erhöhte sensibilität. geschultes bewußtsein für körperliche zusammenhänge 48 ich bewältige meinen alltag konstruktiver 51 besseres, klügeres körpergefühl besseres, klügeres körpergefühl 54 ich lerne feinheiten meines körpers kennen lerne feinheiten meines körpers kennen 62 mehr präsenz im alltag; ein besseres körperbewusstsein in akuten angespannten situationen besseres körperbewußtsein in aktuten, angespannten situationen 67 es macht mir spaß, neues über meinen körper zu lernen. nach d. sitzungen fühle ich mich körperl. u. seelisch völlig entspannt neues über meine körper lernen 68 ich lerne meine bewegungen wahrzunehmen, achtsam zu sein, kleine bewegungen anders zu machen ich lerne meine bewegungen wahrzunehmen 80 merke, wann ich mich verspanne, höre besser auf meinen körper, kann in anspannungssituationen besser atmen höre besser auf meinen körper anhang b – tabelle b-5 150 fortsetzung 84 akute probleme werden gelindert, so dass ich weiter am alltag teilnehmen kann durch bessere körperwahrnehmung vermeide ich schmerzhafte situationen bessere körperwahrnehmung 86 bewußteres körpergefühl bewußteres körpergefühl nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 14 entspannung – andere bewusstseinsebene andere bewußtseinsebene bewusstsein 1 0,70% 24 – ich werde kreativer / gelöster / mutiger / leichter / weiter ich werde mutiger selbstbewusstsein 2 1,41% 58 ich profitiere in einem stärkeren selbstwertgefühl und einem fröhlicheren leben. ich profitiere in einem stärkeren selbstwertgefühl 24 – ich werde kreativer / gelöster / mutiger / leichter / weiter werde gelöster, leichter, weiter beweglichkeit 6 4,23% 30 ich bin immer noch beweglich. ich lerne immer noch neue zusammenhänge im zusammenspiel von körperfunktionen bin immer noch beweglich 37 meine beweglichkeit hat sich gebessert. mein körpergefühl ist besser. ich gehe und bin nach d. stunde feldenkrais entspannter. beweglichkeit hat sich gebessert 41 s.o. es erhöht meine lebensqualität, wenn ich migränefrei bin, wenn ich beweglich bleibe und wenn ich spüre, was mit mir passiert; feldenkrais wirkt sich auf alle lebensbereiche positiv aus. bleibe beweglich 46 meine körperliche beweglichkeit hat zugenommen und auch eine allgemeine gelassenheit und freude an meinem körper körperliche beweglichkeit hat zugenommen 55 verstärkung meines positiven lebensgefühls; es hilft mir mich und meinen bewegungsapparat einigermaßen beweglich zu erhalten und wenig schmerzen zu haben; es hilft mir, mich und meinen bewegungsapparat einigermaßen beweglich zu erhalten 12 – danach immer guten + sehr entspannten wohltuenden schlaf ! entspannter, wohltuender schlaf schlaf 1 0,70% 8 die vorgenannten erfahrungen empfinde ich als positiv und geben mir zuversicht, wenn auch zum jetzigen zeitpunkt noch nicht beständig positive erfahrungen zuversicht 1 0,70% 7 – meine möglichkeiten haben sich erweitert, nicht nur die beweglichkeit, sondern die "abstimmung" geist – körper. geist und körper 1 0,70% 4 neue ideen, entspannung, anregung zu ungewöhnlichen tun, konzentration auf eigene zusammenhänge, freundliche atmosphäre und präzise sprache neue ideen, anregung zu ungewöhnlichem tun, konzentration auf eigene zusammenhänge sonstige interessante beobachtungen 7 4,93% 7 – meine möglichkeiten haben sich erweitert, nicht nur die beweglichkeit, sondern die "abstimmung" geist – körper. erweiterung neuer möglichkeiten 15 ich lerne bewegungen zu machen, die allein ich niemals gewagt hätte und ich horche in mich hinein mut zum ausprobieren anhang b – tabelle b-5 151 fortsetzung 19 keine schmerzen im lendenwirbelbereich. immer wieder aufrichtung des ganzen körpers. bewegung ohne anstrengung ist sehr angenehm. event. neue oder alte bewegungsabläufe neu entdecken. bewegungsabläufe immer wieder neu entdecken nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 25 durch langes training kann ich selbst schmerz u. größere beweglichkeit beeinflussen (ohne medikamente !)! nach körperlicher beanspruchung o.d. stress kann ich mich sofort wieder normalisieren. körpergefühl und bewegungszusammenhänge + erkannt. körpergefühl und bewegungszusammenhänge erkannt 40 zusätzlich zu dem oben gesagten, habe ich als ehemaliger akrobat und ausbilder in diesem bereich bzw. kampfsporttrainer wichtige erkenntnisse im hinblick auf die sensibilität von bewegungsabläufen gewonnen, wodurch ich mich bei meinen trainertätigkeiten bewußter auf bewegungsabläufe konzentrieren kann. wichtige erkenntnisse im hinblick auf die sensibilität von bewegungsabläufen 87 in dem mir einiges klar wird, was manchmal selbstverständlich erscheint. indem mir einiges klar wird, was manchmal selbstverständlich erscheint 24 – ich werde kreativer / gelöster / mutiger / leichter / weiter ich werde kreativer kreativität 2 1,41% 92 ich empfinde mehr lebensfreude u. es stärk meine kreativität. es stärkt meine kreativität 10 im arbeitsleben (bis 2002) war es mir möglich, tagsüber sehr viel am computer zu arbeiten, ohne daß ich beschwerden hatte (kopf oder rücken viel am computer ohne beschwerden arbeitsleben 2 1,41% 40 zusätzlich zu dem oben gesagten, habe ich als ehemaliger akrobat und ausbilder in diesem bereich bzw. kampfsporttrainer wichtige erkenntnisse im hinblick auf die sensibilität von bewegungsabläufen gewonnen, wodurch ich mich bei meinen trainertätigkeiten bewußter auf bewegungsabläufe konzentrieren kann. bei meiner trainertätigkeit bewußter auf bewegungsabläufe konzentrieren 47 mehr körperbewußtsein und damit veränderung von bewegungsabläufen bei alltagtätigkeit, beim joggen + tanzen. allgemein erhöhte sensibilität. veränderungen von bewegungsabläufen bei alltagtätigkeit, beim joggen+tanzen transfer in den alltag 5 3,52% 48 ich bewältige meinen alltag konstruktiver bewältige meinen alltag konstruktiver 62 mehr präsenz im alltag; ein besseres körperbewusstsein in akuten angespannten situationen mehr präsenz im alltag 78 zu hause bewegen und räkeln dehnen, wie die katzen z.b. mit feldenkrais! übungen zuhause bewegen und räkeln, dehnen, wie die katzen z.b. mit feldenkrais-übungen 85 ich beobachte mich genauer, auch im alltag, baue übungen abgewandelt in meine gymnastischen übungen zu hause ein. ich beobachte mich genauer, auch im alltag. 4 neue ideen, entspannung, anregung zu ungewöhnlichen tun, konzentration auf eigene zusammenhänge, freundliche atmosphäre und präzise sprache freundliche atmosphäre gruppe 2 1,41% 32 es gibt mir eine gute wahrnehmung von mir selbst, wie bin ich heute / jetzt gerade in meinem körper und ich empfinde die zeit, die ich in der gruppe damit verbringe als puren luxus, nur für mich, völlig unabgelenkt, etwas zu tun zeit in der gruppe purer luxus anhang b – tabelle b-5 152 fortsetzung 43 die vokabel gefällt mir nicht ["profitieren" unterstrichen] sonstiges 3 2,11% 45 immer + in jeder lektion. ich gehe freitagses gibt keine irene sieben keinen freitag, an dem ich fehle. vielen übungen ist mein körper im wege vielen übungen ist mein körper im wege anhang b – tabelle b-5 153 nr. paraphrase generalisierung kategorie oberkategorie anzahl prozentualer anteil 84 akute probleme werden gelindert, so dass ich weiter am alltag teilnehmen kann durch bessere körperwahrnehmung vermeide ich schmerzhafte situationen akute probleme werden gelindert, so dass ich weiter am alltag teilnehmen kann 5 ich weiß es noch nicht – es ist zu früh weiß noch nicht, zu früh weiß nicht, zu früh, bleibt abzuwarten 2 1,41% 28 bleibt abzuwarten… bleibt abzuwarten… 2 ? ? ? 1 0,70% 21,22,33,3 6,38,39,50 ,56,65,69, 70,72,75,8 3,88 siehe oben, s.o., s.oben siehe oben, s.o., s.oben 15 10,56% 40 zusätzlich zu dem oben gesagten, habe ich als ehemaliger akrobat und ausbilder in diesem bereich bzw. kampfsporttrainer wichtige erkenntnisse im hinblick auf die sensibilität von bewegungsabläufen gewonnen, wodurch ich mich bei meinen trainertätigkeiten bewußter auf bewegungsabläufe konzentrieren kann. 5 3,52% 41 s.o. es erhöht meine lebensqualität, wenn ich migränefrei bin, wenn ich beweglich bleibe und wenn ich spüre, was mit mir passiert; feldenkrais wirkt sich auf alle lebensbereiche positiv aus. 57 s.o. + insgesamt gute entspannungsmöglichkeit vom "alltagsstress" 76 eintritt der erwartungen, siehe fragen nach der motivation 79 [siehe unter frage 2.] 3,9,11,20, 34 [keine antwort] [keine antwort] 5 3,52% gesamtzahl/prozent 142 100,00% anhang b – tabelle b-6 154 fortsetzung tabelle b6 in welchen bereichen haben sie schwierigkeiten mit der feldenkrais-methode? nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 1 manche bewegungen kann ich wegen eines hüftschadens schwerer machen, da dann schmerzen auftreten hüftschaden/schmerzen körperliche einschränkungen 13 12,75% 6 im lendenwirbelbereich lendenwirbelbereich 15 im bauchbereich durch meine nierentransplantation im bauchbereich/nierentranspl. 16 knie, fußgelenk re. knie, fußgelenk re. 29 gelegentlich traten schwierigkeiten auf im schulterbereich nach einem armbruch. durch gezielte anwendung half die feldenkrais-methode die schulterprobleme zu lösen. schulterbereich nach armbruch 32 bei allen übungen im 4-füßlerstand schmerzen mir die handgelenke sehr schmerzen in den handgelenke (vierfüßlerstand) 40 die umsetzung mancher ist einerseits durch die eingeschränkte mobilität der hüfte, andererseits durch verschleißerscheinungen in der wirbelsäule und altersbedingt etwas erschwert. eingeschränk. mobilität der hüfte, verschleißerscheinungen in der wirbelsäule altersbedingt 54 keine schwierigkeiten mit der methode. mein nackenbereich erreicht die lockerheit nicht, die ich mir wünsche. nackenbereich 55 bei übungen, die unterarme und handgelenke belasten übungen, die unterarme und handgelenke belasten 69 nur, wenn schmerzzonen betroffen sind schmerzzonen 81 da ich sehr dehnbare bänder habe und überbeweglich bin, wären für mich gezielte hinweise bzw. korrekturen bei bestimmten übungen hilfreich, um überdehnungen vorzubeugen dehnbare bänder, überdehnung 7 den punkt zu finden, wann eine pause notwendig ist, um nicht zu viel zu machen rechtzeitig pause 32 31,37% 8 die umsetzung der übungen fällt mir teilweise schwer, z.b. "was ist oben, was ist unten" usw. umsetzung der übungen fällt teilweise schwer schwierigkeit bei der umsetzung bzw. bei der ausführung der methode (persönlichen ursprungs) 17 es gibt lektionen, die mir nicht liegen, (auf dem bauch oder handgelenke) danach stelle ich aber fest, dass gerade diese mir nachher sehr gut bekommen. lektionen, die mir nicht liegen (später sehr gut) 18 wenn ich die bewegungen in gedanken durchführen muß. bewegung in gedanken umzusetzten 19 nur wenn es übungen sind die mir nicht so liegen. – z.b. atmung durch den mund – dabei trocknet mir der mund sehr schnell aus – das ist unangenehm. nur bei übungen, die mir nicht liegen 24 langes spüren – ich bewege mich lieber langes spüren ich bewege mich lieber 28 es ist manchmal zu ruhig… zu ruhig 32 bei allen übungen im 4-füßlerstand schmerzen mir die handgelenke sehr lektion im vierfüßlerstand schmerzen 34 veränderungen zu erspüren veränderungen zu erspüren 39 keine schwierigkeiten in der regel selten probleme beim umsetzen komplizierter bewegungen vom hören zum machen. von hören zum machen 41 mit der methode habe ich keine probleme. in den stunden spüre ich meine ungeduld und hektik; 90 minuten fast nichts zu tun fällt mir manchmal schwer. spüren von ungeduld und hektik 47 ich neige dazu mit zu viel kraft angegebene bewegungsabläufe auszuführen, bin was das bewegungsausmaß anbetrifft zu "erfolgsorientiert". zu viel kraft, zu erfolgsorientiert anhang b – tabelle b-6 155 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 48 ich hatte (und habe manchmal noch) schwierigkeiten die gedanken auch sanft + flüssig umzusetzen "im kopf". gedanken sanft + flüssig umzusetzen 51 (ich kann nicht mehr im gehen und stehen arbeiten – es findet sich aber immer eine andere möglichkeit) kann nicht mehr gehen und stehen 52 es gibt stunden, in denen ich nicht lange auf dem rücken liegen kann (schmerzen!) lektionen, bei denen man auf dem rücken liegen muß 53 zuerst hatte ich schwierigkeiten, mich nicht anzustrengen und nur winzige bewegungen auszuführen, aber das ist jetzt viel besser mich nicht anzustrengen, winzige bewegungen 55 bei übungen, die unterarme und handgelenke belasten übungen, die unterarme und handgelenke belasten 57 "verstehe" (in der gruppe) nicht immer alle übungen und denke, manche kontraproduktiv auszuführen "verstehen" einiger übungen 61 gesichtsarbeit gesichtsarbeit 62 die übungen sind manchmal etwas schwer zu koordinieren – geduld ist erforderlich übungen schwer zu koordinieren 63 die konzentration auf die anweisungen fallen mir schwer konzentration auf anweisungen 69 nur, wenn schmerzzonen betroffen sind wenn schmerzzonen betroffen 71 bei mir merkwürdig erscheinenden bewegungsabläufen bei merkwürdig erscheinenden bewegungsabläufen 73 kann ich jetzt nicht so fest bestimmen, meist fällt mir das wach bleiben schwer wachbleiben fällt schwer 78 manchmal zu genüsslich langsam zu genüßlich langsam 80 wenn sie zu öde und unvariiert unterrichtet wird. am anfang bei funktionaler integration sowie bei lektionen zu formulieren, was sich verändert, wenn ich doch nichts spüre formulierung von veränderungen 81 da ich sehr dehnbare bänder habe und überbeweglich bin, wären für mich gezielte hinweise bzw. korrekturen bei bestimmten übungen hilfreich, um überdehnungen vorzubeugen korrekturen bei bestimmten übungen hilfreich 82 beim erspüren einzelner körperteile genau herauszufinden, wo kraft für bewegung herkommt u. wie ich diese kraft reduzieren kann – bei gleichem o. besserem "resultat" genau herauszufinden, wo kraft für bewegung herkommt [83 bb – keine fi – kann zu viel werden (alpträume, unsicherheit) fi kann zu viel werden (alpträume) 84 wenn mir die beabsichtigte wirkung einer übung nicht klar ist, kann ich oft nicht konzentriert daran arbeiten beabsichtigte wirkung unklar, dann konzentrations-schwierigkeiten 85 bis jetzt keine nennenswerten. nur der kopfstand war mir suspekt. kopfstand 87 wenn es an die körperl. schmerzgrenze geht. körperliche schmerzgrenze 89 ich habe mühe, nach einem hektischen tag, abzuschalten und mich zu entspannen, wenn ich eigentlich das dringende bedürfnis nach bewegung habe. oder ich bin so erschöpft dass ich sofort einschlafe. mühe abzuschalten, zu entspannen; erschöpfung->einschlafen 92 in ausgangspositionen, die mir nicht spontan behagen bewegungen auszuführen z bsp. schneidersitz / jedoch ist auch das eine gute erfahrung: "wie gehe ich mit der schwierigkeit um?" ausgangspositionen, die mir nicht spontan behagen bewegungen auszuführen 80 wenn sie zu öde und unvariiert unterrichtet wird. am anfang bei funktionaler integration sowie bei lektionen zu formulieren, was sich verändert, wenn ich doch nichts spüre wenn zu öde und unvariiert unterrichtet wird unterrichtsform (fk-lehrer) 1 0,98% anhang b – tabelle b-6 156 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 58 integration in den alltag. oft ist der erarbeitete effekt nach einiger zeit wieder weg. integration in den alltag transfer 1 0,98% 14 ich friere schnell friere schnell kälte 1 0,98% 5,9,13,20,2 2,33,35,36, 37,43,46,4 9,56,64,65, 66,72,75 keine keine keine 39 38,24% 10 in keinem bereich 12 in keinen mir bekannten 13 keine schwierigkeiten 23 bei meiner lehrerin nie schwierigkeiten. bei vertretungen weniger befriedigend. 25 keine schwierigkeiten, noch nie welche gehabt 26 noch keine 30,38,86 in keinen 31 keiner 39 keine schwierigkeiten in der regel selten probleme beim umsetzen komplizierter bewegungen vom hören zum machen. 41 mit der methode habe ich keine probleme. in den stunden spüre ich meine ungeduld und hektik; 90 minuten fast nichts zu tun fällt mir manchmal schwer. 42 bis jetzt ! (sehr kurze zeit) keine 44 gar keine 45 nirgendwo + niemals. unsere lektion beginnt mit improvisation, mit musik. tanzen + frei-tanzen ist mein eigentliches vergnügen 60 bisher keine, aber ich bin erst kurz dabei!! 67 bisher keine 76 bislang keine, manche übungen geherrsche ich nicht, aber das macht nix 83 bb – keine fi – kann zu viel werden (alpträume, unsicherheit) 85 bis jetzt keine nennenswerten. nur der kopfstand war mir suspekt. 90 in keinem (bisher) 27 mir fehlt leider die zeit längere lektionen öfter anzuwenden keine zeit, länger lektionen zu üben keine zeit 1 0,98% 2,59 ? fragezeichen 8 7,84% anhang b – tabelle b-6 157 nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 50,70,74,7 7,79,88 [querstrich] [querstrich] 3,4,11,21,6 8,91 [keine antwort] [keine antwort] 6 5,88% gesamtzahl/prozent 102 100,00% anhang b – tabelle b-7 158 fortsetzung tabelle b7 treten bei ihnen irgendwelche begleiterscheinungen aufgrund der feldenkrais-methode auf? nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 7 – eher positive begleiterscheinungen, wie entspannung, gutes schlafen in der nacht selten instabilität, wenn ich zuviel gemacht habe. entspannung und guter schlaf 12 11,43% 8 neben dem oben genannten habe ich festgestellt, dass sich meine verspannungen in der "hws" vermindert haben, kopfschmerzen weniger auftreten verminderung von verspannungen in der hws, weniger kopfschmerzen positive begleichterscheinungen (tendenz: physischer art) 23 z.t. in den folgenden tagen; art muskelkater (angenehm) an merkwürdigen körperstellen, die mich an die letzte lektion erinnern. art muskelkater [angenehm] 27 nach den feldenkraisstunden kann ich besser schlafen, die verspannungen lösen sich immer wieder auf. besserer schlaf, verspannungen lösen sich auf 29 psychische und physische ausgeglichenheit physische ausgeglichenheit 30 keine negativen! nur positive, nämlich: hunger + durst nach der stunde und das bedürfnis sich mitzuteilen hunger + durst, bedürfnis sich mitzuteilen 32 eher nur positive wie oben beschrieben. nur positive 33 gute atmung und durchblutung der kopfpartien gute atmung und durchblutung der kopfpartien 35 bei einer reise nach nepal war ich in der lage, gut am boden zu sitzen u.ä. gut am boden zu sitzten 37 ich bin nach den übungen wacher u. bessere laune wacher 40 keine negativen begleiterscheinungen, vielmehr uneingeschränktes wohlbefinden verbunden mit einer leichtigkeit der bewegungen uneingeschränktes wohlbefinden verbunden mit einer leichtigkeit der bewegungen 73 stärkeres empfinden für körperliches: z.b. rechts/links unterschiedlich lang, enge im brustkorb auf rechter seite stärkeres empfinden für körperliches 80 bin lockerer (körperlich und geistig) geworden bin körperlich lockerer 29 psych. und phys. ausgeglichenheit psychische ausgeglichenheit 10 9,52% 30 keine negativen! nur positive, nämlich: hunger + durst nach der stunde und das bedürfnis sich mitzuteilen bedürfnis sich mitzuteilen 37 ich bin nach den übungen wacher u. bessere laune bessere laune 40 keine negativen begleiterscheinungen, vielmehr uneingeschränktes wohlbefinden verbunden mit einer leichtigkeit der bewegungen uneingeschränktes wohlbefinden positive begleiterscheinungen (tendenz: psychischer art) 41 nein; ich fühle mich immer besser nach den stunden als vorher fühle mich besser 45 nein. die frage verstehe ich wohl nicht. "begleiterscheinungen" klingt eher negativ! ich erfahre positives. meist bin ich glücklich, manchmal auch deprimiert nach der lektion. erfahre positives: meist glücklich, manchmal deprimiert 78 wohlgefühl für die ganze woche wohlgefühl für die ganze woche 80 bin lockerer (körperlich und geistig) geworden bin lockerer geistig 84 stimmungsaufhellung bei spührbarer wirksamkeit überlaunigkeit bei arbeit an problempunkten stimmungsaufhellung 92 nur im positiven sinn, ich entwickle einen "gesunden" egoismus, "das vitale selbst" nur im positiven sinne, gesunder egoismus, das vitale selbst anhang b – tabelle b-7 159 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 25 nur positive – siehe oben – nur positive 6 5,71% 36 nur positive s.o. 47 siehe: obere angaben, keine negativen begleiterscheinungen keine negativen begleiterscheinungen 62 bisher keine negativen – kann zu gelegentlichen schmerzverstärkung im nackenbereich kommen, wenn ich selbst zu ungeduldig bin. keine negativen auswirkungen positive bzw. keine negativen begleiterscheinungen (ohne genauere beschreibung) 76 keine erkennbaren begleiterscheinungen, die sich negativ auswirkten keine negativen auswirkungen 85 nur positive. ab und an muskelkater. 12 – "muskelkater" in der brustwirbelsäule, merklich muskelkater in der brustwirbelsäule 17 16,19% 13 manchmal brennen in den hüftund schultergelenken brennen in den hüft und schultergelenken 15 manchmal bin ich hinterher etwas müde müdigkeit 17 am anfang hatte ich öfter migräne. habe dann weniger gemacht u. es hat sich nicht mehr gezeigt. migräne negative begleiterscheinungen (tendenz: physischer art) 18 wenn ich es zu intensiv mache wenn ich es zu intensiv mache 21 bei sportlichem ehrgeiz und z.b. kreuzschmerzen bei sportl. ehrgeiz, z.b. kreuzschmerzen 42 größere bewegungsabläufe (z.b. stehen, abrollen am boden, stehen + zurück) leichtere gleichgewichtsschwankungen bei größeren bewegungsabl. leichte gleichgewichtsschwankungen 53 am anfang hatte ich oft muskelkater oder schmerzen durch anstrengung, weil ich zuviel gemacht habe. muskelkater oder schmerzen durch anstrengung 57 manchmal zunächst "neue schmerzen" (wahrsch. "resultat" von obigen manchmal zunächst neue schmerzen 61 der schmerz in der hüfte trat zunächst in jeder lektion auf (war bewusster), jetzt so gut wie nie schmerz in der hüfte, war bewußter 62 bisher keine negativen – kann zu gelegentlichen schmerzverstärkung im nackenbereich kommen, wenn ich selbst zu ungeduldig bin. gelegentlichen schmerzverstärkung im nackenbereich 63 ja, manchmal schmerzen im ischias nach übungen oder auch kopfschmerzen schmerzen im ischias, kopfschmerzen 65 oft muskelkater muskelkater 77 manchmal ziepts manchmals ziepts 81 nach (offensichtlich) zu starker beteiligung bestimmter muskelgruppen selten eine art von zerrungsschmerz bis zu 5 tage danach art zerrungsschmerz 85 nur positive. ab und an muskelkater. muskelkater 89 ich fühle mich oft nach den sitzungen benommen, gelegentlich habe ich einen muskelkater. benommenheit, muskelkater 83 s.o. bei zu viel -> verwirrung-> pause bei zu viel > verwirrung > pause 2 1,90% 84 stimmungsaufhellung bei spührbarer wirksamkeit überlaunigkeit bei arbeit an problempunkten übelaunigkeit negative begleiterscheinungen (tendenz: psychischer art) anhang b – tabelle b-7 160 nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 1,2,3,5,6,9,10,1 9,20,22,28,31,3 4,38,39,43,46,4 9,52,54,55,56,5 8,59,60,64,66,6 8,69,71,72,75,8 2,86,91 nein/keine nein, keine nein bzw. keine negativen begleiterscheinungen (ohne genauere beschreibung) 40 38,10% 24 nein d.h. keine unangenehmen keine unangenehmen 47 siehe: obere angaben, keine negativen begleiterscheinungen keine negativen 76 keine erkennbaren begleiterscheinungen, die sich negativ auswirkten 87,90 bisher nicht bisher nicht 4,11,14,16,26,5 0,51,70,74,79,8 8 [keine antwort] [keine antwort] 16 15,24% 51,70,74,79,88 [querstrich] [querstrich] 67 s.o. 44 schwierig zu beurteilen, da ich mehrere angebote zu körperarbeit wahrnehme schwierig zu beurteilen, da mehrere angebote zur körperarbeit sonstiges/nicht zuordnenbar 2 1,90% 48 mangelerscheinungen in den ferien mangelerscheinung in der ferien (kein fk) gesamtzahl/prozent 105 100,00% anhang b – tabelle b-8 161 fortsetzung tabelle b8 gab es in den letzten 4 wochen veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 1,2,3,10,11,12,1 9,20,21,22,23,2 7,29 nein nein nein, keine 17 43,59% 7 nein, das war doch viel zu wenig feldenkrais, was soll das denn bewirken 31 keine 25 kaum, ich mache ja schon fast 10 jahre feldenkrais bzw. vorher yoga 26 keine, die feldenkrais-stunden tun mir immer gut; jedes mal entdecke und erlebe ich zusammenhänge und verbindungen im körper 4 positiveres empfinden im alltag; etwas mehr leichtigkeit positives empfinden im alltag; mehr leichtigkeit wohlbefinden 1 2,56% 5 weniger schmerzen in der schulter weniger schmerzen schmerzreduktion 2 5,13% 6 geringere schmerzen geringere schmerzen 8 nicht direkt, dafür mache ich es zu lange; insgesamt hilft es mir gerade wieder, prozesse zu verstehen (körperlich und psychisch z.b. das prinzip der gegenbewegung im gelenk hilft bewegung zu erleichtern) hilft prozesse zu verstehen 1 2,56% 9 jede feldenkrais-lektion bringt besseres körpergefühl, aber es gelingt mir nicht genügend, es dauerhaft zu bewahren besseres körpergefühl körpergefühl 6 15,38% 15 nach einer lektion eine freiere, klarere wahrnehmung des schulterbereiches und lockerung der dazugehörigen muskulatur freiere, klarere wahrnehmung des schulterbereichs 18 bewusste aufmerksamkeit bezüglich kleinster bewegungsabläufe bewusste aufmerksamkeit bezüglich kleinster bewegungsabläufe 26 keine, die feldenkrais-stunden tun mir immer gut; jedes mal entdecke und erlebe ich zusammenhänge und verbindungen im körper jedes mal entdecke und erlebe ich zusammenhänge und verbindungen im körper 35 ich fühle mich körperlich etwas besser. fühle mich körperlich besser anhang b – tabelle b-8 162 fortsetzung nr. paraphrase generalisierung kategorie anzahl prozentualer anteil 32 größere beweglichkeit, insbesondere in der hüfte. befriedigung darüber, dass in vielen bereichen eine größere bewußtheit bei den bewegungsabläufen eingetreten ist. größere bewußtheit bei bewegungsabläufen 34 beweglichkeit wurde gesteigert gesteigerte beweglichkeit beweglichkeit 2 5,13% 32 größere beweglichkeit, insbesondere in der hüfte. befriedigung darüber, dass in vielen bereichen eine größere bewußtheit bei den bewegungsabläufen eingetreten ist. größere beweglichkeit 13 insgesamt wird mein tonus gesenkt, ich bin gelassener gesenkter tonus körperliche entspannung 4 10,26% 15 nach einer lektion eine freiere, klarere wahrnehmung des schulterbereiches und lockerung der dazugehörigen muskulatur lockerung der dazugehörigen muskulatur 17 immer wieder entspannung immer mehr entspannung 28 der nacken-schulter-bereich ist nicht mehr so verkrampft. ich fühle mich etwas gelassener nacken-schulter-bereich ist nicht mehr so verkrampf 13 insgesamt wird mein tonus gesenkt, ich bin gelassener gelassenheit psych. ausgeglichenheit 2 5,13% 33 ausgeglichenheit ausgeglichenheit 14 aus dem alltag zu viel energie zu nehmen, körperhaltung wurde effektiver, organischer aus dem alltag zu viel energie zu nehmen transfer in den alltag 1 2,50% 14 aus dem alltag zu viel energie zu nehmen, körperhaltung wurde effektiver, organischer körperhaltung wurde effektiver, organischer körperhaltung 2 5,00% 24 es gelingt mir immer öfter, mir beim gehen – in gedanken – einzelne feldenkrais-übungen vorzustellen. dann wird meine körperhaltung für einige zeit aufrechter körperhaltung für einige zeit aufrechter 16 ich glaube, dass ich krankheit und trauer im umfeld realistischer verarbeite realistische verarbeitung von krankheit und trauer problemverarbeitung 1 2,50% 30 veränderung jeweils nach dem unterricht fast regelmäßig. in der regel 2-3 tage längstens andauernd regelmäßig veränderung nach unterricht nicht näher bezeichnete veränderung 1 2,50% gesamtzahl/prozent 40 100,00% anhang b – tabelle b-8 163 fortsetzung anhang b – fragebogen fk t1 164 fortsetzung fragebogen 1 (fk t1) teilnehmerbefragung zur feldenkrais-methode liebe teilnehmerin, lieber teilnehmer, vielen dank für ihre bereitschaft an dieser wissenschaftlichen befragung teilzunehmen. im rahmen einer diplomarbeit an der freien universität berlin im fachbereich psychologie untersuchen wir die wirksamkeit der feldenkrais-methode. dazu möchten wir mehr über die gründe und motive von teilnehmern an feldenkrais-kursen erfahren. darüber hinaus interessieren wir uns für mögliche veränderungen des allgemeinen gesundheitszustandes und des körperbildes. vielen dank für ihre mitarbeit bei dieser wissenschaftlichen studie! datenschutzvereinbarung die vorliegende befragung dient ausschließlich wissenschaftlichen zwecken und erfolgt nach ethischen richtlinien. die teilnahme an dieser befragung ist freiwillig und kann jederzeit abgebrochen werden. die datenerhebung sowie die weitere verarbeitung der daten geschieht in anonymisierter form. bitte schreiben sie nicht ihren namen auf die bögen! zu einem späteren zeitpunkt möchten wir einen weiteren fragebogen an sie austeilen. deshalb benötigen wir eine codierung, um die fragebögen zuordnen zu können. ihr kürzel (codierung) setzt sich zusammen aus: dem ersten buchstaben des vornamens der mutter dem zweiten buchstaben des vornamens des vaters dem dritten buchstaben ihres geburtsortes und ihrem geburtsjahrgang. bitte tragen sie hier ihr kürzel und das datum, wann sie den bogen ausfüllt haben, ein: __ __ __ _____ datum: ___ . ___ . 2004 jjjj ihr geburtsjahrgang dritter buchstabe ihres geburtsortes zweiter buchstabe des vornamens ihres vaters erster buchstabe des vornamens ihrer mutter anhang b – fragebogen fk t1 165 fortsetzung wann sind sie geboren? geburtsdatum: ___ . ___ . _____ tt mm jjjj welchen geschlechts sind sie? geschlecht: � � w m sind sie gegenwärtig.... verheiratet � verwitwet � geschieden � ledig � in partnerschaft lebend � haben sie kinder? ja � anzahl: ___ nein � welchen höchsten allgemeinen schulabschluss haben sie? (nur allgemeinbildende schulabschlüsse) volksschule, gemeindeschule � mittlere reife (realschule, einjähriges) � abitur (hochschulreife, fachabitur) � polytechnische oberschule � keinen schulabschluss � sonstiges (nicht zuordenbarer abschluss) � und zwar: _________________________ haben sie eine ausbildung oder lehre von mindestens 2 jahren abgeschlossen? ja � nein � wie ist ihre derzeitige berufliche situation? erwerbstätig � rentner � arbeitslos � hausfrau/-mann � student � sonstiges: _______________ in welchem bereich arbeiten sie zur zeit? _______________________________ wann haben sie zum ersten mal an einer feldenkrais-gruppe teilgenommen? (beispiel: im august 2002 = 08/2002) ____ / _____ mm jjjj seit wann nehmen sie regelmäßig (mind. einmal pro woche) stunden in der feldenkrais-methode ("bewußtheit durch bewegung" in einer gruppe) ? ____ / _____ mm jjjj anhang b – fragebogen fk t1 166 fortsetzung wie oft nehmen sie an einer gruppe ("bewusstheit durch bewegung") teil? einmal in der woche � zweimal in der woche � mehr als zweimal pro woche � unregelmäßig � führen sie feldenkrais-lektionen zusätzlich zur gruppe noch zu hause durch? ja � anzahl/woche ___ nein � haben sie stunden in "funktionaler integration" (feldenkrais-einzelsitzungen) genommen? ja � anzahl ___ nein � wann war das zum ersten mal? __ _/____ mm jjjj nehme ich regelmäßig wöchentlich � monatlich � vierteljährlich � unregelmäßig � im nächsten abschnitt folgen einige persönliche fragen zu feldenkrais in einer gruppe ("bewusstheit durch bewegung"): bitte antworten sie hier etwas ausführlicher. wie sind sie zur feldenkrais-methode gekommen? warum nehmen sie an einer feldenkrais-gruppe teil? (bitte schildern sie ausführlich ihre gründe) anhang b – fragebogen fk t1 167 fortsetzung was versprechen sie sich von der feldenkrais-methode? gab es veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? inwiefern profitieren sie von den feldenkrais-lektionen? in welchen bereichen haben sie schwierigkeiten mit der feldenkrais-methode? treten bei ihnen irgendwelche begleiterscheinungen aufgrund der feldenkrais-methode auf? anhang b – fragebogen fk t1 168 fortsetzung werden sie sich weiterhin mit der feldenkrais-methode beschäftigen? (bitte schildern sie ausführlich ihre gründe) haben sie schon andere "alternative" verfahren (z.b. yoga, alexandertechnik usw.) ausprobiert? wenn ja , welche? welche erfahrungen haben sie mit entspannungstechniken (z.b. meditation, autogenes training, progressive muskelentspannung?) wie oft führen sie diese entspannungstechniken durch? welche körperlichen beschwerden haben sie derzeit? in den folgenden drei abschnitten kreuzen sie bitte an, was ihnen als erstes in den sinn kommt. es gibt keine richtigen und falschen antworten. falls eine antwort nicht passt, wählen sie bitte die antwortalternative, die ihre meinung am ehesten widerspiegelt. anhang b – fragebogen fk t1 169 fortsetzung die folgenden fragen beziehen sich auf die beurteilung ihres gesundheitszustandes. der bogen ermöglicht es, im zeitverlauf nachzuvollziehen, wie sie sich fühlen und wie sie im alltag zurechtkommen. bitte beantworten sie jede der (grau unterlegten) fragen, indem sie bei den antwortmöglichkeiten die zahl ankreuzen, die am besten auf sie zutrifft. ausgezeichnet sehr gut gut weniger gut schlecht 1. wie würden sie ihren gesundheitszustand im allgemeinen beschreiben. 1 2 3 4 5 im folgenden sind einige tätigkeiten beschrieben, die sie vielleicht an einem normalen tag ausüben. sind sie durch ihren derzeitigen gesundheitszustand bei diesen tätigkeiten eingeschränkt? wenn ja, wie stark? ja, stark eingeschränkt ja, etwas eingeschränkt nein, überhaupt nicht eingeschränkt 2. mittelschwere tätigkeiten, z.b. einen tisch verschieben, staubsaugen, kegeln, golf spielen 1 2 3 3. mehrere treppenabsätze steigen 1 2 3 hatten sie in den vergangenen 4 wochen aufgrund ihrer körperlichen gesundheit irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause? ja nein 4. ich habe weniger geschafft als ich wollte 1 2 5. ich konnte nur bestimmte dinge tun 1 2 hatten sie in den vergangenen 4 wochen aufgrund seelischer probleme irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause (z.b. weil sie sich niedergeschlagen oder ängstlich fühlten)? ja nein 6. ich habe weniger geschafft als ich wollte 1 2 7. ich konnte nicht so sorgfältig wie üblich arbeiten 1 2 überhau pt nicht ein bisschen mäßig ziemlich sehr 8. inwieweit haben die schmerzen sie in den vergangenen 4 wochen bei der ausübung ihrer alltagstätigkeiten zu hause und im beruf behindert? 1 2 3 4 5 anhang b – fragebogen fk t1 170 fortsetzung in diesen fragen geht es darum, wie sie sich fühlen und wie es ihnen in den vergangenen 4 wochen gegangen ist. (bitte kreuzen sie in jeder zeile die zahl an, die ihrem befinden am ehesten entspricht). immer meisten s ziemlich oft manchmal selten nie wie oft waren sie in den vergangenen 4 wochen 9. …ruhig und gelassen? 1 2 3 4 5 6 10. …voller energie? 1 2 3 4 5 6 11. …entmutigt und traurig? 1 2 3 4 5 6 immer meistens manchmal selten nie 12. wie häufig haben ihre körperliche ge sundheit oder seelischen probleme in den vergangenen 4 wochen ihre kon takte zu anderen menschen (besuche bei freunden, verwandten usw.) beeinträchtigt? 1 2 3 4 5 die folgenden fragen beziehen sich auf die allgemeine selbstwirksamkeitserwartung. dabei wird erfasst, wie sie verschiedenen situationen oder problemen begegnen. bitte kreuzen sie zutreffendes an: stimmt nicht stimmt kaum stimmt eher stimmt genau 1. wenn sich widerstände auftun, finde ich mittel und wege, mich durchzusetzen. 0 0 0 0 2. die lösung schwieriger probleme gelingt mir immer, wenn ich mich darum bemühe. 0 0 0 0 3. es bereitet mir keine schwierigkeiten, meine absichten und ziele zu verwirklichen. 0 0 0 0 4. in unerwarteten situationen weiß ich immer, wie ich mich verhalten soll. 0 0 0 0 5. auch bei überraschenden ereignissen glaube ich, dass ich gut mit ihnen zurechtkommen kann. 0 0 0 0 6. schwierigkeiten sehe ich gelassen entgegen, weil ich meinen fähigkeiten immer vertrauen kann. 0 0 0 0 7. was auch immer passiert, ich werde schon klarkommen. 0 0 0 0 8. für jedes problem kann ich eine lösung finden. 0 0 0 0 9. wenn eine neue sache auf mich zukommt, weiß ich, wie ich damit umgehen kann. 0 0 0 0 10. wenn ein problem auftaucht, kann ich es aus eigener kraft meistern. 0 0 0 0 anhang b – fragebogen fk t1 171 dieser fragebogen beschreibt das körperliche empfinden und die einstellung zum eigenen körper. wir möchten sie bitten, bei den folgenden 20 aussagen anzukreuzen, inwieweit diese für sie selbst gegenwärtig zutreffen. trifft nicht zu trifft kaum zu trifft teilweise zu trifft weitgehen d zu trifft völlig zu (1) insgesamt empfinde ich mich als robust und stark. 0 0 0 0 0 (2) mit meinem aussehen stimmt etwas nicht so recht. 0 0 0 0 0 (3) ich bin gesund. 0 0 0 0 0 (4) manchmal spüre ich eine unbändige energie in mir. 0 0 0 0 0 (5) ich kann mit meinen körperlichen unvollkommen heiten gut leben. 0 0 0 0 0 (6) mir ist mein körper oft lästig. 0 0 0 0 0 (7) ich fühle mich voller kraft. 0 0 0 0 0 (8) mit meiner figur bin ich unzufrieden. 0 0 0 0 0 (9) oft spüre ich mich voll erotischer spannung. 0 0 0 0 0 (10) ich wünsche mir einen anderen körper. 0 0 0 0 0 (11) manchmal verspüre ich ekel mir selbst gegenüber. 0 0 0 0 0 (12) ich habe genügend kraftvolle spannung in mir. 0 0 0 0 0 (13) auf fotos gefalle ich mir nicht. 0 0 0 0 0 (14) ich fühle mich topfit. 0 0 0 0 0 (15) meine körperlichen mängel stören mich schon sehr. 0 0 0 0 0 (16) mit meinen sexuellen wünschen beschäftige ich mich gern. 0 0 0 0 0 (17) ich traue mir körperlich einiges zu. 0 0 0 0 0 (18) manchmal wünsche ich mir, völlig anders auszusehen. 0 0 0 0 0 (19) ich fühle mich in meinem körper zu hause. 0 0 0 0 0 (20) ausgelassen zu tanzen macht mir großen spaß. 0 0 0 0 0 vielen dank für ihre mitarbeit! bitte geben sie den fragebogen in der nächsten stunde ihrer feldenkrais-lehrerin bzw. –lehrer. anhang b – fragebogen sk t1 172 fortsetzung fragebogen 2 (sk t1) teilnehmerbefragung liebe teilnehmerin, lieber teilnehmer, vielen dank für ihre bereitschaft an dieser wissenschaftlichen befragung teilzunehmen. im rahmen einer diplomarbeit an der freien universität berlin im fachbereich psychologie untersuchen wir die aussagekraft von fragebögen zum thema gesundheitszustand, körperbild und selbstwirksamkeit. vielen dank für ihre mitarbeit bei dieser wissenschaftlichen studie! (die diplomarbeit steht ab ca. 15. dezember 2004 im internet unter http://userpage.fuberlin/~neubeck zur ansicht zur verfügung.) datenschutzvereinbarung die vorliegende befragung dient ausschließlich wissenschaftlichen zwecken und erfolgt nach ethischen richtlinien. die teilnahme an dieser befragung ist freiwillig und kann jederzeit abgebrochen werden. die datenerhebung sowie die weitere verarbeitung der daten geschieht in anonymisierter form. bitte schreiben sie nicht ihren namen auf die bögen! zu einem späteren zeitpunkt möchten wir einen weiteren fragebogen an sie austeilen. deshalb benötigen wir eine codierung, um die fragebögen zuordnen zu können. ihr kürzel (codierung) setzt sich zusammen aus: dem ersten buchstaben des vornamens der mutter dem zweiten buchstaben des vornamens des vaters dem dritten buchstaben ihres geburtsortes und ihrem geburtsjahrgang. bitte tragen sie hier ihr kürzel und das datum, wann sie den bogen ausfüllt haben, ein: __ __ __ _____ datum: ___ . ___ . 2004 jjjj ihr geburtsjahrgang dritter buchstabe ihres geburtsortes zweiter buchstabe des vornamens ihres vaters erster buchstabe des vornamens ihrer mutter anhang b – fragebogen sk t1 173 fortsetzung wann sind sie geboren? geburtsdatum: ___ . ___ . _____ tt mm jjjj welchen geschlechts sind sie? geschlecht: � � w m sind sie gegenwärtig.... verheiratet � verwitwet � geschieden � ledig � in partnerschaft lebend � haben sie kinder? ja � anzahl: ___ nein � welchen höchsten allgemeinen schulabschluss haben sie? (nur allgemeinbildende schulabschlüsse) volksschule, gemeindeschule � mittlere reife (realschule, einjähriges) � abitur (hochschulreife, fachabitur) � polytechnische oberschule � keinen schulabschluss � sonstiges (nicht zuordenbarer abschluss) � und zwar: _________________________ haben sie eine ausbildung oder lehre von mindestens 2 jahren abgeschlossen? ja � nein � wie ist ihre derzeitige berufliche situation? erwerbstätig � rentner � arbeitslos � hausfrau/-mann � student � sonstiges: _______________ in welchem bereich arbeiten sie zur zeit? _______________________________ anhang b – fragebogen sk t1 174 fortsetzung als nächstes folgen einige persönliche fragen zu ihrem gesundheitsverhalten: welche sportart/en betreiben sie? wie viele stunden nimmt ihre sportliche betätigung in der woche ein? welche erfahrungen haben sie mit entspannungstechniken (z.b. meditation, autogenes training, progressive muskelentspannung?) wie oft führen sie diese entspannungstechniken durch? üben sie "alternative" verfahren (z.b. yoga, alexandertechnik, meditation usw.) aus? wenn ja , welche? welche körperlichen beschwerden haben sie derzeit? in den folgenden abschnitten kreuzen sie bitte an, was ihnen als erstes in den sinn kommt. es gibt keine richtigen und falschen antworten. falls eine antwort nicht passt, wählen sie bitte die antwortalternative, die ihre meinung am ehesten widerspiegelt. anhang b – fragebogen sk t1 175 fortsetzung die folgenden fragen beziehen sich auf die beurteilung ihres gesundheitszustandes. der bogen ermöglicht es, im zeitverlauf nachzuvollziehen, wie sie sich fühlen und wie sie im alltag zurechtkommen. bitte beantworten sie jede der (grau unterlegten) fragen, indem sie bei den antwortmöglichkeiten die zahl ankreuzen, die am besten auf sie zutrifft. ausgezeichnet sehr gut gut weniger gut schlecht 1. wie würden sie ihren gesundheitszustand im allgemeinen beschreiben. 1 2 3 4 5 im folgenden sind einige tätigkeiten beschrieben, die sie vielleicht an einem normalen tag ausüben. sind sie durch ihren derzeitigen gesundheitszustand bei diesen tätigkeiten eingeschränkt? wenn ja, wie stark? ja, stark eingeschränkt ja, etwas eingeschränkt nein, überhaupt nicht eingeschränkt 2. mittelschwere tätigkeiten, z.b. einen tisch verschieben, staubsaugen, kegeln, golf spielen 1 2 3 3. mehrere treppenabsätze steigen 1 2 3 hatten sie in den vergangenen 4 wochen aufgrund ihrer körperlichen gesundheit irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause? ja nein 4. ich habe weniger geschafft als ich wollte 1 2 5. ich konnte nur bestimmte dinge tun 1 2 hatten sie in den vergangenen 4 wochen aufgrund seelischer probleme irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause (z.b. weil sie sich niedergeschlagen oder ängstlich fühlten)? ja nein 6. ich habe weniger geschafft als ich wollte 1 2 7. ich konnte nicht so sorgfältig wie üblich arbeiten 1 2 überhau pt nicht ein bisschen mäßig ziemlich sehr 8. inwieweit haben die schmerzen sie in den vergangenen 4 wochen bei der ausübung ihrer alltagstätigkeiten zu hause und im beruf behindert? 1 2 3 4 5 anhang b – fragebogen sk t1 176 fortsetzung in diesen fragen geht es darum, wie sie sich fühlen und wie es ihnen in den vergangenen 4 wochen gegangen ist. (bitte kreuzen sie in jeder zeile die zahl an, die ihrem befinden am ehesten entspricht). immer meisten s ziemlich oft manchmal selten nie wie oft waren sie in den vergangenen 4 wochen 9. …ruhig und gelassen? 1 2 3 4 5 6 10. …voller energie? 1 2 3 4 5 6 11. …entmutigt und traurig? 1 2 3 4 5 6 immer meistens manchmal selten nie 12. wie häufig haben ihre körperliche ge sundheit oder seelischen probleme in den vergangenen 4 wochen ihre kon takte zu anderen menschen (besuche bei freunden, verwandten usw.) beeinträchtigt? 1 2 3 4 5 die folgenden fragen beziehen sich auf die allgemeine selbstwirksamkeitserwartung. dabei wird erfasst, wie sie verschiedenen situationen oder problemen begegnen. bitte kreuzen sie zutreffendes an: stimmt nicht stimmt kaum stimmt eher stimmt genau 1. wenn sich widerstände auftun, finde ich mittel und wege, mich durchzusetzen. 0 0 0 0 2. die lösung schwieriger probleme gelingt mir immer, wenn ich mich darum bemühe. 0 0 0 0 3. es bereitet mir keine schwierigkeiten, meine absichten und ziele zu verwirklichen. 0 0 0 0 4. in unerwarteten situationen weiß ich immer, wie ich mich verhalten soll. 0 0 0 0 5. auch bei überraschenden ereignissen glaube ich, dass ich gut mit ihnen zurechtkommen kann. 0 0 0 0 6. schwierigkeiten sehe ich gelassen entgegen, weil ich meinen fähigkeiten immer vertrauen kann. 0 0 0 0 7. was auch immer passiert, ich werde schon klarkommen. 0 0 0 0 8. für jedes problem kann ich eine lösung finden. 0 0 0 0 9. wenn eine neue sache auf mich zukommt, weiß ich, wie ich damit umgehen kann. 0 0 0 0 10. wenn ein problem auftaucht, kann ich es aus eigener kraft meistern. 0 0 0 0 anhang b – fragebogen sk t1 177 dieser fragebogen beschreibt das körperliche empfinden und die einstellung zum eigenen körper. wir möchten sie bitten, bei den folgenden 20 aussagen anzukreuzen, inwieweit diese für sie selbst gegenwärtig zutreffen. trifft nicht zu trifft kaum zu trifft teilweise zu trifft weitgehen d zu trifft völlig zu (1) insgesamt empfinde ich mich als robust und stark. 0 0 0 0 0 (2) mit meinem aussehen stimmt etwas nicht so recht. 0 0 0 0 0 (3) ich bin gesund. 0 0 0 0 0 (4) manchmal spüre ich eine unbändige energie in mir. 0 0 0 0 0 (5) ich kann mit meinen körperlichen unvollkommen heiten gut leben. 0 0 0 0 0 (6) mir ist mein körper oft lästig. 0 0 0 0 0 (7) ich fühle mich voller kraft. 0 0 0 0 0 (8) mit meiner figur bin ich unzufrieden. 0 0 0 0 0 (9) oft spüre ich mich voll erotischer spannung. 0 0 0 0 0 (10) ich wünsche mir einen anderen körper. 0 0 0 0 0 (11) manchmal verspüre ich ekel mir selbst gegenüber. 0 0 0 0 0 (12) ich habe genügend kraftvolle spannung in mir. 0 0 0 0 0 (13) auf fotos gefalle ich mir nicht. 0 0 0 0 0 (14) ich fühle mich topfit. 0 0 0 0 0 (15) meine körperlichen mängel stören mich schon sehr. 0 0 0 0 0 (16) mit meinen sexuellen wünschen beschäftige ich mich gern. 0 0 0 0 0 (17) ich traue mir körperlich einiges zu. 0 0 0 0 0 (18) manchmal wünsche ich mir, völlig anders auszusehen. 0 0 0 0 0 (19) ich fühle mich in meinem körper zu hause. 0 0 0 0 0 (20) ausgelassen zu tanzen macht mir großen spaß. 0 0 0 0 0 vielen dank für ihre mitarbeit! bitte geben sie den fragebogen in der nächsten stunde ihrer kursleiterin/ ihrem kursleiter. anhang b – fragebogen fk t2 178 fortsetzung fragebogen 3 (fk t2) teilnehmerbefragung zur feldenkrais-methode liebe teilnehmerin, lieber teilnehmer, vor vier wochen haben sie den ersten fragebogen ausgefüllt. heute möchten wir sie ein weiteres mal um ihre mitarbeit bitten und geben ihnen deshalb den zweiten fragebogen. bitte vergessen sie nicht, ihr kürzel auf den fragebogen einzutragen. vielen dank für ihre mitarbeit bei dieser wissenschaftlichen studie! datenschutzvereinbarung die vorliegende befragung dient ausschließlich wissenschaftlichen zwecken und erfolgt nach ethischen richtlinien. die teilnahme an dieser befragung ist freiwillig und kann jederzeit abgebrochen werden. die datenerhebung sowie die weitere verarbeitung der daten geschieht in anonymisierter form. bitte schreiben sie nicht ihren namen auf die bögen! ihr kürzel (codierung) setzt sich zusammen aus: 1. buchstabe des vornamens der mutter 2. buchstabe des vornamens des vaters 3. buchstabe ihres geburtsortes 4. ihr geburtsjahrgang bitte tragen sie hier ihr kürzel ein: kürzel: __ __ __ _____ datum: ___ . ___ . 2004 jjjj geburtsjahrgang dritter buchstabe ihres geburtsortes zweiter buchstabe des vornamens ihres vaters erster buchstabe des vornamens ihrer mutter anhang b – fragebogen fk t2 179 fortsetzung in den folgenden drei abschnitten kreuzen sie bitte an, was ihnen als erstes in den sinn kommt. es gibt keine richtigen und falschen antworten. falls eine antwort nicht passt, wählen sie bitte die antwortalternative, die ihre meinung am ehesten widerspiegelt. die folgenden fragen beziehen sich auf die beurteilung ihres gesundheitszustandes. der bogen ermöglicht es, im zeitverlauf nachzuvollziehen, wie sie sich fühlen und wie sie im alltag zurechtkommen. bitte beantworten sie jede der (grau unterlegten) fragen, indem sie bei den antwortmöglichkeiten die zahl ankreuzen, die am besten auf sie zutrifft. ausgezeichnet sehr gut gut weniger gut schlecht 1. wie würden sie ihren gesundheitszustand im allgemeinen beschreiben. 1 2 3 4 5 im folgenden sind einige tätigkeiten beschrieben, die sie vielleicht an einem normalen tag ausüben. sind sie durch ihren derzeitigen gesundheitszustand bei diesen tätigkeiten eingeschränkt? wenn ja, wie stark? ja, stark eingeschränkt ja, etwas eingeschränkt nein, überhaupt nicht eingeschränkt 2. mittelschwere tätigkeiten, z.b. einen tisch verschieben, staubsaugen, kegeln, golf spielen 1 2 3 3. mehrere treppenabsätze steigen 1 2 3 hatten sie in den vergangenen 4 wochen aufgrund ihrer körperlichen gesundheit irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause? ja nein 4. ich habe weniger geschafft als ich wollte 1 2 5. ich konnte nur bestimmte dinge tun 1 2 hatten sie in den vergangenen 4 wochen aufgrund seelischer probleme irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause (z.b. weil sie sich niedergeschlagen oder ängstlich fühlten)? ja nein 6. ich habe weniger geschafft als ich wollte 1 2 7. ich konnte nicht so sorgfältig wie üblich arbeiten 1 2 überhaupt nicht ein bisschen mäßig ziemlich sehr 8. inwieweit haben die schmerzen sie in den vergangenen 4 wochen bei der ausübung ihrer alltagstätigkeiten zu hause und im beruf behindert? 1 2 3 4 5 anhang b – fragebogen fk t2 180 fortsetzung in diesen fragen geht es darum, wie sie sich fühlen und wie es ihnen in den vergangenen 4 wochen gegangen ist. (bitte kreuzen sie in jeder zeile die zahl an, die ihrem befinden am ehesten entspricht). immer meiste ns ziemlich oft manch -mal selten nie wie oft waren sie in den vergangenen 4 wochen 9. …ruhig und gelassen? 1 2 3 4 5 6 10. …voller energie? 1 2 3 4 5 6 11. …entmutigt und traurig? 1 2 3 4 5 6 immer meistens manchm al selten nie 12. wie häufig haben ihre körperliche ge sundheit oder seelischen probleme in den vergangenen 4 wochen ihre kon takte zu anderen menschen (besuche bei freunden, verwandten usw.) beeinträchtigt? 1 2 3 4 5 die folgenden fragen beziehen sich auf die allgemeine selbstwirksamkeitserwartung. dabei wird erfasst, wie sie verschiedenen situationen oder problemen begegnen. bitte kreuzen sie zutreffendes an: stimmt nicht stimmt kaum stimmt eher stimmt genau 1. wenn sich widerstände auftun, finde ich mittel und wege, mich durchzusetzen. 0 0 0 0 2. die lösung schwieriger probleme gelingt mir immer, wenn ich mich darum bemühe. 0 0 0 0 3. es bereitet mir keine schwierigkeiten, meine absichten und ziele zu verwirklichen. 0 0 0 0 4. in unerwarteten situationen weiß ich immer, wie ich mich verhalten soll. 0 0 0 0 5. auch bei überraschenden ereignissen glaube ich, dass ich gut mit ihnen zurechtkommen kann. 0 0 0 0 6. schwierigkeiten sehe ich gelassen entgegen, weil ich meinen fähigkeiten immer vertrauen kann. 0 0 0 0 7. was auch immer passiert, ich werde schon klarkommen. 0 0 0 0 8. für jedes problem kann ich eine lösung finden. 0 0 0 0 9. wenn eine neue sache auf mich zukommt, weiß ich, wie ich damit umgehen kann. 0 0 0 0 10. wenn ein problem auftaucht, kann ich es aus eigener kraft meistern. 0 0 0 0 anhang b – fragebogen fk t2 181 fortsetzung dieser fragebogen beschreibt das körperliche empfinden und die einstellung zum eigenen körper. wir möchten sie bitten, bei den folgenden 20 aussagen anzukreuzen, inwieweit diese für sie selbst gegenwärtig zutreffen. trifft nicht zu trifft kaum zu trifft teilweise zu trifft weitgehen d zu trifft völlig zu (1) insgesamt empfinde ich mich als robust und stark. 0 0 0 0 0 (2) mit meinem aussehen stimmt etwas nicht so recht. 0 0 0 0 0 (3) ich bin gesund. 0 0 0 0 0 (4) manchmal spüre ich eine unbändige energie in mir. 0 0 0 0 0 (5) ich kann mit meinen körperlichen unvollkommen heiten gut leben. 0 0 0 0 0 (6) mir ist mein körper oft lästig. 0 0 0 0 0 (7) ich fühle mich voller kraft. 0 0 0 0 0 (8) mit meiner figur bin ich unzufrieden. 0 0 0 0 0 (9) oft spüre ich mich voll erotischer spannung. 0 0 0 0 0 (10) ich wünsche mir einen anderen körper. 0 0 0 0 0 (11) manchmal verspüre ich ekel mir selbst gegenüber. 0 0 0 0 0 (12) ich habe genügend kraftvolle spannung in mir. 0 0 0 0 0 (13) auf fotos gefalle ich mir nicht. 0 0 0 0 0 (14) ich fühle mich topfit. 0 0 0 0 0 (15) meine körperlichen mängel stören mich schon sehr. 0 0 0 0 0 (16) mit meinen sexuellen wünschen beschäftige ich mich gern. 0 0 0 0 0 (17) ich traue mir körperlich einiges zu. 0 0 0 0 0 (18) manchmal wünsche ich mir, völlig anders auszusehen. 0 0 0 0 0 (19) ich fühle mich in meinem körper zu hause. 0 0 0 0 0 (20) ausgelassen zu tanzen macht mir großen spaß. 0 0 0 0 0 anhang b – fragebogen fk t2 182 wie oft haben sie seit dem ausfüllen des letzten fragebogens an der feldenkrais-gruppe "bewusstheit durch bewegung" teilgenommen? wie oft haben sie seit dem ausfüllen des letzten fragebogens zu hause feldenkrais-lektionen durchgeführt? wie häufig haben sie in den letzten 4 wochen "funktionale integration" erhalten? gab es in den letzten 4 wochen veränderungen in bereichen des körpers, selbstwertgefühls, spontaneität oder anderen hier nicht genannten bereichen, die sie auf die feldenkrais-methode zurückführen? sind in den letzten 4 wochen irgendwelche nebenwirkungen aufgrund der feldenkrais-methode aufgetreten? welche sportart/en betreiben sie. wie viele stunden nimmt ihre sportliche betätigung in der woche ein? nochmals vielen dank für ihre mitarbeit! anhang b – fragebogen sk t2 183 fortsetzung fragebogen 4 (sk t2) teilnehmerbefragung liebe teilnehmerin, lieber teilnehmer, vor ca. vier wochen haben sie freundlicherweise den ersten fragebogen ausgefüllt. heute möchten wir sie noch mal um ihre mitarbeit bitten und geben ihnen deshalb den zweiten fragebogen. bitte vergessen sie nicht, unten ihr kürzel einzutragen. nochmals vielen dank für ihre mitarbeit bei dieser wissenschaftlichen studie! datenschutzvereinbarung die vorliegende befragung dient ausschließlich wissenschaftlichen zwecken und erfolgt nach ethischen richtlinien. die teilnahme an dieser befragung ist freiwillig und kann jederzeit abgebrochen werden. die datenerhebung sowie die weitere verarbeitung der daten geschieht in anonymisierter form. bitte schreiben sie nicht ihren namen auf die bögen! ihr kürzel (codierung) setzt sich zusammen aus: 1. buchstabe des vornamens der mutter 2. buchstabe des vornamens des vaters 3. buchstabe ihres geburtsortes ihr geburtsjahrgang bitte tragen sie hier ihr kürzel ein: kürzel: __ __ __ _____ datum: ___ . ___ . 2004 jjjj geburtsjahrgang dritter buchstabe ihres geburtsortes zweiter buchstabe des vornamens ihres vaters erster buchstabe des vornamens ihrer mutter anhang b – fragebogen sk t2 184 fortsetzung in den folgenden abschnitten kreuzen sie an, was ihnen als erstes in den sinn kommt. es gibt keine richtigen und falschen antworten. falls eine antwort nicht passt, wählen sie bitte die antwortalternative, die ihre meinung am ehesten widerspiegelt. die folgenden fragen beziehen sich auf die beurteilung ihres gesundheitszustandes. der bogen ermöglicht es, im zeitverlauf nachzuvollziehen, wie sie sich fühlen und wie sie im alltag zurechtkommen. bitte beantworten sie jede der (grau unterlegten) fragen, indem sie bei den antwortmöglichkeiten die zahl ankreuzen, die am besten auf sie zutrifft. ausgezeichnet sehr gut gut weniger gut schlecht 1. wie würden sie ihren gesundheitszustand im allgemeinen beschreiben. 1 2 3 4 5 im folgenden sind einige tätigkeiten beschrieben, die sie vielleicht an einem normalen tag ausüben. sind sie durch ihren derzeitigen gesundheitszustand bei diesen tätigkeiten eingeschränkt? wenn ja, wie stark? ja, stark eingeschränkt ja, etwas eingeschränkt nein, überhaupt nicht eingeschränkt 2. mittelschwere tätigkeiten, z.b. einen tisch verschieben, staubsaugen, kegeln, golf spielen 1 2 3 3. mehrere treppenabsätze steigen 1 2 3 hatten sie in den vergangenen 4 wochen aufgrund ihrer körperlichen gesundheit irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause? ja nein 4. ich habe weniger geschafft als ich wollte 1 2 5. ich konnte nur bestimmte dinge tun 1 2 hatten sie in den vergangenen 4 wochen aufgrund seelischer probleme irgendwelche schwierigkeiten bei der arbeit oder anderen alltäglichen tätigkeiten im beruf bzw. zu hause (z.b. weil sie sich niedergeschlagen oder ängstlich fühlten)? ja nein 6. ich habe weniger geschafft als ich wollte 1 2 7. ich konnte nicht so sorgfältig wie üblich arbeiten 1 2 überhau pt nicht ein bisschen mäßig ziemlich sehr 8. inwieweit haben die schmerzen sie in den vergangenen 4 wochen bei der ausübung ihrer alltagstätigkeiten zu hause und im beruf behindert? 1 2 3 4 5 anhang b – fragebogen sk t2 185 fortsetzung in diesen fragen geht es darum, wie sie sich fühlen und wie es ihnen in den vergangenen 4 wochen gegangen ist. (bitte kreuzen sie in jeder zeile die zahl an, die ihrem befinden am ehesten entspricht). immer meisten s ziemlich oft manchmal selten nie wie oft waren sie in den vergangenen 4 wochen 9. …ruhig und gelassen? 1 2 3 4 5 6 10. …voller energie? 1 2 3 4 5 6 11. …entmutigt und traurig? 1 2 3 4 5 6 immer meistens manchmal selten nie 12. wie häufig haben ihre körperliche ge sundheit oder seelischen probleme in den vergangenen 4 wochen ihre kon takte zu anderen menschen (besuche bei freunden, verwandten usw.) beeinträchtigt? 1 2 3 4 5 die folgenden fragen beziehen sich auf die allgemeine selbstwirksamkeitserwartung. dabei wird erfasst, wie sie verschiedenen situationen oder problemen begegnen. bitte kreuzen sie zutreffendes an: stimmt nicht stimmt kaum stimmt eher stimmt genau 1. wenn sich widerstände auftun, finde ich mittel und wege, mich durchzusetzen. 0 0 0 0 2. die lösung schwieriger probleme gelingt mir immer, wenn ich mich darum bemühe. 0 0 0 0 3. es bereitet mir keine schwierigkeiten, meine absichten und ziele zu verwirklichen. 0 0 0 0 4. in unerwarteten situationen weiß ich immer, wie ich mich verhalten soll. 0 0 0 0 5. auch bei überraschenden ereignissen glaube ich, dass ich gut mit ihnen zurechtkommen kann. 0 0 0 0 6. schwierigkeiten sehe ich gelassen entgegen, weil ich meinen fähigkeiten immer vertrauen kann. 0 0 0 0 7. was auch immer passiert, ich werde schon klarkommen. 0 0 0 0 8. für jedes problem kann ich eine lösung finden. 0 0 0 0 9. wenn eine neue sache auf mich zukommt, weiß ich, wie ich damit umgehen kann. 0 0 0 0 10. wenn ein problem auftaucht, kann ich es aus eigener kraft meistern. 0 0 0 0 anhang b – fragebogen sk t2 186 dieser fragebogen beschreibt das körperliche empfinden und die einstellung zum eigenen körper. wir möchten sie bitten, bei den folgenden 20 aussagen anzukreuzen, wieweit diese für sie selbst gegenwärtig zutreffen. trifft nicht zu trifft kaum zu trifft teilweise zu trifft weitgehen d zu trifft völlig zu (1) insgesamt empfinde ich mich als robust und stark. 0 0 0 0 0 (2) mit meinem aussehen stimmt etwas nicht so recht. 0 0 0 0 0 (3) ich bin gesund. 0 0 0 0 0 (4) manchmal spüre ich eine unbändige energie in mir. 0 0 0 0 0 (5) ich kann mit meinen körperlichen unvollkommen heiten gut leben. 0 0 0 0 0 (6) mir ist mein körper oft lästig. 0 0 0 0 0 (7) ich fühle mich voller kraft. 0 0 0 0 0 (8) mit meiner figur bin ich unzufrieden. 0 0 0 0 0 (9) oft spüre ich mich voll erotischer spannung. 0 0 0 0 0 (10) ich wünsche mir einen anderen körper. 0 0 0 0 0 (11) manchmal verspüre ich ekel mir selbst gegenüber. 0 0 0 0 0 (12) ich habe genügend kraftvolle spannung in mir. 0 0 0 0 0 (13) auf fotos gefalle ich mir nicht. 0 0 0 0 0 (14) ich fühle mich topfit. 0 0 0 0 0 (15) meine körperlichen mängel stören mich schon sehr. 0 0 0 0 0 (16) mit meinen sexuellen wünschen beschäftige ich mich gern. 0 0 0 0 0 (17) ich traue mir körperlich einiges zu. 0 0 0 0 0 (18) manchmal wünsche ich mir, völlig anders auszusehen. 0 0 0 0 0 (19) ich fühle mich in meinem körper zu hause. 0 0 0 0 0 (20) ausgelassen zu tanzen macht mir großen spaß. 0 0 0 0 0 wie oft haben sie seit dem ausfüllen des ersten fragebogens an dem sprachkurs in der volkshochschule teilgenommen? nochmals vielen dank für ihre mitarbeit! bitte geben sie den fragebogen in der nächsten stunde ihrer kursleiterin/ ihrem kursleiter. anhang b – aufteilung der diplomarbeit 187 aufteilung der kapitel diese diplomarbeit ist ein gemeinschaftliches projekt. vor dem eigentlichen schreiben haben wir die kapitel unter uns gerecht aufgeteilt. im laufe der entwicklung der arbeit kam es zu umstellungen und änderungen in form von ergänzungen und auslassungen. wir haben das gefühl, dass keiner von uns mehr als der andere an dieser diplomarbeit beteiligt war. dies betrifft die gesamte arbeit, von der idee, der fragenstellung, der fragebogenkonzeption, der erhebungsphase, der auswertungsphase bis zur niederschrift. die unten stehende tabelle enthält die nummern der kapitel und die zuordnung zu dem jeweiligen verfasser. die einleitung, die diskussion, das literaturverzeichnis und der komplette anhang sind gemeinschaftsarbeiten, bei denen eine trennung nur schwer möglich ist. grit gürlich volker neubeck zusammenfassung vorwort 1.1.1 allgemeine grundlagen und begriffe 1.1.2 zur person von moshé feldenkrais 1.1.3 bewusstheit durch bewegung 1.1.4 funktionale integration 1.1.5 wirkfaktoren der feldenkrais-methode 1.2 evaluation psychologischer interventionsmaßnahmen 1.1.6 studien zur feldenkrais-methode 1.3 feldenkrais-forschung und evaluation 1.4 konstrukte 1.5 fragestellungen und hypothesen 1.5 fragestellungen und hypothesen 2.2 erhebungsinstrumente 2.1 untersuchungsdesign 2.3 stichprobenerhebung 2.4.2 methoden der datenauswertung (quantitativ) 2.4.1 methoden der datenauswertung (qualitativ) 3.1 stichprobenbeschreibung 3.2 ergebnisse der qualitativen inhaltsanalyse fragen 1-4 3.2 ergebnisse der qualitativen inhaltsanalyse fragen 5-9 3.3 ergebnisse der quantitativen daten 3.3 ergebnisse der quantitativen daten ___________________ ___________________ grit gürlich volker neubeck ives.pmd feldenkrais research journal • volume 1 (2004) article comments on “the feldenkrais method: a dynamic approach to changing motor behavior” jeffrey ives professor; ithaca college, ny, usa abstract the feldenkrais method® has recently been discussed to fit within a dynamic systems model of human movement. one basis for this discussion is that small changes in one system—for example, enhanced body awareness—has far reaching implications across the whole of human performance. an alternative view on the feldenkrais method is argued here. it is argued that the clinical data do not support the feldenkrais method as being an effective way to improve motor performance. further, it is argued that positive outcomes in pain and other wellness measures following feldenkrais interventions can be ascribed to self-regulation. as part of this discussion, the role of body awareness, attentional focus, and kinesthesia in motor learning and control are explored. keywords attentional focus, kinesthesia, motor learning, self-regulation copyright ©: the copyright for this paper remains with the author(s). first published: research quarterly for exercise and sport, vol. 74, no. 2, p116-123, (2003). please cite: feldenkrais research journal, volume 1; 2004. service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org 116116116116116 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 ives research quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sportresearch quarterly for exercise and sport ©2003 by the american alliance for health, physical education, recreation and dance vol. 74, no. 2, pp. 116–123 key words: attentional focus, kinesthesia, motor learning, self-regulation in a recent issue of this journal, buchanan and ulrich (2001) provided a thoughtful look at feldenkrais method® principles and how they fit within a dynamic systems model. using this model, the authors proposed a number of potentially fruitful areas of research into the clinical effectiveness and theoretical bases of the feldenkrais method. this research is warranted, but as buchanan and ulrich mentioned, models other than dynamic systems may be appropriate to provide a research perspective. proposed here are alternative models based largely on data rather than feldenkrais theory. it is asserted that the clinical data show only marginal effectiveness and narrow applicability of the feldenkrais method to enhance motor learning and performance, and these findings are readily explained by current data and theories on attentional focus, kinesthesia, and self-regulation. specifically, it is argued that the feldenkrais emphasis on selfawareness is a relatively ineffective way to improve motor or perceptual motor performance and that self-regulation theory may be a suitable way to look at the psychological aspects of the feldenkrais method. to justify these arguments, it is first necessary to examine closely the clinical data on the feldenkrais method. prior reviews of the prior reviews of the prior reviews of the prior reviews of the prior reviews of the feldenkrais methodfeldenkrais methodfeldenkrais methodfeldenkrais methodfeldenkrais method the clinical research of the feldenkrais method has been thoroughly reviewed. literature reviews by ives and his colleagues (ives & shelley, 1998; ives & sosnoff, 2000) and ellis (1995) have concluded that the data are not compelling but that the poor quality of research makes interpretation difficult. stephens’ (2000) brief review included a number of theses and conference abstracts and noted that, despite abundant methodological flaws among the studies, the feldenkrais method showed positive results in pain management, range of motion, muscle activity, posture and breathing, functional mobility, and quality of life. in the most comprehensive review to date, and one that included many of the same abstracts, unpublished theses, and nonjuried sources included in the stephens (2000) paper, ives and shelley (1998) concluded that the findings “. . . do not match the extravagant anecdotal claims. . .” and that “. . . it comments on “the feldenkrais method®: a dynamic approach to changing motor behavior” jeffrey c. ives submitted: march 19, 2002 accepted: september 30, 2002 jeffrey c. ives is with the department of exercise and sport sciences at ithaca college. the feldenkrais method® has recently been discussed to fit within a dynamic systems model of human movement. one basis for this discussion is that small changes in one system—for example, enhanced body awareness—has far reaching implications across the whole of human performance. an alternative view on the feldenkrais method is argued here. it is argued that the clinical data do not support the feldenkrais method as being an effective way to improve motor performance. further, it is argued that positive outcomes in pain and other wellness measures following feldenkrais interventions can be ascribed to self-regulation. as part of this discussion, the role of body awareness, attentional focus, and kinesthesia in motor learning and control are explored. dialogue and commentary ives.pmd 4/15/2004, 12:41 pm116 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 117117117117117 ives has not been shown that any of the positive findings can be directly attributable to feldenkrais treatments apart from other factors, such as practice, relaxation, the hawthorne effect, exercise/mobility training, biologic variability, spontaneous and normal recovery, or experimental error” (p. 85). hopper, kolt, and mcconville (1999) similarly described the positive results found by many authors to be unsupportable because of serious methodological flaws. more recently, ives and sosnoff (2000) concluded that the best evidence of feldenkrais effectiveness is for psychological benefits, a statement also supported by huntley and ernst (2000). since the extensive review by ives and shelly (1998), other studies have been published that have been interpreted to provide strong evidence for the positive effects of the feldenkrais method. scrutiny of these data, however, gives rise to alternative explanations that have important theoretical and clinical implications. space does not permit a full description of these studies, so the reader is urged to seek the original sources. recent studiesrecent studiesrecent studiesrecent studiesrecent studies a series of studies by kolt and his colleagues (hopper et al., 1999; james, kolt, mcconville, & bate, 1998; kolt & mcconville, 2000; smith, kolt, & mcconville, 2001) have produced conflicting results regarding perceived exertion, hamstring flexibility and length, anxiety reduction, and pain reduction following single or multiple feldenkrais lessons. for example, kolt and mcconville (2000) reported that after four treatment sessions participants in the feldenkrais group and in the relaxation group displayed lower measures of anxiety, but these significant findings were only in the female participants and only due to a reduction in anxiety level from just before treatment 4 to just after treatment 4. these authors (smith et al., 2001) found no significant (p = .13) reduction in state anxiety in low back pain sufferers following a 30-min audiotaped feldenkrais lesson or in a control group (p = .06) that listened to an audiotaped story. in this study, the feldenkrais group significantly reduced the affective dimension of pain, the control group significantly reduced the sensory dimension of pain, and neither group significantly reduced the evaluative dimension of pain (the feldenkrais group had a nonsignificant increase). examination of the pre to post mean values suggests that the control group actually fared better than the feldenkrais group. in an uncontrolled case study examination of two stutterers, gilman and yaruss (2000) reported that following 8 weeks of feldenkrais lessons the patients felt more in control of their speech, were able to control tension during speaking, and had less anxiety, yet there was minimal change in the measurable degree of disfluency. in a well controlled study, kirkby (1994) examined women with severe premenstrual symptoms undergoing feldenkrais awareness through movement (atm) lessons or cognitive-behavioral coping skills training over 6 weeks. the women in the coping skills group had a greater improvement in quality of life and greater improvements over a much broader range of symptoms and measures than did the atm group, which generally showed improvements slightly better (but not statistically better) than the control group. one commonly cited article supporting the feldenkrais method examined pain reduction in seven chronic pain sufferers (bearman & shafarman, 1999). the participants underwent 2 months of feldenkrais treatments in which pain ratings and historical medical costs were collected alongside information from the national pain data bank test instrument. bearman and shafarman reported that the feldenkrais participants showed “dramatic improvements” by the end of the 2-month program, and at a 1-year follow-up the authors concluded that, “. . . while participants lost ground in most areas of pain control, function, and quality of life, they were judged generally healthier than at intake” (p. 26). both these conclusions are difficult to evaluate because of the lack of data reported and no statistical tests. these findings were based on the patients’ recall of pain, which is often poor and underestimated (feine, lavigne, dao, morin, & lund, 1998). the feldenkrais participants were judged to have better results when compared to data provided by the national pain data bank, but this comparison was inappropriate, because the feldenkrais patients were considerably different in many factors than the comparison group. although a 40% reduction in medical costs for the feldenkrais patients was reported, the sponsoring health care agency did not choose to include feldenkrais in its scope of benefits. stephens (2000) examined clinical data in 157 physical therapy patients with musculoskeletal problems over a 10-year period. the patients were typically seen by the physical therapist once every 1–3 weeks and were given a home program of regular physical therapy exercises or feldenkrais atm lessons to do on their own time. presumably, the in-clinic sessions combined feldenkrais with regular physical therapy. in comparison to the preferred practice patterns and expectations for recovery published by the american physical therapy association (1998), the outcome success and number of visits fell “within the expected range.” this statement suggests no special benefits with the feldenkrais method. malmgren-olsson, armelius, and armelius (2001) looked at a normal comparison database of patients suffering with nonspecific musculoskeletal disorders compared to a group undergoing conventional physical ives.pmd 4/15/2004, 12:41 pm117 118118118118118 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 ives therapy treatments (a median of 20 treatment sessions), body awareness therapy (20 sessions), and the feldenkrais method (20 sessions). the feldenkrais treatments consisted of both atm and functional integration® (fi). all patients were tested for measures of psychological distress, pain, and self image over a 1-year period. in comparison to a nonintervention control group, the three treatment groups all improved over the year. from a statistical significance standpoint, none of the three treatment groups differed from one another, but an examination of effects sizes and mean values indicated that body awareness therapy was a little better than the feldenkrais method, which was a little better than the conventional treatment. these authors acknowledged that some, but not all, of the effects may have been due to placebo or simply improvement over time. they also made the observation that the active participation by patients in the body awareness and feldenkrais groups in treating their own problems may have been the reason these methods compared favorably to the conventional treatment group. another well controlled study did show positive effects of the feldenkrais method to lessen complaints from neck and shoulder problems when compared to conventional physical therapy (lundblad, elert, & gerdle, 1999). lundblad et al. examined 58 female factory workers complaining of neck and shoulder problems and tested them on 22 different clinical and physiological tests and 11 different complaint and pain measurements. of the 22 clinical (e.g., neck and shoulder range of movement) and physiological (e.g., peak torque, v02, electromyographic measures) tests, the feldenkrais group significantly improved on eight, the control group improved on six, and the physical therapy treatment group improved on two. the authors noted that the absolute differences among these interventions were minimal and coincided with a lack of statistical significance found for the combined treatment effects. the small differences found in all the groups from pre to post are of doubtful clinical significance and are most likely due to familiarization effects with the testing apparatus or, as the authors discussed, may have had something to do with a change in work environment that occurred during the study period. the only clinical test the feldenkrais group clearly performed better at compared to the other groups was a “cortical control” measure, a measurement based on feldenkrais methodology. this measurement, however, was not validated with any of the objective tests of muscle relaxation using electromyography. the feldenkrais group did improve significantly in 5 of 11 complaint and pain disability tests (e.g., pain perception, coping) compared to 1 of 11 for the control group and 0 of 11 for the physical therapy group. the percentage of improvement for the feldenkrais group in some of these measures was large, especially when compared to the other groups that had a tendency to worsen from pre to post. however, it was not necessarily expected that the physical therapy group would improve, for lundblad and her colleagues noted that traditional physical therapy has been shown to be ineffective in similar cases (e.g., feine & lund, 1997). preliminary clinical conclusionspreliminary clinical conclusionspreliminary clinical conclusionspreliminary clinical conclusionspreliminary clinical conclusions the current evidence supports two conclusions. first, the feldenkrais method has not been shown to be better than the treatments it has been compared against or if compared to successful treatments that have been indicated for a particular condition. even the effects of pain reduction reported for the feldenkrais treatments must be considered in comparison to targeted behavioral interventions that have been shown to be statistically and clinically effective (e.g., haugli, steen, lærum, nygard, & finset, 2001). findings of improved emotional well being among feldenkrais participants must similarly be compared to the near unequivocal effects reported for simple relaxation training (linden, 1994) and exercise (fox, 1999). from a clinical standpoint, it seems difficult to recommend the feldenkrais method above other techniques. second, any effects noted appear to be psychological and not physiological. these psychological effects may be related to simple relaxation effects (gilman & yaruss, 2000), the interpersonal relationships developed among clients and practitioner, or the feelings of wellness and anxiety reduction that may accompany touch-based therapy (vickers & zollman, 1999). these findings are consistent with suggestions that the feldenkrais method may be more efficacious in women than men, particularly regarding pain and other psychological factors (malmgren-olsson et al., 2001). most of the studies that have shown positive psychological effects have used predominately female participants (e.g., johnson, frederick, kaufman, & mountjoy, 1999; kirkby, 1994; lundblad et al., 1999). these data can be tied to the numerous findings that men and women differ in pain perception and manifestation of pain types (berkley, 1997), somatization of stress (nakao et al., 2001), and that women have been shown to positively respond to behavioral interventions for pain (haugli et al., 2001). using feldenkrais methods to improve awareness may aid in some types of psychological and somatic complaints, but, again, when compared to other methods such a body awareness training (which has a considerable psychological counseling component, see malmgrenolsson et al., 2001) or simple relaxation (smith et al., 2001), the feldenkrais method does not stand out. changes in physiological performance, such as flexibilives.pmd 4/15/2004, 12:41 pm118 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 119119119119119 ives ity, movement efficiency, or postural control, have either not been shown, shown conflicting results, or been of minimal effect size. in light of the claims that the feldenkrais method is a movement re-education method, greater changes in physiological performance should be expected. consider, for instance, three recent studies that looked at postural sway characteristics following feldenkrais interventions (buchanan & vardaxis, 2000; diedrich, feng, buchanan, reese, & thelen, 1999; seegert & shapiro, 1999). from a statistical and effect size standpoint there were few differences among the feldenkrais treatments and control treatments that consisted of either no activity, stretching, or relaxation. there were also conflicting findings among the reports. seegert and shapiro (1999) reported after a single 75-min feldenkrais session that their participants displayed less postural sway velocity and amplitude. in contrast, following a single feldenkrais lesson diedrich et al. (1999) reported that their participants swayed at higher frequencies than the control groups. after eight feldenkrais lessons over 4 weeks, buchanan and vardaxis (2000) noted that sway had become more circular by reducing the amount of extreme excursions. again, however, all of these findings must be viewed with reservation, because in all the studies there were few statistical and effect size differences from preto posttest or among the feldenkrais and control groups. explanations and alternative viewpointsexplanations and alternative viewpointsexplanations and alternative viewpointsexplanations and alternative viewpointsexplanations and alternative viewpoints given the arguments from buchanan and ulrich (2001) and others (e.g., see bate, 1994) that the feldenkrais method fits motor learning and control theories, why has it not been shown to be more effective in producing notable motor performance changes? an essential factor in the feldenkrais method is its emphasis on self-awareness, and this factor may be its shortcoming when training for better body coordination. as buchanan and ulrich pointed out, the self-awareness emphasis is contrary to the literature on goal setting. focusing on being aware of one’s own movements and exploration of one’s own sensory and perceptual cues are analogous to adopting an internal focus of attention. an internal focus or “body awareness” may be a useful strategy at times for certain conditions, namely those with a large psychological dimension (e.g., pain, see steen & haugli, 2001), but an external focus is more effective in learning and performing motor skills, so much so that singer, lidor, and cauraugh (1993) described the best motor skill learning as following a “nonawareness” approach. when learners focus attention on their own bodily movements (internal focus of attention) versus focusing attention on the effects of these movements (external focus of attention), learning and performance suffer (wulf, mcnevin, shea, & wright, 1999). wulf and her colleagues have shown that movements ranging from object manipulation tasks to whole body movement and balance tasks were acquired, performed, and retained better with an external focus (wulf et al., 1999; wulf, shea, & park, 2001). similar results can been found in the physical rehabilitation literature, where added purpose activities (physical activities with meaningful outcome goals or purposes) that take conscious attention away from the movement itself help develop more effective movements (e.g., hsieh, nelson, smith, & peterson, 1994). these findings are all in line with the five-step approach of singer et al. (1993), where learning and performing motor skills are best done without thinking about them, and attention is initially placed on some external cue or movement goal. if an external focus of attention is purported to be better for learning and performing motor skills, how can this be reconciled with evidence that high-level endurance athletes tend to adopt an associative strategy in which focus is placed on internal bodily sensations such as breathing, pain, and muscle tension (masters & ogles, 1998)? association appears to work for low strategy endurance sports with a low motor skill component (e.g., running and swimming), where external cues are less important, and is tied to competitive environments, where the exercise intensity is high (bachman, brewer, & petipas, 1997). in their review, masters and ogles (1998) concluded that associative strategies relate to faster performance, whereas dissociative strategies (e.g., external focus) relate to lower perceived exertion. this conclusion is consistent with reports that the mood-enhancing qualities of recreational aerobic exercise can be diminished with an internal focus (fillingim & fine, 1986). thus, an associative strategy appears not in harmony with the desired outcomes of feldenkrais lessons. irrespective of the benefits of an external focus, can improving body awareness improve performance or enhance motor learning? buchanan and ulrich (2001) noted that feldenkrais proponents “argue that by first improving the sensitivity of perception [i.e., goal is on bodily awareness] one can learn to adapt any behavior more easily” (p. 319). body awareness requires a myriad of sensory and perceptual systems (e.g., tactile, proprioceptive, interoceptors), but kinesthesia predominates among nonvisual sensory systems and is emphasized in feldenkrais lessons. the role of kinesthesia in motor learning and control and the effectiveness of kinesthetic training have been vigorously debated, and many questions remain (geron, 1986, see also sims, henderson, morton, & hulme, 1996, regarding kinesthetic sensitivity training). nonetheless, evidence strongly suggests that kinesthetic cues, kinesthetic imagery, and kinesthetic ives.pmd 4/15/2004, 12:41 pm119 120120120120120 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 ives sensitivity are least used or least needed in the early stages of motor learning (fleishman and rich, 1963; hardy & callow, 1999; laszlo & sainsbury, 1993) and that conscious and focused effort is not required and perhaps not even important to improve perceptual sensitivity. for instance, movement repetitions improve position sense (meeuwsen, sawicki, & stelmach, 1993), a single weight training session improves body awareness (koltyn, raglin, o’connor, & morgan, 1995), and children improve spontaneously in kinesthetic ability (laszlo & sainsbury, 1993). aerobic exercise training has shown to increase internal body consciousness (similar to body awareness) and body competence (skrinar, bullen, cheek, mcarthur, & vaughan, 1986). when an associative strategy or internal focus may be beneficial to learn or perform certain skills, the ability to do so is learned quickly (couture, jerome, & tihanyi, 1999; miller & medeiros, 1987). early research indicated that kinesthetic ability was associated with athletic performance (geron, 1986), but recent evidence contradicts these findings (freeman & broderick, 1996). this discrepancy is likely a result of the specificity of training principle, that is, kinesthetic ability is more likely to be found if the kinesthetic measures are specific to the athletic movements most practiced (jacobson, chen, cashel, and guerrero, 1997). perhaps the most controversial topic in kinesthesia concerns kinesthetic training for children with motor problems (e.g., see sims et al., 1996). although kinesthetic training may help children with or without motor problems, there are other factors independent of kinesthesia that play a role (sims & morton, 1998). furthermore, in young school-age children kinesthetic inability does not affect overall motor skill function (laszlo & sainsbury, 1993). as with other types of training with an internal focus, kinesthetic training can be brief (e.g., 10 min, see laszlo & sainsbury, 1993; sims & morton, 1998). other factors also argue against the efficacy of kinesthetic training or the importance of conscious kinesthetic awareness in motor performance. for one, perceptions of movement-related effort in limb movement tasks are ambiguous measures that often hold little insight to physical performance related to biomechanical or metabolic efficiency (rosenbaum & gregory, 2002). second, training using conscious attention toward proprioceptive signals may not be effective, because proprioception use in time-critical tasks is either reflexive or autonomic (ashton-miller, wojtys, huston, & frywelch, 2001), or, as henry (1953) found in his now classic study, purposeful movement adjustments to outside force stimuli are often done below the level of conscious awareness. in contrast to body awareness training, a number of training interventions to improve body control by challenging multiple sensory systems and requiring the participant to focus on the task demands or accomplishing movement-related goals, have shown marked effectiveness in musculoskeletal rehabilitation and injury prevention (e.g., holme et al., 1999). without dismissing the idea that periodic kinesthetic “scanning” can be beneficial to motor learning, it is evident that emphasizing kinesthetic training offers no particular benefit. in sum, the relative ineffectiveness of the feldenkrais method to elicit changes in motor performance can be explained based on an inappropriate attentional focus and an overemphasis on kinesthetic training. put differently, these data provide little support for the use of feldenkrais for improving motor skills. on the other hand, an appropriate framework to study the feldenkrais method may be self-regulation theory. the findings that the feldenkrais method has a psychological emphasis, that men and women may be affected differently, and that the feldenkrais effects may be a result of individuals taking responsibility for their own health (malmgren-olsson et al., 2001), are all consistent with models of self-regulation. self-regulation refers to the psychological processes one undertakes in pursuing a goal and often takes on five steps: problem recognition, commitment or motivation, acquisition and use of skills, maintenance processes, and transfer or generalization of skills (crews, lochbaum, & karoly, 2001). as crews and her colleagues pointed out, examining (and, hence, understanding) self-regulation is difficult because of the “sheer complexity of the process,” but even a cursory look at self-regulation reveals several things in common with the feldenkrais method. the most important similarities are that people can harness and self-regulate their own thoughts, actions, and emotions toward achieving goals and that increasing awareness can be a first step in the self-regulation process. (awareness, however, in self-regulation terminology has a much broader meaning than in feldenkrais terminology.) in contrast to the feldenkrais method, self-regulation has a much greater emphasis on deliberate efforts aimed toward accomplishing specific goals (crews et al., 2001). nonetheless, self-regulation theory may offer researchers and clinicians alike a useful perspective on the feldenkrais method. comments on methodology and summarycomments on methodology and summarycomments on methodology and summarycomments on methodology and summarycomments on methodology and summary aside from using appropriate controls, three features of feldenkrais interventions need to be taken into consideration. first, practitioner skill level and the dependence on subjective assessments of movement dysfunction raise concern. in chiropractic and other fields of manual medicine, such assessments have often been shown to be unreliable and invalid (e.g., hestbœk & leboeuf-yde, 2000). second, meaningful and valid criterion measures must be used. for example, postural ives.pmd 4/15/2004, 12:41 pm120 rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003rqes: june 2003 121121121121121 ives sway measures, like those used in some feldenkrais studies, are little understood in healthy persons, and, thus, changes due to intervention effects are difficult to interpret (tarantola, nardone, tacchini, & schieppati, 1997). if testimonials and other qualitative accounts are reported, appropriate methods must be used in ensure credibility (denzin & lincoln, 1994). last, as johnson et al. (1999) noted, expectancy effects may influence the results. a patient’s preference for a particular treatment affects the outcome of treatment (awad, shapiro, lund, & feine, 2000), and it would be anticipated that patient preferences would gravitate toward noninvasive and genial methods, such as feldenkrais. expectancy effects also influence the researcher in that a researcher’s “therapy allegiances” can be associated with the treatment outcomes (luborsky et al., 1999). therapy allegiances are plain to see in many of the research reports on the feldenkrais method. in summary, the current research on attentional focus and kinesthesia provide rationale as to the marginal effectiveness of the feldenkrais method to produce changes in motor performance. in contrast, changes in psychological performance corresponding to a selfawareness approach suggest that it may be fruitful to examine the feldenkrais method in light of a self-regulation perspective. referencesreferencesreferencesreferencesreferences american physical therapy association. 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(2001). attention and motor performance: preferences for and advantages of an external focus. research quarterly for exercise and sport, 72, 335–344. author’author’author’author’author’s notes notes notes notes note please address all correspondence concerning this article to jeffrey c. ives, department of exercise and sport sciences, center for health sciences, ithaca college, ithaca, ny 14850. e-mail: jives@ithaca.edu ives.pmd 4/15/2004, 12:41 pm123 frj zollinger es google docs feldenkrais research journal volumen 7 (2025) revisión sistemática los efectos del método feldenkrais en el área del funcionamiento motor: una revisión bibliográfica exhaustiva nicola zollinger licenciado en ciencias ambientales, profesional de feldenkrais, miembro de la junta de sfv 1 para la investigación, educación y asuntos internacionales contacto: nicolazollinger@feldenkrais.ch traducción: consuelo maldonado toral resumen el método feldenkrais es un conocido método somático que utiliza procesos de aprendizaje sensoriomotor para mejorar diversas funciones humanas. esta revisión bibliográfica de alcance se centra en el método feldenkrais utilizado para mejorar el funcionamiento motor y proporciona una visión general de la bibliografía cuantitativa publicada en esta área. en esta revisión se incluyen 41 estudios, se resumen sus características y se evalúa el riesgo de sesgo. en general, la literatura existente hace que parezca plausible que el método feldenkrais mejore diferentes aspectos del funcionamiento motor a través de principios de aprendizaje del movimiento en diversas poblaciones para diferentes condiciones y objetivos. palabras clave método feldenkrais, funcionamiento motor, aprendizaje motor, coordinación, patrones de movimiento funcionales, integración funcional, autoconciencia a través del movimiento, equilibrio, rango de movimiento, tono muscular, respiración, postura copyright ©: los derechos de autor de este artículo pertenecen a su(s) autor(es). cita: (publicado por primera vez en el) feldenkrais research journal, volumen 7 ; 2025. marcas de servicio: los términos feldenkrais ® , método feldenkrais ® , autoconciencia a través del movimiento ® , atm ® , integración funcional ® , e if ® son términos con marca registrada de la international feldenkrais federation ® (iff) y de gremios y asociaciones profesionales de feldenkrais en muchos países. en consonancia con las convenciones académicas, no se marcarán en todo el texto, como puede ser necesario en el uso no académico, sino sólo en el primer y más destacado uso de los términos. en reconocimiento de que estas frases son términos formales que se refieren a prácticas específicas dentro del método, y al método en su conjunto, se ha mantenido el uso de mayúsculas en todas las palabras de cada término. 1 asociación suiza del método feldenkrais por sus siglas en alemán publicado por la federación internacional feldenkrais ® (iff) https://feldenkrais-method.org disponible en línea en https://feldenkraisresearchjournal.org revisión sistemática los efectos del método feldenkrais en el área del funcionamiento motor: una revisión bibliográfica exhaustiva nicola zollinger licenciado en ciencias ambientales, profesional de feldenkrais, miembro de la junta de sfv para la investigación, educación y asuntos internacionales índice 1. introducción p.3 2. métodos p.4 3. características del estudio p.5 4. evaluación del riesgo de sesgo p.10 5. resumen de los estudios p.12 5.1 movilidad y equilibrio p.12 5.1.1 personas con afecciones neurológicas p.20 5.2 destreza p.23 5.3 respiración p.24 5.4 postura p.26 5.5 tono muscular p.27 5.6 evaluación general de la salud p.27 6. debate p.28 6.1 falta de estudios que incluyan integración funcional p.30 6.2 posibles mecanismos de acción p.30 6.3 recomendaciones para futuras investigaciones p.31 7. conclusión p.32 referencias p.33 apéndices apéndice 1 – resumen de datos p.41 apéndice 2 – medición de resultados p.44 zollinger • feldenkrais research journal, volumen 7 (2025) 2 1. introducción el método feldenkrais es un sistema de aprendizaje sensoriomotor que utiliza la guía verbal o táctil para explorar el movimiento y aumentar la conciencia corporal, mejorando así la capacidad motriz de las personas (stephens y hillier, 2020). este método se aplica en diversos ámbitos, como el desarrollo personal, la salud y las artes escénicas (russell, 2020). su amplio campo de aplicación se basa en la premisa de que una mejora en el funcionamiento sensoriomotor también influye en el bienestar general y puede contribuir al abordaje de afecciones mentales, al modificar y completar la autoimagen en acción (lyttle, 1997; russell, 2020). moshe feldenkrais (1904–1984), creador del método, describió la experiencia consciente humana como compuesta por cuatro elementos: “pensar”, “percibir”, “emocionarse” y “moverse”, todos ellos funciones del sistema nervioso. según feldenkrais (2011), cuando se logran cambios en “percibir” y “moverse”, también pueden modificarse los patrones de “pensar” y “emocionarse”. el método feldenkrais se implementa en dos modalidades: sesiones grupales guiadas verbalmente, denominadas lecciones de autoconciencia a través del movimiento ®, y sesiones individuales guiadas manualmente, denominadas lecciones de integración funcional ®. en el pasado se han llevado a cabo diversas revisiones generales. la primera revisión sistemática, que incluyó un número reducido de estudios, fue realizada por ernst y canter (2005). posteriormente, hillier y worley (2015) publicaron una revisión sistemática utilizando la metodología de la revisión cochrane, la cual fue actualizada por stephens y hillier (2020), quienes además discutieron posibles mecanismos de acción. berland et al. (2022) realizaron una revisión sistemática sobre el uso del método feldenkrais como modalidad dentro de la fisioterapia, y la revisión más reciente, de martin et al. (2024), exploró su potencial en el ámbito de la atención psiquiátrica. entre estas revisiones, se han publicado otras de alcance más limitado (buchanan, 2012; smyth, 2016; stephens, 2007). el objetivo de esta revisión es ofrecer una visión general centrada en el área del funcionamiento motor, ya que su mejoría constituye un objetivo primario y directo de la práctica del método feldenkrais, y representa un aspecto clave en todos los ámbitos donde se aplica. al proporcionar una visión general y evaluar críticamente el riesgo de sesgo de todos los estudios incluidos —además de integrar las revisiones existentes— este documento pretende esclarecer cómo se ha evaluado el método feldenkrais en investigaciones sobre el funcionamiento motor hasta la fecha, así como informar sobre las características de los estudios, sus diferentes diseños y enfoques metodológicos, y sus resultados. también proporciona al lector interesado un acceso sencillo a los hallazgos disponibles en esta área. las cuatro preguntas de investigación para esta revisión fueron: 1) ¿qué estudios han evaluado los efectos del método feldenkrais en el funcionamiento motor y cuáles han sido sus resultados? 2) ¿cuáles fueron las características del estudio? 3) ¿cuál es el riesgo de sesgo de cada estudio? 4) ¿qué se puede aprender para futuros estudios? zollinger • feldenkrais research journal, volumen 7 (2025) 3 cómo leer esta reseña esta revisión comienza con una explicación del proceso metodológico, seguida de una descripción general de los estudios incluidos (áreas de investigación, poblaciones, intensidad y duración de las intervenciones), un repaso de las dos modalidades del método feldenkrais y la base utilizada para la evaluación del riesgo de sesgo. dado que esta revisión resume 41 estudios y abarca un amplio rango de temas, la tabla de contenido facilita su lectura y ofrece a quienes buscan información específica una forma más rápida y eficiente de orientarse. para acceder a los datos completos e identificar estudios concretos, véanse los apéndices. en la descripción narrativa de cada estudio se presenta su finalidad y diseño, seguidos por los apartados de “resultados” y “riesgo de sesgo” (marcados con subtítulos en negrita). la revisión concluye con una discusión que incluye posibles mecanismos de acción y recomendaciones para investigaciones futuras. 2. métodos tipo de revisión esta revisión puede describirse más apropiadamente como una revisión de alcance, siguiendo el enfoque de arksey y o’malley (2005). integra elementos de una revisión sistemática —como la evaluación del riesgo de sesgo— con aspectos propios de una revisión narrativa. su propósito es ofrecer una visión general de la literatura científica sobre el uso del método feldenkrais para mejorar el funcionamiento motor. para ello, rastrea la evolución de la investigación en este campo, describe y resume los distintos estudios, evalúa críticamente su riesgo de sesgo e identifica vacíos en la literatura existente. estrategia de búsqueda y proceso de selección la búsqueda bibliográfica se llevó a cabo entre enero de 2021 y diciembre de 2022, utilizando los siguientes motores y bases de datos: feldenkrais zotero research database , cochrane library , scopus , web of science , pubmed y google scholar . se utilizaron las siguientes palabras y expresiones de búsqueda: feldenkrais, feldenkrais method, atm, awareness through movement, fi, functional integration 2 . además, se revisaron las listas de referencias de los estudios localizados para identificar trabajos no indexados en las bases de datos consultadas. criterios de admisibilidad se incluyeron en la revisión todos los estudios —excepto los de caso único— que evaluaran cuantitativamente los efectos del método feldenkrais sobre alguna dimensión del funcionamiento motor como resultado principal, y que estuvieran disponibles en formato 2 los términos de búsqueda se mantuvieron en inglés para coincidir con los utilizados en las bases de datos científicas. a modo de referencia: método feldenkrais, atm, autoconciencia a través del movimiento, if, integración funcional. zollinger • feldenkrais research journal, volumen 7 (2025) 4 completo, ya sea digital o impreso. en total, se evaluaron 41 estudios que cumplieron con estos criterios y fueron incluidos en la revisión (véase figura 1). figura 1. diagrama de flujo del proceso de selección de estudios 3. características del estudio esta sección proporciona una visión general de las diferentes características de los estudios incluidos para obtener una perspectiva más amplia de cómo se evaluó el efecto del método feldenkrais sobre el funcionamiento motor. la tabla completa con toda la información se encuentra en el apéndice 1 (tabla 1, partes 1 y 2). desarrollo cronológico el primer estudio encontrado fue publicado en 1977 (gutman et al.). aunque no se publicaron estudios en la década de 1980, se realizaron nueve estudios en la década de 1990 y ocho estudios entre 2000 y 2009. con 13 estudios entre 2010 y 2014, y siete estudios entre 2015 y 2019, la década de 2010, con un total de 19 estudios, fue el período más activo en la investigación del método feldenkrais en relación con el funcionamiento motor hasta ahora. desde 2020 hasta finales de 2022, se llevaron a cabo tres estudios. zollinger • feldenkrais research journal, volumen 7 (2025) 5 figura 2. evolución cronológica del número de publicaciones que estudiaron los efectos del método feldenkrais sobre el funcionamiento motor en general, se observa una débil tendencia al aumento del volumen de publicaciones a lo largo del tiempo, siendo el periodo más productivo el comprendido entre 2010 y 2014 (figura 2). área de estudio la mayoría de los estudios revisados analizaron el efecto sobre la movilidad en términos de rango de movimiento (rom) 3 de una parte del cuerpo alrededor de una articulación o de un punto fijo. en segundo lugar, la mayoría de los estudios analizaron los efectos del método feldenkrais sobre el equilibrio, principalmente con personas mayores para prevenir caídas (resumidos en la figura 3 a continuación). además, dos estudios evaluaron el efecto sobre la destreza manual, dos sobre la respiración y dos sobre la postura. un estudio analizó el cambio del tono muscular tras una sesión de integración funcional. varios estudios combinaron mediciones de diferentes áreas, por ejemplo, siete estudios también incluyeron mediciones sobre la calidad de vida y algunos estudios combinaron mediciones en la categoría de movilidad y equilibrio. para obtener una visión general de las diferentes mediciones de resultados utilizadas en las distintas categorías, véase el apéndice 2. 3 range of movement . en este documento, los términos técnicos han sido traducidos al castellano; sin embargo, se conservan algunas siglas originales en inglés para mantener la correspondencia con la terminología más común utilizada en la literatura científica. zollinger • feldenkrais research journal, volumen 7 (2025) 6 figura 3. áreas de estudio muestras de población el tamaño de la muestra osciló entre muy pequeño (cuatro participantes) y grande (>60), y la mayoría de los estudios tenían un tamaño de muestra de entre 10 y 30 participantes (figura 4). de los 41 estudios, seis realizaron un cálculo del tamaño de la muestra. la distribución por edades muestra una concentración de participantes de entre 20 y 30 años y mayores de 60 años. muchos estudios se realizaron con estudiantes en contextos universitarios, sin embargo otro foco importante de investigación ha sido el estudio de los efectos sobre el equilibrio con una muestra de población envejecida. (cook et al. 2014; hillier et al. 2010; nambi et al. 2014). figura 4. distribución del número de sujetos por estudio zollinger • feldenkrais research journal, volumen 7 (2025) 7 figura 5. relación de frecuencias entre individuos sanos (25) y sintomáticos (16) veinticinco de los 41 estudios incluían muestras de personas sanas sin enfermedad ni discapacidad, mientras que 16 estudios tenían muestras de individuos sintomáticos (figura 5). treinta y dos de los 41 estudios comunicaron una cifra promedio de edad y los estudios que comunicaron una cifra mediana no se incluyeron en el histograma (figura 6). figura 6. distribución por edades de las distintas poblaciones de la muestra zollinger • feldenkrais research journal, volumen 7 (2025) 8 duración, sesiones e intensidad esta sección proporciona información sobre la duración de las intervenciones, el número de sesiones por estudio y la frecuencia semanal con que se realizó una sesión. esta información orienta a los investigadores que planifican un futuro estudio y se preguntan cuánto tiempo y con qué intensidad debe realizarse la intervención y qué se ha estudiado hasta ahora (figura 7). figura 7. resumen de la duración de los estudios la duración de los estudios osciló entre una semana y 30 semanas,siendo lo más habitual realizar sesiones dentro de una sola semana. en cuanto al número de sesiones (figura 8), predominan las intervenciones que evaluaron entre 7 y 8 sesiones, aunque también se identificaron siete que consistieron en una única sesión. la intensidad (sesiones por semana) fue baja en la mayoría de los casos, con 1-2 sesiones semanales en 30 de los 39 registros analizados (dos no especificaron esta información) (figura 9). figura 8. número de estudios que muestran diferentes números de sesiones de práctica zollinger • feldenkrais research journal, volumen 7 (2025) 9 figura 9. resumen de la intensidad de la práctica en cada investigación, medida en sesiones por semana autoconciencia a través del movimiento o integración funcional a pesar de que el método feldenkrais consta de dos modalidades paralelas, sesiones individuales de integración funcional y sesiones grupales de autoconciencia a través del movimiento, sólo dos de los 41 estudios analizaron la eficacia de la integración funcional. esto significa que los estudios que investigaron el efecto de las sesiones personales del método feldenkrais para mejorar el funcionamiento motor están muy poco representados en la literatura. seguimiento y cálculo del tamaño de la muestra dos de los 41 estudios incluyeron mediciones de seguimiento (causby et al. 2016; kang et al. 2021) y seis de los 41 estudios realizaron un cálculo del tamaño de la muestra antes del estudio. 4. evaluación del riesgo de sesgo el riesgo de sesgo de todos los estudios se evaluó utilizando varias metodologías diferentes. éstas fueron: 1) los niveles de evidencia del oxford cebm de 2011, 2) la escala pedro para ensayos controlados aleatorizados, 3) la herramienta de evaluación robins-i para estudios de intervención no aleatorios. los niveles de evidencia del oxford cebm van del nivel 1 al 5 (2016). dado que no se incluyeron revisiones sistemáticas (nivel 1) ni artículos sobre razonamiento mecanicista (nivel 5), las investigaciones se clasificaron del nivel 2 al nivel 4. los estudios controlados zollinger • feldenkrais research journal, volumen 7 (2025) 10 aleatorizados se clasifican como nivel 2, los estudios controlados no aleatorizados como nivel 3 y los no controlados como nivel 4. para las investigaciones controladas aleatorizadas (nivel 2), se utilizó la escala pedro (hegenscheidt et al. 2010) para evaluar aún más su calidad y para los estudios controlados no aleatorizados, se utilizó la herramienta de evaluación robins-i para analizar el riesgo de sesgo (www.riskofbias.info , s.f.) se estableció un árbol de decisión para que los diferentes estudios fueran comparables en su riesgo de sesgo. lo que llevó a la creación de cinco categorías diferentes de riesgo de sesgo: "muy bajo", "bajo", "moderado", "grave" y "crítico" (figura 10). los estudios controlados aleatorizados con una puntuación pedro de 7 o superior recibieron la etiqueta "muy bajo" y los que tenían una puntuación pedro inferior a 7 recibieron la etiqueta "bajo". se eligió la puntuación de corte de 7 para un riesgo de sesgo "muy bajo" porque en la bibliografía se sugiere que las investigaciones con una puntuación pedro de 6-8 describen un estudio de buena calidad (maher et al. 2003). los estudios controlados no aleatorizados podrían, en función de su evaluación robins-i, clasificarse como bajo, moderado, grave o crítico (sterne et al. 2016). las intervenciones no controladas recibieron la etiqueta "crítico". la puntuación pedro de cada estudio se puede encontrar en la tabla 1, parte 2 en el apéndice 1. figura 10. árbol de decisión sobre el riesgo de sesgo la calidad de los estudios en términos de riesgo de sesgo osciló entre "muy baja" y "crítica". las figuras 11 y 12 muestran el número de las diversas investigaciones en cada categoría de riesgo de sesgo para la clasificación ocebm y las categorías definidas por el árbol de decisión. en la sección "resumen", el nivel de riesgo de sesgo se añade al final de la descripción de cada ensayo, para que el lector pueda poner en perspectiva crítica los resultados de un estudio. en el caso de un estudio (buchanan y vardaxis 2000), no fue posible evaluar su riesgo de sesgo, debido a la falta de información. zollinger • feldenkrais research journal, volumen 7 (2025) 11 5. resumen de los estudios el objetivo de esta sección es ofrecer una visión global y presentar los estudios y sus resultados que evaluaron el área del funcionamiento motor. para mejorar la legibilidad, esta sección se subdivide en las siguientes subcategorías: "movilidad y equilibrio", "postura", "destreza manual", "respiración", "tono muscular" y "evaluación general de la salud". dentro de cada subcategoría se presentan y describen los estudios junto con su año de publicación. 5.1 movilidad y equilibrio de los estudios incluidos para esta revisión, la gran mayoría, 22 de 41 estudios, investigaron el efecto de las lecciones de autoconciencia a través del movimiento (atm) del método feldenkrais sobre algunos aspectos de la movilidad y el equilibrio. el primer estudio, realizado por gutman et al. (1977) fue un ensayo controlado no aleatorizado con una muestra sana de 38 participantes de edad avanzada, que comparó los efectos de un programa de seis semanas de clases del método feldenkrais (tres horas a la semana) con ninguna intervención y con un programa convencional de ejercicios para ancianos. resultados: no hubo diferencias significativas entre los grupos, pero el grupo que recibió lecciones del método feldenkrais mejoró en todas las medidas, que incluían flexibilidad rotacional, equilibrio, estado de salud autopercibido y número de partes del cuerpo con dolor o difíciles de mover. riesgo de sesgo: crítico en 1991, brown y kegerreis realizaron un estudio aleatorizado y controlado para comprobar la diferencia de una lección de autoconciencia a través del movimiento en una prueba de flexión con 21 participantes jóvenes y sin dolor. en el grupo de control se excluyeron los elementos de conciencia cinestésica, imágenes mentales y visualización, así como las señales relativas a la ligereza, comodidad y facilidad, y la lección sólo incluyó instrucciones de movimiento. se comparó la actividad electromiográfica -emg de los músculos flexores y extensores junto con el nivel de esfuerzo percibido antes y después de la intervención en ambos grupos. resultados: no se observaron diferencias estadísticamente significativas entre los grupos; sin zollinger • feldenkrais research journal, volumen 7 (2025) 12 figura 11. gráfico circular de niveles de evidencia por ocebm figura 12. gráfico circular de niveles de evidencia por árbol de decisión embargo, ambos presentaron mejoras en la actividad emg de los músculos flexores y en las calificaciones de esfuerzo percibido. estos resultados sugieren que el método feldenkrais puede facilitar el movimiento con menor esfuerzo y mayor flexibilidad. asimismo, indican que el método puede generar una percepción consciente de cambios fisiológicos en la actividad muscular, independientes del uso de sugestión, visualización o imágenes mentales. en concreto, se redujo la cantidad de actividad muscular necesaria para ejecutar la tarea de movimiento. riesgo de sesgo: bajo un estudio aleatorizado y controlado realizado por ruth y kegerreis (1992) analizó el efecto de una única lección de autoconciencia a través del movimiento en 30 participantes sanos sobre el rango de movimiento al mover activamente el cuello y la cabeza y el esfuerzo percibido que los acompañaba, respecto a un grupo de control sin intervención. resultados: el grupo experimental mostró mejoras significativas en el rango de movimiento y el esfuerzo percibido, en comparación con el grupo de control. este estudio proporciona datos que apoyan las afirmaciones de que se pueden producir cambios físicos y perceptivos inmediatos con el uso de secuencias de autoconciencia a través del movimiento del método feldenkrais. riesgo de sesgo: bajo un estudio aleatorizado y controlado de chinn et al. (1994) analizó el efecto de una única intervención de autoconciencia a través del movimiento del método feldenkrais en una prueba de alcance funcional en 23 participantes con molestias en la parte superior de la espalda, el cuello o los hombros. en la prueba de alcance funcional, los sujetos estaban tumbados en decúbito supino y se estiraban hacia arriba a lo largo de una pared. los participantes valoraron el nivel de esfuerzo percibido antes y después del tratamiento en una escala visual analógica (eva). el grupo de control siguió una intervención simulada, consistente en instrucciones grabadas de ejercicios generales para la parte superior del cuerpo. resultados: los resultados mostraron una reducción notable del esfuerzo en el grupo de autoconciencia a través del movimiento, mientras que en el grupo con tratamiento simulado no se observaron cambios relevantes en ese aspecto. en ambos casos, la medición del alcance funcional no evidenció mejoras destacables. los autores concluyeron que una única intervención del método feldenkrais produjo efectos positivos en personas con molestias en la parte superior de la espalda, el cuello y/o los hombros. riesgo de sesgo: bajo hall et al. (1994) compararon en un ensayo controlado aleatorio con 60 participantes los efectos de las clases grupales de autoconciencia a través del movimiento del método feldenkrais con las clases de tai chi, y con un grupo de control sin intervención sobre el equilibrio en mujeres mayores sanas. tanto el grupo del método feldenkrais como el de tai chi asistieron a un total de 32 sesiones, con dos sesiones por semana durante 16 semanas. resultados: el grupo del método feldenkrais mejoró significativamente en la escala de eficacia ante caídas (fes) 4 , escala de equilibrio de berg, la prueba cronometrada de 4 falls efficacy scale zollinger • feldenkrais research journal, volumen 7 (2025) 13 levantarse y caminar (tug) 5 , y la prueba pro balance master 6 . no hubo cambios significativos en el grupo de control sin intervención. el grupo de tai chi también mejoró significativamente en varias mediciones de resultados. la mejora de los tiempos de movimiento en la prueba pro balance master para el grupo del método feldenkrais indica que los participantes fueron más rápidos en responder y corregir su equilibrio, una vez que se encuentran fuera de su base de apoyo. según los autores, tanto las clases de tai chi como las del método feldenkrais son adecuadas para promover la salud y el equilibrio en este grupo de edad. riesgo de sesgo: bajo brown et al. (1996) evaluaron el efecto de las lecciones de autoconciencia a través del movimiento sobre la movilidad en una muestra de adultos mayores sanos, en el contexto de un estudio controlado no aleatorizado con 23 participantes. el grupo experimental asistió a tres clases semanales durante seis semanas, mientras que el grupo de control no recibió ningún tipo de intervención. resultados: el grupo de autoconciencia a través del movimiento mostró mejoras notables en la dorsiflexión del tobillo derecho y en la prueba cronometrada de levantarse y caminar. no se observaron avances relevantes en la prueba de alcance funcional ni en otras mediciones del rango de movimiento activo. aunque las puntuaciones en las escalas coop-dartmouth de funcionamiento y salud percibidos no reflejaron cambios estadísticamente significativos, 10 de los 12 participantes experimentaron una mejora tras la intervención. riesgo de sesgo: moderado james et al. (1998) investigaron los efectos de un programa de autoconciencia a través del movimiento del método feldenkrais y de procedimientos de relajación sobre la longitud de los isquiotibiales, medida mediante la extensión de la rodilla. en un ensayo controlado aleatorizado, 48 estudiantes universitarios sanos fueron asignados aleatoriamente a uno de tres grupos: clases del método feldenkrais, sesiones de relajación o un grupo de control sin intervención. los participantes de los dos primeros grupos asistieron a cuatro sesiones de 45 minutos a lo largo de dos semanas. resultados: no se observaron diferencias estadísticamente significativas entre los grupos. aunque en el grupo del método feldenkrais se evidenció una tendencia hacia un aumento en la longitud de los isquiotibiales, el cambio no alcanzó significación estadística. los autores cuestionan si una prueba como la extensión activa de la rodilla —que evalúa la longitud de los isquiotibiales en relativo aislamiento— resulta adecuada para valorar la eficacia del método feldenkrais, dado que este enfoque busca mejorar patrones de movimiento funcional más que el rendimiento de una única articulación. riesgo de sesgo: muy bajo en un estudio similar, hopper et al. (1999) midieron el efecto de una única lección de autoconciencia a través del movimiento para participantes con y sin experiencia previa en el método feldenkrais, así como el efecto de cuatro lecciones durante un periodo de dos semanas sobre la longitud de los isquiotibiales, la flexibilidad y el esfuerzo percibido. para estudiar el efecto de una única lección del método feldenkrais en personas sin experiencia 6 el pro balance master es un sistema computarizado utilizado para evaluar y entrenar el equilibrio mediante plataformas de fuerza y retroalimentación visual. 5 timed up-and-go zollinger • feldenkrais research journal, volumen 7 (2025) 14 previa, se asignó aleatoriamente a 75 participantes sanos al grupo del método feldenkrais o al grupo de control. los participantes del grupo de control escucharon música relajante durante 45 minutos, mientras que el grupo del método feldenkrais realizó la lección "alargamiento de los isquiotibiales y la columna vertebral" de frank wildman. resultados: los participantes del grupo del método feldenkrais mostraron mejoras relevantes en la prueba de sentarse y alcanzar tras una única lección, mientras que sus pares del grupo de control no experimentaron cambios. no se observaron efectos destacables en el esfuerzo percibido ni en la prueba de extensión activa de la rodilla después de una sesión sin experiencia previa. tras completar cuatro lecciones, ambos grupos evidenciaron progresos sostenidos en las mediciones de alcance en posición sentada 7 . en lo que respecta al esfuerzo percibido, el grupo experimental reportó una disminución notable durante la prueba de movilidad en todos los puntos de evaluación. no se identificaron diferencias estadísticamente significativas entre los grupos en las mediciones modificadas de la extensión activa de rodilla. los autores sostienen que sus hallazgos respaldan la hipótesis de que el método feldenkrais actúa ofreciendo patrones motores alternativos (bate, 1994) y nuevas formas de reclutamiento muscular que favorecen el rendimiento funcional. riesgo de sesgo: bajo buchanan y vardaxis (2000) evaluaron durante dos semanas los efectos de ocho lecciones grupales de autoconciencia a través del movimiento del método feldenkrais sobre el equilibrio en posición de bipedestación, dentro de un diseño controlado no aleatorizado. la muestra estuvo compuesta por 20 mujeres adultas sin lesiones previas. se utilizó una placa de fuerza amti para medir varias características en bipedestación. resultados: el centro de distribución de la presión (cop) 8 cambió en el grupo del método feldenkrais de elíptico a circular. esto se logró disminuyendo las excursiones extremas en la dirección medial-lateral y antero-posterior en el balanceo, sugiriendo así que el método feldenkrais puede mejorar el equilibrio y el control postural en bipedestación. riesgo de sesgo: no hay suficiente información para estudiar el efecto de la representación mental sensorial en una lección de autoconciencia a través del movimiento del método feldenkrais sobre la movilidad, dunn y rogers (2000) hicieron que 12 participantes sanos escucharan una lección guiada de visualización sensorial de 30 minutos, en la cual se imaginaba que solo un lado del cuerpo, el lado izquierdo, era cepillado con un cepillo de cerdas suaves sobre diferentes segmentos corporales, mientras que el lado derecho se utilizó como control. para evaluar las diferencias entre ambos lados, se pidió a los participantes que realizaran una prueba de flexión hacia adelante para alcanzar en posición sentada, con la planta de un pie apoyada en la parte interna de la rodilla contraria y la otra pierna extendida contra el lado vertical de una caja. de este modo, se midió la movilidad de flexión hacia delante de cada lado. resultados: los resultados mostraron que el lado que se imaginó activamente durante el ejercicio sensorial, se sintió más ligero y más largo para la mayoría de los participantes después de la lección guiada (dos participantes informaron que el lado opuesto al que trabajaron se sintió más ligero y más largo). en 10 de los 12 participantes se registró un aumento significativo en la capacidad de alcanzar hacia adelante con el lado 8 center of pressure 7 sit and reach measurement zollinger • feldenkrais research journal, volumen 7 (2025) 15 intervenido. los autores concluyeron que los ejercicios dirigidos a las respuestas sensoriales podrían ser beneficiosos para la mejora del movimiento funcional. riesgo de sesgo: bajo stephens et al. (2005) estudiaron el efecto de 10 lecciones de autoconciencia a través del movimiento realizadas en dos días, sobre la coordinación, la economía de movimientos y la salud general en una población de ancianos sanos con 31 participantes. se trataba de un estudio controlado no aleatorizado (con una muestra de conveniencia), los participantes estaban sanos y tenían entre 68 y 89 años. no hubo intervención en el grupo de control. en su análisis de datos, stephens et al. dividieron a los participantes en dos grupos, uno "joven/viejo" (menos de 78 años) y otro "viejo/viejo" (78 años o más). resultados: en la tarea de coordinación (pasar de decúbito supino a bipedestación), se observó una interacción entre grupo, edad y tiempo, con diferencias estadísticamente relevantes. en ambas variables —tiempo de ejecución y número de unidades de movimiento— el grupo más joven mostró una disminución, mientras que en el de mayor edad se registró un incremento. este hallazgo resulta llamativo, ya que ambos grupos reportaron que la tarea se volvió más fácil tras participar en las clases de autoconciencia a través del movimiento. los autores sugieren que las personas mayores tomaron conciencia de que podían moverse con mayor lentitud y control durante una secuencia compleja, poco habitual para personas de 80 años. no se detectaron variaciones significativas en la tarea de economía de movimientos. en cambio, sí se registraron mejoras en las puntuaciones de vitalidad y salud mental dentro del grupo experimental. riesgo de sesgo: moderado stephens et al. (2006) llevaron a cabo un estudio controlado aleatorizado en el que evaluaron el efecto de las lecciones de autoconciencia a través del movimiento en una prueba de extensión activa de rodilla, utilizando una muestra sana de 33 participantes. el grupo de control no recibió ninguna intervención. a los integrantes del grupo experimental se les pidió realizar una sesión de autoconciencia a través del movimiento de 15 minutos, cinco veces por semana durante un período de tres semanas, guiados por una secuencia grabada en audio. la lección consistía en variaciones de movimientos que requerían el alargamiento del músculo isquiotibial en diferentes configuraciones posturales. resultados: a pesar de que la sesión de práctica efectiva osciló entre 8 y 15 minutos y el total de minutos de práctica osciló entre 80 y 300, un análisis de regresión no mostró ningún efecto significativo en el cambio de longitud de los músculos isquiotibiales en el grupo de autoconciencia a través del movimiento. siendo este análisis resultado del número de sesiones de práctica, el número total de minutos practicados o la cantidad de retraso entre la última sesión de práctica y la medición final. en general, el grupo de autoconciencia a través del movimiento ganó significativamente más longitud en los músculos isquiotibiales, en comparación con el grupo de control, con un número medio de 11 sesiones y 177 minutos practicados. riesgo de sesgo: bajo en un amplio estudio controlado aleatorizado con 55 participantes, vrantsidis et al. (2009) estudiaron la eficacia y la aceptabilidad de las clases de autoconciencia a través del movimiento del método feldenkrais para mejorar el equilibrio en una muestra de ancianos sanos. la intervención consistió en una clase en grupo dos veces por semana durante ocho semanas. no hubo intervención en el grupo de control. las clases de autoconciencia a través zollinger • feldenkrais research journal, volumen 7 (2025) 16 del movimiento formaban parte del programa getting grounded gracefully 9 , diseñado específicamente para mejorar el equilibrio en una variedad de configuraciones posturales. resultados: hubo un cambio significativo en la escala modificada de eficacia ante caídas para el grupo de intervención, un progreso notable en la velocidad al caminar, aunque los cambios en la prueba cronometrada de levantarse y caminar no alcanzaron significación estadística.todos estos resultados sugieren cierta mejora del equilibrio dinámico en el grupo de intervención en comparación con el grupo de control. este es uno de los pocos estudios que realizaron un cálculo del tamaño de la muestra antes del estudio y que utilizó evaluadores ciegos. los autores concluyen que, aunque el estudio no tuvo la potencia suficiente para detectar un cambio clínicamente significativo, estos resultados y la opinión positiva de los participantes sobre las clases del método feldenkrais justifican la realización de más investigaciones sobre el método feldenkrais para mejorar la función y el equilibrio en las personas mayores. riesgo de sesgo: muy bajo en 2010, hillier et al. probaron los efectos de las lecciones del método feldenkrais en comparación con un grupo de control, que participó en una clase genérica de equilibrio. veintidós individuos de una población sana y envejecida seleccionaron una de las dos lecciones, sin ser conscientes de cuál elegían. el estudio se describió como un ensayo controlado pseudoaleatorio. ambas clases se impartieron una vez por semana durante ocho semanas. resultados: los resultados mostraron mejoras significativas en ambas clases para la escala funcional específica del paciente (psfs) 10 y la prueba de alcance funcional. sólo el grupo del método feldenkrais obtuvo progreso notable en el tiempo de equilibrio de apoyo unipodal (sls) 11 . ni el grupo del método feldenkrais, ni la clase de equilibrio lograron relevancia en la prueba cronometrada de levantarse y caminar y la medición de caminar en suelo con ojos cerrados (wofec) 12 . riesgo de sesgo: bajo en un ensayo similar, aleatorizado y controlado realizado en 2010, ullmann et al. estudiaron los efectos de un programa de lecciones del método feldenkrais de cinco semanas (60 min, tres veces por semana) sobre la movilidad y el equilibrio en una muestra sana y envejecida con 47 participantes (edad media 76 años). no hubo intervención en el grupo de control. las medidas de resultado fueron el equilibrio (ponerse de pie en tándem), la movilidad (subir y bajar cronometrado), las características del caminar, la confianza en el equilibrio y el miedo a caerse. resultados: el equilibrio y la movilidad aumentaron significativamente en el grupo del método feldenkrais, y el miedo a las caídas disminuyó notablemente. los autores concluyeron que los ejercicios del método feldenkrais ofrecen una forma eficaz de mejorar el equilibrio y la movilidad en los adultos mayores. riesgo de sesgo: bajo heister (2010) analizó los efectos de las lecciones de autoconciencia a través del movimiento en diferentes muestras de atletas, incluidos 30 individuos. se trataba de un diseño de estudio pre-post sin grupo de control. los tres subgrupos diferentes eran atletas mayores de 30 años, 12 walk on floor eyes closed 11 single leg stand time 10 patient specific functional scale 9 enraizarse con elegancia zollinger • feldenkrais research journal, volumen 7 (2025) 17 atletas profesionales formados por niñas de entre 10 y 14 años que entrenan en gimnasia de 15 a 25 horas a la semana, y un grupo de atletas discapacitados con problemas de visión. la intervención tuvo una frecuencia de 2 x 1 hora durante cuatro semanas. la medida de resultado fue un cuestionario de autoevaluación. en el mismo se preguntaba sobre la autopercepción estando de pie con una pierna a la vez y con los ojos cerrados. resultados: el autor informó de mejoras significativas en la sensación de estabilidad, la tensión de los hombros y la libertad respiratoria en todos los subgrupos y en el número de movimientos de equiparación en la mayoría de los subgrupos. riesgo de sesgo: crítico connors et al. (2011) también estudiaron los efectos de un programa del método feldenkrais para mejorar el equilibrio en adultos mayores en un estudio controlado no aleatorizado con 63 participantes. las clases de autoconciencia a través del movimiento del programa getting grounded gracefully se llevaron a cabo dos veces por semana durante una hora durante 10 semanas. no hubo intervención en el grupo de control. resultados: el grupo del método feldenkrais mostró mejoras significativas en la repetición de las pruebas en todas las medidas, incluido el cuestionario de confianza en el equilibrio específico para actividades (abc 13 ), la prueba del paso en cuatro cuadrantes (fsst) 14 y la velocidad de la marcha seleccionada por el usuario. los autores pensaron que la clase del método feldenkrais permitía un estilo de caminar más libre, como resultado de la mejora de la confianza en el equilibrio debido a un mayor control intersegmental entre las extremidades inferiores, la pelvis, el tronco y la cabeza. riesgo de sesgo: moderado bellafiore et al. (2012) analizaron la influencia de las clases del método feldenkrais en la salud de la columna vertebral de músicos de orquesta profesionales en un ensayo controlado aleatorizado con una muestra pequeña (n=17). no hubo intervención en el grupo de control. el grupo experimental participó en dos horas semanales de clases de autoconciencia a través del movimiento durante cuatro semanas. resultados: no se detectó ningún efecto significativo sobre la aptitud muscular y la flexibilidad de la columna vertebral, medidas mediante una prueba de sentarse y alcanzar y de elevación del tronco. hubo una tendencia positiva en ambas medidas en los participantes del grupo del método feldenkrais y un ligero empeoramiento en el grupo de control, lo que sugiere que las clases de autoconciencia a través del movimiento evitaron un empeoramiento de estas capacidades. los autores mencionaron que la ausencia de un efecto significativo podría deberse al pequeño tamaño de la muestra y a la breve duración de la intervención. riesgo de sesgo: bajo en un estudio de 2012, khurana et al. investigaron el efecto de las clases en grupo del método feldenkrais sobre el alargamiento de los isquiotibiales en un estudio no controlado con individuos jóvenes y sanos (n=25). el estudio menciona que las clases del método feldenkrais se impartieron durante 15 días consecutivos, pero en el texto no se ofrece información sobre la duración de los ejercicios. resultados: aunque el estudio menciona un aumento del ángulo en 14 four-square step test 13 activities-specific balance confidence questionnaire zollinger • feldenkrais research journal, volumen 7 (2025) 18 la prueba de elevación de pierna recta 90-90 (slr) 15 , no se da información sobre si este aumento fue positivo o clínicamente significativo. riesgo de sesgo: crítico un ensayo controlado aleatorizado realizado por bipinbhai (2013) comparó la eficacia de la técnica alexander, el método feldenkrais y los ejercicios de equilibrio convencionales para mejorar el equilibrio en adultos mayores con este tipo de problemas. cada uno de los tres grupos estaba formado por 15 individuos y recibió clases cinco días a la semana durante un mes. resultados: el grupo del método feldenkrais mejoró significativamente en la evaluación con la escala de equilibrio berg (bbs) 16 y la prueba de alcance funcional (frt) 17 en bipedestación. en comparación con los ejercicios convencionales, el grupo del método feldenkrais mostró una mejora significativamente mayor en el equilibrio, cuando se evaluó con la frt en bipedestación y la bbs. en general, el estudio sugiere que los tres grupos mostraron resultados positivos en algunas medidas de equilibrio. la comparación entre grupos sugiere que el grupo de técnica alexander y el grupo del método feldenkrais mejoraron más el equilibrio que al realizar ejercicios convencionales. al comparar el grupo del método feldenkrais con el de la técnica alexander, no se observaron diferencias notables en el progreso del equilibrio en los adultos mayores. riesgo de sesgo: muy bajo en 2013, webb et al. investigaron el efecto de las clases autoconciencia a través del movimiento del método feldenkrais en personas (n=15) con osteoartritis. se trataba de un estudio prospectivo con mediciones previas y posteriores, pero sin grupo de control. las clases se impartieron dos veces por semana durante 30 semanas. resultados: los participantes mejoraron en la prueba del paso en cuatro cuadrantes y el análisis cinemático mostró una disminución de la inclinación pélvica anterior, lo que redujo la inclinación hacia adelante del tronco y disminuyó la carga sobre la zona lumbar al caminar. una limitación importante del estudio fue que no hubo grupo de control y que no se ofrece información sobre si los resultados fueron significativos. riesgo de sesgo: crítico cook et al. (2014) realizaron un estudio controlado no aleatorizado, para investigar el efecto de una intervención con el método feldenkrais sobre el equilibrio y la marcha en mujeres sanas de entre 40 y 80 años (n=46). la intervención fue corta, con una a dos clases durante cinco días consecutivos. resultados: los resultados mostraron mejoras significativas en la calidad de vida, la confianza en el equilibrio y las características de la marcha, pero no hubo progreso en una prueba de equilibrio a dos pies con los ojos cerrados. los autores concluyeron que, puesto que no es probable que las propiedades físicas de los músculos y tendones cambiaran durante cinco días de intervención, que los efectos se debían a cambios en el control neurológico de los músculos. riesgo de sesgo: grave un estudio controlado aleatorizado de nambi et al. (2014) comparó los efectos de las lecciones del método feldenkrais y las clases de pilates con un grupo de control en una población geriátrica ambulatoria (n=60). cada grupo tenía 20 participantes y todos los grupos 17 functional reach test 16 berg balance scale 15 90-90 single leg raise zollinger • feldenkrais research journal, volumen 7 (2025) 19 completaron seis semanas de intervención con tres sesiones por semana. el grupo de control recibió instrucciones para calentar, caminar durante 12 minutos y realizar ejercicios de enfriamiento después. las mediciones de los resultados incluyeron la prueba de alcance funcional (frt), la prueba cronometrada de levantarse y caminar (tug) y el índice de marcha dinámica para el equilibrio funcional. también se midió la calidad de vida al inicio y tras seis semanas de entrenamiento. resultados: los resultados mostraron una mejora significativa del equilibrio funcional y la calidad de vida, tanto en el grupo del método feldenkrais como en el de pilates, pero no en el grupo de control. los autores concluyeron que tanto las clases de pilates como las lecciones del método feldenkrais son eficaces para mejorar el equilibrio funcional y disminuir la propensión a las caídas en una población geriátrica ambulatoria. riesgo de sesgo: muy bajo maddali-bongi et al. (2017) realizaron un estudio piloto para evaluar los efectos de las sesiones grupales del método feldenkrais en pacientes con espondilitis anquilosante. no hubo grupo control y solo se realizó estadística descriptiva. diez pacientes asistieron a un total de 10 sesiones, dos veces por semana. además, se realizaron ejercicios en casa a medida del paciente, elegidos por el terapeuta, durante 30 minutos al día. resultados: los resultados del estudio mostraron mejoras en el dolor, la fatiga, el estado de salud global y la movilidad lumbar y cervical. los autores concluyen que los hallazgos son prometedores, pero deben validarse con estudios controlados aleatorizados más amplios. riesgo de sesgo: crítico palmer (2017) estudió los efectos de las lecciones del método feldenkrais para mejorar la conciencia, la comodidad y la función de los adultos mayores sanos. el diseño del estudio fue un ensayo controlado no aleatorizado con evaluadores ciegos y 87 participantes. para comparar el efecto de la intensidad de las lecciones, el grupo experimental se dividió en dos subgrupos, de los cuales uno tomó 12 lecciones en seis semanas y el otro en 12 semanas. en el grupo de control no hubo intervención. entre las medidas de resultado se incluyeron la postura en tándem, la prueba de alcance funcional, el tiempo de subida y bajada y la encuesta optimal para los cambios autoinformados en las actividades. el método de estudio permitió el análisis de correlación entre el número de lecciones asistidas y las medidas de resultado, ya que el número de lecciones visitadas difería individualmente (con un mínimo de ocho lecciones). resultados: los resultados mostraron una correlación significativa entre el número de lecciones visitadas y las mejoras en el alcance funcional y en la encuesta optimal para el grupo experimental. también se observó una mejora significativa en comparación con el grupo de control en la encuesta optimal, que evalúa los cambios autoinformados en las actividades. sin embargo, no se identificaron diferencias relevantes entre ambos grupos en las demás variables evaluadas. además, parece que lo importante no es la densidad de las sesiones, sino el número total de lecciones visitadas, ya que el grupo de seis y el de 12 semanas experimentaron mejoras similares. riesgo de sesgo: moderado en un ensayo controlado aleatorizado, torres-unda et al. (2017) investigaron si las clases grupales del método feldenkrais mejoran el funcionamiento y el equilibrio corporal en personas de mediana edad con discapacidad intelectual (di) (n=32). el grupo experimental recibió 30 lecciones de autoconciencia a través del movimiento, con una clase por semana mientras que zollinger • feldenkrais research journal, volumen 7 (2025) 20 el grupo control no recibió ninguna intervención de movimiento. el funcionamiento físico se evaluó con la batería breve de rendimiento físico (sppb) 18 y el equilibrio mediante una prueba de estabilometría. la sppb es una puntuación compuesta de rendimiento (0-12) basada en tres tareas funcionales: velocidad al caminar, prueba de levantarse de la silla y equilibrio de pie (guralnik et al. 1994). resultados: después de 30 clases de autoconciencia a través del movimiento, el grupo experimental mejoró significativamente su puntuación en la prueba de levantarse de la silla, su puntuación sppb total y redujo significativamente su área de balanceo en la prueba estabilométrica.también se observó una interacción significativa entre grupo y tiempo en la puntuación total del sppb, lo que sugiere que los participantes del grupo experimental mejoraron su funcionalidad en mayor medida que los del grupo de control. el progreso obtenido por el grupo experimental en la puntuación total del sppb se consideró clínicamente relevante. en conjunto, estos hallazgos indican que las personas con discapacidad intelectual experimentaron un progreso significativo en su funcionamiento físico tras participar en una intervención basada en el método feldenkrais, lo que respalda su potencial como herramienta útil para prevenir el deterioro funcional y la pérdida de equilibrio en esta población. riesgo de sesgo: bajo 5.1.1 personas con afecciones neurológicas siete estudios dentro de la categoría de movilidad y equilibrio se realizaron con individuos sintomáticos que padecían una afección neurológica. en un estudio de casos múltiples, stephens et al. (1999) analizaron el efecto de 10 clases de autoconciencia a través del movimiento durante 10 semanas en cuatro mujeres con esclerosis múltiple (em). las medidas de resultado incluyeron la escala de gravedad de la fatiga, el índice de bienestar, el análisis del movimiento de la marcha y la prueba de ponerse de pie desde la posición supina. resultados: el resultado primario fue una mayor sensación de bienestar y una mejoría del equilibrio y del control del movimiento. riesgo de sesgo: crítico en un ensayo controlado aleatorizado con un diseño cruzado, johnson et al. (1999) estudiaron el efecto de ocho sesiones individuales de integración funcional (if) en 20 individuos con esclerosis múltiple (em). mitad del grupo recibió sesiones de integración funcional, mientras que la otra parte recibió una intervención simulada, en la que el profesional se movía en el sentido de las agujas del reloj alrededor de la mesa y ponía ligeramente las manos sobre diferentes partes del cuerpo. la intervención simulada se diseñó para controlar los efectos de la atención, el tacto y la personalidad del profesional. al preguntar a los participantes si notaban la diferencia entre las dos intervenciones, todos afirmaron que la notaban y que las sesiones del método feldenkrais eran más efectivas. las medidas de resultado incluyeron pruebas de destreza manual, escalas de rendimiento de em y cuestionarios sobre variables psicológicas como el estrés percibido, la ansiedad y la depresión. resultados: los resultados no mostraron ningún efecto del método feldenkrais ni de las sesiones simuladas sobre los síntomas de la em, los niveles de capacidad funcional y el rendimiento de las extremidades superiores. hubo una diferencia significativa en cuanto al estrés percibido y la disminución de la ansiedad tras las 18 short physical performance battery zollinger • feldenkrais research journal, volumen 7 (2025) 21 sesiones del método feldenkrais, pero no tras la intervención simulada. los autores concluyen que el mayor efecto del tratamiento se produjo en las variables psicológicas y que no se puede subestimar su importancia, ya que el estrés se ha implicado tanto en el inicio como en el desarrollo de la enfermedad en la em. riesgo de sesgo: muy bajo otro estudio de stephens et al. (2001) investigó el efecto de las clases de autoconciencia a través del movimiento en personas con em en un diseño controlado aleatorizado con un tamaño de muestra pequeño (n=12). mientras que el grupo de autoconciencia a través del movimiento participó en ocho clases, con un total de 20 horas durante un período de 10 semanas, el grupo de control participó en cuatro clases educativas de 90 minutos. resultados: los resultados mostraron una mejora significativa en el grupo del método feldenkrais para el equilibrio y la confianza en el equilibrio. los autores sugieren que las clases de autoconciencia a través del movimiento incorporen principios básicos de entrenamiento del equilibrio y los combinen con movimientos exploratorios de base kinestésica. riesgo de sesgo: bajo un estudio aleatorizado y controlado de teixeira-machado et al. (2017) analizó los efectos de 50 sesiones de clases de autoconciencia a través del movimiento del método, realizadas dos veces por semana, para mejorar la funcionalidad motora en la enfermedad de parkinson (ep). treinta participantes con ep se dividieron en un grupo experimental y otro de control. el grupo de control recibió charlas educativas durante el período experimental. las mediciones de los resultados incluyeron una prueba cronometrada de levantarse y caminar, una prueba de giro corporal desde decúbito supino, una prueba de giro de 360 grados en el mismo lugar, una prueba de alcance funcional, una prueba cronometrada de levantarse desde la posición sentada, una escala de equilibrio berg y una prueba de fuerza de flexión de cadera. resultados: el grupo del método feldenkrais mejoró significativamente en todas las medidas en comparación con antes del tratamiento, pero también en relación con el grupo de control. los autores concluyen que el método feldenkrais ayuda a los pacientes con ep a mejorar el funcionamiento motor, sin descuidar el bienestar emocional. riesgo de sesgo: muy bajo un estudio no controlado de kang et al. (2021) analizó el efecto de una intervención basada en danza utilizando el método feldenkrais sobre los síntomas motores y no motores en nueve participantes con enfermedad de parkinson (ep). los participantes participaron en una clase de autoconciencia a través del movimiento una vez por semana durante un período de seis meses. este es el único estudio analizado para este trabajo, que realizó una medición de seguimiento después de seis meses de finalizada la intervención. resultados: los resultados mostraron una mejoría significativa en la velocidad de la marcha y la longitud de los pasos entre los tres y los seis meses, pero luego volvieron a empeorar hasta la medición de seguimiento. la movilidad, medida mediante la escala de tinetti, disminuyó significativamente durante el período de intervención. la prueba de calidad de vida en la enfermedad de parkinson mostró una mejora notable a los seis meses, pero a los 12 meses ya no se observaba ningún efecto. los autores discuten varias limitaciones del estudio, como el pequeño tamaño de la muestra, la ausencia de corrección por error tipo 1 y la ausencia de grupo de control. riesgo de sesgo: crítico zollinger • feldenkrais research journal, volumen 7 (2025) 22 un estudio piloto aleatorio controlado de dos brazos, realizado por serrada et al. (2022) estudió si el entrenamiento de la conciencia corporal con el método feldenkrais puede mejorar la recuperación tras un accidente cerebrovascular. los participantes (n=20) tenían el diagnóstico mencionado (entre tres meses y seis años atrás) y fueron asignados aleatoriamente al grupo experimental o al grupo de control. el grupo experimental participó en dos clases presenciales de 45 minutos cada semana durante 10 semanas, mientras que el grupo de control escuchó grabaciones en su casa con las mismas lecciones. en comparación con el grupo basado en el trabajo en casa, el grupo con clases presenciales informó de una mayor aceptación y efectos percibidos, así como la probabilidad de continuar practicando el método feldenkrais después de la finalización del programa. la importancia del terapeuta y la conexión con otras personas para la retroalimentación, la compañía y la socialización, la comparación y la motivación fueron de suma importancia para el grupo basado en la clase. resultados: las medidas previas y posteriores a la intervención mostraron mejoras significativas en el grupo presencial en comparación con el grupo domiciliario en las escalas de deterioro motor de brazos y piernas, conciencia corporal y calidad de vida. según los autores, los progresos en el funcionamiento motor de brazos y piernas y en la calidad de vida son clínicamente significativos. el grupo domiciliario tardó más en completar el programa (13 25 semanas) y tuvo una adherencia reducida, lo que quizás refleje el efecto de la motivación del grupo de pares frente a la individual. la tasa de abandono y retirada de los participantes, aunque baja y distribuida equitativamente entre los grupos, fue un problema. los mensajes clínicos importantes fueron los siguientes: 1) las clases de conciencia corporal son factibles y seguras para las personas en fase crónica tras un accidente cerebrovascular. 2) los movimientos funcionales y la atención dirigida desarrollan una mejor comprensión del "nuevo" cuerpo después de un accidente cerebrovascular. 3) la mejora de la conciencia corporal puede aportar beneficios en la recuperación tras un accidente cerebrovascular. 4) el apoyo de pares y la interacción grupal pueden ser beneficiosos para la recuperación. riesgo de sesgo: bajo 5.2 destreza se realizaron dos estudios para investigar los efectos de las clases de autoconciencia a través del movimiento de feldenkrais en la destreza de las manos. bitter et al. (2011) realizaron un estudio controlado aleatorizado, doble ciego y un diseño de alta calidad, en estudiantes sanos (n = 29). en dicho estudio se evaluó el efecto de una única clase de dos horas de duración sobre la conciencia sensorial, basada en el método feldenkrais, en la destreza manual. las medidas de resultado fueron sobre la prueba de tablero perforado de purdue, una prueba de fuerza de agarre y elevación, y los cambios percibidos utilizando un cuestionario diseñado para el estudio. los estudiantes fueron asignados aleatoriamente a uno de tres grupos: 1) lección del método feldenkrais con la mano dominante; 2) lección del método feldenkrais con la mano no dominante; y 3) intervención simulada en forma de relajación muscular progresiva. se realizó un cálculo del tamaño de la muestra con el fin de contar con suficientes participantes en cada grupo para detectar un efecto significativo en la tarea de fuerza de prensión. resultados: los resultados mostraron mejoras zollinger • feldenkrais research journal, volumen 7 (2025) 23 notables en la prueba de tablero perforado de purdue para el grupo experimental en comparación con los grupos de control. para la prueba de fuerza de agarre, sólo la fuerza máxima de agarre para sostener el manipulandum 19 disminuyó significativamente en el grupo de mano dominante en comparación con el grupo no dominante y de control. todos los participantes del grupo de mano dominante y no dominante informaron que la mano de intervención se sentía diferente después de la lección en comparación con antes de la lección y se sentía diferente a la mano que no recibió la atención sensorial. los autores concluyeron que una sola lección de atención sensorial mejora la destreza de la mano en adultos sanos, lo que la convierte en una intervención útil para poblaciones que requieren una gran destreza, como los músicos y los profesionales médicos que requieren una gran destreza de la mano. riesgo de sesgo: muy bajo en otro ensayo controlado aleatorizado, causby et al. (2016) investigaron el efecto del entrenamiento adicional de la conciencia sensorial y la práctica motora para el aprendizaje de las habilidades con el bisturí en estudiantes de podología. cuarenta y cuatro participantes fueron asignados aleatoriamente a tres grupos: 1) un grupo de conciencia sensorial, que recibió una sesión de 40 minutos del método feldenkrais y practicó dos grabaciones de audio en casa, una de ellas dirigida a la mano dominante. 2) un grupo de práctica motora, que practicaba la sujeción del bisturí y, 3) un grupo de control, que recibió únicamente la enseñanza estándar. los participantes fueron evaluados con medidas psicológicas (inventario de motivación intrínseca) y medidas de destreza (prueba de tablero perforado de purdue, prueba de tablero con clavijas y prueba de agarre y elevación). resultados: la única diferencia significativa entre grupos a lo largo del tiempo fue la mostrada por el grupo de control en la duración de la precarga de la mano no dominante para la prueba de agarre y elevación.sin embargo, debe tenerse en cuenta que los grupos presentaban diferencias significativas en las evaluaciones iniciales, siendo el grupo de control el que obtuvo los puntajes más bajos. por ello, su margen de mejora fue mayor, dado que el grado de avance está relacionado con el nivel funcional inicial. los autores mencionan varios factores que llevaron a que no hubiera diferencias entre los grupos. en primer lugar, el bajo número de participantes (n=44); en segundo lugar, el breve periodo de entrenamiento adicional para los dos grupos experimentales (dos semanas), que podría no haber sido lo suficientemente largo como para mostrar los efectos del entrenamiento. los autores también mencionan el estudio de bitter et al. (2011) y dicen que los efectos significativos de este estudio podrían deberse a la prueba inmediata, que no evalúa el cambio duradero. en general, este estudio no mostró mejoras significativas del entrenamiento sensorial y motor adicional, que tuvo lugar en el transcurso de dos semanas, en comparación con la práctica estándar de enseñanza con bisturí. riesgo de sesgo: bajo 5.3 respiración se realizaron tres estudios para evaluar los efectos de las clases de autoconciencia a través del movimiento sobre las capacidades respiratorias. 19 es o será manipulado zollinger • feldenkrais research journal, volumen 7 (2025) 24 ramli y roslina (2012) realizaron un ensayo controlado aleatorizado para comparar la eficacia de las clases grupales del método feldenkrais en la rehabilitación de pacientes con enfermedad pulmonar obstructiva crónica (epoc), frente a un programa estándar de rehabilitación pulmonar. treinta y seis pacientes con una edad media de 65,7 años participaron en el estudio y tanto el grupo experimental del método feldenkrais como el grupo de control participaron en las intervenciones dos veces por semana durante ocho semanas. las mediciones de los resultados incluyeron el volumen espiratorio forzado en un segundo (vef1), la puntuación de borg y la prueba de caminata de 6 minutos (6mwt) 20 . la puntuación de borg permite a los pacientes calificar la intensidad de su disnea, mientras que la 6mwt mide la distancia que los pacientes pueden caminar en 6 minutos. resultados: ni el grupo experimental ni el grupo control mostraron una mejora significativa en el fev1. en cuanto a la puntuación de borg, solo el grupo control con el protocolo estándar presentó un avance notable. sin embargo, ambos grupos mejoraron de manera significativa en la prueba de caminata de 6 minutos (6mwt) al comparar sus propios resultados antes y después de la intervención, es decir, como un efecto observado dentro de cada grupo. no se detectaron variaciones relevantes entre los dos grupos en la 6mwt. dado que el programa estándar de rehabilitación pulmonar implica ejercicio de alta intensidad y aumento de la resistencia cardiovascular, los autores sugieren que el cambio en la puntuación de borg para el grupo de control es consecuencia de la desensibilización. la mejora de la distancia en la 6mwt en el grupo del método feldenkrais es coherente con un verdadero efecto del entrenamiento fisiológico y los diversos patrones de movimiento practicados en las clases del método feldenkrais que pueden haber mejorado la función muscular respiratoria y el intercambio gaseoso. los autores concluyen que ambas intervenciones demostraron su relevancia para los pacientes con epoc. aunque algunos pacientes podrían tolerar mejor las clases del método feldenkrais, no proporciona mejores resultados que el protocolo estándar. riesgo de sesgo: bajo otro estudio piloto observacional fue realizado por ramli et al. (2013) para estudiar el método feldenkrais como terapia alternativa para pacientes con enfermedad pulmonar obstructiva crónica (epoc). once participantes, con edades comprendidas entre 53 y 73 años participaron en el estudio, todos ellos diagnosticados con epoc grave. los pacientes recibieron una lección semanal de autoconciencia a través del movimiento del método feldenkrais durante ocho semanas. el contenido de las lecciones variaba de una semana a otra e incluía temas de conciencia, relajación, respiración y movilidad del tronco. las mediciones de los resultados antes y después de la intervención incluyeron la prueba de caminata de 6 minutos, la función pulmonar evaluada mediante espirometría y la calidad de vida. resultados: los resultados mostraron una mejora significativa en la prueba de la caminata de 6 minutos y el volumen espiratorio forzado, ambos con efectos sustanciales. las medidas de calidad de vida no cambiaron significativamente a lo largo de la intervención. los autores abordaron varias limitaciones, como el pequeño tamaño de la muestra y la falta de un grupo de control con asignación aleatoria. los resultados de este estudio piloto fueron prometedores, pero deben ser 20 6-minutes walk test zollinger • feldenkrais research journal, volumen 7 (2025) 25 confirmados por futuros ensayos con una muestra mayor, un grupo de control y una asignación aleatoria de los pacientes con epoc. riesgo de sesgo: crítico un ensayo controlado aleatorio bien diseñado realizado por mohan et al. (2021) evaluó los efectos de las clases de autoconciencia a través del movimiento del método feldenkrais para mejorar las características respiratorias en pacientes con dolor lumbar inespecífico (ns-lbp 21 ). cuarenta participantes fueron asignados aleatoriamente al grupo experimental y al grupo de control. mientras que este último recibió una intervención fisioterapéutica estándar tres veces por semana, el grupo experimental recibió lecciones de autoconciencia a través del movimiento del método feldenkrais combinadas con el protocolo fisioterapéutico rutinario. los autores realizaron un cálculo del tamaño de la muestra y los evaluadores permanecieron ciegos a las condiciones de tratamiento. las medidas de resultado incluyeron la fuerza muscular respiratoria, la resistencia muscular respiratoria, la evaluación de los patrones respiratorios, la percepción del dolor, la expansión torácica y la estabilidad central. resultados: los resultados mostraron mejoras significativas en la fuerza muscular espiratoria e inspiratoria en el grupo experimental, pero no en el grupo de control. la resistencia de los músculos respiratorios sólo mejoró notablemente en el grupo de control. además, se produjo una reducción significativa del dolor y un progreso relevante de la expansión torácica sólo en el grupo experimental. también mejoró la estabilidad lumbopélvica sólo en el grupo experimental. los patrones respiratorios no mostraron una mejoría significativa en el grupo experimental. los autores concluyen que el método feldenkrais es una forma adicional potencial de ejercicio, que podría mejorar la función respiratoria, el dolor y los componentes de la estabilidad lumbopélvica en poblaciones con dolor lumbar. riesgo de sesgo: muy bajo 5.4 postura dos trabajos estudiaron el efecto de las intervenciones del método feldenkrais sobre la postura. en estos dos estudios se evaluó el efecto sobre la alineación esquelética en bipedestación. quintero et al. (2009) estudiaron el efecto de diez sesiones semanales de autoconciencia a través del movimiento del método feldenkrais sobre la postura de la cabeza en niños con bruxismo. el diseño del estudio fue un ensayo controlado aleatorizado e incluyó a 26 niños de entre 3 y 6 años de edad. no hubo intervención en el grupo de control. resultados: los resultados mostraron mejoras significativas en la postura de la cabeza tras la intervención en comparación con el grupo de control, con un cambio clínicamente significativo en el ángulo craneovertebral (acv). riesgo de sesgo: muy bajo gil (2018) realizó un estudio para evaluar los efectos de un programa del método feldenkrais y un programa denominado movement and posture 22 (map) sobre la postura y la calidad de vida. el programa deriva del método feldenkrais pero se lo combina con ejercicios de estabilidad más convencionales. el diseño del estudio fue un ensayo controlado no aleatorizado, y 243 22 movimiento y postura 21 non -specific lower back pain zollinger • feldenkrais research journal, volumen 7 (2025) 26 participantes tomaron parte en 14 lecciones del método feldenkrais o del map. resultados: la calidad de vida mejoró en los dos grupos, y la brecha de lordosis también se redujo en ambos. si bien la disminución fue más pronunciada en el grupo de movement and posture , la cifosis mostró mejoras únicamente en el grupo del método feldenkrais. los autores concluyen que ambos enfoques pueden favorecer la calidad de vida y la postura. no obstante, el artículo no proporciona información clara sobre si dichas mejoras fueron estadísticamente significativas antes y después de la intervención. riesgo de sesgo: crítico 5.5 tono muscular un ensayo controlado aleatorizado realizado por brummer et al. (2018) estudió el efecto de la integración funcional del método feldenkrais sobre el tono muscular en posición supina. treinta voluntarios recibieron una sesión individual de integración funcional, en orden aleatorio primero en el lado derecho o izquierdo del cuerpo. la evaluación consistió en puntos de presión y superficie de contacto, documentados con el sistema de medición xsensor 23 , así como en sensaciones subjetivas. resultados: los resultados mostraron que la presión aumenta diferencialmente en el lado que se trata primero y que la presión general y la superficie de contacto aumentan significativamente después del tratamiento. los autores informaron efectos sustanciales y una potencia estadística cercana a 1 para todos los casos, lo que indica que una replicación del estudio no requeriría un tamaño de muestra mucho mayor. en conclusión, sus resultados demostraron que las sesiones de tratamiento con el método feldenkrais cambiaron el tono muscular, lo que condujo a una posición supina más relajada con respecto a la presión y la superficie de contacto sobre la colchoneta. riesgo de sesgo: muy bajo 5.6 evaluación general de la salud aunque esta revisión bibliográfica se centra en el funcionamiento motor, el autor incluyó los resultados de los estudios evaluados anteriormente, los cuales también analizaron el efecto de las sesiones del método feldenkrais sobre el bienestar subjetivo en general, evaluado en la mayoría de los casos mediante cuestionarios de calidad de vida. en el estudio de gutman et al. (1977), aunque no se obtuvieron diferencias estadísticas significativas entre los grupos, los participantes del grupo del método feldenkrais se preocuparon menos por su salud después de la intervención. además, el 26,3 % informó que tenía más energía después del curso, en comparación con antes. del mismo modo, un número de participantes mayor (32 %) en el grupo del método feldenkrais que en los grupos de control (11-21 %) informaron que dormían mejor después del programa. en el estudio de hall et al. (1994), los participantes del grupo del método feldenkrais aumentaron significativamente su vitalidad y funcionamiento físico, medidos por el cuestionario sf-36 24 de calidad de vida (qol) 25 . el estudio de casos múltiples de stephens et al. (1999) informó de un aumento general 25 quality of life 24 el sf-36 es un cuestionario estandarizado que evalúa la calidad de vida relacionada con la salud a través de 36 ítems distribuidos en ocho dimensiones funcionales. 23 xsensor es un sistema de análisis de presión y movimiento, comúnmente usados en estudios biomecánicos. zollinger • feldenkrais research journal, volumen 7 (2025) 27 de la sensación de bienestar y el estudio de stephens et al. (2005) informó de una mejora de las puntuaciones de la subescala de vitalidad y salud mental del sf-36 en el grupo experimental, lo que indica un aumento de la sensación de bienestar después de participar en las clases de autoconciencia a través del movimiento. sin embargo, el estudio piloto observacional de ramli et al. (2013) no mostró cambios significativos en la calidad de vida entre el período inicial y el posterior a la intervención. cook et al. (2014) mencionan mejoras en la calidad de vida tras la intervención con el método feldenkrais en mujeres de entre 40 y 80 años. el ensayo controlado aleatorizado de nambi et al. (2014) mostró mejoras significativas en la calidad de vida en una población geriátrica ambulatoria. como se desprende de estos resultados, el método feldenkrais parece tener efectos beneficiosos sobre el bienestar subjetivo, el estrés percibido, así como sobre la salud mental y la sensación general de salud. 6. debate en primer lugar, hay que señalar que los estudios descritos en esta revisión sobre el método feldenkrais y el funcionamiento motor son muy heterogéneos en cuanto a sus características de estudio, riesgo de sesgo y área de investigación. mientras que la mayoría de los estudios encontró un efecto positivo considerable, otros no lo hicieron. centrándonos en los estudios con un riesgo de sesgo "muy bajo" o "bajo", se pueden detectar algunos patrones, y los diferentes resultados pueden dar lugar a una visión general. en el área de movilidad y equilibrio , varios estudios informan de una mejora en el esfuerzo percibido en las pruebas de movimiento (brown y kegerreis 1991; chinn et al. 1994; ruth y kegerreis 1992) y una medición emg durante una prueba de flexión mostró una reducción de la actividad muscular después de la intervención (brown y kegerreis 1991), lo que sugiere que el método feldenkrais puede mejorar la eficiencia del movimiento. varios estudios informan un progreso en los patrones de movimiento funcional, como el alcanzar (bipinbhai 2013; dunn y rogers 2000; hillier et al. 2010; hopper et al. 1999; nambi et al. 2014). el efecto mejor estudiado es la mejora del equilibrio y movilidad en la población de edad avanzada (bipinbhai 2013; hillier et al. 2010; nambi et al. 2014; ullmann et al. 2010; vrantsidis et al. 2009). resultan interesantes los diferentes resultados de dos estudios que investigan el cambio de la flexibilidad de los isquiotibiales, medida en una prueba de extensión activa de la rodilla. mientras que james et al. (1998) no encontraron ningún efecto significativo después de cuatro sesiones de autoconciencia a través del movimiento en dos semanas, stephens et al. (2006) encontraron mejoras notables después de 8-15 sesiones en el transcurso de tres semanas. una posible explicación de esta diferencia podría ser la duración y la intensidad del estudio o las lecciones utilizadas como intervención para tratar la flexibilidad muscular activa de los isquiotibiales. en estudios con individuos sintomáticos con una afección neurológica, el estudio sobre integración funcional de johnson et al. (1999) no mostró mejoras en la destreza de la mano ni en la escala de autoeficacia de esclerosis múltiple (em), pero sí reducciones significativas en los niveles de ansiedad y estrés percibido. por otro lado, el estudio sobre autoconciencia a través del movimiento realizado por stephens et al. (2001) mostró resultados relevantes en el zollinger • feldenkrais research journal, volumen 7 (2025) 28 equilibrio y la confianza en el equilibrio en personas con esclerosis múltiple. el estudio de teixeira-machado et al. (2017) encontró progresos notables en una variedad de medidas de resultados funcionales para individuos con enfermedad de parkinson. serrada et al. (2022) hallaron efectos clínicamente significativos de las clases de autoconciencia a través del movimiento para la recuperación luego de un accidente cerebrovascular, evaluados mediante escalas de deterioro motor de piernas y brazos, conciencia corporal y calidad de vida. para la destreza de la mano , un estudio realizado por bitter et al. (2011) encontró evolución favorable después de una sesión de dos horas de autoconciencia a través del movimiento del método feldenkrais en comparación con una intervención simulada de relajación muscular progresiva. en otro estudio, cuando se comparó con un protocolo estándar de enseñanza de la destreza de la mano para aprender habilidades con el bisturí durante dos semanas, las sesiones adicionales de autoconciencia a través del movimiento no fueron beneficiosas (causby et al. 2016). de estos hallazgos surgen varias preguntas: los efectos en el estudio de bitter et al. (2011), ¿son efectos duraderos o los resultados positivos fueron consecuencia de una prueba inmediata? ¿se modificarían los resultados del estudio de causby et al. (2016) si se llevara a cabo durante un periodo más largo y con características de base más consistentes entre los grupos? dos buenos estudios sobre la respiración encontraron mejoras significativas en la función muscular respiratoria (mohan et al. 2021; ramli y roslina 2012). asimismo, el estudio sobre la postura de la cabeza en niños con bruxismo encontró cambios clínicamente relevantes (quintero et al. 2009). curiosamente, el estudio de integración funcional de brummer et al. (2018), que muestra una disminución significativa del tono muscular en posición supina, se corresponde con el efecto del estudio de integración funcional de johnson et al. (1999), que informa de una disminución de los niveles de ansiedad y estrés. es un hecho psicofisiológico bien establecido, que los altos niveles de estrés y ansiedad están directamente relacionados con un mayor tono muscular general en el cuerpo (hazlett et al. 1994; plüss et al. 2009; sainsbury y gibson 1954). los diversos efectos positivos de las clases de autoconciencia a través del movimiento e integración funcional sobre la calidad de vida sugieren además un impacto favorable sobre la autopercepción, la conciencia corporal y la sensación general de bienestar y vitalidad. en comparación con los protocolos de tratamiento estándar y los ejercicios generales, los resultados son dispares. el estudio de hillier et al. (2010) mostró pequeñas ventajas de las sesiones de autoconciencia a través del movimiento en la mejora del equilibrio, en comparación con una clase genérica de equilibrio. chinn et al. (1994) hallaron un resultado notable en el esfuerzo percibido tras las sesiones de autoconciencia a través del movimiento en comparación con los ejercicios generales de la parte superior del cuerpo. ramli y roslina (2012) no encontraron que las clases del método feldenkrais fueran superiores a un enfoque de tratamiento estándar para pacientes con epoc. bipinbhai (2013) encontró que las clases del método feldenkrais eran más efectivas para mejorar el equilibrio en adultos mayores que una clase general de equilibrio. mientras que causby et al. (2016) no encontraron que el zollinger • feldenkrais research journal, volumen 7 (2025) 29 método feldenkrais genere mayores progresos en comparación con un entrenamiento estándar con bisturí en estudiantes, el estudio de henry et al. (2020) encontró que el método feldenkrais utilizado además de la fisioterapia era más eficaz que la fisioterapia sola en el tratamiento de problemas respiratorios para personas con dolor lumbar inespecífico. ningún estudio informó de riesgos o efectos adversos, lo que convierte al método feldenkrais en una forma de intervención muy segura. esto coincide con los hallazgos de otros autores (ernst 2022). en cuanto al número de sesiones necesarias para observar un resultado, algunos estudios indican mejoras significativas tras una sola sesión, mientras que otros muestran un efecto tras ocho o más sesiones a lo largo de varias semanas. aún no está claro si estos cambios duran y cuánto duran. la cantidad de sesiones necesarias para observar un efecto parece depender del objetivo de la intervención, y no es posible establecer recomendaciones sobre la frecuencia ni la intensidad de las sesiones basándose en los resultados actuales. 6.1 falta de estudios que incluyan la integración funcional se supone que las razones por las que hay pocos estudios que incluyan la modalidad manual de la integración funcional son múltiples. una de las razones es que las sesiones de integración funcional no siguen un protocolo fijo y existe una gran variabilidad inter e intraindividual entre sesiones, incluso para las mismas condiciones. esto se debe a que el método feldenkrais conceptualiza los organismos humanos y su sistema neuromuscular como un sistema dinámico, complejo y adaptativo y por lo tanto las intervenciones en integración funcional siguen un proceso exploratorio, utilizando los llamados meta-principios junto con aspectos técnicos específicos de manipulación (buchanan 2012; russell 2020). esta variabilidad inter e intraindividual plantea retos a la replicabilidad de los estudios de integración funcional. además, es difícil controlar adecuadamente los efectos de interacción que actúan como factores de confusión entre el profesional y la persona atendida, que se sabe que son sustanciales en las prácticas cuerpo-mente (mehling et al. 2005). no obstante, como sugieren mehling et al. (2005), existen varias formas de minimizar el sesgo en los estudios de trabajo corporal práctico para los desafíos relacionados con el estudio ciego, el grupo de control y el sesgo en el reclutamiento y la deserción. otra razón de la falta de estudios que incluyan la integración funcional es el factor costo, ya que realizar múltiples sesiones individuales requiere más recursos que impartir sesiones en grupo. el autor además sugiere conceptualizar los estudios prácticos de integración funcional mediante un modelo de “caja negra”, en el cual las manipulaciones específicas tienen menor importancia. dado que cada sesión de integración funcional se basa en el mismo conjunto de principios fundamentales, la probabilidad y, por ende, la replicabilidad de las distintas sesiones sigue estando presente. asimismo, combinar medidas de resultados cuantitativas con cualitativas podría captar mejor la realidad de los efectos de la integración funcional. 6.2 posibles mecanismos de acción zollinger • feldenkrais research journal, volumen 7 (2025) 30 pensar y teorizar sobre el mecanismo de acción por el cual el método feldenkrais mejora el funcionamiento motor ha sido abordado por muchos autores en el pasado. centrándonos en la modalidad grupal autoconciencia a través del movimiento, existe un entendimiento común de que el método feldenkrais mejora, cambia y proporciona nuevos patrones funcionales de movimiento de todo el cuerpo (bate 1994; bisges y newton 1992; dunn y rogers 2000; hopper et al. 1999; james et al. 1998; rywerant 1983; serrada et al. 2022). stephens y hillier (2020) ofrecen una sección sobre el mecanismo de acción en su reciente revisión, concluyendo que el método feldenkrais cambia el patrón de coordinación del movimiento como resultado de un proceso de aprendizaje sensoriomotor. un análisis en profundidad de los elementos del aprendizaje motor y el control postural fue realizado por connors et al. (2011), que encontraron que la teoría del aprendizaje motor y el control postural proporciona una base teórica sólida para la eficacia del método feldenkrais en la mejora del equilibrio. bate (1994) brinda un enfoque similar al explicar algunos efectos del método feldenkrais con teorías de control motor, mientras que stephens et al. (2001) afirman que las sesiones de autoconciencia a través del movimiento incorporan principios básicos del entrenamiento del equilibrio. un esbozo de varios fundamentos relacionados con el uso eficiente del sistema neuromuscular también puede encontrarse en el artículo de lyttle (1997). además, varios autores señalan la naturaleza del aprendizaje exploratorio del método feldenkrais (russell 2020; wildman 1986). este es también el tema del artículo teórico de lafe y pacheco (2019), que elabora la conexión entre el método feldenkrais y el enfoque de estrategia de búsqueda para la adquisición de habilidades basado en la teoría de sistemas dinámicos. asimismo, la importancia de la conciencia y la atención es destacada por varios autores (clark et al. 2015; mattes 2016; wildman 1986). wildman (1986) describió el método feldenkrais como un proceso para desarrollar la atención y mejorar la capacidad de percibir diferencias sensoriales, lo que a su vez favorece el desarrollo de la habilidad motora. 6.3 recomendaciones para futuras investigaciones diseñar y planificar programas de investigación para estudiar el método feldenkrais es una empresa difícil y compleja. al examinar la literatura actual, el autor recomienda lo siguiente para futuros estudios. 1) enfocarse en estudios controlados aleatorizados con un cálculo adecuado del tamaño de muestra, especialmente en aquellos que incluyan individuos sintomáticos y busquen investigar el efecto clínico de los resultados funcionales en estas poblaciones. 2) estudios con grupos de control que reciben una intervención simulada bien diseñada o un enfoque de tratamiento estándar. 3) más estudios sobre los efectos de la integración funcional, especialmente con niños con parálisis cerebral o personas en neurorrehabilitación en general. esta es una aplicación frecuentemente recomendada y utilizada de las sesiones de integración funcional (shelhav-silberbush 1988; panova et al. 2017). actualmente se está llevando a cabo un estudio de cinco años de duración con 20 niños con parálisis cerebral en el hospital universitario de padua, italia. se trata del primer estudio a largo plazo de este tipo (chioggia redazione web 2023). zollinger • feldenkrais research journal, volumen 7 (2025) 31 4) más estudios con diferentes grupos de edad como población de muestra. 5) diseñar estudios que evalúen los efectos del método feldenkrais sobre la movilidad articular y la coordinación básica del movimiento voluntario —como la coordinación derecha-izquierda, arriba-abajo, atrás-adelante, mano-ojo y ojo-pie— en comparación con la evaluación de acciones motoras más complejas y dependientes del contexto, como caminar, correr, saltar, trepar, gatear, nadar, lanzar, alcanzar objetos o cambiar las posiciones básicas del cuerpo. la clasificación internacional sobre función, discapacidad y salud (cif) de la oms podía servir como posible marco de referencia (stucki 2005). 6) utilizar diseños de mediciones repetidas para comparar el efecto de diferentes cantidades de sesiones y distintas intensidades de intervención. 7) incluir evaluaciones de seguimiento para valorar la retención de los efectos de la intervención. 7. conclusión en muchas áreas de estudio, así como en diversos aspectos del funcionamiento motor, la exploración de las posibilidades y potencialidades del método feldenkrais ha sido limitada. sin embargo, esta revisión de estudios de investigación y literatura académica sobre el método feldenkrais y el funcionamiento motor aporta evidencia y sugiere como plausible que dicho método opera a través de principios de control y aprendizaje motor para mejorar funciones mediadas por el sistema neuromuscular. entre estas funciones se encuentran el equilibrio, la movilidad, la coordinación intra e intermuscular, la coordinación global del cuerpo, la respiración, la postura y el tono muscular. se requiere mayor investigación para precisar los efectos del método y la cantidad de práctica necesaria para consolidar nuevos patrones funcionales de movimiento en las distintas poblaciones que podrían beneficiarse de su aplicación. agradecimientos el autor agradece a la asociación suiza feldenkrais, sfv, su financiación, que ha hecho posible esta revisión. asimismo, agradece a cliff smyth y joanne page sus valiosos comentarios al primer borrador de esta revisión y su ayuda en la edición de este artículo. conflicto de intereses el autor era miembro de la junta directiva de la asociación suiza feldenkrais (sfv) mientras realizaba esta revisión. el autor afirma haber trabajado en conformidad con las mejores prácticas y en consonancia con los procedimientos científicos y no tiene ningún beneficio económico personal en relación con el resultado de esta revisión. zollinger • feldenkrais research journal, volumen 7 (2025) 32 referencias arksey, h., and o’malley, l. 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(2020) ‘perspectives on the feldenkrais method’. kinesiology review , 9 (3), 214–227. available at doi: https://doi.org/10.1123/kr.2020-0028 zollinger • feldenkrais research journal, volumen 7 (2025) 37 ruth, s., and kegerreis, s. (1992) ‘facilitating cervical flexion using a feldenkrais method: awareness through movement’. journal of orthopaedic & sports physical therapy , 16 (1), 25–29. available at doi: https://doi.org/10.2519/jospt.1992.16.1.25 rywerant, y. (1983) the feldenkrais method: teaching by handling. a technique for individuals . (2 rev. ed.) keats publishing: new canaan, connecticut. sainsbury, p., and gibson, j. g. (1954) ‘symptoms of anxiety and tension and the accompanying physiological changes in the muscular system’. journal of neurology, neurosurgery & psychiatry , [online] 17 (3), 216–224. available at doi: https://doi.org/10.1136/jnnp.17.3.216 serrada, i., fryer, c., hordacre, b., and hillier, s. (2022) ‘can body awareness training improve recovery following stroke: a study to assess feasibility and preliminary efficacy’. clinical rehabilitation , 36 (5), 650–659. available at doi: https://doi.org/10.1177/02692155221083492 shelhav-silberbush, c. (1988) the feldenkrais method for children with cerebral palsy . san diego, california: feldenkrais resources smyth, c. (2016) ‘introduction and editorial’. feldenkrais research journal , 5. available at: https://feldenkraisresearchjournal.org/index.php/journal/article/view/4 (accessed: 5 february 2024) stephens, j. (2007) ‘future directions for research on the feldenkrais method’. feldenkrais research journal , 3. available at: https://feldenkraisresearchjournal.org/index.php/journal/article/view/111 (accessed: 5 february 2024) stephens, j., call, s., evans, k., glass, m., gould, c., and lowe, j. (1999) ‘responses to ten feldenkrais awareness through movement lessons by four women with multiple sclerosis: improved quality of life’. physical therapy case reports , 2, 58-69 stephens, j., davidson, j., derosa, j., kriz, m., and saltzman, n. (2006) ‘lengthening the hamstring muscles without stretching using “awareness through movement”’. physical therapy , 86 (12), 1641–1650. available at doi:https://doi.org/10.2522/ptj.20040208 stephens, j., dushuttle, d., hatcher, c., shmunes, j., and slaninka, c. (2001) ‘use of awareness through movement improves balance and balance confidence in people with multiple sclerosis: a randomized controlled study’. journal of neurologic physical therapy , [online] 25 (2), p.39. available at https://journals.lww.com/jnpt/abstract/2001/25020/use_of_awareness_through_movement _improves_balance.2.aspx [accessed 30 jan. 2024] stephens, j., and hillier, s. (2020) ‘evidence for the effectiveness of the feldenkrais method’. kinesiology review , 9 (3), 228–235. available at doi: https://doi.org/10.1123/kr.2020-0022 zollinger • feldenkrais research journal, volumen 7 (2025) 38 stephens, j., pendergast, c., roller, b. a., and weiskittel, r. s. (2005) ‘learning to improve mobility and quality of life in a well elderly population: the benefits of awareness through movement’. feldenkrais research journal , 2. [online] available at: https://feldenkraisresearchjournal.org/index.php/journal/article/view/98 [accessed 30 jan. 2024] sterne, j. a., hernán, m. a., reeves, b. c., savović, j., berkman, n. d., viswanathan, m., henry, d., altman, d. g., ansari, m. t., boutron, i., carpenter, j. r., chan, a.w., churchill, r., deeks, j. j., hróbjartsson, a., kirkham, j., jüni, p., loke, y. k., pigott, t. d., and ramsay, c. r. 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(2017) ‘the feldenkrais method improves functioning and body balance in people with intellectual disability in supported employment: a randomized clinical trial’. research in developmental disabilities , 70, 104–112. available at doi: https://doi.org/10.1016/j.ridd.2017.08.012 ullmann, g., williams, h. g., hussey, j., durstine, j. l., and mcclenaghan, b. a. (2010) ‘effects of feldenkrais exercises on balance, mobility, balance confidence, and gait performance in community-dwelling adults age 65 and older’. the journal of alternative and complementary medicine , 16 (1), 97–105. available at doi: https://doi.org/10.1089/acm.2008.0612 vrantsidis, f., hill, k. d., moore, k., webb, r., hunt, s., and dowson, l. (2009) ‘getting grounded gracefully©: effectiveness and acceptability of feldenkrais in improving balance’. journal of aging and physical activity , 17 (1), 57–76. available at doi: https://doi.org/10.1123/japa.17.1.57 webb, r., cofré lizama, l. e., and galea, m. p. (2013) ‘moving with ease: feldenkrais method classes for people with osteoarthritis’. evidence-based complementary and alternative medicine , 2013, 1–12. available at doi: https://doi.org/10.1155/2013/479142 zollinger • feldenkrais research journal, volumen 7 (2025) 39 wildman, f. (1986) ‘learning – the missing link in physical therapy: a radical view of the feldenkrais method’. physical therapy forum , 5 (8) www.riskofbias.info. (n.d.) risk of bias tools current version of robins-i . [online] available at: https://www.riskofbias.info/welcome/home/current-version-of-robins-i www.zotero.org. (n.d.) zotero | your personal research assistant . [online] available at: https://www.zotero.org/groups/4149568/iffrg/collections/mw22kmsn [accessed 29 jan. 2024] biografía nicola zollinger completó sus estudios en ciencias ambientales en la eth de zúrich y finalizó su formación en el método feldenkrais en 2021 en aurillac, francia. trabajó durante tres años como asistente de un profesor de análisis matemático de sistemas en su universidad, donde adquirió una comprensión más profunda de los sistemas complejos. también fue autor del contenido de una serie de seis videos publicados que explican el método feldenkrais al público general, y publicó varios artículos sobre este método en el sitio web de terapias complementarias de suiza. zollinger • feldenkrais research journal, volumen 7 (2025) 40 a ne xo 1 ta bl a 1, p ar te 1 r es um en d e da to s zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 41 n r. e st ud io a ño at m /i f á re a n º d e su je to s e da d se si on es d ur ac ió n [s em an as ] in te ns id ad [s es io ne s p or se m an a] m ue st ra sa lu da bl e 1 g ut m an e t a l. 19 77 at m m ov ili da d, e qu ili br io , e va lu ac ió n ge ne ra l d e la sa lu d 38 70 .9 18 6 3 sí 2 b ro w n y k eg er re is 19 91 at m m ov ili da d 21 28 1 1 1 sí 3 r ut h y k eg er re is 19 92 at m m ov ili da d 30 11 -3 6 1 na na sí 4 h al l e t a l. 19 94 at m eq ui lib rio , e va lu ac ió n ge ne ra l d e la sa lu d 60 71 .6 5 32 16 2 sí 5 c hi nn e t a l. 19 94 at m m ov ili da d 23 18 -5 9 1 1 1 n o 6 b ro w n et a l. 19 96 at m m ov ili da d 23 75 .9 2 18 6 3 sí 7 st ep he ns e t a l. 19 98 at m m ov ili da d 4 38 .5 10 10 1 n o 8 ja m es 19 99 at m m ov ili da d 48 23 .1 4 2 2 sí 9 h op pe r e t a l. 19 99 at m m ov ili da d 75 18 .9 1 ó 4 2 2 sí 10 jo hn so n et a l. 19 99 if m ov ili da d 20 44 .8 8 8 1 n o 11 b uc ha na n y va rd ax is 20 00 at m b al an ce 20 n a 8 4 2 sí 12 d un n y r og er s 20 00 at m m ov ili da d 12 23 1 1 1 sí 13 st ep he ns e t a l. 20 01 at m eq ui lib rio 12 56 .2 8 10 1 n o 14 b at so n & d eu ts ch 20 05 at m m ov ili da d, e qu ili br io 4 56 15 6 na n o 15 st ep he ns e t a l. 20 05 at m m ov ili da d, e va lu ac ió n ge ne ra l d e la sa lu d 31 79 10 1 10 sí 16 st ep he ns e t a l. 20 06 at m m ov ili da d 33 25 .9 11 d e m ed ia 3 4 de m ed ia sí 17 q ui nt er o et a l. 20 08 at m po st ur a 26 4. 7 10 10 1 n o 18 v ra nt si di s e t a l. 20 09 at m eq ui lib rio 55 75 .4 16 8 2 sí 19 m an ué l h ei st er 20 10 at m eq ui lib rio 30 n a 8 4 2 n o 20 h ill ie r e t a l. 20 10 at m eq ui lib rio , e va lu ac ió n ge ne ra l d e la sa lu d 22 n a 8 8 1 sí 21 u llm an n et a l. 20 10 at m m ov ili da d, e qu ili br io 47 75 .6 15 5 3 sí 22 c on no rs e t a l. 20 11 at m m ov ili da d, e qu ili br io 63 75 (m d ) 20 10 2 sí 23 b itt er e t a l. 20 11 at m d es tre za 29 23 1 1 1 sí 24 k hu ra na e t a l. 20 12 at m m ov ili da d 25 21 -2 6 15 2 7 sí ta bl a 1, p ar te 2 n r. es tu di o o c b m n iv el d e ev id en ci a ti po d e co nt ro l es tu di o ci eg o se gu im ie nt o r es ul ta do s si gn ifi ca tiv o s c ál cu lo de l ta m añ o de la m ue st ra pu nt ua ci ón pe d ro p ar a ec a r ie sg o de se sg o 1 g ut m an e t a l. 3 si n in te rv en ci ón si n es tu di o ci eg o n o n o n o3 n a g ra ve 2 b ro w n y k eg er re is 2 at m si n su ge re nc ia s si n es tu di o ci eg o n o sí n o 6/ 11 b aj o 3 r ut h y k eg er re is 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 5/ 11 b aj o 4 h al l e t a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 6/ 11 b aj o 5 c hi nn e t a l. 2 in te rv en ci ón si m ul ad a (e je rc ic io ) si n es tu di o ci eg o n o sí /n o n o 4/ 11 b aj o 6 b ro w n et a l. 3 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o n a m od er ad o 7 st ep he ns e t a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o n o na n o n a c rít ic o zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 42 25 r am li y r os lin a. 20 12 at m r es pi ra ci ón 36 65 .7 16 8 2 n o 26 b el la fio re e t a l. 20 12 at m m ov ili da d 17 34 8 4 2 n o 27 r am li et a l. 20 13 at m r es pi ra ci ón 11 63 .8 8 8 1 n o 28 b ip in bh ai 20 13 at m eq ui lib rio 45 71 .3 6 20 4 5 sí 29 w eb b et a l. 20 13 at m m ov ili da d, e va lu ac ió n ge ne ra l d e la sa lu d 15 67 60 30 2 n o 30 c oo k et a l. 20 14 at m m ov ili da d, e qu ili br io , e va lu ac ió n ge ne ra l d e la sa lu d 46 60 510 1 510 sí 31 n am bi e t a l. 20 14 at m eq ui lib rio , e va lu ac ió n ge ne ra l d e la sa lu d 60 70 18 6 3 sí 32 c au sb y et a l. 20 16 at m d es tre za 44 23 7 2 34 sí 33 m ad da lib on gi e t a l. 20 17 at m m ov ili da d 10 55 .3 10 + e je rc ic io s di ar io s e n ca sa 5 2 n o 34 pa lm er 20 17 at m eq ui lib rio 87 76 (m d ) 12 6 o 12 1 ó 2 sí 35 to rr es -u nd a et a l. 20 17 at m m ov ili da d, e qu ili br io 32 48 .9 4 30 30 1 n o 36 te ix ei ra -m ac ha do e t a l. 20 17 at m m ov ili da d, e qu ili br io 30 61 50 25 2 n o 37 g il 20 18 at m po st ur a 24 3 24 14 14 1 sí 38 b ru m m er e t a l. 20 18 if to no m us cu la r 30 37 .9 1 1 1 sí 39 m oh an e t a l. 20 21 at m r es pi ra ci ón 34 18 -5 5 24 8 3 n o 40 k an g et a l. 20 21 at m m ov ili da d 9 69 .1 24 24 1 n o 41 se rr ad a et a l. 20 22 at m m ov ili da d 20 68 .4 20 10 2 n o 8 ja m es 2 n o in te rv en ci ón /r el aj ac ió n ev al ua do re s c ie go s n o n o n o 8/ 11 m uy b aj o 9 h op pe r e t a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 6/ 11 b aj o 10 jo hn so n et a l. 2 in te rv en ci ón si m ul ad a ev al ua do re s c ie go s n o sí n o 7/ 11 m uy b aj o 11 b uc ha na n y va rd ax is 3 n o ha y in fo rm ac ió n so br e el g ru po d e co nt ro l si n es tu di o ci eg o n o sí n o na n a 12 d un n y r og er s 4 si n gr up o de c on tro l / la do d er ec ho d el c ue rp o co m o co nt ro l / ps eu do al ea to riz ac ió n si n es tu di o ci eg o n o sí n o na b aj o 13 st ep he ns e t a l. 2 ed uc ac ió n (4 se si on es ) si n es tu di o ci eg o n o sí n o 5/ 11 b aj o 14 b at so n & d eu ts ch 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí n o na c rít ic o 15 st ep he ns e t a l. 3 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o na m od er ad o 16 st ep he ns e t a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 5/ 11 b aj o 17 q ui nt er o et a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí sí 7/ 11 m uy b aj o 18 v ra nt si di s e t a l. 2 si n in te rv en ci ón ev al ua do re s c ie go s n o sí sí 8/ 11 m uy b aj o 19 m an ué l h ei st er 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí /n o n o na c rít ic a 20 h ill ie r e t a l. 3 c la se g en ér ic a de eq ui lib rio ev al ua do re s c ie go s n o sí n o na b aj o 21 u llm an n et a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 6/ 11 b aj o 22 c on no rs e t a l. 3 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o na m od er ad o 23 b itt er e t a l. 2 in te rv en ci ón si m ul ad a (p m r ) es tu di o d ob le c ie go n o sí sí 10 /1 1 m uy b aj o 24 k hu ra na e t a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí n o na c rít ic o 25 r am li y r os lin a. 2 pr og ra m a de re ha bi lit ac ió n pu lm on ar si n es tu di o ci eg o n o n o n o 5/ 11 ba jo 26 b el la fio re e t a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o n o n o 6/ 11 ba jo 27 r am li et a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí n o n a c rít ic o 28 b ip in bh ai 2 c la se d e a le xa nd er y eq ui lib rio si n es tu di o ci eg o n o sí n o 7/ 11 m uy b aj o 29 w eb b et a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí n o na c rít ic o 30 c oo k et a l. 3 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o n a en se rio 31 n am bi e t a l. 2 ej er ci ci os d e pi la te s y d e ca m in ar si n es tu di o ci eg o n o sí n o 7/ 11 m uy b aj o 32 c au sb y et a l. 2 pr ác tic a m ot riz , en se ña nz a ha bi tu al ev al ua do re s c ie go s sí n o sí 5/ 11 ba jo zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 43 33 m ad da lib on gi e t a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o n o na n o na c rít ic a 34 pa lm er 3 li st a de e sp er a ev al ua do re s c ie go s n o sí /n o n o na m od er ad o 35 to rr es -u nd a et a l. 2 si n in te rv en ci ón si n es tu di o ci eg o n o sí n o 6/ 11 ba jo 36 te ix ei ra -m ac ha de o et al . 2 c on fe re nc ia e du ca tiv a si n es tu di o ci eg o n o sí n o 7/ 11 m uy b aj o 37 g il 4 si n gr up o de c on tro l si n es tu di o ci eg o n o sí n o na c rít ic a 38 b ru m m er e t a l. 2 d is eñ o cr uz ad o si n es tu di o ci eg o n o sí n o 7/ 11 m uy b aj o 39 m oh an e t a l. 20 21 2 fi si ot er ap ia ev al ua do re s c ie go s n o sí sí 9/ 11 m uy b aj o 40 k an g et a l. 4 si n gr up o de c on tro l si n es tu di o ci eg o sí sí /n o n o na c rít ic a 41 se rr ad a et a l. 2 a ud io s d e at m p ar a tra ba jo e n ca sa ev al ua do re s c ie go s n o sí sí 6/ 11 ba jo a ne xo 2 c ua dr o 2 m ed id as d e lo s re su lta do s m ed ic ió n de r es ul ta do s pu bl ic ac ió n es ca la d e m or al d el c en tro g er iá tri co d e fi la de lfi a g ut m an e t a l. 19 77 es ca la v ir o (p ar a ev al ua r e l c om po rta m ie nt o de la s pe rs on as m ay or es e n la s e nt re vi st as ) g ut m an e t a l. 19 77 es ta tu ra , p es o, f re cu en ci a ca rd ia ca , p re si ón sa ng uí ne a g ut m an e t a l. 19 77 r an go d e m ov im ie nt o f le xi bi lid ad d e r ot ac ió n g ut m an e t a l. 19 77 pr ue ba d e eq ui lib rio e n ba rr a o rie l g ut m an e t a l. 19 77 si st em a de p un tu ac ió n de rm at óm ic a pa ra d ol or y rig id ez g ut m an e t a l. 19 77 es ca la d e es fu er zo p er ci bi do d e b or g, e sc al a v is ua l a na ló gi ca d e es fu er zo p er ci bi do (e va ) b ro w n & k eg er re is 1 99 1, r ut h & k eg er re is 1 99 2, c hi nn e t a l 1 99 4, h op pe r e t a l. 19 99 , r am li & r os lin a 20 12 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 44 a ct iv id ad e m g b ro w n y k eg er re is 1 99 1 r an go d e m ov im ie nt o m ed id o co n go ni óm et ro ce rv ic al r ut h y k eg er re is 1 99 2 pr ue ba fu nc io na l d e al ca nc e de l b ra zo (e n de cú bi to su pi no , a po ya do c on tra la p ar ed ) c hi nn e t a l. 19 94 pr ue ba d e a lc an ce f un ci on al (d e pi e, c on a lc an ce ha ci a de la nt e) b ro w n et a l. 19 96 , h ill ie r e t a l. 20 10 , b ip in bh ai 20 13 , n am bi e t a l. 20 14 , p al m er 2 01 7, te ix ei ra -m ac ha do e t a l. 20 17 . pr ue ba d e a lc an ce f un ci on al m od ifi ca da (e n po si ci ón se nt ad a) b ro w n et a l. 19 96 , b ip in bh ai 2 01 3 sf 3 6 q ol , a q ol , r a n d -3 6, s rs -2 2 h al l e t a l. 19 94 , s te ph en s e t a l. 20 05 , v ra nt si di s e t a l. 20 09 , h ill ie r e t a l. 20 10 , r am li et a l. 20 13 , w eb b et al . 2 01 3, n am bi e t a l. 20 14 , g il 20 18 . ín di ce d e ac tiv id ad es d e la v id a di ar ia f a i h al l e t a l. 19 94 , v ra nt si di s e t a l. 20 09 es ca la d e ef ic ac ia a nt e c aí da s h al l e t a l. 19 94 , v ra nt si di s e t a l. 20 09 , u llm an n et a l. 20 10 pr ue ba c ro no m et ra da d e le va nt ar se y c am in ar (t u g ) h al l e t a l. 19 94 , b ro w n et a l. 19 96 , v ra nt si di s e t a l. 20 09 , h ill ie r e t a l. 20 10 , u llm an n et a l. 20 10 , b ip in bh ai 2 01 3, n am bi e t a l. 20 14 , p al m er 2 01 7. te ix ei ra -m ac ha do e t a l. 20 17 es ca la d e eq ui lib rio d e b er g h al l e t a l. 19 94 , b at so n & d eu ts ch 2 00 5, b ip in bh ai 20 13 , t ei xe ira -m ac ha do e t a l. 20 17 es ca la d e a ct iv id ad f ís ic a pa ra p er so na s m ay or es (p a se ) h al l e t a l. 19 94 pr o b al an ce m as te r t es t h al l e t a l. 19 94 c ue st io na rio d ar tm ou th c o o p b ro w n et a l. 19 96 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 45 r an go d e m ov im ie nt o p ru eb a de e xt en si ón a ct iv a de r od ill a ja m es e t a l. 19 98 , h op pe r e t a l. 19 99 , s te ph en s e t a l. 20 06 es ca la d e se ve rid ad d e la f at ig a (f ss ) st ep he ns e t a l. 19 98 ín di ce d e b ie ne st ar (i w b ) st ep he ns e t a l. 19 98 a ná lis is d e m ov im ie nt o en 2 d c on si st em a pe a k m ot us p ar a la m ar ch a y la tr an si ci ón d e de cú bi to su pi no a b ip ed es ta ci ón st ep he ns e t a l. 19 98 , s te ph en s e t a l. 20 05 m ed ic ió n de a lc an ce e n po si ci ón se nt ad a h op pe r e t a l. 19 99 , d un n & r og er s 2 00 0, b el la fio re et a l. 20 12 pr ue ba d e ta bl er o co n cl av ija s p ar a la d es tre za m an ua l jo hn so n et a l. 19 99 , b itt er e t a l. 20 11 , c au sb y et a l. 20 16 es ca la h os pi ta la ria d e a ns ie da d y d ep re si ón (h a d ) jo hn so n et a l. 19 99 es ca la d e a ut oe fic ac ia p ar a es cl er os is m úl tip le jo hn so n et a l. 19 99 , s te ph en s e t a l. 20 01 es ca la d e es tré s p er ci bi do (p ss ) jo hn so n et a l. 19 99 c al id ad d e v id a re la ci on ad a co n el d es em pe ño jo hn so n et a l. 19 99 pl at af or m a de f ue rz a a m ti p ar a si et e ta re as e n bi pe de st ac ió n b uc ha na n & v ar da xi s 2 00 0, w eb b et a l. 20 13 r eg is tro p ro sp ec tiv o de c aí da s st ep he ns e t a l. 20 01 es ca la e q u is c a le d e eq ui lib rio f un ci on al st ep he ns e t a l. 20 01 pr ot oc ol o de e qu ili br io m c ts ib st ep he ns e t a l. 20 01 , v ra nt si di s e t a l. 20 09 es ca la a b c d e c on fia nz a en e l e qu ili br io st ep he ns e t a l. 20 01 , u llm an n et a l. 20 10 , c on no rs e t al . 2 01 1 ín di ce d e m ar ch a d in ám ic a (d g i) b at so n y d eu ts ch 2 00 5 es ca la d e im pa ct o de l i ct us (s is ) b at so n & d eu ts ch 2 00 5, s er ra da e t a l. 20 22 c ef al og ra m a la te ra l q ui nt er o et a l. 20 09 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 46 pe rf il de a ct iv id ad h um an a (h a p) v ra nt si di s e t a l. 20 09 , w eb b et a l. 20 13 pu nt ua ci ón m en ta l a br ev ia da v ra nt si di s e t a l. 20 09 pr ue ba d el p as o en c ua tro c ua dr an te s v ra nt si di s e t a l. 20 09 , c on no rs e t a l. 20 11 , w eb b et al . 2 01 3 pr ue ba d e es ca ló n v ra nt si di s e t a l. 20 09 a na liz ad or c lín ic o de z an ca da (c sa ) v ra nt si di s e t a l. 20 09 pr ue ba c ro no m et ra da d e le va nt ar se d es de la po si ci ón se nt ad a v ra nt si di s e t a l. 20 09 , t ei xe ira -m ac ha do e t a l. 20 17 ti em po d e eq ui lib rio e n a po yo u ni po da l ( sl s) h ill ie r e t a l. 20 10 c am in at a en s ue lo c on o jo s c er ra do s ( w o fe c ) h ill ie r e t a l. 20 10 ve lo ci da d de m ar ch a se le cc io na da p or e l u su ar io u llm an n et a l. 20 10 , c on no rs e t a l. 20 11 pr ue ba d e a ga rr e y el ev ac ió n b itt er e t a l. 20 11 , c au sb y et a l. 20 16 pr ue ba d e el ev ac ió n de l t ro nc o b el la fio re e t a l. 20 12 pr ue ba d e c am in at a de 6 m in ut os (6 m w t) r am li & r os lin a 20 12 , r am li et a l. 20 13 , w eb b et a l. 20 13 vo lu m en e sp ira to rio f or za do (v ef ) r am li & r os lin a 20 12 , r am li et a l. 20 13 pr ue ba d e su bi da d e es ca le ra s w eb b et a l. 20 13 es ca la w o m a c d e o st eo ar tri tis (w es te rn o nt ar io y m cm as te r u ni ve rs iti es ) w eb b et a l. 20 13 a lfo m br a de p re si ón t ek sc an c oo k et a l. 20 14 in ve nt ar io d e m ot iv ac ió n in trí ns ec a (i m i) c au sb y et a l. 20 16 pr ue ba d e tr az ad o de c am in os a y b u llm an n et a l. 20 10 es ca la v is ua l a na ló gi ca p ar a do lo r ( ev a ) m ad da lib on gi e t a l. 20 17 es ca la v is ua l a na ló gi ca p ar a la fa tig a (e va ) m ad da lib on gi e t a l. 20 17 b a sg m ad da lib on gi e t a l. 20 17 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 47 b a sd a i m ad da lib on gi e t a l. 20 17 m a sa s m ad da lib on gi e t a l. 20 17 pr ue ba s ch öb er m ad da lib on gi e t a l. 20 17 d is ta nc ia d ed osu el o (f fd ) m ad da lib on gi e t a l. 20 17 b ip ed es ta ci ón e n tá nd em pa lm er 2 01 7 c ue st io na rio o pt im a l de a ut oi nf or m e pa lm er 2 01 7 b at er ía b re ve d e d es em pe ño f ís ic o (s pp b ) to rr es -u nd a et a l. 20 17 pl at af or m a es ta bi lo m ét ric a to rr es -u nd a et a l. 20 17 si st em a de m ap eo d e pr es ió n x se ns or b ru m m er e t a l. 20 18 c ue st io na rio so br e el e fe ct o de la l ec ci ón g il 20 18 in cl in óm et ro d ig ita l g il 20 18 pr es ió n in sp ira to ria m áx im a (p im ) m oh an e t a l. 20 21 pr es ió n es pi ra to ria m áx im a (p em ) m oh an e t a l. 20 21 ve nt ila ci ón v ol un ta ria m áx im a (v v m ) m oh an e t a l. 20 21 es ca la to ta l d e r es pi ra ci ón d ef ec tu os a (t fb s) m oh an e t a l. 20 21 c in ta m ét ric a fle xi bl e pa ra m ed ir ex pa ns ió n to rá ci ca m oh an e t a l. 20 21 d is po si tiv o de b io rr et ro al im en ta ci ón d e la p re si ón (p b u ) p ar a la e st ab ili da d de l c en tro c or po ra l ( co re ) m oh an e t a l. 20 21 es ca la u ni fic ad a de e va lu ac ió n de la e nf er m ed ad d e pa rk in so n (u pd r s) k an g et a l. 20 21 a ná lis is d e la m ar ch a k an g et a l. 20 21 es ca la d e sí nt om as n o m ot or es (n m ss ) k an g et a l. 20 21 c ue st io na rio d e en fe rm ed ad d e pa rk in so n (p d q -3 9) k an g et a l. 20 21 es ca la d e d ep re si ón d e a sb er g k an g et a l. 20 21 es ca la d e t in et ti k an g et a l. 20 21 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 48 es ta di os d e h oe hn y y ah r k an g et a l. 20 21 ev al ua ci ón s en so ria l d e er as m us d e n ot tin gh am se rr ad a et a l. 20 22 m a ia (e va lu ac ió n m ul tid im en si on al d e la c on ci en ci a in te ro ce pt iv a) se rr ad a et a l. 20 22 es ca la d e fu gl -m ey er p ar a ex tre m id ad es su pe rio re s e in fe rio re s se rr ad a et a l. 20 22 pr ue ba d e c am in at a de d ie z m et ro s ( 10 m w t) se rr ad a et a l. 20 22 es ca la fu nc io na l e sp ec ífi ca d el p ac ie nt e (p sf s) se rr ad a et a l. 20 22 pr ue ba d e c am in at a en o ch o te ix ei ra -m ac ha do e t a l. 20 17 pr ue ba d e g iro c or po ra l te ix ei ra -m ac ha do e t a l. 20 17 pr ue ba d e g iro d e 36 0 g ra do s e n el l ug ar te ix ei ra -m ac ha do e t a l. 20 17 pr ue ba d e fu er za d e fle xi ón d e ca de ra te ix ei ra -m ac ha do e t a l. 20 17 zo lli ng er • fe ld en kr ai s r es ea rc h jo ur na l, vo lu m en 7 (2 02 5) 49 microsoft word 3f38f3c7-6886-203843.doc feldenkrais research journal • volume 2 (2005) article sensing difference: student and teacher perceptions on the integration of the feldenkrais method of somatic education and contemporary dance technique warwick long university of otago, dunedin, new zealand abstract a somatic approach to contemporary dance technique advocates individual uniqueness and the distinctive sensory experience of each student as a starting point to improve understanding and self-knowledge of movement. despite the recent increase of somatic education within dance education and academia, there has been little research investigating somatic education and contemporary dance from the perspective of the student. this thesis presents a phenomenological study examining student perceptions of the feldenkrais method ® of somatic education and contemporary dance technique with a group of pre-professional and professional dancers in new zealand. a socio-constructivist position informs the researcher’s teaching process and the interpretation of students’ experiences. students’ voices are examined through thematic análisis while the researcher’s teaching practice is investigated through teacher research (cochran-smith, 1993; mitchell, 2000; russel & bullock, 1999) and reflective practice (schon, 1983). students’ perceptions of experiences over five days of classes are gathered through participant observation, group discussions, journal entries and individual interviews. results are discussed in relation to socioconstructivist epistemology, students’ perceptions of self authority and sensory awareness in dance. the study has shown that a combination of both teacher and student centred pedagogy was a useful approach for integrating somatic education and contemporary dance technique. the outcomes of this study may contribute to knowledge in a range of areas that include research methodology in dance, research in the feldenkrais method ® of somatic education and research in teachers’ professional knowledge in dance education. keywords feldenkrais, perceptions, somatic education, contemporary dance, dance teaching copyright ©: the copyright for this paper remains with the author(s). first published: masters thesis, university of otago, dunedin, new zealand (2002) please cite: feldenkrais research journal, volume 2; 2005. published by the international feldenkrais® federation (iff) https://feldenkrais-method.org available online at https://feldenkraisresearchjournal.org https://feldenkrais-method.org/ https://feldenkraisresearchjournal.org service marks: the terms feldenkrais®, feldenkrais method®, awareness through movement®, atm®, functional integration®, and fi® are service marked terms of the international feldenkrais® federation (iff) and feldenkrais professional guilds and associations in many countries. in keeping with academic conventions, they will not be service marked in the entire text as may be required in nonacademic use, but only for the first and most prominent use of the terms. in recognition that these phrases are formal terms referring to specific practices within the method, and to the method as a whole, capitalization of all the words in each term has been retained. sensing difference: student and teacher perceptions on the integration of the feldenkrais method of somatic education and contemporary dance technique warwick long a thesis submitted for the degree of master of physical education at the university of otago, dunedin, new zealand 2002 i abstract a somatic approach to contemporary dance technique advocates individual uniqueness and the distinctive sensory experience of each student as a starting point to improve understanding and self-knowledge of movement. despite the recent increase of somatic education within dance education and academia, there has been little research investigating somatic education and contemporary dance from the perspective of the student. this thesis presents a phenomenological study examining student perceptions of the feldenkrais method® of somatic education and contemporary dance technique with a group of pre-professional and professional dancers in new zealand. a socio-constructivist position informs the researcher’s teaching process and the interpretation of students’ experiences. students’ voices are examined through thematic analysis while the researcher’s teaching practice is investigated through teacher research (cochran-smith, 1993; mitchell, 2000; russell & bullock, 1999) and reflective practice (schon, 1983). students’ perceptions of experiences over five days of classes are gathered through participant observation, group discussions, journal entries and individual interviews. results are discussed in relation to socio-constructivist epistemology, students’ perceptions of selfauthority and sensory awareness in dance. the study has shown that a combination of both teacher and student centred pedagogy was a useful approach for integrating somatic education and contemporary dance technique. the outcomes of this study may contribute to knowledge in a range of areas that include research methodology in dance, research in the feldenkrais method® of somatic education and research in teachers’ professional knowledge in dance education. ii acknowledgements i would like to acknowledge the support and input of the people who contributed to this study. first of all i would like to thank the participants who volunteered time, spirit, thoughts and words as they disclosed their deep dancing selves. amelia, bevan, john, lou, lucy, lucia, mazy and polly, your contribution as participants has been invaluable. the depth of your input has made this research incredibly fulfilling. to ralph, tania and lisette, my supervisors, your input and guidance has been phenomenal. i will forever value the need to question everything. to my partner sylvie, lifelong thanks for your tenacious tinkering, toiling and support through this intensive time of work and growth. iii table of contents abstract .................................................................................................................. i acknowledgements ............................................................................................... ii table of contents................................................................................................. iii chapter one: introduction .................................................................................. 1 context .................................................................................................................. 2 research question ................................................................................................. 5 paradigm............................................................................................................... 6 method .................................................................................................................. 7 value ..................................................................................................................... 8 chapter two: review of literature................................................................... 10 epistemological position ..................................................................................... 10 postpositivism..............................................................................................................11 critical theory ............................................................................................................12 constructivist ..............................................................................................................12 socio-constructivism ............................................................................................................14 issues in constructivist pedagogy.........................................................................................14 central themes.................................................................................................... 15 somatics ......................................................................................................................15 the feldenkrais method.......................................................................................................18 contemporary dance...................................................................................................21 somatic education and dance .....................................................................................22 motor learning and control........................................................................................24 somatics and motor learning......................................................................................26 chapter three: methodology............................................................................ 30 qualitative inquiry............................................................................................... 30 teacher research ........................................................................................................31 setting and participants....................................................................................... 33 ethics................................................................................................................... 35 methods of data collection ................................................................................. 36 emic perspective .........................................................................................................37 journals ......................................................................................................................37 interview .....................................................................................................................38 group interview...................................................................................................................39 in-depth individual interview ...............................................................................................40 video...........................................................................................................................42 limitations........................................................................................................... 43 methods of data analysis .................................................................................... 44 trustworthiness ................................................................................................... 44 member check and triangulation........................................................................ 45 chapter four: context of the findings ............................................................ 46 vignettes.............................................................................................................. 46 amelia (pre-professional)............................................................................................47 lou (pre-professional).................................................................................................48 lucia (pre-professional)..............................................................................................48 polly (pre-professional)...............................................................................................49 bevan (professional) ...................................................................................................50 john (professional).....................................................................................................51 iv lucy (professional)......................................................................................................52 mazy (professional).....................................................................................................53 myself..........................................................................................................................54 structure of the classes........................................................................................ 55 awareness through movement (atm) .........................................................................55 transition to standing section .....................................................................................55 dance technique section.............................................................................................56 dance combination section.........................................................................................56 the classes.......................................................................................................... 56 monday .......................................................................................................................56 tuesday .......................................................................................................................57 wednesday ..................................................................................................................57 thursday .....................................................................................................................58 friday .........................................................................................................................58 chapter five: results.......................................................................................... 59 students’ experiences of integration.................................................................... 60 sensation and differentiation.......................................................................................60 the importance of a clear teaching structure.............................................................63 student centred pedagogy...........................................................................................64 trusting the body’s intelligence...................................................................................66 accumulation of learning............................................................................................66 summary of experiences of integration........................................................................68 students’ experiences of learning ....................................................................... 68 visual learning: “i’ve actually got to see”.................................................................69 kinaesthetic learning: “i think it’s just a feeling”......................................................71 a conceptual way of learning: “i look for rules” ......................................................73 summary of students experiences of learning .............................................................74 individual perceptions of somatics ...................................................................... 76 amelia: “you dance for a feeling of pleasure”.............................................................77 bevan: “somatics beyond the studio” .........................................................................78 lou: “a different perception of strength”....................................................................79 lucy: “i think it has a healing quality”.......................................................................80 polly: “changing habitual movement” .......................................................................81 summary of individual perceptions of somatics...........................................................83 somatic ways of knowing.................................................................................... 84 describing sensation: “there’s no way to describe that through language” ...............84 knowing through our skeleton: “suddenly i can feel where my bones are”................85 questioning through our body: “how aware can i be?”............................................86 valuing the self: “i encourage them to bring it back to the i” .....................................87 summary of somatic ways of knowing ........................................................................88 somatic authority ................................................................................................ 88 discovering awareness: “like a child in a sweet shop”..............................................89 self belief: “i just had to keep believing that i did know”............................................89 external modelling: “it’s lovely to try and dance like someone else”..........................90 summary of somatic authority.....................................................................................93 relationships to ballet and yoga.......................................................................... 93 yoga: “i simply had an intense internal focus” ...........................................................94 ballet: “i was using more of the deep muscles to control my legs”..............................95 summary of relationship to ballet and yoga................................................................96 perceptions of somatics in tertiary dance training ............................................ 97 external pressure: “not comparing yourself to anything”...........................................98 contrasting traditional dance training: “what is this stuff?” ....................................98 curriculum issues: “there’s a lot to learn about standing, sitting and walking”........100 summary of perceptions of somatics in tertiary dance training...............................102 chapter six: discussion..................................................................................... 103 v reflective discussion on methodology ............................................................... 103 constructivist pedagogy and dance technique.................................................. 105 the language of experience......................................................................................106 the pedagogy of atm and dance technique.............................................................107 historical context of the teacher centred dance class.............................................111 socially constructed bodies............................................................................... 113 somatic authority .............................................................................................. 115 binary concepts in teaching and learning ....................................................... 117 the difference between pre-professional and professional dancers ................. 120 integration and transfer.................................................................................... 122 discussion summary.......................................................................................... 124 chapter seven: conclusion .............................................................................. 126 references...................................................................................................... 130 appendices........................................................................................................... 138 appendix a: cover letter ................................................................................. 139 appendix b: information sheet..................................................................... 141 appendix c: informed consent......................................................................... 143 appendix d: examples of interview transcripts........................................... 144 appendix e: examples of participants’ journals.......................................... 146 1 chapter one: introduction throughout my career as a dance performer, choreographer and teacher i felt that learning movement was problematic. the origins of this feeling stemmed from my experience as a child when i always had difficulties learning complex movement skills. in ball games or activities such as gymnastics i was un-coordinated and seemed to have a fear of movement. the paradox was that in other areas movement felt natural, as i regularly competed at a national and provincial level in athletics and swimming. in commencing dance classes at the age of eighteen, i found this learning process a struggle made more complex by my notions of right and wrong technique. these notions were based on my perceptions of an ideal dance technique and how i should look doing it. attention to sensation had escaped me. i was preoccupied with achieving technical perfection no matter what the cost. the cost in the end was chronic back pain. i realise now my difficulties in learning dance were more to do with my thinking than anything else. i began to transform my thinking about movement through my growing interest in the feldenkrais method®1 of somatic education. through this way of learning, i began to sense how to make fine discriminations in movement from a kinaesthetic perspective. one way somatic education links with dance education is through learning to direct attention to movement on an incrementally fine level. in the field of somatic education this process of learning 1 while feldenkrais method®, awareness through movement®, and functional integration® are registered service marks of the north american and australian feldenkrais guilds, the author has chosen to acknowledge these service mark in this first instance, but omit them from the remainder of this thesis for the purpose of reader clarity. 2 movement is termed sensory motor awareness. in this research my past experience as a student and my present experience as a somatic and dance educator meet as i observe students experiencing many similar issues that i encountered in learning movement skills. context the purpose of this study was to examine learner perceptions of how somatic education was integrated within contemporary dance technique classes in a pre-professional academic setting. somatics has been widely infused within the field of contemporary dance, with numerous methods of somatic education becoming increasingly popular in academic and professional milieu (cardinal, 2000; fitt, 1998; fortin, 1995). there are many claims that somatics influences dance teaching, choreography, performance, and dance medicine. however from reviewing the literature it appears there is little systematic research examining these claims. this thesis utilises the following definition of somatics by hanna (1986) to illustrate the place of somatics within this study. somatics is the field which studies the soma: namely the body as perceived from within by first person perception. when a human being is observed from the outside i.e., from a third-person viewpointthe phenomenon of a human body is perceived. …. the soma, being internally perceived, is categorically distinct from a body, not because the subject is different but because the mode of viewpoint is different: it is immediate proprioception, a sensory mode that provides unique data (hanna, 1986, p. 4). joly (2001) further elaborates on this definition by hanna to specifically define the field of somatic education as “the learning process of the living body as it acquires awareness through movement within the environment” (p. 17). my particular area of professional knowledge is the feldenkrais method of somatic education and dance education. 3 the current study evolved from my involvement as researcher in a previous study in a professional setting. in this previous study, i articulated theories that shaped my teaching in somatics and contemporary dance technique (long, 2001). the conclusion of this study led to a number of recommendations for future research. the primary recommendation was to initiate further research investigating somatic understanding of movement from the perspective of the learner. a somatic understanding of movement refers to awareness of our kinaesthetic sense, the feeling of our body in motion (berleant 1970), rather than external feedback or modelling. my desire to conduct this present study also comes from my experience as a teacher. as a teacher, i am curious about how learners make sense of their learning experiences in the dance class. talking to students after class, i often notice that feedback emerges in three categories: (a) feedback about the content of the class, (b) feedback about my teaching method, and (c) feedback revealing student experiences ranging from puzzlement, confusion, and frustration, to excitement and enlightenment over seemingly simple things. from these informal conversations, i began to wonder about the ways students perceive their experiences in dance class. my interest is in working with dancers as people, for it is as people that they experience their world through movement, it is as people they dance, and as people they are asked to transform their existing movement experience into a specific vocabulary known as contemporary dance technique. it is because of my interest in these relationships that i have taken a socio-constructivist perspective within a qualitative methodology. the socio-constructivist would argue that our learning is constructed out of our personal experiences, values and ways of being emerging from our social interactions in the world. two shared commonalities between somatic education and a socio-constructivist approach are: (a) the notion that people are intrinsically connected to their social environment and that behaviour emerges from interactions within that environment, and (b) the entry point for 4 learning is personal construction of experience. the distinction with somatic education however, is that most somatic educators’ value movement as the primary representation of a person’s way of being in the world, and therefore changes in behaviour are promoted through bringing a person’s awareness to how they move in their world. as a teacher, to arrive at a somatic way of knowing movement i have to embody the movement i teach. in contemporary dance much of the movement is self-devised by the teachers. (here i make a distinction between contemporary dance and modern dance styles such as cunningham or graham technique that rely on a fixed movement vocabulary faithful to the technical prescriptions of the founder, i.e. merce cunningham or martha graham). contemporary dance does not rely on prescribed vocabulary or sequences of movement common to every dance class, even though events and structures of classes may be similar in nature. in teaching contemporary dance technique informed by somatics, the content of my teaching is not separate from myself. my teaching is the sum of my experiences, abilities, disabilities, frustrations, fears, values and kinaesthetic embodiment of movement. if i fully embody the content of my teaching and the way i teach, the two are in some ways inseparable, each informs the other. my interest is the interrelationships between human movement, somatic ways of knowing and understanding the self in the world. although this interest has been an ongoing process, the essence of it has never been formally researched. consequently i hold certain hunches regarding the value of somatic education to dance practice. somatic theory suggests that if we really know how we move, we have the possibility to improve and transform unnecessary habits or dysfunctional patterns. my hunch is that somatic education may contribute to dance education and training through promoting self-observation of sensory motor awareness. this entails discrimination between sensing movement and replicating movement, the somatic approach and the technocratic approach. this belief is based on my 5 experiences in learning movement as a student, and working with others as a teacher, performer, choreographer or researcher. i believe that the integration of somatics in contemporary dance technique may assist students in constructing knowledge on many different levels including a somatic way of knowing (heshusius, 1994). research question the aim of this study was to: (a) investigate student perspectives of their learning experience in the integration of somatic education and contemporary dance technique, and (b) engage in teacher research in the area of somatic education and contemporary dance technique. the first aim was to understand how a group of pre-professional and professional dancers perceived the integration of somatic education, more specifically the feldenkrais method of somatic education, within contemporary dance technique class. from this broad aim five sub questions emerged: 1. how do dancers describe their experience of learning in a dance class informed by the feldenkrais method of somatic education? 2. how do dancers perceive the value of somatic education in pre-professional tertiary dance training? 3. how do dancers perceive the value of somatic education in relation to their own movement? 4. can dancers construct somatic ways of knowing themselves through movement? 5. how can dancers “give voice” to somatic ways of knowing themselves through movement? (i.e. ...metaphor, graphic, movement demonstration, etc.) the second aim was to use teacher research to investigate the following two aspects of my teaching: 6 1. how do my values in teaching somatics and contemporary dance translate into my practice? 2. what assumptions do i bring to the process of integrating somatic education and contemporary dance technique? paradigm a paradigm is a meta-narrative presenting “…a world view, a general perspective, a way of breaking down the complexity of the real world” (sparkes, 1992, p. 12). historically, the dominant paradigm of scientific western knowledge has been positivist. questions about the nature of knowledge in a positivist paradigm assume that reality exists in the form of measurable natural laws and mechanisms. the evolution of a number of alternative points of view to positivism has seen another paradigm established that is concerned with understanding human meaning and experience. this paradigm is generally known as interpretivist and in simple terms attends to the interpretation of human lived experience. qualitative research methodology is widely used within this paradigm (guba, 1990b). while further distinctions about paradigms are the source of ongoing debate, guba (1990b) saw views such as postpositivism, critical theory and constructivism as being individual paradigms emerging as alternatives to positivism. for purposes of clarity in this thesis i am adopting guba’s position of seeing postpositivism, critical theory, and constructivism as individual paradigms with the distinction that they are phenomenological in nature, in that they attend to human lived experiences of phenomena. these paradigms along with literature in constructivism will be discussed in the next chapter. in this study i position my self within a constructivist and more specifically a socio constructivist framework. in line with postpositivism, i value multiple ways of knowing and 7 acknowledge multiple versions of reality. to further define this theoretical position it is important for me to acknowledge the relationship between myself, and that which i seek to understand. the qualitative process by which i construct knowledge about the integration of somatic education and contemporary dance technique is phenomenological. it is phenomenological in that it seeks to describe and interpret the lived experience of 10 dance students and myself as we interact to construct a series of classes over a one-week period. if i am to value a phenomenological approach then first person experience is undeniable. students’ social and individual constructions of knowledge become their lived experience. method while the research methods will be discussed in detail in chapter three, this section serves as an introduction to the process of the study. much of the available research on the feldenkrais method tends to be of an empirical nature directed towards addressing the efficacy of the feldenkrais method from a health perspective (cardinal, 2000; huntley & ernst, 2000; ives, 1998; ives & sosnoff, 2000). there is less research examining aspects of learning from a qualitative and specifically constructivist perspective. in this study, qualitative methodology was used to gain an understanding of a group of pre-professional and professional dancers’ learning experiences in the studio environment. as the principle researcher and teacher within this enquiry, i drew on teacher research (cochran-smith & lytle, 1993; mitchell, 2000; russell & bullock, 1999) and reflective practice (schon, 1983) as a research method to gain understanding and insight into classroom experiences. 8 there were eleven participants in this study. five participants were pre-professional dance students enrolled in their second year of a bachelor degree qualification, and another five were professional dancers from the auckland dance community. finally there was myself as a teacher researcher. data was collected over five daily morning classes of one and a half hour’s duration each, for a period of one week. the collection method was through video recording of whole class participation, journal entries, group interview and in-depth interviews with six participants. the selection process for participants in the study will be described in chapter three. the data was analysed using a constant comparative method (maykut & morehouse, 1994). the constant comparative method is an inductive process that allows meanings to emerge from the data through directing attention to the focus of inquiry. this initially entails extracting units of meaning and identifying categories that emerge relevant to my particular inquiry. value the value of this inquiry lies in the emerging outcomes of the data analysis and insights gained through understanding student experiences and reflective practice. i believe that new knowledge in the fields of somatics and dance may prove fruitful to not only my teaching practice but also other somatic practitioners, teachers of dance, and tertiary educators interested in similar integrative processes. in the fields of education and dance education, this inquiry may contribute to a diverse and growing body of knowledge in the area of teacher research and reflective practice. finally my intention is that this phenomenological account 9 of teaching and learning may contribute to teachers’ professional knowledge in dance education. 10 chapter two: review of literature this review of literature is structured in two parts. the first articulates my ontological and epistemological position in respect to constructivism and the second addresses the themes of this study: somatics; the feldenkrais method; contemporary dance; somatic education and dance; motor learning and control; and somatics and motor learning. epistemological position the following issues concerning ontology and epistemology, serve to depict broader perspectives of knowledge in context to the literature pertinent to this study. as previously defined, a paradigm is “a set of overarching and interconnected assumptions about the nature of reality. the paradigm provides the basis on which we build our verifiable knowledge” (maykut & morehouse, 1994, p. 4). guba (1990b) suggested that a paradigm is made up of a three element structure: ontology, epistemology, and methodology. he advocated that all paradigms are belief systems of “human construction” (guba, 1990b, p. 18), and as such they are contestable, fallible and changeable as are all human philosophic constructions. guba further suggested that our answers to the questions of ontology, epistemology and methodology can act as a guide to direct us to a set of basic belief systems that we might adopt in our research inquiry (guba, 1990b). according to guba these belief systems are; the starting points or givens that determine what inquiry is and how it is to be practiced. they cannot be proven or disproven in any foundation sense; if that were true there would be no doubt about how to practice inquiry (p. 18). the major paradigms that influence western scientific knowledge are positivism, postpositivism, critical theory and constructivism (guba, 1990b). guba (1990b) provides a 11 useful guide to the ontology of these four paradigms. guba describes the ontology of positivism as being realist in nature. in contrast to this, the ontology of postpositivism and critical theory is described as critical realism. in postpositivism and critical theory, questions about the nature of knowledge assume that reality exists, but it is debatable and even multiple. “it can never be fully apprehended. it is driven by natural laws that can only be incompletely understood” (p. 23). the ontology of constructivism on the other hand is seen as being relativist. questions about the nature of knowledge from a constructivist orientation assume that if realities exist they do so only in the “form of multiple mental constructions, socially and experientially based, local and specific, dependent for their form and content on the persons who hold them” (p. 27). in any case, postpositivism, critical theory and constructivism are all concerned with the value, meaning and interpretation of human lived experience in the world and are further differentiated by their individual characteristics as described below. postpositivism a postpositivist paradigm values a qualitative methodology as a means of inquiry into human experience. this paradigm is founded on the argument that the world can be interpreted through multiple realities and there can be no one single way of knowing (eisner, 1998). this argument presumes that research observation is always theory laden and therefore cannot be objectively independent or a true reflection of one singular reality (ockwell, 2001). a feature of postpositivist research is that it is concerned with understanding and interpreting the world as it is (kenway, 1995). the postpositivist paradigm encompasses a range of research processes and is subjective and interactive. 12 critical theory critical theory can be seen as “ideologically oriented inquiry” (guba, 1990b, p. 23). in line with postpositivism, critical theorists also acknowledge that the nature of inquiry and the nature of knowledge are value laden. guba proposes that if this is the case the question arises as to what values and whose values shall govern the inquiry. consequently the assertion of one set of values naturally discounts or dis-empowers another set of values. the nature by which the inquiry can be conducted then “becomes a political act” (guba, 1990b, p. 25). the epistemology of critical theory is also subjective “because inquiry acts are intimately related to the values of the inquirer” (p. 25). critical theory therefore accounts for structural forces that influence human experience of the world. ockwell (2001) suggests that to critical theorists, it is the “underlying power relations that set perceptible and imperceptible limits on our participation in, and understanding of the world” (p. 28). the role of critical theory as an ideologically oriented inquiry is to acknowledge, uncover and mediate these relationships to facilitate transformation and social improvement. constructivist the constructivist view of the world sees knowledge as being socially constructed rather than universal. this view also forms the basis for one of the central feminist critiques of dominant western knowledge (barbour, 2001). schwandt (2000) suggests that, “human beings do not find or discover knowledge so much as construct or make it. we invent concepts, models and schemes to make sense of experience and we continually test and modify these constructions in light of the new experience” (p. 197). ockwell (2001) suggests that: “constructivism is based on a relativist ontology meaning that one true reality can not exist but can only be ‘reconstructed’ at a given time in the minds of its constructors” (p. 26). therefore knowledge or experience is constructed out of social interactions relative to particular moments in time. 13 constructivism and more specifically socio-constructivism, forms the basis of my epistemological position for this thesis. i will briefly describe these notions and then address constructivist pedagogy. within the constructivist paradigm, i will review literature in the specific ethnographic method i use in this study, known as reflective practice (schon, 1983, 1987) or teacher research (cochran-smith & lytle, 1993). this will also be discussed in the methodology in chapter three. in narrowing down the broad paradigm of constructivism to the field of education, howe and berv (2000) propose that constructivism predominantly characterises such phenomena as “learning theory, teaching techniques and a general pedagogical approach” (p. 30). the philosophical roots of constructivism in education can be traced back to the work of jean piaget and lev vygotsky (howe & berv, 2000; mccarty & schwandt, 2000). there are wide and varied descriptions of constructivism that encompass ways of thinking and researching human sciences, including education practice and qualitative research methodology. schwandt (1994) notes that notions of constructivism have wide usage yet are particularly “shaped by the intent of their users” (p. 119). constructivism highlights a dichotomy of sorts in grappling with subjectivity and objectivity. schwandt also suggests the problem faced by constructivist researchers is that “they struggle with drawing a line between the object of investigation and the investigated… the paradox of how to develop an objective interpretive science of subjective humanistic inquiry thus arises” (schwandt, 1994, p. 119). the fundamental assumption of constructivism is that the human experience of the world is a construction and that this experience can be changed. there is not an absolute reality out there. our notions of truth are linked to the subjectivity of our experience. constructivism values subjectivity since multiple meanings of the world are created rather than found. in this dissertation, the following three aspects of constructivism have influenced my inquiry: (a) knowledge is created and not found, (b) a preference to value the verb knowing to describe 14 the procedure of knowledge rather than the noun of knowledge as something that is arrived at or found, and (c) the active concept of people interacting within their environment rather than the receptive concept of people reacting to their environment. socio-constructivism socio-constructivists claim that social interaction and shared discourse will allow individuals to make sense of the world (gergen, 1994). in socio-constructivism, the focus is on the individual construction of the world and the shared discourse with society (mccarty & schwandt, 2000). socio-constructivism emphasizes the collective generation and transmission of meanings between people and their relationship with the world. chen and rovegno (2000) note that “knowledge is constructed through the interplay between an individual’s knowledge, attitudes, and values and social interactions in a socio-cultural context” (p. 357). they further explain that some of the teaching approaches that reflect constructivist beliefs about learning include: (a) engaging students in exploratory, self regulated and co-operative learning activities; (b) inviting students to decide their own learning tasks and objectives, generate questions and answers, express their ideas and thoughts, and seek out their own solutions to the problems; (c) asking thoughtful and open-ended questions to facilitate students use of high order thinking skills to critically reflect, identify and evaluate their learning; (d) guiding students to elaborate on their initial thoughts and actions by scaffolding various ways of expanding responses, probing questions, and providing clues; (e) structuring learning experiences around a ‘big picture’ in the context of authentic situations to help students make connections among pieces of information and understand the essence of concepts; (f) organising learning experiences relevant to students prior knowledge and daily lives to help students make learning meaningful to them; and (g) guiding students to work together productively and cooperatively by establishing the ground rules and norms to listen to others respectfully and to share ideas with one another (chen & rovegno, 2000, p. 358). issues in constructivist pedagogy the foundational assumptions of constructivism also lead to theories that inform constructivist pedagogy that howe & berv (2000) describe as follows: 15 constructivist learning theory has two basic premises: (1) learning takes as its starting point the knowledge, attitudes and interests students bring to the learning situation, and (2) learning results from the interaction between these characteristics and experience in such a way that learners construct their own understanding from the inside (p. 30-31). henceforth the facilitator of an educational experience is required to bring an understanding of needs, attitudes and starting points of students as well as a means whereby the interactions of knowledge and experience can lead to meaningful ways of knowing. adopting a constructivist pedagogy in its purity also has its detractions. if one of the aims of learning is a transformation of behaviour, then simply creating interactions around existing experience might not always be sufficient to transform behaviour or create new ways of knowing. thus within the constructivist pedagogy there is an exigency to include a mixture of both constructivist learning theory and non-constructivist teaching techniques (howe & berv, 2000; mccarty & schwandt, 2000). the stumbling block is that the meanings and experiences that students bring to learning situations might not always be accurate, thus the challenge within constructivist approaches is to balance what is valued with what is pertinent and necessary for rigorous growth. central themes as introduced at the beginning of the chapter, the central themes of this study are discussed in relation to the following literature: somatics, the feldenkrais method, contemporary dance, somatic education and dance, motor learning and control, somatics and motor learning. somatics somatics is defined as “the art and science of the inner relational process between awareness, biological function, and environment, all three factors being understood as a synergetic whole” (hanna, 1983, p. 1). another definition by linden (1994) defines somatic 16 education as “the educational field, which examines structure and function of the body as a process of lived experience, perception and consciousness” (linden, 1994, p. 15). current applications of somatic education range from allied practices within physiotherapy, occupational therapy, and psychotherapy to performing arts practice including tertiary dance education. for over fifteen years dance educators have been using a variety of somatic education methods in the teaching of choreography and technique (cardinal, 2000; fortin, 1998). within the professional dance community it is well known that increasing numbers of dancers are using somatic education as a method of investigating an embodied knowledge of movement as well as injury prevention and management in conjunction with conventional treatment modalities. similar trends have been observed among the general population where there is a growing interest in somatic education methods to assist with a variety of health conditions such as multiple sclerosis (bost, burges, russell, ruttinger & schlafke, 1994; huntley & ernst, 2000; stephens, 1999), chronic pain (bearman & shafarman, 1999; phipps, lopez, powell, lundy-ekman & maebori. 1997), and fibromyalgia (dean yuen & barrows, 1997). the use of somatics has also been noted as an adjunct treatment in postural reeducation, injury prevention and management, and sports medicine (fitt, 1998; ives, 1998; ives & sosnoff, 2000). further evidence of this growing interest exists with an up to 50% increase in people seeking and being referred for treatment in complementary and alternative medicine (bearman & shafarman, 1999; johnson, frederick, kaufman, & mountjoy, 1999; stephens, 1999). 17 in many somatic practices the means for improving function is through increasing awareness. hanna (1986) sees awareness as … a lens that can be pointed and focussed. awareness is a somatic activity that is exclusionary: it uses motor inhibition to exclude any sensory recognition other than that upon which it is focussed which could be something external in the environment (third person awareness) or internal within the soma (first person awareness) (p. 7). hanna further suggests that; “awareness is the function of isolating new sensory phenomena in order to learn to recognise and control them” (p. 7). inhibition is seen as an essential component of awareness in many somatic disciplines (alexander, 1918; feldenkrais, 1972; hanna, 1986). inhibition between thought and action creates the possibility for choice of action, which is the physical basis for awareness. “this pause makes it possible to examine what is happening within us at the moment when the intention to act is formed as well as when it is carried out” (feldenkrais, 1972, p. 45-46). this moment between thought and action is a primary mechanism to promote learning in feldenkrais awareness through movement classes. attention to performing specific movement patterns in a multiplicity of ways can potentially lead to improvement of motor function. in dance we are often looking to exploit multiple ways to perform movement, especially in the choreographic and learning process. one of the wider issues surrounding the feldenkrais method of somatic education is that there are many anecdotal claims supporting its efficacy as a learning method with many of the afore-mentioned conditions, yet there is little consistent research to substantiate these claims. much of the existing research on somatics and health has received criticism regarding its rigour and methodology (harris, 1996; ives, 1998; stephens, 1999). in light of these criticisms it might be said that there is a need for more research to investigate: (a) what does the feldenkrais method contribute to human learning in both specific and diverse areas of movement? (b) how might anecdotal claims regarding such phenomena as improvement of well-being and motor function be evidenced? 18 my particular interest is the feldenkrais method of somatic education and its application to dance education. from an educational perspective it is also relevant to ask: what are the underpinning mechanisms of the feldenkrais method as a teaching and learning tool? as a facilitator these questions are in the back of my mind as i seek to understand the ‘how’ of my teaching practice. the feldenkrais method the feldenkrais method is one of several methods of somatic education currently being utilised by dancers and pre-professional training institutions as an adjunct to traditional training methods. using the medium of movement, it addresses the potential for people to increase self-awareness through self-observation of sensory-motor behaviour, which can then act as catalyst for the improvement of function (feldenkrais, 1949; ginsburg, 1999; hanna, 1990; wildman, 1990a, 1990b) goldfarb (1993) states, “the feldenkrais method consists of a systemic understanding of the human body’s design for motion and a perception orientated pedagogy for changing how people move” (goldfarb, 1993, p. 1). a full discussion on the field of perception is beyond the scope of this review, however for present purposes i will define the notion of perception based on models by higgins (1991) and kelso (1982), as the recognition, extraction and use of information from various internal and external sources. hence, perception based learning is being able to make sense of and act upon perceptual data in order to elicit a transformation in behaviour. phipps et al, (1997) define the feldenkrais method as “a learning model that presumes that the patient will improve overall cognitive abilities and awareness leading to the learning 19 of new movement patterns, thus allowing the person to develop more efficient comfortable movement” (p. 2). one learning premise is that action is evaluated by criteria such as: “is this step leading to learning of new and improved ways of moving?” (p. 13). other definitions highlight the interdependence of learning with personal experience where the emphasis is on the learner’s subjective conscious experience of themselves in movement (bearman & shafarman, 1999; ginsburg, 1999; lundblad, 1999; phipps & lopez, 1997; stephens, 1999). lundblad, elert and gerdle (1999) define the feldenkrais method as a perception based method and emphasise that “learning is based on the experience of the individual subject” (p. 184). thus the feldenkrais method is an experiential learning process. as a somatic practice the feldenkrais method manifests itself in two forms: awareness through movement lessons and functional integration lessons. awareness through movement (atm) lessons are group classes where precise language provides cues to finding strategies for learning movement. each person controls their own level of participation and inquiry in these lessons. the lessons are configured often around functional movement patterns from simple to complex. the aim is for people to find a clear relationship between their awareness in movement and the relationship to function. functional integration lessons are individual sessions where a feldenkrais practitioner guides a client /student through precise gentle tactile (hands on) movement explorations. each exploration has specific goals designed to enhance function. the practitioner works directly according to the needs, pace and capability of the student. my interest is in describing and interpreting student experiences of learning within the integration of atm and contemporary dance technique class. one of the paradoxes of this inquiry is that for most somatic practices there is a constant interplay between subjective and objective realities. in a socio-constructivist paradigm, phenomena are viewed and understood through multiple realities (guba, 1990a, 1990b). baniel (in spire 1989) states that “we do not have an internal way to measure the quality of 20 our movement and its efficiency in objective terms as defined by the laws of physics” (p. 159). the concept of subjectivity and objectivity is also presented by guba (1990a) who contends, “if there is a reality then (even if it is not ultimately accessible), the purpose of science must be to ferret out its dynamics… the aim is to find out how things really are” (p. 87). the importance of subjective and objective relationships can not be underestimated in light of research in the feldenkrais method. hanna (1986) makes two clear distinctions regarding this ontology. “first person observation of the soma is immediately factual. third person observation, in contrast, can become factual only by mediation through a set of principles” (p. 4). by allowing these two distinctions to be mutually inclusive hanna sites them within a postpositivist framework stating “this difference in data is neither a difference in truthful accuracy nor of intrinsic value. … neither mode is less factual or inferior to the other: they are co-equal” (hanna, 1986, p. 4). it is the essence of lived experience that provides the hard data for fruitful investigation and a demand for awareness in order to understand the world and our interaction within it. somatic practices such as the feldenkrais method can act as a systemic approach to access awareness and begin to make functional sense of this data (kleinman, 1992). in taking a philosophical perspective of somatics, shusterman (1999) presents a concept he has coined as “somaesthetics”, which connects the lived experience of soma to aesthetic sensation and interaction with the world. the value of personal interaction with the world and improved quality of life is evidenced in several studies investigating the effects of feldenkrais awareness through movement lessons (bearman & shafarman, 1999; johnson et al., 1999; phipps, 1997; stephens, 1999). as shusterman (1999) proposes; “once such somatic functioning is brought to clear attention, there is a chance to modify it and avoid its unhealthy consequences, which include not only pain but a dulling of the senses, a diminution of aesthetic sensitivity and pleasure” (p. 303). 21 contemporary dance contemporary dance is a form of dance that sits within what i would call a western performance orientated, postmodern aesthetic. i distinguish contemporary dance from modern dance, which evolved out of codified technical dance vocabularies authored by significant pioneers in their field. people such as merce cunningham, martha graham, doris humphrey, eric hawkins and paul taylor are all considered founding practitioners and choreographers of dance techniques that bear their name as an identifier, i.e. graham technique, or hawkins technique. one signifying feature of postmodernism is its value of a plurality of forms. the move away from modern dance, which valued ideal technical representation, virtuosity and body type, was signified by a contrasting move to postmodernism, which valued a multiplicity of non–hierarchical influences on movement. the notions that anybody could in fact dance, any movement could be seen as dance, and dance could be performed at any place, at any time, reinforced pluralistic values of postmodernism in dance. in america this new postmodern dance was mainly focused in new york in the late 1960’s and early 1970’s. these ideas came to be represented through the work of dance makers and performers such as trisha brown, lucinda childs, simone forti, steve paxton, yvonne rainer, twyla tharp and others. following the explorations of these early pioneers, who began to question the value of movements that were or were not considered dance, contemporary dance evolved. according to febvre (1994) contemporary dance seeks to group together artists who are open to creative talent and more inclined towards experimentation than towards producing stereotyped dancers. contemporary dance is therefore representative of dance in this moment in time and is not stylistically linked to the lineage of any one pioneer. 22 somatic education and dance my research in the area of somatics and dance is not unique. there have been other investigations in the use of somatics and dance, including criticisms of how somatics methods have been integrated within dance techniques and the dance milieu in general (fortin, 1998; galeota-wozny, 2000; 1999; green, 1999, 1991). there are two specific detractions worth noting regarding the value of somatic education in tertiary dance education. the first concerns the apparent lack of context between lying on the floor and sensing minute movements vis à vis the technical demands of a strictly prescribed technique such as classical ballet (simpson, 1996). the second concerns an increase in the value of somatic practices and the influence of these upon dance performance and choreography. schultz (2000) questions whether this trend is leading to a type of dance that is too internalised and self absorbed, and ultimately detrimental to both technique and performance. the dilemma is perhaps not so much the somatic process, as the way in which context is created (or not created) to connect somatic ways of learning to the functional demands of dancing. in light of the notion that somatics is an educative process (hanna, 1990; goldfarb, 1993; myers, 1986), a number of writers support the educational value of somatic practices such as the feldenkrais method within the training of dancers (blank, 1987; cardinal, 2000; fortin, 1995; galeota-wozny, 2000; green, 1991, 1999; kleinman, 1992; lessinger, 1996; sheets-johnstone, 1979). these authors also propose a revision of the traditional way dance classes have been taught in pre-professional training institutions, advocating the value of somatic approaches that direct students’ attention to the primacy of process in the experience of learning movement rather than future orientated goal directed process. sheets-johnson (1979) articulates this in her argument for changing the learning environment in observing that traditional methods of dance training are future orientated and the “movement is commonly directed to where i am not yet” (p. 25). rather than focussing on the end product of movement, working through the primacy of experience brings focus to the learning 23 experience and it is only through having that experience that the learner is able to “discriminate and notice change” (p. 26). as sheets-johnson states, “the point of noticing and discriminating change is of course learning” (p. 26). blank (1987) and lessinger (1996) also advocate a need for dance training to fine tune the kinaesthetic sense to facilitate efficient alignment rather than rely on objective visual assessment and mechanical imposition of corrections. green (1999) describes the traditional dance studio setting where “the teacher presents specific movements that require rote learning, while students anticipate teacher praise and attention through correction and physical manipulation, the teacher is often viewed as an all knowing expert authority” (p. 81). in her research, green investigates how bodies are a product of social inscription and construction especially in relation to gender. one particular issue she addresses in relation to gender and somatic authority is the societal construct that female dancers must be skinny. notions such as bodily disconnection and compensation to fit ideal models are discussed vis-à-vis somatic ways of connecting self awareness and self authority of one’s body to action in the world. green explains somatic authority through citing the work of johnson (1992) and foucault (1972, 1980), who present the notion of how docile bodies are prescribed through socio-political power relationships that play upon our adherence to a dominant culture. in a later article green (2001) discusses this in relation to the female body within the field of dance and addresses wider social preoccupations with moulding ones’ body to fit external perceptions. although green addresses somatic authority in relation to dance pedagogy and different bodily practices she does not see this as the exclusive domain of dance practice alone. in line with green (2001) i believe that; “a focus on and affirmation of what goes on inside the body rather than a sole focus on what the body looks like or how it should behave” (p. 157) should not necessarily discount conditioning or fitness training processes that can change the physique of the body, providing there is awareness and consideration of the intention behind our choice of action. 24 specifically within dance education green (1999) alludes to somatic authority as being an integral part of somatic pedagogy that values “proprioceptive awareness, and the abilities of students to listen to the inner messages of the soma and reclaim ownership of their bodies” (p. 81). in reading further this notion of somatic authority can also be inferred as the ability to utilise awareness and proprioceptive information to improve intentional action based on personal self-understanding, rather than external models. green (1999) suggests that: by teaching movement concepts from the inside out to arrive at a technical aspect shows a student that they have something to give from the inside rather than someone who has movement put upon them. the inner approach gives the student a sense of ownership of themselves and their contribution to dance. the outward approach makes the student feel like they are something to be moulded or that they need to fit into a mould and if they don’t they cannot contribute. it is important to change the way we teach dance in order to change what is valued in dance (p. 98). it seems in both dance academia and professional practice there is a growing curiosity towards understanding first person experience of the self in movement. within the dance milieu there also seems to be a need for research that draws upon bodies of knowledge from other scientific fields such as kinesiology, to supplement and inform future somatic practice and research in dance. motor learning and control in any dialogue around learning movement i feel it is important to include the field of motor learning and control as it provides another context for understanding diverse movement activities such as dance and somatics. motor control is the scientific field investigating and describing how living organisms produce movement (bate, 1994). motor learning is the ability to solve movement problems repeatedly through acquiring the capability to produce skilled or novel actions (rose, 1997; schmidt, 1982). the following three aspects define motor learning as presented by rose. 25 first, motor learning is a set of internal processes that leads to a relatively permanent change in an individual’s capability for more skilled performance. second, the learning process itself is not readily observable, and third, learning occurs as a function of practice and experience not maturation, motivation, and or training (rose, 1997, p. 143). within the contemporary field of motor learning and control there are two major and contrasting theoretical positions, the motor systems or information processing model (kelso, 1982) and the ecological or dynamical systems model (gibson, 1979), also known as actions systems (reed, 1982) or ecological theories of perception and action (rose, 1997). the arising paradox from these contrasting field theories of motor control is that they both have their origins in the work of the soviet neuro-physiologist nicholai bernstein (anson & mawston, 2000). in the motor systems model, sensory input is perceived or decoded, processed, stored and acted upon, while feedback from the response re-cycles for further sensory perception and processing. in short, sensory information flows into the system and commands concerning generation of movement flow outwards. within this model there are several distinct theories (rose, 1997) such as closed loop theory (adams, 1971), and schema theory (schmidt, 1982), which rely on memory based representations to control movement, and cybernetic theory, which lies within the “complex system of human information processing operations” (kelso, 1982, p. 10). the basis of the cybernetic system (wiener, 1948) is the presence of a feedback loop that lets us monitor our system for discrepancy between a desired goal and a present state. in this closed loop system, movement is seen as being intentional and perception is seen as being an active rather than a passive process. an issue around cybernetic systems concerns the question of what happens when in more complex and practiced movements, feedback or error detection concerning the end goal becomes less important? an example of this would be dancing a very fast complex phrase that has been very well rehearsed. perhaps the attention to error discrepancy and feedback is directed to 26 refining the interpretive or kinaesthetic quality of the movement. although worth noting, these issues are beyond the immediate scope of this study. dynamic systems or action systems differ slightly in their nuances, however in motor control they are accepted as being synonymous with the over arching theory of ecological systems (hight, 2000). movement seen from this ecological perspective is a relational process between living organisms and their environment (bernstein, 1967; higgins, 1985; reed, 1982). the integrative nature of this field theory “extends to the assumption that in this process, perception and movement are so intertwined that it is not valid to consider either in isolation” (bate, 1994, p. 39). thus our movement emerges from the interaction between intention, the structural limits of our system and our relationship with the changing environment (higgins, 1985; newell, 1986; reed, 1982). somatics and motor learning in an article on learning in physical therapy, wildman (1990b) addresses the need for learning to occur at the level of the patient and for conditions to be present to facilitate that learning. he notes that there can be a move to look beyond symptoms of the patient’s individual problems. wildman cites examples of several physical therapists working within the feldenkrais domain who “no longer look at the patient in terms of primary symptoms but instead understand how to explore the patient’s learning style” (wildman, 1990b, p. 7). jackson (1991) identifies relationships between rehabilitation and the feldenkrais method as a learning model where notions of self-authority and self-direction are important to people undergoing rehabilitation. in redefining the patient-therapist relationship to a teacherstudent relationship, she sees learning as an interaction between facilitator/teacher and 27 client/student. “the outcome of such an interaction is that the teacher and the student come to sense the interaction is creating change” (p. 132). in describing learning principles of the feldenkrais method, several authors emphasise the need to differentiate between learning and performance of movement (feldenkrais, 1972; goldfarb, 1993; spire, 1989). baniel (in spire, 1989) and goldfarb (1993) articulate that learning is exploring and not practising or performing. however if performance or awareness of performance improves, then learning must be inferred even if it cannot be directly measured. the purpose or intention behind the exploration is also a key factor in the outcome of the learning (williams, february, 2001, personal communication). goldfarb (1993) draws associations with theories of motor learning and control and feldenkrais (1972), where perception is seen as being active in relation to changing environmental influences. “perceptual experience is constructed as a result of the subject’s activity” (goldfarb, 1993, p. 6). in drawing a relationship with the feldenkrais method and motor learning, goldfarb states that “exploratory movements and informative feedback are important for systems that face changing and unpredictable situations” (goldfarb, 1993, p. 7). in her somatic work with musicians, baniel (in spire, 1989) articulates how this ability to sense and differentiate in sensory motor training is not only an important ingredient in high quality performance, but is central to the quality and accuracy of the movement. in light of this it can also be seen how an understanding of these learning processes are of parallel importance for dancers. baniel (in spire, 1989), bate (1994), feldenkrais (1972), goldfarb (1993), and wildman (1990a, 1990b), all emphasise the importance of the exploratory nature of learning movement, in order to increase perception based on a multiplicity of sensations. a relevant problem for dancers is identified by goldfarb (1993) who poses the question: “how do people learn a movement when they cannot copy what they see” (p. 1)? being able to learn movement not only visually but also through refining perceptual processes such as 28 kinaesthetic sensation and proprioception, highlights the potential value of somatic education processes such as the feldenkrais method in a traditional dance environment. the problem of perception, learning and awareness can be addressed through examples of balance, where qualitative dynamics influence movements ranging from standing and simple postural sway to complex movement phrases. in dance where the sense of balance and stability is both important and deliberately inconstant, information such as this is useful in creating strategies to enhance perceptual leaning. if the guidance of movement is dependent on sensing dynamic qualities, then accessing ways to improve sensory motor perception can enhance the movement choices available. in describing perceptual motor learning cratty (1967) states “…skill acquisition rests upon the development with practice, of the individual’s ability to perceive and act upon increasingly subtle cues” (p. 254). bate (1994) presents relevant examples and applications of motor control theories to feldenkrais principles. in describing different theories of motor control, she presents a hypothetical model of how the feldenkrais method might relate to each theory and its real life application. it becomes apparent that the type of learning that is applied in the feldenkrais method may be relevant to several of these theories. in particular, bate (1994) describes how the dynamic systems theory and equilibrium point hypothesis ties in with exploration and non-linear learning models such as the feldenkrais method (bate, 1994; goldfarb; 1993; jackson, 1991; phipps et al, 1997; shenkman, 1989; spire, 1989; wildman, 1990a) reese (2000) presents a dynamic systems view of the feldenkrais method through an article that evolved from the author’s work and discussions with esther thelen, a developmental psychologist and author of “a dynamic systems approach to the development of cognition” (thelen & smith, 1994). reese traces current thinking in the field of dynamic systems back to some of moshe feldenkrais’ early thinking and exploration in movement education, cognition and action. in 1949 feldenkrais proposed that functional learning 29 emerges through pursuing exploratory variations that are constrained and facilitated by functional demands and affordances of the environment (gibson, 1979; reese, 2000). these views are echoed in bernstein’s treatise “the co-ordination and regulation of movement” (1967) and later on in the more recently translated and published essay, “on dexterity and its development” (bernstein, 1996). feldenkrais (1949) also emphasised how action and perception are inextricably intertwined, and that variation is a key to the potential required for learning and adapting to novel conditions. reese summarises one of feldenkrais’ early insights as follows: “a well learned skill embodies sufficient variability to meet the demands of changing environments and tasks” (reese, 2000, p. 23). these early insights are interesting when seen in light of current scientific thinking around the control and learning of movement. to sum up, there are commonalities between many of the themes reviewed in this literature, which will create a platform for themes arising in the data analysis and more detailed context for the data discussion. 30 chapter three: methodology qualitative inquiry qualitative inquiry values personal experience as the means whereby the researcher can describe, interpret, examine, construct and understand peoples’ perceptions of the world. maykut and morehouse (1994) state that qualitative research is “phenomenological in its position” and “examines peoples’ words and actions in narrative or descriptive ways more closely representing the situation as experienced by the participants” (pp. 2-3). peshkin (2001) believes that we are never free from viewing the world through a multiplicity of lenses and delightfully recounts a hiking excursion that narrates a kinaesthetic, aesthetic, olfactory, and visual perception of experience that not only meets us in these passtimes of recreation and leisure but should be available for us to access daily in our research endeavours. one day on the trail i decided to attend more seriously to what i was passing by to see if i could enrich the experience of my mountain jaunts. i purposefully identified categories that would focus my attention. the longer i walked the more focal points or categories i uncovered, all of them quite common, all of them always available, all of them generally ignored (peshkin, 2001, p. 239). as peshkin describes his experience he develops his metaphor further, touching on various phenomena existing just outside of our awareness yet potentially available through selected attention and spending time looking at detail. the idea, i soon learned, was to select one category at a time as the basis for perceiving and to shut off those others that always are there competing for my attention … our wealth of perceptions expands as our awareness of categories expands (p. 239). 31 i found peshkin’s analogy helpful in searching for an entry point to access my research question. bearing in mind his comments around categories, i realised i could view this study through a variety of lenses, ranging from education to somatics, kinesiology and the performing arts. teacher research as a teacher and researcher, my inquiry is the integration of somatics and contemporary dance. in developing new perceptions of somatics and contemporary dance, i am using teacher research (cochran-smith & lytle, 1993; hamilton, 1998; russell & bullock, 1999) because my feeling is that interactions arising through the act of teaching occur in an intuitive, almost unconscious manner. i will also touch upon what schon (1983) called reflective practice to gain understanding and insights into students and my own learning experiences. cochran-smith & lytle (1993) define teacher research as a “systematic, intentional inquiry carried out by the teachers themselves” (p. 7), taking the view that “teaching as research is connected to a view of learning as constructive, meaning centred and social” (p. 101). the underpinning advocacy of teacher research may be traced back to dewey (1904) who emphasized the importance of teachers’ reflection of their own practice. dewey’s original thinking in this area later influenced schon’s (1983) concept of teachers as reflective practitioners. teacher research presents an affinity with schon’s notion of the reflective practitioner by bringing to consciousness the ‘how’ of teaching procedure and allowing this to inform the teaching practice. it can also be said that teacher research shares certain characteristics with the field of action research, supporting the idea that raising consciousness leads to social action. i will address the possibility later that emerging outcomes from this 32 study might lead to change, however my main focus of inquiry is to gain a better understanding of practice. heshusius (1994) points out that those who argue against teacher research have criticized it as not being “real” research due to teachers being “too close” to the data and that presenting their own perspective is too subjectively biased. in opposing this view she suggests that educational researchers have finally let go of their obsession with objectivity but have moved to a similar obsession in controlling or taming subjectivity equally rigorously and systematically. she rejects the idea that the knower is separate from the known and that one can actually distance and regulate oneself in order to arrive at a better way of knowing. adler (in green, 1999) claims a similar position in observing that expanded images of and expectations for research have done away with the necessity of a separation between the practitioner involved in the experience, and the researcher, once thought to stand outside the experience… thus, coming to know can involve the researcher in the exploration of his or her experience as a teacher and as a person… teaching and conducting research should be seen, not as conflicting, or even different but in fact, as part of the same whole. (in green, 1999, p. 85) brookfield (1995) suggests four different lenses by which teachers can reflect on their practice. first, there is the lens provided by autobiographical reflection. our autobiographical experiences as learners and teachers provide a rich though often unacknowledged and even derided source of material for us to probe. second, there is the lens represented by our students’ eyes. we find out from our students how they perceive our actions and what it is about those actions that they find affirming or inhibiting. third, there is the lens provided by our colleagues’ perceptions and experiences. we can ask colleagues to be mirrors, mentors or critical friends with whom we engage in critical conversations about our practice. in these conversations, our colleagues reflect back to us different versions of the events we experience. fourth, we can view our practice through the lens of literature. we can read inside and out our area of practice to locate what we do within alternative theoretical frameworks (brookfield, 1995, p. xiii). loughran (1996a) considers reflective practice to be “the purposeful, deliberate act of self inquiry into one’s thoughts and actions through which a perceived problem is examined 33 in order that a thoughtful, reasoned response might be tested out” (p. 21). the process of reflection after the experience, influences future directions and creates a process of gaining a deeper understanding of that experience. schon (1987) takes this further and advocates the possibility of reflection in action through knowing in action. he proposes that there has traditionally been too much emphasis on the value of theoretical constructs as signifiers of higher knowledge. schon further supports his proposal in claiming that the higher the theory, the more divorced from the reality of action it is. reflection in action is the process of learning by doing and learning teaching by doing. teacher research and reflective practice provide a vehicle for teachers to uncover some of the tacit mechanisms of their teaching, representations of learners’ experiences and relationships to wider theoretical constructs. through teacher research i am valuing a phenomenological-interpretative perspective that reflects recent developments in postmodern ethnography (delamont, coffy, & atkinson, 2000). consequently, in the analysis my actions, voice, intentions and observations will take the form of statement such as ‘i did/i wondered/i felt’... while students’ experiences will be represented through their own voices. thus, this teacher research brings together my own voice and the voices of the participants. setting and participants this study was conducted in march 2002. the setting was a tertiary education institution in auckland. the participants were five pre-professional dancers, five professional dancers and myself as teacher researcher. the pre-professional dance students were enrolled in a bachelor degree course at the tertiary institution. the professional dancers were part of the independent dance community in auckland taking class through a community partnership with the institution. as the researcher i initially contacted and consulted with the dance 34 program leader at the institution who agreed to the institution’s involvement in this study (see appendix a). following institutional approval, i was informed by the program leader that i would be able to work with ten second year students as participants for the study. on arrival in auckland i found there were only five students available as the other five were away on a performance tour. the rest of the class was made up of a changing population of seven to fourteen dancers each day. this changing population consisted of recent graduates and members of the auckland professional dance community. an inclusive community aspect of this dance institution is that classes are often open to graduates and members of the professional community. i was a guest and as such felt a responsibility to work within their existing protocol. this however afforded me the opportunity to work with a broader sample that reflected the diverse background of pre-professional and professional dancers in these classes. as such i asked for volunteers from the other dancers taking class. the five professional dancers selected, represented a cross section of their community in terms of gender and experience. while not within the plan of my original design, this new group reflected the reality and the relationship between the tertiary and independent dance community in new zealand. i now had a group of eleven participants balanced into five preprofessional dancers, five professional practitioners and myself as a teacher researcher. out of these ten pre-professional and professional dancers, six were asked to participate in indepth interviews. the selection process for these participants represented a cross-section of class in terms of professional and pre-professional background, gender and class size. participants were asked to: 1.participate in five contemporary dance technique classes over the course of a week. these classes were videotaped and recorded. 35 2.participate in group discussion during or at the conclusion of the class. 3.participate in in-depth interviews of approximately one hour. 4.maintain a daily journal. ethics prior to commencement of this study and in compliance with the university of otago research policy, ethical approval was sought and gained from the university of otago ethics committee. all participants were fully informed of the nature and purpose of the research and their prerogative to terminate their involvement. the ethical issues of concern for the participants were about maintaining anonymity and safety during their participation in this research. to this end, students were fully informed verbally and in writing of the aims, purpose and nature of this research. all students were provided with a participant information sheet and informed consent form. only students who provided written consent participated in this research. each student chose their own pseudonym at the commencement of the data collection to preserve their anonymity. (the participant information and consent forms are attached as per appendix b and c.) all classes were carried out within the parameters of “safe dance practice” (geeves, 1997), as noted in the “australian dance council guidelines for dance teachers” (1997). all activities and discussions were within the normal range of experience of the participants. the activity at the centre of this research was of a similar structure to the type of dance technique class which participants would usually take as part of their daily training. all participants were participating in the same types of movements that they usually perform as part of their daily activities. all participants were encouraged to self-monitor their level of participation in all physical activities and to reduce or terminate their involvement according to their own needs and comfort. 36 for all participants, their experience of somatics and the feldenkrais method in particular was varied. the five tertiary students had limited exposure to somatics and no experience of the feldenkrais method of somatic education, whereas the five professional dancers had experienced various forms of somatic education in their training, ranging from alexander technique and the feldenkrais method to skinner releasing technique. the difference in the range of their experience was apparent in both journals and interviews. tertiary students with little experience of somatics initially encountered some confusion and at times frustration, while the more experienced participants were able to access the lessons more easily. methods of data collection the data collection consisted of video recording of all classes and class discussions, audio recording of interviews, participants’ journals, and the researchers field notes for each day. each of these three data sources revealed different strengths and possibilities for informing my analysis. before beginning the data collection, i planned the structures and themes of the lessons as well as the open-ended questions that would inform my interview (these were based on the five research sub questions outlined in the introduction). the difference between what i had planned and what eventuated was striking. transformation is probably the word i would use to describe the experiential process of data collection. even though there are warnings in the literature concerning the unpredictability of the data collection (mcnuff, lomax & whitehead, 1996), i was not really prepared for the difference between what i proposed to do and what emerged in the action of researching. where now are those neatly abstracted constructs of academic proposal? 37 emic perspective before turning to the description of the methods of data collection, it is worth noting the emphasis on an emic perspective in my data collection. somatic education values the creation of direct knowledge, that is the knowledge acquired through direct embodied personal experience (lake, 1987-1988). this line of inquiry is from an emic or insider perspective (cochran-smith & lytle, 1993; eisner, 1998; maykut & morehouse, 1994). in valuing an emic perspective peshkin (2001) advocates a “quality of attention to lives that otherwise may be demeaned as those of mere actors on the stage of our research settings, simply so sources of data, unclad figures of speech awaiting our – the researchers interpretation” (p. 244). through taking an emic line of inquiry, i am specifically not engaging in an objective analysis of teaching procedure. my interest is in collecting data from an emic perspective and interpreting and notions of how and why experiences are lived the way they are. journals the use of journal permits participants to contribute their thoughts and reflections on their experience in their own time and in their own way. according to maykut and morehouse (1994), the goal of a journal is “to let participants speak for themselves as much as possible, to tell their stories with out interpretation” (p. 122). to this end i asked participants to keep a journal of daily thoughts, reflections, and experiences that they felt related the classes. i encouraged participants to present this journal in a manner meaningful to them but in a way that can be communicable. this is not to preclude graphic or poetic representations of studio classroom experience. it was important to me that they felt comfortable elaborating upon their experiences and to also acknowledge that feelings and sensations of movement cannot always be rarefied into language. the journal process also accounts for participants’ experience of tacit knowledge, which is knowledge that cannot be 38 spoken yet is known, felt and perhaps represented in ways other than written communication. after all it is possible that much of the participants’ experiences may be best represented through drawing, sketching or movement itself. at the conclusion of the week of dance classes my data consisted of eleven participants’ journals (including my own). journals reflected participants’ daily experience in class and their related activities and observations emerging through the week. the journals also revealed a number of emergent new themes that i had not expected. what was missing from the journals however was the sense of person, the broader aspects of their experiences in dance and somatics. i found however that these broader aspects did emerge in the interview process. interview two types of interview were used in this research, group interviews and in-depth individual interviews. scheurich (1995) describes interviewing as “a research method that can be artificially separated into two parts. the first part is the interview; the second is interpreting the interview” (p. 239). descriptions and definitions of interview are varied, ranging from what i would see as an extraction approach to a collaborative constructivist approach. bogdan and biklen (1998) for example see interview as a “purposeful conversation, usually between two people… that is directed by one in order to get information” (p. 93). cohen and manion (1997) also see interview as the gathering of data through direct verbal interaction between individuals…[where the] common denominator is the transaction that takes place between seeking information on the part of one and supplying information on the part of the other” (pp. 271, 272). mishler (1986) describes interview at its heart as being a form of shared discourse. 39 qualitative research interviews are about relating to people in their environment and understanding their perception. qualitative interviews require “a deep and genuine curiosity on the part of the interviewer about understanding another’s experience” (maykut & morehouse, 1994, p. 81). the understanding of experience also highlights the phenomenological nature of interviewing, and the question at the heart of this study, which is about understanding students’ voices. understanding specific phenomena presumes i am able to interpret and explain it. that being said, i acknowledge that my view of students’ experiences is through the lens of my role as a participant teacher researcher. it follows that my interpretation and explanation of their experience will arise in this context. consequently i see the emergent result as being a shared phenomenology of our combined experiences. my interpretation of the interview and events in class is influenced by my way of seeing according to what i want to know. scheurich (1995), in an endeavour to “undermine positivist and postpositivist conceptions of interviewing” (p. 249) argues that the interview is fundamentally indeterminate. the complex play of conscious and unconscious thoughts, feelings, fears, powers, desires, and needs on the part of both the interviewer and interviewee cannot be captured and categorised. in an interview there is no stable reality or meaning that can be represented. the indeterminate totality of the interview always exceeds and transgresses our attempts to capture and categorise (p. 249). rather than trying to capture or represent a reality, i am more concerned with interpreting and understanding a constructed experience that exists as a moment in time, specific to the group ecology of this particular dance class. representation of that experience is relative rather than absolute. group interview in this study open-ended questions were used to generate group interviews/discussion at the conclusion of each class. group interview is seen as a useful way to accumulate 40 individual knowledge of group members (patton, 1990) and give the opportunity for reflection not only upon the groups’ question but other participants’ individual responses. this can lead to participants both “challenging and extending each others ideas’ (cohen & manion, 1997, p. 287). one specific advantage cited by watts and ebbutt (in cohen & manion, 1997) is that group interviews are particularly useful “where a group of people have been working together for some time or common purpose” (p. 287). on the other hand it is noted that disadvantages of this process deny the opportunity for expression of individual personal issues, thus the data accrued is specific only to the group dynamic. given these points of view, my aim was to address one major movement theme in the course of each class and to bring this to question in a fifteen-minute group interview/discussion at the conclusion of the class. for example, the question at the end of class might be ‘how does the integration of this flexion theme relate to your learning of dance technique?’ in-depth individual interview in-depth, open-ended interviews helped to gain perspectives of students’ experiences within this study. mishler (1986) sees interviewing as a form of discourse which is a “joint product” (p. vii) emerging from discussions between the interviewers and interviewees. in noting how we arrive at this joint product and defining the purpose for interviewing, it is worth quoting from patton (1990) who proposes that the purpose of interviewing is to find out what is in and on someone else’s mind. the purpose of open-ended interviewing is not to put things in someone’s mind (for example, the interviewers preconceived categories for organising the world) but to access the perspective of the person being interviewed. we need to interview people to find out from them those things we cannot directly observe (p. 278). maykut and morehouse (1994) note that in-depth interview has been employed consistently in education in order to gain understanding of students’ experiences. one defining characteristic of in-depth interviews is their time frame, generally between one-and 41 a-half hours to two hours duration. this is in order to procure discussion over a “prolonged engagement” (maykut & morehouse, 1994, p. 80). two important components arising out of such an engagement are the rapport and trust between interviewer and interviewee. rapport involves a mutual respect of both parties’ points of view and a necessity for the interviewer to value the commitment and contribution of the interviewee. patton (1990) distinguishes between rapport and neutrality. “rapport is a stance vis-à-vis the person being interviewed. neutrality is a stance vis-à-vis the content of what that person says” (p. 317). it is from here that trust can subsequently be built, as patton observes, “the fundamental principle of the qualitative interviewing is to provide a framework within which respondents can express their own understandings in their own terms” (p. 290). the second characteristic of the interview/discussion was the use of open-ended question techniques to gain perspectives of learning constructed by the participants. patton (1990) presents a six part typology of open ended questions. 1. experience/behaviour questions concern what people do and provides an entry point into the interview, they concern such things as descriptions of events and actions that participants engage in. 2. opinion/value questions concern cognitive points of view and give insights into peoples’ thoughts and values about a particular issue or situation. 3. feeling questions are directed towards “understanding the emotional responses of people to their experiences or thoughts” (p. 291). 4. knowledge questions are concerned with declarative knowledge about things or events that are considered to be known. 5. sensory questions seek to expand upon the interviewee’s sensory experience so as to “allow the interviewer to enter into the sensory apparatus of the respondent” (p. 292). 6. background demographic questions provide a big picture overview of age, years of experience, marital status etc. these questions are concerned with identifying the 42 background characteristics of the person interviewed, and are often more appropriate near the end of the interview once a familiarity and rapport has been established. at the conclusion of the week of dance classes my data consisted of six in-depth interviews of approximately one hour duration each, from three tertiary dancers and three professional dancers. in the interview i questioned participants in relation to the five preexisting sub questions i brought to this study. the interview also allowed each person to express their histories, experiences and thoughts in a manner that was unavailable through video and journals. through its interpersonal nature i learned about the participants as people and the questions they brought to this study. assessing the interviews retrospectively, i realised that they provided many personal insights into this research that i had not anticipated. both group and individual interviews acted as vehicles to reveal immediate personal knowledge unavailable through the other sources of data. video all classes were videotaped with a lapel microphone to capture both the verbal and nonverbal activities of the teacher and students. the lapel microphone was also used to capture verbal responses of students in class and in the group interview after class. a new tape was used for each class. the videotapes were labelled and catalogued after every class. the video provided a triangulation point between the journal and interview data. it also provided me with an overarching documentation of the research event, the class structure, the teaching and learning activities and fragments of small details such as student questions or observations. it has been a valuable medium for my voice as a teacher researcher in this study. 43 limitations there were two limitations in the data collection of this study. the first was on the tuesday where i experienced a technical problem with the video equipment, which resulted in the video footage and group discussion of one class being unusable. consequently there were only six hours of video recording over four days, instead of the proposed seven and a half over five days. the second limitation appeared as i commenced the analysis. i excluded two participants due to issues of completeness and consistency of journal information over the five days. this reduced my final number for analysis from eleven to nine participants (including myself). 44 methods of data analysis the aim of the data analysis was to address the overarching research question of students’ perceptions of the integration of somatic education and contemporary dance technique. the initial data analysis was based on a combination of “open coding” (strauss & corbin, 1990) and constant comparative method (maykut & morehouse 1994). open coding is an inductive process whereby meanings emerge from directing attention to the focus of inquiry, while the constant comparative method consisted of breaking down the data into discrete parts in order to answer the over arching research question of the study. using both the aforementioned processes, similarities and differences between the emerging data were compared. from this comparison, meanings and commonalities in the data began to emerge. the video data was transcribed by identifying the underlying structural sections of the class and then transcribing meaningful passages of verbal dialogue and moments of visual relevance from these different sections. trustworthiness if, as it is consistently argued, postpositivist research values a multiple ways of viewing the world, wherein lies the notion of validity? as walcott (1990) writes “there is no exact set of circumstances here, no single and correct interpretation, nothing scientific to measure that tells us anything important” (p. 144). the truth is my interpretation of a teaching experience, as one of many who participated in this project, and for each of us that experience is different. so the notion becomes one of trustworthiness; is it worthy of trust? rather than discovering and collating and measuring, i am seeking to understand social interactions that through teaching and learning are in a continuous process of construction (walcott, 1990). i cannot detach my self from my teaching process, or learners’ participation in the experience we coconstruct together. 45 in order to establish the trustworthiness, i engaged in a process of what eisner (1998) calls consensual validation: “an agreement among competent others that the description, interpretation, evaluation, and thematics of an education situation are right” (p. 112). through correspondence with competent others (my supervisors and colleagues in the fields of dance and pedagogy), i began to see my viewpoints in context to different interpretations of the project. in any circumstances we could access my audit trail which consists of catalogued videotapes of all classes, my original field notes, categorised data sheets, transcripts of interviews, copies of participants’ journal entries and a record of all communications between participants and myself. member check and triangulation all interview participants received a copy of their interview transcript for approval, comments, or amendments. with the exception of one participant, all responded. two minor corrections were made concerning wording, which affected the context of what one participant was intending to say. for the participant who did not respond, i attempted contact through a third party who informed me they had received the transcript. as i had made attempts to contact this participant and check their transcript i can only assume there were no outstanding discrepancies to address. triangulation of the data between the participants’ journals, interviews and video recording showed no discrepancies between the different data sources. furthermore, the triangulation process often affirmed participants’ viewpoints across these three sources simultaneously. 46 chapter four: context of the findings in order to facilitate comprehension of the findings in this study, i present this chapter in the general context in which the findings emerge. i will first introduce the reader to the nine participants in this study with a series of vignettes around each participant. following this i will provide a platform for the analysis by describing the general structure of the class (which was the same as the one adopted in a previous study by fortin, long & lord (2002), and a description of the daily classes taken from my own journal and the video data. vignettes the following vignettes serve as an introduction to each participant. my intention is to portray my perceptions of each participant, based on my experience with these people in interviews, journals and time shared in class. i constructed the vignettes by cutting and pasting their words and quotations to create brief portraits ranging from the poetic to the pragmatic. the term poetic describes some of the ways participants used words to experiment with the possibilities of language to represent their experiences (longley, 2002). as such each vignette is representative of my construction much like a photographic or figurative portrait represents an interpretation by the photographer or painter creating it. i arranged these vignettes alphabetically in pre-professional and professional groupings. it is to these eight people i now turn my attention, finishing with my own vignette. 47 amelia (pre-professional) amelia is a second year student with some experience of somatic education over her year and a half of tertiary education. amelia is two credits short (she needs to complete two papers) of a ba in english and film studies. our interview encompassed a range of experiences that affect dancers, including conformity to and imposition of sociological constraints around the body, peer pressure, and how these constraints relate to choices we make. when i went to spain i had to choose (between dance and violin), it was too much to do both in madrid, trying to get around the place. and i decided i didn’t want to do violin. i’d learnt suzuki method, which meant i didn’t know any music. i only knew colours and memory. i had to pretty much choose between my violin and my ballet. i got into this prestigious school, the royal academy of spain, you know thousands audition in a year and about 50 get in. so i got that. i was the only foreigner at the school and it was all funded by the government. so ballet from then on, it was my life, ballet everyday after school. school till 5.30, ballet from then on. i had two years there. and then i failed ballet. my mother said that was partly political but what they told me was that my hips were too wide and they said i wasn’t the right shape, my hips were wrong for ballet. the music teacher said it’s a pity that we have to keep the people that look right and not the people that can dance right. i was really confused about all that when i was little, it was so much my life back then. i must have been about nine or 10. i didn’t dance for ages after that i really didn’t even dance socially. puberty and my growing up had caused my failure in dance. i was a kind of person that if i put my mind to anything i can do it. i was quite angry with the fact that it was my body and that i couldn’t change it. then i found other outlets. -i played volleyball and ended up really enjoying that. it was almost like a dance it was the same feeling. half way through my ba in english and film i started dancing again and i’ve been dancing since then. i’m 23. from both a somatic and constructivist perspective i would argue that her current choices and present experience do not exist in isolation but have a relationship to her past experiences of learning ballet in madrid. as she said, she moved on and placed her focus elsewhere before coming back to dance. some of our conversation did centre on notions of self-perception and the differences between what we can feel and what we have been told about our selves. 48 lou (pre-professional) lou is in her second year of study at this institution having commenced her tertiary dance education a year after finishing high school. i read through lou’s interview looking for comments, reflections or observations that reflected her experience of the week. as i scanned through, my attention was drawn to things that seemed important to her experience of dance and the world in general. consequently the way i constructed lou’s portrait is not chronological in terms of her life or even in terms of our interview. i get a lot of trouble ‘cause i’m little and i feel quite light. i was at epsom girls grammar. stayed till seventh form (final year of secondary school) and that was 99. i competed with gymnastics from when i was four until i was about 11. i did ballet – starting when i was four and that was quite intense training. and then i left the ballet school i was at and started doing cechetti ballet. i’m not that clear yet on the meaning of somatics. i can understand it if someone else says it. but i haven’t put it in my own words, which i need to, to understand it fully. i haven’t done work where i articulate my sensations very well. but i am feeling a lot of sensations, i’m aware of a lot of changes. i used to be really good at putting sensations down on paper, when i was younger, but then i don’t know what happened. i kind of started feeling that words weren’t that important to me anymore. as soon as you asked me to say what i thought about it, i realised that i do actually do have an understanding. i just never looked at it from that way before. i feel quite grounded now. i really like working with my hips. i find it quite funny how often people will gravitate towards certain areas, and i gravitated towards the hips. i think it’s just a feeling, i always feel happy and i feel strong. but another time we had to do this body diagram and we had to colour in different areas, where we know we’ve got pain. i put a dark blue in my head for emotion and i accidentally put it in my hip as well. and when asked about it i said: oh it was an accident. but i thought about it and i --like last year i spent crying from the pain in my hips. lucia (pre-professional) lucia is a second year student who is very articulate within her movement. in the classes lucia seemed to be searching for new ways to understand herself in movement. lucia described her initial experience of the atm lesson as a little overwhelming. she later attributed this to other stresses she was experiencing as well as finding a lot of new movement in her ribs that she had not previously realised was possible. i found she quite often used 49 imagery as a way of describing her movement experience, and approached the somatic work with a questioning curiosity. lucia did not participate in an interview and therefore this vignette is composed of reflections from her journal. i had rather a traumatic learning experience in regards to somatics today. i had rather a stressful week last week and was run down. for some unknown reason i was particularly sensitive and emotional and i simply am not that kind of person. my femur bones like running water, flowed from my knees to the hip joint and the sides of my body. i imagined an accordion, which splayed out wide along my sacrum squeezed together around into my transverses abdominus. my legs felt so light. it was still quite hard to achieve standing up to do a developpe for instance but i experienced the sensation, which was great. all in all i have had a mixed experience with somatics finding it a major change to integrate somatics into technique. it is something i wish to continue as it challenges me in new and fascinating ways. polly (pre-professional) polly is a second year student with a strong background in classical dance including many years of studio teaching. like many others she had already completed another undergraduate degree before commencing tertiary study in contemporary dance. in our interview our conversation ranged from polly’s very active life and career before she commenced her tertiary dance study, to the changes in perception and attitude she was experiencing now. i found the way she spoke about her perceptions of change to be detailed and noticed similar relationships to my own experience of learning dance at a tertiary level. i’ve always had a keen interest in dance. when i was in high school i really wanted to go off and do full time dance training. but i was kind of a bit scared about whether there would be a future in new zealand as a dancer. i thought i’d get something else behind me first so i did a nursing degree when i first finished high school. then i worked in health promotion for three years at the public health unit. i’ve been dancing and teaching dance that whole time as well. i did my rad (royal academy of dance) teaching diploma as well while i was working. a year before i came here i trained and did a miss fitness competition because i wanted to challenge myself a bit more. i did quite well. i came first in the first competition that i was in and then qualified for the nabba world championships for the new zealand team, and qualified for the ‘natural world cup’ as well, so in the course of the year i did four competitions and two of them were like world. 50 the same year i was doing that, i finally had the guts to quit work and audition for dance school. what i’d really like to have is this really strong core, but more movement. like some days i feel like i have got quite a strong core, but then i haven’t got the movement. and then if i get the movement then i lose that stability in the core, so i want to try and get both. if you let your mind be open to it and pay attention to what’s actually happening and what you can feel in your body then you start to experience – there’s a whole new world. bevan (professional) bevan is quite typical of a lot of men (including myself) who started dance in their late teens or early twenties. before he started dancing bevan completed a ba in american studies. following this he commenced further tertiary study in contemporary dance, graduating in 2001 with a bachelor of performing and screen arts. he is currently working within the auckland dance community as well as continuing to spend time doing a variety of other physical activities such as swimming, martial arts and gymnastics. through his tertiary dance training bevan has experienced different forms of somatic education but not the feldenkrais method. in our conversation bevan and i touched upon many seemingly abstract concepts that appeared somehow disembodied on paper, yet what evolved from our interview was poetic in many ways. to create this vignette i took the things that jumped out at me most from our interview and the way bevan articulated his experiences of being in movement. you could take your emotion into the smallest movements in a motion that captures your heart because it comes from somewhere and you can’t quite describe it. if i had a choice i would go swimming, play capioera and gymnastics as well. a run on the beach, exploring around the rocks. dancing, finding patterns, solving problems with the body. i’m only allowed to use one limb, so i twist around to that rock and this rock. then contact work with the elements, improvisation, a bit more running --some press ups and things. and then i end up with a swim, and i kind of like doing that i do these things for two and a half hours. there are quite a few people who have done other degrees before they’ve come into dance. i’ve been dancing about four years. coming from university (to dance training) it was very different because of all the introspective stuff you did. but for me it wasn’t as if i’d done much dance, it was quite different, it was something way out there because it was all very 51 new. i graduated last year. it’s a lot nicer i have to say now, i feel legitimised, having been here, and still feel legitimised being a dancer. now you’re privileged to be doing class. john (professional) prior to starting his dance training john completed a bachelor of physical education (hons) degree. following this he completed a bachelor of performing and screen arts in 2000. he is now making his own work and performing and rehearsing independently. john and i often talked in quite a conceptual way about dance, and our discussion ranged around notions of choreography, performance and technique. having completed two degrees in different areas of human movement and being a dance practitioner in the auckland community, he had a reflective perspective on somatics and dance technique. the body is the site of dance and dancing borders on the sublime. it’s at the very edge of what we know or what we can perceive or how we frame the world. my particular ambition or interest it’s almost like: how aware can i be? how many aspects of my physical reality can i attend to and then articulate and can that be visible? now i feel like i’m getting more and more interested in kind of a poetic way and a less cartesian way of thinking about space, so that’s becoming more interesting. if there was a declarable unified philosophy of ‘this is what my choreography is about, it seems that part of that is to do with exploration of what it is to have a body, and an avenue to explore what it is to have a body is the somatic frame or the somatic base. often if i’m working by myself i tend to get interested in a certain line of enquiry and then i come to class and there’s another set of concerns or another way of working. and i sometimes kind of go: ah, how can i put these things into the class? maybe it’s in my hopes and dreams i’d like to have more articulations between the various parts of the phases that are presented. i often think about how i’m walking or how i’m appearing when i walk along the street and how do i look? do i look like i’m a dancer? but maybe that’s part of just like being an art student or thinking about analysing or validating your sensory experience. and sometimes people comment, people who are not dancers say: oh, dancers always look good when they walk, or they look integrated. i read an interview talking about the ‘holier than thou’ body look., you know, the dancer is the superior kind of --has this ‘i am so knowledgeable’. and i think, is that snobbery or something? i guess for me with feldenkrais work it’s an avenue for exploration that can lead to movement composition, or a way of creating interesting movement. i have this new information but i’m not sure how to work with that in standing because i then have to have another lot of learning to do with how to deal with that extra mobility. sometimes i get quite excited thinking about feldenkrais and like – oh it’s this great thing which is like it’s going to change the world. 52 i think part of the interest in dance for me is that there is a sense of wanting to show off and do fancy things. generally i identify with a line of thought that’s american, that idea of postmodern american dance it’s about the body. the body is the site of dance. lucy (professional) lucy is an independent artist working in the auckland and melbourne dance communities. lucy completed her tertiary dance studies in 1998 and has had prior experience with different forms of somatic education and dance. we have known each other since 1996 when she was a student in one of the classes i was teaching at this institution. a lot of what lucy and i talked about touched on the deeper aspects of somatic experience as well as the wider issues of contemporary dance. something that seemed very present for lucy during this week was a painful injury she was rehabilitating. some of our interview reflected upon her injury and wider issues of inclusivity in contemporary dance. her journal ranged from being poetic to very precise in the type of questions she was asking of herself through the week. the poem is from the first day of lucy’s journal. it seems white at the moment and i’m colouring in my eyes are half closed and i’m a baby still remember and how it doesn’t change sometimes how at 35 you can still feel like a baby it is not comparative i know in this big rest called earth we are all loved although we may not always feel it. i don’t fit. i’m older. and i think different things that have sometimes quite impacting reactions on people – other people. i did try to sit down for eight hours, as an office clerk, and i was just: oh my god, this is so unnatural. this is unnatural. can’t sit down for eight hours, it’s just not good. not good for your body. not good for anybody’s body. and then having to do jobs like that because i physically couldn’t do much else. i like my body, because it has a tune of its own and that is something that happened after my dance training. and it happened because i injured myself and the result of that injury was that i had to re-evaluate what relationship i was having with my body. i quite like the so-called ideal of contemporary 53 dance – any movement is valid, and anyone in any condition has the potential to be able to be a dancer. but in reality, it’s not really valued. i also think that dance is a lot more important than the society is ready to give it credit for and i think it has something to do with fulfilling our potential as humans and for recognising that that movement is . . . important and invaluable. mazy (professional) mazy is an independent artist who works in auckland and wellington, making self devised work and participating in group projects. mazy had experienced atm lessons as a student in some community classes i had previously taught in auckland and wellington. in our discussions i found mazy’s questions, observations and curiosity provoked me to question my own teaching of somatics and dance. i sensed through the class discussions and from reading her journal that mazy’s observations focused on relationships between dance phrases and sensations within her body. i felt she had a similar way of looking at things to john who addressed somatics as a way of investigating movement to finding different possibilities for dancing. mazy’s reflections are taken from her journal. i found it hard that rolling … and other people had gone to the floor and it was like how the hell are they doing that, and it makes you feel frustrated in yourself. we talked about the pace of movement as a way to have more control… i spoke of the freedom i felt with an increase of pace. i felt quite clear about what was going on and wanted to move through the phrase quicker. i felt frustrated by the pace the other dancers were moving through the phrase. we had a discussion about whether added mobility created confusion. i said that you could choose to go with the repercussion or not and that where it becomes interesting…. you being in control enough to be able to access and control the added mobility. i was thinking about resting on our front and i thought this is weird how does my body feel resting front. we are so familiar with how we are resting on our back and then today when you were talking about the front of the spine. it was quite a nice connection and i thought ‘i am going to do more lying on my front to feel how that is’ because it was really new. i felt it became more interesting to focus on repercussions through the torso. i felt like my body was very responsive to movements, every movement had a repercussion that i found interesting to explore and go with. i felt heavy, weighted onto the 54 ground and quite calm and liquid through the body. i feel quite calm and just get carried by the movement mazy’s experience is evident here as she was able to assimilate the phrases a lot faster than many of the other participants. yet at the same time she became frustrated when she noticed a seemingly achievable movement from an atm class was difficult for her. this highlighted the pedagogy of atm, where everybody is in the same learning situation regardless of dance experience or ability. as mazy found out, the reliance on others as a source to copy from, did not always work in these classes because movement problems need to be solved internally. myself although i have painted a picture of my history in the introduction to this thesis, i feel a short vignette outlining my data collection experience is important. one of my biggest realisations was how environmental and social conditions such as new situations, students and studios, influenced my teaching and research process. as a beginning researcher my mind was in many places simultaneously. my first priority was dealing with the protocols and technicalities surrounding the research process, participants and data collection. the novelty of this situation however, distracted me from my usual somatic immersion in my teaching process and the class i was working with. other realisations occurred in looking through the journals afterwards, where i could see participants’ observations of changes, frustrations and moments of excitement. still further reflections occurred once i returned to dunedin to teach a small group of students with whom i had a reciprocal relationship of collegiality. here i was able to reflect upon the luxury of familiarity and unspoken understandings that we had built up as a group over a long period of time. 55 structure of the classes each class was of 1.5 hours duration. the underlying structural mechanisms of the class consisted of four distinct sections: (a) the awareness through movement; (b) the transition to standing and walking; (c) the dance technique exercises; and (d) the dance technique combinations. music was sometimes used as an accompaniment. a warm down and discussion period followed the conclusion of the dance technique section. a detailed description of the four sections of the class is as follows. awareness through movement (atm) this section lasted approximately 30 minutes and was taught primarily through verbal instruction although at times observation of movement was used. the focus of the atm section was to bring students’ attention to sensory motor learning, through introducing a series of movement lessons. these lessons explored patterns of movement initiation and function that were used to interweave through the other three sections of the class. these patterns consisted of movements such as flexing, extending, reaching or spiralling. this part of the class was done lying down. the underlying theory of many somatic practices is that by reducing the activity in postural muscles through lessening the effects of gravity, it is possible to bring learners’ awareness to hidden and unnecessary or parasitic muscular activity (green, 1999). transition to standing section this section lasted approximately 10 minutes and was guided verbally. the aim was to transfer the learning from the awareness through movement lesson to simple functions such as standing, walking and gradually threading this into the more complex function of dancing. 56 dance technique section this section lasted between 20 to 30 minutes. the dance technique section was similar to traditional dance class, consisting of a series of exercises designed to both sequentially warm up the body for more technically demanding dance phrases and draw attention to technical demands of alignment and accuracy of movement. the themes and patterns of the awareness through movement lesson were interwoven through both this part of class and the dance technique combination. dance combination section this section lasted between 20 to 30 minutes. the dance technique combination consisted of longer phrases of movement that encompassed large amounts of space. again this section of class incorporated dynamic movement combinations travelling into the space. both of these last two sections were taught through verbal instruction, visual demonstration and modelling from both students and myself as teacher researcher. the classes the following passage is my reflective account of the week of classes, and serves to introduce some of the issues that arose in the data collection and that will henceforth be presented in the findings. monday today i was nervous and attending to many things at once. we started class with a simple reference movement of flexing the spine and then explored an atm lesson that addressed different ways we use this flexion movement. following the atm we repeated the reference movement and explored it a little further before the students engaged in short paired discussions to share learning. from here, the reference movement formed the beginning of 57 the first technical warm-up exercise. we progressed through the class, sometimes pausing to work in pairs (using visual feedback and tactile guiding of movement) or referring to the initial flexion movement in relation to different aspects of the technique phrases. the discussion at the end of class provided insight to how students perceived this way of learning and some of the complexities arising as we started to get used to each other. these complexities involved participants becoming used to my teaching and movement style, while i was becoming aware of the students’ previous experiences and current expectations. tuesday today we repeated the same lesson structure but began with a different atm involving more flexion movement and exploring this in relation to the lower spine, pelvis and legs. as students became more familiar with the movement and my idiosyncratic style we began to move through the material quicker and consequently i was able to introduce new material. class discussion seemed to centre on how to make use of the new sensations they had felt in the atm lesson. unfortunately due to a technical problem the video did not record today’s lesson. wednesday today was interesting for a number of reasons. first of all everyone seemed tired and a little overwhelmed by the somatic work (some had also been doing another somatic workshop in the afternoon). secondly in the dance technique section while exploring a tendu exercise i overly complicated the task. this created confusion and frustration as no one seemed to be able to make sense of the exercise. in the analysis a number of participants make reference to feeling a level of frustration on this day. 58 thursday thursday was signified by a new approach to the warm-up. i introduced a light cardio based circuit warm-up with the intention of applying somatic principles of awareness. following this we played a proprioceptive game using balance and closed eyes. as part of my teaching strategy i introduced an activity that asked students to not only observe other peoples’ movement but also try and embody some of their movement characteristics. discussion after class indicated that the cardio warm-up was popular. friday today was interesting in terms of perceptions. i perceived that people were struggling with the atm and that i did not teach it that well, as i had condensed the lesson and taught it at a faster pace than i would normally. afterwards a lot of students referenced that this was the clearest integration they had felt all week and that they took the sensations with them all the way through class. mazy, however, did not share this view and felt like half the lesson was missing. this was interesting for me and in part explained the contradiction between what i perceived and what the students perceived. 59 chapter five: results it is not the movement that brings about the improvement, but rather your being attuned to its inner dynamics within you. it isn’t the configurations seen in space that generates the refinement but rather the discovery it initiates inside you, between you and yourself. (alon, 1996, p. 26) as mentioned in the methods chapter, the initial analysis used a process of open coding (strauss & corbin, 1990) and constant comparative method (maykut & morehouse, 1994) whereby meanings emerged from directing my focus of inquiry to my original research question, which investigated: (a) student perceptions of their learning experience in the integration of somatic education and contemporary dance technique, and (b) teacher research in the integration of somatic education and contemporary dance technique. after the data collection, the initial categorisation involved identifying similarities and differences between the data. on completion of this initial categorisation, i began to interweave the participants’ voices and my voice as a teacher researcher with the sub questions from my overarching research question and emergent themes from the journal, video and interview data. from here i organised all the data into seven themes, each with their own sub themes: the seven themes are: 1. participants’ experiences of integration 2. participants’ experiences of learning 3. individual perceptions of somatics 4. somatic ways of knowing 5. somatic authority 6. relationships to yoga and ballet 7. value of somatics in tertiary dance training 60 rather than providing definitive answers, these themes provided insights to participants’ experiences of somatic education and contemporary dance technique. the following analysis is my description and interpretation of the seven themes and their associated sub themes students’ experiences of integration this theme is made up of the following sub themes: sensation and differentiation, the importance of a clear teaching structure, student centred pedagogy, trusting the body’s intelligence, and accumulation of learning. to build my understanding of students’ experiences of integration within somatic education and contemporary dance i searched through the video footage, interview transcripts and participants’ journals. the notion of integration within these classes is a relative rather than an absolute concept. from a phenomenological perspective, i am gaining understanding of participants’ and my experiences of integration in these classes. integration for me implies combining the separate elements of somatics and contemporary dance technique together for dancers to form a selfreferential embodied understanding of movement. sensation and differentiation lucia, mazy and polly all described their experiences through detailed sensations of movement. in her description, lucia related her learning to wider experiences outside the classroom. from reading her journal i sensed that lucia was surprisingly overwhelmed by her initial encounter with the atm lesson. it seemed to awaken movement in parts of herself which she was previously unaware of. during the dance technique and dance combination sections of class lucia noticed a release of tension that she had felt at the beginning of the atm lesson: 61 strangely it felt fantastic during class. i felt the chinks in my neck had gone and i replaced them with thick syrup, each of my vertebrae gliding smoothly through the class. in turn i felt an opening in my chest (as an asthmatic i hold tension here) shoulder blades and arms… simply releasing my neck had repercussions through out my body. i experienced such a strong feeling of gravity in my lower body i became aware my ribs existed and could add freedom of movement. this was an amazing discovery, i have always avoided my ribs or tried to make them invisible which i am sure has affected the tension in my neck and chest. on the second day lucia began her reflection by describing a sensorial relationship she noticed between this morning’s movement experience and the previous day’s movement experience: the thing that struck me most today was that i had maintained a muscle memory in my neck for gliding easy movement. i felt incredibly focussed today. i was fascinated at how the left side of my body could rapidly learn new ways of moving simply from the experience on the right side. lucia wrote about her experiences on this day in details of felt sensations. her perception of these new sensations seems to have absorbed her whole focus in these two days: slowly at first one feels the trickles of sensations and differentiation of the right and left sides and then all of a sudden it almost seems like two bodies, and yet as separate entities they are highly aware of each other. on the fourth day lucia experienced frustration in following her sensations from the first part of class to the dance technique and combination. lucia indicates the difficulty she experiences through perhaps too much new information and maybe not enough time to absorb this into the technique class which is also new: in class we changed the structure around and started with cardio rather than atm. this was good as i’m not sure i could have coped with more information but i felt i lacked the focus of the earlier days. in general i felt wooden and gammy in class, i couldn’t seem to remember steps and this of course stunted the flow of my movement. in mazy’s journal, which was in note form, i identified relationships between her observations of sensations in the different sections of the class. on day one mazy identified similarities in her sensation after the atm lesson and her sensation in the phrase in the later 62 part of class, where the focus was on softening the ribs and flexing the spine. initially mazy noticed: really enjoyed the mobility through the upper back, when standing up after the lesson could feel weight back quite strongly on heels. had a great sense of how front ribs were placed. talked about how breasts can be confusing to place the ribs pelvis became flat and wide. had a real sense of the hamstrings heavy on the ground. the skin became flat to the ground. felt the ball part of top of femur really clearly in image of leg. later in class mazy observed that she “enjoyed final phrase, felt quite heavy and weighted onto the ground and quite calm and liquid through the body”. on the second day mazy identified difficulty and confusion with the atm but noticed a change in postural sensation in standing and a new relationship with her ribs and shoulders in other parts of the class: class exercises became clearer today purely in remembering them so it became more interesting to focus on repercussions through the torso particularly rib and upper back region. really felt the shoulder girdle looser and responding fluidly. found an interesting sequencing in the plie exercise. felt fantastic, very connected and easy. oh yeah felt easy through feet and ankles in this exercise today and yesterday. i find her comment about exploring the weight transfer on straight legs reassuring, as this was one of my main aims through this lesson. in the discussion polly and i had about the integration of somatics into the technique class she responded that: i quite like the way it’s added into the technique class like it’s quite nice to feel those things on the floor and then get up and try and put it into practise… when we were doing the exercise with the plies in it and you said something about– imagine the openness you had in your ribs, imagine that transferring right through your body and through your legs. because up until that point i’d been doing the plies and getting really annoyed with myself because it was gripping in my inner thighs which i tend to do a lot. and then when you said that i went: okay. and did the plie again. and it was just like this amazing openness in my inner thighs. and i’d never really felt like that in a plie before and so since then – today in ballet class i was kind of applying the same thing and i had more plie and more release in my legs which is really nice. so it was quite nice to start a class with some quite basic opening things and stand up and apply it and see how it all fits together. in her journal polly noticed an initial sense of integration after the atm on day one: 63 in the phrase i observed a different quality to my movement. when told to focus on the action that we had been practising on the ground the movement felt more integrated than when i was just trying to mimic what i saw demonstrated. with harder phrases i found it a little harder to implement this tactic. on day two polly was able to continue to explore this sense of integration from the atm lesson to the dance phrase: the freedom in the ribs also helped me with the phrase work. i felt i had more movement and flow that yesterday and that i could actually indulge in each movement more. tension in my torso and shoulder girdle is a big problem for me and it restricts my flow. it was nice to be able to move with more freedom. polly’s observations reflect a sense of ease in her movement and also suggest that she is able to apply her new knowledge to remain aligned and improve her perception of this movement. the importance of a clear teaching structure on wednesday, amelia, lucia and polly also experienced difficulties with the class. amelia felt disjointed and tired while lucia felt completely overloaded and felt less sensitive to the subtle movement required for the atm lesson. polly described her experience in her interview: i was getting a bit frustrated with myself because after the floor stuff today i wasn’t putting it into practise as well as i had on the monday and tuesday. and i don’t know what was going on in me or whether it was just harder. . . thing for me to access, or yeah. like yesterday when we’d done all those phrases and that i felt really good and really like on top of my legs. and had freedom and was starting to explore the movement a bit more and then today when we went to do it, especially that tendu, i was just a mess, especially when we did it fast… i’d lost my (equilibrium). polly refers to the tendu exercise that i had some difficulty teaching and we generally agreed this was a frustrating experience. her response indicates how unclear teaching can affect participants’ perceptions of achievement. in her journal polly described her frustration and sense of being overwhelmed on this day: 64 today’s lesson was a little frustrating for me. i had done a yoga session at home in the morning and felt quite centred, however after the floor exercises today when we came to stand and move i felt all over the place rather than firmly on my feet. on the ground i was able to push through the whole of the foot, however when i came to apply this when standing i had a sense of rigidity in my upper body which made subtle weight shifts in my feet have huge repercussions further up. i felt unstable, rigid and i struggled with the alignment of my pelvis. it was frustrating because the sense of flow i had the day before had gone. things started to get better when we did the final phrase because i abandoned what we had been focussing on and just tried to get back how it felt yesterday. in taking this action she takes clear responsibility for her own learning to the point of abandoning the group focus for this class and working in a way that is clearly more useful to achieve what is important for her in the context of this lesson. student-centred pedagogy bevan helped clarify my thinking about constructing these classes as he offered a critical perspective on the integration of somatics and contemporary dance. bevan suggested that it would be easier to get to a deeper understanding if the classes were longer. amelia and lucy noted this too and it brought to mind the luxury i previously experienced teaching twohour classes, which allowed somatic material to be accessed in more depth. bevan also mentioned that integration might be made clearer by moving back to the floor at different stages of the class to revisit the somatic principles introduced at the beginning: i don’t know how you’ve done it in your two-hour classes before, but it would be good after say the tendus and the plies to do some of the earlier centring stuff. you could do a little bit of the closed eye standing stuff. then maybe back down to the ground, but to reinvestigate… after doing some of this technique – have you learnt anything about the flexion and extension of the torso or something. i had revisited the principles of the atm lessons in different stages and orientations through the class, but i did not take the time to go back to the floor to re-investigate these concepts during the technique sections of the classes. part of this was due to the time constraint of one and a half hours and part was being overly concerned with the need to get 65 through the phrase material and to keep people moving. the question of exclusivity of somatic ideas in technique class also arose in our conversation: well for me it’s still pretty clearly a contemporary class . . . i mean it starts on the ground, if you want to look at it that way. . . it’s a bit less observer related, outwardly observer related, and a bit more internally observer related, but even then some other contemporary classes would start like that. i ask if other contemporary classes he has experienced could be seen as having a somatic approach also? yeah. as long as there is a continual awareness by the tutor, that is a desire of the class. if their desire is to get people revved up and do big jump phrases, then that’s a different thing as well, which can still get there, but it’s just the process takes a bit longer. and eventually it’s more valuable with somatics involved . . . but you still have to know how to move within the music and do the particular steps. bevan has made a nice distinction in that the somatic approach can exist in a technique with an awareness and intention by the tutor. in responding to bevan in our interview i make the point that: i don’t think i’m doing anything new. all i’m doing that is specific to me is trying to integrate the feldenkrais work within the technique class work. but i’m sure other people are constantly working with, this somatic approach and then bringing it into standing, bringing it into technique, it’s quite a common thing. within dance academia in north america, australia, and europe a variety of somatic approaches have been influencing dance technique for more that twenty years. sometimes teachers use a particular source or method and at other times they evolve their own approach from their own personal eclectic experiences. the distinction bevan and i discuss is the somatic influence on teaching from a range of experiences or a specific focus on one somatic approach like the feldenkrais method in these classes. bevan talks about examples of this in relation his experience in other contemporary classes: sometimes we’d do contemporary classes that started with manipulations on a partner… sometimes that was because the tutor would see that we are all quite tired and that maybe he’d start the class up there and everyone’s body starts afresh and new again... or the tutor is using those techniques of relaxing and releasing, and letting go of your mind which is obviously giving resistance – everyone is tired and you can just tell, it lets that resistance go because it’s a give and take between the tutor and the class. 66 bevan’s quotes here point more towards a student-centred approach than a teachercentred approach, and suggest that although a particular somatic method may not be involved directly, the principles of a student-centred pedagogy can definitely inform the class environment. trusting the body’s intelligence amelia and lucy talked about their experiences of trusting and crediting their bodies with an innate intelligence to find ways through the movement. as we discussed this issue in our interview amelia responded that: today i consciously lost everything that we’d been doing, but i’m sure that unconsciously it was there. i’d say that it is integrated . . .because i’ve created that connection between my mind and my body, which i think is really hard to get. sometimes your mind is all over the place and your body doesn’t feel centred. yeah. i think it’s a centred thing. lucy values the integration of somatics and contemporary dance as presented below: i think it’s really valuable to have both in a class because you kind of practise or like your body has time to . . . kind of subconsciously use the information that it’s gained. and then we begin to actually move … then sometimes you don’t need to think about it, it just becomes. and what i’ve noticed over the last week anyway is that i’m beginning to feel a lot more stable and a lot more connected to the whole. i’m pleased with the way my body is responding to the movement in a moment. sometimes the exercises have a direct link, and other times it’s not so direct. i think that your body is really, really intelligent. i think it’s exceptionally intelligent and i think a little bit of information, goes a really long way. accumulation of learning for amelia, bevan and john, friday gave them the clearest experience of integration. amelia provided a clear description in her journal on friday: today i felt that i really mentally relaxed into this way of working. i felt that my body had a large range of new experiences that i could dance with. i did not consciously try to analyse the floor work but felt extremely stable through the feet when dancing my hamstrings were propelling me forward and side to side and i didn’t feel like my pelvis was behind like it usually was. 67 out of previous frustrations and difficulties in the week, new learning seemed to emerge for amelia to give her experiences she could dance with. in his journal bevan also noted a clarity on friday and acknowledged his own contribution to the process of integration: a fantastic integration of somatics and technique. i thought a lot after our interview and during the class about what effect my desire to get the phrase right had on my attempt to keep the somatically explored knowledge. during the later parts of the class i felt a great sense of widening and softening in my plies after the hamstring-centred beginning. for john, the discussion at the conclusion of class meant that for him: the relationship between the technique class and the beginning part felt really good, like better than any other time [from the nods and noises of agreement it appeared that some other class members agreed with him]. from the floor when we first stood, i felt like that connection was much clearer through the floor and there was also some kind of sense of more separation between the leg and the pelvis, but there was still a greater sense of security on the floor through the foot. friday’s lesson was about finding a relationship between lengthening the back of the leg and the articulation in the pelvis and spine. for some people this was quite demanding and even painful on their hamstrings and hip flexors. i commented at the beginning of the atm for people to take it easy and look for strategies to do less and focus more on the sensation of the movement rather than the end range of motion. i noticed john was having difficulty lengthening the back of his leg and i suggested that he could modify the exercise if he needed by using some support under his pelvis. in continuing to talk with john later in our interview he said that: today was the clearest for i felt like i made a little breakthrough, or a little connection was present in my awareness from the part on the floor through to the bigger phrases. that felt really good. i felt like there was a sense of carrying through information and being able to apply it in standing and moving and transferring weight. so it felt like it was easier to apply the standing stuff… earlier in the week it felt like i have this new information but i’m not sure how to work with that in standing because i then have to have another set of, another lot of learning to do with how to deal with that extra mobility. 68 john makes a nice connection regarding his earlier comment about controlling the new degrees of freedom he was experiencing in his movement. on this day he has found a way to integrate this new information. this fifth day was an interesting epilogue to a week of learning that was also non-linear for both students and myself. for students, improvements one day would sometimes appear as frustrations the next and for myself there was a need to vary my planning and way of interacting according to the needs of the class. summary of experiences of integration as participants point to their perceptions of integration in these classes, there are clear indications of satisfaction and frustration. based on what i learned from the students my understanding from this theme is to utilise more identification between atm lessons and dance technique combinations. there is also comfort in the knowledge that some students expressed a trust in their own bodily learning processes. this suggests that given the information and sensation, they trusted their body would find its own way through the movement. as lucy said “a little bit of information goes a long way”. finally, i feel that lucia’s following quote provides an insightful appraisal of this week: all in all i have had a mixed experience with somatics finding it a major change to integrate somatics into technique. it is something i wish to continue as it challenges me in new and fascinating ways. students’ experiences of learning this theme is comprised of the following sub themes: visual learning, kinaesthetic learning, and a conceptual way of learning 69 when i teach i can see people interpreting my language differently as they find their way through atm lessons. as mentioned previously the language of feldenkrais provides precise instructions for moving while simultaneously encouraging students to find their own individual ways to interpret the instruction. i find i am able to use these variations in the way people move as the basis for how i develop the lesson. i am curious about the comments people make concerning their discoveries while exploring these seemingly innocuous atm lessons. it is this sense of intrigue and curiosity that lead me to inquire about students’ experiences of learning. in the course of the six interviews i asked participants how they would describe their experience of learning movement. their replies as expected varied greatly, but there was a tendency for experiences to be described as spatial, kinaesthetic or visual ways of learning, with none of these being mutually exclusive. some of our discussion focussed on the expectations we place upon ourselves in the learning environment and others centred very much on our personal process of learning. in the following section i will present different parts of our discussions starting with our personal ways of learning. visual learning: “i’ve actually got to see” two participants who identified with a visual way of learning movement were amelia and lucy, who used very different visual representations to assist their learning. amelia, as mentioned in the vignettes, is a second year student who describes her experience as follows: i’m quite visual in the sense that if i’m studying i need to write things down so that… in an exam i can actually picture my notes. that’s how i learn them. i also found last year that i’m hopeless at transferring things from right to left… because i’m visual i actually learn how it looks. i can picture you doing your phrase and try and do it exactly like you do it, but if i try and transfer it onto the left, (repeating the whole dance phrase on the other side of the body) all i’ve got is this image of you doing it to the right. so i’ve actually got to see. so if somebody says to me: okay transfer it to the right. i have to look around because i know who can transfer things to the left or right, well. and i look at them, and as soon as i’ve seen them do it once, i can do it. 70 lucy a professional dancer, also preferred to learn visually but in a different manner to amelia. lucy comments: i learn quite visually, so that if people explain something it takes me a little bit longer to transfer the information into an action. so if someone explains it visually, then that’s . . . where i excel the most. sometimes that means … having to take a few steps back, especially when it gets a bit crowded, so i have a bit more distance …so i can view it from that perspective. i ask lucy how the visual image is represented for her, she replies that it is just a straight reflection but is not sure exactly what i mean. i try to explain my thinking a little more and mention amelia’s process as an example. lucy responds that her visual representation of movement was different: how does it translate to me? sometimes it’s actually like energy waves. so, like when i watch dance, actually what gets me the most is the dynamism and the energy and … what patterns –it makes in space and the air. it took me a while to realise that actually . . . which is why space and patterning is actually something that i am intrinsically drawn to. i ask amelia how she finds her way through the atm classes given that there is very little visual modelling. amelia said she adopted a specific strategy to find her way through the lesson: i take sneaky peaks actually, because i find that . . . quite weird. am i doing this right? so when i saw you get onto the floor and show us something i was like: what’s he doing? because it’s so much easier for me. so my mind doesn’t have to think so much. i know that i don’t need to grasp onto things, i know that they are happening in my body just by thinking about them… i want to just find a position that this is how you should be and that’s good and this is bad. it’s really hard to be working on yourself and not be able to stand back and look and say: ooh, look how much i’ve improved. we discuss how the point of reference becomes your perception, not an external picture of what the movement should look like and so it becomes your movement and not an approximation of someone else’s. as amelia noted that is often hard because we want to “have a right answer”. this is reflected in her journal entry on monday while moving on the floor i had no idea why we were doing this stuff. . . this movement stopped quite abruptly at a particular vertebra in my back, which dug into the floor and felt like it was sticking out a lot. i tensed my stomach muscles just to see if i could go higher i couldn’t and began to judge this also 71 was i doing it right? i’m used to copying teachers but there was no usual guide. later on amelia recalls another situation where confusion around movement led her to explore physically the meeting point between her self image and the kinaesthetic actuality of what was happening: when you’re saying ‘be aware of what your ribs are doing’, i’m like: my ribs aren’t doing anything, are they? you know. and it’s like i have to touch [my ribs] to see what’s happening. because sometimes i must have this image in my head about what i do. but it must be totally cut from what i am doing. lucy also comments on the challenge and frustration she experiences through learning this way when there is little visual guidance: i quite often get frustrated, i must say and coming back to these classes and doing these classes, i know they’re really good for me but, it’s taken me a while to release my mind. i don’t have any judgement on that, i just know that that’s what’s happened, so that’s okay. there is a visual-ness to it, but it’s not externalised, it’s more internalised and that’s fine. amelia and lucy draw nice allegories to visual means of learning movement as their kinaesthetic access is often through a visual medium. kinaesthetic learning: “i think it’s just a feeling” bevan, lou and polly identify with a kinaesthetic way of learning. when i ask bevan to describe his experience of learning, he talks about searching for what to feel for, and noticing changes in movement patterns, qualities and directions in space. time seems an important factor necessary for bevan to build a deeper sense of understanding movement phrases: its good for me to have a rough think around it, but having to come back to it for three or four days, and slowly over time getting the extra points. so [time] for me is a learning tool that i use to have a rough outline. i like to know where it starts and ends the whole thing, rather than learning a certain block well. i like to have knowledge of where the whole thing is going to go. so kind of see the image of the pattern or something. 72 i ask him if he feels there is a relationship between the way he learns somatically and the way he learns in dance technique? yes. i think the somatics works quite well in just . . . a way of opening up your body to being . . . to exploring sensations that come in and how they can go through the nervous system to come in and then how they come out as movement. but then when it came to a tricky phase, trying to get my mind back into my body was always an issue for me … but the way that you’ve been doing your classes is good in that regard because they are in the same class. i feel it stays with me even though it’s not . . .that intense or something. the awareness at the start – that amount of awareness doesn’t stay. but it is there. lou also identifies with a kinaesthetic way of learning movement and found discussing movement a challenge in so far as finding the language to accurately describe her sensations. she mentions this when i ask her how she would describe her experience of learning in these classes: it’s been really not so physical for me. it’s been very inside. i haven’t been able to really articulate my sensations very well. i haven’t really said anything in class. i find it really hard to write and actually talk about it. but i am feeling a lot of sensations, i’m aware of a lot of changes. like before my spine felt a lot more like my lumbar was off the floor when i just lay there and now it’s a lot more weighted. and it’s good because i get a lot of trouble [picked on] cause i’m little and i feel quite light a lot of the time, and i feel quite grounded now. when i ask if she relies on a strong visual representation or a feeling about the movement she replies that she definitely relies on the feeling of the movement by initially watching the general full body movement, and then doing the movement to try and build that same feeling. lou also pays close attention to details to the point of worrying that she might miss other things in concentrating on too much detail. i think it’s just a feeling. i feel like i’m not thinking so much. that’s my enemy, i think it’s lots of dancers enemy. it’s more a feeling, sensation. it’s a different type of thinking, it’s not like a conscious thinking. as soon as i get into that kind of mode, i distract myself quite a bit. when i become more internal it’s just a different kind of thinking. i don’t really consciously have thoughts. but i must be thinking to move my body. to me this again reflects lou’s preference to make sense of her movement through engaging in kinaesthetic sensation rather than visualising or cognitively analysing the steps and learning process around movement. 73 i asked polly how she would describe her way of learning: when i learn a phrase… if it’s not too complex, i can pick it up just from watching. but if it’s complex or a different style or anything like that, i have to really do it. if people say oh you know, i’m moving my weight from here to here… i need a bit more than just seeing it and trying it on myself. and once they …give me some more in depth knowledge about how they’re performing that movement then i can … apply that inside of me. when you first did that action i was just going: oh my god what are we doing? and then you said, it’s like kicking a soccer ball. and i was like: oh yeah, kicking a soccer ball, i can do that. and then when you did the step around it and you said it’s like a soutenue and you take your weight and you only put your weight on your foot at the last minute and it was like: oh yeah, that makes sense to me, roll your pelvis around. i found it a lot easier to get the movement. rather than just trying to see what you did and mimic it in my own body. if i have little hints like that i find that it’s a lot easier. once i’ve got the basics like that, then i try to get my body to find its own kind of flow with it all. it makes sense of all the information. although polly suggests her way of learning is more kinaesthetic there is a strong visual sense represented in an entirely different manner to amelia and lucy. in this example polly’s sense of learning seems to be more internal in respect to her own body rather than an external model of someone else’s body demonstrating the movement. a conceptual way of learning: “i look for rules” john presented yet a different way again of learning movement. he tended to work with more abstract concepts or look for patterns that might repeat or change in terms of spatial orientation of movement. in our interview john talked of combining concepts from class with his own particular concerns or interests in movement. i ask him how he would describe his experience of learning in dance class? i always feel i’m quite slow to learn sequences of movement and i’m often looking around to . . . kind of jog my memory, so i look at someone and remember what the movement is, so i am trying to apply information that might have been presented at the beginning, or concerns that i have about various ways of perceptually engaging. i’m always trying to . . . grab the material i guess. 74 i ask john if he makes a distinction between different ways of interpreting the movement whether it is through imagery, a spatial sense or a felt kinaesthetic sense? not too sure. i guess i try or maybe it is that i look for rules or you know – you always go to the left when you do that. . .or it starts the same arm or leg, those kind of little ways of finding the way it’s constructed. so. . . it’s not a way that i prefer to engage with the world. i guess habitually i have a different engagement with things whereby i may be looking at or thinking of things that are more kind of inward, so in dance i have to kind of try to engage in different way. i relate john’s idea to my experience of the different ways people construct or reconstruct the teacher’s movement in dance classes. i recall my own struggle in trying to put together the complexity of body parts and spatial directions and how i used to get very frustrated. in his description john mentioned his internal process, which resonated for me, as my early experience of learning dance was about trying to identify what i was sensing internally (which i couldn’t always do), with what i was seeing externally. i could recognise the value of what i was seeing, but had difficulty assimilating it into my body. my problem was that i was also basing this on an external picture of how i should look doing the movement rather than how i might feel doing the movement. i shared this idea with john who responded: often if i’m working by myself i tend to get interested in a certain line of enquiry… then i come to class and there’s another set of concerns or another way of working. and i sometimes kind of go: ah, how can i put these things into the class? which, i question you know, i think it might be good to do that sometimes, but also sometimes it feels like i can shut down my options by doing that because i’m not fully engaging… or getting most out of the class. john clearly mentions that he brings his own set of concerns or lines of inquiry to class and endeavours to connect these to the existing class themes. he is concerned that in doing that he may not be “fully engaging” in the class. summary of students experiences of learning prior to this analysis i held the view that atm lessons could provide unique and often intriguing, teaching and learning experiences, where people could interpret language into their 75 own particular way of moving. in teaching i idealised the notion that the limitations between right and wrong ways of moving were replaced by facilitating learners’ attention and selfawareness. i felt autonomy was encouraged through removing the reliance on visual modelling and replacing it with a reliance of self authority as people learn to rely on their own perceptions through translating verbal instruction into movement. the ideal process in atm lessons is for the reference point of learning to be each person’s bodily sensations of movement. what is present in this view is learning through awareness. what is missing is a plurality of ways to achieve that. the most important consideration emerging from this theme of students’ experiences of learning is the different ways people make sense of movement material, whether it is taught verbally through an atm lesson or visually and verbally as in the dance technique section of class. the data revealed the importance of presenting lesson content through a multiplicity of pedagogical approaches and encouraging students to learn through multiple approaches. one of the main outcomes from analysing this theme concerns the issues between kinaesthetic learning and visual learning. learning through the visual becomes problematic in the atm section of class where language is privileged. it appears that students who are visually orientated may become frustrated and lose some sense of accomplishment they achieve from visually mastering the movement. even though verbal instruction may be challenging for people who favour a visual learning style, it is nonetheless valuable as indicated by both amelia and lucy who through their resourcefulness are both able to find visual strategies to learn this way. for example, amelia’s strategy was to sneak a peek while lucy would find a more “internalised visual-ness” and a directional relationship to her skeletal movement. 76 individual perceptions of somatics this theme is comprised of the following participants’ perceptions: amelia, bevan, lou, lucy, and polly. in this section i have grouped the headings under each participant’s name, as their perceptions of movement were both personal and unique. understanding how students perceived somatics to their own movement allows me to gain insight into their personal movement experiences and the ensuing relationship to contemporary dance technique. this section is structured to present individual perceptions of movement rather than commonalities emerging through all participants. 77 amelia: “you dance for a feeling of pleasure” amelia’s initial experience with somatics and her own movement indicated a certain amount of frustration, but also a tendency to learn quickly: at the beginning of the year everything was frantic and you’re pushing to your limit and stuff. i am finding with these classes, i’m a lot calmer and once i get to doing the phrases, i can feel like i understand what my body is doing and i know where i am and that actually feels good. i mean to say there’s a lot of confusion, but also once i get into doing phrases i can feel where it is in my body that i’m feeling freer and it feels really good. there’s always that balance of technique and always judging yourself and trying to be better and then just kind of free dancing. and then what do you dance for ? a feeling of pleasure. the thing that i’m beginning to work with now is working with the body more and transferring things from one part of the body to the other like today with the feet. i found that really interesting to feel more that it’s not position, position, position, but you can create something, create an alignment and create a movement in your body by using other parts of your body. i have to not think about my hips to be able to open up my hips. that’s something i realised really quickly. as soon as i thought about the area it tensed up. and then if i breathed i thought about maybe my feet. or if i breathed i thought about something different it would work. amelia’s language indicates that she is actively exploring different strategies to improve her movement. for me this reads as a sense of curiosity. the following is from amelia’s journal on day one: when we stood up again, i found the movement of looking up and down much easier. i felt that i could move my spine then my ribs connected and flattened onto my chest and activated my stomach, which meant my pelvis could keep centred the whole time. this made me think about the possibility of relaxing my neck muscles in more complicated movement such as balance or a pirouette. i have already being experimenting with this and discovered that a relaxed neck helps me relax muscles around my sacrum and my ankles. this gave me a new experience of a good feeling of freedom in my neck by creating movement in my upper torso. though i find it difficult to relax my ribs, as i have no concept of what muscles might control them. they feel stiff and sticky outy, but today helped. i feel that if i don’t get too hung up on it i will achieve new movement because things like today begin you on journeys inside your body that you are not always conscious of. 78 i find this last sentence an insightful revelation, reflecting what seems like curiosity, confusion and sense of wonder from amelia’s experience of this first lesson. i feel that she is also experimenting and testing some of these new concepts quite readily. amelia, like other participants on thursday, expressed a sense of enjoyment on the new start to this day particularly after the struggle on wednesday: this morning felt great it was like i had been given sound foundations for three days and then let go on the fourth. i found that i knew the movement as well as the feeling i wanted to have while performing it. i didn’t have to think so much and yet my body seemed to be accessing the new movement and it felt really easy. i feel this is a interesting expression; “i knew the movement as well as the feeling i wanted to have while performing it.” through this language amelia gives me a different essence of experience that goes beyond the steps in class and describes her connection between knowledge of the movement and her feeling of being in movement. to me, amelia’s aesthetic feeling of movement is embodied somatically. in this instance amelia as a dancer is not separate from the dance she is engaging in. bevan: “somatics beyond the studio” the way bevan values somatics in relation to his own movement is through being able to increase his sense of awareness at the beginning of class and exploring his own movement outside of class: somatics at the beginning of class, that sort of approach, can get me slightly more in my body… a bit more fluid in my own movement… knowing that i will be more centred… before i try and do these tricky moves that my body doesn’t do as easily as someone else’s. maybe that somatics can actually help in that way, you get a bit more into yourself first. bevan also describes how he creates his own somatic explorations in day to day activities such as running on the beach or climbing around rocks. i comment to bevan that: “sometimes i think this term of somatics is funny because it describes something that is not 79 new, that has just been there forever”, but it does provide a lens or way of experiencing things. there is sometimes a misconception that somatics always needs to be quiet and introspective. although this is important for learning, somatics can be active and physically challenging as well. bevan’s own explorations serve as an example of this other way of working somatically. the following excerpt is from bevan’s journal on day four where i had introduced a more physically active, cardio based warm up before commencing technique class: class was great with the p. e. circuit warm up. the chance to work within the bounds of a long time limit (one minute per movement) was good. and this was a surprise. this beginning to class was enriching and enjoyable as the lying down stuff. more focus on the phrase was great. i felt centred after the balance stuff. bevan’s response to this change in the way we were using somatics was also indicative of other participants’ responses. for me this was surprising, as i had no idea how they would find this new approach. lou: “a different perception of strength” part of the reason lou agreed to participate in the interview was to actually clarify her own understanding of somatics. as lou asked me to clarify the meaning of somatics, i described it as a way to bring awareness to how we function in the world through the medium of movement and that different somatic methods or techniques provide us with tools to increase this awareness of how we move. lou responded that: i find it really useful even in this one week. it’s been fantastic. just my whole alignment feels much more stable. and when i take it into other classes, like yoga… i don’t feel that strong, but i feel like i’ve got a really stable foundation to work from now. i asked lou how she might take the self -knowledge she has built up from the somatic and dance technique classes into other classes. she responds that: i might listen [to others] less and listen to myself more. and go at my own pace, rather than feeling forced to do things. 80 when i ask lou how she would describe her felt experience of movement she replies it really frustrates me when i feel like i’m moving a certain way and someone will tell me that my quality was say really soft when actually i felt really strong. and i can’t help that because everyone just looks at my size and thinks it’s frail or whatever. i also think that when they say that i look soft or weak, really i feel strong. i think they’re looking at a really surface level . . . because i think you can really express a quality without your body. just by a presence or the focus in the eyes or something. you know an intensity that is strength. i think what i feel in one-way is true. lou’s reply here indicates a perceptual gap between an external view and an internal sensation. often in learning and teaching dance it is the external viewpoint by which dancers learn movement. in somatics it is the self-perception that becomes the material to work with. lou describes her sense of strength specific to her way of dancing. what is interesting from a somatic context is the possibility of portraying that strength in more than one way. lou talks about how she was able to create another presence of strength through manipulating the way she moved. by extending her boundaries, changing her quality and making her movement bolder lou was able to extend herself more in the movement. in doing this lou noticed her feeling of movement changed; “for a while it made me really off balance and it felt messy and then gradually i adapted”. she also mentioned this was a significant enough change for other people to notice as well. to summarise, lou’s perception of somatics to her own movement seems to offer her a sense of assertion through self discovery. this assertion also manifests itself as a way of listening to herself more and hopefully relying less on external expressions from other people. lucy: “i think it has a healing quality” lucy describes a relationship of somatics to her own movement that focuses more internally on her quality of movement in life. when i ask her about the relationship of somatics to her own movement she replies: i think at times they seem quite separate, although i’m beginning to kind of slowly add an internalised approach to movement. other than that often my preferred method of moving has often been quite external, like it has a look. 81 i’m interested in a look, or dynamism. so they’re still a little bit separate, but i intuitively feel like... i’m kind of drawn to feldenkrais or… klein [another technique], i’m not sure at the moment, but i’m actually clearly drawn to actually want to know more about it and how i can work with it within my own body. i think it has a healing quality… i also have a sense that it will prolong my dancing career, not in the fact that i want to forever keep dancing. i’m beginning to really like my body and what it can do. and i want to approach it with a softness i might not have actually… previously thought about before. i interpret lucy’s comment as a way of empowering herself to explore her body in movement through a somatic approach. i make a distinction here as i did earlier with john about people using somatic methods or techniques to improve their own sense of action in the world and not to empower the somatic method as the agent, which improves them. i mention to lucy a conversation i had with a feldenkrais teacher who felt that the most primary aim of the feldenkrais method was to enable people to reach the full potential of their human dignity within their world. lucy responds: i think you’re right. i like my body. and that is something that happened after my dance training. and it happened because i injured myself and the result of that injury was that i had to re-evaluate what relationship i was having with my body i guess. and realising that i like my body and… that it has a tune of its own. i also think that dance is a lot more important than the society is ready to give it credit for. i think it has something to do with filling our potential as humans and for recognising that movement is… important, and is invaluable, and the way that we can access that movement… can happen with consciousness. lucy touches upon an interesting concept. if so much is possible outside of our conscious control, can our movement also improve unconsciously as part of our learning process? polly: “changing habitual movement” polly relates somatics to her movement through descriptions of her self-awareness, her ability to create more movement possibilities, and her new attention to uncomfortable or restricting movement habits. although polly noticed a lot of changes over the first two days, she could not always integrate it to dance technique: 82 i’ve really enjoyed the awareness stuff on the floor, and then getting up and putting it into practise and then seeing a difference. it was really good the first day when we did that phrase, i just felt all over the place with it, and then the next day after we’d done the rib stuff on the floor, when i got up … i felt more secure, but also as though i had more freedom and flow within my ribs and torso. whereas normally when things get a bit harder it just all stiffens up for me and i get really quite mechanical in my upper body. the phrase polly refers to is a movement combination i introduced on the first day and continued to develop during the week. some of her difficulty on the first day could be attributed to the novel nature of this movement phrase and the somatics combined. in her journal on day one, polly reveals more detail of her experience: i also noticed i was standing with my weight distributed differently over my feet. on the left foot my weight was all on the outside of the foot whereas on my right foot it was even… the uneven weight distribution was something i was aware of for the rest of the day and when walking i noticed that my right foot rolls outward and then in as i step. often students comment on their different perceptions of posture after atm lessons. it is interesting that polly’s awareness of how her weight was distributed over her feet remained with her for the rest of the day. polly and i discuss the difference in perception between day one and day two. it seems that the rib lesson on day two made more sense to her in relation to difficulties she was having in the phrase: i moved around and did that first phrase and felt more freedom… i can actually move my ribs without falling over and it gave me that sense that there is the freedom there without losing control. i guess because i’ve got a lot of ballet training i tend to like hold my torso with a lot of tension and control when i start to move it more i kind of think, oh hang on i’m going to fall over or you know, i’m losing control here. i ask polly if she has been able to maintain a connection between her felt sensations from the atm part of class and the more complex combinations that start to evolve towards the end of class. she replies that: when i think about it, it works really well. as soon as you switch back into your old habits then you kind of go into this tight little bundle again. i noticed that with the shoulder one we did on monday as well, when we. . . stood up and started doing the phrase work with the shoulders. you were talking about 83 integrating the shoulder and then the rest of the body. it felt like there was more connectedness right through my body. polly talks further about how once her awareness of a habit or pattern is revealed, the challenge is to maintain awareness and realise situations when those habits may impede her dancing: this week has really allowed me to key into how my body does perform movement, what bad habits i have, where my weaknesses lie and what other areas i can focus on to achieve the same movement. i have felt a greater sense of verticality and this has been achieved through less unnecessary muscle action. i have begun to find new ways to use my legs with greater freedom and stability and felt a sense of freedom and release in my torso. i have noticed a significant change particularly in ballet where my tendency is to grip muscles. summary of individual perceptions of somatics this section shows how atm lessons are not useful as an end in themselves but are valuable in relation to their application to diverse and extremely personal ways of moving. one theory of somatics is the notion that integration can occur below the level of our conscious control, that given the right opportunities our system through its self regulatory nature will gravitate towards the optimum solution to a task. the clearer the opportunity the easier this will be. however in the case of a complex or strongly habitual movement this may take time. by consciously trying to control all our movement, as we are sometimes apt to do as dancers, perhaps we may actually inhibit the opportunity for integration or transfer to take place. often after a feldenkrais lesson students are asked to notice any new changes or sensations but not to actively hold on to them. the rationale is that what is important from the lesson will make sense in the context of function and not as an isolated sensation. students may notice that through engaging in familiar activities their movement can provide a catalyst for new sensations to be realised in a different way. holding on to specific new 84 sensations as an end in themselves can be counterproductive in that awareness is focussed solely on the sensation and less on the integration into function. somatic ways of knowing this theme is comprised of the following sub themes: describing sensation, knowing through our skeleton, questioning through our body, and valuing the self. somatic knowing is a knowing evolving from sensitivity towards oneself leading to an awareness that allows more meaningful relationships to the world (heshusius, 1994, p. 18). the central tenet to this theme is to gain insight of how we come to know ourselves somatically. questions such as how do we know we are breathing, moving, standing, balancing and dancing, invite us to explore somatic ways of knowing ourselves in movement. many participants alluded to the difficulty of expressing their experience of somatics through language. this difficulty may reflect the deeply personal nature of each person’s experience or on the other hand it may reflect our struggle to approximate our somatic experiences through the dualistic cartesian nature of our language (heshusius, 1994). describing sensation: “there’s no way to describe that through language” the question of how we come to know ourselves somatically arose in my conversation with several participants. when attempting to relate somatic knowing to her own movement, lou mentions having an awareness of bodily movement that is distinct from her conscious thinking. lou found this process difficult to articulate in language, yet in her movement she is very articulate and even confident in her ability. as i talk further with lou about this i suggest that from my experience: in somatics, a lot of people talk about the idea that you’re experiencing sensations as you explore specific movements. after a lesson for example, you might stand up and your sensation of being vertical and on your feet might 85 be very different than it was before you started. the question is: how is it different? some people will approximate that through language, but sometimes there’s just not a way of describing that through language. i think it’s useful to even approximate it, because if you can do that and know it’s an approximation, you have the ability to maybe get a little bit closer (to describing it more accurately) the next time. lou responds: i think that’s what i need to do because i really want to be genuine, you know completely truthful... so maybe i should just settle for something more vague and then find the more specific things. when you came round the other day when we were doing this stuff and you asked amelia and me where we felt it hard and where we hadn’t, and i said something about where i felt tense. afterwards i thought: did i really feel that way? because i couldn’t trust my own sensations. i said i was quite tight in my hip, but then i felt quite loose at the same time. lou’s description illustrates the complex relationship between our actions, the depth of our perception and the language we need to communicate our experience. knowing through our skeleton: “suddenly i can feel where my bones are” where language seems to be a difficult way for lou to articulate a somatic way of knowing, for amelia language provides a clear way to articulate her sensations of movement. amelia represents her somatic way of knowing through focussing on and describing perceptual shifts in her body such as using time to allow things to digest and then noticing maybe a shift in her pelvic alignment or a change in the curve in her back: i know it sounds really strange but i have an iud put in because i got pregnant at the end of the year, and so every month when it comes to my period… my body reverses to having a sway back. i get a lot of painful periods and then it’s almost like every month i have to rethink what i’m doing with my body. i’d be so confused because i thought: well if every month my body goes back to having a sway back is that because it’s the way it’s supposed to be because that’s how i am naturally. and if so, is it true that i will never be able to dance. great! because my body is just like that. from her journals and interview amelia’s strongest expressions of somatic knowing seem to be through her movement and the different experiences of being in her body: when you asked about how i was trying to correct my sacrum [it] was actually through me being able to feel what was happening. because i didn’t know really where my sacrum was, and i still don’t think i know, but i’m beginning 86 to. i’m beginning to get an image of that in my brain, and i have to take it from a variety of sources, like i have to see a picture of a skeleton, but maybe for me seeing a 2-d picture doesn’t actually help me. i have to go and see a skeleton. i began to lose weight from my bum last year and suddenly i can feel where my bones are, i’ve never been aware of that part of my body. it’s like i had to learn through a variety of sources where that is inside me before i could kind of begin to change. i had the same thing with my hip joints. i have to learn where they are and what they do inside me because i still have the idea that my hips are wrong, from being told they were wrong. so i have to reconstitute that idea in myself. from this passage it is clear that amelia is building up an internal somatic picture of herself in order to initiate changes in her movement. as amelia indicates, with new learning there is often confusion even though her awareness and curiosity continue to lead her to new questions about herself. questioning through our body: “how aware can i be?” performance and choreography are the medium through which john builds his knowledge. through choreographing and performing his own work john can explore “what it is to have a body” from a somatic base. for john the performance also becomes a vehicle to express different degrees of awareness: it’s almost like how aware can i be? how many aspects of my physical reality can i attend to and then articulate, and can that be visible? in the context of performance, this raises the challenge of directing attention as a performer but also the attention of the audience. john elaborates further about arriving at this somatic way of knowing through his experience in the studio: in the studio if i’m dancing by myself or maybe if i’m improvising, performing . . . there can be this kind of engagement with the sublime or the unknown or… ecstasy… i just don’t know what it is, but it’s like i’m chasing this… divine experience or something. so that’s probably influenced by reading what william forsyth talks about and i think he says something like… dancing borders on the sublime or it’s like at the very edge of what we know or what we can perceive or how we frame the world. john presents a very personal experience of his somatic way of knowing movement and dance, which as he alludes to is often difficult to capture in logical cartesian language. 87 valuing the self: “i encourage them to bring it back to the i” a somatic way of knowing for lucy ranged from self-perceptions constructed through her own corporeal experiences to reflecting on other peoples’ unique ways of moving, to global issues that ultimately evolved from her deeper personal experiences. lucy provides an example of how she learned to use her sensitivity to acknowledge another way of moving when she was rehearsing with john: when i asked john to work with me last year it was because i saw in his body an ability that… if he could just side-step some of those third person issues it actually would be really invaluable, not just to me as a choreographer, but as. . . as an influence in the dance world. ok i see him struggling often with technique and counting and stuff like that, but … i just go: i see all these stories in your body and there’s a fluidity and a swiftness that i don’t see anyone else being able to manifest. and it’s idiosyncratic to you and it is really very beautiful and it is exquisite and it is a language of its own and i’m fine about it allowing it to manifest in whatever form. i tried to choreograph on him which was my own kind of ego thing stepping in and , i wasn’t at all successful. in going through this process lucy also recognised some of her own ways of understanding movement and the pressure to conform to the ideal of being a dancer. that’s informed me about how i can approach my own body and recognising that i too have struggled to conform to a look that isn’t necessarily mine or has my body’s sensibility involved in it. so now these days i say to myself, often, i’m a beautiful dancer. and that is interesting cause it’s really bringing it back to the first person and now … when i work with other people, i encourage them to say that to themselves a lot. i encourage them to say . . ‘i’m good’, and bring it back to the ‘i’ and encourage them at the same time to relax and have some fun and that it’s okay. i feel lucy’s description belies a deeper philosophical understanding of not only different ways people move but also her own broader perceptions of what it is to be a dancer, including reinforcing peoples’ sense of self belief. 88 summary of somatic ways of knowing for lou, amelia, john and lucy, movement and dancing itself seem to be the most potent way they can express themselves somatically. as such, words become a secondary tool that can only approximate a part of their somatic knowledge and for some people like lou even words seem to fragment their experience too much. these participants’ descriptions reflected heshusius’(1994) concept of somatic knowing in that they all interrelated their own corporeal experiences to larger social issues within and beyond the dance milieu. somatic authority this theme is comprised of the following sub themes: discovering awareness, self belief, and external modelling. as mentioned in the review of literature, somatic authority is an integral part of somatic pedagogy that values “proprioceptive awareness, and the abilities of students to listen to the inner messages of the soma and reclaim ownership of their bodies” (green, 1999, p. 81). as such, somatic authority concerns students’ ability to take authorship for their own learning within the context of a dance class. a constant question for me as a facilitator is how can i provide opportunities for students to develop authorship of their movement. my aim as a teacher is to distinguish between my way of moving and the movement i present. i want students to use the movement i present (not my way of moving) as a reference to create understanding about their ways of moving. often in dance class the teacher is seen as the expert authority, and arguably it is the teacher that becomes the author of students’ experience. the philosophy of a somatics class contrasts this for if students are to embody their learning they will need to create authorship over their own movement. 89 discovering awareness: “like a child in a sweet shop” developing somatic authority can often be confusing and frustrating for students used to traditional dance classes where the teacher is the model for the movement. the challenge for students in somatics is to find ways to become their own model as they engage in learning and to value their individual uniqueness in movement. i noticed that in our classes this week several students expressed confusion in initially coming to terms with this concept. lucia summarised the confusion and frustration she experienced throughout the week at the end of her journal. the frustrating thing about atm and feldenkrais in general is that there is no right or wrong, no goals just observations. this seems to have been quite negative. i’ve become so aware of my internal observations that i’m confused and overwhelmed, i feel all wrong and out of alignment, or i simply don’t understand. i guess i’m just so used to being told what is right, what feels right, what the goals are, what the aesthetic is. the student has total responsibility, like a child in a sweet shop i don’t know where to begin. some of lucia’s experiences tell me that as a teacher i can never emphasise enough, the idea of encouraging students to take it easy, to do less, to find their own sensations, to listen to those sensations as a corporeal authority of their own selves. self belief: “i just had to keep believing that i did know”. the following passage illustrates how lucy defines her somatic authority as she describes an experience of injury she sustained earlier in the year. while this description does not relate directly to her experience in class she does mention that her injury does impact upon her experience in our week of classes. lucy reveals how she reclaimed ownership of her body after a frustrating time rehabilitating herself back to dancing. what was frustrating for lucy was the apparent disbelief of her experience of injury. for lucy there was a gap between her lived experience and the third person assessment of that experience. lucy’s ultimate faith in her own soma led her to the path she was currently engaged in. i went to physio, i went and saw a doctor, and the diagnosis was unfulfilling, they just saw it as a sprain. i went to acupuncture, i went to another physio, i 90 went to a chiropractor, i went to lots of people. i went to someone who did hypnotherapy. so i met a lot of egos along the way and that was really interesting because all that time i really had to keep saying to myself that i have injured myself and they have not found it yet. they just haven’t found it. but the egos i found in terms of people promising that i’d be jumping in three weeks, or ‘its just a sprain, you’ll be fine in two weeks’. …and then i’d get to two weeks and people would go: ‘oh, okay well it’s a bit serious and a lot more serious than i thought, but you’ll be back on your feet in three months’. then i’d get to three months, and so for a long time i was living on this false sense of hope even though i knew quite deep down that this injury was a lot more serious than everyone anticipated. i’d never physically injured myself like that before. there were only one or two people that went ‘i don’t know’. ‘i think you need to see someone else. i think you need to see a specialist’. and then even a specialist --again i was meeting ego. it takes a strong person to say ‘i don’t know’. ‘i believe you, but i don’t know’. so once i realised that there were a lot of people out there that didn’t know then i just had to keep believing that i did know. they said that i was just making it up. it got the point where they just said ‘ oh you’re making it up’. external modelling: “it’s lovely to try and dance like someone else” the issue of somatic authority and external modelling arose in discussion with bevan and polly. while language is the privileged means for learning movement in an atm lesson, visual modelling is sometimes used to illustrate points of difference in the way people can move. in a traditional dance class, (which the second part of my classes closely resembles), visual modelling through the teacher’s movement is the predominant way of learning. often the goal is to replicate the teacher’s movement as accurately as possible. in teaching the more traditional aspect of the technique class i was encouraging students to use my way of moving not as a model to be replicated, but as a reference point to explore their own entry points into the phrase. i wanted them to find their unique way of doing the movement. the challenge i feel for both myself as a teacher and the students is to integrate two separate and different pedagogical styles. this was achieved i feel in part by the transition to standing section of class, which integrated sensing, seeing and exploring movement in a more familiar dance-like fashion. in light of this bevan raised an interesting observation that equally valued the challenges of somatic authority and visually replicating movement. 91 it is the desire to mimic the teacher’s style. that’s what i was writing in my journal the other day . . . that once you came to that point where i had to do it, i was thinking: how do i move like that anyway? like i still wanted to be able to get what you were putting out there . . i could see it when you showed the phrase. the main desire i think is to be able to try and do that phrase in a way, which fulfils the desire to do something similar. and not just to do my own version completely. in discussing his perception of learning in the dance combination section of class bevan’s journal reflected that firstly the phrase is hard but lovely, so i take a while to figure things out. so for me, what made the biggest impression wasn’t what we had done at the start of class (consciously at least) but the way in which you did the phrase, and my desire to move as clearly as you in your movement. this is interesting in light of transfer of learning from the atm to the technique and the relationship between external goals and internal understanding of movement. in our interview we continued our discussion around teacher modelling and self-exploration. i respond with my experience of being a teacher and a learner: sometimes i think it’s a fine line. because i know sometimes if i watch a particular person move and i try and move like that i often find it very difficult and . . . i lose my own way, but then if i go completely into my own way it’s not like theirs at all, and it’s a bit of a fine line where it’s a bit of both. you sort of have to find your own way into their movement. i often find that a real tricky thing with teaching technique is being the model of the movement that you’re teaching. bevan replies: i think as a dancer it’s a lovely experience to try and dance like someone else because you actually feel different. bevan concisely presented a way for me to re-evaluate the dual benefits of replicating movement and deliberately exploring the movement to define one’s own personal movement style. i agree with bevan and respond that i get a similar feeling of accomplishment if i see someone do a movement that looks good. if i can do the movement like them it and feels good “its like: oh wow, i’ve found a new way of doing something”. i further note this paradox in my teaching where i like to encourage autonomy and self-thinking and critical thinking and yet at the same time i think there’s a real need for a certain amount of ‘let’s do it 92 exactly like this’. bevan agreed, observing that it is important for maintaining specificity in movement: cause i’m quite non-specific, you know, i’ll just fly around with my arms if i can get away with it until i remember: no. so how does somatics fit in there? maybe if somatics at the beginning of class, that sort of approach, can get me slightly more in my body . . .a bit more fluid in my own movement, then i could actually utilise that introspection and …awareness of my balance…to help me when i’m trying to emulate [the teacher’s movement]. knowing that i will be more centred . . . before i try and do these tricky moves that my body doesn’t do as easily as someone else’s. maybe somatics can actually help in that way, you get a bit more into yourself first. from this point we agree that having a deeper understanding of your own movement allows you a better understanding of how to do someone else’s through an awareness of difference. in relation to emulating another person’s movement i mention the idea that; “if you know what you’re doing, you have a choice not to do it and find something else. but if you don’t know what you’re doing, it’s very difficult, you approximate any pattern”. in discussing external modelling and somatic authority with polly, i mention my observation of another person’s way of moving in class. i commented how i found this interesting because this person was doing the movement their own way. i remember pointing out to the class that “she’s really doing the same movement, but she’s really taken a liberty”. i actually preferred her way rather than mine. “to me it looked like more fun”. polly brought up concerns regarding the pragmatics of group learning where the pace of the group tended to dictate how much time or freedom was really available to play with the movement. because we’re dancing as a mass, it’s really hard, because you go: i want to really like indulge in this, but everybody has kind of moved on. polly also identified a difference in her experience between mimicking the teacher in terms of a traditional technique class and being asked to find her own interpretation through the movement. in the past like i tend to feel like i’m just mimicking the movements that i’ve seen before me. but when you said something about integrating it throughout your body, it was like: oh well this is what it feels like to actually initiate with this part but have a flow on through the rest of your body. because i tend to 93 look at the teacher and go: okay, yeah, that’s what i’m doing and just kind of mimic the movement. at this point our conversation moved on to the wider perception of the value of somatic education in tertiary dance training, which will be addressed in a later section. summary of somatic authority the most important realisation to come out of this theme is the need for balance between fostering self knowledge and self authority through: (a) encouraging students to engage in their own way of moving while my movement acts as a reference, and (b) encouraging students to replicate movement to challenge their usual way of moving. interview and journal data revealed that some students experienced a sense of frustration with the different pedagogical approaches, yet it also revealed new ways to value these pedagogical approaches. bevan clearly articulated his pleasure and sense of achievement from learning to accurately replicate someone else’s movement. “i think as a dancer it is a lovely experience to try and dance like someone else because you actually feel different”, which is perhaps an indication of learning. the lesson to be learned from this theme is to value plurality of pedagogical approaches. atm lessons without some form of visual representation may disadvantage some students, and self authority in technique class can be encouraged through replicating an external model and individual exploration of a set phrase. relationships to ballet and yoga in their journals, some students identified a relationship between their learning in somatics and their daily experiences in ballet and yoga classes. i therefore feel it is significant as an emerging theme in this study because it brings up the notion of transfer of learning from one instructional context to another. from reading the interview transcripts and 94 journals my sense is that ballet and yoga provide a familiar and stable context into which student can bring new awareness and learning. yoga: “i simply had an intense internal focus” amelia lou, lucia and polly described their experience in yoga as “stronger, easier”, and revealing movement they had not felt before. amelia: in yoga today i found it really easy to reach a state in which i was working hard and concentrating on how my body was moving. i discovered that my right hip grips a lot more than my left and maybe being conscious of that is the first key to correcting it. lou: “my alignment seemed improved, therefore i was stronger and more resilient usually i feel quite weak”. lucia: after technique class i had an incredibly intense yoga session. it was very interesting, as the teacher wasn’t pushing me; i simply had an intense internal focus and drive. my poses and movement between poses felt very pure, defined and clarified in my mind and body, i’m sure this was due to the successful technique class. i think also it is a lot easier to integrate somatics into yoga in comparison to something like ballet. polly: when i did yoga at home at night it felt different to the session i had done first thing in the morning. i was more aware of the position of my pelvis, the way my weight was distributed and the movement of my weight. these comments show each individual’s approach to relating somatics to yoga this week, and the internal focus they were each able to bring to their yoga practice. 95 ballet: “i was using more of the deep muscles to control my legs” amelia, bevan and polly mentioned a reciprocal relationship they noticed between their learning in our contemporary technique class and their ballet classes through the week. on friday, bevan indicates the ballet class actually helped prepare him for the contemporary class. ballet class first, really good class. i think it worked to stabilise me during your class quite a lot. during the later parts of the class i felt a great sense of widening and softening in my plies after the hamstring centred beginning, also the battements were free however as i said i had already done a ballet class also. here bevan noted that the contemporary class provided the clearest integration of somatics he had felt, but also suggested but that it might have had something to do with the ballet class prior. as a teacher it is helpful for me to see students make reciprocal connections between somatics and other classes and that a particular focus in ballet may help them in somatics as well. amelia and polly found relationships between their internal sensations of somatics and understanding technical principles of ballet. amelia noted that: i think that i’m beginning to work with transferring things from one part of the body to another…in ballet, when we were doing grande battement i was thinking about putting pressure, keeping that leg stable and be open … it did open up my hips amelia referenced an integration of alignment in her journal on wednesday. i became calmer in ballet and regained that connection between mind and body. i began exploring a feeling of correct alignment rather than tucking my pelvis into the right position. i used my feet to create this stability and i instinctively knew what felt correct because it released superfluous muscles. but then i got confused about which muscles i should use for turn out and how hard i should grip them, so a new thing to be confused about. the highly technical demands of ballet require fine kinaesthetic distinctions moving and organising oneself to achieve an ‘ideal’ technique. for many dancers this is exciting, frustrating and confusing. nevertheless, as amelia indicates, it is possible to rely on internal sensory feedback as well as external models to improve understanding of technique. 96 polly describes a direct transfer of learning between contemporary and ballet i went to ballet today after the class this morning and was able to put into practise some of the stuff we’ve been learning over the last couple of days. it was really nice to use it within another setting, and know that i can access those feelings. on wednesday polly experienced a sense of frustration, tiredness and difficulty with somatics and contemporary class, however she was able to notice positive sensations in ballet afterwards. my ballet class went quite well despite this first class. i was able to apply some of the things from the first two days and it gave me a greater sense of freedom in the hip sockets. my pirouettes were really good on both sides, which was great because on monday i was having real trouble to the left with weight placement etc. i felt i was using more of the deep muscles to control my legs in tendus, grande battements etc with much less gripping in the quad. on friday polly provides detailed somatic descriptions of her sensations in ballet and her learning through the week. in ballet i again tried to have the sense of verticality with less muscle involvement. i found i could do this and my legs are a lot more free, and i was more secure. during an adage exercise at the barre i was able to perform the grande rond de jambe (which i usually find quite hard due to quads gripping) with ease and fluidity without disrupting my ribs or gripping in the quads. it was quite a different experience and it allowed me to remain more relaxed up top. my grande battements also felt better. in the centre my pirouettes were very secure on the whole and i was able to perform a double and control the landing. i also did an arabesque turn on both sides, which i normally struggle with. i was simply concentrating on remaining vertical and using both sides of my body equally and remaining square. summary of relationship to ballet and yoga from the students’ language it is clear that somatics provides a strong link to both ballet and yoga. it seems that the strongest relationship between ballet, yoga and somatics is the deeply felt sensations that students are able to apply between two different contexts. for me i have learned to perhaps ask students to notice or identify relationships between their learning 97 in a somatics class and other classes they may be entering into during the day. i feel this is important because as bevan noticed this relationship can be reciprocal. perceptions of somatics in tertiary dance training this theme is comprised of the following sub themes: external pressure; contrasting traditional dance training, and curriculum issues. student perceptions of somatic education in relation to tertiary dance training ranges from issues of peer competitiveness, to resistance to new ways of learning and critique of tertiary training structures. 98 external pressure: “not comparing yourself to anything” as second year students amelia and lou mentioned that somatics helped give them a more internal understanding of themselves in movement and that this helped buffer superficial competitiveness between students and judgement from tutors. in these instances amelia used somatics as a coping strategy. i focussed on my body and what was happening in my body. i try not to let my mind get too clouded. because also i think it’s really hard to be in an institution in as far as you get a lot of judgement around you. you’re looking at other people and start thinking they look great and comparing yourself, or even people putting you down. there’s a lot of that kind of stuff . . .. within classes. i think it is really just focussing in on yourself and not comparing yourself to anything else that’s laying around. lou expressed a similar concern when asked how she would describe the value of somatic education in relation to her dance training. now i perceive it as an extremely useful thing. i don’t think you could have a course in dance… and not have that as part of it, because i think that would be really shallow. it’s superficial without it. i ask if she has always felt that. no. not until recently. i mean i guess i did feel a little bit that way last year, but then i started doing this high level technique stuff and it’s got really a little bit competitive and . . . what we’ve been aiming for i think it’s a bit wrong. i don’t think technique is the most important thing. but you get sucked into feeling that way anyway sometimes. this finding surprised me, as i had not considered the competitive aspect of tertiary dance training in relation to somatic education. contrasting traditional dance training: “what is this stuff?” during the interviews we talked about the place of somatics within tertiary dance training and how it may seem at odds with traditional ways of approaching dance training. i mention that when i first came across somatic work i was quite sceptical and did not understand it. 99 it took me quite a lot of time to actually acknowledge and see the relevance, and that only came through basically giving myself chronic back pain which is why i became interested in it. amelia, polly, lucy and john all mention a similar resistance to, or confusion about their first encounter with somatics. amelia notes that: i’d say there’s a definite division in my year class – there’s a definite division between people that would love that, and there is a certain group…and they’d just go: what is this stuff? i think most of us had to make a switch last year and knowing that what you’re doing is fine, you can dance, but if you look inside yourself you’d see there’s other ways to do things. we didn’t want to disrupt what we had. it’s like we had to cling on and say: ‘i can do this’ and didn’t want to look deeper for fear that we’d find something that wasn’t right. it is sometimes a concern amongst dancers that by taking up a ‘softer’ approach like somatics that they will lose all their hard earned technique. i feel part of the responsibility of somatic educators is to emphasise that by adopting a plurality of approaches to improving all movement, students can actually enhance their dance technique. often dance students feel that privileging technique is the best way to improve dancing. polly and i discussed this issue in our interview. in her second year polly questioned what she was achieving by going at 100 miles per hour all the time. is my movement changing? am i achieving those goals that i set out? why don’t we step back a bit and try these other approaches? i don’t know what clicked in me that made it different. i don’t know whether after a year of dance training and being exposed to it [somatics] a little bit and then having yoga and other bits and pieces given to you over the time, whether you suddenly develop that awareness of yourself. because i don’t know whether i was probably that open to it. maybe that was what was wrong when i first started here because i thought that dance school had to be dancing all the time. maybe i wasn’t open to the fact that you can actually learn from just lying on the ground and you know being aware of different things. as a professional dance practitioner lucy recalled her initial tertiary training and how she found the new sensations of somatics confusing in an amusing sort of way. “the teacher taught quite a psychological approach to somatics i thought. i would often walk away and not be quite sure … --what the fuck we were doing, but that seemed okay. it seemed relevant. 100 john also recalled his early experiences and how he now continued to explore somatics in relation to his choreographic process. i asked him if he had a different perspective on somatics in tertiary dance training now he is working professionally. yeah. i think so. i think… probably since about half way through third year to now, i feel like i’m a bit clearer about the lines of investigation that i’m following. in maybe first and second year there were so many pieces of information and there wasn’t such a conscious understanding, philosophically or historically or experientially … the thing about feldenkrais for me is that it’s not quite so narrow as maybe. [some other ways] of working. feldenkrais has the potential for disorienting and for taking out habitual ways of thinking and… that feels quite good… it feels like there’s like more possibilities there. curriculum issues: “there’s a lot to learn about standing, sitting and walking” there were different perceptions of how somatics fitted in with the overall course structure in this institution. reflecting on his experience from the past three years bevan noted that. we didn’t do any feldenkrais in school. i should just say that. but, i think it’s very valuable. there’s a lot to learn about the standing, sitting and walking, before you do too much dancing otherwise things get tricky, so it’s very important. because of the way this course is structured and you have all these extra outside classes, some of which aren’t as valuable, a bit more somatics would be good. bevan raises what seems to be a curriculum issue. the balance between theory and practice is an area of discussion and within that there is debate around the type of practical disciplines being offered. often students are fearful of not being able to realise their full potential if their technique classes are reduced or compromised. this is often compounded if students have started their dance training in their late teens or early twenties and may feel they have a lot of catching up to do. amelia described the value of somatics to her dance training during somatics exercise last year i think we were doing body mapping or something like that, and i realised that one of my hips was higher than the other and that’s something i’ve been kind of realising more this year. and just questioning maybe why is it like that? just being able to feel more what’s happening. i never think of the back of my body and i began to think about that and that actually helped the most with my pelvis because when i came back fresh from being able to relax my muscles so much over summer, i started to think about creating that through the back of my spine and feeling the back of my body rather than the front of my body and suddenly everything 101 came into alignment a lot more and i found that i could that i felt a lot stronger in a lot of places. and that definitely stemmed from a somatics thing, that at the time didn’t seem to make any sense to me at all. in continuing to talk about the implications of daily practice, i mention that i notice a difference in my movement if i do not have time to work in the studio each week. amelia responds: yeah. even letting this kind of work – the somatic work inform my study rituals that i need to do… half an hour after school, and then do… maybe the stretches or things that i was doing at that stage, that i’d get so much more out of the day. i just knew i’d get so much more out of the day in comparison of getting up late and just coming in to stay in the class. because i wouldn’t be at the right state. just doing the exercises by themselves is not really going to help really. amelia recalls her early experience of somatics in her tertiary training and the relationship to improvisation and choreography courses. she describes this relationship as a way to experience new ways of sensing movement through her body: we discovered… in our choreographic classes that if we did some improvisation before we started choreographing… that things that came out were just so much more interesting… compared to if we didn’t do any improvisation, our minds weren’t in our bodies. we weren’t able to think as far as physical bodies in space. all we could think that it was a different part of consciousness almost. but when we improvised to begin with, it was like all this experimental stuff came out from a different place. so that’s what i found in releasing last year, but i guess that’s somatics isn’t it? and i found that great for experiencing these things in my body. i found that really, really good. my discussion with bevan also touched on a different relationship between somatic practice and choreography. criticism of somatics in tertiary dance training has suggested that some recent student and graduate performances have been too introspective and that the influence of somatics on choreographic practice has resulted in a diluted performance quality that alienates audiences (schultz 2000). bevan disagrees with this view stating that: as an audience member i don’t know, sometimes you can see those really simple choreographic things which have come from… a place which seems to be really somatic-based. as an audience member i’ve seen that some of the choreography that other people have done, i think that’s not to do with somatics. for me that’s to do with… just taking on the aesthetic of certain postmodern dance choreographers or whatever . . . so i think it just comes as part of intensively learning one medium for expression. i went through it in first year, just questioning the dance, it’s so garish, it’s so… what we’re trying 102 to do is we’re showing off … how we can do things on stage and why do we want to be up there in the first place? are we saying anything? it’s such an uncommunicative medium in, sort of little terms, and so that is where somatics for me is really important in choreography and performance of dance, so you can be more communicative. bevan implies that through a deeper understanding of self it is possible to build and question a deeper understanding of the relationship between dancer and audience. summary of perceptions of somatics in tertiary dance training over all student perceptions have revealed three important things emerging from this theme: (a) by diminishing peer competitiveness and institutional pressure, somatics can empower these dancers to rely on their own perceptions rather than other peoples’, (b) somatics can foster students’ internal understanding of themselves in movement and prepare them for deeper engagement in learning and (c) somatics can invite students to question relationships between different ways of learning. to sum up, the findings emerging from this theme suggest that these students find somatics to be a useful way of bringing attention back to personal ways of embodying movement, and increasing self knowledge within choreography and technique. as john says “it feels like there’s more possibilities there”. 103 chapter six: discussion objective thought is unaware of the subject of perception… all knowledge takes its place within the horizons opened up by perception (merleau ponty, 1962, p. 207) the aim of this study was two fold: firstly, it aimed to investigate student perspectives of learning in the integration of somatic education and contemporary dance technique, and secondly it aimed to conduct teacher research in the area of somatic education and contemporary dance technique. this chapter commences with a critical and reflective discussion on the constructivist methodology used in this inquiry and then addresses the major issues related to the research questions. the analysis of the seven themes that shaped the results are discussed in relation to the literature under the following headings: constructivist pedagogy and dance technique, socially constructed bodies, somatic authority, binary concepts in teaching and learning, the difference between pre-professional and professional dancers, and the integration and transfer of somatics and contemporary dance technique. reflective discussion on methodology in reflecting on the relationship between the qualitative methodology of this study and my understanding of participants’ experiences of somatics and contemporary dance, i see the epistemology of this study not as lens, but an entry point allowing me to access constructivism and participatory consciousness as ways of knowing. in light of this, i would 104 like to clarify my epistemological position in this inquiry. while i previously used the term lens to describe my theoretical point of view in this study, i now would like to revise this notion. to view this study through a particular lens implies that i am behind the lens or outside the window, to use another metaphor. a lens implies an object between the phenomena that i seek to understand and myself. by avoiding the use of the word lens i now place myself within this study and not as an outsider looking in. this emic perspective enabled me to somatically immerse myself in participatory consciousness, a mode of being that heshusius (1994) sees as a way of allowing the researcher to enter into a somatic quality of attention while building a sense of kinship with their inquiry and learning to let go of the notion of self as separate. in short, the best way i could come to understand participants’ and my own participation in these classes was to enter into a process of shared experience through teaching and learning. constructivist pedagogy provided the method by which the participants and i experienced the integration of somatic education and contemporary dance technique. my understanding of their experience was constructed through interactions between them and myself. the reconstructions of experience presented in the analysis chapter “do not exist independently of the knowers’ involved” (ockwell, 2001, p. 78). my way of understanding participants’ experiences in these somatic and contemporary dance classes has only emerged through our shared constructions of experience specific to these moments in time, place, and space. this theoretical position allows the inquiry to ‘refine perception and deepen conversation’ (rorty in ockwell, 2001), thus also promoting different ways of understanding peoples’ experiences of somatic education and contemporary dance technique. 105 constructivist pedagogy and dance technique this discussion of constructivist pedagogy and dance technique is comprised of the following sub headings: the language of experience, the pedagogy of atm and dance technique, and the historical context of the teacher centred dance class. a common tenet of somatic and constructivist epistemology is that value is given to the lived experience of the individual and that individuals’ active relationships with the world are integral to the construction of awareness and knowledge. in this study, i found constructivist pedagogy to be an effective method of gaining insight into student experiences of awareness and learning in the integration of somatic education and contemporary dance technique. however, as will be revealed in the ensuing discussion, within this constructivist pedagogy, different learning styles and teaching responsibilities within the classes meant i would sometimes adopt a teacher-centred approach to teaching. consequently within these classes i was required to manage different learning styles and utilise some “non constructivist” (howe & berv, 2000) approaches to teaching and learning. howe and berv (2000) argue for a pluralistic approach to constructivism in education, advocating how “constructivist pedagogical techniques may be undergirdled by a decidedly non constructivist epistemology and visa versa” (p. 20). thus from this perspective, epistemological positions and pedagogical techniques are not always exclusive. howe and berv (2000) cite the essence of constructivist epistemology in relation to kant’s argument that “a conceptual scheme without sensory data is empty, and sensory data without a conceptual scheme are blind” (p. 21). in relation to students enhancing their learning through making sensory motor distinctions about themselves in movement, and the schema of the dance technique class, kant’s viewpoint is pertinent. i argue that in contemporary dance technique, technical dance steps devoid of sensory awareness become empty and exclude the self from the dance, on the other hand, over valuing sensory awareness at the expense of technical 106 schematic function may lead to a type of introspective nebulous movement. according to howe and berv (2000) there is reciprocity between our ability to utilise and make sense of both sensory data and conceptual schemes. sensory data cannot be considered as raw anymore than schemas can be considered as pure as each only has meaning in the construction of experience (howe & berv, 2000). in relation to this research, students’ experiences of new sensation in an atm lesson and any subsequent interrelationship with dance technique are interdependent. somatic principles devoid of a relationship with function are somewhat spurious. the language of experience this interrelationship between sensory data and conceptual schema is significant as students learned to make sense of their experience in the atm and dance technique sections of class. the representation of students’ experience in this case was through the language of class discussion, interview or daily journals. howe and berve (2000) further elaborate the relationship between language and experience by drawing upon the ideas of wittgenstein who claimed that the meaning of sensory experience was interdependently associated with linguistic construction (howe & berv, 2000). wittgenstein, according to howe and berv took the position that “there are no raw sensory experiences…that exist prior to linguistic constructions” (p. 23). this position is preceded by the notion that the linguistic communities into which we are born are saturated with cultural, historical, and social dimensions and these dimensions determine the linguistic resources and practices available about which we have no choice but to learn (howe and berv, 2000). because we as humans rely so much on language, we might also say that language both creates and limits our experiences of our world. although language is the vehicle by which we construct meanings about our learning, our interpretative ability to express our sensations in movement is limited and in this case the limits of language can only approximate the essence of our experience. shusterman (2000) 107 suggests that often our experiences in movement are beyond the level of language and that this experience is pre-linguistic. “some of the things we experience and understand are never captured by language, not because their particular feel defies linguistic expression but because we are not even aware of them as things to describe” (p. 136). in the context of dance classes fortin et al (2002) comment on how the dualistic cartesian nature of language prohibits our ability to convey a sense of “wholeness of experience” (p. 26). our sense of ontological self is socially constructed through our own experience not only in language, but also through the social interactions and environmental influences that shape our movement. shusterman (2000) argues that individual styles of talking or walking do not simply diverge from, but are developed through shared social practice of speech and bodily action. not only language, but even the precise style and patterns of our muscular movement are learned in a social context (p. 211). in teaching and learning, the multiple relationships between sensation, movement and language are changeable (although in teaching, i am endeavouring to teach movement and not experience). as richardson (2000) notes, “styles of writing are neither fixed nor neutral but reflect the historically shifting domination of particular schools of paradigms. social scientific writing like all other forms of writing is a socio-historical construction and therefore mutable” (p. 5). in these classes the atm section was taught primarily through linguistic instruction while the dance technique was taught through both linguistic instruction and visual demonstration. the interview and journal data demonstrated that each participant experienced the atm lessons differently according to their own learning styles and previous movement history. the pedagogy of atm and dance technique if we take the view that education is primarily about questioning our values and the way we live in the world, then what does somatic education contribute to understanding our values and ways of moving in contemporary dance technique? i believe part of the answer is in the 108 distinction between ontological and epistemological ways of knowing. by this i mean the distinction is between the process of our lived experience and constructions of knowledge that inform our lives. thus i see ontological knowledge as the experience of the world that comes through the essence of oneself, a notion that auserwald calls “the experience of ontological freedom, of pure being (with a capital b)” (auserwald, 1995, p. 455), while epistemological knowledge is understanding that comes through theory of knowledge (von glasersfeld, 1995, p. 5). in the context of arguing for a critical pedagogy shapiro (1998) makes a case for this relationship in stating “the shift from epistemologically orientated knowing to ontological reasserts the connection between education and the reality one lives” (p. 17). throughout its historical evolution, the teaching of dance technique has primarily been epistemologically based through various theories of dance based knowledge. dancers have subsumed much of themselves to the demands of choreographic vision or technical style (stinson, 1998). the findings of this study revealed how dancers’ understanding of technique related to their exploration of relationships between their own awareness in movement and the demands or constraints of technique. the pedagogy of the class alternated between more ontological based learning in the atm and a more epistemological based learning in the dance technique section. the aim of learning in the atm is more centred on investigating the self through movement. in this section of class, each person’s own body becomes their sensory reference point for learning and making distinctions through questioning their own perceptions of movement. a more social environment typifies the dance technique section, where the ontological process of the atm is integrated with the external process of learning through reference to another body (either the teacher or other students). the dance technique part of this class addressed the relationship between the self and the content knowledge of the dance technique. this relationship between ontological and epistemological knowledge forms a reciprocity between 109 the dancer self and the dance technique. in this study i see this reciprocity as a dialectic tension to be managed by both teachers and students in the course of the dance class. the tension is between constructing a deeper knowledge of oneself in movement and how to integrate that knowledge within the functional demands of dance technique. the atm and dance technique sections of class meet with the transition section which acts as a bridge to link the private world of atm experience with the social or shared world of the dance technique section of class. here, the students are asked to form relationships between the sensorium of their atm experience and the schematic demands of the dance technique class. arguably ontological knowing also relates to a somatic way of knowing through the primacy of lived experience. in these classes ontological knowing was promoted through atm before the epistemology of contemporary dance technique. shapiro (1998) poignantly reminds us that teaching is not value free, and the same can be said for this research, which is laden with my personal values, beliefs and experiences about movement and teaching. part of my value system is a belief in advocating the primacy of perception and experience as a source for learning about ourselves in and through movement. as a facilitator i am aware that my values influence the way i shape my teaching practice. in these classes i felt my role was to provide an environment where the relationship between students’ own learning and the demands of my idiosyncratic dance style allowed them to find a middle ground or even question the events in class. in the video data i clearly articulated this as i invited students to interpret my movement. so don’t be afraid to grab this stuff and make it fit your way of doing things, because this movement is only idiosyncratic to me, it’s not a universal technique. it is just my idiosyncrasies that you are having to put up with so the best you can do for yourself is to fit them into what makes sense for you. so don’t feel you have to do it like i do it, because when i saw lucia doing it i 110 thought it didn’t look anything like what felt i was doing, but i thought, wow, i would like to do it like that, because there is another interpretation. mazy revealed that the opportunity to question my ideas occurred for her when she offered comment on her perception of the spinal roll and warm up exercise. bevan and lucy also commented on the relationship between the somatic section of the class and the dance technique section. these students’ comments in class and later in the interview inspired me to question not only the mechanics and intentions of my movement but also gave me insights into different ways of structuring the classes. howe and berv (2000) suggest that in a constructivist pedagogy “the constructivist educator must actively promote a fallible view of knowledge by inviting critical perspectives to be brought to bear on these schemes” (p. 36), which must occur against a background of shared meanings between learners and educators. from the perspective of shared meanings i advocate both student-centred and teachercentred approaches to teaching dance technique and the promotion of fallible conceptual schemes that engage students within the learning environment. my experience in this research has revealed how aspects of my teaching philosophy failed to explicitly account for a duality of both teacher-centred and student centred-learning in dance technique. bevan articulated the value of somatic ways of learning and the value of teacher-centred learning as being equally useful for him in assisting and changing his way of moving in dance class. amelia, lucia, lucy and polly also found a way of coming to terms with finding their own way through the movement and replicating an external or teacher-centred model. polly’s connection came through relating her own experiential process to the language i used to describe an action such as kicking a soccer ball. polly’s logical association with this was to bring it back to her own experience when she stated, “oh i can do that”. for polly this signified a meeting point between her previous concrete experience in a familiar activity and a puzzling abstract movement she saw me demonstrate. in demonstrating this movement, i was using a teacher-centred approach. i was clear that i wanted it performed a certain way and i 111 was attempting to provide lots of cues for students to latch on to, to refine their initial approximations in executing the movement. historical context of the teacher centred dance class the learning of dance technique has traditionally relied strongly upon teacher directed and prescriptive criteria that is often seen as being external to the dancer as a person. according to green (2001) this leads to a “view that tends to objectify the dancers’ body and requires students to achieve a specific ‘look’ while being corrected so that the students perform proper dance technique” (p. 157). in this thesis, several students related their experiences of teacher-centred approaches in other dance classes and even their own aspirations for learning using the teacher’s approval as gauge to determine the level of their progress. amelia and lou both referred to their personal experience of struggling to come to terms with external ideals or a ‘certain look’ at some point in their dance training. in the teacher-centred approach, which in its most extreme form can be abusively authoritarian, the “student has already consented to being in a situation in which he or she is usually attempting to replicate as perfectly as possible the example and the demands of the teacher” (smith, 1998, p. 128). contemporary dance technique is closely related to choreographic practice. indeed it can be argued that technique and choreography are reflective of the paradigm shifts that historically have signified the changing values of the art form. historically early modern dance techniques evolved simultaneously with individuals pioneering new choreographic styles, while seeking to establish new canons or reject old canons of dance practice. early pioneers of modern dance such as lois fuller, ted shaun, mary wigman and others played an important role in the development of dance vocabularies to realise their choreographic processes. later, particularly in north america a number of artists developed stronger links between their choreography and dance technique. often these 112 artists evolved their work to “express particular concerns around modern social issues and eventually opened schools to teach their eponymous technique” (fortin, 1998, p. 61). modernist choreographers such as merce cunningham, martha graham and jose limon espoused specific technical and aesthetic ideals around movement and the dancing body to support their particular vision of modern dance. the pedagogy of this early modern dance work was often teacher centred as dancers strove to realise the ideals of the particular technique they were learning, through copying or challenging their bodies to meet the movement ideals and technical ability of the teacher. in the dance classroom, smith (1998) sees this as an ideal environment to foster authoritarian behaviour yet also appropriate for a form of choreography that “involves a process in which dancers become the material for the choreographers work” (p. 128). rejection of these modernistic ideals around dance occurred with the postmodernism of the judson church movement where value was given to a plurality of dancing bodies and different ways of questioning, deconstructing, and politicising the body through movement. “the judsonites rejected all orthodox approaches and considered all types of movement as possible material for dance” (fortin, 1998, p. 62). this way of thinking also gave rise to the potential for a shift away from the choreographer/teacher being the source of movement knowledge and encouraged a deconstruction of codified techniques. although many choreographers from this period developed idiosyncratic or signature styles of dancing they were distinguished by their particular philosophical approaches to exploring their genre rather than conforming to or creating rigidly stylised vocabulary of movement. currently within contemporary dance academia and the dance profession a wide range of stylistic approaches do exist that represent traceable roots to both modernistic and postmodernist ways of dancing and teaching. somatics is also increasingly finding its place 113 as a catalyst to contribute to both the professional and academic milieu where it can in part answer “choreographers’ specific demands for highly skilled but not stylised dancers” (fortin 1998, p. 63). despite this current situation emphasising the value of somatics in the contemporary dance milieu, there are also noteworthy cautions. brown (2001) suggests that caution may be needed in investing too much in ‘recent waves of intelligent dancer practice” (p. 23) where the “emphasis within the contemporary dance community upon the ‘knowing body’, a body fluent, effortless and released and informed by somatic disciplines, retains an almost modernist formalism and purity …”(p. 23). i agree with brown, and it has often been a criticism, as well as my own experience, that somatics can sometimes result in a stylised ideal way of moving in and of itself, devoid of any functional relationship with ways of being in and interacting with the world. ironically this defeats the essence of most somatic practices, which are concerned with bringing movement back into function. socially constructed bodies in her article “socially constructed bodies”, green (2001) addresses “body power and pedagogical issues in relation to a study in dance education”(p. 155). using theories of foucault (1972), green discusses empowerment as a pedagogical approach in relation to notions of docile bodies and power relationships. in particular green suggests that it is common for dance educators to idealise the notion of empowering students and this belief itself may actually constitute an act of imposition or even disempowerment upon students. she explains that: particularly in modern dance, educators and artists often believe in dance as a liberating experience and teachers often focus on offering students access to an ability to free themselves through movement. yet dance teachers do not always attempt to be self reflexive regarding the ways the student dance body may be mechanised or habituated into an ideal form that represents the 114 teacher’s learned belief system and presumed ideas about what the body should be and do (green, 2001, p. 156). green’s claim strongly suggests a need for a reflexive practice on the part of dance educators to move away from a teacher-centred model and begin to value more diverse and inclusive models of dance teaching. both smith (1998) and green (2001) argue that the teacher-centred model creates docile bodies where “surveillance is a key disciplinary tactic in forming and controlling the docile body” (smith, 1998, p. 131). in this argument the dancer’s body is constructed through adherence to the discipline of dance technique, where change and improvement is always regulated and acknowledged from an external source other than the self. this constructed body according to foster (1997) is a body constructed from specialisation in one particular technique and representative of a “given choreographer’s or tradition’s aesthetic vision of dance” (p. 241). fortin et al (2002) argue that foster’s definition of the constructed body “neglects the dancer as a subject of their own construction when she stresses the roles of the training, the choreographer or the teacher, as being responsible for constructing the student’s dancing body” (p. 27). indeed the social expression of dance and dancing is always lived by the individual dancer in their experience of the world. dantas (2000) takes this further in suggesting that a person’s lived experience remains unique to their identity no matter what activity they are engaged in. fundamentally we remain the same person regardless of our experiences, whether dancing or walking down the street. i would argue that the pedagogy of valuing the docile body is also (ironically) idealised by many dance students at some point in their training, where a sense of accomplishment is signified by an external model or aesthetic and the satisfaction of ‘getting it right’. i know the notion of getting the technique ‘right’, was certainly something i aspired to achieve in my technical training and professional career. the data revealed that technique was also an issue 115 for students in this study as well. nevertheless, fortin et al (2002) challenge this view in asking; “just as aesthetic authority seems to be encoded in our bodies through our training, can it also be challenged by it? can somatics be used as a way to resist the situation portrayed by foster?” (p. 27). if the body is subjectively inscribed by social and cultural meanings and values, is it also the site for the playing out of socially and culturally constructed power relationships? the notion of ontological self becomes an important plexus through which these relationships of power and social and cultural inscription take place. shusterman (2000) further affirms this stating that: … recent philosophy reveals the body’s crucial role for ontology. just as maurice merleau ponty explains the body’s ontological centrality as the focal point from which we and our world are reciprocally produced, so analytic philosophy examines the body as a criterion for personal identity and as the ontological ground (through its central nervous system) for explaining mental states (p. 141) thus according to shusterman, the ontology of body is central to our interactions within the world. rather than resist the docile body, dancers can learn through somatics to take authority over how they construct and even transform their individual bodies within the context of many different (socially constructed) dance styles. thus they can learn to balance the notion of a constructed body with internal and external values. students’ perceptions from the data reveal an exigency for perhaps both ways of learning and constructing their dancing bodies to co-exist somehow. one way that students may come to terms with both their own constructions of learning and the stylistic demands of dance technique is through the notion of somatic authority (green 2001). somatic authority in contrast to an authoritive pedagogy that values the teacher as the oracle and the student as the recipient of knowledge, a pedagogy informed by somatic authority values 116 students’ ability to make distinctions about their learning based on constant attention to somatic awareness. from this perspective i argue that the point of students’ learning evolves around an ability to distinguish changes in proprioception based on an internal kinaesthetic sense as opposed to corrections of position based on an external aesthetic ideal. in this instance the external aesthetic ideal may be perpetuated not only by teacher or stylistic centred notions of correctness but also competitiveness amongst peers. both lou and amelia noted that there was plenty of opportunity for distraction away from a personal sense of self in their year group, which they both perceived as being unhealthy. the wider implication of this external aesthetic is also political2. arguably in a teachercentred dance technique class the dancer’s body becomes a docile body and in fact dancers are actually encouraged to strive towards an external ideal of technical perfection that in effect removes the somatic self from the learning process. amelia describes an extreme case of this disempowerment when she was rejected by the elite school she was attending in spain. despite her ability as a dancer, amelia’s body did not meet the required norms for a young female ballet student because her “hips were too big” at the age of nine or ten years old. notwithstanding this earlier setback, amelia shifted focus in her tertiary training and eventually brought her attention back to perceptions of her hips through felt sensation and recreating her knowledge of her pelvis through touch, visual representation and attention to awareness of herself in movement. amelia was now starting to differentiate and act upon the difference between what she had been told, which influenced a big part of her self image, and what she was now coming to know. i feel that amelia was starting to reclaim some of her somatic authority. 2 in an article in somatics the magazine journal of the mind/body arts and sciences, johnson talks about psychological and somatic approaches to body image and notes that reich, in his studies of fascism, discovered how the influences of body image reaches as far as political systems (johnson, date unknown) 117 in a different way lucy found an avenue to claim somatic authority over her own body as a result of misguidance from and her disillusionment with the medical professions’ inability to address what was important to her when she had injured herself. for lucy, it seemed that her injury had created a constraint through which she developed this new way of thinking that had also resulted in a different way of perceiving her own body and the value of movement in her life. this discussion around amelia and lucy’s experience of external expectations and the body self also highlights the tension between ontology and epistemology and the wider relationship of the self to the reality of one’s life. here i find that shapiro’s (1998) view, echoes something of both amelia and lucy’s experiences: the body in feminist and postmodern theorising comes to be seen as the personal material on which inscriptions or particular discourses of the culture become embedded. to read the body in dance is to see the values of the culture from whence it comes. in western traditions the body in dance is discussed in term of size, shape, technique, flexibility and life (that is of the body). it is a biological and physiological object (pp. 14-15). both amelia and lucy through adversity had rallied against objectification of their bodies through constraints of medical and pedagogical dominance. amelia found her own way back to dance through reasserting her own values and lucy overcame her ongoing frustration with a lack of diagnosis around her injury. they had each reclaimed an individual and uniquely personal sense of somatic authority through reconstructing their knowledge and beliefs in and through their bodies. binary concepts in teaching and learning one of the central issues between teacher authorship and an individual self authority of learning is the distribution and enactment of power relationships. foucault (1972) sees power as relational rather than absolute. it is something to be exercised rather than something one 118 has. in this way power is a potential to be acted upon. as such it is the intention of the action that determines how the power relationship is played out. in a teacher-centred dance class, teacher authorship of student achievement is foreshadowed by the teacher’s vision of what the steps should look like and how the dancer’s body should be moulded to fit the steps. this is often realised through the teachers themselves being the model to be idealised or replicated. dancers have to conform regardless of gender, cultural context, body type or ability. in a somatic dance class, student-centred authorship is encouraged, and the teacher ideally acts as a facilitator to support students to create distinctions about understanding themselves through movement. the idea here is one of transformation from one way of knowing to a new way of knowing, rather than adaptation of the body to an external ideal. despite the ideals of somatics, i believe that sometimes there is discrepancy in the selfauthority encouraged in atm lessons and the pedagogical method of teaching. on one hand students are encouraged to participate at their own level, rest when they need to and bring their attention to their own observations and sensations through movement. on the other hand these students are lying on the floor as they follow the teacher’s language of instruction where the goal of the lesson is more often than not deliberately hidden (so as to encourage students to learn from building their own internal representation of a movement rather than adhere to a pre-existing schema). the teacher stands, sits or walks around the class, observing the students following her/his instructions. in this instance the teacher is exercising power over the students. in the atm lesson this is enacted through a physical relationship where the students are at a lower level and in a physically more vulnerable state than the teacher. they are also relying on the teacher’s language as the impetus for learning. when teaching the atm and the dance technique sections of these classes, i was very much aware of the power relationship between myself and the students, while at the same time struggling with ways to subvert that. although this perhaps led to struggle or confusion, 119 i realise now after analysing the data that it is not so much a matter of subverting these power relationships but rather managing the intention behind the exercising of power. smith (1998) recalls an instance when he was teaching movement with a group of non dancers: at a certain point in one class i realised how vulnerable these people were… although i was teaching from a somatic perspective, i used traditional techniques of demonstrating and then observing. when i saw students talking to each other or not fully participating, i got their attention in order to let them know i was always watching. …in short i was disciplining docile bodies under surveillance, commanding and observing them in order to improve them. i was acutely aware of the potential for abuse in this situation (pp. 131132). smith’s (1998) comment rang true for me too in both the atm section and the dance technique sections of class. although trying to promote a constructivist learning practice that evolved out of shared experience between myself and the students, i was often using traditional teacher-centred techniques of modelling movement and providing feedback based on my observations. although my tendency was to be overly sensitive to being teachercentred, the data revealed some positive aspects of this approach that actually promoted a sense of self authority in movement. in the interview process and analysis i learned about the value of the teacher as model. i noticed that in attempting to uphold some abstractedly puritanical belief of somatics i would often be reluctant to impose too much authority on the learning process. yet at times teacher authority does create a schema for new experiences that can be supported by somatic authorship over one’s sensory experience in movement. as bevan observed, one of the pleasures of connecting his own self authority to learning another person’s movement, is to be able to move like someone else and experience the pleasure of feeling different. i also recall how i became intrigued with another student’s way of moving which looked nothing like either the rest of class or my perception of what the movement was, yet this student’s movement maintained the integrity of the original phrase. this student had brought something else that i had not anticipated. i wanted to figure out their way of moving. 120 thus there is need for balance in the interplay of valuing both self authority and teacher authority in these dance classes. as howe and berv (2000) conclude: an epistemological stance that leaves knowledge ultimately stranded on private constructions encourages teachers to become overly cautious about what they can confidently claim to know. this in turn encourages them to be overly timid about challenging students’ constructions of the world, for fear of imposing their own personal view (p. 38). therefore to return to this idea of the shared experience, i have found that the teaching of somatic education within dance technique requires managing the balance between promoting self authority, exploiting useful aspects of a teacher-centred approach and creating a sense of questioning in the construction of knowledge in the dance class. the management of these three areas also requires students to be active and critical learners in this process. in future i feel this may be more readily achieved through actively identifying the differences in learning styles and approaches between and within the somatic and dance technique sections of class and encouraging students to distinguish clearer relationships between their own sense of self in movement and that which they seek to know. the difference between pre-professional and professional dancers the analysis of the interview and journal data revealed differences between the preprofessional and professional dancers. for the pre-professional dancers, perceptions of their corporeal self seemed to bear a strong relationship to their quest for technical improvement in both contemporary and ballet technique classes. the emphasis on technique may be indicative of the culture of tertiary dance institutions, where for many students technical ability may relate to their perceptions of employability. another aspect accounting for a focus on technique may relate to the fact that these students are enrolled in a contemporary dance technique paper and as such they will be assessed at the end of the semester. 121 on the other hand an overly strong focus on technical gratification might present a barrier to some students’ initial experiences of somatics. in this instance, somatics may be seen as irrelevant or wasting time that could be better spent on “dancing full out” as polly initially thought she had to do. as amelia and lou also pointed out, the need for technical mastery created competition that some students found uncomfortable. lou’s following comment has already been quoted in the analysis but serves to illustrate this point. i started doing this high level technique stuff and it’s got really a kind of a little bit competitive and . . i don’t think technique is the most important thing. but you get sucked into feeling that way anyway sometimes. in contrast to this focus on technique, the professional dancers were attending class for their own development. consequently they presented a more reflective view on their corporeal self in relation to technique and to their choreographic practice. for bevan, john, and lucy, somatics provided a way to investigate movement in a more creative and explorative fashion. john’s comments reference the creative aspect of how he uses somatic ideas. i feel like it’s… an avenue for exploration that can lead to movement composition, ... it introduces a … way … to analytically and/or intuitively go further into something that … you might want to then deconstruct or develop. in some ways these differences may seem obvious. it is often the case in tertiary training that the pressures of assessment can impact on what students’ value in their learning process. from my own experience, professional dancers are concerned with their technical and personal development in relation to performance and choreographic practice. this becomes very pertinent given the current artistic climate where contemporary dance practice is signified by many diverse approaches to dance making (brown, 2001; fortin et al, 2002; foster, 1997) that make a variety of technical and physical demands on dancers. the other difference between these two groups is that the professional dancers had experienced a variety of somatic practices from their previous tertiary training and in their 122 current daily practice. as such they were perhaps able to integrate somatics and contemporary dance more easily. as previously mentioned, somatics asks a certain amount of autonomy from students since it values individual problem solving strategies. professional dancers are more used to working in a selfdirected manner in both technique and choreography and as such they may identify more with this aspect of somatic education. somatics therefore provides a window of opportunity for them to engage in a way of working that is resonant of their own daily practice both within and outside of class. integration and transfer according to the shorter oxford dictionary (1972), integration is seen as “the action of making up of a whole by adding together or combining the separate parts or elements” (p. 1088). in previous research investigating integration of somatics and contemporary dance technique from the perspective of the teacher, fortin et al (2002) addressed both integration and transfer of learning. in this previous research the authors defined transfer as the “use of knowledge skills or competencies acquired in one context being applied to a new or different context” (fortin et al, 2002, p. 8), while integration was defined as a “mobilisation of appropriate skills and knowledge to accomplish a complex task within a given instructional context” (p. 17). although integration and transfer are similar, the latter applies to a task “outside of the instructional context” (p. 17). in this current study, the classes were taught through integrating somatic principles from atm lessons within contemporary dance technique. the intention was to create a structure for students to integrate their knowledge and learning of the feldenkrais atm lessons within the more complex tasks of the contemporary dance technique. 123 in light of this there were indications of integration from student’s perceptions of the atm and sections of the dance technique class. from analysing their journals, students’ experiences of integration seemed strongest during the atm and transition to standing sections of the class. the transition to standing section linked movement principles explored in the atm to basic pedestrian movement and simple postural sensations such as weight distribution or skeletal alignment. i find it interesting that although most students recorded sensations of posture and general movement awareness throughout the class, they did not always relate this to particular exercises of the contemporary dance technique. as the dance technique exercises progressed, the complexity of the new movement material may have obscured their awareness for possibilities of integration. the exception was mazy who detailed her sensations about each exercise in her journal throughout the week. as mazy was a professional dancer she seemed to assimilate new movement material quickly (she noted frustration that the class was unable to pick up movement faster) and perhaps had more opportunity to reflect on relationships between the atm lesson and contemporary dance technique. despite the focus on integration in this study, many instances of transfer appeared in the data. one of the issues with somatics in tertiary dance training is that “the early incorporation of somatics into dance programs has more or less relied on wishful thinking, leaving the responsibility of transferring acquired sensory motor knowledge of the daily dance training to the students” (fortin et al 2002, p. 9). according to fortin et al (2002), transfer of learning between different contexts, needs to be cued for it to occur. as presented in the analysis, the data from this study revealed that this was not always the case. data from students’ interviews and journal entries suggest there was transfer from the context of the somatic and dance technique classes into the different contexts of ballet and yoga. as discussed in the 124 analysis, amelia, bevan, lucia, lou, lucy and polly all presented their experience of transfer between these two contexts.3 one possible explanation for this transfer may be that these students had a very concrete somatic experience in the atm lesson. while this may have been difficult to initially integrate within the new technique class, it was perhaps easier to transfer to the familiar and precisely codified vocabulary of classical ballet technique or yoga. perhaps these new sensations became more prominent as students engaged in a form of movement that was almost habitually familiar. in the ballet classes the instances of somatic transfer seemed to help students apply their new sensory experience to a familiar context. observations of transfer between the somatics and yoga may be accounted for in a similar way. in yoga practices, extended length of time spent in postures may allow the opportunity for new sensory experiences learned in another context to become more prominent. the depth of their experiences is perhaps indicative of these students’ ability to draw upon multiple relationships between their learning in the atm and different perceptions about their movement. discussion summary in summarising this discussion it appears that these students valued a variety of approaches to learning contemporary dance technique, however all of them valued the contribution of somatics as another way of knowing themselves in movement. this is not to say that somatics is an exclusive way. as revealed in the analysis, many found the somatic approach confusing and perhaps initially even threatening to their established ways of knowing and understanding contemporary dance technique. however, it seems that somatics integrated with contemporary dance technique in a way that allows for different learning 3 john and mazy, the other two remaining participants did not take ballet or yoga class this week. 125 styles and different pedagogical approaches from student-centred to teacher-centred, can be useful in improving students’ understanding and sensations of themselves in movement. 126 chapter seven: conclusion this study has provided an insight into teacher and student perspectives of somatic education and contemporary dance. i commenced this research on the premise that despite the increase in somatic education within tertiary dance academia, there was little research investigating somatics from the perspective of the student. this investigation was both a teacher research into my own practice and a phenomenological inquiry into student perceptions of the integration of somatic education and contemporary dance technique. the research was informed by a constructivist epistemology and my own values as a somatic and contemporary dance practitioner. in contemporary dance practice, current evolutions in choreographic styles are placing more demands on dancers, asking them to contribute to the choreographic process in a wide variety of ways. “contemporary choreographers are constantly pushing the boundaries of aesthetic canons, and are increasingly looking for dancers who actively participate in the creative process” (fortin, 1998, p. 67). integrating somatics and dance technique may provide one avenue where dancers can, through increased sensory awareness of their movement, contribute to diverse demands of contemporary choreographic practice. from a teacher research point of view this study has shown that the integration of somatic education within contemporary dance is about managing the following two relationships. firstly, the relationship between a teacher-centred and student-centred pedagogy and secondly, the relationship between the institution, the students, the teacher, and what constitutes contemporary dance technique. 127 in balancing the relationship between a teacher-centred and student-centred pedagogy, i learned that students value a combination of somatic self authority and teacher-centred approaches to learning and within this there lies a notion that each can inform the other. completing this research provided me with awareness and determination to improve opportunities for students to grasp new ways of learning. i argue that by utilising relationships between constructivist pedagogy, somatic education and contemporary dance technique, it is possible to construct a class that encourages learners to become more self referential rather than teacher referential as a way to improve their movement. these relationships have a dynamic interface with each other that arises in the spontaneity of action in the studio. this notion is reinforced by fortin (1998) who states: “the role of the teacher in the view of feminist and somatic educators is to facilitate the students’ process of becoming an expert of their own bodies and lives by interrogating and analysing their own experiences” (fortin, 1998, p. 65). one perspective of seeing the management of teacher-centred and student-centred pedagogy is through what i would call a dialectic tension between students’ ontological knowledge of themselves in movement and the epistemological knowledge of dance technique. from another perspective, however, i also feel this description may suggest a dualism between different ways of knowing the one phenomenon. it implies there is a difference of knowing between the dancer and the dance. i would suggest that managing the integration of somatics and contemporary dance technique encourages an embodied way of knowing the self in dance, and as such, technique becomes intrinsic, internal and personalised rather than extrinsically representing an external ideal. these students’ reflections revealed that through their experiences they were curious about improving their understanding of how they organised themselves in movement from a sensorial and functional level. in other words they were curious about how new sensations they constructed through atm lessons translated into the movement of the dance technique section of class. 128 the relationship between the institution, the students and my conceptions of dance raises questions around different values of somatics and technique in contemporary dance training. dance students naturally want to dance and while all students willingly participated and valued the processes they engaged in through this study, many referenced times when they or their colleagues would not have seen value in a somatic way of working. as a teacher i often question the depth at which i would like to explore movement ideas and whether this is ignoring some students at the expense of others who may be interested in engaging in deeper explorations of specific movement concepts. to indulge in my own process too much may depart from institutional and students’ expectations of contemporary dance technique. for example, one future approach i might take would be to evolve the somatic class directly into the dance phrases without going through the traditional structure of a contemporary dance technical warm up. while satisfying my own interest, this may be alienating to students used to more traditional approaches to technique. however, from my past experience, teaching this type of class seems to require more time than the one and a half hours afforded by many dance institutions. i chose to study the integration of somatics within a more traditional contemporary dance structure, because this resembled a type of class taught in many independent and institutional dance settings. many of the deeper aspects of students’ experiences in these classes suggest further research beyond the scope of this present study. for instance several students indicated strong emotional reactions to different atm lessons as they explored and puzzled their way through the movements. some students also searched for language to describe their sensations of their deeper experiences in atm lessons. in doing so they would often use metaphors or struggle with the limitation of language as a means to represent their experience. these observations around emotions and language also suggest two possibilities for further research. firstly there is potential for investigating dancers perceptions of the relationship 129 between somatic learning and emotional experience and secondly, the investigation of how dancers use written or verbal language to convey approximations of their sensations and experiences in movement. in relation to the design of this research, i learned that despite the quantity and depth of data accrued over one week, another week of data collection may have allowed an opportunity for deeper understandings to develop around the integration of somatics and contemporary dance technique. part of the reason there was such an overwhelming positive experience on the last day may have been to do with the increasing familiarity and relationships being constructed between the students, the material, and myself. i also do not know what use students made of their experiences after the conclusion of this study. i do not know if they were able to continue to apply their understanding and sensory awareness throughout the following days and weeks. as a teacher researcher, i learned about elements that formally construct my teaching in dance and somatics. i learned to identify and question what i take for granted in my teaching. i learned through the analysis and discussion that there is a distinction between what i think i do and what actually happens in the learning environment. brookfield (1995) suggests: “one of the hardest things teachers have to learn is that the sincerity of their intentions does not guarantee the purity of their practice” (p. 1). teacher research is one way i can reflect upon my teaching and notice when i trip myself up with unreal expectations of what should work. as brookfield poignantly reminds us: critically reflective teachers… have a deep respect for the power of chance and they know that much of what occurs can’t be predicted…they know that every class has its own dynamic, they cease to rely on methods and activities that have worked well in the past (brookfield, 1995, pp. 264, 265). 130 references adams, j. a. 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(1990b). learning, the missing link in physical therapy: a radical view of the feldenkrais method. new zealand journal of physiotherapy, 18(2), 6-7. 138 appendices appendix a: cover letter to the institution appendix b: information sheet for participants appendix c: consent form for participants appendix d: examples of interview transcripts; amelia, polly appendix e: examples of participants’ journals; mazy, polly 139 appendix a: cover letter date dear thank you for your support in assisting me with my masters research. i am very much looking forward to be back up in auckland and working with the students. i would like to confirm our proposed teaching research dates and also provide you with a formal outline of my project as per our telephone conversation. i will supply copies of the ethics information sheet and informed consent form once the university of otago ethics committee has accepted my proposal. please find attached the title, description and aims of the project. i have outlined the logistics and considerations below. considerations i am mindful that you have a program already in place and the potential disturbance that an outside teacher coming in for a short period of time may cause. to this end i am entirely flexible regarding the need for the dance program to have minimum disruption to its schedule. if i outline what i am looking for then perhaps it will offer you an idea whether this is possible. • ideally i would like to teach a contemporary technique class every day for the week 18 ñ 22 march 2002. • i am seeking a group second year (stream/level) contemporary dance students to participate as volunteers in this project. all students may participate at a level that is comfortable to their needs and may terminate their involvement again according to their needs. in accordance with the university of otago ethics policy confidentiality and anonymity of all participants will be preserved (see pending form). • the aim would be for my self and the students to co construct the needs and aims of the class during the course of the week. together we would identify what we wanted to achieve and how we would go about this utilising the integration of somatic education and contemporary dance technique. • i would like to conclude each class with a short 10 15 minute debriefing or discussion. to this end is it possible for usual class time of 1.5 hours to be extended to 1.75 hours. if this is not possible then i completely understand. • i would also like to conduct in-depth interviews with 3 volunteers to gain a deeper perspective on their experience. these would be determined according to the time and availability of each volunteer. 140 in order to fulfil the technical requirements of the ethics application, would you please be able to confirm the following to me in writing as soon as possible the proposed dates for the project 18 ñ 22 march 2002 the proposed class times the number of students in the class approximate age range of the students. i will send forms concerning information for participants and informed consent as soon as i receive ethical approval for this project. once again thank you for your support and i trust that this is not too much of an inconvenience for you. kind regards warwick long senior teaching fellow dance studies school of physical education university of otago 141 appendix b: information sheet information sheet for participants (students) thank you for showing an interest in this project. please read this information sheet carefully before deciding whether or not to participate. if you decide to participate we thank you. if you decide not to take part there will be no disadvantage to you of any kind and we thank you for considering our request. what is the aim of the project? the aim of this project is to gain an understanding of how a group of pre-professional tertiary dance students perceive the integration of somatic education within a dance technique class. students’ perceptions of teaching style and lesson content will be sought in order to construct new knowledge, to help articulate the researchers teaching process. what type of participants are being sought? the participants sought for this project will be second year dance students’ enrolled full time in a preprofessional degree program at a tertiary educational institution in new zealand. what will participants be asked to do? should you agree to take part in this project, you will be asked to... • participate in a series of five dance technique class taught by the researcher. each class will be of approximately two hours duration including discussion time • contribute to group discussions concerning the lesson content and delivery at the conclusion of the class. • maintain a journal of daily thoughts and insights relevant to your experience in these classes. this journal will be collected by the researcher • participate in an interview at a time suitable to you • participate in member checking, where all information to be used in the research that directly concerns your participation will be available for you. at this time you will have the opportunity to access and correct any direct quotes to be used in this research. participation in this project involves physical activity. you are encouraged to self-monitor your level of participation in all physical activities during the classes and to reduce or terminate your involvement according to your own needs and comfort. please be aware that you may decide not to take part in the project without any disadvantage to yourself of any kind. can participants change their mind and withdraw from the project? you may withdraw from participation in the project at any time and without any disadvantage to yourself of any kind. what data or information will be collected and what use will be made of it? the data or information collected will be in the form of your own words, actions, dance and participation in dance classes. with your approval each class and some discussions will be videotaped. some photographs may be taken during the course of the classes. this will only take place with your approval. some interviews with individual participants will also be audio taped. all data will be strictly confidential and will only be viewed by you, warwick long and ralph buck the thesis supervisor. at all times your anonymity will be preserved and all data will remain confidential. no data will be used without your personal consent. the data collected in this research will be examined analysed and written about by warwick long and will contribute to his masters thesis in physical education and any subsequent publications in this field. 142 all data will remain in a securely locked cabinet and will be destroyed after five years. all computer files are only accessible by warwick long. this project involves an open-questioning technique where the precise nature of the questions which will be asked have not been determined in advance, but will depend on the way in which the interview discussion develops. consequently, although the ethics committee is aware of the general areas to be explored in the interview, the committee has not been able to review the precise questions to be used. in the event that the line of questioning does develop in such a way that you feel hesitant or uncomfortable you are reminded of your right to decline to answer any particular question(s) and also that you may withdraw from the project at any stage without any disadvantage to yourself of any kind. results of this project may be published but any data included will in no way be linked to any specific participant. you are most welcome to request a copy of the results of the project should you wish. the data collected will be securely stored in such a way that only those mentioned above will be able to gain access to it. at the end of the project any personal information will be destroyed immediately except that, as required by the university's research policy, any raw data on which the results of the project depend will be retained in secure storage for five years, after which it will be destroyed. further involvement? if you wish to participate in this study please complete the separate consent form. what if participants have any questions? if you have any questions about our project, either now or in the future, please feel free to contact either: researcher warwick long dance studies program school of physical education university of otago ph 03 479 7684 email: wlong@pooka.otago.ac.nz supervisor ralph buck dance studies programme school of physical education university of otago ph 03 479 8965 email: rbuck@pooka.otago.ac.nz this project has been reviewed and approved by the ethics committee of the university of otago 143 appendix c: informed consent consent form for student participants i have read the information sheet concerning this project and understand what it is about. all my questions have been answered to my satisfaction. i understand that i am free to request further information at any stage. i know that: 1. my participation in the project is entirely voluntary; 2. i am free to withdraw from the project at any time without any disadvantage; 3. the data [video-tapes / audio-tapes] will be destroyed at the conclusion of the project but any raw data on which the results of the project depend will be retained in secure storage for five years, after which it will be destroyed; 4. "this project involves an open-questioning technique where the precise nature of the questions which will be asked have not been determined in advance, but will depend on the way in which the interview develops and that in the event that the line of questioning develops in such a way that i feel hesitant or uncomfortable i may decline to answer any particular question(s) and/or may withdraw from the project without any disadvantage of any kind." 5.participation in this project involves physical activity. you are encouraged to self-monitor your level of participation in all physical activities during the classes and to reduce or terminate your involvement according to your own needs and comfort. please be aware that you may decide not to take part in the project without any disadvantage to yourself of any kind. 6.there will be no payment or reward offered. student participants will receive normal course outline and readings associated with usual classroom practice. 7. the results of the project may be published but my anonymity will be preserved. i agree to take part in this project. ............................................................................. ............................... (signature of participant) (date) this project has been reviewed and approved by the ethics committee of the university of otago 144 appendix d: examples of interview transcripts interview – polly – 20 march 2002 – 16:00-17:00 interviewer: right. interesting. and how have you experienced this approach of somatic education or the feldenkrais work in the dance technique ñ whatís your experience of that? polly: you mean in just this year or over the last couple of years? interviewer: well actually ñ weíll start off with this week actually. polly: this week. interviewer: yeah. polly: this week iíve really enjoyed it. itís been really useful for me because i have a lot of issues with the placement of my pelvis and tension and stuff when i dance, flow of movement and that. and.. yeah. like iíve really enjoyed the, the awareness stuff on the floor, and then kind of getting up and putting it into practise and then seeing a difference. you know, like it was really good the first day when we did that phrase, i was like --i just felt all over the place with it, and then the next day after weíd done the rib stuff on the floor when i got up and did it, i just, yeah, i felt more secure. but also as though i had more freedom and flow within my ribs and torso, whereas normally when things get a bit harder it just all stiffens up for me. and i get really quite mechanical in my upper body so . . . interviewer: when --that was quite nice what you said when you --it was like a mixed metaphor you got up off the floor and you could see what was happening with your ribs but could you feel? i guess you could feel --iím assuming that was a feeling as well? polly: yeah. i mean --yeah that was what i was meaning. i could feel that i had more movement there. yeah. that was what i was trying to say. interviewer: thatís interesting. so how is your experience --you talked about it being muddled ñ what . . .? polly: today? interviewer: or the first day? was it the first day? when we first did the phrase that was . . .? polly: oh no, i just felt, yeah, like i was all over the place. like i didnít have any kind of control and i didnít kinda know where i was. on my feet or on my upper body and it was very stiff. and i couldnít get any kind of flow with it. interviewer: is it like the ribs became like a reference point that you could feel, and then from that other things made sense? would that be a way of . . .? polly: yeah. yeah. i guess so. because i think --i guess the first day that i was doing it, because it was new and. i guess being a bit hesitant and stuff. i tend to just wrap my whole upper body. and once weíd done kind of the rib graphics then i moved around and did that first phrase and felt more freedom there than i was --i can actually move my ribs without falling over or you know . yeah. and it gave me that sense that there is the freedom there without loosing control. i guess because iíve got a lot of ballet training i tend to like hold my torso with a lot of yeah, like tension and control when i start to move it more i kind of think, oh hang on iím going to fall over or you know, iím loosing control here. itís probably just because iíve had quite a lot of ballet training beforehand where youíre kind of taught to be upright and you donít really relax or move your ribs to the side too much. interviewer: yeah. do you think --i sort of --i wonít say what i think first, but do you think the two can go together? polly: the aerobics stuff or the ballet? 145 interviewer: both. but in terms of being able to have that really strong core, but also the fluidity? polly: oh definitely. yeah. yeah. and thatís what iíd really like to have. is --yeah, this really strong core, but more movement. yeah. like some days i feel like i have got quite a strong core, but then i havenít got the movement. and then if i get the movement then i loose that stability in the core . . .so i want to try and get both. interviewer: get that balance? polly: yeah. interview – amelia – 20 march 2002 – 12:00 interviewer: i might talk about that. do you think that uh --that as you said, that we could do away with some of the other exercises that are in class and we could move to phrases sooner? amelia: . . . . . . i think it’s really an individual thing because it must be really harder to teach and assess when to move forward because some days i feel like i’m really ready to do dancing and other days i feel i need to be on the floor and really explore further and get my mind around it. yeah. it gets to the point where we get a new teacher where we’re learning the exercises and it’s almost like xxx xxx that say the three weeks we’re with them, we’re doing a lot more movement. interviewer: yeah. that --that is a tricky thing that. it’s almost like a --the somatic process takes time and then i feel the integration process from experiencing things on the floor to standing and doing simple movements it doesn’t --it shouldn’t be hurried, but then at the same time somewhere i feel there’s a need to be able to a faster mode of movement. amelia: yeah. i’d almost say that classes at the moment need to be longer if anything. i think. cause i’m still feeling at the end of the class that i want to keep on going. i’m just grasping it and i want to keep on going interviewer: yeah. that’s sort of my feeling too and i’m not --it’s a bit of a puzzle i’m trying to figure out a way to . . . amelia: condense it. interviewer: . . . condense it somehow because we don’t – unfortunately we don’t have the luxury of a longer timeframe. amelia: yeah.. 146 appendix e: examples of participants’ journals polly: 21/03/02 147 mazy: 20/03/02 