APRIL 2021
Six: Balance of the Arm Structure
Te mapping of the arm structure could be the topic
of an entire article. However, in terms of the balance of the body, we must map the arm structure as balancing at the center of our bodies. Tis means that the old posture of standing with shoulders back is
actually throwing the arm structure off-balance,
and usually the rest of the body with it. On the other hand, those who play with instruments in front of the body often pull the arm structure off-balance in the forward direction. It is important to accurately map the entire arm structure, including collarbone and shoulder blade, and
experiment with its wide range of motion.
If you are experiencing discomfort in your body or limitation in your movement,
begin by inquiring into your body map. Choose one area and ask yourself how you think about that part of your body. Ten use any resource available, including a quick internet search, for information that will help you discover
the truth about how your body works. As you go about your day continue to think about and process the information you have learned.
Figure 2: Balance Mascot 39
Try on the new map and notice how your movement changes. Te beauty of Body Mapping is that it works because you embody the truth of your anatomy and change the way you think. It does not require hours of practice, only accurate information thoughtfully internalized.
As you become more aware of your movement, you will find that it directly affects your musicianship. I have yet to find a technical issue in playing or singing that can not be addressed from a movement perspective. Diction involves an awareness of the movement of the tongue and the inside of the mouth. Breathing requires an awareness of the movement of air through accurately mapped breathing structures. Finger dexterity comes from a well-balanced and accurately mapped arm structure that includes four main arm joints. All technique is most efficiently addressed from a whole-body perspective, a balanced body which allows any movement, no matter how small, to be free and easy.
Te body balances as a whole: each part moving harmoniously with every other part, from a place of balance. If your body is moving freely, so will your music. It is possible to be balanced and embodied to the point that your movements are entirely at the mercy of the music. Te beauty and intention of the music freely pour from your thought, through your instrument, to the world with a pure intention, free from any physical limitation or interference. It is an experience of being a genuine vessel for a greater purpose. It’s possible. It’s desirable. It’s our ministry.
Bridget Jankowski has been engaged in somatic disciplines for over thirty years. She is a Licensed Body Mapping Educator, founder of the Choral Mapping program, author of the book Body Mapping for Music
Ministers (GIA), and is the Director of Music Ministry at St. Matthew Parish in Akron, Ohio.
Stone Balance Art and Photography by Michael Grab (
www.gravityglue.com / @gravityglue)
All other images ©Association for Body Mapping Education, used with permission
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