If You’re Happy And You Know It, Integrate a Reflex!
People often think of movement as something to be added to other material to make it more interesting. But actually, movement is the original deal. As the embryo forms, hormones are created and changed - and so are movements, in equally specific and developmentally timed ways. These movement patterns, present from the very beginning, are called infant reflexes.
As children and adults, we make all of our movements in relation to those original reflex patterns we experienced as embryos, babies, and young children. We return to these reflexive movements in times of stress.
When reflexes are triggered, it is not usually a happy scenario. They can look like extreme rigidity about routines and smells and foods and any odd thing you can imagine. They can look like tantrums or fist fights at the slightest provocation. They can look like deer-in-the-headlights, or complete meltdowns, test anxiety, insomnia, clumsiness.
The good news is that, by moving in the primordial ways our brains remember, we can pick up the dropped stitches of development and learn to move, feel, and think in more integrated ways. This goes for everybody – the “special needs” and the “gifted” alike. Adults need reflex integration activities as much as children do.
My CD/Book Set, Rappin’ on the Reflexes, is full of these integrative movements choreographed to songs and raps. But you integrate infant reflexes along with any song. Here’s a version of If You’re Happy and You Know It based on some of the earliest reflexes. (For the tune, try this link).
Verse 1: Rooting and Suck Reflexes. Babies “think” with their mouths, searching for that food source, lips, tongue and jaw all moving together. A great way to get that mouth activity going is the “z” sound. Make sure your mouth leads your head in movement, as you search for nectar! “If you’re happy and you know it, buzz like a bee . . .”
Verse 2: The Fear Paralysis Reflex. Fear Paralysis looks like “FREEZE!” One way of getting “unfrozen” is to touch under the nose and under the mouth, and make the “l” sound. This connects the Central and Governing Meridians (see Getting Centered: The Itsy Bitsy Spider for more on the meridians) and has a profound centering effect. Simply bring your hand to your mouth, and rest the side of your index finger under your nose, and the side of your thumb under your mouth. “If you’re happy and you know it, moustache and beard – oolalallllll!”
Verse 3: Moro Reflex A. If Fear Paralysis is “Freeze,” Moro is “Fight!” The movement centers around the sternum (contractions in African dance are pure Moro). To diffuse that energy, beat on your chest and let your breathe out in vowel sounds. “If you’re happy and you know it, be a gorilla – owowowo!”
Verse 4: Moro Reflex B. Moro also has a lot to do with breathing – it’s the way we get our first breath! Inhale (kiss), exhale (blow). The kissing movements also help integrate the rooting and suck reflexes. “If you’re happy and you know it, blow a kiss!”
Verse 5: Tonic Labyrinthine Reflex (TLR) Forward. This reflex has everything to do with posture. “If you’re happy and you know it, hug your knees!”
Verse 6: TLR Backward. “If you’re happy and you know it, look at the sky!”
Verse 7: Asymmetrical Tonic Neck Reflex (ATNR) one side. This reflex is involved in eye-hand coordination, visual tracking, reading, comprehension, falling asleep at night . . . Turn your head to one side, and let the shoulder and arm follow. “If you’re happy and you know it, look to one side –“ (spoken) “and point!”
Verse 8: ATNR other side. “If you’re happy and you know it, other side –“ (spoken) “and point!”
Verse 9: Moro A. It’s hard to overdo the Moro. We’ll end the song with the three parts of the Moro Reflex in developmental sequence. Part A is what babies do when startled. First, the extension – throw your chest up, your head back, and fling your arms out in a kind of “Who knows?” gesture. “If you’re happy and you know it, say, “Who knows?”
Verse 10: Moro B. The next part of Moro is the contraction – the body compacts to protect itself. Rocking side-to-side is an integrative motion that helps diffuse stress. “If you’re happy and you know it, hug yourself –“ (spoken) “and rock.”
Verse 11: Moro C. The last part of the Moro is the social impulse. The baby grabs for Mama. We reach out to one another for comfort and companionship.“If you’re happy and you know it, hug your friend.”
Eleven verses is a lot! Nothing terrible will happen if you pick and choose, although it’s best to do both halves of the TLR and ATNR , and the 3-part Moro sequence, in order. You can also do the song in stages, returning to it once or twice during a class to complete the developmental sequence. Here’s “If You’re Happy And You Know It: Reflex Integration Style,” from start to finish:
If you’re happy and you know it, buzz like a bee!
If you’re happy and you know it, buzz like a bee!
If you’re happy and you know it, and you really want to show it
If you’re happy and you know it, buzz like a bee!
If you’re happy and you know it, moustache and beard – oolalallllll! (etc.)
If you’re happy and you know it, be a gorilla – owowow! (etc.)
If you’re happy and you know it, blow a kiss! (etc.)
If you’re happy and you know it, hug your knees! (etc.)
If you’re happy and you know it, look at the sky! (etc.)
If you’re happy and you know it, look to the side – and point! (etc.)
If you’re happy and you know it, other side – and point! (etc.)
If you’re happy and you know it, say, “Who knows?” (etc.)
If you’re happy and you know it, hug yourself – and rock!” (etc.)
If you’re happy and you know it, hug a friend! (etc.)
Kathy Jul 01, 2012
This is great! Do you have a demonstration video? That would be a very helpful tool. Thanks