Healing Through Movement Part 1: The Pioneers

“Existence is movement. Action is movement. Existence is defined by the rhythm of forces in natural balance… It is our appreciation for dance that allows us to see clearly the rhythms of nature and to take natural rhythm to a plane of well-organized art and culture.” ~ Rudolf von Laban 

Laban movement analysis (LMA), is a method for describing, visualizing, interpreting, and documenting human movement. It is based on the original work of dancer, choreographer, and dance/movement theoretician Rudolf von Laban (1879-1958). Widely recognized as the originator of the practice of somatic movement, Laban was also the founder of the European Modern Dance movement. 

An approach that draws from multiple fields including anatomy, kinesiology and psychology, LMA was for many years primarily used in dance choreography for dancers to discover new ways to move. 

Today, LMA is widely used by dancers, actors, musicians and athletes; by health professionals such as physical and occupational therapists and psychotherapists;2 and in anthropology, business consulting and leadership development. 

“As we tap into the deep sources of bodily wisdom through creative art expression, we dance the renewal, recreation, and healing of ourselves and our world.” ~ Anna Halprin4 

An advocate of the therapeutic power of movement since the middle of the last century, Anna Halprin (1920-1921) made contributions to performance, choreography, and dance education that are legendary. The famed postmodern dance pioneer was a living testament to the healing power of movement in all its forms.

Halprin knew better than anyone that movement is as powerful a therapeutic tool as it is a performing art. It allows us to connect mind and body. It provides a healthy space for us to explore and grow. It is a means of expressing oneself without any boundaries. It can, quite literally, heal. 

According to the Anna Halprin Digital Archive, “Her intent was to create a pure, abstract form of dance focusing upon movement. Through integration of primitive and modern dance, as well as the use of improvisation, Halprin and her students began to develop a new conception of dance that allowed for individual, spontaneous movement as opposed to following predetermined 

choreography.”5 

The Halprin philosophy frees the individual from traditional approaches, allowing for experimentation that puts us in the present moment, using movement to create ritual, healing, and change. 

And that legacy continues. Thanks to Halprin, Laban, and other proponents, the formal practice of focused movement is finally gaining a foothold in the larger community. For practitioners, and those who practice, the language of movement is key to both mental and physical wellness. 

Laban and Halprin would, no doubt, agree. 

Resources: 

1Newlove, J. (1993) Laban for Actors and Dancers: Putting Laban's Movement Theory into Practice, Nick Hern Books, London. ISBN 978-1-85459-160-9 

2Bartenieff, Irmgard, and Dori Lewis. Body movement: Coping with the environment. Psychology Press, 1980. 3Lamb, Warren, and Turner, D. (1969). Management Behaviour. New York: International Universities Press. 4Anna Halprin Papers, Museum of Dance + Design 

5California Historical Society