This isn’t the first pelvic clock lesson I’ve posted–it has some special nuances, ones that let you study your own patterns and biases in control of your pelvis in action. Check out other versions at: http://www.kinesophics.ca/tag/pelvic_clock
Factoid verification, after the lesson. There’s actually 26 bones in each foot….making one quarter of the bones in the human body, but nowhere near 66! And here’s your sensory and motor homunculus images to contemplate. You feel more in your feet than you control, a feature shared in a more extreme form by teeth, gums, and genitals, which don’t appear on the motor homunculus. And you comparative control some parts in greater detail that you actually sense in less detail. (Click the image to see.)
This lessons demonstrates the reach of your fingertips extending all through your spine and chest….and in all directions.
Note: republishing with sample rate repaired, March 2013!
We often use the image of a clock in guiding an exploration. The Pelvic Clock is famous lesson type that uses this strategy. Lessons based on the clock can be very slow and methodical. And very potent.
This kind of geometrical image, one that makes subtle distinctions in degrees of turning (not just turn left or turn right, but turn to 10:30), can really invite us to find the hidden spot that we would skip past for the rest of our lives if we were just doing free and open movement improvisation.
Take this classic [[Coordinating flexors and extensors]] lesson. When you tilt your knees to the side, to which hour on the pelvic clock does your pelvis roll? You can now do a whole lesson for yourself where you compare taking the pelvis deliberately one hour above, and one hour below. (I wouldn’t bother going much farther astray from your habitual than that.) Now imagine that same clock under your shoulders. Where does the centre of weight of your shoulders go on the clock when you take your arm triangle to the side? Do the same movement taking your arm triangle to the side, but direct it an hour up, an hour down; two hours up; two hours down.
Another option for working with the clock in a lesson: stop in a position, nothing extreme, and create the clock there. So do the clock under your pelvis with your legs crossed; then with your legs crossed and tilted a little to the side (keeping them tilted to the side).
You can take many different movements that we do in the course of building the image of an action in a lesson, and put that movement on a clock.
This kind of work on our own challenges us to be patient and methodical. It’s often easier with a live teacher to pace things and tell a few anecdotes to pass the time. But it’s worth the time invested to develop the skill to pace yourself and take rests and stick to one spot on the clock at a time in such an exploration. Check out again the posting on pacing.
One skill you never knew that you didn’t have…pecking like a chicken!
The “walking lesson” referred to in the conversation on the recording wasn’t recorded–it’s AY 501-2, for those who have the books. We’ll record it some day.