1. law, govt and politics
2. legal issues
3. civil rights

Alan Fogel, Editor
Rosen Method International Journal
Rosen Method Bodywork Practitioner and Teacher, PhD, LMT
[email protected]
RMIJ
Editorial
In this Issue of the RMIJ
This issue, Volume 6, Issue 1, Spring 2013, contains two articles, both written by Rosen professionals
from Sweden: Lillian Lavesson, a Rosen bodywork practitioner, and Mikael Kindborg, a Rosen movement
teacher. The articles were based on presentations that each of them made during the Rosen Method
Global Congress held in Sweden in the summer of 2012. After the Congress, which I attended, I sent emails
to many of the presenters. Lillian and Mikael both accepted my invitation and agreed to embark on the
process of writing, editing, and responding to editorial and reviewers’ comments.
This issue of the RMIJ is unique and special in a number of ways. First of all, Lillian’s article appears here
in both Swedish and English. Although publishing articles in languages other than English has been an
option since the inception of the RMIJ, this is the very first issue in which we were able to make this happen.
Readers from Scandinavia will have an opportunity to read the work in one of their native languages, which
makes it more accessible to both mind and body.
The second unique aspect of this issue of the journal is that Mikael’s article is the very first one in this
journal on the topic of Rosen Movement. As editor, I am happy that this issue puts Rosen Movement on the
map of the Rosen Journal. I know that there are other people who want to write about Rosen Movement
and I hope and expect that they will submit articles in the future.
A Pilot Study of Rosen Practitioners’ Experiences Receiving a Modified Form of Rosen Method
Bodywork in a Garden Setting. Lillian Lavesson’s article presents a preliminary research study in which
she investigated the effects of modifications to the usual form of Rosen Method Bodywork (RMB). The
clients in her study, all of whom where RMB practitioners, commented upon the similarities and differences
between the modified session they received from Lillian and a normal RMB session that they scheduled
with a practitioner of their own choosing.
What were the modifications? Lillian works in a rehabilitation hospital as a RMB practitioner. In order to
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Volume 6, Issue 1, 2013
Both Lillian’s and Mikael’s articles are unique in and of themselves. They both bring fresh and novel
approaches to thinking about and doing Rosen Bodywork and Movement. Both articles challenge our
view of the possibilities for Rosen work, and raise important questions about how we work. I invite all
readers to submit commentaries on these articles, which would appear in the Fall issue of this journal.
If you would like to comment on either of these articles – to agree, disagree, or discuss – please submit
your commentary to [email protected] by October 31, 2013. Commentaries should be in the form of
a WORD document and no more than two pages in length. Please include your name, email address, and
your level of certification within the Rosen community. Authors will be given an opportunity to write a
response to any and all commentaries.
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fit into the treatment schedules and routines of the hospital, Lillian created RMB sessions in which (1) to
fit typical treatment plans, the client was asked “What do you want me to do today?” which became the
starting place, after which the session proceeded as in a normal RMB session; (2) the session lasted only 30
minutes; (3) the client left their clothes on and was covered with a blanket; and (4) the sessions were done
in a small building adjacent to a garden where the clients could stroll or sit following the sessions.
Lillian used RMB practitioners as the clients in her study because they are informed about the nature of
Rosen work. Strategically, from a research perspective, this is a good choice for a first study on this topic.
These informed practitioners noticed differences in how the modified and normal session was experienced,
but on the whole, they felt that both types of sessions reached similar places of holding and tension.
What does this study mean for RMB standards of practice? Is it appropriate to modify how we do our
work in ways that suit our, or our clients, needs or preferences? These are important questions, especially
now that the Rosen Institute is developing code of ethics and scope of practice documents. Can these
modified sessions still be classified as RMB and not something else?
Lillian’s study cannot answer these questions but it does raise the issues for us to examine and discuss.
It seems to me very important that Lillian did not simply modify sessions and leave it at that. She actually
did a detailed investigation to find out if and how the modified sessions were different and she plans to
continue her studies along these lines. If research shows that similar modifications of RMB are experienced
in ways that feel like a normal Rosen session, then we have a more solid basis on which, as a discipline,
we could accept such modifications. The acceptance of such modifications could potentially lead to an
expansion of the ways RMB is used and applied.
Aside from the clothing and the opening question, “What do you want to do today,” Lillian’s sessions
looked and felt a lot like a normal RMB session. Lillian did not add what are clearly non-Rosen practices
such as psychotherapy, physical therapy, energy work, or massage. Her modifications seem to fall within
the scope of practice and standard approaches used in RMB and did not include any other modalities of
practice.
Volume 6 Issue 1, 2013
Consider the case of the 30-minute chair massage that, in many countries, is offered in shopping malls,
grocery stores, and outdoor fairs and markets. Almost everyone in the massage community agrees that
chair massage is, in fact, a form of massage even though the sessions are only 30 minutes and done seated
rather than lying on a table. Therapists use the same strokes, have the same intention, and use the same
standards of practice as for normal massage.
Chair massage has done a great deal to promote normal forms of massage to the wider community.
Could RMB be done sitting up, for 30 minutes with clothes on, in a public space, like chair massage? This
seems a topic worthy of investigation and a possible pathway to delivering the work to people in ways
that they can appreciate and understand it. Even without a more public form of RMB, Lillian’s modifications
seem very suitable to integrating RMB into normal health care in hospitals and clinic settings. This alone
would be of enormous benefit to integrating Rosen work into these settings, both for the professional
opportunities for Rosen practitioners and for the patients whose healing process would be greatly
enhanced by their exposure to RMB.
It is also important to remember that Lillian’s study is only a preliminary investigation. It is not conclusive
evidence because her study has limitations, which she clearly describes in her article. There were only a
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small number of clients, the clients were not the usual population from the rehabilitation hospital, and
multiple factors were changed including session length, clothes on, an initial question, and a garden
setting. We don’t know which of these factors was more or less important, or whether the same effects
would occur if only one factor was changed rather than all of them.
Finally, RMB training, as described by Lillian in her article, would continue to take the same form as in
the past regardless of how the work may come to be applied in clinical settings. This article, however, is
an excellent example of how research can begin to inform us about ways to expand our own discipline
without losing what is unique and special about RMB. I do encourage readers to submit commentaries
about these important issues.
Rosen Movements and Words. Mikael Kindborg, a Rosen Movement (RM) teacher, gives us a great
deal of insight about the way words are used in the teaching of RM. Because this was the first article in the
journal on RM, and I, as editor, am not trained in RM, I asked three – instead of the usual two -- different
reviewers to read this article and give comments to Mikael. The reviewers I chose were all long-term
movement teachers: one was a movement training teacher, and the other two are in a program to become
a movement training teacher. So, a lot of expertise in RM went into the writing, review, and editing of this
article.
As a reminder, the Rosen Journal has a blind peer review process. This means that reviewers do not know
the identity of the author until the article is published. The author, in addition, does not know the identity
of the reviewers.
For previous issues of this journal, reviewers often comment to me – in a Rosen sort of way -- about how
the article they read affects them. All three reviewers for Mikael’s work commented on different aspects
of the article and made worthwhile suggestions for clarification and continuity. In this particular case,
however, all three of these highly trained reviewers made one very similar comment, that Mikael’s article
made them much more aware of how they used their words when teaching movement. It is remarkable
that a work of writing about something as dynamic as RM can deepen the awareness of those who are
professional movement teachers. Most likely, it would have the same effect on students in training to
become movement teachers.
Aside from being the first article in this journal on RM, Mikael has written this article in a way that breaks
new ground in teaching us how to write about RM with clarity and depth, and in a way the preserves and
enhances the flow and beauty, and the aliveness, of a movement class.
Mikael, much like Lillian, gathered data from his own observations of the many movement classes he
has attended. He also noticed what happens to his own students when he was teaching. He became a
careful observer of the communication process between teacher and students, which is what led him to his
discoveries about when words work well, and when words get in the way of students’ experience.
Editorial
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Volume 6, Issue 1, 2013
Speaking as a RM aficionado and not as a RM professional, I never imagined how detailed and complex,
how dynamic and important, the words are to RM. As someone who attends many movement classes, I feel
I now have a clearer sense of why some things work and some things don’t work for me as a student. I can
really feel in my body how the timing and content of a teacher’s words make a huge difference to my own
experience in the class.
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Of course, RM is more than the words. There is the choreography, the social interaction, the different
phases of the class, and the choice of music, all of which go into the mix and make the class come alive and
reach people. Mikael’s example of writing about the words, and his reference to several different theories of
communication that capture the dynamic aliveness of a movement class, gives insight about how to write
about and better understand all the components of a RM class. It helps me to appreciate Marion’s genius
and why she created a whole discipline of bodywork and movement that so many of us are still trying to
feel, grasp, use, explain, and understand.
Big changes are coming for the RMIJ
Beginning with the Fall issue of 2013, the Rosen Method International Journal will be under new
leadership. I will remain as editor-in-chief but there will be a new editorial board and a new team-based
editorial process. Members of the new editorial board, to be introduced in the next issue of the journal and
on the journal website, are Helmi Boese (Germany), Carol Cober (Maryland, USA), Alan Fogel (Utah, USA),
Riitta Hoffrén-Larsson (Sweden), Lillian Lavesson (Sweden), Jane Pittsinger (California, USA), Susanna Smart
(Ohio, USA) and Jeanie Williams (New Mexico, USA).
In the past, our editorial policy has been to encourage Rosen professionals to write articles for the
journal. In the future, this will continue. In addition, the new editorial board will also be generating
article ideas and creating teams of board members working together with Rosen professionals to create
a larger knowledge base about Rosen practice and its applications. We will also be creating materials for
Rosen professionals to use in gathering information about their clients, movement classes, and teaching
experiences. These include guidelines for generating case information, free questionnaires, and the like,
and reaching out to Rosen professionals globally to encourage dialogue and more effective written
communications about our work.
Volume 6 Issue 1, 2013
The copyright for the Rosen Method International Journal is held by the Rosen Institute. As the Rosen
Institute moves forward and collects annual dues from the Rosen community, we will be able to have the
Rosen Journal hosted on the Rosen Institute web site and consolidate administrative costs involved with
hosting this free, open access journal with the goal to maintain it as a free resource to everyone inside and
outside of the Rosen community.
Although supported by the Rosen Institute, the RMIJ has been an independent editorial voice for Rosen
professionals and we will consider for review and possible publication, any article about Rosen Method
so long as it meets the requirements for the journal given on the web site. The new editorial board will be
creating a journal mission and charter statement that includes details about editorial independence and
the article review process. We will also be seeking input from the Rosen Institute Board and the wider Rosen
community as we move toward the next level of professionalization of this journal.
Please write for the Rosen Journal
Submissions for articles, commentaries, and book reviews for the next issue of this journal are due no
later than October 31, 2013. I encourage you to contact me at [email protected] soon if you have an
idea for an article or book review so that I, with the help of the new editorial board, can help you prepare it
for submission. A complete listing of guidelines for preparing your articles for submission can be found on
the journal web site at www.rosenjournal.org.
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A Pilot Study of Rosen Practitioners’
Experiences Receiving a Modified Form of
Rosen Method Bodywork in a Garden Setting
Lillian Lavesson
Rosen Method Bodywork Practitioner
Licensed Physiotherapist
Trelleborg, Sweden
[email protected]
Abstract
This study investigates a modified form of Rosen Method Bodywork (RMB) in which sessions last only 30
minutes, clothing is worn and a blanket is used during sessions, there is an opening question for the clients
and at the end, an invitation to stroll around in a garden setting at a rehabilitation hospital. Seven RMB
practitioners volunteered to receive this modified form of bodywork and compare it with an ordinary RMB
session. The practitioners completed questionnaires before and after each of the sessions they received; the
modified session and the typical session. A main question of this study was to ask whether this modified
session could contact a client’s holding (muscle tension), barriers to feeling, and memories, the core of what
occurs in a typical RMB session. During the modified session, all practitioners reported that they were able to
make contact with their holdings and barriers and none of the participants mentioned anything about the
clothing or blanket creating an impediment during the session. Instead, one practitioner reflected that this
approach seemed “less demanding.”
INTRODUCTION
Rosen Method Bodywork
A Pilot Study
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Volume 6, Issue 1, 2013
Based on the responses of these practitioners to the modified RMB session, one conclusion of this
study is that this modified form of Rosen Method worked as well as a typical one-hour Rosen Method
bodywork session in which the client does not wear clothing. Five out of seven practitioners were satisfied
with the session and found the 30 minutes sufficient. Most of the practitioners found that strolling
around in a garden setting directly after the session had an impact, deepening their own body awareness.
These experiences may be due to the opportunity that nature provides for conscious and unconscious
reflection: a wordless way of being that may tap into inner healing energies, revealing a flow of emotions
and sensations. On the contrary, two out of seven practitioners described strolling around in the garden
as not helpful. One even found the garden environment disturbing. More research is needed to examine
the different parameters of a RMB session that impacts the inner processes which allow touch, trust, and
healing, as well as the processes that unfold within the relationship between the client and therapist, and
their relationship with the environment.
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Rosen Method Bodywork (RMB) was developed by physiotherapist, Marion Rosen, who had a true gift in
how she was able to connect with forgotten and hidden memories through a unique form of touching the
client’s body. Rosen learned through developing this work over the years that Rosen Method touch could
have a great impact on how people lived their lives. In 1978, she started the first training group, which was
the first step in bringing this profound work to the world (Rosen & Brenner, 2003).
In RMB, we use a “listening” touch that makes contact with the body (Rosen & Brenner 2003, p. xiii). The
quality and manner of touching are crucial in RMB: a soft touch that signals to the person, “I am here for
you,” and that allows the practitioner to be with the person in an undefended, open and receptive way.
This form of touch can bring awareness to body tensions. These body tensions (holdings) are physical
expressions of our emotional attitudes. RMB creates the opportunity for an unconditional meeting to take
place, which can open up clients to an experience of suppressed and hidden feelings. When this occurs,
the client’s breathing changes. By touching with receptive, listening hands, we create the space for this
awareness to arise from inside the person. The body´s response to the truth of the client’s experience is the
key to this work. The story that clients tell, on the contrary, may lead them away from their awareness of the
body’s experience (Rosen & Brenner, 2003).
A RMB session often takes place in a peaceful surrounding with no disturbing views or noises which
may detract from the sensory awareness of the client’s own state of mind and memories (Bertherat 1976;
Wooten 1995; Hendricks & Hendricks 1995; Copper, Marcus & Barnes, 1999). A bodywork session lasts for
approximately 60 minutes. Clients disrobe to a level of comfort for them, lie face-down on a massage table,
and a blanket or sheet is used to cover them. The therapist folds the blanket down and puts her hands on
the client’s bare skin. The first touch is an important connection, and it needs to be direct so that a bond
can be established. When this happens, as Marion Rosen has described, the touch can seem like a sword
cutting through and finding the core of the tension, the holding.
A holding can express many things: a holding back, a holding down, or holding oneself together. When
trust is established between the Rosen Method practitioner and client, a state of surrender can emerge
where defences are able to melt away and the client’s “authentic” feelings can emerge. This process is
observable as changes in body tension, unconscious movements, change in the breath, shifts of facial
expression, and often a revealing of an insight. This work is about transformation to become a more
authentic, true you (Rosen & Brenner, 2003), and as a process, revealing new forms of bodily and emotional
awareness.
Volume 6 Issue 1, 2013
The Education and Training of a Rosen Practitioner
The training and education of Rosen practitioners in Sweden are carried out by Axelsons Gymnastiska
Institut and consists of classes and practicums. The basic training takes about 3 years and includes:
One introductory course of two days, two course weekends of two days, seven intensive courses of
seven days, anatomy for Rosen students (divided into two periods of five days), three RMB treatments,
three supervisions between the fifth and seventh intensive courses, and three interviews / conversations
with teachers. The internship period begins after the successful completion of basic training and takes
approximately 1 ½ years.
The internship training includes: 350 client treatments, 23 individual bodywork treatments for the intern
by trained Rosen practitioners, approximately 45 hours of instruction in private, in groups, and in individual
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Lavesson
An International Certificate is obtained from the Rosen Institute upon completion of the training.
The Modified Bodywork Sessions
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calls. Additional courses / coaching can in some cases be required before certification.
The modified form of RMB described in this article was developed in the context of the author giving
RMB treatments to out-patient clients in a rehabilitation hospital. Because of the limited time available
for RMB sessions in each client’s treatment program, the RMB session time could not be any longer than
30 minutes. Because the RMB treatment room is located in a garden setting, this work also became an
opportunity to, in a conscious way, observe if the garden environment might serve as a continuation of the
process that emerged during the session. The intention was to create space for the process that may start
within the session to continue outside the session room in the safety of a peaceful garden setting.
These modified bodywork sessions are different from an ordinary Rosen session, in some distinct ways.
The differences are:
1. Because these sessions occurred in a rehabilitation hospital where patients had treatment goals,
the client was asked before getting on the massage table: “what do you want me to do today?”
2. The practitioner follows the client’s wishes and concentrates on that area just as in an ordinary
RMB session. If the client’s body does not respond to the touch in that area, the practitioner
moves her hands elsewhere, again as in an ordinary RMB session.
3. The session lasts 30 minutes.
4. The client keeps his/her clothes on.
5. In order to explore the effects of the garden setting, a suggestion is usually given to the client as
he/she prepares to leave the room: “stay with whatever is going on inside you, take a walk in the
garden and do whatever you need to do.”
A primary question arose; could the practitioner reach through to the core of the barrier of suffering and
holding and allow the client the possibility of connection with his/her true self during the session (Rosen &
Brenner, 2003) despite the client remaining clothed and being covered with a blanket or sheet, and despite
the fact that the session was only 30 minutes long? Another question that came up was: How did the
garden environment contribute to the experience of the session?
Nature and Its Possible Impacts on Human Beings
This study incorporates the use of the natural environment and holds the RMB session in a garden
setting. Theories from different scientific fields have discussed how nature and the use of the natural
environments are a supportive, healing force acting in an unconscious way in people, a process that is often
described as “wordless communication” (Ottosson, 2001; Bjerre, 2003; Ottosson & Grahn, 2008). Kaplan &
A Pilot Study
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Volume 6, Issue 1, 2013
As an attempt to answer these questions, a study was initiated in which trained RMB practitioners
received an ordinary RMB session and then, some weeks later, a modified session as described above.
Because the RMB practitioners who participated in this study all had substantial experience receiving
RMB sessions themselves as well as completing the lengthy training that is involved to become a certified
Rosen Method practitioner, they would have the expertise to discern differences between the two types of
sessions.
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Kaplan (1989) theorizes about how our brain takes in and processes information and that when natural
environments are experienced, a safe and secure state of “spontaneous attention” occurs. In this more
attentive state, we have an inflow of sensory input and a possibility for “brain recovery.”
Ulrich (1999) asserts in his findings that humans need a safe, protected, lush and bright surrounding.
He believes that there is a basic human need to experience our surroundings as signalling “no danger.”
When feeling safe and secure, our stress level decreases. It all happens in an unconscious way. Bucci (2003)
suggests that gardens and natural environments offering a high diversity of sensory input can function as
a catalyst and create an inner process, a change of emotional reaction and action. Ottosson & Grahn (2008)
discuss this nature – human communication as a communication which occurs in a pre-linguistic language,
an emotional tone, which reaches and corresponds to inner needs. There are continuous background
emotions (Damasio, 2011) being processed with sensory input and responses. When these emotions
support the person’s needs, an opening to an inner communication may occur. When the human can
attune with the environment, a more authentic feeling of “I” can arise; an experience of an inner-self (Bjerre,
2003).
The experience of an inner-self is the basic connection to well-being. When experiencing this
connection, it widens the awareness and brings the possibility of peace and satisfaction with oneself. To
understand one’s emotions and needs through the awareness of the body is understood as the basis for
self-confidence, trust, and the ability to take care of oneself and one’s needs – both physical and mentally
(Rosberg, 2000; Lundvik Gyllensten et al, 2010).
This inner process, an opening between the conscious and the unconscious, may also take place in RMB
sessions. In a session, tension or a holding in the body is recognized. The holding represents the physical
and emotional consequences of life experiences, often containing feelings and forgotten memories. When
the tensions are touched, experienced and made conscious, the holding pattern in the body changes
(Rosen & Brenner, 2003). Neuroscience describes this on-going inner process as an enormous number of
changes in the body’s chemical profile, which goes on prior to the feeling and the experience of the feeling
(Damasio, 2011). This experience seems to link to an opening between the conscious and the unconscious
in the processes of perception, reflection and activity.
The Purpose of the Study
Volume 6 Issue 1, 2013
This pilot study explores and theorizes about the comparison of ordinary Rosen sessions and modified
sessions:
1. In what ways is the experience of a 30 minute session different from an ordinary 60 minute
session?
2. Is it possible to make contact and find the core holding and reveal memories, despite clothes on,
in a 30 minute session?
3. Did “clothes on” or “clothes off” make a difference and/or have any impact in the experience of the
sessions?
4. Does being in the garden environment following the session have an impact on the experience of
the modified session?
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Lavesson
As an attempt to gain more knowledge on these questions, a pilot study involving RMB practitioners as
participants took shape. They were invited to receive and compare the effects on themselves of an ordinary
RMB session with this above-described modified session. Participant-practitioners were recruited for this
study at a meeting in the southern region of Sweden for RMB practitioners. Fifteen RMB practitioners
attended the meeting. They were all invited to participate and those who chose to do so signed up by
email. Emails and phone calls about the study were also made to six other Rosen practitioners in the region,
with an invitation to participate in the study. Eleven Rosen practitioners signed up and were given times
to complete the sessions. Four of the practitioners dropped out or cancelled their session time for reasons
such as “too tired,” “too long of a trip,” or “changed my mind.” It is unknown why the rest of the invited
practitioners chose to reject the invitation. Six female and one male Rosen practitioner took part in the
study and were between the ages of 50 and 69 years old, with the average age being 60. The practitioners
had been practicing RMB between one and twelve years.
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METHOD
Those who signed up received a confirming email or letter that suggested times to schedule the 30
minute session. The design of the study was that each participant received two sessions, one ordinary
Rosen session and one 30 minute session with clothes on in a room adjacent to a garden setting at the
rehabilitation hospital. The questionnaires were sent to them by email or letter. Before and after both
sessions, participants filled out questionnaires about the sessions and their experiences at the time. They
would start with an ordinary Rosen session and about a month later come to the 30 minute “clothes on”
session. The 30 minute session was given to all participants by the same practitioner/physiotherapist (the
author) and there was no cost. For the 60 minute session, the participants paid for and chose their own
practitioner.
A questionnaire was used with open-ended questions about their experiences from the two sessions. All
questions were to be answered in their own words, except two self-estimation questions using a VAS scale
(a 10 cm line with no markings on it) with the end points None (0) and Very large (10). The two questions
were: “Did you experience any difference between the two sessions?” and “Did you experience the garden
environment to be of any help to you?”
RESULTS
The first question to answer after the two sessions was: “How did you experience the (ordinary or 30
minute) session? (Table 1).
Looking at what differs in the answers regarding the two different sessions (Table1), there are more
direct comments on the experience of the touch and sensation of the hands and the type of contact or
connection that was felt, in the answers on the 30 minute session. The seven practitioners’ comments on
the ordinary session all describe satisfaction with the session and it seems they had experienced a pleasing
session. Two out of seven experienced the grip in the 30 minute session as “too deep”, lacking, or not
achieving full contact.
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Volume 6, Issue 1, 2013
What did the practitioners experience in the two different kinds of sessions? The results are formed out
of the answers in the questionnaires.
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Practitioner
“How did you experience the ordinary
session?”
“How did you experience the 30 minute session?”
1
Peaceful but with effects afterwards
Good
Focused, directly on, felt love, hope for myself
2
Very good…dared to go deep, dared to stay, felt held
and supported by the environment of the garden.
A joke, to be so detached from the body, wanted
more time.
Less demanding when clothes on, never before felt
the hands talking with me.
Clear hands. Grips a little too deep. Lacked the soft
break…to feel in…
3
Extremely deep. It was great to meet in the
deep tensions.
4
A good treatment. The whole body was
involved.
5
Distinct touch from the beginning…The
silence made me talk about my needs…the
therapist was responsive.
6
Presence in the hands…space for me…
Liked to be clearly met… warm, present hands.
Clarity and presence.
Entirely good.
7
Allow the touch of the body to be… met
It was a very direct way of approaching the body.
myself and became aware of what was
Strong good hands but deep, full contact did not
going on inside of me. A larger breath …
occur.
relaxation.
Table 1. Comments from each participant from the question “How did you experience the session?”
What did the participants answer to the question about their experience of the 30 minute session
with clothes on reveal? The question was: “Describe in your own words what you experienced during the
session.” (Table 2).
Volume 6 Issue 1, 2013
Practitioner Describe what you experienced during the 30 minute session”
1
The holding in my hip is an old feeling, memories arise
2
Deep feeling of no trust, only tensions, a feeling of being split
3
Warm hands on a heavy tired body…confirming the “always there” feelings of fright and being afraid
4
Reborn
5
A feeling in the body of abuse … no contact… it was there, but could not be felt…pain
6
Felt my holding, my fighting, fight-sorrow-regret.
7
A significant amount of force is holding an old structure of silence
Table 2. Comments from each participant from the question “What did you experience during the 30 minute session?”
They all expressed being in contact with sensations of physical holdings, feelings and some expressed a
relief from being able to stay with these feelings. No participant wrote anything about (or had comments
on) having clothes and blanket on, except one who experienced another way of being met than the
ordinary way: “Less demanding when clothes are on.” The answers suggest that the clothes and the blanket
did not “impede” the ability to experience contact with barriers and holding. There were comments on
going too deep and this can be interpreted as the touch going too deep, rather than too much pressure
because of clothing.
“What impact did the 30 minute session have on your experiences?” The findings in the written answers
from each participant differ. Two out of seven wanted longer sessions but five of the seven were satisfied
and felt the time was sufficient.Written comments from the participants who wanted more time were:
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Lavesson
Did the practitioners experience any difference between the two sessions and if so, what was the
difference? One practitioner marked “almost no difference” (number close to 0) and six marked “very large
difference” (number close to 10). (Table 3).
Practitioner
What was the difference?
1
Prefers the 30 minute session: To be in an environment where nothing
disturbs. The garden gives space for me and my thoughts
2
Prefers the 30 minute session: more directed, effective, nothing “not
necessary” is done.
3
No difference
4
Prefers the 30 minute session. The garden, the energies. Never before
experienced hands talking to me.
5
Prefers ordinary session: The touch is physically
deeper in the ordinary session
6
Prefers 60 minute session. The difference was the clothes. Nice with contact
directly on the skin.
7
Prefers 60 minute session. Above all, having a complete Rosen session and
after that be left in peace. Table 3. Differences between the two sessions and what was different?
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“The session was so good so I wanted to have more time”
“An effective keyhole technique….”
10 = very large
difference and 0 =
no difference
9.2
8.9
1.2
7.8
7.2
7.8
9.7
A follow-up question to the previous question was: “What treatment would you prefer to get next time?”
The answers were that three would prefer the ordinary session and three the modified 30 minute session
(see Table 3).
Finally, there were two questions about the garden setting of the 30 minute sessions. The first question
was, “How did you experience coming out into a garden setting after the session?” The answers are shown in
Table 4.
How did you experience coming out into a garden setting after the session?
So nice! A privilege to have the possibility to experience this!
Shaky. As new eyes and a new world. Being aware of my own solitude and still being in myself.
Terrific. It was like the garden was a reflection of what was going on inside of me.
Wonderful, the scents, the sounds, the wind. I became more present..
What I experienced, coming out in the garden, was a sense of gratitude and reward.
Very nice. A little chilly. Important to have clothing for the weather. A greenhouse, wonderful oasis.
Saw wood anemones which were huge. Great with the wind, the sounds and scents.
7
Each of them was good experience, but it felt like an outside disturbance. When I had just gotten
help to open up inside, it felt like I was in a competition with an external stimulus.
Table 4: The written answers to the question: “How you experienced coming out into a garden after the session?”
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Practitioner
1
2
3
4
5
6
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All practitioners went out in the garden after the session and all but one expressed a positive response to
this experience. Three of them also put words on an inner communication: “Being aware of my own solitude
and still being in myself; it was like the garden was a reflection of what was going on inside of me”, and “became
more present”.
The final question was: “Did you experience the garden environment as helpful to you?” Five stated that
the garden had been a great or very great help and two said they had experienced only a little help or no
help at all.
DISCUSSION
An ordinary session often begins with observing the whole body and touching in order to listen to and be
guided by the response or non-response in the body and breath. Out of these responses, the session begins
to unfold. The modified sessions also followed this pattern. Rosen Method practitioners were chosen to be
participants in this study because they have experienced a large number of sessions and thus they know
what to expect in an ordinary RMB session.
The modified sessions studied here had been developed for and offered to new clients in the setting
of a rehabilitation hospital, since they seemed to gain from this approach. Because the main question of
this study was to compare the modified sessions with ordinary RMB sessions, these clients could not be
used because they were not familiar with an ordinary 60 minute RMB session. Thus, RMB practitioners were
chosen because their expertise with Rosen Method would offer more insight into the differences between
each type of session.
Volume 6 Issue 1, 2013
The Inviting Question
Instead of the whole body observation that occurs at the start of an ordinary RMB session, the modified
session started with a question: “What do you want me to do today?” The practitioner was then invited to
decide where “the touch is needed” in relation to the client’s answer. What impact does this have on the
session? It might have high value to “involve” the client and invite them to take an active part in the session
with such an inquiry (Rosberg, 2000). The question, directed inwards, may draw the client into her presentmoment experience, and a possibility to begin to feel body awareness. This invitation can be one part of why
the 30 minute session reached the holding and barriers and memories arose. By involving the participant,
the session begins before the client gets on to the table. The clients/patients trust in oneself, being the
owner of body and own will, is shown to be of importance in all healing processes (Rosberg, 2000). In an
ordinary RMB session, however, a similar process may occur. The practitioner, while observing the body, may
ask a question such as, “how are you doing today,” or “what has occurred since I last saw you.” Whether such
introductory questions have an impact in ordinary RMB has also not been studied.
Clothes and Blanket
The quality and way of touching are crucial in Rosen Method bodywork – an open and unconditional
meeting (Rosen & Brenner, 2003). It seems that despite clothes and blanket on, the practitioners who
received these sessions did reach contact to and experience their inner self. The practitioners made notes on
the quality of the touch and ability to be met but they did not express that the blanket or clothes acted as an
impediment to such connection. Due to their written responses, the clothes and blanket did not prevent
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Lavesson
In the ordinary session, the client may have a blanket on at the start of the session, but it is folded down
so that touching can be done on bare skin. “The participant is invited to experience their whole body and
experience the soft, listening and connecting touch” (Rosen & Brenner, 2003), and a slow “dropping in.” One
client, however, experienced another way of being met than in the “ordinary” way, saying that the session
was “Less demanding when the clothes were on.” This provokes an interesting thought that, due to the client’s
needs, the clothes and blanket may provide shelter and protection. This shelter may even be necessary to
some, in order to dare “stay in contact” with arising feelings and memories which sometimes are painful and
hard to face. Again, even in ordinary RMB sessions, some clients choose to leave all or some of their clothing
on in order to create their own sense of safety.
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the possibility of contact with holdings and feelings.
What differs in the written answers in the modified session compared to those in the ordinary session
was that there were more direct comments on the hands and the contact. This could be because the touch
felt different than usual and offered another kind of experience. The two sessions differ in a distinct way of
touch on bare skin or no touch on bare skin. A question arises – is the bodily contact in the modified session
of another kind than in the ordinary session? And if so, what impact may this have in the sessions and
client?
One practitioner commented that “Never before have I felt the hands talking with me.” It awakened
curiosity. This may be an expression of a communication between the hand and the body, not through skin
receptors, but perhaps through contact via deeper layers of receptors.
One knows that skin receptors, gentle touch on bare skin, create a “highway” to the brain as sensory
input (Uvnäs-Moberg, 2000), expressed by one of the participants as: “it is nice with the contact directly on the
skin.” Gentle, soft touch may release hormones of oxytocin, signalling us to relax and feel calm and at peace
(Uvnäs-Moberg, 2000). With clothes on, this may not occur in the same way. One of the practitioners, for
example, felt the clothes on touch as more direct, “effective, nothing ‘not necessary’ is done.” The touch on
bare skin may set a focus on this sensory input in the session. Without the bare skin, the touch may involve
sensory input coming from other anatomical structures. The contact may be experienced in a more “naked”
way. This may point out how important it is to be aware of how different ways of touching may determine
the outcome of a session.
The Duration
The Surrounding
Environmental science recognizes there is an unconscious communication between humans and nature
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Most (85%) of the practitioners did not experience the 30 minute session as “too short” in the sense
of reaching contact with holding, barriers and memories. It may be pointed out that practitioners are
used to having sessions. They may, in an unconscious way, open up to what is coming; the possibility to
connect and experience the inner self, even within a 30 minute time period. Despite this, three out of
seven preferred the longer ordinary 60 minute session but three out of seven preferred the 30 minute
session combined with the garden setting. If the participants had been new clients with no experience of
bodywork, they may have experienced the modified session in a different way.
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and humans seem to choose and seek natural environments (Korpela & hartig, 1996; Ulrich 1999; Ottosson,
2001; Annerstedt & Währborg 2011). This means that nature provides for conscious and unconscious
reflection: a wordless way of being that may tap into inner healing forces.
The session ended with a suggestion: “Stay with whatever is going on inside you, take a walk in the garden
and do whatever you need to do.” The purpose of this suggestion was to keep the inner connection from
the RMB session open and to invite a possible communication with the garden/nature (Kaplan & Kaplan,
1989; Ottosson, 2001; Grahn & Stigsdotter, 2009). This is something that is not done in an ordinary session.
The surrounding is not often a garden, park or natural environment. So, coming out into a garden setting,
staying in contact with whatever was going on inside, was a new experience. After spending time in the
garden following the session, the practitioners described their communication with the environment
(Korpela & Hartig, 1996; Ottosson & Grahn, 2008) as sensory, bodily and emotional experiences: “Being
aware of my own solitude and still being in myself; it was like the garden was a reflection of what was going on
inside of me.”
Most practitioners found that strolling around in a garden immediately after the session had an impact,
deepening their body awareness. Two out of seven on the contrary expressed that strolling around in the
garden was not helpful. One even found the garden environment disturbing: “It felt like an outside influence,
when I had just gotten help to open up inside, it felt like I was in a competition with an external stimulus.”
It can be interpreted that the surrounding did have an impact on all the practitioners and most of them
seemed to enjoy the experience of the garden setting, both as sensory experiences and as reflections. It is
not possible to draw any conclusions that the surrounding had an impact on the outcome of the session, or
what the walk and stay in the garden setting may have added to the experience of the session.
The study has shown that to some, the garden setting had an impact and four out of seven may choose
the modified session again. Their choice would probably also depend on such reasons as their current
needs, season, impression of the practitioner, travel distance and so on.
Volume 6 Issue 1, 2013
CONCLUSION
This study of one variation and alteration of a typical session in Rosen Method Bodywork should be
regarded as a pilot study. There were a limited number of participants; and limited also to those who
happened to attend the practitioner’s meeting and those listed as practitioners in the southern region of
Sweden. The practitioners who participated (seven out of twenty one) were not chosen at random. Rather,
they were interested in taking part in the study and they also had the opportunity to do so because of
their availability during the month of May. It is unknown if the results would have been different if clients
new to Rosen Method were included in this study rather than RMB practitioners who were experienced in
receiving sessions.
The study has given some answers but it is not possible to draw general conclusions due to these
limitations. In addition, there were multiple differences between normal RMB sessions and the modified
sessions: (1) the inviting questions, (2) the clothing, (3) the duration and (4) the surrounding. It is not
possible to say anything about the effect of any one of these factors.
The results do, however, show that the modified session structure did not prevent the participants
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from reaching contact with physical holdings and what was revealed within. It is not possible to assess
what impact the different factors had on achieving this, or whether some of the factors may have been
more important than others, or if the result is from the total combination of all the factors together. It is
interesting to note that four out of seven would like to have the modified session again: having clothes and
blanket on and afterwards taking a walk in the garden.
More research is needed with a larger number of participants and making a deeper examination of the
four different factors in the modified session. There may, in addition, be other factors that have an impact
on the inner process during RMB sessions. These may include the quality of touch and trust, the relationship
between the client and therapist, and between the client and nature.
REFERENCES
Annerstedt M. & Währborg P. (2011). Nature assisted therapy systematic review of controlled and
observational studies. Scandinavian Journal of Public Health, 1-18.
Bertherat T. (1976). Le corps a ses raisons. Editions du Seuil.
Bjerre, P. (2003). Död-och förnyelsetankens upprinnelse, Poul Bjerre-sällskapets årsbok 2003. Grödinge: Poul
Bjerre Sällskapet. (Death and the Renewal of Thought).
Bucci, W. (2003). Varieties of dissociative experiences, Psychoanalytic Psychology, 20, 542-557.
Copper Marcus & Barnes, (1999). Healing Gardens. John Wiley & Sons.
Damasio, A. (2011). Du och din hjärna. Så skapar hjärnan ditt medvetande. Sundbyberg: Optimal Förlag.
(Original title: (2010) Self Comes to Mind / Constructing the Conscious Brain). Pantheon Books, New York.
Grahn P. & Stigsdotter U. (2009). The Relation Between Perceived Sensory Dimensions of Urban Green Space
and Stress Restoration. Landscape and Urban Planning.
Hendricks G & Hendricks K. (1995) Kroppens egen intelligens. Borgå WSOY.( Original title: (1993) At speed of life.
Bantam Books.)
Korpela K. & Hartig T. (1996). Restorative qualities of favorite places. Journal of Environmental Psychology
16:221-233.
Lundvik Gyllensten, A., Skär, L., Miller, M., & Gard, G. (2010). Embodied identity – A deeper understanding of
body awareness. Physiotherapy Theory and Practice, 26 (7): 439-446.
Ottosson J. (2001). The importance of nature coping with a crisis: A photographic essay. Landscape Research,
Vol. 26; No. 2:165-172.
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Kaplan R. & Kaplan S. (1989). The Experience of Nature. Cambridge University Press.
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Ottosson J. & Grahn, P. (2008). The role of natural settings in crisis rehabilitation. How does the level of
crisis influence the response to experiences of nature with regard to measures of rehabilitation? Landscape
Research, 33, 51–70.
Rosberg S. (2000). Kropp,Varande och Mening. Acta Universitatas Sueciae Doctoral Thesis, Dept. of Care
Science, Dept. of Occupational Therapy and Physiotherapy, University of Gothenburg.
Rosen M & Brenner S. (2003) Rosen Method Bodywork: Accessing the Unconscious through Touch. Berkeley,
California. North Atlantic Books.
Ulrich R. S. (1999). Effects of Gardens on Health Outcomes: Theory and Research. In Cooper Marcus & M
Barnes (Eds.) Healing Gardens: The Therapeutic Benefits and Design Recommendations. New York: John Wiley
and Sons.
Uvnäs-Moberg K. (2000). Lugn och Beröring (Calm and Touch). Natur & Kultur.
Volume 6 Issue 1, 2013
Wooten S. (1995). Touching the Body – Reaching the Soul.
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En pilotstudie om Rosen terapeuters
upplevelser av en modifierad form av
Rosenmetoden i en trädgårdsmiljö.
Lillian Lavesson
Rosenterapeut, leg sjukgymnast
Trelleborg, SE
[email protected]
Sammanfattning
Denna studie undersökte en modifierad form av Rosenmetodens kroppsterapi där behandlingen endast
är 30 minuter lång, klienten har sina kläder på sig och även en filt. Behandlingen startar med en öppnande
fråga till klienten och avslutas med en inbjudan till klienten att strosa runt i den omgivande trädgårdsmiljön.
Sju Rosenterapeuter deltog i studien där en modifierade form av rosenbehandling jämfördes med ordinarie
Rosenbehandling. Rosenterapeuterna fyllde i frågeformulär före och efter var och en behandlingarna
de erhöll; den modifierade resp. den ordinarie. En central fråga i denna studie var frågan om denna
modifierade form av rosenbehandling kunde nå kontakt med klientens hållande (muskelspänning),
känslomässiga barriärer och minnen, dvs. det centrala som sker vid en ordinarie rosenbehandling. Under
den modifierade formen av behandling, rapporterade alla deltagarna att de kunde nå kontakt med
sitt hållande och barriärer. Ingen av terapeuterna nämnde något om att kläderna eller filten utgjorde
något hinder under behandlingen. Istället gjorde en deltagare en reflexion om att det istället gjorde att
behandlingen kändes mindre kravfull.
INTRODUKTION
Rosenmetodens kroppsterapi
Rosenmetoden (RM) är utvecklad av sjukgymnast Marion Rosen, som hade en sann gåva i hur hon med
en unik form av beröring, kunde få klienterna att nå kontakt med glömda och gömda minnen. Rosen lärde
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Volume 6, Issue 1, 2013
Baserat på svaren från de deltagare i studien, blir en slutsats att den modifierade formen där deltagaren
hade kläderna på fungerar lika väl som en ordinarie behandling där klienten har klätt av sig. Fem av sju
terapeuter var nöjda med den modifierade behandlingen och upplevde att 30 minuters behandling
var tillräckligt. Att strosa runt i trädgården i direkt anslutning till behandlingen, upplevdes av de flesta
deltagarna har en påverkan på och fördjupade deras medvetenhet. Denna upplevelse kan bero på att natur
understödjer och kan väcka en medveten som omedveten ordlös inre kommunikation: en process som är
ett flöde av känslor och upplevelser, och innehåller möjligheten att nå kontakt med en inre helande kraft.
Två av deltagarna beskrev däremot, att det inte var till hjälp för dem, att strosa omkring i trädgårdsmiljön
efter behandlingen. En till och med upplevde att miljön var störande. Mer forskning behövs för att
undersöka vilka parametrar i en rosenbehandling som påverkar de inre processer som tillåter mötet i
beröringen, skapar tillit och möjliggör helande, likväl som de processer som avtäcks i relationen mellan
klient och terapeut samt i relationen med omgivningen.
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sig under åren detta arbete utvecklades att Rosenmetodens beröring kunde ha en stor påverkan på hur
människor levde sina liv. 1978 startade hon den första träningsgruppen, vilket blev det första steget i att
föra ut detta djupgående arbete i världen (Rosen & Brenner, 2003).
I RM används en “lyssnande “ beröring och ur den skapas kontakt med kroppen (Rosen & Brenner
2003, p. xiii). Kvaliteten och sättet att beröra är avgörande i metoden: en mjuk beröring som signalerar till
personen“ jag är här för dig” och detta tillåter terapeuten att vara med personen på ett öppet, icke hotande
och receptivt sätt. Denna form av beröring kan öppna för medvetenhet om spänningar i kroppen. Dessa
spänningar i kroppen (hållande) är fysiska uttryck av våra emotionella attityder och förhållningssätt. RM
skapar möjligheten för att ett kravlöst möte ska ske. Ett möte som kan öppna upp till kontakt med och
upplevelse av nertryckta och glömda känslor. Genom beröring med receptiva, lyssnande händer, skapas
utrymme för en ny medvetenhet att stiga upp inifrån personen. Kroppens svarar på sanningen i personens
upplevelse och detta är en nyckel i arbetet. Om personen berättar en ”historia”, kan de istället ledas bort
från att nå en ny medvetenhet om kroppens erfarenhet (Rosen & Brenner, 2003) och det kroppsliga svaret
utebli, t ex en förändrad andning.
En behandling enligt RM sker oftast i en lugn miljö utan störande ljud eller visuella uttryck som skulle
kunna dra bort personen från en medvetenhet i upplevelse, känslomässigt tillstånd samt minnen (Bertherat
1976; Wooten 1995; Hendricks & Hendricks 1995; Cooper, Marcus & Barnes, 1999). En ordinarie behandling
varar oftast 60 minuter. Klienten klär av sig till en nivå som är bekväm för dem, lägger sig ner på en brits och
en filt eller lakan läggs över och täcker dem. Terapeuten viker ner filten och lägger sina händer på klientens
hud. Den första beröringen är en viktig kontakt, och behöver vara så direkt att en kontakt kan etableras.
När detta händer, som Marion Rosen har beskrivit det, kan beröringen, som ett svärd gå igenom och finna
hållandet, spänningens kärna.
Ett hållande kan uttrycka många olika delar: ett hålla tillbaka, ett hålla nere eller att hålla ihop sig själv.
När tillit är etablerad mellan rosenterapeuten och klienten, ett tillstånd av att ge upp kan stiga fram där
försvar har möjlighet att smälta bort och klientens “sanna” känslor kan stiga fram. Detta skeende är synligt
som förändringar i kroppens spänning, omedvetna rörelser, andningen förändras, skifte i ansiktsuttryck och
ofta frigörande av insikter. Detta skeende handlar om en transformation, till att bli en mer autentisk, mer
ens sanna jag (Rosen & Brenner, 2003) och som process, frigöra en ny form av kroppslig och känslomässig
medvetenhet.
Volume 6 Issue 1, 2013
Utbildning och träning till Rosenterapeut
Träningen och utbildningen till rosenterapeut i Sverige arrangeras av Axelsons Gymnastiska Institut och
grundutbildningen tar ca tre år och innehåller:
En introduktionskurs på två dagar, två veckoslutskurser på två dagar, sju intensivkurser på sju dagar,
anatomi för rosenmetodens studenter (delad i två perioder á fem dagar), tre rosenbehandlingar, tre handledningstillfällen mellan femte och sjunde intensiv kurserna samt tre intervjuer/samtal med lärare. Efter
genomförd, godkänt grundutbildningen startar en praktikperiod som ofta tar 1,5 år.
Praktikperioden innehåller: Att genomföra 350 klient behandlingar, 23 individuella egna rosenmetodens
behandlingar och utförda av rosenterapeuter, ungefär 45 timmars enskild handledning, grupphandledning
samt individuella samtal. Ytterligare kurser/handledning kan ibland vara nödvändigt innan certifiering.
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Den modifierade behandlingen enligt Rosenmetoden (RM)
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Certifikatet är ett internationellt certifikat, utfärdat av the Rosen Institute som utfärdas efter godkänd,
avslutad utbildning.
Den förändrade formen av behandling enligt RM, beskriven i denna artikel var utvecklad i
ett sammanhang där författaren gav behandlingar enligt rosenmetoden till dagpatienter i ett
rehabiliteringsprogram. På grund av begränsad tid för behandlingar enligt RM för deltagarna
i rehabiliteringsprogrammet, kunde inte behandlingstiden bli längre än 30 minuter. Eftersom
behandlingsrummet låg i nära anslutning till en trädgårdsmiljö, innebar det också att det uppstod en
möjlighet att, på ett medvetet sätt, undersöka om trädgårdsmiljön kunde fungera som en fortsättning på
processen som behandlingen enligt RM ev. startat. Intentionen var att skapa utrymme för denna process att
få fortsätta utanför behandlingsrummet, i tryggheten av en skyddad trädgårdsmiljö.
Denna modifierade behandling enligt RM skiljer sig från en ordinarie behandling på några distinkta sätt:
Skillnaderna är:
1. Eftersom dessa behandlingar skedde inom en rehabiliteringsverksamhet där patienterna hade
dagsprogram att följa och tiden var begränsad, tillfrågades patienten innan behandlingen började “
vad vill du att jag ska göra idag?”
2. Terapeuten följer patientens önskemål och börjar behandlingen där, med rosenmetodens
beröring (som i en ordinarie behandling). Om patientens kropp inte ger gensvar till beröringen i
detta område, förflyttar terapeuten sina händer vidare, (precis som vid en ordinarie behandling).
3. Behandlingen pågår i 30 minuter.
4. Patienten har behållit sina kläder på.
5. För att undersöka effekt och ev. hjälp av trädgårdsmiljön , ges oftast ett förslag till patienten när
hon/han förbereder sig för att lämna behandlingsrummet: ”stanna med det som pågår i dig just nu, på
ett sätt som är bekvämt för dig. Gå ut i trädgården och gör vad du känner du har behov av just nu”.
En första fråga var: kunde behandlingen nå ner till kanten på lidandets barriärer och hållandet och tillåta
patienten/klienten möjligheten att nå kontakt med sitt sanna jag under behandlingen (Rosen & Brenner,
2003) trots att hon/han hade kläder på och var täckt med en filt och trots att behandlingen endast var 30
minuter lång? En annan fråga som kom upp var: Hur bidrog trädgårdsmiljön till behandlingsupplevelsen?
Naturen och dess möjliga påverkan på människan.
I denna studie görs försök att undersöka om natur och utemiljö kan användas för att hålla och stödja
en behandling. Teorier och forskning från olika vetenskaps fält har beskrivit och diskuterat hur natur och
användning av naturmiljöer är stödjande, bibringar läkande krafter som agerar på ett omedvetet sätt
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Som ett försök att svara på dessa frågor, togs initiativ till en studie i vilken vana rosenterapeuter
dels tog en ordinarie rosenbehandling och därefter, några veckor senare, den beskrivna modifierade
formen av rosenbehandling. Rosenterapeuterna som deltog i studien hade alla stor erfarenhet av att ta
rosenbehandlingar. Också med tanke på den erfarenhet de erhållit under utbildningen till certifierad
rosenterapeut, antogs de vara experter som kunde bedöma och beskriva sin upplevelse av de två olika
behandlingsmodellerna.
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i människan, i en process som ofta beskrivs som “ordlös kommunikation” (Ottosson, 2001; Bjerre, 2003;
Ottosson & Grahn, 2008). Kaplan & Kaplan (1989) teoretiserar om hur vår hjärna tar in och processar
information och när vi befinner oss i en naturmiljö som vi upplever som trygg och säker, kan en process starta
som möjliggör återhämtning. Detta skeende beskrivs som “spontan uppmärksamhet”, ett uppmärksamhets
tillstånd som ger möjlighet till “hjärnvila”.
Ulrich (1999) har i sin forskning funnit att människan tycks behöva en trygg, skyddad, frodig och ljus
omgivning. Han tror att det finns ett grundläggande mänskligt behov av en omgivning som signalerar
”ingen fara”. När vi känner oss trygga och skyddade sjunker vår stressnivå. Allt händer på ett omedvetet
sätt. Bucci (2003) menar att trädgård och naturmiljöer som erbjuder en stor variation på sensoriska
inflöden och intryck kan fungera som en katalysator i att starta en inre process, som leder till en förändring
av känslomässig reaktion och handling. Ottosson & Grahn (2008) beskriver denna natur – människa
kommunikation som ett pre-linguistiskt språk, en emotionell ton, som når och samspelar med inre behov.
Damasio (2011) beskriver att det ligger hela tiden, som en bakgrund, ett flöde av emotioner där sensoriska
intryck från omgivningen processas och påverkar omedvetet våra reaktioner. När dessa emotioner stödjer
en persons behov, kan det öppna till och möjliggöra att en inre kommunikation uppstår. Psykoterapeuten
Bjerre (2003) beskriver det som att när en människa blir samstämd med omgivningen, kan en känsla av ett
“JAG” stiga fram; en upplevelse av ett inre jag.
Upplevelsen av ett inre jag har en grundläggande koppling med att uppleva välbefinnande. När man erfar denna koppling vidgas medvetenheten och öppnar för möjligheten till upplevelse av ro och förnöjsamhet med sig själv. Att förstå sina känslor och behov genom kroppsmedvetenhet är tolkat som grunden för
självförtroende, tillit och förmågan till att ta hand om sig själv och sina behov – både fysiskt och mentalt
(Rosberg, 2000; Lundvik Gyllensten et al, 2010).
Denna inre process, en öppning mellan det medvetna och det omedvetna, kan också ske i en rosenbehandling. I en behandling kan kroppens spänningsmönster eller hållande bli känt och igenkänt. Hållandet
representerar fysiska och emotionella konsekvenser av livserfarenheter, ofta innehållande känslor och
glömda minnen. När det spända berörs, blir upplevt och medvetandegjort, skiftar hållandets mönster i kroppen (Rosen & Brenner, 2003). Neurovetenskapen beskriver att denna inre process innebär en mängd skiften
i kroppens kemiska profil och i denna process uppstår känslan och upplevelsen av känslan (Damasio, 2011).
Upplevelsen av känslan tycks öppna en länk till och mellan det medvetna och det omedvetna och i de
pågående processerna mellan perception, reflexion och aktivitet kan individens medvetenhet vidgas.
Volume 6 Issue 1, 2013
Syftet med studien
Denna pilotstudie undersöker och teoretiserar om jämförelsen av ordinära och modifierade
rosenbehandlingar:
1. På vilket sätt skiljer sig upplevelsen av en 30 minuters behandling jämfört med en ordinarie 60
minuters behandling?
2. Är det möjligt att nå kontakt, finna hållandets kärna och frigöra minnen, trots kläder på, i en 30
minuters behandling?
3. Gör ”kläder på” eller ”kläder av” någon skillnad och/eller har det någon påverkan på upplevelsen
av behandlingarna?
4. Att vara i trädgårdsmiljön efter behandlingen, har det någon påverkan på upplevelsen av den
modifierade behandlingen?
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Lavesson
För att få svar på dessa frågeställningar, planerades en pilotstudie som vände sig till rosen terapeuter.
De blev erbjuda att få behandling och jämföra sin behandlingsupplevelse vid en ordinarie resp. den ovanbeskrivna modifierad rosenbehandlingen. Deltagarna/rosenterapeuterna blev rekryterade till denna studie
i samband med en sammankomst för rosenterapeuter i södra Sverige. Femton rosenterapeuter deltog på
denna sammankomst, och alla blev inbjudna till att delta i studien. De som valde att delta anmälde sig
senare via mail. Ytterligare sex rosenterapeuter i regionen kontaktades via email eller telefon och även de
fick en inbjudan till att delta i studien. Elva rosenterapeuter anmälde sig och tid bokades till den modifierade behandlingen. Fyra av dem hoppade av och avbokade sin behandlingstid av skäl som ”alltför trött”,
Alltför lång resa” eller ”har ändrat mig”. Det är okänt varför de resterande inbjudna terapeuterna valde att
inte delta i studien. Sex kvinnliga rosenterapeuter och en manlig deltog I studien. De var mellan 50 och 69
år med en medelålder på 60 år. Terapeuterna hade arbetat mellan ett och tolv år med Rosenmetoden.
RMIJ
METOD
De som hade anmält sig fick ett bekräftelsemail eller brev med förslag på behandlingstillfälle för en 30
minuters behandling. Studiens upplägg var att var och en skulle ta två rosenbehandlingar, en ordinarie och
en 30 minuters behandling. Frågeformulär skickades ut till deltagarna via email eller post. Deltagarna skulle
före och strax efter var och en av behandlingarna, fylla i frågeformulär med frågor om deras upplevelse av
just den behandlingen. De skulle börja ta den ordinarie rosenbehandlingen och ungefär en månad senare
ta den 30 minuters ”med kläder på” behandlingen. 30 minuters behandlingen gavs i ett rum i anslutning
till en trädgårdsmiljö vid rehabiliteringsavdelningen och gavs till alla deltagarna av samma rosenterapeut/
fysioterapeut (författaren) och var kostnadsfri. För den ordinarie, 60 minuters behandling däremot, fick var
och en både välja rosenterapeut och själv betala behandlingen.
Frågeformuläret som användes bestod av öppna frågor kring deras upplevelser från de två
rosenbehandlingarna. Alla frågor skulle besvaras med deras egna ord, förutom två självskattningsfrågor
där VAS skala användes (en 10 cm linje utan markeringar) med ändpunkter Ingen (0) och Mycket stor (10).
De två frågorna var: ”Upplevde du någon skillnad mellan de två behandlingarna?” och ” Upplevde du att
trädgårdsmiljön var till någon hjälp för dig?”
RESULTAT
Vad upplevde deltagarna vid de två olika varianterna av rosenbehandlingarna? Resultaten är formade
efter svaren i frågeformulären.
Vad skiljer i svaren om hur deltagarna upplevde de två olika behandlingarna (Tabell 1)? I svaren om 30
minuters behandlingen görs mer direkta kommentarer på beröringsupplevelsen och vilken typ av kontakt
och upplevelse av händer och vilken typ av kontakt eller möte som blev upplevt. De sju deltagarnas
kommentarer om den ordinära behandlingen beskriver alla en nöjdhet med behandlingen och det tycks
som om de upplevt en tillfredsställande behandling. Två av de sju upplevde att handgreppet i 30 minuters
behandlingen som “för djupt” eller saknade/ inte uppnådde god kontakt.
A Pilot Study
21
Volume 6, Issue 1, 2013
Första frågan att besvara efter var och en av behandlingarna var: Hur upplevde du behandlingen?, se
Tabell 1.
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Deltagare
1
2
3
4
5
6
7
“Hur upplevde du den ordinarie rosenbehandlingen ?”
Stillsam men med effekt efteråt
“Hur upplevde du 30 minuters
rosenbehandlingen?”
Koncentrerat, gick direkt in. Kände kärlek, hopp
om mig själv.
Bra
Mycket bra… vågar gå djupt, vågar vara där, kändes bra att vara omsluten av trädgården.
Oerhört djupt. Det var bra att bli mött i de djupa
Ett skämt, att vara så avkopplad från kroppen,
spänningarna.
ville få längre tid.
En bra behandling. Hela kroppen fick vara med.
Kändes mindre kravfyllt att ha kläderna på. har
aldrig tidigare känt, det var som om händerna
pratade med mig.
Beröringen distinkt i början. .tystanden fick mig att Tydliga, bestämda händer. Greppen en aning
tala om mina behov… terapeuten var lyhörd.
för djupt. Saknade den mjuka pausen … för att
känna in.
Närvaro i händerna… utrymme för mig….TydTyckte om att bli mött tydligt… varma, närlighet och närvaro..
varande händer. Omhuldande.
Tillåta beröring av kroppen att vara…mötte mig
Det var ett väldigt direkt sätt att närma sig kropsjälv och blev medveten om vad som pågick inne I pen. Starka bra händer men djup ”hel” kontakt
mig. En större andning…avslappning.
uteblev.
Tabell 1. Kommentarer från var och en av deltagarna på frågan” Hur upplevde du behandlingen?”
Vad beskrev deltagarna i sina svar på frågan om sin upplevelse av 30 minuters behandling med kläder
och filt på? Frågan som ställdes var: ”Beskriv med egna ord vad du upplevde under behandlingen?” (Tabell
2)
Deltagare
1
2
3
6
“Beskriv vad du upplevde under 30 minuters behandlingen”
Hållandet i höften är en gammal känsla. Minnen kommer upp.
Djup känsla av att det finns ingen tillit bara spändhet… känsla av att splittras.
Varma händer på en tung trött kropp.. bekräftelse på en skräck rädsla som har funnits med,
alltid…
Pånyttfödd
Kändes som ett ingrepp i kroppen… blev medveten om muskelspänningar. ingen kontakt med
…den fanns men kändes inte…
Kände min spändhet, att jag håller… kämpande… Kamp-sorg-saknad.
7
Påtagligt mycket kraft som håller en gammal struktur av tystnad.
Volume 6 Issue 1, 2013
4
5
Tabell 2. Kommentarer från var och en av deltagarna från frågan ” Vad upplevde du under 30 minuters behandlingen?”
De beskrev alla en kontakt med upplevelse av fysiskt hållande och känslor. Några uttryckte en lättnad i
att det var möjligt att stanna med dessa känslor. Ingen deltagare uttryckte något om eller gjorde kommentar om, att ha haft kläder och filt på sig. En deltagare beskrev däremot sin upplevelse av att bli mött på ett
annat sätt i behandlingen, än vanligtvis: ” Att ha kläderna på kändes mindre kravfyllt”. Svaren visar att kläderna eller filten inte ”hindrade” möjligheten att erfara kontakt med barriärer och hållande. Tre kommenterade
att greppet gick alltför djupt. Detta kan tolkas som om beröringen gick alltför djupt, inte att alltför mycket
kraft använts p.g.a. kläder.
22
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“Vilken betydelse hade behandlingstiden för dig? Svaren från deltagarna skiftar. Två av sju önskade längre behandlingstid men fem av sju var nöjda och kände att tiden var tillräcklig. De skrivna kommentarerna
från de två deltagarna som önskade mer tid var:
“Behandlingen var så bra att jag ville få längre tid”
“En effektiv titthålskontakt..”
Upplevde deltagarna någon skillnad mellan de två rosenbehandlingarna och i så fall, vad var det? En
deltagare markerade ” nästan ingen skillnad” (markering nära 0) och sex markerade ”mycket stor skillnad”
(markeringar nära 10), (se tabell 3).
Deltagare
Vad var skillnaden mellan de två olika rosenbehandlingarna?
1
Föredrar 30 minuters behandlingen: Att vara i en miljö där inget stör. Det
finns plats för mig och mina tankar.
Föredrar 30 minuters behandlingen. Mycket mer koncentrerad, direkt,
effektiv. Inget onödigt fanns med.
Ingen direkt skillnad
Föredrar 30 minuters behandlingen. Trädgården. Energierna. Har aldrig
varit med om att händerna talade så med mig.
Föredrar den ordinarie behandlingen. Beröringen var fysiskt djupare (i
den ordinarie behandlingen)
Föredrar den ordinarie behandlingen. Skillnaden var … kläderna på.
Skönt med kontakten direkt mot huden.
Föredrar den ordinarie behandlingen Vill ha en hel rosenbehandling.
Hade velat vara ifred med själv. 2
3
4
5
6
7
10 = mycket stor skillnad och 0= ingen skillnad
9.2
8.9
1.2
7.8
7.2
7.8
9.7
Tabell 3. Deltagarnas beskrivning av skillnaderna mellan de två behandlingarna och vad var skillnad?
En uppföljningsfråga till denna fråga var:” Vilken behandling skulle du föredra få vid nästa
behandlingstillfälle?” Svaren visade att tre föredrog den ordinarie rosenbehandlingen och tre den
modifierade 30 minuters behandlingen (se tabell 3).
A Pilot Study
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Volume 6, Issue 1, 2013
Slutligen fanns det två frågor som berörde trädgårdsmiljön och 30 minuters behandlingen. Den första
frågan var: ” Hur upplevde du att komma ut i trädgården direkt efter behandlingen”? Svaren syns i tabell 4.
RMIJ...
Deltagare
Hur upplevde du att komma ut i en trädgårdsmiljö direkt efter behandlingen?
1
2
3
4
5
6
Så skönt! Känns som en ynnest att få möjlighet vara med om detta och uppleva det!
Skakigt. Som nya ögon och en ny värld… Kvar i mig själv.
Fantastiskt. Det var liksom samma som inuti mig, som det var I trädgården.
Underbart., dofterna, ljuden, vinden. Jag blev mer närvarande.
Vad jag upplevde när jag kom ut i trädgården var en känsla av tacksamhet och belöning
Väldigt skönt. Lite kyligt. Viktigt med kläder efter väder. Växthus, underbar oas. Såg vitsippor som var jättestora. Härligt med vinden, ljuden o dofterna.
Var för sig en bra upplevelse med det kändes som en påverkan utifrån. Hade just fått hjälp att öppna
inåt. Det som fanns i mig fick konkurrera med stimulans utifrån
7
Tabell 4: De skrivna svaren till frågan: Hur upplevde du att komma ut i trädgården direkt efter
behandlingen?”
Alla deltagarna gick ut I trädgårdsmiljön efter behandlingen och alla förutom en, uttryckte positiva
reaktioner av denna upplevelse. Tre av dem beskrev i sina ord en inre kommunikation med omgivningen:
Blev medveten om min ensamhet och att samtidigt vara i mig själv; det var som om trädgården reflekterade
det som pågick i mig; jag blev mer närvarande.
En avslutande fråga var: ” Upplevde du att trädgårdsmiljön var till hjälp för dig? Fem menade att
trädgården hade varit till stor eller mycket stor hjälp medan två beskrev att miljön endast var till liten eller
ingen hjälp alls.
DISKUSSION
Volume 6 Issue 1, 2013
En ordinarie rosenbehandling börjar ofta med beröring med lyssnande händer med samtidig observering av hela kroppen, där svar eller icke svar från kropp och andning guidar terapeuten. Utifrån dessa svar tar
behandlingen sin början. Den modifierade behandlingen följer också detta mönster. Rosenterapeuter blev
valda till att vara deltagare i studien eftersom de har erfarenhet från ett stort antal behandlingar och därför
vet vad de förväntar sig av en ordinarie rosenbehandling.
Den modifierade behandlingen som studerats här, har utvecklats för och erbjuden till nya klienter,
patienter i ett rehabiliteringsprogram, eftersom de skulle kunna vinna på detta upplägg med behandlingar.
Eftersom huvudfrågan i studien var att jämföra den modifierade rosenbehandlingen med en ordinarie
behandling, kunde inte dessa patienter användas i studien eftersom de har ingen erfarenhet från
en ordinarie 60 minuters rosenbehandling. Därför valdes rosenterapeuter eftersom deras expertis
angående Rosenmetoden kunde erbjuda mer vetande om skillnaderna mellan de två modellerna av
rosenbehandlingar.
Den inbjudande frågan
Istället för den inledande observation av kropp och andning som görs vid en ordinarie rosenbehandling,
startar den modifierade formen med en fråga: “ Vad vill du att jag ska göra idag?” Terapeuten blev då
inbjuden till att få veta var “beröringen behövdes” utifrån klientens svar. Vilken påverkan har detta på
24
Lavesson
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behandlingen? Det kan ha en stor betydelse att ”bjuda in” klienten att få ta en aktiv del i behandlingen
med en sådan fråga (Rosberg, 2000). Frågan, riktad inåt, kan dra klienten in till hans/hennes vara i nuet,
och en öppning att erfara kroppsmedvetenhet. Denna inbjudan kan vara en del av varför 30 minuters
behandlingen når hållande, barriärer och att minnen väcks. Genom att bjuda in klienten så, startar
behandlingen troligen redan innan han/hon lagt sig på behandlingsbritsen. Klienten/patienten tillit till sig
själv, ägaren till kroppen och den egna viljan, är visat ha stor betydelse i alla läkande processer (Rosberg,
2000). Detta kan hända även i en ordinarie rosenbehandling. Terapeuten, kan ställa en fråga som ” hur har
du det idag” eller vad har hänt sedan vi sågs senast”. Huruvida en sådan fråga har betydelse, har inte heller
blivit studerat.
Kläder och filt
Kvaliteten i och sättet att beröra är avgörande i Rosenmetodens kroppsterapi – ett öppet och kravlöst
möte (Rosen & Brenner, 2003). Det tycks som att trots kläder och filt över sig, kunde deltagarna i studien
nå kontakt med och erfara sitt inre jag. De beskrev beröringens kvalitet och möjlighet men de beskrev inte
att kläderna eller filten hindrade denna kontakt. Utifrån deras skrivna svar, hindrades inte möjligheten till
kontakt med hållande och känslor.
I den ordinarie behandlingen, kan klienten ha en filt på sig i inledningen, men den viks ner, så att
beröringen sker på bar hud. ”Deltagaren blir inbjuden till att uppleva hela sin kropp och uppleva den
mjuka, lyssnande och kontaktskapande beröringen” (Rosen & Brenner, 2003), och att långsamt ” sjunka in”.
En deltagare upplevde emellertid, att det var som ett annat sätt att bli mött på än i en ordinarie behandling
och uttryckte att behandlingen var “ mindre kravfull med kläderna på”. Detta väcker en intressant tanke, att
utifrån klientens behov, skänker kläder och filt skydd och upplevelse av att vara skyddad. Detta skydd kan
t.o.m. vara nödvändigt för att våga ”stanna i kontakt med” de känslor och minnen som väcks vilka ibland är
smärtsamma och svåra att möta. Igen, även vid en ordinarie rosenbehandling, kan klienter välja att ha kvar
alla eller vissa kläder för att på så sätt skapa sin egen känsla av trygghet.
Något som skiljde sig i de skrivna svaren om den modifierade behandlingen jämfört med de om den
ordinarie behandlingen är att det fanns fler direkta kommentarer på händerna och kontakten. Det kan vara
så på grund av att beröringen kändes annorlunda än vanligtvis och erbjuder en annan sorts upplevelse.
De två sessionerna skiljer sig på ett tydligt sätt i beröringen på bar hud eller ingen beröring på bar hud. En
fråga väcks – blir den kroppsliga kontakten i den modifierade rosenbehandlingen av ett annat slag än i den
ordinarie behandlingen? Om så, vilken betydelse har det för behandlingen och klienten?
Man vet att hudreceptorer, mjuk beröring på bar hud, skapar ett snabb sensoriskt inflöde, “motorväg”, till
hjärnan (Uvnäs-Moberg, 2000), uttryck av en deltagare som: ”skönt med kontakten direkt mot huden”. Lätt,
mjuk beröring kan frisätta hormonet oxytocin, som får oss att slappna av och känna lugn och ro (UvnäsMoberg, 2000). Med kläderna på, sker detta kanske inte på samma sätt. En av deltagarna upplevde t.ex. att
med kläderna på kändes beröringen mer direkt, “effektiv, inget onödigt fanns med”. Det sensoriska inflödet
från bar hud, kanske sätter fokus på den kontakten. Utan denna hudkontakt, går kanske beröringskontakten genom andra sensorisk inflöden och via andra anatomiska strukturer. Kontakten kan bli upplevd på
ett mer ”naket” sätt. Detta kan visa på hur viktigt det är att vara medveten om hur olika sätt att beröra kan
A Pilot Study
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Volume 6, Issue 1, 2013
Nyfikenhet väcktes av en deltagares kommentar: “har aldrig tidigare känt, det var som om händerna
pratade med mig”. Detta kan vara ett uttryck för en kommunikation mellan händerna och kroppen, inte
genom hudreceptorer, utan kanske istället en kontakt via djupare lager av receptorer.
RMIJ...
avgöra behandlingens resultat.
Behandlingens tiden
De flesta (85%) av deltagarna upplevde inte att 30 minuters behandlingen var “ alltför kort” i den
meningen att nå kontakt med hållande, barriärer och minnen. Det kan tyda på att deltagarna/terapeuterna
är vana att få behandling. De kanske, på ett omedvetet sätt, öppnade upp till vad som skulle komma;
möjligheten att nå kontakt och erfara sitt inre jag, även inom en 30 minuters period. Trots detta, föredrog
tre av sju den längre behandlingstiden men lika många, tre stycken föredrog 30 minuters behandling
kombinerad med trädgårdsmiljön. Om deltagarna i studien hade varit nya klienter utan erfarenhet av rosen
behandlingar, skulle de ha kunnat upplevt den modifierade behandlingen på ett annat sätt.
Omgivningen
Miljöpsykologisk forskning har funnit att det finns en omedveten kommunikation mellan människa och
natur och att människan tycks välja och föredra naturlik miljö (Korpela & Hartig, 1996; Ulrich 1999; Ottosson, 2001; Annerstedt & Währborg 2011). Teorier beskriver hur naturen skänker möjligheten till medveten
och omedveten reflexion: en ordlöst kommunikation där kontakt med inre läkande krafter kan öppnas.
Behandlingen avslutas med ett förslag: Stanna med det som pågår i dig just nu, ta en promenade i
trädgården och gör det du känner du har behov av.” Grundtanken med detta förslag är att bibehålla den inre
kommunikationen från rosenbehandlingen öppen och fortsätta i en kommunikation med trädgården/
naturen (Kaplan & Kaplan, 1989; Ottosson, 2001; Grahn & Stigsdotter, 2009). Detta är något som inte görs
i en ordinarie behandling. Omgivningen är oftast inte en trädgård, park eller en naturmiljö. Så att komma
ut i trädgårdmiljö, vara kvar i kontakt med vad än som pågick inombords, blev en ny upplevelse. Efter
att ha tillbringat tid i trädgårdmiljön efter behandlingen, beskrev flera av deltagarna sin kommunikation
med omgivningen (Korpela & Hartig, 1996; Ottosson & Grahn, 2008) som en sensorisk, kroppslig och
känslomässig upplevelse: “Blev medveten om min ensamhet och samtidigt i mig själv; det var som om
trädgården var en reflexion av vad som pågick på insidan i mig.”
Volume 6 Issue 1, 2013
De flesta deltagarna fann att strosa omkring i trädgården direkt efter behandlingen hade en påverkan,
det fördjupade deras medvetenhet. Två av sju uttyckte däremot att det inte var till hjälp för dem att strosa
runt i trädgårdsmiljön efter behandlingen. En till och med fann att trädgården var störande ”Det kändes
som om en utifrån påverkan:” hade just fått hjälp att öppna inåt. Det som fanns i mig fick konkurrera med
stimulans utifrån”.
Svaren från deltagarna kan tolkas som att omgivningen hade en påverkan på alla deltagarna och de flesta tycktes uppskatta trädgårdsmiljön, både som sensorisk upplevelse och som reflexion. Det är inte möjligt
att dra några slutsatser om att den omgivande miljön hade betydelse för behandlingens resultat eller vilken
betydelse promenaden och att vara i en trädgårdsmiljö har tillfört upplevelsen av behandlingen.
Studien visar att för några hade trädgårdsmiljön en positiv påverkan, så att fyra av sju kan tänka sig välja
den modifierade behandlingsmodellen igen. Deras val beror troligen även på sådana skäl som deras aktuella behov, årstid, intryck av terapeuten, reseavstånd och så vidare.
26
Lavesson
Denna studie där en variant av rosenbehandling med ändrat upplägg jämförs med en ordinarie
behandling enligt Rosenmetoden, ska betraktas som en pilotstudie. Det är ett begränsat antal deltagare i
studien och också begränsat till dem som råkade delta på ett sammankomst för Rosenterapeuter i södra
Sverige. De terapeuter som deltog ( sju av tjugoen) var inte randomiserade. Istället, det var de som var
intresserade i att delta och också hade möjlighet att göra det under maj månad. Det är okänt om resultatet
skulle blivit annorlunda om deltagare, helt nya till rosenmetoden också deltagit i studien istället för
rosenterapeuter vana vid att ta rosenbehandlingar.
RMIJ
SLUTSATS
Studien har gett några svar men det är inte möjligt att dra generella slutsatser med tanke på studiens
begränsningar. Dessutom finns det flera variabler som skiljer sig jämfört med en ordinarie rosenbehandling: 1. Den inbjudande frågan. 2. Kläderna behölls på. 3. Längden. 4. Omgivningen. Det är inte möjligt att
säga något om effekten av någon enskild faktor.
Resultatet visar emellertid att den modifierade formen inte hindrade deltagarna från att nå kontakt
med fysiskt hållande, känslor och det som steg upp inifrån. Det är inte möjligt att bedöma vilken påverkan
de olika faktorerna har på att uppnå detta, eller om några faktorer kan vara viktigare än andra eller om
resultatet beror på hela kombinationen av alla faktorerna tillsammans. Det är intressant att notera att fyra
av sju skulle vilja ha de modifierade sessionen igen: ha kläder och filt över sig och efteråt ta en promenad i
en trädgårdsmiljö.
Mer forskning behövs med ett större antal deltagare i en studie som även gör en djupare analys av de
fyra olika faktorerna i den modifierade studien. Det kan även finnas andra faktorer som har betydelse på
den inre processen i rosenbehandlingar. Dessa kan vara beröringens kvalitet, upplevelse av tillit, relationen
mellan klienten och terapeuten och mellan klient och naturen.
REFERENCES
Annerstedt M. & Währborg P. (2011). Nature assisted therapy systematic review of controlled and
observational studies. Scandinavian Journal of Public Health, 1-18.
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Bucci, W. (2003). Varieties of dissociative experiences, Psychoanalytic Psychology, 20, 542-557.
Cooper Marcus & Barnes, (1999). Healing Gardens. John Wiley & Sons.
Damasio, A. (2011). Du och din hjärna. Så skapar hjärnan ditt medvetande. Sundbyberg: Optimal Förlag.
(Original title: (2010) Self Comes to Mind / Constructing the Conscious Brain). Pantheon Books, New York.
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Bjerre, P. (2003). Död-och förnyelsetankens upprinnelse, Poul Bjerre-sällskapets årsbok 2003. Grödinge: Poul
Bjerre Sällskapet. (Death and the Renewal of Thought).
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Grahn P. & Stigsdotter U. (2009). The Relation Between Perceived Sensory Dimensions of Urban Green Space
and Stress Restoration. Landscape and Urban Planning.
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life. Bantam Books.
Kaplan R. & Kaplan S. (1989). The Experience of Nature. Cambridge University Press.
Korpela K. & Hartig T. (1996). Restorative qualities of favorite places. Journal of Environmental Psychology
16:221-233.
Lundvik Gyllensten, A., Skär, L., Miller, M., & Gard, G. (2010). Embodied identity – A deeper understanding of
body awareness. Physiotherapy Theory and Practice, 26 (7): 439-446.
Ottosson J. (2001). The importance of nature coping with a crisis: A photographic essay. Landscape Research,
Vol. 26; No. 2:165-172.
Ottosson J. & Grahn, P. (2008). The role of natural settings in crisis rehabilitation. How does the level of
crisis influence the response to experiences of nature with regard to measures of rehabilitation? Landscape
Research, 33, 51–70.
Rosberg S. (2000). Kropp,Varande och Mening. Acta Universitatas Sueciae Doctoral Thesis, Dept. of Care
Science, Dept. of Occupational Therapy and Physiotherapy, University of Gothenburg.
Rosen M & Brenner S. (2003) Rosen Method Bodywork: Accessing the Unconscious through Touch. Berkeley,
California. North Atlantic Books.
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Barnes (Eds.) Healing Gardens: The Therapeutic Benefits and Design Recommendations. New York: John Wiley
and Sons.
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Wooten S. (1995). Beröra kroppen och möta själen. (Original title: (1995)Touching the Body – Reaching the Soul)
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Mikael Kindborg, Ph.D., Certified Rosen Method Movement Teacher
Stockholm, Sweden
Email: [email protected]
Home page: www.openplay.se
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Rosen Movements and Words
Abstract
A Rosen Method movement class can be viewed as an alive communication situation based on visual and
verbal expressions. The movement teacher uses both her body and her voice to communicate with the class.
How words are used can have a great impact on how participants understand and perform movements.
What we say, how we say it, and when we say it, are some of the dimensions involved in the communication
process. The article presents a conceptual framework with examples that aim at increased understanding
of how words can be used when teaching a movement class. The concepts discussed can be used to study
and analyse movement classes, to better understand the use of words for giving instructions, to improve
teaching skills, and to provide feedback during teacher training.
INTRODUCTION
This article discusses the role of verbal instructions when teaching a Rosen Method movement class.
How the movement teacher uses words can have a great impact on the class. Words influence how
participants understand and perform movements, and also how the body responds to movements. The
way instructions are given can also influence the person as a whole, and contribute to creating a feeling of
freedom and ease of moving.
In addition to words, the way the teacher uses her (or his) body to give instructions strongly affects how
the class performs and experiences movements. Body language and words interplay, and the timing of
words and movements is an important aspect of the verbo-visual communication that takes place when
teaching a class.
METHOD
The work presented in this article is based on my experience from teaching, observing, and participating
in movement classes, and also on informal discussions with movement teachers and movement students.
About 10 movement teachers and 15 movement students have been observed. Some teachers have been
observed over a period of several years, others on single occasions. The method used can be characterised
as participant observation, based on a qualitative paradigm (Ely et al., 1991).
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Words are important because if communication is unclear, the class may feel insecure and hesitate.
Confusion and hesitation can lead to tension and stress, which is the very opposite of the intention with the
movements. The movement teacher must therefore take care to use her voice and her body in such a way
that the class can understand instructions easily and clearly.
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What I have focused on in my observations are (1) situations when movements of the class are flowing,
and when I myself feel as in a flow, and (2) situations when the class is hesitating, and when I, as a
participant in the class, “slip” and make the wrong movement and feel insecure about what to do.
What I have felt in these situations is that the way words are used plays a central role in my ability to
perform movement in a way that flows easily. While the choice of words vary among teachers, expressing
instructions with confidence seems important for creating confidence in the class. Moreover, timing and
preparation seem to greatly influence the occurrence of the above two opposite situations.
Overview of Rosen Method Movements
The Rosen Method comprises Rosen Method Movements (Rosen & Brenner, 1991) and Rosen Method
Bodywork (Rosen & Brenner, 2003). This article discusses teaching the movements of the Rosen Method.
Marion Rosen started teaching movement classes in 1956, as a way to prevent aches and pains, and to gain
and maintain the free movement of the body.
A Rosen Method movement class is usually about 60 minutes long. The class is led by a movement
teacher who gives verbal instructions and shows movements that participants perform simultaneously with
the teacher. During movement sequences, the teacher and the participants move together, performing
movements in a synchronised, yet free and relaxed way. Often there is a feeling of being part of and moving
as a whole, especially in classes in which students have had previous experience with Rosen movements.
Movements are done to music that is selected to harmonize with the movements. A class consists of five
sections: Warm-up, Stretch, Circle, Across-the-floor, and On-the-floor. Each section has a different purpose,
focus, tempo, intensity and mood. Movements are done both individually, together in a circle, and in pairs,
both standing and lying down on the floor.
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The goal of the class is freedom of movement and breath, to reduce tension and stress. Rosen
movements are done in a non-forceful way that allows muscles to let go of tension. This special way of
moving lets the body move more freely and release both physical and mental stress. The movements can
also create increased body awareness.
During a class, all joints in the body are lubricated by moving them in all directions. Usually you do not
sweat, but it is beneficial to wear soft and comfortable clothes. To experience the joy of moving, with music
and together with others, is also essential to the movements. Rosen & Brenner write: “Every movement can
be enjoyable, every movement can be a dance. To use movement as a dance, to dance through life – that is really
our goal” (Rosen & Brenner, 1991, p. 19).
While the purpose of many training and workout disciplines is to make muscles work hard, the purpose
of a Rosen movement class is to allow muscles to relax. The movements are a form of active relaxation that
can aid in moving more freely in life. Rosen movements have similarities with Rosen Method bodywork,
such as letting go of tension and opening up, but in the movements you actively move the body to achieve
relaxation.
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The communication agents in a movement class consist of the participants in the group and the
movement teacher. Communication takes place by showing body movements and using words to give
instructions and coordinate movements. Music is used to facilitate movements and set the mood of the
various sections of the class.
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Communication Theory
This communication situation can be viewed as an example of alive communication (Fogel & Garvey,
2007). In the class, there is a continuous flow of coordinated action between teacher and participants
and also between participants. Co-regulation and ordinary variability are at play throughout the class as
participants follow instructions and patterns, and as the teacher takes in the group and adjusts movements
and movement sequences as needed. How the teacher uses words and body movements will affect the coregulation and ordinary variability that goes on in the class, and will greatly influence the way the class can
perform the movements and benefit from them.
A movement class can also be viewed as a form of verbo-visual communication. To communicate
with the class, the teacher has at her disposal her voice (words) and her body (images). Commonly
applied to information design in visual media (Pettersson, 2010), verbo-visual communication refers to
communication using words and images. Effective forms of verbo-visual communication often integrate
words and pictures in the same context to create a coherent whole. An example is the use of voice balloons
in comic books. The direct graphical association between the character that is speaking and the voice
bubble produces a striking illusion of someone speaking (McCloud, 1993). Similarly, the movement teacher
coordinates body movements and words when giving instructions to the class to help participants take in
the movements.
A movement class unfolds in time. Animators have developed principles for creating life-like animated
movies (Thomas & Johnston, 1981). One of the basic animation principles is anticipation. In animated film,
anticipation is used to prepare the audience for what will happen next. An example is a character looking
at and reaching for a jewel, before quickly snatching it and rushing off. The principle of anticipation can be
used when showing movements to the class, to prepare for the next movement. Anticipation can also be
used to prepare for ending a movement.
The Role of Words
Words Make Us Feel
Different words can give rise to different feelings and words can trigger different feelings with different
people. Words can create relaxation, or create tension and stress. Some words are soft, friendly and relaxing,
other words are hard, hostile, and create stress. For example, consider the feelings created by the words
“stretch” and “float”. “Stretch” can be argued to feel harder than “float”, which has a softer and more gentle
quality to it. Words affect the way the class responds to instructions. What we say, how we say it, and when
we say it will influence the way the class will experience a movement session.
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Words can be powerful. Words create images, emotions, feelings. The way the movement teacher gives
instructions will strongly influence how the class performs movements.
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What Words Are Used For
During a movement class, the teacher uses words for many different purposes:
• Tell which movements to do and when to do them.
• Give instructions on how to perform movements.
• Coordinate movements in the group (rhythm).
• Communicate the feeling of the movement.
• Communicate the physiological purpose of the movement, and create awareness of the anatomy
of the body.
• Send focus during the movement to affected parts of the body and deepen the experience of the
movement.
• Enable relaxation and the letting go of tension (words can also cause tension, which should be
avoided).
• Enable free breath.
• Establish the mood of the class.
• Set rules for the class, what is OK and what is not, how to behave during the class.
• Create a social setting, make the class feel comfortable, ease opening up.
Observations
During my teacher training, when preparing for teaching my very first ten-minute session at a Rosen
Method Movement Intensive, I was faced with the challenge of how to give instructions. It was one thing
to select and prepare the movements, but to actually teach the movements and give verbal instructions
was yet another challenge. This was when I started to get interested in how words are used when
teaching a movement class. From this point, I began to observe and experiment with different ways of
giving instructions, using different words and phrases, and analysing the effect of timing of words and
movements.
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One thing that I have observed is situations when confusion and hesitations occur in the class:
• When the teacher hesitates, the class hesitates.
• When the teacher gives unclear instructions, the class becomes confused.
• When the teacher does not prepare for starting a movement, hesitation occurs.
• When teacher’s movements are ahead of verbal instructions, confusion can occur.
• When teacher does not prepare for ending a movement, confusion can occur.
These problems can be addressed by improved understanding of how to use words when teaching
movements.
Giving Instructions for Movement
To further discuss how words are used in a movement class, we will use a framework consisting of the
following dimensions: intention (what we wish to say), phrasing (how we say it), and timing (when we say it).
The intention is what we want to say, what we wish to communicate, our purpose with speaking.
For example, the intention can be to give a movement instruction, to remind people of the feeling of a
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The phrasing is how we say it; the actual words used to communicate the intention. Phrasing is a rich
subject that includes aspects like length of instructions, type of instruction and type of language used. How
the teacher presents herself (or himself ), how she uses her voice and intonation, and the level of confidence
displayed in giving instructions, also affect how participants interpret and act on the words they hear.
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movement, remind them about the breath, or provide feedback to the class.
Timing is when we say it; the coordination of words and movements. Do words come before or after
showing a movement? Or simultaneously? How are instructions and body movements coordinated?
Anticipation is a key factor in the timing of words and movements. Timing is also related to the preparation
of a movement, and to how movements and movement sequences are built up.
An important goal of a movement class is moving in a relaxed way. Both the intention with the
instructions and the actual words used should contribute to that goal.
The following are some of the aspects involved in giving movement instructions:
•
•
•
•
•
•
•
Length of instructions. We can use many words (long phrases) or just one word or very few
words (short phrases).
Level of clarity. Are instructions clear and easy to understand, or are they vague, using words
that distract rather than clarify?
Level of confidence. Are instructions given with confidence, or does the way instructions are
given create hesitation and make the class feel insecure?
Tone of voice and intonation. Words can be spoken using a wide variety of intonations. How
does the tone of the voice and the intonation used affect the class? Is the voice loud enough for
all students to hear?
Direct and indirect instructions. An instruction can be direct, saying exactly what to do to
accomplish a movement, or it can be indirect, creating an image or awareness that will result in a
motion or change in the body.
Words that support the feeling of a movement. How do words support the feeling of a
movement? What kind of language can be used for this? What kind of voice tone is used?
Words that support breath. At times, using words to remind participants of their breath can
facilitate relaxation and opening up.
Length of Instructions
Example of long instruction that reveals hesitation: “Now I think that we should lift one arm... and then I
think we should lower it again.”
Short instruction: “Lift one arm... and lower it.”
Very short instruction: “Lift... lower.”
As a general rule of thumb, short instructions should be preferred. In my experience, they tend to be
clearer and do not distract. However, instructions should not be cold and “mechanical” commands. Warm
and inviting instructions may use more words, but better communicate the feeling of the movement. Long
and short instructions can be mixed, and be used when appropriate. For some movements, for example on
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Instructions can be long or short (and everything in-between).
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the floor, more elaborate explanations may be needed, because the participants may not be able to see the
teacher. For other movements, such as rhythmic steps in the circle, short instructions work better since they
do not interrupt the flow of the movements.
Level of Clarity
Related to the length of instructions is the level of clarity. As a teacher, it is important to take the
perspective of the class, and consider how they interpret and make sense of instructions given. Are they
familiar with the terminology used for giving instructions? Are there parts of the class that require a more
elaborated explanation? To prepare and rehearse can help in finding instructions that are to the point, have
the right level of detail for the class, and clearly communicate what the class is expected to do.
Level of Confidence
When the class notices that the teacher hesitates, the class too may hesitate. As a teacher, take time
to notice and reflect on the use of words that can signal insecurity, like “I think we should”. However, it
all depends on how words are said. Every movement teacher should develop and use a style that feels
comfortable and goes together with her or his personality. Being confident is not the same as perfection.
The goal of a movement class is to experience the joy of moving, not to conduct a perfectly executed
dancing performance. A confident teacher can still hesitate and forget movements, and be nervous,
without the class becoming uncomfortable.
Tone of Voice and Intonation
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How the teacher uses her voice will also carry across to the class, and help (or distract from) performing
the movement. To begin with, everyone should be able to hear the instructions. This implies speaking with
a loud enough voice and a clear intonation. Speaking too loudly may however become distractive and
cause irritation among participants. The teacher can ask people who hear (or see) less well to stand closer,
to avoid having to talk in a very loud voice. Is the teacher's voice soft or hard? Is the voice calm, relaxed and
inviting, or is it hard and cold, or even irritated? Is the voice coming from a relaxed place in the teacher?
These qualities carry across to the class, and affect the experience of the movement.
As with the music, the tone of the voice can also support the mood and rhythm of the different sections
of a movement class. For example, by speaking more softly during Stretch and On-the-floor, and with
a more distinct tone during the rhythmic sections. One should however be careful to not overact and
exaggerate the use of the voice, as participants will instantly feel if the voice is “done” rather than coming
naturally with confidence.
Intonation and tempo can be used to support movements. For example, when saying “Let the arm float
upwards”, the tone could rise at the end of the phrase, when saying “upwards”, to support the upwards
motion. Similarly, the voice could go down at the end when saying “down” in the phrase “And go down”.
Speaking slowly during slow movements, and faster during faster movements, is another example of how
the voice can be used to support the movement.
Another aspect that should be mentioned is silence – what happens when the teacher is not speaking.
Pauses and silent parts are important to take in the movements, and to allow for reflexion. This can be
particularly evident for the sections Stretch and On-the-floor, where instructions that are too wordy
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could disturb the class. Silence can also benefit outgoing sections, such as Across-the-floor, where too
many words can disrupt the flowing experience of moving together in a dance. When the music supports
the movement, as with rhythmic movements, the teacher can choose to use fewer and shorter verbal
instructions.
Direct and Indirect Instructions
If we wish to give an instruction, it can be a plain, direct instruction, or the instruction can be given
indirectly. Direct instructions are useful for telling how to do a movement. Example of a direct instruction:
“Move one foot to the side... and back.”
As an alternative to direct instructions, indirect instructions can be used. Some movements and parts
of the class can benefit from direct instructions, other parts and movements can benefit from indirect
instructions. For example, it can be very hard to relax on command. Let us say that the intention is to allow
for letting go of tension in jaws, cheeks and face. Here are examples of instructions to make this intention
happen:
Direct instruction: “Relax the face.”
Direct instruction phrased differently : “Drop the jaws, let the cheeks hang loose.”
Indirect instruction: “Notice how your cheeks and your face feel.”
Which words would you use to communicate this intention? Which words would you use in your native
language?
An indirect instruction can work by directing attention to an area of the body, which can open up for
a change in that area. Indirect instructions can make participants feel tensions they hold, and as a result,
relax. The difference is that they experience this themselves, which may potentially go deeper than a direct
instruction would. Indirect instructions can also be useful to remind of breath.
Words That Support the Feeling of a Movement
Words have qualities associated with them. The quality of the words used to give an instruction can help
to support the quality of the movement, and support how the class experiences the movement. The quality
of the voice also plays an important role.
Consider the following words. Which ones feel hard and which feel soft? Which ones are neutral? Which
words have soft and hard qualities in your native language?
“Bend”, “Flex”, “Reach”, “Open”, “Twist”, “Stretch”, “Squeeze”, “Bounce”, “Swing”, “Rock”, “Lift”, “Float”, “Extend”,
“Move”.
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Some words are Soft, others are HARD. For example, STRETCH can be argued to have a hard quality,
while Float can be argued to have a soft quality. Soft and hard words evoke different feelings. Psychologist
Wolfgang Köhler showed in 1929 that there is non-arbitrary mapping between speech sounds and hard
and soft visual shapes, using the words TAKETE and Maluma. This sound-shape correspondence has been
shown for both toddlers and adults (Maurer et al., 2006). See Figure 1 for examples of hard and soft shapes.
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Figure 1: Examples of hard and soft shapes.
It is not only the sound of a word that determines if it is experienced as soft or hard. Some words carry
a connotation of “doing” or “effort”, while others invoke images and feelings of “allowing” or “letting go”.
The tone of the voice can reinforce the soft and hard qualities of words. A soft voice can help the class to
reach inwards, which can be beneficial, for example during Stretch and On-the-floor. A more energetic and
distinct tone can be beneficial for faster synchronised movements, like the ones done in the Circle.
As a more elaborate example, let us use the movement of stretching arms up, by raising and lowering
one arm at a time. This is a slow movement that opens up the rib cage. How we give instructions for this
movement can tell us something about using words to support the feeling of a movement, with relaxation
and freedom as the goal.
Consider the following alternative phrasings. Which ones support the intention of the movement? Which
words would you use in your native language?
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“Stretch the arm up... then bring it back again.”
“Extend the arm upwards... and take it down.”
“Raise your arm... and lower it.”
“Let the hand float up into the air... and gently lower it.”
“Allow the hand to float upwards... and let it come down.”
Furthermore, instructions can be plain, explaining what to do using concrete language, or instructions
can be more abstract, using analogies, metaphors, or poetic language. An example of a plain instruction:
“Raise the arms above the head, bring them out to the side in a big circle, and come down”. A metaphorical
instruction for that movement could be: “Open up”. Another example of metaphorical use of words is “Say
yes”, when giving an instruction for nodding the head. Another metaphorical example is saying “Make a
smiley”, when moving hips from side to side with feet apart, shifting the weight back and forth from one
foot to the other. In this movement the center of the belly “draws a smile”. The “smiley” can become more
clear if placing the fingers of one hand below the navel. Analogies with animals can also be used, for
instance “Wiggle the tail” and “Raise the back like a cat”.
Everyone may not appreciate metaphorical and poetic language, and others will love it. This has to be
taken into consideration when teaching a class, so that participants do not feel embarrassed or offended.
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In Rosen movements, controlled breathing is not used (compare to Yoga where this is common practice).
Instead, the breath comes naturally, and movements aim at free breath rather than controlled breath.
However, at times during the class (for example during Stretch and On-the-floor) it can be beneficial
to make participants aware of their breath, because this can create an opening for deeper breathing.
Participants who have a shallow breath can be helped to breathe deeper and more relaxed when they focus
on their breath.
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Words That Support Breath
Consider the following examples of direct and indirect instructions. Which words would you use? How
would you phrase instructions in your native language?
“Take a breather” (Marion Rosen’s expression)
“Take a deep breath”
“Allow the breath to come”
“Allow the body to breathe”
“Allow the air to flow through the body”
“Notice where breath comes”
“Notice your breath”
Timing and Preparation of Movements
Movements take place in time. Coordination of words and movements, and preparation of beginning
and ending of movements can greatly influence how confident and relaxed the class is when performing
movements.
Anticipation
Preparing Movements
The teacher can prepare for the next movement by beginning the verbal instruction before starting the
actual movement. One thing with which to experiment is beginning to give the instruction, then starting
the movement and continue the instruction during the movement, with words slightly ahead of the
movement. As an example, consider the movement of making a circle with the hand/arm in front of the
body. If the teacher just begins this movement without preparing the class, participants fall behind and
have to catch up with the teacher. To prepare for the movement, the teacher can start giving the instruction
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In their book, The Illusion of Life, Disney animators Ollie Johnston and Frank Thomas outline the principles
of animation (Thomas & Johnston, 1981). One principle that is directly applicable to teaching a movement
class is anticipation. Anticipation is used to prepare the audience for the next action. In animation, a
character can for example signal action by leaning backwards before running off. If the character would run
off instantly, the audience might miss the action and wonder what happened. By contrast, when prepared,
they have time to recognise and see the movement. In a movement class, the principle of anticipation can
be used to prepare the class for the beginning and ending of movements. This can be done both through
words and body language.
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before the movement begins:
“Move a hand in front of the body [Start movement] making a full circle.”
Preparation can be elaborated further by making a body movement that prepares for the circle of the
hand/arm. In this example, the right arm is doing the circle:
[Extend right arm slightly out to the right side]
“Start here”
[Wait for class to be in the start position]
“Make a circle” [Move the right hand/arm to the left in front of the body and around in a full circle]
Since the movement starts with the arm extended to the side, the circle gains momentum and naturally
becomes a full circle.
To combine words and body language to prepare for movements, as in the above example, can be used
in many situations. For example, if the teacher is going to show the movement of taking a hand out to the
side, she can slightly move her hand to direct attention to it before giving the instruction and beginning
the movement. Here is an example:
[Lift one hand slightly]
“A hand goes [Start movement] to the side.”
[Short pause in the end position]
“and back” [Start back movement]
As another example of using body language to prepare for moving the hips in a circle, the teacher can
put her hands on the hips, drawing attention to that area of the body.
To prepare for a step with a foot, the teacher can bring the foot to the starting position of the movement,
and hold it there until the class has prepared in the same way, then give the instruction and begin the
movement.
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Ending Movements
During movements with several repetitions, it can be helpful to signal when the last repetition is
approaching. Just as it is important to prepare for the beginning of movements, the teacher should prepare
for the ending of movements. For example, in the circle, when moving feet/toes to the side and back to
center, one can say “Last time” slightly before doing the last repetition. Then participants will have time to
prepare for ending the movement, and will not be caught by surprise when the teacher stops doing the
movement. Words can be very helpful for signalling the ending of a movement. Body language could also
be used, for example by slowing down and coming to a stop in a movement sequence.
Building Up Movements
In Rosen movements, a common pattern is to repeat a specific movement a number of times (but
not too many times, to avoid exhaustion), to let the joints become lubricated and to fully get into the
movement. One way to build up such a sequence is to give a plain and simple instruction the first time the
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movement is done, then for the second time direct attention to the essence of the movement, and for the
third time let the class do the movement undisturbed in silence. As an example, consider the movement of
raising a hand/arm up in the air above the head. Notice that in this sequence, words start before the actual
movement (anticipation).
[First time - first arm] “Let the arm float up into the air... and come down”
[Pause]
[First time - second arm] “Now the other arm”
[Pause]
[Second time - first arm] “Notice where breath comes”
[Pause]
“Last time”
[Second time - second arm] [Silence]
(This movement can be just right to do twice for each arm, since it is done slowly.)
Other examples of building up movements include sections in the Circle, where several of the
movements that are done help prepare for longer sequences. Preparing for the “Grapevine” (a danceinspired sequence) is a typical example of this. For movements across the floor, it is also useful to prepare
for more complex dancing steps by starting out with movements that are easy to perform. In addition, to
build up and prepare movements have important physiological implications. Unless muscles are warm and
joints lubricated, movements may hurt, and the body as well as the mind may be affected in a negative
way.
Rhythm
Rhythm is important for several of the movements in the Circle and also for movements Across-the-floor.
These movements are flowing and contain elements of dance, and are interconnected with the music.
The teacher has the responsibility of coordinating these movements to help the class perform them in a
rhythmic and relaxed way.
The slow/fast tempo shift is useful for several other movements, for example Hip Swings and movements
that involve feet and legs.
Aliveness
A movement class can be viewed as an on-going, alive communication between teacher and
participants. There is also alive communication among participants. How the teacher uses words and body
movements will affect the co-regulation and ordinary variability that goes on in the class. The experienced
teacher can observe and take in the class, and make in-the-moment adjustments to instructions and
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Preparation is important for rhythmic movements. One way to build up rhythmic movements is to start
out by doing the movement in slow tempo (half tempo), and then shift to faster tempo (full tempo). This
enables participants to build up confidence and get into the movement in a relaxed way. Furthermore, it
can be easier to both give and follow instructions when starting out in half tempo. This gives the class time
to take in instructions and get into the movement before shifting to faster tempo.
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movement sequences, based on the on-going process of the class.
For example, the teacher may have prepared for a particular movement sequence, but in the moment,
she feels like doing another variation than the planned one, just because it “feels right”. It might be the
case that the class is joyful and attentive, opening up for movements that the teacher did not originally feel
would work with the class.
A class where participants are familiar with each other and with the teacher can experience more ease in
performing movements, feeling confident and relaxed as they can anticipate the next movement and also
contribute to the way the class performs as a group. This kind of co-creation can be particularly evident in
the dancing parts of the Circle and when moving across the floor.
CONCLUSIONS
Anticipation is an important principle for communicating movements in a clear way that reduces the risk
of the class hesitating or feeling insecure. Clear communication can enable creation of flow and aliveness,
resulting in greater freedom of moving and breathing, facilitating the “letting go” of stress and tension.
When the class feels comfortable and secure, participants can relax and experience joy in moving together.
From the classes I have taught, I have noticed that it is beneficial to begin giving the instruction before
starting the movement. I feel that this also helps me as a teacher to get into the movement. It has also
made me feel more secure and less hesitant. Using a slow tempo for the first time(s) a movement is done,
using pauses at the end positions, has also helped. Once the movement has been shown it can be done in
regular tempo. Similarly, I have found that preparing for the ending of a movement helps me to be clear in
the way I show the movement.
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I would like to encourage the reader to try out and experiment with these principles: To prepare for
movements by starting to give instructions ahead of performing them, and to prepare for the ending of
movements by saying something ahead of the last repetition.
When the participants in the class finish a movement sequence together with the teacher, and together
with each other, this can result in greater sense of being synchronised and feeling part of a whole,
compared to when the teacher suddenly stops doing the movement, and the class, unprepared for this,
make the last repetition half done. There is a satisfaction in the feeling of belonging to the group and
moving together. As a movement teacher, supporting the class in beginning and ending movements
together can help in creating this particular feeling.
For future studies, more structured and systematic observations of movement classes can be made,
using alive communication theory to analyse the communication going on in the class. In addition,
records of informal observations of Rosen Method movement classes can be a valuable contribution to the
development of the movements.
Acknowledgements
I wish to thank Alan Fogel for valuable help and feedback when writing this article.
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Ely, M., Anzul, M., Friedman, T., Gardner D., McCormarck Steinmetz, A. (1991). Doing Qualitative Research:
Circles in Circles. New York: The Falmer Press.
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REFERENCES
Fogel A. & Garvey, A. (2007). Alive communication. Infant Behavior & Development, 30, 251–257.
Maurer D., Pathman T., Mondloch C. J. (2006). The shape of boubas: Sound-shape correspondences in
toddlers and adults. Developmental Science, 9 (3): 316–322.
McCloud, S. (1993). Understanding Comics. New York: HarperCollins Publishers.
Pettersson, R. (2010). Information design–principles and guidelines.
Journal of Visual Literacy, 29 (2), 167-182.
Rosen, M. & Brenner, S. (1991). The Rosen Method of Movement. Berkeley CA: North Atlantic Books.
Rosen, M. & Brenner, S. (2003). Rosen Method Bodywork: Accessing the Unconscious through Touch. Berkeley
CA: North Atlantic Books.
Thomas, F. & Johnston, O. (1981). The Illusion of Life. New York: Abbeville Press.
Appendix:
Use of words in the different sections of a movement class
A movement class consists of five sections. The following is an outline of the use of words in each of the
sections. Some sections are more introverted and others are more extroverted. This affects the words used
and how to speak to the class. Note that the class is not told how to feel, rather the introvert / extrovert
feeling comes through the movements, music, and words used.
1. Warm-up
In this part of the class, it is desirable to give clear and simple instructions, and make sure everyone
can hear and follow the instructions. Using the principle of anticipation helps participants to get into the
movements.
During warm-up, the class is both introverted and extroverted.
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The purpose of warm-up is to get started and loosen up, to warm up muscles and joints, and to get into
the mood of the class. The teacher chooses words that establish the desired mood of the class, and uses her
(or his) body and personal appearance to communicate the essence of the movements.
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2. Stretch (open-up, reach-out, lengthen the body)
The purpose of this section is to open-up and lengthen the body. (Personally, I feel that “Stretch” is a
somewhat unfortunate word, because in my native language (Swedish) it can imply enforced stretching of
the body.)
For this section, words that enable relaxation should be used, words that allow people to let go of stress
and tension. It can also be beneficial to use words that remind participants to notice or become aware of
their breath. For example, “Notice your breath.”
Further, allow participants to notice how the face and jaw feel, as these are places where we commonly
accumulate tension. During neck movements, and when hanging down, the teacher can send awareness to
this area by using phrases like “Notice how the face and jaw feel.”
During Stretch the class is usually calm and introverted, but there are several movements in this section
for opening up and reaching out, and words should support this (“open up”, “reach out”).
3. Circle
The purpose of the Circle is to move joyfully, loosen up and work with coordination, hip support, and
balance. The teacher should make sure to prepare movements, and build up movements using half/full
tempo sequences. Anticipation is very important and participants should not be surprised by the next
movement, but be prepared for it. Short and clear instructions are useful. It is important to make the hip/
pelvis support the body, to get the body into alignment. One example of a movement that is done in the
circle is to lift knees, one knee at a time. But if we just tell the class to lift the knee, the supporting leg can be
forgotten and become stiff, and the hip goes out of alignment.
Here is a way to build up this movement in a way that engages legs and hips. First do a movement where
both knees are bent (one can do this in half tempo to begin with, then in full tempo). Pause after this. Next,
one foot/knee is lifted and the supporting knee is bent slightly by lowering the pelvis, while supporting the
upper body. Movements are done while holding hands in the circle, using each other for support.
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Example of instructions for this sequence:
[First movement, in rhythm, first half tempo, then full tempo] “Knees soft... gently bend both knees... now
twice as fast.”
[Pause]
[Next movement, also in rhythm] “Lift one knee, slightly bend the other knee and drop the tail [lower the
pelvis]... and twice as fast.”
In the circle the class is extroverted.
4. Across-the-floor
The purpose of this section is to experience joy, open up and realize yourself through movements
inspired by dance and music. This is also a time “to be seen” by others.
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It is important to give participants freedom to perform the movements on their own, individually or
in pairs, depending on the movement. Therefore, give plain and simple instructions to introduce each
movement, and, importantly, show the class how to perform the movement so that everyone hears and
sees. Do not begin giving instructions for the next movement until everyone has completed the previous
movement sequence and has walked back over the floor. During this section the teacher does not talk a lot.
You can give individual instructions as needed, but talking to the whole class once a movement has started
works less well, because of the cheer and music in the class.
Movements across the floor can begin by doing individual movements (for instance, moving together
in a line, but without holding hands), then go in pairs (with pairs moving in a line or in a sequence). How to
organize movements across the floor depends on the number of participants and on the size and shape of
the room. For long and narrow rooms, pairs moving in sequence works better than moving in a line.
Across the floor the class is extroverted.
5. On-the-floor
The purpose of the final section is to relax and release tension in the back. The body is now warm and
joints are lubricated as a result of the previous sections. When lying on the floor, gravity does not compress
the spine as when standing up, so this section presents an opportunity to move the back while the spine
is decompressed. In addition, when the spine is supported by the floor there is less danger of injury to the
spine.
Regarding instructions, one very important difference between this section and the previous ones is that
the class cannot see the teacher that well. Therefore, words become the dominant way of communicating
with the class.
Begin by having participants lie down comfortably and relaxed on their backs. A short guided relaxation
can be helpful after the out-going movements in the Circle and Across-the-floor. Use calm voice and clear
instructions. For example, “Lie down on your back... allow the body to let go... let the mat support the body... feel
the air flowing in and out of the body...”
When giving instructions on the floor, use clear, to-the-point instructions. If talking too much, the
meditative/introspective mood can be disrupted. But you need to be clear, since participants may not be
able to see you even if you demonstrate the movement, and they may have their eyes closed.
Example of instructions for a sequence that activates the back/spine in a gentle way, following after the
initial relaxation:
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If desirable, one can do a guided body scan: “Allow feet to let go... legs... upper body.. arms, hands... allow
the head to let go, cheeks, jaw, ears, nose, eyes, forehead... allow the top of the head to let go”. (This relaxation
was to my knowledge not included in Marion Rosen's original teaching of the movements, but it has been
a practice used by some of the movement teachers I have studied for.) However, if doing relaxation for
too long, the body may become cold and stiff, and the floor movements may not be as beneficial as they
potentially could.
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“Lie on your back, bend one knee at a time, let the feet rest on the floor.”
“Lift one leg, and let the knee gently bounce towards the head.”
“Bring the foot down and rest.”
“Lift the other leg, and let it bounce.”
“Come down and rest.”
“Lift one leg, then the other, let both knees bounce towards the head.”
“Put hands on the knees, let the knees make a circle.”
“This is a massage for the lower back.”
“The circle goes one way... then changes direction, and goes the other way.”
“Come to the middle and rest, put one foot at a time on the floor and relax.”
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On the floor the class is introverted, except if working in pairs, which is more extroverted. One example
of this is when ending the class by doing partner work that brings participants to standing. This can be used
as a way to prepare for going out into the world, after the deep relaxation on the floor.
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