INTRODUCTION The Gunas of Yoga: " All matter in the universe arises from the fundamental substrate called Prakriti. From this ethereal Prakriti the three primary gunas(qualities); tamas, rajas, and sattva emerge creating the essential aspects of all nature - energy, matter and consciousness." "What liberates us and what binds us is the tendency inside, and these are the Gunas". Rudolf Laban Quotes: "Space is a hidden feature of movement and movement is a visible aspect of space." "In the growth of crystals (and what is not a crystal?); in the life of plants and in the weave of boundless existence which we call the cosmos, no other driving power can be recognized but the one that also creates the dance." My goal in writing this paper is to offer another "tool" for teachers of yoga to: A. Experience the movement energies and pathways defined by the CUBE in Laban's "Dynamosphere" and perhaps discover a personal "movement energy signature"; B. Explore yoga movements/asanas integrating the tendencies of the Gunas and the Effort qualities of the Dynamosphere";
Pg 2 C. Refine observational skills of students through the somatic (body oriented) lens of Laban Movement Analysis (LMA) and; D. Perhaps enhance personal meaning of movement patterns and tendencies. You may be asking yourself who was Rudolf Laban and what is this system he developed called Laban Movement Analysis? In this paper his process will be revealed through his discoveries revealing similarities in patterns within nature and the human body that are harmonious. Although he examined and devised spatial scales for many different geometric shapes we will only be moving within our imaginary CUBE while experiencing our Effort likes and dislikes through specific pairs of movement qualities. The following are the sections that will be discussed: 1. Who is Rudolf Laban? 2. A brief overview of the BESS framework of LMA (Body, Effort, Space, and Shape) 3. The 4 Effort factors (Flow, Time, Weight and Space) and the 8 Effort Elements of LMA (Light, Strong, Direct, Indirect, Free, Bound, Sustained, and Quick). 4. The GUNAS and the 8 Basic Effort Actions in the Dynamosphere of the Cube. How to explore these actions experientially for self-study and within specific asanas. 5. Conclusion
Pg 3 1. Rudolf Laban was born in Austria lived from 1879 to 1958 and has been described as a philosopher, a scientist, a mathematician and a theoretician, as well as an artist, an architect, a dancer, and a pioneer in movement research. His philosophy was based on the belief that the human body and mind are one and inseparably fused. The study of movement holds many secrets and truths. It is an essential key for the understanding of human expression, as well as patterns in nature and the universe. We are part of nature and conform to the laws of nature. Laban was inquisitive about the ways that people cope with their environment in play, at work, in relationships, and in everyday life. He was deeply involved in doing efficiency studies for the British industry during World War II. Out of these studies came a book, Effort, which discussed the factors involved that cause changes in movement quality. He had a colleague, Warren Lamb, who formulated the concept of Shape in relation to Effort. Effort in the LMA system and the three Gunas of yogic Indian Philosophy inform each other of the tendencies of the mind to create, shape, and form our inner attitudes towards our relationship with self and other. Laban was aware of the expressive nature of the use of space. The human body moves through space dynamically, in constantly changing patterns. He developed sequences in space sometimes called "scales" which shed light on how meaning is conveyed through spatial relationships. This area of his work (Space Harmony) is valuable to many fields such as architecture, nonverbal communication, visual arts, psychology, yoga, dance as well as acting. LMA is a tool that can be used by anyone wishing to enhance psychophysical awareness and functioning through movement learning. It offers an opportunity to look and "see" ourselves with new eyes and perhaps see others in a new light as well.
Pg4 Inner/Outer...Mobius Strip...Always connected! 2. B. E. S. S (Body, Effort, Space and Shape) "The Categories by which Consciousness outwardly expresses itself are B.E.S.S Consciousness comes to know itself and then expresses individual consciousness through movement. Body movement reflects the movement of the mind. BODY EFFORT SPACE SHAPE Organization Body Parts Initiation Sequencing Core Support Inner Impulse to Move FLOW-----Feeling How WEIGHT--Intention What Sensing Movement Sphere (Kinesphere) Up/Down Left/Right Forward/Backward Relation to self or environment Body Form Pin,Ball,Wall,Screw,Pyramid Growing Shrinking Reflexes Dynamic Alignment Weight Shift Breath Support Patterns of total body connections SPACE----Attention Where Thinking TIME------Decision When Intuiting Central Transverse Peripheral Pathways Straight Curved Zigzag Rising Sinking Spreading Enclosing Advancing Retreating
Pg 5 BODY: EFFORT : Observing the body there may be questions such as: "How is the whole body organized/connected? "What is consistently maintained in the body?" "Which body parts are moving?" "How does movement spread through the body?" "Where in the body does movement initiate?" Relates to the inner intention or an "urge to move". This can fluctuate as change is always happening. Laban saw this variety in the dynamic way people change their concentration or intention. Effort has 4 factors of Flow, Weight, Time and Space with each one has 2 opposite elements. SPACE : Involves the study of moving in connection with the environment and is based on spatial patterns, pathways, and lines of spatial tensions.. He believed as Plato that all matter is composed of earth, air, water, and fire and reduced them to triangles in geometric shapes. We will be looking at the figure of the CUBE. The 5 elements are each represented in a specific shape: The Tetrahedron - Fire The Cube - Earth The Octahedron - Air The Ocosahedron - Water The Dodecahdron - Cosmos as a whole (sphere) Laban devised a series of connections between the mathematical crystal shape and the human body on which he based a solid foundation for the practice of movement and dance. SHAPE : Relates to how the body interacts or does not interact with the environment.
Pg 6 3. 4 Effort Factors and 8 Effort Elements Laban divided each Effort Factor into 2 Effort Elements which can be explored along a continuum with each one having an opposite polarity: Effort Factor Relates to Body Relation Answers FLOW Feeling - the EMOTIONAL factor: continuity and progression Fluids and Organs HOW is movement performed? Effort ELEMENT FREE BOUND Themes Effort Factor Relates to Allowing energy to flow, being indulgent, fluid..out and beyond the body boundary WEIGHT Energy is controlled and within body boundaries, can stop at any moment, continually restricted Sensing - the INTENTION factor - yield or push away Body Relation Answers Effort ELEMENT Themes Muscles and Bones What is my impact? LIGHT Using fine touch, airy, delicate, buoyant, withholding Weight STRONG Impactful, vigorous, powerful, Firm, getting behind your Weight
Effort Factor Relates to Body Relation Answers Effort ELEMENT TIME Intuition - DECISION factor - committing or intuiting Nervous and Endocrine systems When do I need to complete the act? SUSTAINED SUDDEN Themes Effort Factor Indulging in time, leisurely, decelerating SPACE Urgent, hurried, abrupt, Accelerating, quickening Relates to Body Relation Answers Effort ELEMENT Thinking and Attending (Environment) Senses, skin and bones In what manner do I approach space? DIRECT INDIRECT Themes Pin-pointing, keeping on The path, single focus, narrow feel, no importance for space on either side of the pathway Meandering, flexible, Roundabout,
Pg 8 4. The GUNAS and the 8 Basic Effort Actions in the Dynamosphere of the Cube. EXPLORING these actions experientially for self-study and within specific asanas. KEY Laban Terms: Dynamosphere: "It is the space in which our dynamic actions take place". The combination of Effort and Shape..the physical body and inner attitudes come together in a relationship to Space. Diagonal Scale: Experiencing this feels like "extremes of flight and fall" The end points of each diagonal have completely opposite Effort elements so therefore they require full attention to sensing, thinking and intuiting. In everyday life we do not normally move in the extremes of the diagonal scale. The diagonal from each corner of the cube to the opposite corner is surrounded by the 3 dimensions of height, width and depth. There are 4 diagonals in the cube with each one named by the space it surrounds, for example; there is a high, right, forward space and in the opposite direction a deep, left, backward space. Each direction has specific Effort elements assigned to it because of our human affinities to move and sense to reach specific spaces. Laban understood the harmonic relationships in space as they related to our bodies and emotions.
Pg 9 GUNAS "What liberates us and what binds us is the tendency INSIDE, and these are the Gunas" What are they? They are not like some stones we can hold or catch though that would be a lot easier! They are involved in the structure of the mind itself and the mind is very habitual. We have tendencies in our personality with some days feeling more energetic; some days feeling like we have trouble getting going; and then there are those days when everything in life seems to "click". Those are the days we want to repeat often! The three Gunas of Tamas, Rajas, and Sattva are on a deeper level than our biological system. They function as our "mode of operation" and are determined at the moment of conception. Our feelings, our personality, depend upon the pattern of the arrangement of the three Gunas. Being a part of Prakriti (our "nature") they have subtle qualities. Gunas successively dominate, support, activate, and interact with each other. No one Guna can be the boss of another. Our inner world affects our outer world and vice versa. They need to be in constant communication with each other and adjusting as we move throughout our life. Attending to a bodily sensation, not labeling it, will gradually transform it into another Guna. Investigating and experiencing the Gunas through the body and mind can bring each of us closer to understanding and embodying our true selves. We cannot gain mastery over the Gunas but being more mindful of the integration of Raja (activity) and Tama (inertia) may bring a sense of well-being or in other words the arising of Sattva (truth). The mastery over the Gunas is truly the mastery over one's own self.
Pg 10 RAJAS SATTVA TAMAS Activity Passion/desire Energy Expansion Movement Binds by passion born of craving and attachment Is the ruling trait when greed, excessive projects, cravings and restlessness arise. Truth/balance/calm Light/illumination Spiritual Essence Upward Flow Intelligence/ Consciousness Binds by means of Attachment to knowledge and joy Is the ruling trait when the light of knowledge shines forth. Inertia Darkness Mass/matter/heaviness Downward Flow Sloth/dullness Binds by means of ignorance and obstruction Is the ruling trait when darkness, dullness, stagnation, indolence, confusion, and inertia appear.
Pg 11 Rudolf Laban also attended to bodily sensations while moving within harmonic structures in nature. He studied the CUBE among others and was able to define 8 Effort actions through the combination of different Effort elements. Perhaps by moving the body in the Cube with intentional Effort elements the tendencies and patterns of our personality may become more known and/or available to us? Maybe an "internal readjustment of the attitude of consciousness"? What are my likes and dislikes? Which Guna is predominant in me? Can I respect my own personality and just be aware of my internal make-up? Let's explore Laban's Dynamosphere within the CUBE. Begin by imagining yourself inside the CUBE 1. Visualize the shape around you with 6 walls (up,down, fwd, back, side/side) 2. Stand DIRECTLY in the CENTER of it and feel that you can touch all 6 walls. Stand in Tadasana and breath sensing your spaciousness. 3. QUESTION: What sense are you feeling? Which GUNA is predominating in you right now? Tamas, Rajas, or Sattva? Exploring the 6 Walls of the CUBE 1. BREATH - On an EXHALE allow your arms to float to shoulder height and imagine your fingertips reaching to the center of the left and right walls of the cube SPREADING your collarbones wide. 2. IMAGINE the connection of your 2 scapula to your sacrum forming a stable triangle. Let your arms come down to your sides.
Pg 12 3. On an EXHALE...reach one arm forward and one arm back keeping hip points squared...feel as though you could reach the center of the front and back walls of the cube. Bring them down and then REVERSE arms. 4. Bring your attention to GROUNDING thru the feet on the floor of the cube and on an exhale reach your arms up alongside your ears to stretch to the ceiling. (URDHVA HASTASANA ). Inhale and then exhale while bending your knees and bringing both hands towards the floor close to your body and then stand up in Tadasana. 5. QUESTION: Compare how you feel after moving and imagining your body connections in the Cube? Is there a change? If so, which Guna is more predominant? Moving Dynamically In The CUBE With EFFORT You have now explored the 6 sides of the cube and are standing in Tadasana in the center of the cube. We will be exploring the 4 diagonals by moving from each corner of the cube with the different combination of Effort elements such as: Light/Strong (from WEIGHT) Direct/Indirect (from SPACE), and Sustained/Quick (from TIME) Begin to experience each diagonal with the following process: a. Trace the spatial pathways of the diagonal. b. FEEL each Effort element and create an image for it. c. Experience and trace the entire diagonal with the 3 Effort elements then, d. Perform the YOGA sequence with specific Effort elements.
Pg 13 1st DIAGONAL - FLOAT/PUNCH a. Stand in the center of the CUBE. Trace the space with your right hand moving from: Forward, High, Right to Back, Low, Left Repeat it 5x slowly with eyes focused on the pathway. Allow your arm to cross in front of your body and through your center. Feel the rotation happening in your scapula. Allow your knees to bend as you complete the movement keeping your hip points facing the front wall of the cube. b. FEEL... Light (Weight), Indirect(Space), Sustained(Time) FLOAT (at Forward, High, Right Corner) Float Images: Clouds, bubbles, feathers Are there any other images that come to mind? Strong(Weight), Direct(Space), Quick(Time) (at Back, Low, Left Corner) PUNCH Punch Images: Fight, karate kick, punching bag Are there any other images that come to mind? c. Move the diagonal 5X with the Effort elements of Float and Punch. Your left foot may come off the ground as you reach towards the fwd high right space with your FLOAT. The right foot may cross behind the left as you PUNCH. QUESTIONS: Do you have a preference in moving one way or the other? How easily can you FLOAT? How easily can you PUNCH? Is there a GUNA that is present when you do the Float or the Punch?
Pg 14 d. YOGA SEQUENCE (for Float/Punch) 1. Begin in Vajrasana (THUNDERBOLT) pose and take one full inhale and exhale (GUNA Grounded Tamas - LMA Strong Weight) 2. On next inhale...rise to knees and at the same time FLOAT your right arm out to the side and overhead, let your eyes follow your hand as it traces an arc pathway to the top (GUNA - Towards Sattva - LMA Light Weight) 3. EXHALE and return to folded position. Repeat 2x more on R side. 4. Reverse on Left side (3x) 5. Table Pose, Hands and Knees 6. Lift Right leg out to the side with knee bent 7. KICK foot out to the side 3X PUNCH and return to Table (GUNA - Active Raja - LMA Strong Weight) 8. Reverse 9. Rest in Balasana (CHILD POSE), How do you feel inside?
Pg 15 2nd DIAGONAL - GLIDE/SLASH a. Trace the space with your right hand moving from: Forward, High, Left >>> Back, Low, Right Repeat it 5x with eyes focused on the pathway. Allow your arm to cross in front of your body and through your center to the back, low right direction. Keep your hip points squared to the front wall of the cube. b. FEEL...Light (Weight), Direct(Space), Sustained(Time) GLIDE (at Forward, High, Left Corner) Glide Images: Iron a shirt, Ice skater, reaching for a delicate flower Are there any other images that come to mind? Strong(Weight), Indirect(Space), Quick(Time) (at Back, Low, Right Corner) SLASH Slash Images: Whip, sword, slashing tall grass Are there any other images that come to mind? c. Move the diagonal 5X with the Effort elements of Glide and Slash. QUESTIONS: Do you have a preference moving one way or the other? How easily can you GLIDE? How easily can you SLASH? Is there a GUNA that is present when you GLIDE or SLASH?
Pg 16 d. YOGA SEQUENCE (for Glide/Slash) 1. Stand on two feet hip distance apart 2. Bend Right elbow with palm towards the body keeping your arm close to rib cage...take one inhale and exhale. (GUNA Grounded Tamas - LMA Strong Weight) 3. Inhale and next exhale take a large step forward with left foot shifting your weight completely to the left foot (GUNA Raja - LMA Direct Space) 4. At the same time slowly GLIDE the RIGHT hand forward to diagonal, focusing on your hand as it moves directly left, (palm turns down to floor), forward and high. (GUNA - Active Raja - LMA Direct Space) 5. Shift your weight back to your right foot and at the same time let your right arm SLASH towards the back space (palm turns up) and see "all the space". Repeat the Glide/Slash 5X. (GUNA-Active Raja - LMA Indirect Space) 6. REVERSE from #2 with Right foot moving forward and Left hand to diagonal. QUESTIONS: Is there a change in how your body feels after Gliding and Slashing? What sensations do you notice?
Pg 17 MOVING ACROSS THE FLOOR (with Glide/Slash) 1. Step forward with right foot to a Warrior III (GLIDE) Have a Direct Spatial Intent to move to the forward middle space. 2. Place left foot next to right foot and stand up tall. 3. Do side figure 8's moving from left to right side with (SLASH) movements and energy qualities. Do 4 figure 8's. from Donna Eden's Energy book (GUNA - Active Raja - LMA Indirect Space) 4. REVERSE by stepping forward with left foot. QUESTIONS: Is there a change in how your body feels after this sequence? Can you describe the change by different sensations in the body?
Pg 18 3rd DIAGONAL - DAB/WRING a. Trace the space with your right hand moving from: Backward, High, Left >>> Forward, Low, Right. Repeat it 5x with eyes focused on the pathway. Allow your arm to cross in front of your body and through your center. Keep your hip points facing the front wall of the cube. b. FEEL...Light (Weight), Direct(Space), Quick(Time) DAB (at Back, High, Left Corner) Dab Images: Paint dots, dab suntan lotion on skin, pointing Are there any other images that come to mind? Strong(Weight), Indirect(Space), Sustained(Time) WRING (at Forward, Low, Right Corner) Wring Images: Wringing out a towel, opening a tight jar lid, twisting self Are there any other images that come to mind? c. Move the diagonal 5X with the Effort elements of Dab and Wring QUESTIONS: Do you have a preference moving one way or the other? How easily can you DAB? How easily can you WRING? Is there a GUNA that is present when you GLIDE or SLASH?
Pg 19 d. YOGA SEQUENCE (for Dab/Wring) (Dab can be done with any body part, elbow, shoulder, finger, etc) 1. Sit in Sukhasana, one full inhale and exhale 2. Pretend you are a marionette, lift one shoulder quickly, one elbow quickly, both shoulders quickly (DAB), be creative, have fun! 3. Sit in Dandasana and do a full inhale and exhale 4. Bharadvajasana I - (seated twist) (WRING)...
Pg 20 5. Unfold legs and sit in Dandasana again..full inhale and exhale 6. Reverse on other side from #1 ( you may need to shake out your legs a little before finding Sukasana again) QUESTIONS: Is there a change in how your body feels after this sequence? Is there a predominant Guna appearing? Breath and feel the effect of the movements in your body and mind 4th DIAGONAL - FLICK/PRESS a. Trace the space with your right hand moving from: Backward, High, Right >>> Forward, Low, Left Repeat 5x with eyes focused on the pathway. Allow your collarbones to spread as you open to the back, high, right space. Cross your arm in front of your body and through your center. Left leg may move into a lunge position. b. FEEL... Light (Weight), Indirect(Space), Quick(Time) FLICK (at Back, High, Right Corner) Flick Images: Flick a fly or insect off self, knee pop, flick paint Are there any other images that come to mind? Strong(Weight), Direct(Space), Sustained(Time) (at Forward, Low, Left Corner) PRESS Press Images: Pushing a heavy piece of furniture, pressing dough Are there any other images that come to mind?
Pg 21 c. Move the diagonal 3X with the Effort elements of Flick and Press QUESTIONS: Do you have a preference moving one way or the other? How easily can you FLICK? How easily can you PRESS? Is there a GUNA that is present when you FLICK or PRESS? d. YOGA POSES AND SEQUENCE (for Flick/Press) (Both poses can be experienced for the muscular effort of Press) Pursvottanasana (Upward Facing Plank)...PRESS or Setu Bandha Sarvangasana (Bridge Pose)..PRESS
Pg 22 YOGA SEQUENCE for (Flick/Press) The CLIP 1. Sit in Dandasana 2. Bring R knee up and put R foot flat on floor 3. Place L hand behind L hip on floor 4. Rest R elbow on R knee 5. INHALE and Slowly PRESS through Left hand and PRESS both hips forward and up (keeping R foot flat), stretch through top of left foot, feel an intense R side body stretch through ribcage as Right arm reaches for the ceiling (GUNA - Active Raja - LMA Strong Weight) 6. Hold for count of 5 and breath, then exhale as you return to floor with R elbow on R knee (GUNA - Tamas - LMA towards Passive Weight) 7. Hold behind R thigh and FLICK right foot forward 3x..gradually reaching leg higher,( maybe hold your foot or calf and feel the stretch for your hamstrings.) You may ROLL onto stomach and reverse the CLIP by bring the L knee up, R arm behind R hip on floor...(or) sit in Dandasana and repeat sequence with L knee. QUESTIONS: What sensations were present when you pressed up? Were you able to connect your breath with the movements?
Pg 23 CONCLUSION Understanding ourselves and our relationship to others is quite a common theme for all human beings and one that continually feeds our curiosity as a society to "know" and find solutions. Many of us pursue books on helping to "fix" ourselves or relationships thinking this will solve our conundrums in life. As Erich Schiffman would say "just relax and stop thinking!" As Laban would say "movement is life". Shifts may begin to happen as we become more attuned to our bodies and attend to the WHAT, WHERE, HOW and WHY of our movements. Finding our own natural tendencies, exploring new pathways, and staying in communication with ourselves is an inroad to answering these questions. As we become more aware of "Inner" selves the "outer" world responds accordingly. Recognizing more of our true nature helps us to be able to recognize how others "invest" their energy, express their individual style, and perhaps we begin to "see" them with a new compassion and understanding. By exploring the Gunas within the asanas and adding the Effort qualities within the cube of Laban's dynamosphere (the container of all human movement) the opportunity arises to take an authentic look at ourselves through a different lens. And like any new "tool" there may be some inspiring moments as you play with experiencing the images. If change does not happen as fast as you would like just keep practicing and allow the present moment to inform and guide you. By being invested in allowing the process of discovery you have taken the first step! Namaste.
EXPLORING YOUR GUNAS IN LABAN'S "Dynamosphere" Lynne Bauer, Sept 2013