Learning to Feel Movement Thoroughly Is as Subtle as Learning to Taste Water

This blog post was written by Handspring author Sherry Brourman, author of From Bodily Knowledge to Intuitive Movement.

When it comes to sensing distinctions within our own movement, I believe natural human longing for safety coupled with our perfectionistic culture breeds a special self-conscious movement impatience. We’re compelled to know, to rush, to categorize, to perform—whether for others or ourselves—and all of this obstructs bodily presence and the self-awareness that comes with it.

Even the simple intention to shift into a calmer, slower gear—the state needed to take the time to truly feel movement can seem ambiguous or uncomfortably unfamiliar. Initially, just setting that intention may bring anxiety. This isn’t resistance to truth, a character flaw, or the absence of some innate ability that only some people have. Yet it appears and feels subtly defensive.

In over fifty years of observing, discussing, and guiding people toward greater movement sensitivity, I’ve come to believe that simple underexposure is the main barrier. Whether chemist or athlete, most people have had little experience with this kind of inner attention—and so we can grow shy, even to our own witness, much less someone else’s.


Please sit upright in a chair as you read this next part. For today, I’m choosing a less common area as more familiar tensions often fade into background noise making them harder to discern—so we aim for a place new enough to grab your attention. The exploration begins with the more recognizable layer (physical) and moves to deeper layers (mental, emotional, spiritual) as we stay with the process.

Please begin leaning a bit forward in your chair and lifting a heel so that you’re leaning on the toes and ball of that foot; toes pressing into the ground and heel lifted. ‘Listen’ to your toes, as they press into the ground. Then:

  • Pause and scan your body for tension.

Now, trace what else is involved in this sensation.

  • Is there tension in an adjacent joint or muscle?
  • Does an entire leg or even the entire body weigh in to this sensation?
  • Might this reflect a movement habit like commonly lifting a heel when sitting, that repeats regularly.

Try describing every nuance you notice:

“When my heel rises, I press my first three toes into the floor along their medial sides. My knee rolls inward slightly, my same side hip gets tired, and my medial calf stays subtly tense.”

Now, widen your scan:

  • Is there unrelated tension in your jaw, neck, or chest that tends to accompany this pattern?
  • What about your breath? Don’t change it—just observe its rhythm and depth.

If you notice shallow breathing or a rhythm shift, pay close attention—Is it familiar? Does this breath rhythm feel relaxed or somewhat tense? Now, down-shift even a small amount to level the rhythm a bit. Then ask:

Did that shift also influence the tension in my toes? Anyplace else?

As you notice and name sensations, the language you choose becomes a bridge: between subtle awareness, physical action, and your relationship with other bodily systems. This kind of linking is at the heart of bodily awareness.

And then perhaps—if you stay with it—you might sense even finer threads:

  • Does this tension carry an emotion?
  • Is it old?
  • Does it muddy or clarify your current thoughts or intentions?

This sample can be tricky since just reading and sensing in this position can be cumbersome and render it seemingly useless. Do this process- take your time with a different posture/tension and then talk someone through as their guide. With a little more sampling, you’ll be able to use it comfortably and get a good sense of how reading inwardly, articulating for yourself, brings bodily awareness and improves your ability to articulate with others.

***

From Bodily Knowledge to Intuitive Movement prepares physical therapists, yoga therapists and all movement practitioners to recognize various components of discomfort including the bio, psycho, social and spiritual contributions to posture, movement patterns, and to their pain. This book offers practical advice, real-life examples and case studies as well as deep insight into how individual bodies can move and heal within each body’s ‘normal.’ Sherry Brourman masterfully coalesces physical therapy, yoga therapy and pain science to create this valuable resource that ultimately utilizes intuitive movement for better health.

“I feel my tension begin to melt away”: How water treatments increase the effectiveness of bodywork

Written by MaryBetts Sinclair, author of Hydrotherapy for Bodyworkers: Improving Outcomes with Water Therapies.

           In combination with skilled touch, water treatments are perhaps the very oldest and most revered of all healing modalities. Pain from injuries, issues from damaged muscles and joints, circulation problems, chronic tension, chronic pain and emotional stress have long inspired healers to relieve suffering this way.

From ancient Rome’s great baths to Russian saunas, Indian Ayurvedic steams, Native American sweat lodges, Turkish baths and Japanese hot springs, peoples the world over use and love hydrotherapy and massage together. In Germany, the warm waters of Baden-Baden have been used for over eight thousand years, and in Bath, England, for ten thousand. 2800 years ago, Irish sweat houses made of sod and stone were used for rheumatism.

As a bodywork student or practitioner, you may be wondering what is the advantage of adding water treatments to your skill set. Here’s how it can improve your effectiveness:

*** Like massage, hydrotherapy can relieve discomfort and pain, stimulate the flow of blood and lymph, and make connective tissues more pliable and comfortable to the touch.

***Hydrotherapy is soothing and stress-reducing. The ancients realized the effect depression and stress can have upon a person, and over centuries, chronic depression was called everything from gloom or melancholia to neurasthenia or dysthymia. In ancient Greece, while warriors bathed to reduce fatigue and promote wound healing, warm baths were also ordered to relieve “dejection and low spirits.”  The founder of modern psychiatry, Philippe Pinel, (1745-1826) recommended warm baths to calm “overwrought nerves.”

In the 1800’s, many fashionably wealthy Victorians who suffered from depression spent their lives travelling to spas in hope of a cure, especially those diagnosed with mania, hysteria and other “nervous disorders”. For the first half of the twentieth century, hydrotherapy was a mainstream treatment for mental institutions, complete with bathtubs, steam baths and fomentation stations. Treatments were intended to make mentally ill patients more comfortable and compliant, and thus less likely to be violent. Fomentations were soothing, while hours-long baths calmed restless or agitated patients. But in the late 1940’s, even though the American Medical Association still affirmed the value of spa therapy for “nervous conditions,” the introduction of psychotropic medications put an end to the use of hydrotherapy and massage for sufferers.

So what is it about hydrotherapy that helps release stress and tension?

According to cognitive psychologist John Bargh, physical feelings of warmth are linked early in life to feelings of safety, and we subconsciously associate physical warmth with emotional warmth.  “Especially with animals that breastfeed their infants, the experience of being fed and held and protected goes hand in glove with feelings of warmth and closeness…the positive response to heat is hardwired into our brains.”  This helps to explain the deep enjoyment and relaxation our clients experience when we use any warm treatment before or during a session.

Whole-body heating has antidepressant effects because it activates specific brain areas that are important for the regulation of mood and body temperature and so a steam bath, sauna, or even a warm shower before a session will help the client calm and settle before the bodywork begins.  A simple warming body wrap can be made with blankets and the client’s head, neck and feet massaged while the wrap is in place. Partial-body treatments have that soothing effect as well. For example, a warm moist pack over the spine, a paraffin dip for arthritic hands, warm compresses over the face for TMD, a heat lamp or heating pad over a painful knee, and many other local heat treatments can help clients feel safe and relaxed and get the most out of their sessions. When clients arrive for sessions chilled, tense or uptight, a warm treatment is a great help and also a treat for them.

Because hydrotherapy is so beloved, new treatments are being invented all the time, such as flotation therapy for chronic pain, Watsu for relaxation, water exercise baths for tiny hospitalized premies, and special hyperthermia treatments for depression. With such a popular modality, likely more new water treatments will be brought forward as time goes on.

For a deeper dive into hydrotherapy and water therapies, click here to learn more about Hydrotherapy for Bodyworkers by MaryBetts Sinclair.

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The Complete Yoga Anatomy Coloring Book: Gluteus Maximus

Illustrated with anatomical drawings for coloring throughout, The Complete Yoga Anatomy Coloring Book by Katie Lynch covers physiology of the breath; movements of the joints; workings of the spine, shoulders and pelvis and in-depth muscle information before moving onto Asana Anatomy specifically related to the main standing, seated and inversion postures.

We are happy to share with you our first excerpt from the book, covering the gluteus maximus, the largest muscle of the “glutes group” and the primary muscle for hip extension.

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Meet The Singing Dragon Author: Dr. Steffany Moonaz

As part of our Meet The Singing Dragon Author series, we speak to authors to discuss their motivation for entering their respective industries, inspiration for writing their books, what challenges they faced and who they would recommend their books to. Is there a specific Singing Dragon author you would like to hear from? Let us know in the comments or join the conversation using #MeetTheSDAuthor.

Dr. Steffany Moonaz, author of Yoga Therapy for Arthritis

How did you become interested in yoga therapy? Were there any challenges you faced in entering this industry?
I started working as a yoga therapist before I knew what yoga therapy was. After my 200-hour training, I was hired by Johns Hopkins University to help develop a yoga program for people with arthritis. My training was essentially safe, but largely inadequate to meet their needs, so we learned from each other. I brought the fullness of my yoga training and they brought the fullness of their arthritis, and together we figured out what worked, what was most helpful, what needed further adaptation. Since then, with additional training as both a yoga therapist and a scientist focusing exclusively on this population, I’ve come a long way. I’m proud to say that since learning about yoga therapy, I’ve been actively involved in the professionalization of the field and its representation in the broader movement of integrative health. There was so little work being done specifically in arthritis when I got my start, despite how prevalent it is. I was basically handed my dharma and have been following it ever since.

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How Increasing Self-Awareness Can Unlock Your Creative Potential

Galvanizing Performance, a new release from August, is an application of the teachings of the Alexander Technique to the performing arts. This collection demonstrates how deliberate movement and specific practice in theatre, music, song and dance can improve the art form, as well as the artist’s wellbeing.

We have an extract from the book, in which you can read about how increasing self-awareness can increase self-confidence and lead to an unlocking of creative potential.

Read the extract here.

If you would like to read more articles like this and hear the latest news and offers on our books, why not join our mailing list? We can send information by email or post as you prefer, and please also tell us about your areas of interest so we can send the most relevant information. You can unsubscribe at any time.


More Books Like This

The Energetic Performer

Amanda Brennan

New anatomical and physiological knowledge is combined with eastern energy techniques and traditional actor training methods as the basis for this pioneering approach to actor training. Practical exercises extend understanding of the somatic systems and how to create flexible bodies for truthful performances.

Click here to read more.

What is Hypermobile Ehlers-Danlos Syndrome?

Isobel Knight discusses new research, co-morbid conditions and management strategies for hypermobile Ehlers-Danlos Syndrome in this Q&A. Find Isobel Knight’s books on hypermobile Ehlers-Danlos Syndrome here.

 

For those who are unaware, could you briefly describe what hypermobility is?

A hypermobile joint is one that has a larger than normal range of movement. If you look at the figure of the elbow picture below, the joint looks ‘inside out’. Hypermobile people tend to be people we consider ‘flexible’ or ‘bendy’, and as such there is a high prevalence of hypermobility in the dance and performing arts sectors.

Hypermobility can be generalized at a range of joints – for example knees and elbows, or sometimes found in peripheral joints (e.g. hands and feet). It is perfectly possible to have joint hypermobility and be asymptomatic, but for some people their hypermobility can cause pain, dislocations, soft-tissue injuries and there can be other findings – such as extensible and stretchy skin which might be more suggestible of a form of heritable connective tissue disorder such as hypermobile Ehlers-Danlos Syndrome.

There are now new and strict diagnostic criteria in place to distinguish between those who have generalized or peripheral joint hypermobility through to those who have what is now called a Hypermobility Spectrum Disorder (HSD) or hypermobile Ehlers-Danlos Syndrome (hEDS). The diagnostic criteria that I discuss in my books refer to the old names of Hypermobility Syndrome or Ehlers-Danlos Syndrome Hypermobility-Type or Ehlers-Danlos Syndrome (Type III) – but although the name and diagnostic criteria have changed, the overall management strategies remain very much the same for these conditions.

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Preparing the Body for Work: Working for Coherence

In this blog by Amanda Brennan, author of The Energetic Performer, Brennan provides an overview of her method of acting and how increasing awareness of the body can enhance the acting experience. 

I recently ran a series of workshops for professional actors in Santiago, Chile. The course was designed to refine performance skills, explore the craft of screen acting and discover how to create a rich and complex inner life. In my book The Energetic Performer, I refer to the inner life as all that moves with in, thoughts, vibrations of the nervous system, the beat of the heart, the flow of breath, all feelings and emotional expression. Its cultivation is at the heart of screen performance, where the real action is on the inside. To achieve this aim, I began with what I believe is the fundamental necessity: preparing the body for work.

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Warm up games for any group

Rutherford_Book-of-Games-a_978-1-84819-235-5_colourjpg-webThis extract from Leo Rutherford’s The Book of Games and Warm Ups for Group Leaders features games and exercises to get any group energised, comfortable with each other, and ready to work together. Many of the exercises are based on Shamanic principles and are suitable for workshops, martial arts groups, classes or any gathering of people looking to feel connected to each other.

Read the extract here…

Leo Rutherford has an MA in Holistic Psychology and runs Eagle’s Wing, a centre for contemporary Shamanism. He teaches Shamanic practice including the wisdom of the medicine wheel, Shamanic journeying and trance-dance, healing the inner child, sweatlodge, visionquest and other ceremonies, dance and playfulness. The Book of Games and Warm Ups for Group Leaders is available from the Singing Dragon website now.