A reader shares her awesome trauma releasing experience; another TRE video

I checked my email this morning right before work and saw one saying that someone had posted a blog comment. It was in response to my very first post on the Trauma releasing exercises, posted way back in May of 2010, close to two years ago.

Jen wrote:

Learnt the TRE technique from a friend. After my 4th session (last night) I got up and my body started swaying at the hips, then shoulders went mad, neck went into awesome neck rolls (felt a lot like yoga) and then an intense feeling from the centre of my belly, rolling upwards. Went on for at least an hour before I eventually went to bed to sleep. Just the one hand kept doing a little shake.

This morning on my way to work, my neck started rolling. Once at work I was standing telling my friend about this when my entire body started swaying and all morning (at least the last 4 hours) have been spent with my neck going into involuntary neck rolls, shoulder rolls, back stretches. It has finally stopped, but I am just a bit concerned. What does this mean?

I got really excited reading this! The trauma release process is working for Jen very well. To have this response after only four sessions is excellent. Her body is releasing trauma! To have a release from the hara (belly center) like that is very liberating. Maybe her yoga helped.

When I was first experimenting with the TRE exercises, I remember feeling some fear around the idea of “letting go”. What exactly is being let go of, and if I let go (i.e., lose control), will I get my self-control back?

Then once I started shaking, trembling, rocking, and rolling, I wondered: Would I be able to stop? What if it was embarrassing?

I needn’t have worried.

I responded right away:

It means you are unfreezing and coming alive, Jen! Do it as much as you can when it feels right. Enjoy and know it will eventually slow and become “more voluntary” when you’ve released more of your stress. Awesome to hear from you!

She wrote back:

Wow, thanks for getting back to me so soon – you have put my mind at ease. My friend and I were laughing hysterically this morning as it just wouldn’t stop and then we started getting a little worried that it would NEVER stop. But this afternoon has been fine and when it starts again I will know it is normal and let it out!

Keep well
Jen

I haven’t blogged about the trauma releasing exercises for a long time, but I haven’t forgotten them. Once I learned them and began shaking, the process deepened. I released long-held tensions, especially in my shoulders. Every time I did them was different. I did them frequently for a while.

Sometimes nowadays when I am at Ecstatic Dance Austin or at home, I release tension in my legs and occasionally my arms/shoulders. I don’t think about it too much; if the thought pops into my mind, I never second-guess it. I just allow the release to happen. I’m standing, and my legs are shaking or my arm is writhing — something is moving, for sure.

And when I’ve had enough (again, without thinking about it), I dance (or rather, I do a more intentional dance, becaus release is dance) or go onto the next activity.

I’ve considered doing the training to become a TRE facilitator and may still do that when the time and money come together. For now, I’m happy to answer any questions that readers may have based on my experience and what I’ve seen and read of Berceli’s work.

I’m also happy to watch the exercises on video and do the exercises with anyone who wants to try them and prefers to have an experienced companion. There is something contagious about doing them with someone who already releases. It’s like permission to your body. (And a few people don’t need this; in my experience, it’s helpful to most newbies because releasing goes against the grain of what we’ve been taught, to be “in control” at all times.)

Also, I viewed David Berceli’s 2004 video, Mitchell Jay Rabin’s A Better World presents David Berceli Trauma Release, and I don’t think I posted anything about it.

Berceli tells Rabin the story of how he began developing the exercises, which I’ve read in abbreviated form but had not heard from Berceli before.

He was a Catholic missionary in the Middle East, living in Beirut during a civil war in the late 1970s. He was working with war refugees, and he himself became traumatized.

When he came back to the U.S., he was suffering from PTSD. He went to counseling (the only thing he knew to do) for two years, and at the end he realized he was still suffering very severely from PTSD, but it seemed to be more in his body than in his psyche.

That started him on the journey of exploring what PTSD is, how it affects us as human beings, how it affects the psyche and the body differently, and what healing processes need to occur to effect a complete resolution of trauma recovery.

He learned that the body holds in memory the contractions from trauma as a defensive behavior. He studied bioenergetics, tai chi, yoga, and other modalities, but was seeking a quick, body-based method of trauma release that could be taught in any cultural context to a large number of people even without knowing the language. 

Berceli then worked all over Africa and the Middle East with people traumatized by conflicts and civil wars. He discovered that conflict resolution is useless unless the underlying emotions can be released, that trust is impossible as long as the body holds the memory from trauma.

He worked with 150-200 people at a time, teaching the exercises to create neurogenic tremors and release the terror, anxiety, hurt, and fear of trauma, and then people would feel their bodies letting go of trauma behaviors embedded in their musculature.

Berceli relates the same knowledge that Peter Levine discovered and wrote about in Waking the Tiger, that animals don’t get PTSD because when they get out of danger, they shiver and shake and release the trauma from their bodies.

People tend to stifle the trembling after a trauma, and it remains embedded in the musculature. Berceli developed exercises to target the core muscles deep in the body affected by trauma (the psoas major, which impacts the energetic centers of the root and sacral chakras, the dan tien, the hara). Release of the psoas ripples throughout the body.

I love the psoas. It connects the legs to the torso and is the “fight or flight” muscle. We palpated it in massage school, getting to it through the lower abdomen.

I know that doing the trauma releasing exercises has been instrumental in releasing more trauma and defensive armor from my body. TRE has freed up my body and my dance! And in case of being retraumatized, however slightly, these exercises are good to do again.

There are more good stories on this video, even praise of dance as release, release, release. It’s inspired me to do the TRE exercises more frequently. Who knows what else can be released?

Dance: finding the play in the moment

Psychology Today has posted a slew of articles under the heading The Last Dance? You’ll shed stress, forget pain, amp up your brain–and your sex drive!

Now we know that in addition to all the other benefits of exercise, dance activates the brain’s pleasure centers. It certainly feels like that to me. When I think of the joy I get from dancing, there’s nothing that comes really close, except being in love and having really good sex. Especially when they go together.

Dancing is like joy unleashed. I was at Ecstatic Dance Austin this morning, a bit less energetic than usual because of recent illness but still there, to move, to connect, to get happy.

I took in the whole room — the music, the 60-plus people dancing their hearts out, the wide variety of dancers in age, skill, style — and it felt like being inside a huge heart, pumping bodies, music, laughter, play, freedom, silliness, sweetness, sweat, all with a dance-like-nobody’s-watching attitude.

Some of the dancers are skilled. There are performers, teachers, yogis, and also, people who have issues with their feet, ankles, shoulders, backs. Some dancers stick to very simple moves and pretty much stay in the same place. Some move around the room.

Some dance every dance with a partner (same or different), some dance every dance alone — or with the entire room, who can tell the difference? No one is watching or judging — all dance activates pleasure.

I danced with an old friend, a woman, early on, and it felt like we were the two hottest chicks in the disco. A guy friend shared a yummy, slow, and tender dance with me — thanks so much, my dear. Another man and I playfully played, and he dazzled me again with his joy. I danced alone and with the room, and also was still and wept, and I did some handstands against the wall. It was all good. This dance is a large container.

Below, some excerpts from the articles that I found interesting:

“Dance allows people to experience themselves in ways they didn’t know they could,” says Miriam Berger, a dance professor and dance therapist at New York University. “You can change your internal state through external movement.”

dance boosts mood more than does exercise alone. In a study at the University of London, researchers assigned patients with anxiety disorders to spend time in one of four therapeutic settings: a modern-dance class, an exercise class, a music class, or a math class. Only the dance class significantly reduced anxiety.

Cardiac-rehab patients in a recent Italian study who enrolled in waltzing classes not only wound up with more elastic arteries, but were happier than participants who took up bicycle and treadmill training.

What accounts for the emotional high dancers experience? As a general rule, moving to music activates the brain’s pleasure circuits.

The brain’s structure may explain another important source of mood boost: Dancing bonds people, according to Robyn Flaum Cruz, president of the American Dance Therapy Association. MRI scans show that watching someone dance activates the same neurons that would fire if you yourself were doing the moves. 

For your pleasure and education: 

Berger speculates that the sense of achievement and well-being that comes from expanding and perfecting one’s movement repertoire may carry over into other areas of life. “One of the most important parts of psychotherapy is relearning things you learned wrong,” she says. “With dance, you have a great opportunity to do that on a physical level.”

In a study done at the University of New England, participants who spent six weeks learning tango’s fancy footwork recorded significantly lower levels of depression than a control group who took no classes, and results similar to those of a third group who took meditation lessons. Study author Rosa Pinniger credits the extreme focus—or “mindfulness”—of dance, which interrupts negative thought patterns that contribute to anxiety and depression.

The physically expressive nature of dance also helps people release and thereby recognize pent-up feelings, the first step to dealing with them.

…if conscious communication through motion is the hallmark of dance, then we better call painters like Jackson Pollock dancers too. In his drip paintings, Pollock placed the canvas on the floor and moved around it rhythmically, flinging paint as he went. Painting was, for him, an experience and an expression of the moving body. His paintings might even be considered dance notations!

Dancers exercise every one of the universal thinking skills we explore in Sparks of Genius, The Thirteen Thinking Tools of the World’s Most Creative People (Houghton Mifflin: 1999). They observe the movements of people and things. They image, or mentally manipulate, what they have observed and experienced, seeing with the mind’s eye the movements they wish to make, feeling the feel of these movements before they enact them. Dancers analogize, linking the human body to living forms and inanimate processes around them. They imitate or model the movements of these things. They abstract certain elements of these movements in order to simplify, to grasp the essential. Thinking dimensionally, they form patterns in space and through time. They play with these patterns, altering and improvising. Ultimately, dancers transform stories or pictures or sculptures or games or ideas into dance. They synthesize music, choreography, costume and setting into one coherent spectacle. But most of all and most specially, dancers empathize through role-playing. And in related fashion, they think with the body, exploring what they know about the world with muscle movements, visceral tensions, gut feelings, and emotions.

There are short-cuts to happiness, and dancing is one of them. – Vicki Baum

Dancing: the vertical expression of a horizontal desire legalized by music.  – George Bernard Shaw

If you’re interested in reading why dance is a radical act vital to our survival as humans on earth, read this entire article, which is too difficult to excerpt. Well, except for these:

To dance is to play with the movement that is making us. It is to cultivate a sensory awareness of how this movement is making us, and of how our own movements, as we shape and transmit the energy of life, are making us. To dance is to play with this movement in ways that allow us to discover and exercise our capacity to make our own movements—movements that align with our health and well-being.

One who dances knows: the reason we “exercise” is to play–to find the play in the moment, to release the capacity to play within ourselves. Dancing, we explore the possibilities for movement alive in the moment. We cultivate a receptivity to impulses to move as they arise in our bodily selves. We improvise. We imagine. We allow our bodily selves to guide us in new patterns. We follow a toe, a finger, a nose, the waves of our breathing into new spaces of sensation.

Dance, ecstasy, Pina, play

Today I had three dance experiences, which made it a wonderfully memorable day.

  1. I participated in Ecstatic Dance Austin this morning.
  2. I saw the film Pina by Wim Wenders, about the late German dancer/choreographer Pina Bausch, her work, and her dancers.
  3. My friend Peggy and I walked and played our way around Town Lake.

There is a shortcut to ecstasy. It’s called dance. ~ Gabrielle Roth

I am in love with Ecstatic Dance Austin, feeling so grateful that I have two hours every Sunday morning as an outlet for my energy, movement, physicality, playfulness, experimentation, and connection.

Today it occurred to me that if I didn’t have this, I’d curl up in a ball and die, or at least be really depressed. When I’m struggling over relationships, finances, work, decisions, politics, life, this is a place where I can give all that heaviness over to Spirit and just move, feel, connect, play, and be present. Life becomes a dance.

It is joy to walk into a big dance studio with a great sound system playing the kind of music that invites movement. I move out onto the floor. I begin moving.

Because there’s no talking, I connect with people using eye contact, smiles, and sometimes hugs. Sometimes I create my own space by closing my eyes and dancing.

I smile a lot because I feel so radiant and happy. There’s joy in the present moment, of course. My more personal joy is that I’ve worked on my health for years with bodywork, yoga, and a clean diet, and I feel great. My stamina is good — I stay moving, even through the burning fire of dancing all-out chaos. My creativity is good — there’s no end to discovering rewarding movements that morph into new grooves. My capacity for living and dancing from joy is good — although I have moments when heavy thoughts arise in my awareness during dance, I can move through them and return to joy.

I find ecstatic dance to be a great healing antidote. If I’m suffering relationship woes, I can dance with men who appreciate me, move with me, play with me, honor me. They don’t know my story, and I don’t know theirs. We just dance. A couple of dances can restore my sense of being valued as a woman by the other sex.

And for days when I’m fed up with male egos, I can have playful, fun dances with women.

And of course, I can have dances with men or women, or men and women, any time for no reason at all except that we’re together in the studio, there’s some great music playing, and we share the joy.

The physicality of it, the improvisational nature of ecstatic dance, the freedom and goodness I feel in my body, the wave of rhythms that peaks somewhere in the middle just clear me out until nothing is left but sweat, breath, and oneness.

Afterward we sit or lie spent in a big circle on the floor and give ourselves a couple of minutes of silence. We say names. We have announcements. We mingle and leave.

 

Dance, dance, otherwise we are lost. ~ Pina Bausch

Pina, the film written, directed, and produced by Wim Wenders (Wings of Desire, Buena Vista Social Club), is showing at the Violet Crown in downtown Austin. The film has been nominated for Best Documentary for the Academy Awards. (Click the link to view the awesome trailer.)

Pina Bausch worked with Tanztheater Wuppertal in Berlin from 1973 until her sudden death in 2009. Rather than being a biographical documentary, Pina shows her choreographic work and the dancers who danced her work speaking about her.

Here’s a clip (it’s in 3D, by the way — first dance film in 3D, that I know of — thanks, Wim Wenders!):

And here’s another:

And another:

She painted with dancers, movement, costumes. Her dances are not ecstatic dance — they are choreographed — but from what I could tell, she started with improvisation, asking for instance for a dancer to show her joy. Although some of the dance is highly structured, it retains its aliveness.

The film is a revelation — about life, love, pain, loneliness, longing. And creativity and playfulness.

WIM WENDERS ABOUT PINA BAUSCH
No, there was no hurricane that swept across the stage,
there were just … people performing
who moved differently then I knew
and who moved me as I had never been moved before.
After only a few moments I had a lump in my throat,
and after a few minutes of unbelieving amazement
I simply let go of my feelings
and cried unrestrainedly.
This had never happened to me before…
maybe in life, sometimes in the cinema,
but not when watching a rehearsed production,
let alone choreography.
This was not theatre, nor pantomime,
nor ballet and not at all opera.
Pina is, as you know,
the creator of a new art.
Dance theatre.

I loved seeing the dances, dancers, costumes, settings. This film inspires me. I want colorful, flowing, sexy evening gowns to dance in. I want to play with movement, to experiment, to have fun.

 

I can trust my friends. These people force me to examine, encourage me to grow. ~ Cher

Peggy is a dancer and choreographer and a dear friend of mine for years. Having just seen the film and danced our way out of the theater, we walked around Town Lake incorporating playful movements — stepping stylishly between two trees, walking on benches, doing asana on bridges, mimicking the arm gestures we saw in the film, striking poses, waving arms, adding twirls and hops into our walk.

We made our walk into a dance, and you know I’m such a sucker for dancing in unlikely places. The hike and bike trail is as good a place as any, maybe better than most.

It was a beautiful cloudy cool winter afternoon, and people were out enjoying themselves on the trail, walking, running, biking. Our play gave them a little extra enjoyment. People can be so serious, it’s like an illness. We put smiles on their faces.

As we played, we talked about creating dances. We shared some hilarious, outrageous, fun, engaging ideas for dances.

I hope we do them. I’m moved!