Library / Engineering DPF Suite Reference
Jump to passage
In this reading

Link to current text

Published source confirmed at last check

Source changed 2026-10-03 11:52:20 UTC · snapshot created 2026-10-03 11:53:41 UTC · last check 2026-10-03 14:00:20 UTC

Model and change the bodily contribution to movement

Use Somatic Movement Modeling with a familiar movement technique and appropriate physical limits, or with a teacher who supplies that support. It connects what the performer experiences, what they can regulate and what the movement actually achieves.

Your questionOpenWhat you can obtain
What bodily change might correct this failed part of the movement?SOM.1 - Model the Bodily Contribution to a MovementA proposed relation and a small discriminating attempt, or a reason to change an external condition or obtain movement instruction instead.
Can the performer distinguish the intended change, and can they regulate it?SOM.2, then SOM.3 only if regulation is missingA bodily contrast the performer can notice again, followed where needed by a controllable increase, reduction or release. Noticing a difference alone does not establish control.
Why do available corrections interrupt one another during the whole action?SOM.4 - Build and Recall a Coordinated Bodily ChangeA combined change to practise and recall, or the contribution that breaks it. Retain a simpler effective task cue when detailed bodily assembly adds nothing useful.
Why does coordination fail between two positions that work separately?SOM.5 - Adapt Bodily Coordination to Changing Support and LoadA performable portion of the transition, a way to extend and join it in motion, or an identified missing response, cue or observation. Endpoint success does not establish the transition.

For a correction that works in preparation but disrupts the action, the COORDINATE example connects modeling, the missing bodily contribution and the return to whole performance. The writing example follows that route through changing forearm support. These are examples of using several methods, not complete lessons in writing or dance.

HCD supplies learning design, feedback, progression and assessment; RHY supplies rhythmic relations when they matter. SOM supplies the bodily modeling and regulation between those contributions and the receiving technique. A local improvement still has to work with the other actions required at the same time.