Introduction to Somatic Practices

Introduction

Dance training can incorporate a number of different strategies to help dancers understand their bodies, optimise their performance and maintain a healthy body and mind. In this Unit you will explore key concepts that underpin somatic practice and investigate how somatic practice can be incorporated into dance training. You will then be able to apply this knowledge in subsequent units when investigating the structure and function of various body parts in more detail.

Historically, the term ‘somatic practice’ has been associated with a number of movement training activities, some of which have been specifically developed for dancers, and others constitute more generic ‘mind-body’ techniques. Many of these practices have been developed over time, incorporating ancient philosophies from around the world. The term somatics was developed in 1970 by the philosopher and Feldenkrais practitioner Thomas Hanna and is derived from the Greek word ‘soma’ meaning ‘the body in its wholeness’ (Batson 2).

The aim of somatic practices overlaps with that of dance training and recently, these practices have become the focus of much dance science research in order to identify how and why they are beneficial for dancers. At the centre of somatic education is a pedagogical emphasis on balancing rest with activity (Batson and Schwartz, 2009), with the overall approach involving:

1) Process over goal-oriented product, that is, enhancing kinaesthetic awareness in a non-judgmental and noncompetitive, non-doing environment;

(2) Using sensory awareness to modulate (i.e., constrain) movement range and effort to uncover the potential for new mobility, and

(3) Rest – resting phases in which the dancer is given time to listen to the body, to clarify what sensations have arrived and differentiate wanted from unwanted stimuli, and to consolidate motor learning.

Dancers and dance teachers are becoming ever more aware of the importance of a healthy dancing body and mind, and the importance of incorporating elements from other practices, including somatic practice, into dance training. Somatic practices bring together ideas and experiences of body-mind training techniques from around the world:

“The integration of cultural histories and practices in the pursuit of a personal – yet universal – set of principles of somatic training implies that somatic studies need to be viewed through the lens of a multi-cultural world.”

There are numerous somatic techniques, which may be useful for dancers to optimise their training and performance. These include the Feldenkrais Method, the Alexander Technique, Laban/Bartenieff fundamentals, Pilates, yoga, Ideokinesis, intentional rest, Body-Mind Centering, meditation, etc.. While some research has already been carried out, there is still the need and opportunity for future investigations into the methods and outcomes in order that we can fully understand the potential of these practices for dancers.

The development of new and adaptations of existing practices is continuously evolving, with growing importance placed on the dancer’s ability to maintain a fit and healthy body and mind. You may already be incorporating body-mind techniques in your teaching but there are always more ways in which you can embed somatic practices.

For this purpose, it is important to know how and when to incorporate a particular technique and this might require some research and training of your own. You will need to adapt the techniques to ensure that the methods are effective and inclusive for all students in relation to their age, level and cultural practices. The outcomes of the practice should be evaluated and may involve ensuring the students are supported outside the class so that they are able to undertake the required practice independently.

Study Tasks

1. Reading and Research

a) Read the essential reading materials identified in this unit and take notes on the different ways in which somatic practices can benefit a
dancer.

b) Use reputable online sources and Athens to find out more about the somatic practices identified in the unit introduction (please note that
the references at the end of Batson’s article may form a useful starting point for this research).

2. Writing

a) Based on your findings from task 1.b), write a brief, referenced overview of each somatic practice and explore how it may benefit a dancer. (400 words)

3. Reading, Research and Writing

a) Identify at least 2 different articles that investigate the benefits of somatic practices for dancers. Read each article, write a concise
summary of its key findings (including a full reference) and post your work on the module forum. (300 words; 150 words for each article)

4. Research and Reflection

a) Search reputable online sources to find interactive resources that allow a practical exploration of a given somatic practice. These can
include but are not limited to: film (e.g. YouTube), auditory material or images with explanations.

b) Practically explore the resources you find and share the most useful ones on the module forum (aim for two to three) by providing a full
reference, link and brief explanation of the resource.