“movement”) is a form of training and therapy specially developed for musicians and stage artists by Gerrit Onne van de Klashorst (Netherlands).
By means of the Original Shapes of Movement and Posture, the human being's sensori- and psychomotor development is being worked through from lying down to crawling to the upright standing position.
In addition to the practice and teaching of posture, breathing and movement, Dispokinesis encompasses processes such as becoming aware of and reflecting on the ability of singing, playing and expressivity as a professional musician.
By transmitting its knowledge and exercises, Dispokinesis aims to influence health prevention[11][12][13][14] and to provide musicians and music pedagogues with a repertory of self-help options when resolving problems.
In case of pre-existing difficulties, Dispokinesis can increase independency of therapists and doctors due to its exercises developed with the aim of autonomy and can eliminate functional deficits on various levels.
Dispokinesis takes several approaches, either simultaneously or consecutively: 1) The transmission of the Original Shapes of Posture, Breathing and Movement (German: “Urgestalten”), enabling further development or post-maturation of sensory- and psychomotor skills.
; independence of both hands, imagination/visualisation of sound and movement, feeling for “spaces within and in the surrounding”, contact to the audience and the way to deal with so-called stage fright or music performance anxiety.
Special attention is paid to the distribution of muscular activity and the capability of creating an equilibrium between stabilising and dynamic movements in task-specific postures, in addition to the aspects of the individual's “biography of personal expression”.
Based on the diagnosis of playing-related indispositions, respectively of disturbances in posture, respiration and movement, the goal of Dispokinesis is to devise an individually tailored strategy to overcome these difficulties.
Much rather, the (re-)gaining of the individual's disposition is aimed for by means of the Original Shapes of Movement and Posture (German: “Urgestalten”) mentioned above, which make a connection between the chains of reflexes and experiences of physical perception in early childhood.
With its attempt to optimise artistic competence and expressiveness in conjunction with instrumental technique and musicality, Dispokinesis provides additional exercises, visualisation and learning strategies.
Therefore, provided a respective setting and professional coaching, a spontaneous, self-dynamic process is being triggered in the individual, with the aim of developing a sensation of autonomy and the ability of transmitting feelings and expression.
The art of “eliciting”, of non-directive transmission by drawing upon the motor-skill charge of a word (more seldom by touch), plays an important role in view of this goal.
The experiences made in the framework of the Dispokinesis lessons or therapy settings shape the musician's own practicing as a “self-teaching” process and as a consequence the way own students are being taught.
Working on often deeply engrained conceptions of playing, as well as the above-mentioned, largely sub-conscious self-perception and reflex systems, allows for constructively changing unfavourable stereotypes and automatisms.