Movement and Creation
L. Dorko P.T.
deal with the issue of movement in the midst of pain each and every day. In
fact, I'm convinced that the essence of most therapy sessions can be reduced to
the single question, "Which way do I have to move in order to feel
better?" If some portion of the session does not address this, something
important is missing.
than approach this question from the traditional avenues of force, range or
speed, I want to focus on the nature of the movement as it is formed in the
patient. For our purposes, I am not discussing passive movement here, but,
rather, any motion classified as active in the parlance of physical therapy.
a long time I've had the impression that movement that relieves pain is creative
in nature, as opposed to that which strengthens or lengthens us. Movement of
that sort I refer to as productive. In David Whyte's lecture, The
Inner Necessities of Leadership, he makes the point that the workplace has
always in the past asked for more production. Production can be coerced,
measured and legislated if need be, and any management strategy must employ
those methods if it hopes to succeed.
in the postmodern workplace employers are as likely to ask for creativity as
production, and the old methods of management are not going to work for the
simple reason that creativity cannot be coerced from another. Nor can it be
measured. After all, what would 20% more creativity look like?
problem of managing creativity can only be resolved by understanding the origins
of that process itself, and Whyte reminds us of the common knowledge that
creativity arises from an internal conversation. It is the kind of
self-examination and soul searching that virtually every artist engages in for
prolonged periods. Without an "intimate invitation" from the manager
toward the worker to engage in that, creativity cannot be expected, only
of the modern therapy department. Designed to hold numerous stations for the
application of modalities and exercise protocols, there is precious little space
for any patient to engage in the internal dialogue creative movement requires.
Of course, if strength and range are all that is required for recovery, there is
nothing lost here. But the vast majority of painful problems will not respond to
repetitive movement choreographed by another. If that works particularly well
for non-pathologic problems, it's news to me. Regimens like this are productive,
to be sure, but individually acquired problems of deformation would have no
reason to improve like this, unless by luck.
your patient needs to create a movement, they will need an invitation that
promotes unique expression, instinct, and, to some extent, courage. I say
courage because the creative process invites failure into their life. This is
why so many avoid it. In my opinion, when someone says they are "left
brained" and therefore unable to see a certain concept or develop an idea
in a certain way, what is actually happening is that they are avoiding the
internal conversation that the "right brained" are willing to risk.
Just my opinion, nothing more.
manual technique I employ in order to promote creative movement is Simple
Contact. It begins with the premise that within the unconscious processes of
the person in pain (or those without, for that matter) exists a strategy for
expression and correction and new patterns of use that will (among other things)
prove effective for pain relief. It is simply a matter of moving in a certain, creative
David Whyte says, this manner of being cannot be coerced or easily measured. It
must be understood, respected for its human nature, and invited to emerge. When
therapists do this, therapy takes on the human face of creativity, and together
we all improve.
note: For more information about the work of David Whyte, go to his web site
http://davidwhyte.com or email email@example.com or write Many Rivers
Company PO Box 868 Langley, Washington 98260