user avatar
Kerstin Kussmaul Eligible Member // Teacher
IDOCs » Some thoughts to yoga as a movement practice (a myoreflex viewpoint)
This is an article I wrote for the Austrian yoga teachers' association magazine about muscle use and its implications. Although it is directed to Yoga teachers, I think there are also some interesting aspects for dance educators.
2012.04.03

940 views      15 appreciations    

Yoga as a movement practice: Some thoughts from a myoreflex viewpoint.

Any personal practice implies some kind of regularity. Behind a regular somatically oriented movement practice – which could be Yoga or something else - there often is also an intent of„becoming what we do“. To become what we do also happens on a concrete physical level, which can be described with „form follows function“. Muscles develop according to the specific use, even our skeleton will adapt over time, depending on the use of muscles and their impact on bony structures.

We become what we do: What is it what we do physiologically speaking when practicing Yoga? Inherent to a Yoga movement practice is the principle of „active lengthening“, in Myoreflex it is described as „Kraft in der Dehnung“. It means we do not shorten muscles while using them, but we ask our bodies to lengthen and activate the muscle in a dialogue with gravity.

In a simplified model, a skeleton muscle consists of the following elements: the muscle belly (or venter), and the two tendons on each side of it as the connection to the joint / bony structure the muscle will move.

The percentage between muscle belly and tendon in relationship to the whole muscle can vary. The important point is that the muscle performance is a result of the condition of the muscle belly. The longer (not bigger) the muscle belly in relationship to the tendon, the more flexibility, endurance, and fast action a muscle can produce. This is described as „relative active muscle length“ (ram). A good Yoga class will always work on increasing ram.

If we only use our muscles in a medium range – which means we don’t challenge the muscle to the maximum of its action and relaxation – the muscle will shorten. Ram diminishes, and the muscle gets stuck in a contraction and increases its tone in relaxation.

A predominant use in the medium range will increase the width of the muscle, which is what body builders are looking for: well defined muscle bellies. The muscles shorten, thickens and will be able to reach the maximal potential within a short time. But it also will tire very quickly. These muscles often have fewer blood capillaries and, due to the quickly decreasing capacity, it cannot contribute to and support an upright dynamic with ease and efficiency.

A long muscle with a big ram (that has a long belly in relationship to its total length) is able to react flexibly to a big impact such as a jump or a fall, because the muscle belly is more flexible than the tendon. If there is more flexible structure, a muscle can take in more energy quickly. The kinetic energy is absorbed through the muscle and can be passed on through movement, instead of being passed on to tendons, joints and bone structure, where, in the worst case, it can cause ruptures and broken bones. Working with the principle of active lengthening will contribute to injury prevention.

Of course experienced movement teachers know that an approach that is reduced to muscular function will not result in a satisfying class. This simplified model can’t be looked at mechanically, but can only be considered as one aspect in the complex space between movement and perception. Living movement always happens in the codependence of sensory and motor action. There are many nerve cells that are responsible for both sensory and motor activity. Perception is always an integral part of movement and vice versa.

In a movement practice, we do not only practice movement, but also modulate our kinesthetic sense. This does not mean that the sensory development will happen no matter what we do in movement, but the effect will depend on our awareness – which means that through our attention to what is happening a correlation between muscular function and our kinesthetic sense will develop.

Only then new neurological patterns („repatterning“) will form and enable a subtle but deep muscular change. The kinesthetic sense not only refers to the position of body in space, but also a sense for timing and space and a sense for the force that is being used. This underlying training is an important issue for teaching movement practices. It not only needs cognitive and anatomical knowledge, but also a conscious use of language and physical empathy.

Action and relaxation

Myoreflex therapy looks at muscular function in the context of muscle loops. As an example, it is necessary not only to look at the active muscle, but also the antagonist (i.e. biceps – triceps). Commonly, the protagonist is seen as the active muscle and the antagonist is seen as the passive muscle, because the antagonist needs to relax so the agonist can contract.

In a movement practice and especially regarding to the awareness to the moving body I find another model helpful. In this model both muscles – protagonist and antagonist are considered active – in concentric action (protagonist) and eccentric action (antagonist).

This viewpoint takes the focus off the contracting protagonist and emphasizes the coordination of both muscles: Then it becomes not a matter of contraction, but a matter of balance between both.

An example: Take the arm in a horizontal position next to your shoulder, palms up. Bring the arm back down next to the torso. You will not need to contract the triceps and the connected muscle loops to do that: due to the relationship to gravity a gradual eccentric contraction of the biceps on top will be enough. While we need muscular power for movement, the muscle can act eccentrically to enable movement.

Biochemistry substantiates this viewpoint: In order to relax a muscle, we need to add energy called Adenosintriphosphat, or ATP. (ATP is also necessary for contraction.) Relaxation only will be possible if there is enough ATP. Real relaxation does not happen if the muscle does not receive enough ATP – what happens in this case of a tiring muscle is biochemically different. So we could say that energetic activity underlies both exerting and relaxing a muscle.

In my observation many people tend to focus on concentric action. The emphasis on concentric action as action that is also perceived as action, effort and work correlates also to the value system of a society appreciating achievements, activity and effort. In a movement practice we can fathom palpable other options of our being in the world.

Knowing and working with these connections in class can help gain balanced muscle action and helps developing a constructive awareness in the movement practice.

 

Recommended Literature:

- Kraft in der Dehnung. Ein Praxisbuch bei Stress, Dauerbelastung und Trauma (K. Mosetter / R. Mosetter)

- Myoreflextherapie. Muskelfunktion und Schmerz Band 1 (K. Mosetter / R. Mosetter)

- Action in Perception (A. Noë)

- Wisdom of the body moving (Linda Hartley)

- Any good introductory book to physiology

 


Comments:
user avatar
Amir Safari // Admin
2012.04.03
:) Congrats Kerstin


user avatar
Eszter Gal Eligible Member // Teacher
2012.04.19
Thanks, clear!
Eszter


user avatar
NATAŠA TOVIRAC // Teacher
2012.07.15
Thank you!
Nataša


user avatar
(inactive user) // Teacher
2012.08.17
Thanks Kerstin, I finaly got to read this!


user avatar
Sylvia Scheidl Eligible Member // Teacher
2013.02.15
What you, Kerstin, call “eccentric action” in your article I believe I got to know as “lengthening contraction” sometime in the eighties in the realm of release techniques – unfortunately I cannot trace anymore whom I heard it from the first time. At that time it turned my understanding of muscular activity upside down. Since then I used it as my basic concept to balance the concentric muscle force by emphasizing the paradox of an active and lengthening muscle.
As far as my experience and know-how go I would say that neuromuscular (re-)patterning and effective training are only possible through our kinesthetic sense and our sensory memory. We cannot direct our muscles into a certain tonal level or activity, we can only guide our many muscle loops into action through our perception, imagination and memory.
Reading this article again I am now especially inspired how a dance training that focuses a dynamic play of action and constant transforming of weight, effort, and spatial pathways corresponds to the benefit of training the muscles to be able to modulate tone, length, endurance, and speed. I am fascinated by the fact how the aesthetic value of musicality in fact corresponds to the physiological value of muscle training.
Thank you, Kerstin, for your elaboration! Sylvia


user avatar
(inactive user) Eligible Member // Teacher
2014.03.08
super cool info, thanks for posting!


user avatar
Erin Foreman-Murray Eligible Member // Teacher
2017.08.06
Your writing reminds me that movement training is specific -- our muscles learn new patterns by experiencing those new patterns (just as increased RAM will develop through challenging the muscle at its full range/length); increased dance function comes through dance training, not from just a trip to the weight room.
I appreciate your suggestions for further reading, and I wonder if you might update your article with notes or citations to further connect this very helpful information to research in kinesiology or dance science?


user avatar
Mariella Greil // Teacher
2021.11.05
Thank you, Kerstin! In response to your thinking about yoga as a movement practice (and obviously aware of the various other dimensions inherent to this practice) I would like to emphasize balance & play between contracting and expanding activities of muscles (and other bodily structures) as major foci for dance! Remembering Yvonne Rainer's "The Mind is a Muscle" (1968) I make the point that it is actual, real and more than a metaphor for the body and the wider social context! In this wider picture, Kerstin, you seem to also address the simplicity and poetics of an encounter between aesthetics, behavior, physics and imagination, which lays the ground for any creative movement by tuning deep into fascia.


You must be logged in to be able to leave a comment.