Body Mapping

The body map is one’s self-representation in one’s own brain.  The breakthrough of body mapping is the realization that we move based on how we think we are put together rather than how we are actually constructed.  If the body map is accurate, movement is good; an inaccurate body map causes inefficient or injury-producing movement.  In body mapping, one uses self-observation and self-inquiry to gain access to the body map.  By carefully examining what one believes to be true about his or her body and comparing it to accurate information, one can recognize fallacies in the body map and correct and refine this representation to become more efficient.  During this process, accurate information may be provided by kinesthetic experience, mirrors, books, pictures, medical models of body parts and teachers.  Through body mapping, one can recognize the source of inefficient and harmful movement and replace it with movement that is well-organized and cooperates with the reality of how we are actually built.

 

The integrity of any movement depends upon the integrity of the body map that governs it. 
from “What Every Musician Needs to Know About the Body” by Barbara Conable

Our body maps contain information about how we move as well as the structure, function and size of each part.  One of the most common sources of an inaccurate body map is simply an inadequate understanding of each of these areas.  This error may stem from a basic lack of knowledge about the body, a teacher who inadvertently encourages inappropriate movement or an inability to perceive subtle differences in the quality of movement. 

When one first learns to play an instrument the effort required is unique and, at first, foreign.  Young students should be taught to play in such a way that they form habits which cooperate with how their bodies are designed to move.  However, when one considers the complexity of music making it is perhaps understandable that movements can become inefficient and awkward.  Having to coordinate the sequence of fine motor skills necessary to play an instrument often leads to patterns of movement which are unnatural and violate the reality of how we are built.  Enough improper repetitions at a young age may produce inaccurate body maps and a reduced kinesthetic sensitivity to the quality of movement.  One of the goals of body mapping is to re-learn the proper use of our bodies in order to establish a firm somatic foundation upon which one can base this very complicated activity.

 

Quality of movement determines quality of sound.  We can discern quality
of movement with our kinesthesia.
from “What Every Musician Needs to Know About the Body” by Barbara Conable

In order to refine the body map one must be aware of the quality of one’s movements.  By using our kinesthesia, we can monitor how we are moving as we play and compare this information to how we would move with an accurate body map.  Asking questions of oneself is an important part of this process so here are a few self inquiries that may help reawaken the kinesthetic sense:

As you play…

• Are your knuckles white because you are grabbing your instrument tightly?
• Are your toes curled inside your shoes as you play something difficult?
• Is your brow furrowed with effort?
• Are you bearing down to force air out of your body?

If you answered “yes” to any of these questions it is time to examine your body map to see if you have inaccuracies.  While an exhaustive inspection is not possible in this venue, we can use breathing as a good example of how an inaccurate body map can lead to tension in one’s playing.

            A common breathing error is a misunderstanding of the function of the diaphragm, one of the primary muscles used in breathing.  Many teachers speak of the diaphragm in general terms such as “keep the diaphragm firm,” or even “push air out with the diaphragm.”  Such statements cause the student to expend a great deal of misplaced effort in breathing, thereby creating stress throughout the body.  This stress will cause poor tone quality and seriously inhibit technique.  The body mapping reality is that the diaphragm contracts upon inhalation and it is relaxing upon exhalation.  If one thinks of tightening the diaphragm upon exhalation, this very powerful muscle is at cross purposes with the abdominal and internal intercostal muscles.  These are the muscles of exhalation, not the diaphragm.  In order to breathe efficiently when playing one must understand that the diaphragm is used for inhalation and the abdominal and internal intercostal muscles are used to exhale.  Conceptual teaching methods (of which there are many) which violate this fact are counterproductive and may be harmful to wind players.

For more information about mapping breathing, see the link called Breathing with Anatomical Accuracy.

For a list of body mapping resources, go to Resources.