Basic Neurocellular Patterns by Bonnie Bainbridge Cohen [PDF]

Zitiervorschau

~ Body-Mind CENTERING" Foundations of Human Movement

Basic Neurocellular Patterns EXPLORING DEVELOPMENTAL MOVEMENT

Bonnie Bainbridge Cohen Illustrated by Margaret Guay, Michael Ridge, and Rodrigo Arraya

Basic Neurocellular Patterns Exploring Developmental Movement

Bonnie Bainbridge Cohen Illustrated by Margaret Guay, Michael Ridge & Rodrigo Arraya

Basic Neurocellular Patterns: Exploring Developmental Movement

Copyright © 2018 Bonnie Bainbridge Cohen All rights reserved. Scanning, uploading, electronic sharing, reproducing, or modifying, in any form or by any means, any part of this book is strictly prohibited without prior written permission of the author. Previously published illustrations copyright Bonnie Bainbridge Cohen: Pages 113 left, 163 top, and 164 bottom, © 1989 (published in Contact Quarterly 14:2 Spring/Summer 1989); Page 135 top, © 2004; Page 135 bottom, © 1995; Page 149 bottom right, © 2007; Pages 153 -157, © 1992. Published in the United States. Illustrations

Margaret Guay Michael Ridge Rodrigo Arraya Bronwen Hodgekinson Bonnie Bainbridge Cohen Photographs

Marilynne Morshead (dedication page) Kim Sargent -Wishart (back cover) Cover Design: Leonard Cohen Final Book Design: Sanghi Choi

Body-Mind Centering® and ~ Body-Mind C EN T ERlNG- are registered service marks and BMCsm is a service mark of Bonnie Bainbridge Cohen. Burchfield Rose Publishers

PO Box 20904 El Sobrante, CA 94802 USA burchfieldrose.com The approach in this book is offered for informational and educational purposes only. The material is intended to be explored with ease and without pain or force. However, as with any movement approach, please consult your physician/health care provider as to whether the explorations are suitable for you. This is especially important for people with specific concerns such as pregnant women, people with injuries, and those with other health or movement considerations.

Dedicated to

SANDY JAMROG for sharing my life in loving friendship, passionate inquiry, and exciting collaboration. Your presence resounds on every page.

Table of Contents AcknowledfJflents......................................................................................... i Foreword.................................................................................................... v Preface ..................................................................................................... vii Introduction

1. Introduction to the Basic Neurocellular Patterns ................................. 1 2. How This Book Is Organized .............................................................. 3 Prevertebrate Patterns

3. Introduction to the Prevertebrate Patterns ........................................... 5 4. Vibration ............................................................................................ 7 5. Cellular Breathing ............................................................................. 19 6. Sponging........................................................................................... 41 7. Pulsation ........................................................................................... 55 8. Navel Radiation ................................................................................ 71 9. Mouthing ......................................................................................... 97 10. Prespinal ......................................................................................... 125 11. Summary of the Prevertebrate Patterns ............................................ 145 12. Summary of Embryological Development Relating to the Prevertebrate Patterns .............................................. 147 Vertebrate Patterns

13. Introduction to the Vertebrate Patterns ........................................... 151 14. Spatial Aspects of Movement .......................................................... 153 15. Postural Tone and Yielding .............................................................. 163 16. Spinal Patterns ................................................................................ 167 17. Spinal Yield & Push ....................................................................... 169 18. Spinal Reach & Pull. ....................................................................... 193 19. Symmetrical Patterns: Homologous ................................................ 209 20. Homologous Yield & Push ............................................................. 211 21. Homologous Reach & Pull ............................................................. 237

22. Asymmetrical Patterns: Homolateral & Contralateral ...................... 257 23. Homolateral Yield & Push .............................................................. 259 24. Contralateral Reach & Pull ............................................................. 283 25. Brachiation and Climbing ............................................................... 311 26. Summary of the Vertebrate Patterns ................................................ 321 27. Summary of the Prevertebrate and Vertebrate Patterns .................... 325 Appendices ........................................................................................... 329

1.

Ten Common Compensations When Practicing the Basic Neurocellular Patterns ........................................................ 331

2. Developmental Movement Sequences ofthe Vertebrate Patterns: Series I & Series II............................................................................ 335 3. Basic Neurocellular Patterns in the Practice ofYoga ............................. 347 4. Basic Neurocellular Patterns in Dance and Other Movement Practices................................................................. 353 5.

Using the Basic Neurocellular Patterns to Teach Dance to Chiltlren ...................................................................................... 357

6. Basic Neurocellular Patterns in Sports Training .................................. 365 7. Basic Neurocellular Patterns Applied to Music (Vocal and Instrumental) .................................................................. 369 8.

Vertebrate Patterns and the Development ofVisual Pathways; ofInward and Outward Attention and Intention ............................... 373

9. Basic Neurocellular Patterns Approach to Teaching ............................. 381 10. Basic Neurocellular Patterns and Common Compensatory Stress Patterns................................................................................... 385 11. Engaging the Basic Neurocellular Patterns in the Process ofAging ........ 389 12. Transmission ofthe Basic Neurocellular Patterns through Touch ........... 393 13. Psychophysical Processing through the Basic Neurocellular Patterns....... 397 14. Presence ofthe Basic Neurocellular Patterns in Sitting Meditation ....... 409 15. The Basic Neurocellular Patterns through Prayer ............................... .413 16. History ofthe Development ofthe Basic Neurocellular Patterns ............ 417 17. Supplemental Video for the Basic Neurocellular Patterns Book ............. 421 18. Body-Mind Centering® Resources ....................................................... 423 A Note from Bonnie .............................................................................. 425 Bibliography........ .................................................................................. 427

Acknowledgments To the thousands of students and friends internationally who for over forty years have shared with me the explorations, contemplation, applications, and research of these developmental movement patterns, I am profoundly grateful. Although your names do not appear in these acknowledgments, the unfolding of the Basic Neurocellular Patterns (BNP) and the writing of this book could not have occurred without your contributions. My deepest gratitude is extended to the many babies who have rolled, crawled, creeped, laughed, cried, and been silent and still with me for the past 50 years. Their presence, clear expression, and direct communication have enriched my life and my understanding of the process of development. I am also grateful to the parents and families of these babies for the love and care they have given their children and for including me in their lives. The first collaborators named specifically must, of course, be the two artists who have created most of the exquisite grayscale drawings-the heart and spirit of the book. In 1988, Michael Ridge began drawing the babies shown in this book for an article of mine in the dance journal Contact Quarterly (CQ). He continued to draw babies and animals for this book until 1998. In 2017, he completed twelve more baby drawings. In 1994, Margaret Guay joined Michael in drawing the illustrations for this book and she has continued to draw them for the last 20-plus years. Not only did Michael and Margaret create the beautiful drawings, but they also collaborated with me on the search for the appropriate drawing references and advised me on the writing. Margaret also played a major role in designing the layout of the pages. In the last months before finalizing the book, Rodrigo Arraya joined us by adding clear drawings of adults demonstrating the vertebrate patterns. These drawings bring life to the various explorations. His immediate response to my urgent pleas for new drawings provided enormous support. In 1995, Bronwen Hodgekinson drew a few babies for the book. Much thanks also goes to Jiajun Lu, my art teacher, for helping me with the few baby illustrations I drew. In 1984, Janice Geller drew babies and animals demonstrating the BNP for an earlier article in CQ, but as those drawings are in a different style, they are not included in this book. Both the 1984 and 1988 articles are included in my book Sensing, Feeling and Action, published by Contact Editions. My gratitude also extends to Marilynne Morshead for the photo of Sandy Jamrog and me on the dedication page, and to Kim Sargent-Wishart for the photo of me on the back cover. Among the small group of women I began exploring developmental movement with from 1973 to 1976, several have continued to explore and teach the BNp, sharing their insights with me. These women are Linda Tumbarello, Gale Turner, Beth Goren, Sara Vogeler, and Genny Kapuler.

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BASIC NEUROCELLULAR PATTERNS

After I moved to Amherst, Massachusetts in 1976, Linda and Gale moved to the area also. Through their teaching and coordination of programs, both women were pivotal in establishing the School for Body-Mind Centering® (SBMC). Gale also took copious notes in my classes, which helped in the organization of the words to express the patterns. Maryska Bigos came to my home in 1979 and asked me to offer a Body-Mind Centering® training program in Amherst. This first practitioner program ran from 1980 to 1982 and subsequent programs followed. During this time, I began writing teaching materials, which included a manual for the course on the BNP. In 2002, with Sandy Jamrog and Lenore Grubinger, I began offering a new training in Infant Developmental Movement Education (lOME). With Lisa Clark, I began offering an Embodied Developmental Movement and Yoga program in 2003. In both programs, the BNP provide a primary foundation. The continued development and offering of Body-Mind Centering® trainings has expanded internationally through the guidance of Maryska Bigos, Mary Lou Seereiter, Amy Matthews, and Roxlyn Moret in the United States; Jens Johannsen, Freiderike Troescher, Thomas Greil and Lisa Clark in Germany; Gloria Desideri in Italy; Thomas Greil and Vera Orlock in France; Katy Dymock in England; Walburga Glatz and Anka SedlaCkova in Slovakia; and Adriana Almeida Pees in Brazil. These directors are also providing guidance for the new programs beginning to emerge in other countries. They are instrumental in transmitting the essence of the BNP through the trainings offered in different cultures and languages. There are also hundreds of people across the world who have graduated from programs offered by SBMC and its licensed organizations. Each person approaches, experiences, and applies the BNP in unique ways as they are shared with others. I also want to thank the people who, during the long years of writing this book, read the manuscript in its different phases and offered me feedback. These people are Amelia Ender, Pat Ethridge, Tal Halevi, Sandy Jamrog, Amy Matthews, Roxlyn Moret, Kate Tarlow Morgan, Mary Lou Seereiter, Gale Turner, and Alison Zuber. A special thanks to Gill Wright Miller, who as chair of the Dance Department at Denison University spent many hours going over the manuscript in detail in the company of two of her students, Rachel Halteman and Kristen Locey. Ellen Goldman Shapiro was a consultant for the section on the Spatial Aspects of Movement. Everyone's questions and comments have been invaluable. A year ago, as the book neared completion, I asked Nancy Stark Smith and Lisa Nelsoneditors of Contact Quarterly and project directors of Contact Editions publishers-to help edit this book. They, with their typical clear direction, challenged my wording while simultaneously respecting the tone of my expressive voice. Over the past twenty years, I have relied on the following people for their patience and skill to decipher and transfer my handwritten notes to the computer: Dawn Dowd, Heather Grimes, Issa Cohen, and John Lee. John has also offered helpful advice on the layout of the book.

ACKNOWLEDGMENTS

111

Sanghi Choi, graphic designer, Jamie Thaman, copy editor, and Pat Ethridge, proofreader, joined the wave of people who helped bring this book to completion. Sanghi, who is a Body-Mind Centering© program graduate and familiar with the BNP, has not only laid out the book with great skill and sensitivity to my vision but has also offered insightful editing advice. Adjusting to my nontraditional usage and spelling of some terms, Jamie has used her amazing ability to spot, question, and offer advice on the smallest details of punctuation and grammar and make subtle adjustments to word choice and order to clarify meaning. Pat, also a Body-Mind Centering© graduate, came to our aid with last minute proofreading and helpful comments. For the past several years, Basha Cohen-my daughter and the project manager of Burchfield Rose Publishing-has been a guiding light, keeping this project on track. She has done so with great skill, sensitivity, and care. My heartfelt gratitude I extend to the following people for their generosity in providing financial support: Tides Foundation Robert A. Burstein Award Arthur and Marcia Monroe Michael Marsh Kate Rinzler I also want to acknowledge the Body-Mind Centering® Association (BMCA) for their administrative support for the grants. The last words of gratitude are for Len, my husband. For over forty-eight years he has wholeheartedly supported me and my development of the BNP as well as the writing, typing, layout, and publishing of this book. To all of you mentioned and unmentioned, I bow my head in deepest gratitude and love.

Foreword Movement is a language, and the body is the instrument through which it speaks.

Bonnie Bainbridge Cohen usually describes herself as a movement artist, which is certainly true, but sometimes I like to think of her as a movement linguist. As a child, she learned to speak late and has often said that movement is her first language and English her second. Languages have patterns-grammar, syntax, vocabulary-that, once learned, allow us to understand, communicate with, and interact with others. Movement too is a language, and Bonnie has spent her life exploring and mapping its patterns. The maps she has drawn come directly from her experience of movement and from the testing of that map through the observation of and working with others over many decades. While there are numerous things that can be learned from simply observing movement, there is even more to be learned from the experiencing of it. Like spoken language, movement is more than a series of physical actions. There are other aspects that make it coherent and give context and meaning to its expression: awareness, perception, and consciousness are some words that try to describe these aspects. To understand movement fully, these need to be included because human movement does not exist apart from them. Bonnie's path of discovery has been the direct experience and ownership of movement, the experiencing of patterns in such a way that they become a part of you, or to use her words: to do them in such a way that you embody them. Then you not only understand the physical part of the movement but also the changes in perception and consciousness that come with it. And, you understand them from the inside. Movement is her doorway into the body-mind relationship. It is at once the expression of that relationship, a way to assess it, and a way to balance it. We begin experiencing movement in the womb before we have verbal language, indeed, before we even have a nervous system! The experience of movement comes first; the explaining of it, the interpretation, comes after. Translating nonverbal experience into words presents challenges. The words are not the experience; the best they can do is to direct you to the experience. To work around these challenges, Bonnie sometimes uses existing words in new ways, shaping their meaning to better fit the experience. For her, the meaning does not lie in the words themselves, but in the experience those words point to. As you read this book, take her words as guides to help you find the path to your own experience. The scope of her explorations is vast and encompasses, in her terms: Embodied Developmental Movement (the role of early development in movement and consciousness), Embodied Anatomy (the role of the body systems in supporting and articulating changes in the qualities of movement and consciousness), and Embodied Embryology (moving through

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BASIC NEUROCELLULAR PATTERNS

the history of how we built our bodies), as well as the psychophysical interrelationships of all these things. She has helped carve a path to a better understanding of human movement and its significance to our development and well-being. The Basic Neurocellular Patterns 1

For over fifty years, Bonnie has worked with people who function with a wide range of abilities-from professional dancers to infants with severe neurological difficulties. She has observed that the developmental patterns outlined in this book have a global influence on our physical, perceptual, emotional, and cognitive functioning. She named these movement sequences the Basic Neurocellular Patterns (BNP). The BNP normally emerge and ideally integrate throughout infancy and can have a profound effect on our development-how we bond, defend, learn, organize and sequence information, and relate to ourselves, others, and the world. In addition to their application to infants, revisiting these patterns and exploring them as adults can be eye-opening, transformational, and life-changing. With this book as a guide, Bonnie is inviting you to enter your own world of movement experience. She has provided discussions of the patterns to give you a theoretical framework of ideas, insights, and relationships in which to explore your own experience. The exercises she outlines will help guide your exploration of the patterns. The beautiful drawings of the patterns and their correspondences in the animal kingdom help you get a feeling for the patterns. The richness and subtlety of movement does not easily translate into words, so feeling is important in a book about movement. In the developmental work, as in all aspects of Bonnie's work, the place to begin your study is through your personal experience, embodiment, and integration of these principles and body-mind relationships. In doing so, you can come to know and use this work in deep and meaningful ways.

Leonard Cohen

Administrative Director School for Body-Mind Centering®

lThis book covers one aspect of Embodied Developmental Movement: Basic Neurocellular Patterns, which can be described as the underlying structural words or phrases of our movement. Other aspects include Reflexes, Righting Reactions & Equilibrium Responses (smaller building blocks that she calls the alphabet ofmovement); Senses & Perception (how we bond, defend, and learn); and Ontogenetic Development (exploring the milestones of development through infancy).

Preface This book is foremost about movement and consciousness.

The concepts and relationships presented in this book are not offered as a treatise of universal truths but as perceptions gained from my own experiences and discoveries, as I have explored the art and healing practice of movement with myself and others. Nature forms patterns. Patterns are created by movement. Patterns are in a constant flow of relationship and change--every moment transitioning into a unique now. While there is no reproducible exactness of any specific moment, there are always simple underlying patterns. These patterns are recognizable and integrate the myriad variations into a unified whole. In the process of exploring movement, what is perceived is informed by our environment, our preconceived expectations, and the choices we make. The choices I have made in writing this book are possibilities from which you can choose to create your own relationships within the matrix of your own experiences, understanding, and insights. You may find something in this book that interests you, challenges your current beliefs, excites you, or raises questions within you. The answers will be found not in the words or concepts offered but in your own physical journey and the awakening of your process as you ponder the meaning through movement-alone and shared with others. Your understanding depends on the poignant experiences of your own history and pursuits. Therefore, before beginning the text, I would like to share with you a brief history of some of the shadows behind my journey on this path of inquiry. For over seventy years I have been a passionate student of movement, pursuing it as a movement artist, researcher, teacher, and therapist. My interest in movement patterns extends back to my earliest childhood. My mother and father were with the Ringling Bros. and Barnum & Bailey Circus. I was filled with the love and excitement of the people and the animals whose lives were centered around the Big Top. It was an essential part of my life until I was fifteen. Being surrounded during my formative years by extraordinary movement performed by both people and animals ingrained in me a deep sense of the potential we have to accomplish physical feats beyond general expectations-and also that we share a common movement language with animals. My mother was also a dancer and said that I danced before I walked. At age three, I began formal training in dance and studied many styles with different teachers into adulthood. When I was sixteen, I began to study comparative anatomy by dissecting a cat in a oneyear, individualized, advanced science research class in high school. This was the beginning of a lifetime search for what it means to be a body and to be embodied.

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BASIC NEUROCELLULAR PATTERNS

At seventeen, I was part of a small group of high school students who explored music making and dance at a local cerebral palsy center. The children fell and got up time and time again in their determination to dance. They taught me that nothing is impossible if you have the dream, courage, and perseverance. In 1963, I graduated from Ohio State University as an occupational therapist. I have since worked with people of all ages, from birth to advanced age, with mild to severe physical, psychological, and cognitive challenges. Soon after graduating as an occupational therapist, I first read about the four basic vertebrate patterns (spinal, homologous, homolateral, and contralateral) and found them of compelling interest. In 1965, I began to study dance with Erick Hawkins in New York. His approach was based on effortlessness and a sense of non-doing---qualities that continue to guide my own inquiry. While teaching dance at Hunter College in New York City from 1966 to 1968, I began to explore animal movement with the students, further stimulating my fascination with the relationship between animal and human movement. In 1969, I studied Neurodevelopmental Therapy with Dr. Karel and Berta Bobath in London. Their approach to helping children with cerebral palsy was based on the integration of primitive reflexes, righting reactions, and equilibrium responses (RRR). The question immediately arose for me: How do the vertebrate patterns interface with the RRR? In 1973, in New York City, I founded the School for Body-Mind Centering® to establish a community of people with whom to explore movement as a language of consciousness, creative expression, and well-being. The creation and development of the Basic Neurocellular Patterns (BNP) has been one of the foundations of this exploration, and they are now being taught, researched, and applied in many different fields internationally by others. Over the many years I have been researching the BNP and writing this book, people have asked me who I am writing it for. Always the answer remains the same: I am writing it first for me. Movement by its nature is preverbal. Speaking about it requires translation from movement to verbal. This is a far greater leap than any translation between verbal languages. Yet, when the words arise directly out of experience, there is a recognition of their authenticity. Embodied languaging brings the unspoken into the conscious word. That word carries us into the future. The reason this book has taken forty years to write is because I want to share with you not just these patterns, but the process of how these patterns originate from our cells and fluids, from the energy of the cosmos itselE The study of movement is not about words; it is a direct transmission of life. However, when words arise out of the subterranean field of aware movement, another knowing is realized. I search for that knowing. There is an immense field of research under the tip of this endeavoring. I hope that the words, drawings, and concepts in this book will be a doorway into your own journey of discovery.

Bonnie Bainbridge Cohen El Sobrante, CA January, 2018

Basic Neurocellular Patterns Exploring Developmental Movement

CHAPTER 1

Introduction to the Basic Neurocellular Patterns The Basic Neurocellular Patterns (BNP) are a series of automatic movement sequences that normally emerge and ideally integrate through infancy. They progress from simple to complex as they develop in humans. There is a corresponding progression of movement in animals, from simpler to more complex organisms. Based on this correspondence, I have divided the BNP into two groups: prevertebrate patterns,l which appear in animals without a spine (vertebral column); and vertebrate patterns, which are found in animals with a spine. The BNP have a global influence on our functioning-they establish a foundation on which we build our movement, physical, perceptual, emotional, and cognitive processes. They guide our interactions with gravity and space, and underlie the discovery of our sense of self and our relationship to others and our environment. The BNP are potential patterns of movement that depend on internal and external stimuli in order to emerge. It is only through their actual emergence through movement that they become part of our movement, neurological, and behavioral repertory. In humans, each pattern in the progression underlies all the succeeding patterns and modifies each preceding pattern. This progression is not linear but occurs in overlapping wavesappearing, integrating into the next pattern, and then reemerging in the next level of complexity. They occur first as internal movement and eventually progress into external movement and then into locomotion (movement from place to place through space). In this book, each of the BNP is viewed from the standpoint of normal development. They can be applied to anyone at any age of life to analyze areas of movement efficiency/inefficiency and to improve one's proficiency of movement. If any pattern becomes overly dominant, it may prevent other patterns from emerging. By exploring all the patterns, weakened patterns can be strengthened and dominant patterns modified. This will allow the overly dominant pattern to integrate into the total matrix of development, thereby allowing more mature behavior to emerge. The concepts and ideas expressed here are not given as absolutes but as reference points from which you can gauge your own experience. This book is a map only, derived from my experience and the experiences of others. For it to have meaning for you, you must explore it experientially yourself and gain your insights based on the consciousness of your own practice. Initially, these patterns may seem quite simple, but to understand and embody them takes many hours of exploration---{)n your own and with others. 2 Once embodied, the BNP allow us to enter more deeply into the fullness of our being and move through life with greater ease, flexibility, confidence, and understanding.

1I named the earlier patterns 'prevenebrate' because, developmentally, they precede the venebrate patterns. 2These patterns are so wonderfully revealing in their subtlety and complexity that they can be an open-ended, lifelong study.

CHAPTER 2

How This Book Is Organized On the first page of each pattern, I have chosen a spatial symbol, an animal representation, and a human stage of development. The field or environment and the primary perception are also included. 1 A discussion follows, offering contextual information relating to the specific pattern, focusing on animal and human behavior. Numerous examples are presented in which the pattern manifests in our lives. There is then an overview of why the pattern is significant. Each pattern ends with suggested explorations for you to engage in. At the end of pertinent sections, the relationships between two or more patterns are explained. From the moment I began discovering the importance and intricacies of the Basic Neurocellular Patterns in addition to exploring them through movement and hands-on facilitation, I searched for visual images that conveyed their dynamic essence. The extraordinarily beautiful drawings by Michael Ridge, Margaret Guay, and Rodrigo Arraya are the means by which the feelings and qualities of each pattern are transmitted. The sections on explorations are offered to suggest different ways in which your movement, awareness, and insights about the patterns can emerge from your own experience. Some of my suggestions will resonate more comfortably than others with your previous experiences, anatomical knowledge, beliefs, and expectations of what is possible. Begin at your beginning. Sharing with others will significantly enhance your practice. You may find the following explanation of the embodiment process helpful in guiding your own path of inquiry.

The Embodiment Process The process of embodiment is a being process, not a doing process. It is not a thinking process; it is an awareness process in which the guide and witness dissolve into cellular conSClOusness. Visualization is the process by which the brain imagines (visualizes) aspects of the body and informs the body that it (the body) exists. In this process, there is a director or guide. Somatization is the process by which the kinesthetic (movement) and tactile (touch) sensory systems inform the body that it (the body) exists. In this process, there is a witness-an inner awareness of the process. Embodiment is the awareness of the cells of themselves. It is a direct experience. There are no intermediary steps or translations. There is no guide. There is no witness. There is the fully known consciousness of the experienced moment initiated from the cells themselves. In this instance, the brain is the last to know. There is complete knowing and peaceful comprehension. Out of this embodiment process emerges feeling, thinking, witnessing, and understanding. The source of this process is love. IVibration is not itself a pattern of life, therefore it has only a spatial symbol.

CHAPTER 3

Introduction to the Prevertebrate Patterns Vibration, Cellular Breathing, Sponging, Pulsation, Navel Radiation, Mouthing, and Prespinal The first four patterns-Vibration, Cellular Breathing, Sponging, and Pulsation-are internal fluid movement patterns that occur within the body itself and do not involve the body moving through space. The first pattern, Vibration, is the underlying phenomenon of rhythmic condensing and expanding waves that permeate our universe. The second pattern, Cellular Breathing, is the first life-producing pattern. It is where the condensing and expanding rhythm of Vibration transforms into "breathing" of the cells within the fluid environment of the body-the taking in and sending out of nutrition through the cell membranes. The next two patterns, Sponging and Pulsation, are also fluid patterns occurring within the body itself They gradually intensify the ebb and flow of fluid through the body. Navel Radiation, the fifth pattern, is the first pattern that carries the inner movement into movement of the body through external space. It is radial movement of the six limbs (head, tail, arms, and legs) around the central core of the navel. The next two patterns, Mouthing and Prespinal, gradually establish a vertical axis. Mouthing orients around the gut tube between the mouth and the anus. Prespinal orients around the notochord-the embryonic axis in the exact center of the body.

CHAPTER 4

Vibration

Spatial symbol: intersecting vibrational fields

In looking at the first pattern, we meet the challenge of finding words to describe what is essentially a nonverbal experience. There is a subtle movement underlying all else. It is what moves when you are still and what you hear when there is silence. The best word I have found to describe it is "vibration." Vibration is the basic phenomenon of being that underlies all the patterns. It is movement that condenses and expands rhythmically at the most basic level. It precedes life and supports all life forms. It is the substance of space. Vibration is relational. An internal rhythm is established through attracting and repelling forces created in relationship with all that exists. These patterns of vibration form into waves of motion, connecting everything in the ebbing and flowing of energy throughout the universe. Through vibration, we experience our place within this field of existence. Every vibration manifests in wave patterns, creating different vibrational fields. Within the vibrational fields, patterns of movement are continuously created, dissolved, and re-created. In this ongoing process, specific patterns coalesce into seemingly static forms, but within their innermost structure, there is continuous motion and change. This eventually manifests as change in the external form. Vibration forms patterns that are recognizable. However, each instance of a general pattern is unique at any moment in time and at any point in space. Motion and change are the one constant. What we call form is a moment suspended within change in which a pattern crystallizes into something recognizable. This is the essence of vibration. The symbol for this pattern reflects the overlapping and continuous spiraling of vibrational fields.

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BASIC NEUROCELLULAR PATTERNS

In Vibration, an internal rhythm is established between particles, cells, and/or organisms. It is based on, underlies, and changes because of the interrelationships among them. Vibration is before form. Form is created by patterns of vibration. By changing the vibrational field, form changes. As the form intrinsically changes, the vibrational field also changes. Vibrational patterns are continuously changing, creating ever-evolving relationships. These patterns encompass both the expression of the form and its formlessness.

Spiral galaxies

Vibrational relationships establish polarities through attraction and repulsion. The dance of creation creates, evolves, dissolves, and is an expression of the oneness and continuity of form and its surrounding spatial field.

VIBRATION

Magnetism and Resonance Through Vibration, we experience degrees of attraction, repulsion, and resonance. The word I use to describe attraction and repulsion is "magnetism." Magnetism reflects the degree of energy drawing us together and apart. Vibration is motion; magnetism is the reflection of that motion. Through magnetism, we perceive the degree of attracting or repelling forces within ourselves, others, and our environment. Resonance reflects the interaction of our vibrational fields in space, time, density, and intensity. Through resonance, we perceive the degree of our attunement. We know when we feel vulnerable and when we feel safe, when there is dissonance and when there is harmony. This is the essence of awareness. The energies drawing us together and apart, along with their interactions, underlie all movement, perception, intuition, creativity, organization, and relationships.

Magnetism

Resonance

9

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BASIC NEUROCELLULAR PATTERNS

SIGNIFICANCE OF VIBRATION We are always within a vibrational field that encompasses the space and time of our existence. The field itself has no beginning, no ceasing. It simply is------:l tTl

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11. Spinal Reach & Pull from the Head -... Contralateral Reach & Pull from the Upper limb

12. Contralateral Reach &Pull from the Upper limb -... Contralateral Reach &Pull from the lower limb

DEVELOPMENTAL MOVEMENT SEQUENCES OF THE VERTEBRATE PATT ERNS

339

SERIES II In Series II, the vertebrate patterns are sequenced in a way that demonstrates how the yield & push patterns underlie their corresponding reach & pull patterns. In this progression, the four spinal patterns are followed by the four (two-limbed) homologous patterns, which are followed by the four (one-limbed) homolateral and contralateral patterns. In each stage, a yield & push pattern is fo llowed by its corresponding reach & pull pattern.

Four Spinal Patterns

1. Spinal Yield & Push from the Tail 2. Spinal Reach & Pull from the Head 3. Spinal Yield & Push from the Head 4. Spinal Reach & Pull from the Tail

Four Homologous (Two-Limbed) Patterns

5. Homologous Yield & Push from the Lower Limbs 6. Homologous Reach & Pull from the Upper Limbs 7. Homologous Yield & Push from the Upper Limbs 8. Homologous Reach & Pull from the Lower Limbs

Four Homolateral and Contralateral (One-Limbed) Patterns

9. Homolateral Yield & Push from the Lower Limb 10. Contralateral Reach & Pull from the Upper Limb 11. Homolateral Yield & Push from the Upper Limb 12. Contralateral Reach & Pull from the Lower Limb

In Series II, several possibilities are presented to demonstrate how the principles can be explored at different levels: lying on the belly, on the hands and knees, sitting, and squatting.

Series II In this series, each underlying yield & push pattern is followed by its corresponding reach & pull pattern.

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APPENDIX 3

Basic Neurocellular Fatterns in the Practice of Yoga The Basic Neurocellular Patterns can be applied to any style of yoga. They can help you discover movement that is easy and life-giving-sukha (lightness and comfort) and sthira (steadiness and alertness)-in both body and consciousness. How do the Basic Neurocellular Patterns help to illuminate and actualize this state of being in the practice of yoga?

PREVERTEBRATE PATTERNS

Vibration

Are you in the place of best resonance for you at this time? If not, what is possible to change either within your situation or yourself for you to be more comfortable within your environment? • Yielding all attentionlintention into the drone of your innermost being • Going under the tone to establish deep rest and surrender

Cellular Breathing

Are your cells breathing through your whole body? What old stored memories and behaviors of defense can you say "yes" to accepting, absorbing, and thereby releasing into compassion and freedom? • Breathing smoothly in and out in all the cells throughout your body • Feeling your whole body effortlessly expanding and condensing throughout your tIssues • Deepening your breathing into the micro pranayama (breathing) of your cells

348

BASIC NEUROCELLULAR PATTERNS

Sponging

AIe you enjoying the juicy aliveness of your tissues? • Allowing your fluids to bathe and lubricate the membranes of your tissues as the fluid passes in and out of your cells • Feeling the semiviscous nature of your membranes accepting nourishment from your internal sea, not attaching to harmful elements, and releasing products of cellular metabolism back into the sea • Meditating with fluid quietude

Pulsation

AIe your cells as a community pulsating with dynamic liveliness? • Freeing the power of your inner sea to rise and fall, ebb and flow, in smooth transitions between stillness and motion • Exploring the energizing, flowering, and receding of asanas • Applying pulsation in the flow from one asana to another in vinyasa

Navel Radiation

AIl you move through space in the different asanas, are your six limbs (head, tail, arms, and legs) differentiating and integrating through the inner core of your navel? • Establishing radial symmetry with your limbs as spokes of a wheel around the central hub of your inner navel root • Centrally initiating movement of your limbs from your navel • Peripherally initiating movement of your navel (body) from the tips of your six limbs • Exploring the different relationships possible between your six limbs via your navel

BASIC NEUROCELLULAR PATTERNS IN THE PRACTICE OF YOGA

Mouthing

Does the movement of your spine have the organic grounding of your mouth/nose? Of your anus/perineum? • Contrasting initiating the rotation of your head side to side from the back of your neck (spine), from the top of your head, and from your mouth/nose • Applying the rotation of your spine (head to tail) from your mouth/nose to your anus/perineum In spinal twisting postures • Applying the rotation of your spine (tail to head) from your anus/perineum to your mouth/nose in spinal twisting postures

Prespinal

In all asanas, does your spine remain soft, quiet, and calm? • Noticing if you begin your asanas by first tightening in your spine • Before beginning an asana, releasing all tension in your spinal muscles and bringing your vertical axial support forward into the memory of your embryological notochord in the very center of your body (Sushumna Nadi) • Feeling the firm turgidity of the notochordal support through the nucleus pulposus-the central resilient core of your vertebral disks-as you practice all asanas

349

350

BASIC NEUROCELLULAR PATTERNS

VERTEBRATE PATTERNS

horizontal plane

Spinal

Is your vertical axis softly flowing without tension in all planes of motion? • Releasing local holding of your vertebrae, freely breathing and moving between each vertebra • Bringing attentive awareness to your spine as the motor act, rather than tightening your spine to control the action • Distinguishing flow from head to tail and tail to head • Establishing the connectivity of your spine with Spinal Yield & Push from the Head and Tail as a foundation of groundedness and stability • Expanding the connectivity of your spine with Spinal Reach & Pull from the Head and Tail to bring lightness and levity • Integrating Spinal Yield & Push with Spinal Reach & Pull • Balancing the role of the spinal patterns in all directions, within all postures • Maintaining ease and integrity of your spine when rotating around your vertical axis in the horizontal plane

BASIC NEUROCELLULAR PATTERNS IN THE PRACTICE OF YOGA

Homologous

Are your upper body and lower body both differentiated and integrated in symmetrical movements? • Releasing local holding in the joints of your arms and legs, especially through your shoulder girdle and shoulder joints, and through your pelvic bones and hip joints • Distinguishing between initiating movement in your head and tail and initiating movement in your hands and feet • Differentiating between free-flowing attentionality in your spine and the intentionality in your hands and feet • Clarifying the flow from your hands to your feet and from your feet to your hands • Establishing the connectivity of your arms and legs to each other through a freely flowing spine in Homologous Yield & Push from the Upper and Lower Limbs as a foundation of strength and groundedness • Expanding the connectivity of your arms and legs to each other through a freely flowing spine in Homologous Reach & Pull from the Upper and Lower Limbs to bring lightness and levity • Integrating Homologous Yield & Push with Homologous Reach & Pull • Balancing the role of the homologous patterns in forward and backward bending postures in the sagittal plane

351

352

BASIC NEUROCELLULAR PATTERNS

Homolateral

AIe your right and left sides both differentiated and integrated in right/left bodyhalf movements? • Releasing local holding between your ribs and spine and between your pelvic bones and spine • Transferring movement and weight between your legs through your pubic disk (pubic symphysis joints) in front Rather than through your sacrum (sacroiliac joints) in the back • Clarifying the flow of movement from your hand to your foot on the same side, passing freely through your spine to elongate that side of your body, so that your central axis is open and softly unified • Clarifying the flow of movement from your foot to your hand on the same side, passing freely through your spine to elongate that side of your body, so that your central axis is open and softly unified • Establishing and balancing connectivity of each side of your spine and body by alternating convex and concave curves in the vertical plane

central axis

Contralateral

Is your body comfortable and your vertical axis freely flowing as you shape your body through three-dimensional space? • Supported by all the previous patterns, feeling the diagonal flow of movement from one hand through your spine to your opposite foot as you spiral forward/handward • Supported by all the previous patterns, feeling the diagonal flow of movement from one foot through your spine to your opposite hand as you spiral backward/footward

APPENDlX 4

Basic Neurocellular Patterns in Dance and Other Movement Practices

PREVERTEBRATE PATTERNS Vibration

• Release into your true self. • Can you feel your existence dawning before and after into now? • In stillness, we can experience our presence in the great unknown. Through Vibration, our dance arises from the nothing, before there is something.

Cellular Breathing

• Allow your cells

to

experience, fully, lIfe force.

• Can you feel at home in your cellsno coming, no going? • Breathing without intent allows our cells to awaken to their own existence and to the interrelationships of the cells to each other. Through Cellular Breathing, our dance includes all of us residing in our cells.

Sponging

• As you allow your cells to settle into themselves, fluid rivulets begin to seep through their membranes, outward into the surrounding sea, returning inward back to your cells. • Can you feel this gentle emergence of fluid motion? • Our membranes have the ability to make decisions based on current, local conditions, both within the cells and outside the cells. Through Sponging, our inner dance awakens from stillness to possibility.

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BASIC NEUROCELLULAR PATTERNS

Pulsation

• As you continue to embody the movement of fluids through your cellular membranes, allow your consciousness to pass into the oceanic realm of your interstitial fluid. • Can you feel your pulsating sea, rhythmically ebbing inward toward the quietude of your cells and surging outward toward your skin? • Embodying our inner sea creates vitality. Through Pulsation, we dance to the rise and fall of our inner tide-rolling inward, swirling outward-in sync with the turning of the moon. Navel Radiation

• Allow the tides of Pulsation to spread throughout your body until it carries you into movement through space. • Can you perceive the transition from inner to outer motion? • Free-flowing limbs integrate with each other through the soft core of our inner belly. • Experiencing connectivity of all our limbs through breathing and moving Through Navel Radiation, we can express our life force in motion within the outer world. Mouthing

• Allow the cycle of desire to rise upward through your gut, from anus/perineum to mouth/nose. Absorb the sense of satisfaction as the desire rebounds downward to your anus/perineum. • Can you feel a soft, undulating force coiling upward from your anus/perineum and downward from your mouth/nose? • Mouth/nose to anus/perineum and anus/perineum to mouth/nose, we experience nourishment and feelings of comfort and completion. Through Mouthing, we express freely our desires and sense of fulfillment through dancing.

BASIC NEUROCELLULAR PATTERNS IN DANCE AND OTHER MOVEMENT PRACTICES

Prespinal

• Gently breathe in the sacred space of your central channel. Free it from the constraint of intent. • Can you feel the volume of spaciousness and clarity that is always present when you open to it? • The spaciousness of our central channel is free. Through Prespinal, we dance vVith ease and fluidity.

VERTEBRATE PATIERNS Spinal

• Release the gripping of your bony vertebrae and skull. • Can you feel the sensitivity and expression of your face guiding your upper spine, and the swishing of the tip of your tail guiding your lower spine? • Our vertebral column and skull protect our spinal cord and brain without any manipulation. Through Spinal, we become one of nature's bridges between earth and heaven and our dance is authentic, without pretense.

Homologous

• Explore the reality of your midline through symmetrical movement. • Can you feel how your symmetrical limbs give your spine support and the strength to root into the earth and to rise upward toward heaven? • Attention and ease in our spine; intention and strength in our limbs Through Homologous, we calibrate our weight and dance with confidence and effortlessness.

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BASIC NEUROCELLULAR PATTERNS

Homolateral

• Awaken your lateral lines through right-sided and left-sided movements. • Can you feel, by alternating asymmetrical movements, you integrate the two sides of your body? • Our lateral lines inform us of the rhythm of those around us. Through Homolateral, we generate movements of opposition and dialogue between the right and left sides of our brain.

Contralateral

• Explore movements in your limbs that cause your waist to rotate. • Can you feel the dynamic interrelationships that occur between your midline and lateral lines? • As we sculpt forms in space and space moves us, we perceive ourselves as ever-changing conSCIousness.

Through Contralateral, the chorus of all the patterns erupts in clarity of presence, to fully express our inner dance before others.

APPENDIX 5

Using the Basic Neurocellular Patterns to Teach Dance to Children

PREVERTEBRATE PATTERNS Vibration

• Moving like water in all of its expressions • Moving like fire in all of its expressions • Moving like air and wind in all of their expressIOns • Moving like earth in all of its expressions • Moving like plants in all of their expressions • Moving with feelings and emotions • Moving from memories Cellular Breathing

• Exploring moving slowly and incrementally along the floor from the skin, like the pseudopodia of an amoeba • Quietly resting and breathing • Lying on all four sides (back, belly, right and left) • Feeling the underside of the body: gravity/ earth/supporting surface • Feeling the topside of the body: levity/spaciousness • Breathing everywhere in the body • Eyes closed: focusing inward toward self • Eyes open: focusing outward toward the environment • Awakening the unity of all the cells through breathing

How can each child find and express their true nature and self with the supportive environment of the group?

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BASIC NEUROCELLULAR PATTERNS

Sponging

• Exploring moving with the qualities of living sponges • Breathing and moving like a dry sponge, absorbing fluid, becoming soft and oozy • Breathing and moving like a soggy sponge, toning the membranes, and becoming resilient

Pulsation

• Exploring moving like a jellyfish pulsating through the water • Bouncing a ball, allowing the movement to travel through the whole body • Throwing and catching a ball or beanbag with others, allowing the movement to travel through the whole body • Blowing up a ball (such as a Gertie Ball), then letting the air out of the ball by rhythmically squeezing and releasing it, allowing the pulsating movement to travel through the whole body • Quietly feeling the movement of the belly breathing in and out, then allowing that feeling to express itself by moving through space • Quietly feeling the pulsating rhythm of the heart, then allowing that feeling to express itself by moving through space • Quietly feeling the pulsating of the blood pulse in different parts of the body such as the neck, wrists, ankles, and left side of the belly (abdominal aorta), then allowing that feeling to express itself by moving through space

Navel Radiation

• Exploring moving with the qualities of a starfish with six limbs (head, tail, arms, legs) connected via the navel center • Movement flowing internally toward the navel center • Movement flowing internally toward the peripheral tips of the six limbs • Experiencing connectivity of all the limbs through breathing and moving • Moving as though taking food starfish and the fetus

III

via the navel like the

I

USING THE BASIC NEUROCELLULAR PATTERNS TO TEACH DANCE TO CHILDREN

Mouthing

• Moving like a sea squirt larva swimming through the water • Exploring moving like an adult sea squirt burrowing tailward into the sand and reaching outward with the mouth • Sipping water and feeling it go down into the stomach, moving to the feeling of its flow, and continuing the movement through the digestive tract to the anus/perineum • Smelling different foods and eating a little bit at a time slowly, then dancing to their smell, taste, digestion, and elimination • Smelling flowers and other scents, then moving to their smell and qualities

Prespinal

• Moving like a lancelet (a fish with a notochord instead of vertebrae), with a soft, continuously flowing central axis in the very center of the body • Moving from the: o back body o front body o middle body o whole body • Sounding/babbling/talking/singing from the: o back body o front body o middle body o whole body

Explore these patterns in different relationships to gravity (earth) and space (heaven). What other animals move in these ways?

359

360

BASIC NEUROCELLULAR PATTERNS

VERTEBRATE PATTERNS Spinal Yield & Push

• Moving like an undulating fish swimming in the water • Initiating in the head, flowing through the spine to the tail, then moving tailward/backward • Initiating in the tail, flowing through the spine to the head, then moving headward/forward • Moving freely through the spine, connecting the vertebrae as a string of pearls • Experiencing a free-flowing connectivity of the spine in all planes of motion • Turning around the central axis

to

root into the earth

Spinal Reach & Pull

• Moving like a fish flying through the water and leaping out of the water into the wind • Initiating in the head, flowing through the spine to the tail, then moving headward/forward • Initiating in the tail, flowing through the spine the head, then moving tailward/backward

to

• Moving freely through the spine, opening it up as if adding space for a new bead between the pearls • Experiencing a free-flowing pattern into space that brings lightness and levity • Turning around the central axis

to

fly into the sky

USING THE BASIC NEUROCELLULAR PATTERNS TO TEACH DANCE TO CHILDREN

Homologous Yield & Push

• Moving like a low-leaping frog across the grass • Initiating in both hands, flowing through the spine to both feet, then moving feetward/backward • Initiating in both feet, and flowing through the spine to both hands, then moving handward/forward • Differentiating and connecting the upper and lower bodies into a coordinated unit • Exploring gravity and strength through symmetrical movement of the arms and legs

Homologous Reach & Pull

• Moving like a frog flying into the air to catch an insect with its tongue and forelimbs spread outward in flight • Initiating in both hands, flowing through the spine to both feet, then moving handward/forward • Initiating in both feet, flowing through the spine to both hands, then moving feetward/backward • Exploring lightness and levity through expansive, symmetrical movements

Explore these patterns in different relationships to gravity (earth) and space (heaven). What other animals move in these ways?

361

362

BASIC NEUROCELLULAR PATTERNS

Homolateral Yield & Push

• Crawling on the belly like an alligator, with hands facing inward and the elbows pointing outward to the sides • Initiating in a hand yielding and pushing forward, flowing through the spine to the foot on the same side of the body, elongating that side of the body, and moving foo tward/backward • Repeating the movement on the same side to inscribe a circle on the floor (circumduction) • Repeating the movement on opposite sides, like an alligator or dragon moving backward, swinging its tail and both legs • Initiating in a foot yielding and pushing backward, flowing through the spine to the hand on the same side, elongating that side of the body and reaching forward with that hand to touch an object or another person • Repeating this movement by alternating the feet in belly crawling • Differentiating and connecting the right and left sides of the body into a coordinated unit • Exploring gravity and strength through distinguishing and integrating the bodyhalves

Contralateral Reach & Pull

• Crawling on hands and knees like a dog • Reaching with a hand forward into space, flowing downward through the spine, and pulling the opposite knee and foot forward • Reaching in a foot backward into space, flowing upward through the spine, and pulling the opposite hand backward • On the hands and knees, alternating hands in crawling forward • On the hands and knees, alternating feet in crawling backward • Differentiating and connecting the diagonal arm and leg through elongation • Exploring lightness and levity by expansive spaciousness through spirallic movement

USING THE BASIC NEUROCELLULAR PATTERNS TO TEACH DANCE TO CHILDREN

Some Other Suggestions 1. Choose other animals to emulate. 2. Have others guess which animal someone is. 3. Watch how animals move-where you live, in nature, on videos, in photographs, in book and magazine illustrations, and on the Internet. 4. Use props, costumes, andlor music. 5. Make sounds like different animals. 6. Transform from one animal to another. 7. Combine different qualities from different animals. 8. Create interactions between animals. 9. Act out animal stories (real and imaginary). 10. Draw and sculpt animals in clay.

Bring kittens, puppies, bunnies, turtles, fish, insects, and other small animals to class for the children to observe, emulate, and discuss their movement qualities. If possible, arrange for some babies to visit class so the children can observe, emulate, and discuss their movement qualities.

363

APPENDIX 6

Basic Neurocellular Patterns in Sports Training PREVERTEBRATE PATTERNS

Vibration

Settle into your place within the playing field.

Cell ular Breathing

Breath directly through all your celis.

Sponging

Tone the membranes of your celis, so the fluid flows easily in and out.

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BASIC NEUROCELLULAR PATTERNS

Pulsation

Feel the ongoing vitality arising from the wave action of your inner sea.

Navel Radiation

Engage your mouth and nose to guide your face, upper body, and hands. Engage your anus and perineum to guide your lower body and feet.

Mouthing

Utilize the pathways of ease in all your limbs through the core of your inner belly.

Prespinal

Open to the spaciousness and ease of your central channel in the exact center of your vertical axis.

BASIC NEUROCELLULAR PATTERNS IN SPORTS TRAINING

VERTEBRATE PATTERNS

Spinal

Transform holding patterns in your spine into awareness and discernment.

Homologous

Establish a strong foundation of midline stability and integration of your two sides through symmetrical movement.

Homolateral

Integrate each side of your body into a bodyhalf through asymmetrical movement organized around your lateral lines.

Contralateral

Calibrate different relationships betw'een your midline and both lateral lines. Discover the power of rotating through your waist and spiraling through your limbs.

367

APPENDlX 7

Basic N eurocell ular Patterns Applied to Music (Vocal and Instrumental)

Exploring the Basic Neurocellular Patterns through movement and music, by yourself or in groups, is a dynamic process. The following relationships are possible perspectives from which you can resonate and compare your own experience.

PREVERTEBRATE PATTERNS AND MUSIC

Vibration expresses the underlying essence of

silence. It resounds in the space before and after each note, and between each note. It is the energetic wave on which the music rests.

Cellular Breathing expresses basic presence and

stillness. It establishes the breath that infuses the music with life force.

Sponging expresses the transition from silent

stillness to the flow of motion and sound, back to stillness and silence. It creates the moments of change and transformation.

370

BASIC NEUROCELLULAR PATTERNS

Pulsation expresses the upbeat and underlying

rhythmic pulse. It saturates the music with molten robustness.

/

Navel Radiation expresses the interconnectedness

of our whole body as the limbs (head, tail, hands, and feet), voice, and face create movement and sound integrated through our navel center. It grounds the music into the source of our personal history.

Mouthing (Nosing and Analing) expresses the

inner quality of feeling, bringing up sound from our perineum. It allows us to manifest and articulate our truth.

Prespinal expresses unity, our central axis, connecting earth and heaven through the core of our Self. It weaves the personal with the universal.

BASIC NEUROCELLULAR PATTERNS APPLIED TO MUSIC (VOCAL AND INSTRUMENTAL)

371

VERTEBRATE PATTERNS AND MUSIC Each of the four vertebrate patterns engenders different musical rhythms.

Spinal expresses an undulating drone or

continuous, unmetered, wave-like rhythm. It reveals the hidden matrix of the prevertebrate patterns. The underlying tone can be deep and sonorous or light and lively.

Homologous expresses in single beats so that

the rhythm of each phrase is one beat, i.e., 1,1,1. It brings forth immediate apprehensionperception on a deep and direct level.

Homolateral expresses in dyads, so that each phrase is two beats, i.e., 1-2, 1-2, 1-2. It provides contrast and dialogue.

Contralateral expresses in triads, so that each

phrase is three beats, i.e., 1-2-3, 1-2-3, 1-2-3. It opens and integrates all previous patterns into infinite variations and conscious spontaneity.

Yield & push patterns establish the grounding foundation of weight and sustainment.

They keep us sitting in our seats. Reach & pull patterns establish lightness and quickness. They lift us out of our seats.

Express yourself! Enjoy!

APPENDIX 8

Vertebrate Patterns and the Development of Visual Pathways of Inward and Outward Attention and Intention In the dark environment of the womb, the eyes of the fetus begm developing in relation to movement sensed through tIle vestibular system and to changes in light. After emerging from the birth canal, the infant begins integrating vision with the increased movement and light in the bright spacious world. At birth, the infant's visual focus is the approximate distance from the mother's breast to her eyes. As each of the vertebrate patterns develops, different visual pathways and perceptual states are established.

Spinal Spinal patterns develop pathways from each eye

to

the spine.

In Spinal Yield & Push from the Head, pathways from each eye to the tail are established in a condensing pattern. This leads to an inner-directed attention moving downward within the body.

In Spinal Yield & Push from the Tail, pathways from the tail to each eye are established in a condensing pattern. This leads to an inner-directed attention moving upward within the body.

374

BASIC NEUROCELLULAR PATTERNS

In Spinal Reach & Pull from the Head, pathways from each eye to the tail are established in an expanding pattern. This leads to an outer-directed attention headward/forward into space and the environment.

In Spinal Reach & Pull from the Tail, pathways from the tdil to each eye are established in an expanding pattern. This leads to an outer-directed attention tailward/backward into space and the environment. This can also create a countersupport for visual attention to extend farther forward into space.

VERTEBRATE PATTERNS AND THE DEVELOPMENT OF VISUAL PATHWAYS

375

Homologous Homologous patterns develop depth perception by both eyes focusing symmetrically forward, organized around the midline.

In Homologous Yield & Push from the Upper Limbs, pathways from both eyes to the tail and both legs are established in a condensing pattern. This leads to an inner-directed intention moving downward within the body. As the infant develops midline orientation of the hands through this pattern, the infant's eyes also gain midline orientation and coordination between the two eyes. By three months, visual focus extends forward in space so that the infant can follow the movement and voices of several adults at close range in front of the infant's line of vision.

In Homologous Yield & Push from the Lower Limbs, pathways from both legs and tail to the head and eyes are established in a condensing pattern. This leads to an innerdirected intention moving upward within the body. Through this pattern, as the infant lifts the head and upper body, the central vision extends farther forward into space.

376

BASIC NEUROCELLULAR PATTERNS

In Homologous Reach & Pull from the Upper Limbs, pathways from the eyes to the tail and both legs are established in an expanding pattern. This leads to an outer-directed intention forward/headward/handward into greater depth of space and the environment in front of them.

In Homologous Reach & Pull from the Lower Limbs, pathways from both legs and tail to the head and eyes are established in an expanding pattern. This leads to an outer-directed intention backwardltailward/footward into a greater perception of space and the environment behind them. This can also create a countersupport for visual attention to extend farther forward into space.

VERTEBRATE PATTERNS AND THE DEVELOPMENT OF VISUAL PATHWAYS

377

Homolateral The Homolateral Yield & Push Pattern develops scanning from side to side. This differentiates and integrates the right and left visual fields and peripheral vision.

In Homolateral Yield & Push from the Upper Limb, pathways from one eye to the hand and foot of the same side are established in a condensing pattern. As the infant's body curves side to side, the head rotates to the opposite side about 45 degrees to each side of the midline. As the baby yields & pushes with the right arm, the right side of the body elongates, and the head turns to the left. As the baby yields & pushes with the left arm, the left side of the body elongates, and the head turns to the right. As the baby alternates sides, they can visually scan side to side approximately 90 degrees. This leads to an inner sense of sorting out what is necessary for making a decision to act. When this pattern is repeated on the same side, the sense of what is needed remains as a one-sided view and thereby limiting. When alternating between sides, the sense of what is needed and what options are available changes and expands.

In Homolateral Yield & Push from the Lower Limb, pathways from one eye to the foot and hand on the same side are established in a condensing pattern. This leads to an inner sense that the groundwork is laid and the time has come to act. As the infant pushes with one foot, elongating that bodyhalf and reaching with the hand on the same side, the infant's side to side scanning is approximately 90 degrees to the midline. When alternating side to side, the infant can visually scan side to side about 180 degrees, further differentiating the right side from the left and expanding peripheral vision.

378

BASIC NEUROCELLULAR PATTERNS

Contralateral The Contralateral Reach & Pull Pattern develops visual specificity within a full field of possibility. It leads to three-dimensional perception and figure-ground relationships.

In Contralateral Reach & Pull from the Upper Limb, pathways from one eye to the hand of one side and the foot of the opposite side are established in an expanding pattern. In this pattern, the infant develops specific focus of something small near the hand, is able to reach with specificity, and can distinguish objects within a broader field of vision. This gives an ability to scan about 135 degrees to each side from the midline. The total visual field is then about 270 degrees. This leads to moving forward to engage in the desired act. When the pattern is done on only one side, it is a first step, and then a pause to reRect. When alternating sides, there is continuous engagement and activity forward.

In Contralateral Reach & Pull from the Lower Limb, pathways from the eye to the foot on the same side and the hand on the opposite side are established in an expanding pattern. In this pattern, the infant's visual perception extends to the space behind them, knowing something is there even though it is not seen. The infant will know it is there through sound and will look for it. The total visual field opens from the front midline to the back midline and increases the total field of vision to 360 degrees. This leads to a change of outer activity in which previously unrecognized options can be integrated into a fuller, more dynamic environment of possibility.

VERTEBRATE PATTERNS AND THE DEVELOPMENT OF VISUAL PATHWAYS

Brachiation and Climbing

Brachiation and Climbing add vertical orientation to vision. Looking horizontally becomes balanced between looking downward toward the earth and looking upward toward the heavens.

379

APPENDIX 9

Basic Neurocellular Patterns Approach to Teaching PREVERTEBRATE PATTERNS

Vibration

Attune to your own drone before entering the vibrational field of those you will be teaching. Stay tuned to the Mind of the Room.

Cellular Breathing

Settle into the stillness of your breathing self.

Sponging

Be aware of the subtle shifts of consciousness passing between you and the participants.

382

BASIC NEUROCELLULAR PATTERNS

Pulsation

When you feel in the room a coalescing into a common mindfulness, the participants are open to your sharing.

Navel Radiation

Allow your belly to soften and to support your shifts of weight and gestures.

Mouthing

Speak from your perineum to the participants-not to yourself.

BASIC NEUROCELLULAR PATTERNS APPROACH TO TEACHING

Prespinal

Open the spaciousness of your central channel to transmit your truth.

VERTEBRATE PATTERNS

Spinal

Feel the protection of your vertebrae and skull surrounding your sensitive spine and brain.

Homologous

Feel the weight of your bones rooting you into the earth. The earth will support you and lift you toward heaven.

383

384

BASIC NEUROCELLULAR PATTERNS

Homolateral

As you shift your weight from side to side, open up the back of your brain on the same side as your shifting weight, to perceive the moment.

Contralateral

Engage all three planes of motion and consciousness. • Horizontal plane: to gather the information. to

• Vertical plane: discern the different aspects. • Sagittal plane: to facilitate the integration of the responses.

APPENDIX 10

Basic Neurocellular Patterns and Common Compensatory Stress Patterns PREVERTEBRATE PATTERNS Vibration

When we are unaware of our own vibration, we can feel: • isolated, outside of everything. • forever lost in nothingness. Open to the silence of your unique drone.

Cellular Breathing

When cellular breathing is weakened, our life force is diminished. When we control our breathing through intention: • Our brain assumes directorship and requires vast amounts of oxygen. • Our cells are then controlled from the outside and lose their self-direction and range of modulation. When there is diminished breathing in your cells, reduce the force of your breath. Let your cells receive and absorb the subtle, fluctuating, fluid volume of breath.

Sponging

When we tighten our membranes, they gradually become dehydrated and lose their rebound and elasticity. Laxity in our membranes creates pools of stagnated fluid. In stillness, wait for the gentle release of fluid through your cell membranes.

386

BASIC NEUROCELLULAR PATTERNS

Pulsation

When the inward flow of our interstitial fluid is diminished, we can feel depleted and incapacitated. When the inward flow of our interstitial fluid is exaggerated, we can feel pressured and overburdened. When the outward flow of our interstitial fluid is diminished, we can feel incapable. When the outward flow is exaggerated, we can feel driven. Allow the flow of your interstitial fluid inward and outward.

to

cycle rhythmically

• Let go of doing from the front of your brain. • Open the back of your brain to receive the information.

Navel Radiation

When there is diminished life force within our cells and the movement of our fluids, blockages occur within our tissues. If the blockages occur in the pathways between a limb and our navel center, that limb will exhibit restrictions. If there are restrictions in any limbs, trace back through the internal patterns to uncover the source.

Mouthing

When our gut is troubled, we can: • unceasingly seek to satisfy our unsatiated desires. • resist nourishment. • build our life around dissatisfaction. If you are pulling in your belly, STOP! Soften and gently breathe. Allow it to go wherever it flows.

Prespinal

When we tighten and close off our central channel: • we lose the liquidity of our serpentine spine. • our spine becomes stiff and brittle. • stiffness eventually spreads hip, and shoulder joints.

to

our limbs, especially our sacroiliac,

• we sacrifice clarity and ease In stillness, open the space of your embryonic notochord-perineal body to pituitary.

BASIC NEUROCELLULAR PATTERNS AND COMMON COMPENSATORY STRESS PATTERNS

VERTEBRATE PATTERNS Spinal

When we rigidify and hold in our spine as preparation for movement, we gain a sense of control and sacrifice authenticity and ease. Release the forcing of your spme into preconceived form. Allow its original nature to manifest.

Homologous

When our limbs are disengaged, we need to tighten our spme. With your spine released from constraint, feel the weight of your limbs symmetrically supporting you.

Homolateral

When movement is not developed on both sides of the body, asymmetries of the spine and stress patterns in the bodyhalves can occur. Open the back of your brain to register the bodyhalf with the brain half on the same side.

Contralateral

When we have difficulty crossing the midline with our limbs, a heaviness and dullness can settle over our body and mind. • Free your spine like a string of pearls. • Slowly add space for another bead between each original bead. Feel the added space as motion.

387

APPENDIX 11

Engaging the Basic Neurocellular Patterns in the Process of Aging PREVERTEBRATE PATTERNS

Vibration

Awaken to your personal vibration. Stay in touch with the essence of you.

Cellular Breathing

Rest in the breathing of your cells through your whole body.

Sponging

As flUId passes through the membranes of your cells, you always have the ability to regenerate.

390

BASIC NEUROCELLULAR PATTERNS

Pulsation "'

Open to the vitality generated in the ebb and flow of your inner sea, bathing your cells.

Navel Radiation

Feel your limbs breathing in and out through your belly center.

Mouthing

Receive the soft, organic path of nourishment through your gut, mouth to anus and Clnus to mouth. Let your nose and mouth guide the expression in your eyes.

ENGAGING THE BASIC NEUROCELLULAR PATTERNS IN THE PROCESS OF AGING

Prespinal

Feel the spacious consciousness of your central channel.

VERTEBRATE PATTERNS

Spinal

Release the holding patterns in your spine. Enjoy the freedom of ease.

Homologous

Feel the weight and strength of your arms and legs through symmetrical movement. Awareness of your midline integrates your right and left sides.

391

392

BASIC NEUROCELLULAR PATTERNS

Homolateral

Each side of your body offers a different insight, a different response.

Contralateral

Experience the full potential of you arising, as all the patterns weave into three-dimensionality, curiosity, and comfort.

APPENDIX 12

Transmission of the Basic Neurocellular Patterns through Touch This is a process of mutual attunement and fluid motion, not preconceived manipulation. Allow your hands to respond with respect, care, and authenticity.

PREVERTEBRATE PATTERNS

Vibration

Before touching, attune to the space between you and your partner.

Cellular Breathing

With your first touch, settle into not knowing. Wait for cellular presence.

Sponging

In the quietude of not knowing, open to the mlcroflow of transitional fluid.

394

BASIC NEUROCELLULAR PATTERNS

Pulsation

Notice when the fluid strength and volume expands outward between the cells.

\

Navel Radiation

Feel the release of fluid motion into movement through space.

/

L

I

Mouthing

Rest your hands in deep acknowledgment of breathing in the organs through the belly, pelvis, and chest.

BASIC NEUROCELLULAR PATTERNS APPROACH TO TEACHING

Prespinal

From the consciousness of your own central channel, receive the spaciousness of your partner.

VERTEBRATE PATTERNS

Spinal

Encourage, with gentleness, releasing of holding patterns in the spine.

Homologous

Grounded in your feet, transmit through both hands, the weight of bone in your partner's arms and legs.

395

396

BASIC NEUROCELLULAR PATTERNS

Homolateral

If your partner can lie on their sides, you can more easily help them integrate their bodyhalves along the lateral lines.

Contralateral

Be aware of the interrelationships between your parmer's midline and lateral lines from the embodiment of your own waist and spiraling through your limbs.

APPENDIX 13

Psychophysical Processing through the Basic N eurocell ular Patterns PREVERTEBRATE PATTERNS

Through

Vibration, we know Presence in eternal time and space, Infinite Isness. When the sperm first enters the egg, Nothing happens. Before entering form, We are suspended in Ongoingness. Neither Two, not yet, One. Without form, there is No Identity. Nameless Quietude, Yield to the Beating of your Heart in the Cadence of Time.

398

BASIC NEUROCELLULAR PATTERNS

Through

Cellular Breathing, we know Life.

We enter the Process, of Forming and Dissolving.

Each Breath is, Yes, inhaling Acceptance, exhaling Love.

No agenda, Here and Now

PSYCHOPHYSICAL PROCESSING THROUGH THE BASIC NEUROCELLULAR PATTERNS

Through

Sponging, we know Change.

From Stillness to Motion, Motion to Stillness.

A Spark of Recognition, awakens Discernment.

Always a Possibility.

399

400

BASIC NEUROCELLULAR PATTERNS

::r!

:(

. ~ J

Through

,,

"\

Pulsation, we know Vitality.

The ebb and flow of our inner sea, fills us with Desire.

The Inner Dance longs, to Emerge, to be Seen ..

PSYCHOPHYSICAL PROCESSING THROUGH THE BASIC NEUROCELLULAR PATTERNS

Through

Navel Radiation, we know Expression.

We spin around our Navel Core.

Our limbs engage in the Outer World.

401

402

BASIC NEUROCELLULAR PATTERNS

Through

Mouthing we know Comfort.

Nourished and Embraced, we feel Complete.

Bonding, our Resonating Hearts endear us to each other.

We experience,

Us.

PSYCHOPHYSICAL PROCESSING THROUGH THE BASIC NEUROCELLULAR PATTERNS

Through Prespinal, we know Curiosity.

Our Central Channel is Spacious.

Breathing in This Space, reveals the Existence of 1.

We are guided by Reality Beyond Possibility.

403

404

BASIC NEUROCELLULAR PATTERNS

VERTEBRATE PATTERNS

Through Spinal, We know Dignity.

Our Encompassing Spine, surrounds our Sensitive Self.

Protected, we open

to

Life's Challenges

PSYCHOPHYSICAL PROCESSING THROUGH THE BASIC NEUROCELLULAR PATTERNS

Through Homologous, we know Engagement.

Symmetrical limbs provide us with the ability to enter our Path of Destiny, the strength to overcome Obstacles, the means to Disengage.

Midline Orientation empowers us with Stability of Intention.

405

406

BASIC NEUROCELLULAR PATTERNS

Through Homololateral, we know Choice.

Sidedness allows us to Reach for what is Desirable, Change our Mind, Acknowledge Different Viewpoints.

We Persevere, Persevere.

PSYCHOPHYSICAL PROCESSING THROUGH THE BASIC NEUROCELLULAR PATTERNS

Through Contralateral, we know Subtlety.

The Myriad Aspects of Space and Time spiral into the Web of Multiplicity.

We discover Unknown Realities of Existence.

407

APPENDIX 14

Presence of the Basic Neurocellular Patterns in Sitting Meditation PREVERTEBRATE PATTERNS

Vibration

Sit in E?,istence, Exist in Sitting.

Cellular Breathing

Breathe the Nobreath.

Sponging

Allow each moment, Seepage of Fluidity.

410

BASIC NEUROCELLULAR PATTERNS

Pulsation

Feel the voluminous motion of vitality.

Mouthing

Taste your saliva.

Navel Radiation

Relax your belly.

Prespinal

Absorb your central spaciousness.

PRESENCE OF THE BASIC NEUROCELLULAR PATTERNS IN SITTING MEDITATION

VERTEBRATE PATTERNS

Spinal

Release the uprightness of your spine.

Homologous

Steady in your posture.

Homolateral

Receive your confusion.

Contralateral

Accept yourself.

411

APPENDIX 15

The Basic N eurocell ular Patterns through Prayer In

Vibration

There is Silence.

In

Cellular Breathing

There is Presence.

In

Sponging

There is Awakening.

In

Pulsation

There is Union.

In

Navel Radiation

There is Answering.

In

Mouthing

There is Devotion.

In

Prespinal

There is Beginning.

In

Spinal

There is Knowing.

In

Homologous

There is Commitment.

In

Homolateral

There is the Path.

In

Contralateral

There is the Journey.

APPENDIX 16

History of the Development of the Basic Neurocellular Patterns The following history is about the situations and people who personally influenced my study of how movement develops. 1 In the autumn of 1963, in my first days as an occupational therapist, I read an article that mentioned the four vertebrate movement patterns: spinal movement related to fish, homologous movement (symmetrical movement of both arms and both legs) related to amphibians, homolateral movement (movement of the arm and leg on the same side of the body) related to reptiles, and contralateral movement (movement of an opposite arm and leg) related to mammals. Being very interested in similarities between animal and human movement, I remembered the patterns but not the source of the article. In 1965, while teaching dance at Hunter College in New York City, I began to explore animal movements with the students and to observe which patterns in human movement resembled different animals. In 1969, I studied with Dr. Karel Bobath, a medical doctor, and Berta Bobath, a physical therapist, originators of Neurodevelopmental Therapy. They inspired me with their deep understanding of how to help children with cerebral palsy repattern their nervous systems through hands-on facilitation. I witnessed extraordinary and immediate improvements in the children's movement under Mrs. Bobath's hands. She once commented that even when working with someone with a knee problem, we should look for the developmental aspects that underlie it. This has further guided my inquiry. Dr. Bobath, a neurologist, searched for theories and principles that could explain the transformation of the nervous systems of these children, which greatly increased their developmental potential. He looked at past and current research on primitive reflexes, righting reactions, and equilibrium responses (RRR). One of my quests has been to integrate the RRR and vertebrate patterns into an encompassing whole. In 1973, I read the writings of Temple Fay, M.D.,2 which included his work and research with children who had cerebral palsy. He was interested in both reflexive behavior and vertebrate patterns of movement. He referred to head turning (spinal), homologous, homolateral, and crossed diagonal (contralateral) movement patterns. He also referred to these patterns being related to fish, amphibians, reptiles, and mammals respectively. At this same time, I had begun teaching principles of movement development to dancers and bodyworkers in New York City, and included the four vertebrate patterns and the RRR.3 Upon moving to Amherst, Massachusetts, in 1976, I began exploring the relationships of these patterns and the RRR to children with neurological challenges. 'This work describes my personal inquiry. It is not about the history of the field of developmental movement. 2Wolf, ].M., ed. Temple Fay, MD. Springfield, IL: Charles C. Thomas. 1968 3It was at this same time (1973) that I coined the name Body-Mind Centering® and founded the School for Body-Mind Centering®.

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BASIC NEUROCELLULAR PATTERNS

In 1977, in connection with the birth of our third child, I named two of the prevertebrate patterns: Navel Radiation (reflecting fetal movement in the womb) and Mouthing (reflecting the nursing newborn). In 1980, I offered a two-year certification program in Body-Mind Centering®, which included the study of developmental movement. During this period, I discovered that there were two distinct subcategories of the four vertebrate patterns. Major illumination of these subcategories occurred in a class in 1981. I was demonstrating with a participant, Susan Peffley, how to release her right scapula from her ribs while she was on her hands and knees. As her scapula released and I guided her right hand forward along the floor, she brought her left knee forward. I was immediately alerted that she had moved contralaterally, that is, right arm and left leg moving together. Previously, her preferred movement on her hands and knees had been homolateral, meaning, she would bring the arm and leg on the same side forward together. From this session, I gained the insight that if she initiated the movement with her hand, she would move contralaterally; if she initiated the movement forward with her leg, she would move homolaterally. I then explored this phenomenon in myself and with others, not only with crawling but also with initiating alternately from the head or tail in spinal patterns and initiating alternately from the arms or legs in homologous patterns. Thus emerged the principles of the six yield & push patterns and the six reach & pull patterns. 4 These are based on: • which vertebrate pattern is demonstrated: spinal, homologous, homolateral, or contralateral. • which extremity is initiating the movement: head, tail, hand/upper limbs, or feet/lower limbs. • to which direction the movement is going: headward/forward or tailward/backward. We experienced that the yield & push patterns sequentially connect the movement of the individual vertebrae into a cohesive whole, the limbs to each other, and the limbs to the spine. Psychophysically, we noted that they establish a sense of self and personal space (kinesphere).5 Experiencing the Reach & Pull Patterns from the Head and Tail was dramatic, as we discovered that they change our level of perception and provide an immediate and effortless transition from prone to hands and knees and from hand and knees to vertical postures (kneeling, sitting, and standing). We noted that they build on the yield & push patterns' sense of self and carry us into outer space (outer kinesphere) beyond our personal kinesphere, connecting us to others and our environment. 41 originally named them push patterns and added the term, "yield" in 1987. 5RudolfLaban referred to the kinesphere as a person's space that can be easily reached by the extended limbs. Also called one's personal space, I have added to this concept by further delineating the inner kinesphere (inside the body) and the outer kinesphere (space beyond the personal kinesphere).

HISTORY OF THE DEVELOPMENT OF THE BASIC NEUROCELLULAR PATTERNS

419

Our explorations of the four vertebrate patterns-spinal, homologous, homolateral, and contralateral-led to their further differentiation into the twelve Yield & Push and Reach & Pull variations based on initiation and sequencing. Because the vertebrate patterns did not explain all the nuances of developmental movement, additional prevertebrate patterns emerged. In the early 1980s, I became aware that the breathing within each cell preceded the Navel Radiation Pattern. Thus, Cellular Breathing was added to Navel Radiation and Mouthing as a prevertebrate pattern. In 1984, while teaching a workshop in California, an old college friend, Jonna Bolenbaugh, took me to a large discount store that sold odd lots. There in front of me was a series of books on animals. 6 The volume I picked up had a brief chapter on the evolutionary progression from one-celled animals to mammals and humans. All the patterns we had been exploring were there, plus one more animal. It was identified as the missing link between the invertebrates and vertebrates and was called lancelet amphioxus. I noted that this animal has a central axial notochord between its digestive and neural tubes and perceived a connection with the human embryo, which has a notochord that precedes the development of the bony vertebrae. Thus, the Prespinal or soft spinal pattern became the fourth prevertebrate pattern. In 1995, Michael Ridge, who was collaborating with me on the organization, illustration, and writing of this book, added the next prevertebrate pattern, Pulsation. 7 The Pulsation Pattern is a transitional pattern between Cellular Breathing and Navel Radiation. This pattern is expressed in jellyfish and in the early whole-body movements of the embryo and fetus and continues throughout life. About this same time, after exploring the phenomena of vibration, magnetism, and resonance for many years, I added the Vibration Pattern as the first prevertebrate pattern. In the summer of 1998, Kimberly McKeever and Kellie (Myers) Cottrill brought to light Sponging as a pattern earlier than Pulsation and transitional between Cellular Breathing and Navel Radiation. This pattern is found in the sponges and in the movement of fluids through the membranes in the embryo. It also continues throughout life. This has resulted in seven prevertebrate patterns: Vibration, Cellular Breathing, Sponging, Pulsation, Navel Radiation, Mouthing, and Prespinal, each uniquely contributing to the development of movement. The early patterns of Vibration, Cellular Breathing, Sponging, and Pulsation are internal movement patterns-they occur inside our bodies. In the later patterns of Navel Radiation, Mouthing, and Prespinal, we move our bodies externally through space.

6 The

Illustrated Encyclopedia ofthe Animal Kingdom. Vol. 1. Danbury, CT: Danbury Press, 1970 7He recognized this pattern while observing jellyfish swimming at the Boston aquarium.

420

BASIC NEUROCELLULAR PATTERNS

In the 1980s, I began to study two booklets on embryology. 8 However, due to a severe intervening illness, it was not until 1996 that I delved fully into deciphering and embodying our embryological development. My study and exploration of embryology illuminated the relationship between the movement we experience before birth as our bodies are forming and the movement of the prevertebrate patterns. I have therefore included in this book certain aspects of embryology that can deepen our embodiment of the prevertebrate patterns 9 • However, this additional exploration also postponed the publication of this book for another twenty years!

The Name Basic Neurocellular Patterns I began writing about these patterns in 1977, adding to the manuscript and making it available to those studying with me. In 1984, these ideas were highlighted in an article published in Contact Quarterly, entitled Perceiving in Action: The Developmental Process Underlying Perceptual-Motor Integration. \0 That article is also included in my book, Sensing,

Feeling, and Action. II As my experience and understanding of both the simplicity and the complexity of these innate movement patterns developed, the question of what to call them arose. For almost thirty years, I called them the Basic Neurological Patterns (BNP) due to the underlying neurological organization of the vertebrate patterns. However, some of the prevertebrate patterns begin appearing before the nervous system develops. These patterns arise from the movement of cells and fluids. As I searched for another name, it was important to recognize the already widespread use of the original name and to maintain the initialism BNP. In July 2011, while discussing my conundrum with a small group of graduates from the School for Body-Mind Centering®, RoseAnne Spradlin, a BMCsm teacher, suggested calling them the Basic Neurocellular Patterns. Relief! This name describes all the patterns except Vibration, which precedes them all-before the emergence of life itself-while also maintaining the initials BNP. As we manifest each pattern, we create a broader base of possibility from which we can expand our sense of comfort and choice making, our ability to receive, to give, and to express ourselves, and to engage with others and the environment. These patterns are innate, but they can be repressed by genetic, in utero, birth, and after birth circumstances. Recognizing and gently facilitating their emergence is an illuminating and personally empowering experience. When embodied, the Basic Neurocellular Patterns can greatly enrich our lives.

8Development

ofthe Nervous System (1974) and Development ofthe Musculoskeletal System (1981) by Edmund S. Crelin, illustrated by Frank H. Netter, CIBA 91 am currently in the process of writing a book on embodying our embryological development. IOContact Quarterly, volume 9:2, Spring/Summer 1984 I I Sensing, Feeling, andAction by Bonnie Bainbridge Cohen, Contact Editions, Northampton MA, 3rd ed. 2012

APPENDIX 17

Supplemental Video for the Basic Neurocellular Patterns Book We are making available more than three hours of archival footage of Bonnie demonstrating and teaching the Basic Neurocellular Patterns. This video is an essential supplement to the BNP book. While the book provides an insightful explanation of the Basic Neurocellular Patterns and gives a background for understanding their development and relationships, the video allows you to see the actual movement and sequencing of the patterns as demonstrated by an adult and offers a model for your own learning and practice. The video includes footage from 1987, 1996, and 2004 and covers: • Prevertebrate patterns: demonstrating the subtle movement of these patterns. Includes a section on the Individuated Navel Radiation Patterns. • Vertebrate patterns Series I with step-by-step instructions and key points for learning and practice. • Vertebrate patterns Series II with step-by-step instructions and key points for learning and practice. • Transitions between the patterns: How earlier patterns underlie and support later ones and how later ones modify and integrate earlier ones. • Contralateral patterns: six variations on a theme For more information or to order books and videos, please visit: www.burchfieldrose.com

APPENDIX 18

Body-Mind Centering® Resources Body-Mind Centering® (BMcsm) is an integrated and embodied approach to movement, the body, and consciousness. Developed by Bonnie Bainbridge Cohen, it is an experiential study based on the embodiment and application of anatomical, physiological, psychophysical, and developmental principles, utilizing movement, touch, voice, and mind. Its uniqueness lies in the specificity with which each of the body systems can be personally embodied and integrated, the fundamental groundwork of developmental repatterning, and the utilization of a body-based language to describe movement and body-mind relationships. The study of Body-Mind Centering® is a creative process in which embodiment of the material is explored in the context of self-discovery and openness. Each person is both the student and the subject matter, and the underlying goal is to discover the ease that underlies transformation. The Body-Mind Centering® approach has an almost unlimited number of areas of application. It is currently being used by people in movement, dance, yoga, bodywork, somatic studies, physical and occupational therapy, psychotherapy, child development, education, voice, music, art, meditation, athletics, and other body-mind disciplines.

The School for Body-Mind Centering® Since 1973, the School has been dedicated to sharing this dynamic approach to embodiment studies with the world. There are graduates in 32 countries and on five continents. Programs are now offered by licensed training organizations in Europe, North America, and South America.

Licensed Training Organizations Offering Approved Programs Approved Body-Mind Centering® programs and immersion series are offered by licensed organizations using the curriculum developed by Bonnie Bainbridge Cohen, as well as her written materials. Graduates of programs receive a certificate from the School for BodyMind Centering®. Many courses can be taken individually without commitment to a program or immersion series. If you are interested in more information about an organization or would like to register for a course or program, please contact the organization directly. Organizations, locations, and program and course schedules can be found by visiting: www.bodymindcentering.com

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BASIC NEUROCELLULAR PATTERNS

Body-Mind Centering® Association (BMCA) BMCA is an international, not-for-profit membership organization committed to the practice, education, and ongoing development of Body-Mind Centering® with a strong belief in the profound effects of its experiential and collaborative process. Students in programs at licensed training organizations, those studying in classes and workshops taught by Professional Members, and participants in Bonnie's workshops can join as a Student member. BMCA hosts exciting conferences that offer the latest advances in the Body-Mind Centering® approach, as well as experiential presentations and research from other somatic disciplines. It also publishes Currents, an annual journal, that offers professional writing in the field of somatics. The journal's content reflects the depth and breadth of the Body-Mind Centering work and includes articles and case studies about working with infants, children and adults and applications ofBMC to yoga, dance, and teaching movement. For more information or to join BMCA, please visit: bmcassociation.org

Burchfield Rose Publishers Burchfield Rose is dedicated to bringing the unique perspective of the Body-Mind Centering® approach to the fields of movement, bodywork, consciousness, somatic education, and other psychophysical disciplines through the publication of books and DVDs by Bonnie Bainbridge Cohen. It produces, publishes, and sells works by Bonnie, as well as carries works from other publishers that feature her. For more information or to order books and videos, please visit: www.burchfieldrose.com

About the Author Bonnie Bainbridge Cohen is the developer of Body-Mind Centering® and the founder and Educational Director of the School for Body-Mind Centering®. For over fifty years, she has been a movement artist, researcher, educator, and movement and occupational therapist. An innovator and leader, her work has influenced the fields of bodywork, movement, dance, yoga, body psychotherapy, childhood education, and many other body-mind disciplines. Bonnie is the author of three books and many DVDs and has presented workshops in the U.S., Canada, Europe, Asia, South America, Australia, and New Zealand.

A Note from Bonnie Thank you for reading my book. I hope you enjoyed it and found it helpful. When teaching workshops, I have a chance to dialogue with the participants. When writing a book, this is not possible. However, I would very much like to hear how you have applied these principles and explorations, personally and/or professionally. If you would like to share your experiences, please send your comments to me at: [email protected]

Bibliography

Developmental Resources Alexander, R, R. Boehme, and B. Cupps. Normal Development ofFunctional Motor Skills: The First Year ofLife. Tucson, AZ: Therapy Skill Builders, 1993 Amiel-Tison, C. ''A Method for Neurologic Evaluation Within the First Year of Life." Current Problems in Pediatrics 7, no. 1 (1976): 1-50 Ayres, A.J. Sensory Integration and the Child. Los Angeles: Western Psychological Services, 1979 Bainbridge Cohen, B. Sensing Feeling and Action. 3rd ed. Northampton MA: Contact Editions, 2012 Banus, B.S., C.A. Kent, N.Y. de Sinson, D.R Sukiennicki, and M.L. Becker. The Developmental Therapist, 2nd ed. Thorofare, NJ: Charles B. Slack, Inc., 1979 Barnes, M.R., c.A. Crutchfield, and C.B. Heriza. The Neurophysiological Basis ofPatient Treatment, Vol. 2, Reflexes in Motor Development. Morgantown, ~: Stokesville, 1979 Bobath, B. Abnormal Postural Reflex Activity Caused by Brain Lesions. London: William Heinemann Medical Books, 1971 Bobath, B., and K. Bobath. Motor Development in the Different Types of Cerebral Palsy. London: William Heinemann Medical Books, 1975 Bobath, K. The Motor Deficit in Patients with Cerebral Palsy, Clinics in Developmental Medicine 23. Philadelphia: Spastics International Medicine Publications/J.B. Lippincott, 1969 Boehme, R. Approach to Treatment ofthe Baby. Milwaukee: Boehme Workshops, 1987 Boehme R Developing Mid Range Control and Function in Children with Fluctuating Muscle Tone. Milwaukee: Boehme Workshops, 1987 Boehme R The Hypotonic Child: Treatment for Postural Control Endurance, Strength and Sensory Organization. Milwaukee: Boehme Workshops, 1987 Bower, T.G.R The Perceptual World ofthe Child. The Developing Child Series. Cambridge: Harvard University Press, 1977 Brazelton, T.B. Infants and Mothers. New York: Dell, 1969 Brazelton, T.B. Neonatal Behavioral Assessment Scale. Clinics in Developmental Medicine 88. Philadelphia: J.B. Lippincott, 1984

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Click, M., and J. Davis. Moving Right Along: Developmental Goals for Physically Disabled Children. Mesa, AZ: EdCorp, 1982 de Villiers, P.A., and J .G. de Villiers. Early Language. The Developing Child Series. Cambridge: Harvard University Press, 1979 Eisenberg, A., H. Murkoff, and S. Hathaway. What to Expect the First Year. New York: Workman, 1989 Fiorentino, M.R. A Basis for Sensorimotor Development-Normal and Abnormal' The

Influence ofPrimitive Postural Reflexes on the Development and Distribution ofTone. Springfield, IL: Charles C. Thomas, 1981 Fiorentino, M.R. Reflex Testing Methods for Evaluating eN.s. Development. Springfield, IL: Charles C. Thomas, 1963 Foord, J. The Book ofBabies. New York: Random House, 1991 Gesell, A. The First Five Years ofLife: A Guide to the Study ofthe Preschool Child. New York: Harper & Row, 1940 Gesell, A. Infant Development: The Embryology ofEarly Human Behavior. Westport, CT: Greenwood Press, 1952 Gilligan, S., and S. Landsman. Best for Baby: A Selective Consumer's Guide to Products and Services from Infancy to Preschool. Stamford, CT: Longmeadow Press, 1988

The Growing Child-Birth to Three Years, a monthly newsletter. Lafayette, IN: Dunn & Hargitt, 1978 Hickman, C.P. Integrated Principles ofZoology. 5th ed. Saint Louis: C.Y. Mosby, 1974 Illingworth, R.S. The Development ofthe Infant and Young Child, Abnormal and Normal. New York: Churchill Livingstone, 1980

The Illustrated Encyclopedia ofthe Animal Kingdom. Vol. 1. Danbury, CT: Danbury Press, 1970 Jaeger, L. Home Program Instruction Sheets for Infants and Young Children. Tucson, AZ: Therapy Skill Builders, 1987 Kelly, P. First- Year Baby Care: An Illustrated Step-by-Step Guide for New Parents. New York: Simon and Schuster, 1983 Kent, G.C. Comparative Anatomy ofthe Vertebrates. 3rd ed. Saint Louis: C.Y. Mosby, 1973 Lamb, M.E., and M. Bornstein. Development in Infancy: An Introduction. 2nd ed. New York: Random House, 1987 LeWinn, E.B. Human Neurological Organization. Springfield, IL: Charles C. Thomas, 1969

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McFarland, WN., EH. Pough, T.}. Cade, and }.B. Heiser. Vertebrate Life. New York: Macmillan, 1979 Morris, S.E. "Development of Oral-motor skills in the Neurologically Impaired Child Receiving non-Oral Feedings". Dysphagia. 3,135-154. 1989 Morris S.E, and M.D. Klein. Pre-Feeding Skills: A Comprehensive Resource for Feeding Development. Tucson, AZ: Therapy Skill Builders, 1987 Nilsson, L., and J. Lindberg. Behold Man: A Photographic Journey ofDiscovery Inside the Body. Boston: Little, Brown, 1973 Parks, S. HELP at Home 0-3: Activity Sheets for Parents Based on the Hawaii Early Learning Profile (HELP). Palo Alto, CA: VORT, 1988 Prechtl, H., and D. Beintema. The Neurological Examination ofthe Full Term Newborn Infant. Little Club Clinics in Developmental Medicine 12. London: William Heinemann Medical Books, 1964 Rugh, R., L.B. Shettles, and R. Einhorn. From Conception to Birth: The Drama ofLife's Beginnings. New York: Harper & Row, 1971 Scherzer, A., and I. Tscharnuter. Early Diagnosis and Therapy in Cerebral Palsy, A Primer on Infant Developmental Problems. New York: Marcel Dekker, 1982 Schwartz, S., and J .E. Heller Miller. The Language of Toys: Teaching Communication Skills to Special-Needs Children, A Guide for Parents and Teachers. Rockville, MD: Woodbine House, 1988 Siegling, L.S., and M. Click. At Arm's Length. Mesa, AZ: EdCorp, 1984 Tansley, A.E. Motor Education. Tucson, AZ: Communication Skill Builders, 1986 Tansley, A.E. Perceptual Training. Tucson, AZ: Communication Skill Builders, 1980 Torrey, T. Morphogenesis ofthe Vertebrates. New York: John Wiley & Sons, 1962 van Allen, M.W Pictorial Manual ofNeurologic Tests. Chicago: Year Book Medical, 1969 van Blankenstein, M., U. Welbergen, and J .J. de Haas. Le developpement du nourrisson. Paris: Presses Universitaires de France, 1962 Webster D, and M. Webster. Comparative Vertebrate Morphology. New York: Academic Press, 1974 Wolf, }.M., ed. Temple Fay, M.D. Springfield, IL: Charles C. Thomas. 1968 Zihlman A. The Human Evolution Coloring Book, New York: Barnes & Noble Books, 1982 Zimmerman, J. Goals and Objectives for Developing Normal Movement Patterns: A Manual of Gross Motor Behavior Objectives with an Emphasis on the Quality ofMovement. Gaithersburg, MD: Aspen, 1988

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BASIC NEUROCELLULAR PATTERNS

Embryological Resources Bannister, L.H., M.M. Berry, P, Collins, M. Dyson, J.E. Dussek, and M.W.J. Ferguson, eds. Gray's Anatomy. Edinburgh: Churchill Livingstone, 1995 Blechschmidt, E. The Beginnings ofHuman Life. New York: Springer-Verlag, 1977 Carlson, B.M. Human Embryology and Developmental Biology. Philadelphia: Mosby, 2004 Cochard, L.R. Netter's Atlas ofHuman Embryology. Teterboro, NJ: Icon Learning Systems, 2002 Crelin, E.S. (illustrated by EH. Netter). "Development of the Musculoskeletal System." Clinical Symposia 33. no. 1 (1981): 1-36 Crelin, E.S. (illustrated by EH. Netter). "Development of the Nervous System." Clinical Symposia 26. no. 2 (1974): 1-32 Drews, U. Color Atlas ofEmbryology. New York: Thieme Medical, 1995 England, M.A. Life Before Birth. London: Mosby-Wolfe, 1996 Gilbert, S.G. Pictorial Human Embryology. Toronto: University of Toronto Press, 1989 Moore, K.L., and T.Y.N. Persaud. The Developing Human: Clinically Oriented Embryology. 7th ed. Philadelphia: Saunders, 2003 Sadler, T.w. Langman's Medical Embryology. Baltimore: Lippincott Williams & Wilkins, 2006 Schoenwolf, G.C., S.B. Bleyl, P.R. Brauer, and P.H. Francis-West. Larsen's Human Embryology. 4th ed. New York: Churchill Livingstone, 2008

Spatial Aspects of Movement Goldman, E. As Others See Us: Body Movement and the Art ofSuccessful Communication. New York: Routledge, 1994 Laban, R. Mastery ofMovement. London: Macdonald and Evans, 1971

Weakness, inflexibility, and lack af coordination are often not due to structural or muscular problems, but caused by lack of process. When that process is actualized, we experience strength, flexibility, and ease in our movement and our mind. The Basic Neurocellular Patterns are an exploration of process. - Bonnie Bainbridge Cohen

Basic Neurocellular Patterns The Basic Neurocellular Patterns (BNP) form the underlying words and phrases in the language of human movement. The BNP have a global influence on our physical, perceptual, emotional, and cognitive functioning. They shape how we bond, defend, learn, organize, and sequence information, and how we relate to ourselves, others, and the world. The BNP have extensive application in the areas of movement and psychophysical expression. Done in sequences, they can also form the basis for a deep and ongoing personal movement practice. Although the BNP normally emerge and ideally integrate throughout infancy, revisip[lg the$e patterns and exploring them as adults can be eye-opening, transformational, and Hfe c~hanging. With this book as a guide, Bonnie invites you to directly experience, embody, and integrate your own developmental movement patterns. In doing so, you can come to know and use this work in deep and meaningful ways with yourself and with others.

This book includes the following: •

Parallels between animal movement and infant developmental movement

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Progression of development from internal movement to external movement and locomotion

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Exquisite drawings to help you get a feeling for the patterns

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Step-by-step exercises to guide your exploration of the "patterns

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How to use the vertebrate patterns as a framework for your personal movement practice

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Applications to yoga, dance, sports, music, vision, touch, teaching, aging, psychophysical processing, meditation, and prayer

Homologous frog and infant

Bonnie Bainbridge Cohen is a movement artist, researcher, educator, therapist, and developer of the Body-Mind Centering· approach to movement and consciousness. In 1973, she founded the School for Body-Mind Centering". Her work has influenced the fields of dance, bodywork, yoga, body psychotherapy, infant and child development, and many other body-mind disciplines. She is the author of the book Sensing, Feeling and Action and numerous DVDs on dance, embodied anatomy, embodied embryology, and working with children with special needs. .'

Burchfield Rose Publishers EI Sobrante, California

ISBN 978-0-9908339-3-2 90000>

9 780990 833932