vital readjustment

What is vital readjustment?

It is a tool created by Sofia Machta that allows deepen the expression and body communication in a creative and spontaneous way. Its foundation is the aware and sensitive listening of the body, accessing and connecting with the deep strata buried in our unconscious, freeing them, rehabilitating and integrating them. In this way, non-mental information is accessed, which makes it possible to unpin old schemes, naturally leading us to integrate, accept and fit the vital flow, opening us to experience new ways of feeling and expressing from a completeness.

Through music that evoke, invoke and provoke movements, there is a connection with the most organic, reestablishing the connection with the essential

What is it for?

Without feeling contact with their own body, people lose contact with their deep living and creative beginnings, the connection with their own nature, through the vital readjustment dance there is an integration of the bodily and mental experience. There is an integrity of mental, behavioral processes and emotional involvement of the individual. Changes in one aspect imply changes in others.

With the help of dance, allow you to communicate on three levels: with the world, with other members of the group, with yourself. This creates a unified communication system. In addition, the movement allows you to discover the creative potential, which is the essence and root cause of human energy. Thanks to participation in the creative process, a path can be opened for a person to observe and realize himself, his abilities and limits.

Benefits of vital readjustment

The main benefit of the practice of vital readjustment is creative expression through dance and movement, which contribute to the integration of cognitive, emotional, social and physical aspects of our life. A new way of treating the mind and body.

Life readjustment is constructed taking as a reference, among others, the role of dance in primitive societies where dance was of socio-psychological importance, performing several functions at once:

• Communicative (knowledge transmitted; communication facilitated between different groups)
• Identification (which reflects belonging to a particular tribe)
• Expressive (express self-conscious identity)
• Recreational (eliminates emotional and physical stress)

Wilhelm Reich’s “muscular shell” theory made a significant contribution to the development of dance therapy, in which vital readjustment is grouped. First, he showed that a person’s tension (“muscular shell”) arises in childhood and is directly related to the fear of being punished, misunderstood, alienated, as well as the need for a person to constantly repress his sexual feelings. Reich believed that psychological defense mechanisms and associated protective behavior contribute to the formation of the “muscular shell,” which is expressed in the unnatural tension of various muscle groups, shortness of breath, etc. Psychological protection mechanisms can be resisted by modifying body state and impact on the stressed area. As a result, complexes and tweezers accumulate in the body and can lead to various mental and corporal diseases.

Reich’s body-oriented therapy relies heavily on his theory of organ energy. Reich considered pleasure as the free movement of energy from the core of the body to the periphery and to the outside world and finally came to the idea of therapy as restoring the free flow of energy through the body through systematic liberation of the muscular shell. In his opinion, these blockages (muscle clamps) serve to distort and destroy the natural feeling, in particular, the suppression of sexual feelings.

Expressive and free dance is really effective since it is the best possible way to minimize physical stress and increase body mobility. If you believe in the notorious Reich theory, it turns out that it activates, acts and eliminates the same muscular “clamps.” After all, a person begins to move, to express their feelings and emotions during the dance. The accumulated energy that he used to maintain muscular “support” finds a new application and a way of release. In dance, the unconscious needs and impulses that the dancers could not even guess find a safe way to manifest and free themselves.