Continuum Delicious Movement
fluid wisdom and resonance - Bio- Intelligence
Sensual Satsang, Sound and Breath
in south of Bavaria
Continuum is the eternal medicine of Love
The Connection to the living Body - this unifies all the Places that feels separate from your source....you feel causeless Love, Eros and Joy
a human being is an extension of a planetary process
There is a movement all life shares. This intelligent fluid movement can open our mind and body to experience the infinite Source of Life we eternally are.”
Ein Geschenk der Natur an DICH
ein inneres gurren, glucksen und kosen
Continuum Delicious Movement
intimately connected to all life...

Body and Heart Centered Culture

Continuum - Mutlidimensional Movement, Delicious Movement - Sensual Satsang - Contact Improvisations Dance - The Work of Byron Katie

 

 

a human beeing is an extension of an planetary process (emilie conrad)

 

The Artistry and of Embodiment - Beyond the fascial Web -

The Secret of Sound, ancient Movement and Water

We are intelligent packed Water walking on land....

 

 

 

 

Kommende Events:


7 Tage Retreat vom  23 July 2017 bis 30 July 2017
Continuum Retreat mit Robin Becker (USA) und Kalimah Moorea in Schlehdorf am Kochelsee

 

 

680 Euro bis 580 Euro - in Selbsteinschätzung. Je nach dem wieviel du geben möchtest kannst du geben.

Alle Teilnehmer des Sylvester Retreats 2016, können für den Betrag von 680 Euro bis 350 Euro teilnehmen !!!

 

Es steht jedem frei den Betrag zu wählen den er zahlen möchte.

Unterkunft und Verpflegung ist in Selbstorganisation! -

Vergünstigung auf Anfrage

 

Übernachtungen sind möglich direkt im Kloster  zu buchen (Zimmer ca. 26 Euro mit Frühstück) oder in Schlehdorf in der Pension Killer oder im Touristenbüro.

Wir werden meist im "Fischerwirt" um die Ecke, einem sehr guten internationalen Restaurante alles zusammen essen gehen - auch hier gilt freiwillige Basis. Wer nicht essen möchte steht es frei nicht zu essen oder alleine zu esen in Selbstversorgung.

Eine sehr kleine Küche steht im Kloster zur Verfügung.

 

Infos und Anmeldung : unter Kalimah This email address is being protected from spambots. You need JavaScript enabled to view it. - Tel 01773297706

_________________________________________________________________________________________________________________________________

 

 

Leitung: Robin Becker (USA) - more info: www.robinbeckerdance.org

 

Choreographer, Dancer and Continuum Teacher

 

Robin Becker 

 

Robin Becker working on the "into the sunlight" Produktion

info: www.robinbeckerdance.org

 

Space in the Monestery - Different Rooms, beautiful gardens, weise nones...meditation rooms and more

 

 

“There is a movement all life shares. This intelligent fluid movement
can open our mind and body to experience the
infinite Source of Life we eternally are.” 

 

 

 

 

 

 

 

 

 

Continuum arbeitet mit dem Teil des Körpers der nicht Zeitgebunden ist!

 

Jenseits von Zeit und Raum - verschmelzen wir - werden wir flüssig und IN_FORM_IEREN uns....

Duch Bewegung und Ton , wie in einem Schmetterlings-Cocoon...werden wir flüssig und gehen in Resonanz

mit INFORMATIONEN - im quantenfeld.....

 

 

 

Kolchelsee, Mountains, Lakes and Waterfalls......

 

 

 

 

Da es nicth tmöglich ist vom 23 July auf den 24 Juli im Kloster zu übernachten haben wir die Tage etwas veränder und offen gestaltet.

 

Anreisetag ist der 24 Juli - Einschecken - Bezahlung und Zimmerbelegung ist um 10 Uhr im Kloster

Beginn des Retreats ist 13 Uhr mit Robin Becker und Kalimah Moorea.

Übersetzung: Lilith Jappe gemeinsam mit Kalimah Moorea

 

Wer schon am 23 July am Abend anreisen möchte kann das natürlich tun und sich wo anders ein Zimmer nehmen.

Pension Killer um diie Ecke und andere sehr schöne Pensionen sind in ganz Schlehdorf um das Kloster herum zu bekommen.

Frühzeitige Buchung ist wichtig da es Hoch Saison- ist.

 

Wir werden  am 23 Juli eine kleine Abendsession - bodywork anbieten - mit Continuum Movement , Yoga Elementen zum Ankommen..und Entspannen....Dehnen und Geniessen..vielleicht etwas freien Tanz  und Gesang - ab 16 Uhr

(Leitung Kalimah Moorea und Taro Kleiner).

 

Wenn schönes Wetter ist können wir das draussen am See geniessen in pure NATRUE!

 

Bitte bringt ein kleines Picknick mit für ein gemeinsames Buffet....

 

Beginn des Retreats mit Robin Becker und Kalimah Mororea am 24 juli

13.00 Uhr bis ca. 18.30 Uhr

 

Beginn des Schnuppertages ist ebenso am 24 Juli 13.00  Uhr bis ca.18.30 Uhr.

 

Ab dem 25 Juli ist die Gruppe geschlossen und Endet am 30 Juli

wieder mit einem Bodywork oder /und Tanzausklang.

Genaue Zeit wird noch bekannt gegeben.

 

 

 

Schedule:

 

23 July 16.00 Uhr Bodywork am See oder im Raum. Treffen im bzw. am Kloster.

18.30 gemeinsames Picknick mit Selbst Mitgebrachtem zum gemeinsamen TEILEN

 

24 July 10.00 Uhr Check in - Zimmerbelegung im Kloster und Bezahlung der Seminargebühren im Kloster

 

Spaziergänge am See, in den Gärten vom Kloster oder in den Bergen ist zu Empfehlen..bevor das Seminar beginnt.

Mittagessen im Fischerwirt möglich, wer möchte.

 

13.00 Uhr Beginn des Retreats im Grossen Saal im Kloster - Ende ca. 18.30 Uhr

Gemeinsames Essen beim Fischerwirt

Abendsession falls vorhanden wird noch angesagt.

 

Täglicher Beginn 10 Uhr bis ca. 18 Uhr (Änderungen werden mit der Gruppe besprochen) - Abendsessions werden direkt vor ort angesagt und 

gehen meist von 20.30 bis 22.30 Uhr.

 

30 July Ende des Retreats ca. um 16.00 Uhr

mit anschleissendem freiwilligen offen Bodywork Teil  - Jungle Gym oder/und Tanz-Nachmittag zum Ausklingen!!-

Und wer möchte gemeinsames Abendessen um 19 Uhr

 

 

es ist uns ein Anliegen....

Ankommen und Ausgang des Retreats so smooth und langsam wie möglich zu gestalten!

Bitte komme so früh du kannst und lass dir minimum zwischen Ende des Retreats und Heimfahrt 2 bis 4 Stunden oder mehr Zeit

mit uns Bodywork zu geniessen in der Natur zu sein, am See.....oder 

einfach nur DA ZU SEIN.

Freie Zeit und Verlangsamung..bis Zeitlosikgkeit...ist Inhalt und Essenz des Retreats!!

es ist  Nahrung wie Heilung für Körper, Seele und Geist.

 

Einen oder zwei Urlaubstage zusätzlich einzuplanen wäre zu empfehlen.

 

Nach dem Retreat bist du sehr offen, weich und berührbar, genährt und empfänglich für NEUES und  für die nährenden Frequenzen der Seen, der Erde und des Kosmos. Nimm dir Zeit! 

 

Arbeiten gleich am Nächsten Tag raten wir ab und ist nicht zu empfehlen.

Ein ruhiger Tag zu Hause ist stark zu empfehlen.

 

 

Wir werden die Struktur dementsprechend organisieren und in das Retreat einbauen. Zeiträume schaffen.

Spaziergänge, Naturerfahrungen, Jungle Gym, Yoga und Contango, Singen, Tönen oder freier Tanz...wird dieses mal....immer wieder am Abend oder während der Sessions mit einfliessen - um uns auch mehr im Aussen zu Bewegen und das Erfahrene zu integrieren. Um noch mehr Spsss zu haben und schönen Begegnungen Raum zu lassen. Urlaub Pur!

 

Ein Allnighter mit Stille ist natürlich in Vorbereitung

 

____________________________________________________________________________________________________

 

 

Körper

ist Bewegung

die stabilisiert wurde um hier auf der Erde zu sein.

 

 

 

 

Bewegung ist Information und Nahrung

 

Immer wenn wir uns bewegen egal wohin ,

ist es Nahrung....(auch in Beziehungen)

 

Die Schumann-welle bewegt sich um die Erde herum und durch uns...reguliert ide Zellen aller Wesen auf der Erde.

Dieses Zellbewusstsein beträgt 7,8 Hz.....

 

Wir sind Kinder der Sterne!

 

Um neues leben...zu gestalten muss die Frequenz unter 7,8 Hz fallen.

Dort ist das System Körper nicht gebunden ..in der Zeit!

 

Der Magnetische Teil ist tiefe Empfänglichkeit!

In Stille

 in diesem Retreat bringen wir unsere Zellen unter 3,8 Hz! Der Wasserwiederstnd geht gegen Null und der 4 Aggregatszustand stellt sich ein (siehe Dr. Pollack)

 

 

Das Fliessen an sich , fliesst immer richtig Heilung.

Das Fliessende an sich ist die Liebe - der eigentliche Heiler

 

Das Fliessende an sich bewegt sich in Wellen, spiralen und Pulsation.es ist hoch resonant.........es ist Information!

 

 

 

 

 

 

http://continuummovement.com/articles/

Lots of Articels about Continuum

 

 

 

THE FLUID SELFExcerpt fromLIFE ON LANDby Emilie Conrad http://continuummovement.com/docs/articles/LifeOnLand_TheFluidSelf.pdf

 

 

 

Lots of Videos about

Continuum, Fascia, Movement, Schauberger, Water-Wisdom, Biointelligence and Emilie Conrad 

 

 

 

 

Lauterwasser Kalngbilder und Resonanzbilder

 

Emilie Conrad 

 

Reclaiming back the Eros

 

Ajyaja Sommers

 

Das Geheimnis des Wassers

 

 

 

DANCING IN THE DARK 

YOGA JOURNAL, November/December, 1987, By Carolyn Shaffer 

 

Dancer Emilie Conrad-Da’oud slipped through the crack between two worlds—and returned with Continuum, a revolutionary approach to movement and the body.

Imagine yourself walking in the dark along the rim of a deep chasm. As you search for a way to reach the opposite side, you feel the earth give way beneath your feet. Suddenly, you are sliding into the blackness. You grab for whatever you can reach—rocks, branches, weeds—but everything you clasp on either side of the narrow cleft begins to slide down with you. Panic clutches your throat. You want to claw your way up one side or the other, but you know it’s useless. Both walls are crumbling now. Finally, in an act of ultimate trust—or utter madness—you let go of all physical support and drop into the dark void.

As you fall, you sense your body changing. Instead of feeling dense with muscle and bone, heavy as a boulder, your arms, legs, and torso begin to lighten and expand. You sense the spaces between cells and molecules and the smooth flow of fluids across membranes. Air ripples like liquid through your skin. You are floating now in a vast sea. Like a sleek eel, you slither forward, then, formless as an amoeba, you spread out. Fish glide between your ribs. You use their gills to breathe. You become a fish. You swim, rest, dissolve, merge with other creatures, then reform to swim again in an ocean of love.

This is not a dream. It is a mythic telling of the true story of Emilie Conrad-Da’oud, a woman who slipped into the crack between two worlds and emerged with an insight that would change forever her view of reality—and the lives of those with whom she later worked.

The event that triggered what Conrad-Da’oud calls her “black hole” experience was her return, in 1960, to New York City after a five-year stint traveling and dancing in the West Indies. Rather than resume her promising career in New York as a professional dancer, Conrad-Da’oud chucked it all, moved to southern California, and developed Continuum, a radical approach to the body and movement that she now teaches across the country.

While Conrad-Da’oud works with a wide range of people, including many bodyworkers and movement specialists, she has taken on a number of clients over the years who, to all appearances, cannot move. These are women and men paralyzed by spinal injury, stroke, or polio. The results of Conrad-Da’oud’s work with them have been transformations in their bodies that medical doctors can only label miraculous.
A striking woman, with thick black hair, dark eyes, and an earthy directness and sense of humor, Conrad-Da’oud grew up in Brooklyn and seemed destined from youth to be a successful dancer. She studied classical ballet in New York with Robert Joffrey, Richard Thomas, and Don Farnsworth and primitive dance with Katherine Dunham, Sevilla Fort, and Pearl Primus. Her desire to deepen her understanding of ritual dance led Conrad-Da’oud, in the mid-50s, to her travels in the West Indies.

Once in the islands, Conrad-Da’oud immersed herself in their rhythms. She swayed to a West Indian beat morning, noon, and night. Eventually she formed and directed a dance company in Haiti. But she knew she was not meant to stay there. After five years of imbibing a culture quite different from her own, Conrad-Da’oud sensed it was time to return to the United States and the challenges it held for her.

Once she was back in New York, however, the dissonance between the liquid, organic rhythms of Haiti and the frantic, manufactured pace of Manhattan grew to such a pitch that Conrad-Da’oud thought she would go mad. She dipped in and out of what industrial culture labels reality as she sought, at a deep psychic level, to make sense of what she was experiencing. In the midst of her inner chaos, Conrad-Da’oud began to realize that what we call our body is, to a large extent, a cultural construction. The disparity between how New Yorkers and people in the West Indies move and view their bodies convinced her that each culture “imposes on its members a definition of the human form.” Beneath this construct, Conrad-Da’oud sensed only movement.

“We do not move. We are movement,” Conrad-Da’oud tells her students over and over again. This is the insight that she brought back form her inner journey to the underworld. She speaks of it confidently today and helps others discover it by experiencing the wisdom of their bodies for themselves. But reaching this place of deep knowing and assured teaching was not easy.
“I had to give up everything I believed,” Conrad-Da’oud writes in a publication introducing her work. “I saw that what I called ‘my body’—how I moved, talked, even how I thought—was a cultural imprint. With all my training, I had been teaching ‘my body’ to dance. But deep inside there was already a dance going on, if I would perceive it—a dance of myriad movement forms beyond anything I could think of. I had to feel it. I had to let it guide me.”

She did. The result is Continuum, an approach to the body based on intrinsic felt movement rather than imposed, patterned movement. The secret of this work is trust: trust in our body and in the deep wisdom of our cells. This trust opens us to love, which Conrad-Da’oud believes is the healer and the miracle-worker. Love, she claims, is as natural to us as breathing. It is the ocean in which we swim. It penetrates every cell and molecule in our body. According to Conrad-Da’oud, we are the ocean. We are fluid.

One person Conrad-Da’oud chose to work with using these insights was an 18-year-old woman named Susan, who had been partially paralyzed by polio since age one. Conrad-Da’oud didn’t know at the time that the medical establishment considers such paralysis irreversible. Polio, the experts explain, causes the muscles and nerves to degenerate. For years, doctors had told Susan she would never recover movement in her left leg. Within four years of working with Conrad-Da’oud, Susan had regenerated more than 90 percent of the muscle in this leg. A film made of one of their sessions shows Susan lying on her stomach, bending her left leg and raising her foot in an arc until it touches her buttock. In medical terms, this is an impossibility.

Conrad-Da’oud had no plan for working with Susan. She simply sat next to her and put a hand on Susan’s polio-afflicted leg. “I didn’t know what to do,” Conrad-Da’oud admits, “and I had seen healers work by laying on of hands.” She sat like this with Susan for hours at a stretch, giving no instructions, not even guiding Susan in visualizations. At first, Susan felt only heat. Then one day the leg began to shudder. “It was as if it were saying ‘hello’ to my hand,” says Conrad-Da’oud. “We were communicating.” After four years of weekly four-hour sessions, Susan could move in ways more subtle and finely articulated than most so-called normally abled person, although she couldn’t perform all the functions associated with movement.

For Conrad-Da’oud this healing was no more miraculous than human love. A deep bond had developed between her and Susan as they sat together. As Conrad-Da’oud understands love and the human body, this meant that their cells began to resonate or communicate with each other. In a sense, Conrad-Da’oud’s healthy cells woke up Susan’s afflicted ones and reminded them of their own capacity for movement. Conrad-Da’oud claims she did not use her mind to direct the cells to do this. She simply developed a bond of empathy with Susan and let the cells, with their innate biological wisdom, do the rest.

We are always moving, explains Conrad-Da’oud, even those of us who appear paralyzed, but the movement is at a level deeper than eternal appearances. She distinguishes between felt movement and externally visible movement. Paralyzed people can feel movement inside their bodies, but because our culture does not value this kind of movement, they think they cannot move. Conrad-Da’oud helped Susan get in touch with the movement within her atrophied leg. The inner movement surfaced and rippled across the skin and eventually enabled Susan to lift her leg.

Conrad-Da’oud no longer works with clients the way she did with Susan. “With Susan, I was the one in charge of the healing,” she explains. “The responsibility was all on me. Now I may collaborate with others, but I make clear that they are in charge. I don’t think I help someone—at least, not in the long run—if I act as healer and she acts as healee. This doesn’t develop the person’s sense of personal power. She remains dependent on me.” Today, Conrad-Da’oud finds out what her clients want and helps guide them toward that, but she does not direct them. “They have to be willing to participate, or I just won’t work with them,” she insists. She tells of turning down a well-known movie star because he simply wanted to be fixed.

Rather than holding her hand over a client’s paralyzed leg or back for hours, Conrad-Da’oud might ask the person to mentally go inside that part of her body, to pay attention to the sensation there, and to allow these and any movements, no matter how tiny, to arise spontaneously. She will then ask the client to do this on her own at home. The client, from the beginning, must know that she is healing herself.

Communicating at the Cellular Level
About two dozen of us women and two or three men scatter ourselves like pebbles across the carpeted floor of an otherwise bare college conference room in San Francisco. Dressed in sweatsuits or leotards and tights, we sit and lie on towels and mats and wait for Emilie Conrad-Da’oud to demonstrate the process she has chosen to begin this three-day Continuum workshop.

Clad in silver leotard and pale tights, she stands quite still in the center of the room, her arms loose by her sides. “For the next hour,” she explains, “I want you to move, but not with your space probes, not with your arms and legs. I want you to feel the movement in your body. Start anywhere, with your ribs or your ass.” She begins to demonstrate. Her buttocks move, almost imperceptibly at first. The movement spreads to her back. “Suddenly aliveness happens,” she continues, now in a droning voice. She shivers. Her eyes are slits. Her right shoulder begins to twitch. “Pay attention to how the movement wants to go. It takes strange pathways.” Her left leg is lifting off the floor, her right arm twisting forward. Her elbow bends, her fingers curl and twist, her torso undulates in slow waves. “I am an unpredictable thing.”

Each time I watch Conrad-Da’oud demonstrate her approach to movement, one part of me wonders whether I can ever do what she does, let movement play through me effortlessly, spontaneously, following its own inner wisdom. Another part wonders why I would ever consider such a thing. If anyone saw us moving this way, they’d think we were out of our minds.

But that’s just the point. Conrad-Da’oud is trying to get us out of our minds and into our bodies, our cells, our molecules. She wants us to go deeper than our molecules, beyond particle, boundary, form, and into the flow we always are, the boundless ocean of love.

For centuries, those seeking higher consciousness—whether they termed it enlightenment, mystical union, or nirvana—have tried to escape the body with its material, earthward pull. They have posited spirit and body as opposites, like light and dark. By associating spirit with light and the divine, they have relegated the body to darkness and the demonic. Now this woman comes along and tells us that we can merge with the boundless ocean of love—what many would label the ultimate mystical or spiritual experience—by diving deeply into our bodies. In terms of conventional spirituality, this sounds downright perverse, if not heretical.

For Conrad-Da’oud, conventional spirituality is the perversion because it divides the flow of life into compartments, labeling one good or higher and the other bad or lower. Conrad-Da’oud knows the darkness is not demonic because she dipped into it and found wisdom. She is also sure the body is not evil because the wisdom she awakened to resides there.

“We are verbs, not nouns,” Conrad-Da’oud reminds her workshop participants repeatedly. The notion that we consist of solid bodies with fixed forms that move from here to there through space is a cultural construct. It’s a construct, she explains, that served us well when our main concern was physical survival, but in this era, when fighting off bears and hunting woolly mammoths are no longer our primary aims, such cultural fixations only get in the way of developing our full human potential.

Conrad-Da’oud calls this survival-oriented cultural construct our “biped mentality.” It developed, she says, because we had to stalk prey and flee predators. We separated ourselves from our environment to gain control over it. Those who were different from us we defined as enemy. This mentality can be useful in giving us a measure of control in our lives and enabling us to take care of practical needs efficiently. But when it becomes the only way we look at the world, it not only limits us as individuals but may prove our undoing as a species.

Survival now requires communication, not territoriality, says Conrad-Da’oud, and for that we need to become lovers. For her, love means movement, the dissolving of form or barriers, and movement means health.

When we deeply participate with ourselves and each other, when we commune at the cellular level as Conrad-Da’oud did with Susan, barriers melt—cultural and mental constructs, fears, fixed neurological patterns—and we sense ourselves as liquid movement, flowing in and through other streams of movement. We no longer separate our world into subject and object, mind and body, inner and outer.

Conrad-Da’oud firmly believes that when a person is moving in a biological way, that is, in tune with the deep intelligence of the body, that person is no longer ill or paralyzed. She tells of a young woman she had been working with whose doctor told her she had only a few months to live. The woman was diagnosed as having an insidious intestinal affliction known as Crohn’s disease. One day at a Continuum workshop Conrad-Da’oud noticed the woman moving in a beautifully fluid, innovative manner. How could this be? she wondered. Either the woman no longer had the disease, or Conrad-Da’oud’s theory was wrong. The next day the woman’s doctor, after examining her, reported that he could no longer find signs of her illness.

Developing Alternative Nervous Systems
Despite her success stories, Conrad-Da’oud does not consider herself a miracle-worker. She doesn’t even call herself a teacher or a healer. “If you are movement, how can I show you how to move?” she muses. “I’m a collaborator. I help disrupt your neural patterning so movement can make itself evident. It’s like breaking ice to get to water.”

To shake people out of their neural ruts, Conrad-Da’oud might ask them to make specific sounds for an hour— a “wo” sound alternating with a “sth” sound, for example—or to spend 15 minutes turning their head to the left, or moving the lowest portion of a ring finger.

If a visitor walked into one of Conrad-Da’oud’s Continuum workshops, she might find participants lying on the floor looking as if they weren’t moving a muscle. They would probably not be moving any of the muscles we’re familiar with, but engaging in what Conrad-Da’oud calls micromovements. These are fine movements that develop spontaneously, often in areas of the body with no major muscle groups. Conrad-Da’oud suggests we simply pay attention to these movements and let them spread wherever they wish according to their own intelligence. She believes our bodies—the results of billions of years of evolution—are innately intelligent and capable of much more movement than we can imagine. Just as we use only a fraction of our brain, so we move in only a fraction of the ways in which our bodies are capable. We need only let go of our mental and cultural constructs and let our bodies move spontaneously and biologically.

Conrad-Da’oud goes so far as to challenge the concept of the central nervous system. To her, this is a cultural construct that limits us. We have imposed this structure on our bodies much as we have imposed centralized, hierarchical systems on our communities and the natural world. None of these is biologically or ecologically determined. Both our human bodies and the body of the Earth can support a much broader range of possibilities.

To demonstrate this, Conrad-Da’oud helps people paralyzed by severe spinal cord damage learn to move by developing alternatives to the central nervous system. One of her films features Barbara, a 33-year-old woman paralyzed form the neck down by a spinal cord injury. Barbara not only generates micromovements in odd places on her back but also crawls on her hands and knees across the floor. In the eyes of medical specialists, such recovery is impossible. In Conrad-Da’oud’s view, it is an example of how we can develop nervous systems that parallel the central one.

The notion of a body governed by a central nervous system and a single ego matches that of a country ruled by a central government and a single leader. According to Conrad-Da’oud, both notions are part of our ancient survival mentality and only one way of perceiving reality. Both stress separation, boundaries, hierarchy, and control and cannot tolerate differences. Anything that looks or acts unusual—a wiggling movement in the upper back, a person of a different skin color—becomes a threat. To this mentality, appearance and performance are everything, and one dare not sink beneath the surface into feeling and relating to the other for fear boundaries will melt and, in communion, one will lose control.

This survival mentality, says Conrad-Da’oud, simply no longer works. If we are to avoid blowing ourselves off the face of the Earth, we must move into communication, into deep participation with ourselves and others. Such movement dissolves boundaries and needs no center. Its center is everywhere.

When we communicate in this way, we express the flexible intelligence within the body rather than impose the rigid constructs of a mind detached from body. We rejoice in difference. A new kind of movement? Wonderful! Let’s ride it and feel where it takes us. A being of another shape or color? Marvelous! Let’s meet and move together, enriching one another as we dance. In such a world, possibilities are endless. A blockage in one area calls forth new movement in another. Soon this movement awakens the blocked parts, not so much by trying as by playing. Its dance becomes contagious.

Continuum Challenges Yoga, Other Disciplines
Continuum calls into question our conventional notions of reality. It also challenges every system of movement that has been developed over the centuries, which can prove disconcerting for the dancer, movement therapist, or yoga teacher who attends a Continuum workshop.

When Jean Couch, author of The Runner’s World Yoga Book and a nationally known yoga teacher, first began working with Emilie Conrad-Da’oud in 1983, she remembers feeling both liberated and worried: liberated for the first time to move totally for herself, and worried she might never do another yoga pose.
Couch returned to yoga within days, but her practice and teaching have never been the same. The first thing she changed was to ask her students to arrange themselves in a circle rather than in straight rows. This helped transform the learning process from a one-way teacher-to-student flow to a mutual exchange. The second thing she did differently was suggest that her students “feel into” and experiment with each pose, rather than simply holding it.

“Now, when students move into a particular posture,” she explains, I ask them questions. Where is the tightness? What does it connect to? To a joint? Across a joint? To the bone? Does it touch the skin? If you could loosen the skin, would you affect the bone?

“I used to give students answers. ‘If you do this,’ I would say, ‘you’ll feel better here, or you’ll stretch differently there.’ Now I ask them for answers. I don’t know what will happen. They tell me.”

One of the biggest contributions Continuum can make to yoga, according to Couch, is to shift the focus from achieving results to experiencing the process. “Instead of doing poses to get somewhere,” she says, “I experience what it means to be in a pose. This experience changes all the time. There is no one correct experience.

“With most types of Hatha Yoga, the teacher is adjusting the students’ postures all the time. It is the teacher who decides what is correct and incorrect. Continuum, in contrast, provides an open field in which to play.”
Not all of us can play in such an unstructured environment, and neither Couch nor Conrad-Da’oud suggests that we do. We’re not ready for pure Continuum. Even its founder works out at a gym now and then.

“Rather than being the norm,” comments Couch, “Continuum seems to be predictive of where we are going. It gives us a taste of a future in which each one of us deeply trusts and responds to our innate wisdom. We may only experience this for five minutes in a workshop, but that can be enough to open us to fresh possibilities. It’s this kind of openness that makes evolution possible.”

Couch points out that any system of movement, like any religion, begins with a brilliant insight but loses this spirit or essence when it becomes formalized. Those most trained in a particular form risk becoming rigid and stale because they no longer respond to their own flashes of insight. Continuum offers an opportunity to break free of hardened forms and to allow something new to emerge.

Carolyn Shaffer is a writer and editor living in Berkeley, California. Her articles on spirituality and consciousness have appeared in various magazines, and she is co-author of City Safaris: A Sierra Club Explorer’s Guide to Urban Adventures for Grown-Ups and Kids (Sierra Club Books, 1987).

NEW AGE, September/October 1998 Mindbody By Gina Ogden

 

 

 

 

 

THE JUNGLE GYM: AN INQUIRY INTO FITNESS

ROLF LINES®, August 1998 by Kevin Smith

Kevin Smith is an Advanced Practitioner of Rolfing®. He uses Continuum in his practice and teaches Jungle Gym classes in the Mid Hudson Valley. He studies Epistemics with Dr. Gary David. He is an instructor at The Moving Body, an innovative fitness studio, teaching workouts based on the Gyrotonic Expansion System of Julia Horvath and the work of Joseph Pilates. He is an avid cyclist and lives with his wife Kali Rosenblum and son Josh in Bearsville, New York.

Editors note: This article follows Emilie Conrad Da’oud’s essay entitled Movement in the May 1998 issue of Rolf Lines®.

This article is an introduction to an on-going inquiry into what we know and can say about fitness. This inquiry is the Jungle Gym, developed by Emilie Conrad Da’oud. The Jungle Gym is a contribution to the evolution of a biologically based, self-reflexive model of exercise and fitness. The gym has evolved out of the recognition of the need for a different type of workout, the cultivation of a different kind of fitness. The concepts, values and methods used in the Jungle Gym stand in sharp counterpoint to the industrial models of fitness and exercise that predominate in our culture. The following narrative is meant to convey something of what if feels like to ‘work out’ in this way.

THE WEB
I’m suspended upside down in space, hanging, undulating like some sort of mammalian sea kelp floating to and fro on the tides of breath, feeling and sensation. Above me my legs are entwined in the Web—a rectangular grid work of foam tubing suspended within a 10 X 8 framework of steel tubing, the whole of which is oriented at a 45 degree angle to the ground. Each square opening in the grid is about 18” X 18” allowing me to slide my trunk and limbs through in an infinite variety of ways. This invites elaborate explorations in 360 degree space. As I hang, one arm floats up, prehensile fingers slithering around a foam intersection. My weight lazily begins to shift. I begin to explore this new relationship to gravity. One of my legs, freed from the requirements of stabilization, begins to rise, a tentacle, extending above the plane of the web. My trunk begins to torque, ribs knitting together, abdominal wall contracting in a powerful wave through my pelvic floor, rippling through the tissues of the leg above and out through the sole of my foot. The heel leads, arches spreading, the toes curling, tasting, exploring the surrounding space. The trunk movements expand, creating a variety of torques and arcs that propagate out through the limbs. My breath deepens, and I feel a galvanizing of my system, all the layers of my abdominal myofascia initiating, responding, supporting the constantly changing vectors and curves of the pelvis and leg—the ultimate abdominal workout.

My weight continues to shift and the other arm slowly settles to the floor. Fingers extend, touching down, a lunar lander sending up little puffs of moon dust. Another shift and I am slowly pouring weight into the arm and hand. The limb begins to change form as my shoulder girdle, a moment ago free to play in a huge sphere of motion, now coalesces to provide the needed stabilization. I feel my clavicle and scapula extending out in space toward my elbow, my hand and beyond. The web-like stabilizers of the shoulder joint engage, creating connection between arm and trunk, span between arm and shoulder, shoulder and spine. There is a stimulation of bone and muscle and connective tissue but as well a stimulation of understanding. It is the understanding of structural and functional support, connections and relationships in three dimensional space.

My trunk is now suspended nearly horizontally, my weight balanced between a same side arm and leg that are entwined in the web and the arm that has just touched down. As I play in this configuration I feel a delicious tractioning effect in the lateral fascia of my trunk. It spreads slowly downward through the iliacus inside the pelvis and laterally into the tensor fascia lata and related hip fascia. It feels… incredible, a Rolfer’s dream. I hover, feeling the reverberations of each beat of my heart, allowing the moment to grow until all I am aware of is this emerging inner topology of movement, breath, elongation and meaning.

At this point I am aware of nothing so much as an exquisite distribution of support. I feel extraordinarily light—as if the work of stabilizing my body in gravity is being distributed throughout every fiber, every cell of the skeletal and mysofascial system. Thus de-centralized, I am the expression of constantly shifting reference points. The concepts and abstractions I use to understand, define, and bind that which I call “body” and separate “it” from the ‘outside’ environment begin to blur and lose meaning in this space.

As this new awareness emerges out of the unknown I feel a rush of excitation and the hair on my arms and legs stand on end, a rippling forest of cilia. The membrane of my skin becomes even more sensitive and permeable to the surrounding air. A new wave motion begins to emanate from the viscera, winding its way up through the lateral fascia of the rib basket and the shoulder. My jaw softens as my head and neck begin to drop sideways to the floor, elongating. I bring more breath into the upper lobes of my lungs and rib basket. I feel the fascial web opening in response. First rib, scalenes, on up into the temporal. Behind my right eye an opening. My head feels weightless, buoyed up from underneath, as if underwater. I laugh mischievously. Which way is up?

WHAT IS FITNESS?
I would like to establish a contextual framework for the reader by repeating several provocative statements Emilie made in her essay on Movement. They express some of the underlying values and guiding principles of the Jungle Gym inquiry. I invite the reader, after reading them, to contemplate their potential implications on health and fitness. Consider the question: What would a workout or a system of exercise look like that gives primacy to these kinds of ideas and values?

“Our relationship with our planet is maintained by the resonance of our fluid systems with all fluid systems, human and otherwise.”

“Life is movement. Movement is something we are rather than something we do.”

“All form is temporal. Its demise or its need to reconfigure is inherent.”

“Stabilization is vital for efficiency but it becomes rigid when uninformed by new probabilities… With increased stabilization there is a compromise of adaptability.”

Speaking of her revolutionary work with spinal cord paralysis she says, “Movement can innovate new function…Perhaps paralysis is in the model and not in the spine.”

“Western culture…has brought about the industrialization of the body, with devastating and alienating effect.”

“Creative flux is essential for the enhancement of our functioning…It provides us with an ability to function as biological systems rather than cultural entities.”

THE WORKOUT
The Jungle Gym is a lively, sensuous workout that cultivates a rich responsiveness, a deep flexibility and resilience in all the physiologic processes (bone, fascia, muscle, nervous, fluid systems, etc.). As in Continuum there is a primacy put on fluid movement. This is reflective of the fluid dynamics influencing virtually all levels of the development of form in living organisms. It is in contrast to the linear right angled movements associated with conventional exercise systems based on cardinal planes and mechanical models of movement.

In the Gym we use a rich tapestry of constantly evolving breath, sound and movement explorations in three hundred and sixty degree space and multiple relationships with gravity. Breaths and sounds are used to cue an awareness or resonance with certain physiologic processes. These may range from a breath that stimulates the cardiovascular and fluid systems, a sound that stimulates a vibrational resonance within the bony matrix, to another breath that seems to stimulate a dissolution of the boundary between inside and outside.

CONTAINERS AND HARNESSING
We utilize the notion of a container in the Gym to assist in harnessing awareness and intention. Explorations are laid out as flexible themes. A specific position or movement element may explore, for instance, the lateral ‘line’ of the body from head to foot; the participant is free to explore a wide range of movements and connections within that context. The field or container of the exploration is well defined in order to allow the effect of the movement to amplify. Yet it is also permeable enough to encourage the person moving to follow the sensations and impulses that emerge. This fosters the capacity to innovate new function out of the creative flux of the movements.

ESTABLISHING A BASELINE
In a typical Jungle Gym workout we begin by exploring and registering some specific position and type of movement in order to establish a Baseline. We borrow this term from the field of experimental science in order to engender a playful, yet mindful atmosphere of experimentation and inquiry. A baseline movement might be as simple as positioning ourselves on all fours and exploring the degree and quality of movement available and the relative level of our participation in that movement. At periodic intervals throughout the workout we then return to the baseline in order to deepen our awareness of the changes that ensue.

THE ALCHEMY OF LAYERING
After establishing a baseline, as few as three or as many as six distinct elements (breaths, sounds, movements) are combined together in a process we call Layering. The intention of layering is to extend the protean capacity of the organism to galvanize its energies and form to meet an energetic challenge and then relinquish that form in response to a new set of circumstances. Thus, successive layered elements in the workout are often quite dissimilar. For instance, one such layering might juxtapose a rapid, dynamic movement of the trunk in the standing position with a slow, tractioning exploration parallel to the floor on the Explore Board. This might be followed by explorations using breath to stimulate subtle movements of the cerebro-spinal system while sitting or lying supine.

Presenting the organism with successive, diverse challenges to respond to appears to have a complexifying effect on life processes. Participants are often amazed by the profound shifts in their level of participation in the movements. Large changes in fluidity, articulation and energetic flow of movement are common. This does not appear to be result of a simple additive effect. The layering of the two elements seems to give rise to the appearance of a third effect, not predicted by either of the others. It is analogous to the interference pattern of ripples created by dropping two stones in a pond.

ROUNDS
After a participant completes one round of explorations layering all the elements they return to the baseline movement to explore what has transpired as a result. They then proceed through two more rounds of layering the elements together to further broaden and deepen the complexifying effects of the workout. They can deepen the process by investigating a position or movement on different pieces of equipment in successive rounds, i.e., lying on one’s side on the floor in round one, in a side-lying position on a chair in round two, using the lateral entry position on the Explore Board in round three. Throughout the workout we encourage people to pause in open attention at frequent intervals to deepen their awareness of what is transpiring.

ACROBATICS OF THE GODS
The atmosphere in the Gym during a workout is hard to describe because of the emphasis on multi-planar and non-patterned movement. There are times when looking around the room it appears to be some kind of extraordinary underwater ballet with limbs and trunks moving in all relationships with gravity: extending, contracting, undulating in various rhythms. The usual reference points for “bodies” and how they move and configure themselves in space are often absent. This creates an aesthetic that might appear quite strange from a culture bound perspective but very familiar from a biological one. Emilie often jokes about giving out an Ant Motel Award to a particularly vivid expression of a biomorphically inspired shape or movement.

There are powerful resonant fields generated within the entire group in the Gym. They are the result of a deep, mutual informing taking place on many levels. It is a unifying effect not, I suspect, unfamiliar to Rolf practitioners from their class experiences but with a uniqueness all its own.

EQUIPMENT
All these explorations are made possible or enhanced by the use of any of a number of pieces of equipment or props. The Explore Board and Extension, The Web, Strong Suits and Dynamite Vests, simple chairs, Physio-balls, and resistance bands are some of the props that constitute the physical milieu of the Gym. The Explore Board, Strong Suit and Dynamite Vest were invented by Emilie for the express purpose of expanding the potency of the Gym’s effect on fitness.

The Explore Board and Extension is a custom built slant board with specially welded joints, great lateral stability and a variety of attachments to support movement in any gravitational plane. The Strong Suit is a two piece spandex leotard with weights strategically placed in the outseam of the arms and legs. These are oriented along the long axis of the bones, with an extra weight cuff on ankles and wrists. The suit allows someone working out to do resistance work while moving freely in any direction through complete ranges of motion. The Dynamite Vest is a weighted vest of the same material used to create a deeper challenge in core movements of the trunk. The Web, already described, is currently under development. There are four or five prototypes in use around the country.

PROGRESSIVE LOADING
We can create a deeper energetic challenge to the organism through a process we call Progressive Loading. In this type of workout, the elements, layering, and rounds are the same. The difference is that in each round the participant is working with a different level of resistance and weight.

In the first round the participant might start with a Load: either a Strong Suit, a vest or one or more weight belts around the trunk. The amount of weight used is dependent on the health and experience level of the participant. We add proportionately more weight to the core rather than extremities in order to challenge and stimulate the fundamental movement capacities of the organismic center. Also, some of the complex, multi-planar movements possible in the Gym require well organized core/extremity organization and support to avoid undue stress on the axial/appendicular structures and junctions when additional weight is added to wrists and ankles.

In the second round the participant Up Loads, adding a vest to a Strong Suit, or more weight belts to the trunk. Experienced movers might add ankle and wrist weights as well. Paradoxically the effect of the Up Load is not simply increasing resistance to movement. The added weight creates a deeper tractioning and elongating effect on the tissues. Participants can explore slow suspensions and tractions in favorable relationships with gravity that create outstanding expansions in myofascial and skeletal processes. The arcing, spiraling movements facilitate a reorganizing of all the neuro-fascial planes, wrappings and envelopes and their contents (including viscera and glands), as well as through joint capsules, and the bony matrix.

In the final Unload round, all weights are removed. All the elements are then explored anew in the absence of the added weight and its profound effects on the proprioceptive and kinesthetic systems. People often report after the third round that they feel like they are flying effortlessly even in movements and suspensions of body parts that require a great deal of connection and support and that had initially been quite challenging even without weights.

Progressive Loading usually begins with some nervous giggles as everyone starts loading and looking around at the spectacle of what looks like an indoor scuba class. But it is quite amazing to watch and feel the level of engagement in the room as participants rise to the energetic challenge that the Load and Load Up rounds present. It is particularly satisfying for women who wouldn’t be caught dead doing conventional resistance training to harness all their movement capacities in the service of promoting greater flexibility and resilience.

THE EFFECTS OF INNOVATIVE MOVEMENT
We speculate that some of the enhancement of organismic energy that the Jungle Gym facilitates occurs due to the combined effects of traction and wave motion or fluid movement. These effects appear to induce an increased electrical conductivity in the tissues of the body. This increased conductivity may be, in part, a function of piezo-electric fields created by the mechanical forces that rhythmic contraction and elongation exert on the crystalline-like structures of the connective tissues of the body.

These documented effects have been discussed by Jim Oschman in relation to potential effects of manual pressure on the fascial matrix. Don Van Vleet, in the Future of the Body classes he co-teaches with Emilie, elaborates beautifully the unique effect that Continuum and Jungle Gym movements have on the health of all organismic processes via the fascial matrix. Whatever the mechanisms involved, we believe the implications of harnessing and cultivating movement in this way are vast. Focused awareness, breaths and movements and their effects on gross and subtle structures and processes can be sustained in a workout for extended periods of time. They generate resonant fields of information and energy that literally bathe the organism in ways that are deeply nourishing and regenerative.

The capacity to strike a balance between the conservation of useful habits and the capacity to innovate new function is a defining characteristic of living organisms, health, and fitness. “Creative processes are not symmetrical,” Emilie is fond of saying. Non-patterned, asymmetrical movement encourages the nervous system to discover novel responses. The challenge is to let go or “put on a shelf” our habitual, learned movements, rhythms and styles (however valuable in other contexts), and then allow something new to emerge out of the creative flux that is our nature. This is the aspect of Continuum and the Jungle Gym that I have found most fulfilling. I believe it is an almost totally neglected yet absolutely essential element of any comprehensive model of health and fitness.

FITNESS AS SYMBOLIC ACTIVITY
One of the totem animals or symbols of the Jungle Gym is the Octopus. Capable of astounding feats of strength, a decent sized octopus also has the ability to shape-shift, squeezing herself through a coke bottle sized tube to get to a potential meal at the other end. That’s flexibility! Although there are huge differences between homo sapiens and octopods, there are also biological kinships that can transform our movement capacities if we simply attune to them.

There is a strong emphasis in the Jungle Gym on attuning to sensation and lower order events in the nervous system. We do this, in part, by using primitive, embryogenic and biomorphic images and metaphors in our workout. The value of doing this can be illustrated by means of a simple experiment.

I invite the reader to first visualize deeply for several moments, then move one arm and hand through its entire range of motion in ways that are in keeping with the lever and pulley model of bio-mechanics. Notice which muscles are activating, the quality of their engagement as well as the way the joints move. Notice the level and quality of fascial activity in the arm as you do this. Finally take note of how interesting the movement is to you. Now visualize deeply for several moments, then move your other arm and hand in ways that are akin to those of an octopus. Again note the kind and quality of muscular activity, joint movement and fascial activity. Note as well your level of interest in the movement.

To complete the experiment, sit in open attention, feeling your arms for few moments before answering the following questions. In which arm did you feel more fluid articulation and muscle engagement? Which type of movement involved a more global involvement of the fascial web? Which movement felt more sensuous? Did one movement feel more significant or meaningful than the other? Finally, which one felt more alive?

This example vividly illustrates the incredible impact unexamined models and assumptions about movement and bodies have on our experience. We are symbol users. It behooves us to choose carefully and wisely what we want to embody through our use of symbols. When we think about fitness, we should exercise our species’ greatest strength, our self-reflexive nature. Otherwise it will be our greatest source of weakness. 

 


1 bis 5 November 2017 Soma Movement ARTS Festival Munich 2017 - 
"A new Way of being as a species on Earth"
(Contact Improvisations Festival Munich) www.contactdanc.de

 

 

 
 
 
 
 
 
 
 
 

 
Body and Heart Centered Culture - Contact Improvisation Munich-
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