When moving, our coordination is affected by body connections, center of weight and the relationship to initiation and follow through of a given action. In developing the principles of Fundamentals, Bartenieff was concerned with support of the body to facilitate functional, expressive and efficient movement experiences. The Fundamentals are developmentally based. They mirror the stages of development of the brain and the motor skills that babies and toddlers progress through on their way to mastering mature movement patterns. The Fundamentals require the use of deep muscles, close to the core of the body, and the use of breath support to increase the power and flow of movement. They also require a clear spatial intent: an understanding of where movement initiates in the body and how it sequences through the body from one part to another Allison
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Basic Six[ edit ] There can be many varieties and expansions of Bartenieff Fundamentals, but a group of movement sequences have become known as the Basic Six. Additionally to the Basic Six Bartenieff describes variations and elaborations of these exercises which utilise more varied spatial and dynamic qualities and stronger muscular force. All descriptions below only describe one side but usually both sides will be explored.
Peggy Hackney remarks  that when she studied with Bartenieff these exercises were not done in isolation but were starting points for more complex creative movement explorations and would be taken off the floor and into space. These exercises were originally devised whilst Bartenieff practiced physiotherapy in a polio ward but they have been adapted and used with a variety of populations and variations are commonly used in Contemporary dance training.
The purpose is partly to sensitise the practitioner to the various planes of motion the body is capable as well as engaging movement in the shoulder joint. This is described generally as growing and shrinking, bulging and hollowing in the saggital dimension, widening and narrowing in the horizontal dimension and lengthening and shortening in the vertical dimension. Additionally, voice may be added. Bartienieff describes these sounds as relating to different parts of the spine and trunk and mentions yogic and tantric influences.
Occurs in the saggital plane. Although the movement is initiated in the ankles, it will usually progress through the entire body including the head. Thigh Lift femoral flexion [ edit ] Pre-lift[ edit ] From supine. Consists of sliding each foot, one at a time towards the pelvis, whilst maintaining awareness of a connection between the ischial tuberosities sits-bones and the heels.
Reverse the movement. The spine should not move and will usually need to be actively "grounded" in order to maintain itself position. Lift[ edit ] From semi-supine.
Consists of lifting the femur up towards the chest, leading from the knee. Maintain the angle of the knee i. Reverse and return the foot to the floor. Like the pre-lift the spine will usually need to be actively "grounded". The pelvis is lifted and brought towards the feet in the saggital plane.
Reverse the movement Pelvic Lateral Shift[ edit ] From semi-supine. Lift the pelvis minimally from the floor and shift it laterally. The pelvis should not tilt in the horizontal, vertical or saggital plane but should simply glide to the left or the right. Reverse back to centre. This is known to be one of the most complex of the Basic Six. Although the movement of the pelvis appears so simple it requires complex involvement and interaction of the hip-rotators and other muscles.
Various movement teachers including Bartenieff, Martha Eddy and Robert Ellis Dunn have commented that unidimensional movement is actually much harder to produce that three dimensional or planar movement. Lie in a big "X" position with the legs and arms abducted. Bring the knee and elbow together on one side of the body. Reverse by reaching the fingers and toes diagonally aware from the centre. The body stays as close to "flat" in the vertical plane as possible.
Bartenieff stressed that it is better to this minimally but flat than to close the knee and elbow too much and to come out of the plane. Knee drop Diagonal Knee Reach [ edit ] From semi supine. Leading with one knee, let the leg externally rotate and drop to one side. The opposite leg will follow this movement. Although the final shape is very superficially similar to "lumbar twists" in yoga, in the Knee Drop the pelvis will not roll as much and the movement should be fairly passive - gravity does most of the work.
And Bartenieff stresses , p. Variation: Alternating Knee Drop and Arms[ edit ] In this variation the arm on the opposite side of the body is brought into an active diagonal relationship with the leg initiating the Knee Drop.
Arm Circles[ edit ] From the final position of the Knee Drop. Keeping the hand on the floor the hand traces a circle over the head to the opposite side and continues in the same circle back to its original position. The upper body should roll with the hand and the eyes and head follow the movement where possible. The initial movement is initiated in the hand but the reversal is usually initiated in the scapular.
Variation - Diagonal Sit Up[ edit ] The circle is made wider and this shifts the body weight into a asymmetrical kneeling position and the arms circle around the body. They are titled: the See Saw - a partnering exercise, preparatory exercise for creeping to standing, the Lower Unit Sequence - walking through hands from quadraped position, condensing from sitting to lying, creeping to standing for locomotion and creeping to stable standing, and sitting to standing to walking - propulsion sequence.
Finally, a number of exercises are frequently taught, but not described in Body Movement including "X-rolls" diagonal rolls and "Xs and Os" although this is arguably a variation on Preparatory Exercise for Creeping to Standing. The symbols associated with these patterns were developed by Hackney in consultation with Martha Eddy.
When Bainbridge Cohen developed these patterns there were originally only four described - spinal, homologous, homolateral and contralateral movement - which were compared to the movements of fish, amphibians, reptiles and mammals respectively. Soon navel radiation and breathing were added, followed by mouthing.
These six patterns were later subdivided into the vertebrate and Prevertebral patterns, with the original four being the vertebrates and the newer additions being prevertebrate. Currently Bainbridge Cohen identifies 19 Basic Neurocellular Patterns which include transitional patterns, variations and modifications of the basic patterns.
Basic Six Edit There can be many varieties and expansions of Bartenieff Fundamentals, but a group of movement sequences have become known as the Basic Six. Additionally to the Basic Six Bartenieff describes variations and elaborations of these exercises which utilise more varied spatial and dynamic qualities and stronger muscular force. All descriptions below only describe one side but usually both sides will be explored. Peggy Hackney remarks  that when she studied with Bartenieff these exercises were not done in isolation but were starting points for more complex creative movement explorations and would be taken off the floor and into space. These exercises were originally devised whilst Bartenieff practiced physiotherapy in a polio ward but they have been adapted and used with a variety of populations and variations are commonly used in Contemporary dance training. The purpose is partly to sensitise the practitioner to the various planes of motion the body is capable as well as engaging movement in the shoulder joint.
Mikagar With breath stimulating ilioposas, leg flexes till foot is on floor On extension, hamstrings push heels away from sitz-bones ischium Two legs can alternate flex-extend in a crossed-extensor-reflex. The upper and lower body each function as integrated units, with the upperbod rib-cage, shoulder-girdle, arms and hands works in contrast to the lowerbody pelvic girdle, legs and feeteg. The breath gradually expands outwards connecting the inner core to limbs all 6 limbs 2 hands, 2 feet, head, tail which reach outward away from center, and back inward toward center, like a starfish or octupus, squid, the core of the body is activated and connected through the midlims to the distal ends of limbs. Gordon and Breach especially pp. Awareness of arm-shoulder-scapula-latissimus connecting to lower body Awareness of full 3-dimensional gradated rotation in shoulder joints Integration of head-eyes with arm movement Narrowing and widening across sternum Action: Shopbop Designer Fashion Brands.