保育現場での身体表現に活かす運動分析に関する一考察―ケステンバーグムーブメントプロフィールにおけるテンションフロー特性に着目して―

Instructing physical expression in early childhood education and care does not mean teaching fully choreographed dances. Rather, teachers should provide children with various opportunities to experience various joyful movements. However, this is challenging for the majority of teachers who do not understand the theoretical structure of movement. Knowledge of movement analysis may support them and offer a solution.The Kestenberg Movement Profile（KMP） is a complex tool for analyzing human movement, especially useful for babies and infants, from a psychodynamic and developmental point of view.The author, a KMP Certified Analyst has been attempting to apply it in various fields such as Dance/Movement Therapy and physical education for small children.This study focused on Tension Flow Attributes across 9 KMP categories in order to explore the possibility of increasing movement variations for physical expression. It is theoretically based on Laban Movement Analysis （LMA）, and consists of the following 6 factors: Flow Adjustment, Even Flow, Low Intensity, High Intensity, Gradualilty, Abruptness, which can be applied to change Effort quality in LMA to enrich physical expression. Concrete examples of animal movements such as elephants and frogs were described to clarify how the elements of KMP may be used for expanding the variations of movement when instructing children.The KMP approach is always used to analyze the relationship between one person and another, or between a person and an object, and can be applied to interactive relationships through body movements. In future research, KMP should be explored for further applications such as early stage developmental disorder detection through IT support

ケステンバーグムーブメントプロフィールにおけるリズムラインの記譜を伴わない簡易型分析法の試み

　The Kestenberg Movement Profile（KMP） is a method of analyzing movement based on psychoanalytical developmental stages. The KMP recognizes rhythms in movements as Tension Flow Rhythms（TFR）. To observe and notate TFR is a common, and by far the most specific, feature among other movement analyses, like the Laban Movement Analysis （LMA）. However, it takes time to acquire notation skills, such as drawing TFR lines with Kinesthetic Empathy and classifying into each factor.　In this pilot study, a simplified analysis approach was used to extract the rhythms from video observation, without notating the lines. A KMP analyst and the Movement Pattern Analysis（MPA） expert who had completed the KMP introductory course tried to identify the Pure Rhythms（PR） among the TFR by observing the video together. Then, a KMP expert also analyzed the same video clips using the original KMP analytic method. The number of PR was compared between the original approach and the simplified approach. Only one PR was completely the same among all ten of the PR. The other nine PRs were different. This disconformity was attributed to the differences in how PR was counted, and not to observational perspectives. The seven kinds of PR were caused by the rhythm line shapes, such as being narrow or wide in horizontal width.The two kinds of PR were caused by counting together and including factors in the Mixed Rhythms as PR.Despite these differences, it is speculated that the simplified analytic approach would be useful in understanding the overall appearance balance of TFR. This may have new possibilities for the generalization of KMP in various fields

非言語的コミュニケーションを支えるダンスセラピー技法の検討 ―ボディワークの授業実践を通して―

There are various methods in dance therapy and they can be applied to bodywork class in university education. Non verbal communication is important for nourishing communication skill for recent youth. The students in bodywork classes in Mukogawa Women’s University could notice the change of situation of their body and mind through several movements. Especially they found that non verbal communication through movement gave them interesting opportunities to know one another beyond their ages and faculties. They indicated these awareness through their conscious change of body and mind in the record sheet of the class. And various methods of dance therapy are useful for the bodily communication. Focusing on communication skill of students is indispensable for their future in ordinary university education

子どもの動きの評価法に関する基礎的研究 ―ダンスセラピーにおけるKestenberg Movement Profile を手がかりにして―

There is not a popular movement evaluation method of active play of children in Japan. Actually some methods for specialists have already existed, however they are difficult for normal child care workers. This pilot study tries to clarify the basic element of analyzing children’s movement by referring to Kestenberg Movement Profile（KMP）which is popular in dance/movement therapy in the United States. This profile mainly consists of the two systems and is concerned with children’s psychological aspect. To understand the theoretical aspect of KMP, we have to study Darwin, Laban Movement Analysis and child psychiatry. Although child care workers ave no time to study such complicate theories, some methods to understand children’s movement and the meaning of it from objective point of view are required. So this is why we should refer the existing popular method and try to find the way of application. Through king a general view from KMP and focusing Tension-Flow Effort System, the natural flow movement is estimated as a key movement which we should pay attention

Kestenberg Movement Profile 理解のための動きの実体験に基づく教材研究

Kestenberg Movement Profile（ KMP） is said to be a great tool for analyzing human movement from a psychodynamic and developmental point of view in dance/movement therapy. The author has finished all of the intensive courses for the level one certification and is now a qualified KMP Certified Analyst. This studyfocuses on its introductory course, which consists of theoretical and practical parts with numerous reflections and discussions. In particular, the structure of the 30-hour KMP introductory course has four parts. They are;theoretical understanding through lectures or reading references, observing various movement through movie clips, experiencing various movements of KMP elements, and verbalizing what and how participants feel via feedback. The circulation of the four parts is indispensable for understanding KMP. In addition, through these experiences, the importance of movement experiences was a clear focus. These movements are a core aspect of the circulation.For further study of KMP in Japan, a development of teaching materials for practical movement experiences is required. Beyond the gaps of English-Japanese translation of technical terms, we need various devices for inducing KMP movements. Especially, cards written in English and Japanese of technical terms of KMP,color cubes of each movement pattern or dice of each movement quality, and edited music for inspiring Tension Flow Rhythm and Tension Flow Attributes are indispensable. Pictures of various movements by recognizing Shape Flow patterns will be also useful. Comparing movements with match and mismatch, scripts for play will be supportive for understanding each difference. The materials will be utilized for Japanese KMP students for the next step

ケステンバーグムーブメントプロフィールの自動化に伴う入力装置使用時の記譜者の身体的共感に関する検討

　Research on automating the Kestenberg Movement Profile （KMP） is now in its fifth year. Three types of input devices for drawing rhythm lines, which are essential for automation, were produced by IT specialists. In studying the specifications of these input devices, the issue of the notatorʼs physical familiarity with the device surfaced, which had not been noticed at first.　In the original method of rhythm line notation, the notator first holds the pen and concentrates on the client on the screen. The notator then uses their own Kinesthetic Empathy to feel the rhythm of the movement and draw the rhythm lines, attuning into the various rhythms in breathing and movement. Comparing the notatorʼs physical sensation among these approaches of drawing rhythm lines with one another, it was quite different. While specifically discussing the differences, the author focused on Kinesthetic Empathy as the underlying concept. The five approaches that lead to Kinesthetic Empathy in a previous study were replaced with the approach used when operating the input devices.　Since this is based solely on the physical sensations of the individual author, further research is needed to target multiple notators in the future. However, as a future vision for the automation research of KMP, the author could find a new theme, such as the construction of a learning system that can quantify and demonstrate the establishment of Kinesthetic Empathy

子どものためのダンスセラピーに関する世界の現状と課題 : アメリカダンスセラピー協会第13 回インターナショナルパネルを通して

The Thirteenth International Panel of American Dance Therapy Association was held last September in New York City. Various panelists from 14 countries gave presentations on present situations and problems of dance therapy each country. They were divided into four groups and these presentations were said to provide a“ mapping” of dance therapy throughout the world. The first group of panelists represented countries with many educational opportunities by receiving support from allied professionals. The second one represented cultural focus on social pressure or norms and benefit of dance therapy for children’s development. The third one focused on research and influence of dance therapy on other clinical fields. The last one reported the use of dance therapy for treating and caring child survivors from war or torture. Every child should be able to live peacefully with their family， however reflecting throughout the world， there are many places where children live with much difficulities. Even though they always face serious problems， dance therapy， especially the power of dance， is useful for everyone. It is not required special tools or institutes. If there are some places to move and dance therapists， dance therapy session can be held easily. The structures of the session are different from each case， however we know dance therapy can be applied to the diversity and the variety of each country. The common factor is to rejoin and communicate through dance/movement. We can notice the possibilities of universal communicative method in dance therapy from the discussion of the panel. Additionally， there is few dance therapists for children in Japan. So it is required to build a bridge between dance therapy and related fields for children’s future

The DnaA AAA+ Domain His136 Residue Directs DnaB Replicative Helicase to the Unwound Region of the Replication Origin, oriC

Chromosomal replication initiation requires dynamic mechanisms in higher-order nucleoprotein complexes that are constructed at the origin of replication. In Escherichia coli, DnaA molecules construct functional oligomers at the origin oriC, enabling localized unwinding of oriC and stable binding of DnaB helicases via multiple domain I molecules of oriC-bound DnaA. DnaA-bound DnaB helicases are then loaded onto the unwound region of oriC for construction of a pair of replisomes for bidirectional replication. However, mechanisms of DnaB loading to the unwound oriC remain largely elusive. In this study, we determined that His136 of DnaA domain III has an important role in loading of DnaB helicases onto the unwound oriC. DnaA H136A mutant protein was impaired in replication initiation in vivo, and in DnaB loading to the unwound oriC in vitro, whereas the protein fully sustained activities for oriC unwinding and DnaA domain I-dependent stable binding between DnaA and DnaB. Functional and structural analyses supported the idea that transient weak interactions between DnaB helicase and DnaA His136 within specific protomers of DnaA oligomers direct DnaB to a region in close proximity to single stranded DNA at unwound oriC bound to DnaA domain III of the DnaA oligomer. The aromatic moiety of His136 is basically conserved at corresponding residues of eubacterial DnaA orthologs, implying that the guidance function of DnaB is common to all eubacterial species

Kestenberg Movement Profile の記譜における学びの過程と分析対象者への調律に関する検討

It is hard to master how to notate humans’ movement by Kestenberg Movement Profile（ KMP） for us because there are few opportunities of learning in Japan. We have been learning the technique through personal communication with KMP specialists in the United States. In order to know the notating method, we made our own original video clips of a two year old girl for analyzing materials. We also asked a KMP specialist to draw the KMP form and to offer all the raw data. From the inquiry of each notating data and many correspondences through email exchanges, we have noticed the following three issues. They are; difficulty of drawing rhythm lines, ambiguity of choosing movements for notation, and significance of attunement to clients as KMP analysts. We also have found a new important idea for notation of KMP. KMP analysts need a kind of experience of attuning clients’ rhythm through physical sense, as expectant mothers would attune their fetuses. The attunement should be also independent of any vision. This fact lets us know our Japanese advantages from our bodily cultural background. Actually, the KMP specialist studies Shiatsu and works as Shiatsu practitioner. Our bodily culture has many intimacies with harmonic movement and breathing from martial arts concept such as“ MAAI”. The concept of attunement to clients in KMP probably includes these communicative ideas. A possibility for our cultural advantage will be recognized in the process for attunement

Kestenberg Movement Profile における運動分析専門用語の解釈に関する検討

There are lots of obstacles to interpret technical terms of movement analysis such as differences of English and Japanese. Kestenberg Movement Profile（KMP） is an useful method to evaluate children’s movement, however it is difficult to understand by simple translations into Japanese just referring to English-Japanese dictionary. So it needs a kind of special words to bridge the gaps between linguistic words and actual meanings. Questionnaire survey was done in order to pickup specific imaginary words to express the movements’ essence. 13 female university students who don’t know KMP chose appropriate words by themselves freely to express each movement, observing it by KMP specialist. They could choose any Japanese word and sentence selecting verbs, nouns, adjectives, and onomatopoeias. The result told us that much more onomatopoeias were used than verbs and adjectives. Focusing on Tension Flow Rhythm（TFR）, we also have to interpret psychoanalytic meanings behind each word. In order to choose the best Japanese translation words, we need diverse information from visual, linguistic and basic understanding for the frame of references. It is also recognized that opposite Japanese words would be better than direct translation words when we cannot figure out what KMP technical terms meant. In addition, we should refer psychoanalytic developmental theory such as oral, anal, urethral, inner genital and outer genital phases when we translate Tension Flow Rhythm into Japanese