Fascia and its internal movement (Annemari Autere)
This Power Point presentation will focus on the fascia, also called connective tissue, and its internal movement. As our biggest organ it spreads throughout the body like a spider's web. All its fibrous tissues and continuous materials envelopes, supports, suspends, allows sliding and connects the different parts of the body, while providing interdependence of the organs in a global organization. In a global movement the fibers of the fascia can stretch or shrink to maintain the internal balance of the body’s structures. This system provides elasticity, fluid migration within the fibers provides lubrication and flexibility and carry information. As a network of communication, it is also a sensory organ.
The notion of the internal movement of the fascia was introduced by D. Bois (physical therapist and founder of the Fasciatherapié). His exercise series, called Gymnastique Sensorielle, are based on this internal movement. Respecting the physiology of the body, they are healing and educational and provide a remarkable tool in dance and technique training too. Making mobile what is stationary, making sensitive what is insensitive, making conscious what is unconscious we need to focus on the fascia’s slow, smooth, stutter-free movements. Slowness allows dancers to perceive what D. Bois calls sensory movements. This offers time to be sensitive to how the movement evolves, it allows time for observation and awareness in which we can capture information that remains unconscious and undetectable at normal speed. We enter the consciousness of sensory movements when a movement feels bigger that it is in reality. Translated to dance terminology I call this “Eternal lines of energy flowing through our limbs”.
Feeling the internal movement of the fascia is at the reach of all dancers, enhancing technique we can observe how space in the joints gives freedom of movement, how the accordion spine elevates jumps, observing the spirals in pliés, making them logical for the body are only a few examples of how working through all its parameters we obtained psychological balance. How sensory movements provide a different “flavor” than the simple pleasure of any old gesture, and thereby are a gateway to a body as an organ of “taste”.
The notion of the internal movement of the fascia was introduced by D. Bois (physical therapist and founder of the Fasciatherapié). His exercise series, called Gymnastique Sensorielle, are based on this internal movement. Respecting the physiology of the body, they are healing and educational and provide a remarkable tool in dance and technique training too. Making mobile what is stationary, making sensitive what is insensitive, making conscious what is unconscious we need to focus on the fascia’s slow, smooth, stutter-free movements. Slowness allows dancers to perceive what D. Bois calls sensory movements. This offers time to be sensitive to how the movement evolves, it allows time for observation and awareness in which we can capture information that remains unconscious and undetectable at normal speed. We enter the consciousness of sensory movements when a movement feels bigger that it is in reality. Translated to dance terminology I call this “Eternal lines of energy flowing through our limbs”.
Feeling the internal movement of the fascia is at the reach of all dancers, enhancing technique we can observe how space in the joints gives freedom of movement, how the accordion spine elevates jumps, observing the spirals in pliés, making them logical for the body are only a few examples of how working through all its parameters we obtained psychological balance. How sensory movements provide a different “flavor” than the simple pleasure of any old gesture, and thereby are a gateway to a body as an organ of “taste”.
Annemari Autere
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Dancer, choreographer, teacher Annemari Autere began her performing career with the Norwegian National Ballet, also a member of the Swedish Royal Ballet she has toured Europe, United States and Canada.
Today a highly sought after guest artist/teacher/educator she developed a personal method of teaching ballet, today named BalletBodyLogic, during her years as an Associate Professor at the Arts Department of the University Of Nice Sophia-Antipolis. Taking the body’s own logic into account, she advocates that technique is mechanical and depends on the deeper lying red muscle fibers and the internal movement of the fascia only. She has presented her theories and methodology at ADF (American Dance Festival), at Universities in Texas, Ohio, Florida, Finland, Sweden, Spain, the Baltic Countries… at The Opera Ballet School in Oslo, National Ballet School and Company in Riga and Tallinn… at conferences including IADMS (International Association for Dance Medicine and Science), NOFOD (Nordic Forum for Dance research), TaMeD (Tanz Medicine Deutschland), ISMETA (International Somatic Movement Education & Therapy Association)… Her book: The Feeling Balletbody, Building the Dancer's Instrument According to BalletBodyLogic, was published in December 2013. Based in France she founded Compagnie Ariel in 1996 where as a choreographer, performer and artistic director she has developed her own style of dancing and takes improvising to poems and music a challenge to expand it further. |