Continuum Movement uses sensation, breath, sound, and movement for both subtle and dynamic explorations of the body to help you become more sensitive to your inner world and explore your capacity to participate in your health and well being,
The starting premise of this somatic practice, developed by Emilie Conrad-Da'oud, author of Life on Land: The Story of Continuum, is that you are movement rather than movement being something that you do.
My experience in the two weekend workshops I have taken (one with Emilie; one with her top student Susan Harper) is that it's about exploring all the ways that the body can move, especially the "micromovements" - movements so small that you feel them but they are almost imperceptible to anyone watching.
What's the value? More body awareness. Better and easier movement and balance. There's even evidence, through work that Emilie has done with people with paralysis, that Continuum Movement creates new neural pathways.
All movement begins with breath. The movement or inhibition of breath maintains fixations, patterns of compensation, family history, trauma, and emotional stress. Variations in breathing patterns create many different internal sensations, movements, and responses to enhance healing, mobility, and personal growth.
Sound is audible breath. You can engage each system of the body using a specific frequency of sound, releasing areas of stagnation and stress. Combining sound with movement magnifies the effects.
Continuum has a full range of non-patterned movements designed to enhance the undulating spirals and circular motion of the body's fluid system. Movement may be dynamic and full-bodied or subtle micromovements. Undulating wave motion moves through the tissues of the body and opens up sensitivity.
Sensation and Pleasure
In Continuum, you use sensation as a guide to awaken your body’s mysteries and your nurturing life force. You let go of "doing" and listen carefully to your internal environment.
Emilie was a professional dancer from New York City who moved to Haiti in the late 1950s to study primitive dance. She became the choreographer and leader of a Haitian folklore dance company. Melding with the indigenous culture, she began to question the very essence of how our movements relate to our culture versus our biology. She began developing Continuum Movement in the early 1960s as a way to teach a new view of movement.
Find more information at the Continuum Movement website.