“Form is a process in a state of being and becoming!”
Form is a dynamic process; a snapshot within a continuous flow of change. It is a constant repositioning and constitutes an infinite process. Every physical form occurs uniquely one single time within spacetime (4D*).
GEM Method – Ton Greten
The fundamental distinction in execution is determined by the observer (5D*):
- The unconscious form (Powerlessness): A movement that occurs purely as an unconscious automatism (the sheep or the slave of deeply ingrained habits). This occurs when someone follows a fixed routine; the form happens to the person and lacks conscious direction within the learning system. This process possesses biological uniqueness but lacks active mastery.
- The conscious form (Autonomy): The moment when the dancer or coach activates the principles from the 5D* layer (the overarching Consciousness) and thus consciously chooses Blending or Form Retention within the composition.
The human body as an architectural structure…
The human body possesses a specific structure. This form influences physical development from the embryonic stage to the present moment in life. The defining characteristic of form is its continuous change; the structure is permanently in motion. This process is observable in a wave rolling through the sea, a flame shifting in the air, or the human body in action.
Dancers paint figuratively with their limbs within the three-dimensional space (3D*); their body is the paintbrush and spacetime (4D*) is their canvas. The successive movements form lines and compositions in the air.
Within the three-dimensional space (3D*), the position of the body is analyzed using three fixed, geometric axes:
- The Vertical axis (Height / Linear)
- The Horizontal axis (Width / Lateral)
- The Sagittal axis (Depth / Sagittal*)
No opinion, culture, or taste is connected to these spatial pathways; it is pure, universal mechanics. Within the G.E.M. method, the physical structure is subdivided into 10 primary, analyzable body parts to create a continuous flow of forms along these axes. These segments are defined within spacetime (4D*), adding the factor of time to the three physical axes. Form within dance is a living composition; a fluid succession of moments.
Structure, exploration, and transformation
As a fundamental element of art, Form refers to the three-dimensional structure and organization of movements and patterns within a dance. This form can be explored, experienced, and discovered within body awareness through three oppositions:
- Singular* versus Composed* (The isolation of one or more individual body parts versus the composed movement of multiple body parts)
- Geometric versus organic
- Symmetrical versus asymmetrical
Proprioception* & Interoception*:
The Control and Source of the 10 Body Parts
The control or determination of this process occurs through proprioception* the internal body awareness that functions as the compass for the positioning and displacement of the limbs. Through targeted proprioceptive perception, the 10 specific body parts are consciously directed within spacetime (4D*).
The source of purposeful, conscious repetition originates from interoception* (the internal sensory perception of feeling). This perception forms the foundation for consciously experiencing physical action. By utilizing proprioception and interoception collectively, the ability arises to factually reposition the physical structure and break automatic patterns.
The perception and impact of Form shifts continuously from internal interoception* (conscious feeling) to exteroception* through external feedback instruments:
- The Mirror: Provides a direct, two-dimensional reflection.
- The Video / External Person: Registers the three-dimensional form from a specific camera angle or viewpoint.
- The Perspective (Spacetime): The standpoint from which the movement is observed determines how the form impacts the spectator, the coach, or yourself. It makes a fundamental difference whether a movement is viewed from a top-down view (helicopter view), frontally, or from the side.
Although a form remains physically constant, its perception transforms completely depending on the camera positioning or the coach’s viewpoint. A top-down view (helicopter view) exposes the geometric patterns and displacement across the floor, whereas a frontal or side view emphasizes the vertical axes, the angles of the 10 body parts, and the depth (sagittal axis). The chosen standpoint determines the actual data received.
The Transmission from Form A to Form B: ABABAB
This ABABAB process is the mechanical motor that continuously operates within the 10 specific body parts, directed by proprioception*. Whether specific body parts are isolated or multiple parts move in a composed manner, each segment independently or collectively follows this sequential ABABAB transmission within spacetime (4D*). An unconscious interruption of this process causes a form break or an unconscious intermediate form.
- Form A (The Departure): The moment of departure of one or more of the 10 body parts.
- Form B (The Arrival): The point of arrival of those specific body parts.
As soon as the arrival is reached, the movement immediately transforms further. Form B becomes the new Form A for the next action. This creates an uninterrupted, fluid chain of successive form changes within the 10 body parts.
Read more about proprioception here
The Transition as an Art Form
Within the learning system, the emphasis lies on the quality of the transmission. By consciously excluding purely functional* transitions, the displacement between Form A and Form B transforms from a mechanical necessity into a creative action. The transition itself thereby becomes an autonomous artwork.
This principle applies directly to traditional forms*, which often arise from the mere imitation of existing structures. The G.E.M. method aims to reshape these traditional routines into progressive forms, allowing creative engagement with tradition through the 5D* consciousness. From this integrated mastery arises the ability to ultimately operate formlessly, giving the creative process an individual, autonomous expression.
The Variables of Transmission
During the displacement from Form A to Form B (through bending, extending, and rotating), three mechanical states occur:
- Blending: The process in which forms transition seamlessly into one another through bending, extending, and rotating.
- Form Retention: The preservation of the chosen structure (geometric or organic) during the transmission from Form A to Form B.
- Form Break (Form Break as an Intermediate Form): An interruption of the ABABAB sequence. If this interruption is deployed consciously, it functions as a usable element within the methodology. If this process occurs unconsciously, the intermediate form happens to the person; the process is unconsciously interrupted and actual control is absent, causing the movement to strand within spacetime.
Analyzing these elements leads to a specific choreography. Because the structure is subject to constant change, the potential for continuous creation emerges.
Conscious Repetition and Human Growth
Nourished by interoception*, conscious and purposeful repetition provides the structure for transformation. Repeatedly experiencing and analyzing the ABABAB process and the transmission variables physically activates the capacity to independently break deep-rooted, automatic patterns.
Within the methodology, this marks the fundamental difference between mastery (autonomy*) and automatism (powerlessness). Without this conscious control, the body functions as a slave or a sheep to automatic, deeply ingrained habits. External systems often develop individuals exclusively as followers.
Within the G.E.M. development, however, both the role of the follower and that of the creator are essential. Making the laws one’s own as a follower forms the foundation to autonomously manipulate the structures of the Form in a later phase as a creator.
The fundamental aim of the G.E.M. method is that the individual dancer or coach can develop long-term autonomy* independently using this methodical tool (the terminology and the context). Transformation remains an autonomous*, conscious choice. One’s own control and the conscious integration of these principles create the space for profound personal development. This process facilitates the opportunity to grow as a human being through personal choices.
* Explanation of G.E.M. Concepts (Definitions)
- 3D (Three-dimensional space): The physical space defined by the three measurable axes: height, width, and depth.
- 4D (Spacetime): The three-dimensional physical space expanded with the irreversible factor of time, in which every movement forms a unique flow.
- 5D (The overarching Consciousness): The non-judgmental layer of the observer that stands above physical spacetime and can observe and manipulate the movement through active direction (proprioception and interoception).
- Sagittal: The arrow-straight axis that divides the body from front to back; meaning movements in the direction of depth.
- Singular: The directed isolation or movement of one individually defined body part.
- Composed: A conscious, composed movement where multiple specific body parts actively work together simultaneously.
- Proprioception: The internal sensory capacity (muscle and joint sense) through which the position, angles, and movements of the limbs in space are consciously perceived and directed.
- Interoception: The internal sensory capacity to consciously register signals and physical sensations from within the own body (feeling).
- Exteroception: The sensory capacity to consciously perceive and process stimuli and signals from outside the own body (such as via a mirror, camera, or the gaze of an external person).
- Functional: An everyday, purely mechanical displacement of a body part based on necessity, without creative or artistic intention. Where classical design systems (such as the Bauhaus principle) state that form follows function, the G.E.M. method deliberately excludes functional necessity to transform the transition into an autonomous art form.
- Traditional forms: Physical postures and movement sequences resulting from the conscious or unconscious imitation of pre-existing structures. Within G.E.M., these serve as base material to be reshaped into progressive creations via the 5D layer.
- Autonomy: The capacity to act independently and on the basis of conscious choices, free from automatic, deeply ingrained habits.
Break Fixed Patterns and Transform
The book The G.E.M. method – Dance from a different perspective provides the framework and the tools to fully comprehend and integrate this synergy between Form, Expression, and Dynamics into the final performance.
The GEM
The GEM Method is a holistic approach, created and developed by Ton Greten. GEM stands for “Greten Equation Movement”. It is based on the mutual and reciprocal relation between three variables. The performance of Form, Expression and Dynamic combined will result in a certain Personality.
Personality = Form + Expression + Dynamic; P = F+E+D (F.E.D.)
Form – Bones/joints – Space