MPA as a Teaching Tool, Part 2

Posted on January 19, 2017 by Carol-Lynne Moore

By Madeleine Scott, Registered Movement Pattern Analyst

The application of Movement Pattern Analysis in building teams was not the focus of my experiment with making basic profiles of undergraduate dance majors for a seminar on career development. However, I realized that an implicit team relationship clearly exists between student and teacher.

Students and teachers must work together, or they will fail to collaborate successfully in the educational enterprise. The profile information about the group allowed me to re-assess the strengths and weaknesses of my own profile. This re-assessment of my own style helped me to be a more effective teacher and to respond appropriately to the “team profile” style that this group of students engendered.

In summary, the use of MPA as a teaching tool can improve performance for faculty in various ways:

1) MPA can provide a novel and self-reflective way to analyze course organization and management, and to strategize meeting the needs of students with different learning styles;

2) MPA can provide perspective on the academic advising activities required of the professoriate today;

3) It can enhance mentorship practices required for new faculty and staff.

Find out more about Movement Pattern Analysis in MoveScape Center’s March introductory course.

MPA as a Teaching Tool, Part 1

Posted on January 17, 2017 by Carol-Lynne Moore

By Madeleine Scott, Registered Movement Pattern Analyst

I utilized the Movement Pattern Analysis decision-making framework to support an undergraduate seminar for dance majors that focused on career planning and resume/portfolio development. In preparation for the course, I had interviewed and constructed basic profiles of all thirteen students. This revealed specific learning needs of the group and suggested strategies to meet these needs.

For example, students with strong Attending motivation need to be interested in the subject as such. They need to go into the subject in depth and also see it from a number of different angles. Attention-oriented students like an open-ended approach where he/she can make discoveries.

Students with a strong Intending motivation need to have a definite purpose and want to establish the value of a subject and its worthwhile-ness. They respond well to challenges and want to know how well they are performing in relation to others. Intention-oriented students like a clear approach with tasks he/she can come to grips with.

Students with a strong Committing motivation need to see a prospect for getting results out of their studies. They need to see that tangible progress is being made at a good pace and want immediate feedback on performance. Commitment-oriented students like a well-organized approach, systematized wherever possible.

I found that the MPA profiles helped students to understand their own decision-making processes. This can facilitate better management not only of individual studies but also of collaborative projects that must be carried out with peers.

In the following blog, I discuss how the MPA Interaction Motivations and team building, though not the primary focus of this course, also became relevant as a teaching tool.

MPA and Collaborative Choreography: Creating The Black Sea

Posted on January 10, 2017 by Carol-Lynne Moore

By Laurie Cameron, Registered Movement Pattern Analyst

My choreographic process has always involved collaborative research – studio time in which “problems” that I have invented (usually based on a theme) are solved in various ways by the artists who will eventually perform whatever eventually materializes. As the director of the process, my job is to organize and orchestrate largely improvised material into some kind of coherent, presentable form.

With strong motivations in both Timing and Anticipating, it has always been important to me to move the process toward a “finished product” in a timely fashion, assuming that all involved trusted me to make sound artistic decisions and hoping to avoid hours of grueling studio work that might not necessarily produce more interesting results.

During my Movement Pattern Analysis training, I had the opportunity to profile three movement artists – a traditional, highly trained modern dancer, a B-Boy, and a Corporeal Mime practitioner. I was impressed by the diversity of their skills, their interest in self-growth, and their willingness to dive headlong into the choreographic unknown with me. I was even more intrigued by the profile initiatives that they shared, particularly high Investigating and Evaluating, and low-to-moderate Commitment. At the time I anticipated the challenge of moving them out of the Attention and Intention stages to commit to a final product. I did not expect to lose control of the process in such a meaningful and productive way.

I had anticipated three months of studio research followed by an informal showing, more editing, and eventually a fully realized performance about six months later. Instead, the energy to dig deeply, evaluate, reinvent and reimagine took over. All three performers seemed perfectly happy to mine material and critically assess for hours at a time with no performance agenda in sight. For me, the satisfaction of watching the work grow deeper and more refined validated the assessment process. I found my own moderate Evaluating being nourished while my urge to push the piece to completion seemed to relax. We worked in the studio for more than a year before my urge to set a finished piece took hold.

Of all the works I have directed, I am proudest of this. The images suggested by the myths of the Black Sea are, to me, fully realized, and the performers are deeply in tune with each other and with the material they grew with for so long. This process would likely have followed the same course regardless of my knowledge of MPA, but the awareness I now have of the potential for fruitful creative interaction based on decision-making preferences can inform my choreographic process in ways I had never predicted.

Movement Pattern Analysis – Business and Beyond

Posted on January 5, 2017 by Carol-Lynne Moore

In the 1940s, Rudolf Laban took his dance theories into the world of work, addressing issues of efficiency, job satisfaction, and reduction of fatigue on the factory floor.

In the 1950s, Warren Lamb took Laban’s methods of movement analysis into the executive suite, discerning how patterns of movement reveal unique decision-making processes. He applied his Movement Pattern Analysis profiles to thousands of senior executives in businesses around the world.

Today, Movement Pattern Analysis (MPA) is being applied to new arenas of human endeavor.

In the series of blogs that follow, three registered Movement Pattern Analysts – Laurie Cameron, Alison Henderson, and Madeleine Scott — describe how they have applied MPA respectively in creative work for dance, the theatre, and teaching at the university level.

MPA is not just for business – decisions are made in all kinds of enterprises and activities. You can find out more about your own decision-making processes in the upcoming Tetra seminar, Introduction to Movement Pattern Analysis.

Movement Health – Laban-style

Posted on December 20, 2016 by Carol-Lynne Moore

As the benefits of physical motion are gaining recognition and undergoing further scrutiny, it is interesting to see how Laban characterized movement health. He wrote, “A healthy human being can have complete control of his kinesphere and dynamosphere…. The essential thing is that we should neither have preference for nor avoid certain movements because of physical or psychical restrictions.”

Clearly, Laban views movement as healthy for both the body and mind. He prescribes a rich range of motion, noting “we should be able to do every imaginable movement and then select those which seem to be the most suitable and desirable for our own nature.”

When I did my Laban Movement Analysis training in the mid-1970s, the faculty used to give individual “movement prescriptions” in the middle of the year. These were meant to be fun and usually aimed to encourage exploration of less preferred movement elements. However, the underlying rationale was not made transparent to students, who were sometimes left guessing as to why they received a certain prescription.

Warren Lamb took a more direct approach in the hundreds of individual movement tutorials he taught in the late 1950s and early 1960s. First he assessed the individual’s movement patterns. Then he worked with their effort and shape preferences, gradually building less preferred qualities into a unique movement sequence that the person could continue to practice and refine.

Want to find out more about your own movement patterns? Join the “Introduction to Movement Pattern Analysis” course, March 17- 19, 2017.

Good News for Movement Analysts

Posted on December 13, 2016 by Carol-Lynne Moore

Good news has been scarce in this election year. But don’t despair, movement analysts, for the benefit of movement is gaining traction in the national press!

Time magazine, for example, featured “The Exercise Cure” as its cover story in the September 12^th issue. The writer notes that doctors have been advising patients to exercise for some time. But the prescription has been generic. Too much repetitive motion can be damaging, but too little movement is also unhealthy. So what kind of movement is healthy and how much exercise is “just right?”

Fortunately, the National Institutes of Health (NIH) will launch a massive study next year to detail what happens inside a body in motion. According to Time, the study aims “to prove that exercise is medicine” and ultimately enable physicians to provide patients with detailed exercise plans tailored to their specific physical needs.

Current research is also encouraging, for it shows that some of the best exercise doesn’t require a gym membership. The amount of exercise recommended by the World Health Organization and the U.S. Centers for Disease Control has increased to 150 minutes of moderate aerobic activity weekly and twice-weekly muscle strengthening. But quotidian activities such as walking, biking, gardening, and doing housework count. And a cheap pair of weights or resistance bands can be used for weight training.

More exotic forms of movement, like Tai Chi and Yoga, are also being touted for their health benefits. Despite the fact that the U.S. is not a dancing culture, dancing is healthy. So I hope dance will also find a place in the future of American medical practice, when exercise is prescribed with much more specificity.

Beyond First Impressions

Posted on December 8, 2016 by Carol-Lynne Moore

first impression The very first time we encounter a stranger, we derive an impression based on the person’s physical attributes and body language. Then rapidly and without conscious or logical control, we form a judgment – is the person positive, negative, or neutral?

The capacity to make snap judgments is probably essential to our survival. Yet first impressions are notoriously unreliable and often prejudicial. The real character of an individual is revealed over time – not in a single encounter, not in a single action, but in a moving pattern and embodied way of being.

To me the genius of Warren’s Lamb’s Movement Pattern Analysis has to do with its emphasis on discerning patterns of movement behavior. Movement is so slippery, disappearing even as it occurs. I think this is why most movement perception occurs below the level of conscious attention. However, although it is ephemeral and slippery, movement occurs in patterns. And if we take the time to pay conscious attention, we can detect these patterns and begin to make judgments that go much deeper than the first impression.

Want to find out more? Join the Introduction to Movement Pattern Analysis course beginning in March.

Movement Patterns, Expression, and Meaning

Posted on December 6, 2016 by Carol-Lynne Moore

Movement occurs in patterns, and these patterns are both expressive and meaningful. In 2017, MoveScape Center’s Red Thread offerings focus on the patterned aspects of movement behavior – in everyday activity, in effort, and in space.

Everyday patterns. The Red Thread journey begins with the Tetra seminar, “Introduction to Movement Pattern Analysis.” Based on the work of Warren Lamb, this three-day course, scheduled for mid-March in the Denver area, demonstrates how movement patterns reveal individual decision-making processes. Participants learn how to observe and interpret movement patterns. Moreover, by having their own profiles made by the instructor, participants emerge with deepened self-knowledge that can be used productively for career development and more effective collaboration with others.

Effort patterns. The Red Thread program continues with the Octa seminar, “Mastering Rudolf Laban’s Mastery of Movement.” Mastery of Movement is Laban’s most accessible and complete exposition of the movement elements of body and effort. During this six-week correspondence course, offered in April and May, participants read selected parts of Laban’s treatise on movement for the stage. Each week a set of study questions and movement explorations are provided. When the assignment has been completed, participants receive additional comments designed to elaborate on Laban’s stated aim, that “every sentence is written as an incentive to personal mobility.”

The Red Thread journey culminates in the Ico workshop, “Exploring the Dynamosphere.” This three-day movement workshop, scheduled for mid-July in the Denver area, provides rich expressive experiences and new perspectives on Rudolf Laban’s effort patterns. Workshop material includes effort phrasing, effort states and drives, effort modulation, and effort knots.

Space patterns. In late summer and through the autumn, MoveScape Center will be offering correspondence courses and movement workshops exploring the many spatial patterns of movement that Laban discerned and designed. But this is the subject for future blogs!

Laban and Range of Motion

Posted on November 22, 2016 by Carol-Lynne Moore

Laban’s Choreutic forms both mirror and challenge the natural range of motion of the human body. As Laban was designing these movement sequences, he drew upon his first career as a visual artist. It’s clear from his figure drawings that he had studied anatomy. And he applied this knowledge in theorizing the shapes the moving limbs can trace in space.

As I note in The Harmonic Structure of Movement, Music, and Dance, Laban does not distort the proportion of the body itself. His figure drawings faithfully adhere to a classical canon and his drawings are realistically anthropometric.

I’ve always been fascinated by this. Laban’s first career in art straddles three modern art movements – Art Nouveau, abstract expressionism, and Dada. Realistic representation of the human body does not characterize these movements. Why then was Laban so faithfully realistic?

Quite simply, Laban was interested in the relationship between the body and space. If he distorted the body’s proportions, he would also distort the trace-forms of moving limbs. To capture the shapes of trace-forms accurately, he had to preserve normal bodily proportions and grasp joint structure and function.

Irmgard Bartenieff came to appreciate Laban’s anatomical grounding when she started to work as a physical therapist. As she noted, “Laban’s exploration of spatial possibilities deeply affected the way I worked to stretch my stiff patients.”

There is still much to be learned from Laban’s exploration of spatial possibilities. That is why MoveScape has offered a series of Red Thread programs this year. The final workshop is Advanced Space Harmony workshop, December 3 and 4. There is still time to register.

Seven-rings R Us

Posted on November 8, 2016 by Carol-Lynne Moore

Laban’s Mixed Seven-rings are an important extension of his theory of movement harmony. But they are not just important theoretically – they are quite challenging to perform. And, because of their harmonic analogies, they offer novel approaches for movement invention.

In the forthcoming Ico workshop, Cate Deicher and I draw upon Laban’s unpublished writings to facilitate learning and embodying the mixed seven-rings. Because these trace-forms are drawn from the better-known axis and girdle scales, we will start with reviewing these forms. Then we move on to exploring how Laban conceived the mixed seven-rings as combinations of arabesque and attitude shapes.

Laban constructed the mixed seven-rings to be analogous to the diatonic scales that form the basis of common melodies and harmonies in Western music. This suggests novel ways to approach creating movement phrases and sequences.

Want to find out more? Join us for the Advanced Space Harmony Workshop December 3 and 4.