Dispokinesis

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The Dispokinesis (derived from the words: "disponere" = lat. "May have" and "kinesis" = Greek. "Movement") is a technology developed especially for musicians and stage artists training and therapy by Gerrit Onne van de Klashorst ( Netherlands ).

Dispokinesis can be used in education and prevention as well as in therapy and rehabilitation . With their so-called archetypes of posture, breathing and movement, the sensory and psychomotor development of the human being is worked through from lying to crawling to standing. Any gaps in development should be closed and, in particular, the postural reflexes ( postural reflexes, erectile reflexes ) promoted. The specially developed exercises for instrumental and vocal technique as well as the ergonomic aids developed in the area of ​​Dispokinesis also play a special role . These include seating aids for orchestral and keyboard instruments, chin rests and shoulder rests for high string instruments or straps, thumb and knee rests for wind and plucked instruments. The instrumental and vocal technical competence and the body and expressive awareness should be consistently trained with regard to the requirements of a stage situation.

Emergence

The Dispokinesis was created more than 45 years ago around the Sweelinck Conservatory in Amsterdam . The founder Gerrit Onne van de Klashorst (Netherlands) was himself a pianist and physiotherapist and developed Dispokinesis in collaboration with music educators and the neurophysiological department of the University of Amsterdam as an independent form of work. The term "disposition", from which the term Dispokinesis u. a. emerged, was shaped by the educator and musicologist Siegfried Eberhardt . Further influences come from Buytendijk's systematics of posture and movement as well as from the reflex-oriented work in physiotherapy according to Bobath .

Dispokinesis or Dispokinesis is a holistically oriented training and therapy form based on neurophysiology, initially developed by musicians for musicians. It is based on functional anatomy , neurophysiology and developmental psychology, as well as knowledge relating to sensory and psychomotor learning and maturation processes. In addition, there is knowledge and experience of posture, playing posture, breathing and instrumental technique of all instruments and singing as well as audio-motor skills (i.e. the connection between movement and sound) and the various ergonomic solutions. In addition to practice and teaching regarding posture, breathing and movement, Dispokinesis includes the experience, awareness and thought processes with regard to the professional musician's ability to sing, play and express. Disposition (or: “the certainty of being well disposed”) is understood as freedom for musical expression in the physical, mental and spiritual sense, especially under performance conditions. By imparting their knowledge and exercises, Dispokinesis would like to have a preventive effect and pass on a repertoire of self-help options to musicians and music teachers. In the case of existing complaints, it should use exercises that can be carried out independently to increase the independence of the musicians from therapists and doctors and eliminate functional deficits on various levels regardless of age.

approaches

Dispokinesis offers several approaches that can be communicated in parallel or in stages:

  1. The so-called primeval forms of posture, breathing and movement for the further development and maturation of the senso- and psychomotor skills. In approx. 35 basic exercises, the primordial figures trace the natural human developmental steps from lying down to crawling to standing - taking into account the respective individual expressive content. These exercises can be used both educationally and therapeutically. Its “red thread” is the coordination of the stabilizing functions of a “permeable” body with differentiated forms of movement and breathing. Through the sensory and psychomotor re-education, a deeper body awareness and a greater awareness of postural and erecting reflexes as well as the different breathing and movement processes should be achieved.
  2. The individual, optimal adaptation of the instrument to the body with the help of special ergonomic aids. All ergonomic aspects and aids such as height-adjustable and tiltable seating aids for orchestral and keyboard instruments, spikes that can be adjusted according to shape, length and size, chin rests and shoulder rests for string instruments or straps, thumb and knee rests for wind and plucked instruments are taken into account. The adaptation of these aids in turn depends on a physiologically meaningful instrumental attitude, which under certain circumstances can itself be in a process of change and development.
  3. Special exercises, presentation and learning aids for playing technique, playing feeling and breathing on all instruments including singing with the aim of economy, variability, differentiation, expressiveness and stage competence. Key words here are the ability to dose with regard to body tension and the use of force in posture, breathing and movement, the ability to dose and differentiate in contact with the instrument, for example via strings, keys, keys, mouthpieces, the independence of both hands, the imagination of sound and movement, the feeling for “Indoor and outdoor spaces”, contact with the audience and dealing with so-called stage fright .

Procedure and mode of action

After a detailed general and job-specific anamnesis , a senso- and psychomotor analysis is carried out while playing or singing as well as an examination without an instrument in the basic postures of lying, crawling, sitting and standing. In addition to the aspects of the individual "expression biography", special attention is paid to the muscular tone distribution and the ability to coordinate ("continuous") movements and stabilizing components in task-specific postures. In addition, video recordings and an EMG examination can be carried out.

The aim of Dispokinesis is to use the diagnosis of play indispositions or posture, breathing and movement disorders, with and without an instrument, to develop an individually tailored strategy to overcome them. This strategy is fundamentally different from pure strengthening or gymnastics exercises. The individual sensorimotor unit of feeling and movement is never broken down or artificially superimposed by new patterns from the outside. Rather, the work on the reflex chains and body experiences that were formed at an early stage should lead to a (re) recovery of the individual's original disposition based on the above-mentioned original forms. A fixation on the purely physical level is deliberately avoided in order to allow the necessary freedom for musical inspiration and concentration in the stage situation .

The reflexes and body feelings should be activated in the Dispokinesis as a complex functional whole, but always in the direction of a meaningful musical expression goal. Out of the large area of ​​reflexes, the so-called postural reflexes (postural reflexes, erecting reflexes) occupy a central place in the work of Dispokinesis. For example, they play a role in avoiding disruptive co-innervations and are therefore a prerequisite for the flow of movement in target motor skills. In addition, they ensure that the body is straightened as an essential sensory and psychomotor event. Competence and security of the upright posture (clear contact with the floor, centering on the middle of the body, bare upper body, relaxed shoulders, arms and hands) in turn are decisive factors for the stage situation with regard to dealing with "stage fright" and an error-free reproduction of the musical-technical Repertoires viewed.

In its endeavor to optimize instrumental and musical-artistic competence and ability to express themselves, Dispokinesis continues to offer exercises, presentation and learning aids. She goes beyond movement therapy, body self-awareness and relaxation and also focuses on making music or performing on stage. However, a period of basic work without an instrument or in parallel with practical instrumental work may initially be necessary in order to be able to integrate new sensory and psychomotor qualities more easily.

Dispokinesis does not see itself as a psychological form of work, but often indirectly affects psychological experience through its basic sensorimotor orientation and work on body awareness and expression. In its holistic understanding of the human being, Dispokinesis is based on a so-called positive self-concept of the individual , which is also known from modern humanistic psychology . Given the appropriate space and expert guidance, a spontaneous, self-dynamic development process of people should take place towards their own sovereignty, emotional and expressive skills.

In Dispokinesis, closing development gaps takes precedence over treating symptoms of the disease. In this way, the art of “eliciting”, non-directive communication plays a major role, in which the “motor charge” of words (and less often of touch) is responsible for the quality and precision of expressive and playful movements or postures. The word “grip”, which is often used in music education, suggests a state of activity of the hand and arm that is associated with packing an object. It is precisely this state of activity of packing that is one of the most common causes of tension and discomfort in musicians. In this case, the dispokinesis would speak of an unfavorable “motor load” and replace the word “grip”. Alternatively, words such as “finger position”, “touching”, “sheltering” or “touching” could “elicit” a more favorable hand and arm activity if they are appropriately linked to the specific instrumental and individual requirements.

What is experienced in Dispokinesis lessons or Dispokinesis therapy should shape the musician's own practice as "self-teaching" and then shape the way in which his own students are instructed. The work on the often deeply anchored game ideas and the above-mentioned, largely unconscious body feelings and reflex systems also enable the constructive change of unfavorable stereotypes and automatisms. These are among the causes of the so-called activity-specific focal dystonias (“occupational cramps”) in musicians.

Typical indications

Functional disorders and pain syndromes in musicians and other exposed professions, disposition to expression and play, stage fright, posture, breathing and movement disorders.

Dispokinesis can be taught individually and in groups. Just a few sessions can bring about a change in individual cases, but long-term work is often necessary.

Training in Dispokinesis

The more than 200 qualified Dispokinesis teachers and therapists worldwide have completed a compulsory full music course, one year of individual training and two to three years of part-time training in Dispokinesis. Dispokinesis therapists have also completed a medical or psychological degree or physiotherapy training.

Training opportunities currently exist in Germany under the organizational umbrella of the European Society for Dispokinesis - EGD and the Society for Dispokinesis according to GO van de Klashorst eV GDVDK. Most of the qualified Dispokinesis teachers are full-time music teachers at music schools and colleges of music or orchestra musicians. Physiotherapists, doctors and psychologists who include dispokinesis in their work are still the exception.

Web links

Individual evidence

  1. ↑ Gerrit Onne van de Klashorst: The disposition of the musician . In: oboe & clarinet & bassoon . tape 4 . (2/1989): pp. 84-96, (3/1989): pp. 144-154, (4/1989): pp. 177-186
  2. ↑ Gerrit Onne van de Klashorst: Introduction to Dispokinesis . In: J. Fellsches (Ed.): Body consciousness . 1991, p. 30-46 .
  3. ↑ Gerrit Onne van de Klashorst: Introduction to Dispokinesiotherapy and -pädie . Self-published, Oberhausen 1994. (Dutch original 1977)
  4. ^ A b Gerrit Onne van de Klashorst: The disposition of the musician . Broekmans & van Poppel, Amsterdam 2002.
  5. ↑ S. Eberhard: Inhibition and dominance on the fingerboard . Max Hesse, Berlin 1931.
  6. ↑ FJ Buytendijk: General theory of human posture and movement . Springer, Berlin 1956.
  7. ↑ B. Bobath: Abnormal postural reflexes in brain damage . Thieme, Stuttgart 1986.
  8. ↑ a b H. Hildebrandt: What is Dispokinesis? Brief introduction to a current subject for musicians . In: Presto . tape 83 , no. 12 , 1996, pp. 5-7 . and practicing & making music . 15, No. 1, 1998, pp. 30-31.
  9. ↑ H. Hildebrandt: Prevention of game and health problems in musicians from the start . In: S. Klein-Vogelbach, A. Lahme, I. Spirgi-Gantert (eds.): Musical instrument and posture . Springer, Berlin 2000, p. 108-140 .
  10. ↑ a b H. Hildebrandt: Music studies and health. Structure and effectiveness of preventive courses . Peter Lang, Bern 2002.
  11. ↑ H. Hildebrandt, A. Müller: Dispokinesis - Free disposal of posture, breathing, movement and expression . In: Music Physiology and Musicians' Medicine . tape 11 , no. 1 & 2 , 2004, pp. 55-59 .
  12. ↑ J. Löscher: Overview of the Dispokinesis . In: Flöte aktuell . tape 9 , no. 1 , 1995, p. 12-17 .
  13. ↑ a b A. Stockmann: Dispokinesis . In: Landesarbeitsgemeinschaft Musik NRW (Ed.): Making music, exciting but not tense. Contributions to body work with musicians . LAG-Verlag, Remscheid 1994, p. 207-217 .
  14. ^ K. Goldstein: Dispokinesis for wind instruments . In: Clarino . tape 8 , no. 6 , 1997, pp. 16-20 . No. 9, 1997, pp. 22-26.
  15. ↑ A. Müller: Dispokinesis and its application in music education . In: ESTA news . tape March 31 , 1994, pp. 49-57 .
  16. ↑ A. Müller: Dispokinesis - posture and movement, healthy music-making on the instrument . In: practicing & making music . tape 12 , no. 3 , 1995, p. 25-27 .
  17. ↑ B. Schmalbrock: Dispokinesis and transverse flute. Essential aspects of flute playing from a dispokinetic point of view . In: Flöte aktuell . tape 11 , no. 2 , 1997, p. 18-27 .
  18. ↑ Carl R. Rogers: Development of Personality . Klett, Stuttgart 1979.