Wednesday, October 3, 2007
Malcolm Gladwell on Cesar Millan
Below is an analysis of Cesar Millan's physical movement, in an excerpt from an article by Malcolm Gladwell. Elsewhere in the article, are detailed descriptions of his "presence" in interactions with dogs and humans, and some nice passages from Patricia McConnell are offered, too: http://www.gladwell.com/2006/2006_05_22_a_dog.html
"... Cesar is fluid. "He's beautifully organized intra-physically," Karen Bradley, who heads the graduate dance program at the University of Maryland, said when she first saw tapes of Cesar in action. "That lower-unit organization—I wonder whether he was a soccer player." Movement experts like Bradley use something called Laban Movement Analysis to make sense of movement, describing, for instance, how people shift their weight, or how fluid and symmetrical they are when they move, or what kind of "effort" it involves. Is it direct or indirect—that is, what kind of attention does the movement convey? Is it quick or slow? Is it strong or light—that is, what is its intention? Is it bound or free—that is, how much precision is involved? If you want to emphasize a point, you might bring your hand down across your body in a single, smooth motion. But how you make that motion greatly affects how your point will be interpreted by your audience. Ideally, your hand would come down in an explosive, bound movement—that is, with accelerating force, ending abruptly and precisely—and your head and shoulders would descend simultaneously, so posture and gesture would be in harmony. Suppose, though, that your head and shoulders moved upward as your hand came down, or your hand came down in a free, implosive manner—that is, with a kind of a vague, decelerating force. Now your movement suggests that you are making a point on which we all agree, which is the opposite of your intention. Combinations of posture and gesture are called phrasing, and the great communicators are those who match their phrasing with their communicative intentions—who understand, for instance, that emphasis requires them to be bound and explosive. To Bradley, Cesar had beautiful phrasing.
There he is talking to Patrice and Scott. He has his hands in front of him, in what Laban analysts call the sagittal plane—that is, the area directly in front of and behind the torso. He then leans forward for emphasis. But as he does he lowers his hands to waist level, and draws them toward his body, to counterbalance the intrusion of his posture. And, when he leans backward again, the hands rise up, to fill the empty space. It's not the kind of thing you'd ever notice. But, when it's pointed out, its emotional meaning is unmistakable. It is respectful and reassuring. It communicates without being intrusive. Bradley was watching Cesar with the sound o, and there was one sequence she returned to again and again, in which Cesar was talking to a family, and his right hand swung down in a graceful arc across his chest. "He's dancing," Bradley said. "Look at that. It's gorgeous. It's such a gorgeous little dance.
"The thing is, his phrases are of mixed length," she went on. "Some of them are long. Some of them are very short. Some of them are explosive phrases, loaded up in the beginning and then trailing o. Some of them are impactive—building up, and then coming to a sense of impact at the end. What they are is appropriate to the task. That's what I mean by 'versatile.'"