Makenna Hague

Alisa Gillespie
Somatics 343
May 27th, 2014
Somatics Mid-Term
1

In your own words, define core support. Identify which of the PTBC are most essential to
core support. Explain why you feel these are essential. Provide an example of your own
that demonstrates how each pattern of your choice supports core support. (10 points)
Core support is the ability to connect inwardly with ourselves. It is one way we
connect all of our parts to form relationships and pathways within our own body. Core
support provides a sense of wholeness and internal awareness to produce unification with
our mind, body and spirit.
I have found that breath is essential to core support. The capability to breath fully
and deeply has always been a challenge for me. I have found that I was breathing in a
very artificial manner, that I was restricting my breath from traveling to all areas and
distal edges of my body. What I have found most rewarding as I have been exploring
breath is the connection I am able to make with my body and mind. I have felt quite often
that my body and mind were two separate entities. Through the fullness of breath I am
able to achieve oneness with the two. My mind feels different, changed, when I
concentrate on sending oxygen and life to the top of my head and down to the soles of my
feet. I am able to live in the moment, become more present on the tasks at hand. Though
this relationship I am able to achieve an inner expressivity that is self-rewarding and
gratifying.
My favorite exercise to do with breath is to find a comfortable position on the
ground with my eyes closed, and focus on sending my breath to all areas of my body. I
like to start with sending an energizing breath where I focus on each literal cell be

awakened by oxygen. I then explore sending oxygen to any area of my body that is sore
or tight. I then end my mental and physical exploration of breath by sending oxygen
solely to my mind, to clear any stresses I may be facing and allow my find to be free and
in the moment.
2

In Chapter 5 Peggy lists twelve principles of Fundamentals. Choose three that you have
personally connected with so far. Name each, and articulate briefly what the essence of
the concept is (2-3 sentences) and in another couple sentences let me know what it is
about this that is vital to you.
I have connected with the principle of total body connectivity because it provides
my body with a sense of wholeness. Peggy Hackney describe this principle as- The
whole body is connected, all parts are in relationship. Change in one part changes the
whole. Acknowledging relationship between parts of the body brings the possibility for
both differentiation of the parts and integration of the whole (Hackney 39) Total body
connectivity is important to me because it naturally provides my body with sense of
purpose and direction. By understanding the relationships with in my own body I feel
more prepared to engage outwardly both socially and through movement. I become aware
of where I am in space which provides a sense of security in my body. In a choreographic
sense I feel that understanding and defining specific relationships and pathways allows
for more interesting movement to be created and a deep investigation to take place
through improvisation.
Ive also really enjoyed by exploration of Breath Support. Breath support is
described in the book as a way of bringing life and movement. It is a physiological
support for all life processes and, hence, all movement. Breath enlivens (Hackney 40). I
find breath so vital because of the energy and focus it provides to my body. The fullness
of breath brings a connection to my mind, body and spirit as I focus on the flow of
oxygen traveling throughout my body. This has been a sensation that is still hard for me

to achieve by I have found that sensation both in and outside of class and have felt an
instant change in my being as I participate in full body breathing.
Personal Uniqueness is the last principle Ive felt Ive connected with the most.
Personal Uniqueness is the understanding that every movement journey is personal and
an adventure. I like to remember the concept of Personal Uniqueness because change is
hard to achieve when comparing myself to others. Understanding that my movement
journey in life is specific to my natural wants and needs provides a peace to my soul.
Knowing that who I am is enough, that I can change upon choice is an invigorating and
motivating sensation. I feel like I have the control over not only movement, but my life.
3

What is your understanding of the phrase a lively interplay between inner connectivity
and outer expressivity? (5 points)
The interplay between inner connectivity and outer expressivity creates a unity
with an ever changing relationship within ourselves. The importance of this relationship
is that it can help a person experience a rich and purposeful life. If someone can
understand who they are, where they are, what they are, they are able to better understand
that about someone else. This naturally creates a healthy relationships through empathy,
self-confidence and self-control with those people that you interact and engage with. As I
have been enrolled in the class, Ive been more aware of the body language of those
around me. Though I am no expert, I have observed that people that have a sense of their
inner connectivity seems to be those seem people that their outer expressivity is easily
detectable. They are more willing to engage in a conversation, speak up in class, show
simple affection like a hug and they overall just have a more energetic lively presence.
The interplay between inner connectivity and outer expressivity enhances the quality of
life.

In your own words define Somatics. How is this type of movement training different than
others. Here is an article link (http://donhanlonjohnson.com/articles/printech.html) for
reference in your discussion, but feel free to quote from other sources as long as you
include the proper citations. (10 points)
My understanding of Somatic is the investigation and rediscover of yourself.
Somatics is the observation of ourselves. A focus on uniting the mind, body and spirit to
create a sense of wholeness and belonging with all parts of your body. Somatics is the
process of recognizing what change you want to take place to better improve yourself,
movement and quality of life, and then taking the necessary steps to make that change.
In the article Principles vs Technique: Towards unity of the Somatics Field, it
stated that Somatics emphasizes on refining ones ability to perceive both ones inner
environment and the subtleties of the outer world. The article discusses the importance
of taking time to reflect and focus. I find that I often dont know how things happen, they
just happen, whether its in my life or the functioning of my body, but Ive come to
realize through Somatics that if I can take the time to understand the HOW, that
information can lead to the whys, and my desire for change can come from a deeper
place, which will have a longer lasting personal effects and meanings.
This type of training is different than others because it allows the individual to
focus on themselves, in a non-selfish way and figure out what they want to change. This
type of training allows for an internal and external awareness of their own relationships
and patterns. A person who becomes fascinated by the importance of sensing, and gains
some familiarity with ways of refining it, is impelled along the way to a lifetime of
research (Principles vs Technique)

Chapter three explains three reasons for returning to early movement patterns. Identify
which is most vital for you. In your own words express the major theme and why it is
vital to you. (5 points)
Through re-educating our body to return to early movement patterns we are able
to strengthen underdeveloped or weak patterns in our body to fully experience the
essential basic skills of an organism (Making Connections, pg 22). A sense of motor
well-being and security is engendered in the reactivation of these primal connections as
organizing principles of total body movement (Making connections, pg 23) I find this
reason vital because it is the first step in the process for change to properly occur. Once
someone is able to move in the most efficient way, and understand how their body should
move primitively they will be able to find advanced coordination, technical virtuosity and
develop true personal artistry. By returning to early movement patterns a person will be
able to achieve an advanced level of the understanding of functionality in their body and

will be able to progress as an organism in a more efficient and holistic way.

In your own words explain the concept of Vertical Throughness. Locate and list three
places in the text where vertical throughness is addressed. (Cite and quote.) Go on to
explain why these three passages help us to understand vertical throughness. Conclude
by describing your personal sensation of vertical throughness. Use both technical
language and imagery. (15 points)
Vertical throughness is a clear sensation from within of energy that originates
deep to invigorate the spine and releasing tension from the head to create a clear
head/neck connection. It is the relationship our body has with gravity. Vertical
Throughness is the clear appearance of core support. The bodys internal vertical gives a
person a sense personal connectivity.
Peggy Hackney address vertical thoroughness to help support core-distal
connections. On page 85, of making connections she states that vertical throughness
achieves connections from the legs to the head because the psoas provides a connection

from the central core up and out of your head. People who challenge themselves to their
fullest in terms of movement potential, in both vertical and off-vertical movement, can be
contributing to the further evolution of the species.
On page 84, Peggy coaches an exercise titled Streams. This exercise allows for
the six limbs to be connected to the core in achieving vertical thoroughness through the
imagery of streams. The idea of connecting all six limbs via the core directly correlates
with the ability to maintain proper alignment in the vertical dimension. Proper
adjustments can be made through this kinesthetic awareness when arriving at vertical.
This Throughness of the Vertical comes when you have connected the center of
the earth through to your own core and out the top of your head (Hackney 116) Hackney
discusses how vertical throughness is internal as well as an external experience with the
body. Finding the relationship of your limbs being connected to your core, and then you
central core being connected to the core of the earth can provide a sensation of being
grounded. I imagine my feet being the roots of a tree, sinking and searching deep within the
earth as my upper body is searching for the sun and devours the space around me with my
long limbs shooting out from all parts of my body. This sense of opposition from my energy
shooting upward and gravity pulling me down, helps me achieve vertical throughness.

Define Gradated Rotation. Rotation is utilized in which types of movements? List

several. Choose one to elaborate on by setting up a situation where rotation was key to
the action but not being used fully. Then coach me through the process of increasing
my rotation to fully realize the action. (15 points)
Gradated Rotation is the rotary component of the head of the femur and its
relationship to the acetabulum. By creating more room in the joint through abduction and

flexion of the femoral joint a person is able to achieve a great range of movement
possibilities and motion.
Types of Movements: abduction, flexion, weight shift, direction and level change.
Situation: Student is unable to access full gradated rotation while performing a
grande plie. Student uses gluteus Maximus to engage in an outward rotation instead of
their deep 6 rotating muscles.
Coaching: I would first have the student lay on the ground and locate their greater
trochanter and ischial tuberosity. I would prompt them in (the exercises listed on page
156 in Making Connections) becoming aware of the relationship of those two boney
landmarks as they experience gating and true outward rotation. I would then have the
student find their natural rotation. I would check to see if the rotation from their hips
matches the rotation to their feet. I would have them imagine eyes on their lesser
trochanters wanting to see themselves in the mirror. I would ask them to think about
sending oxygen to the superficial muscles to help those muscles to relax, as well as
sending oxygen to the deep hip rotators to help enliven and awaken them. Picturing a fan
as it continuously opens.
8

You have a student who doesnt seem to claim their own personal power when they
dance. Identify four concepts that you would share with the student to help them gain
access to their own personal power. Explain in two or three sentences the essence of
each concept that you identify and how it relates to personal power. Then specifically
guide me through an experience that would increase the students awareness of one of the
concepts. (15 points)

If I had a student that struggled with claiming their own personal power I would share four
main concepts that would help aid in the restoration process of personal power:
1. Initiation- A person must make a conscious effort to understand and implement the
initiation of a movement phrase will create an ease and fluidity in the dancers movement. Once

clarity in initiation is achieved, the worry of what comes next or how to execute a movement
dissolves, and the mind is free to take a step towards harnessing personal power.
2. Desire- An attitude of I want this or I am willing must be present for a person to gain
personal power. Attitude is everything, and not every day is going to be easy to have a motivated
attitude, but if a student can figure out what they can give within that moment, they will find
that personal control and their movement will be effected by it.
3. Function-Expression-A dancer must find a balance between function and expression.
Every movement can be seen as serving in some functional way, but to have that same
movement become expressive takes time, and experience, and in conjunction with the other three
concepts it can be achieved from a very soulful and spiritual place.
4. Personal Uniqueness- As a teacher I can help my student find personal power by
supporting their unique qualities and attributes as an individual and as a dancer. An external
support to a person may help them find their personal power by allowing their physical, spiritual
and emotional state to find harmony. A person needs to feel safe as they explore such vulnerable
areas of life, and as an educator I can help establish that atmosphere.
By helping my student with the four concepts listed about I can help them find their
personal uniqueness, and feel appreciated as I am sharing their special journey with them.

Function-Expression Experience:

If a student is struggling with function and expression I would take time to dissect the
movement phrase. A student may need to take the time and focus on different elements as they
being exploring new and unfamiliar movement. They could being by doing the phrase focusing
on the functionality of the movement, becoming in tuned with the action. They could follow

this exercise by attending to the phrase in a way that is solely expressional. Perhaps it would be
wise to reflect on how their movement changed from only being functional and how did the two
experience make them feel different, the same? To continue to find change the dancer will need
to find security in leaving behind pure function to find the expression. The student could finish
off their exploration by trying to incorporating both function and expression and find that the
integration creates movement meaning (Hackney 40).