Skip to content

The Continuum

Read Beth Pettengil Riley and Priscilla Stanton Auchincloss “A Moving Inquiry“.

Emily Conrad – Founder of Continuum Movement

My Story” Emily Conrad and Renate McNay

Intro to Continuum – Emily Conrad

Peace Prayer, Emilie Conrad

Versatility, Emilie Conrad

WATER By Theodor and Wolfram Schwenk (excerpts) Peder B. Helland (piano)

Mini Dives

“Hey Jude” mini-dive using N and HA sounds (Estas Tonne):

Variation of Cari’s Embryonic Mini-Dive using Primordial Breath and M sound:

The Eyes Have It Mini-Dive using Shhh and Zshhh:

I Rib U Not with M and E and O
MmOoHeelToe – my intro
Pandiculation with Hu and Theta
ENT with H-U-M

ninalolawowo basic (marcella)

marcella describes her dive

ninalolawowo advanced (marcella) (sped up)(music is white noise to cover t.v. sounds in background)

The Blurs – reclaiming your beautiful animal body “growl”

Inside the throat, the airway is essentially a round tube with the vocal cords narrowing the airway, acting as a valve, technically – the glottis.  “Vocal cord” is a part of a muscle on the side of the larynx, covered with special tissues that can vibrate at a high speed. It resembles a lip of tissue much more than a cord.

Distortion takes place at the level of the false cord (ventricular folds), level 2. The ‘noise’ is created by vibrations of the false folds. The false folds do not have a flexible and excess mucous membrane as do the true folds, which means that they do not vibrate as fast and delicately as the true folds, and therefore they produce a distorted sound. The distortion takes place above the true folds which means you can add lots of volume to this effect without damaging the voice. Once you have created the ‘noise’ by using the false folds, you can add a mode to the distortion and thereby gain power and metal. The more a sound is distorted, the more ‘noise’ and the less tone there is. Full distortion (100% distortion) is only ‘noise’ and no tone. Distortion is a mixture of ‘noise’ and tone. Distortion is an effect that can contain a range of emotions from aggression to devotion. It has little to do with your speaking voice, some call it pre-vocalization. Janis Joplin is an example of someone who used distortion in her singing.

However, we use distortion in the blurs without the notes. In order not damage vocal chords, I imagine that noise needs to be made at the back of the throat (visualize the back of the mouth). It is not coming from the vocal cords in the front – the speaking part of your voice). There may need to be fluid in the throat at first to help get it started. Its like gargling with sound. Let it be very gentle because if you do it incorrectly it is not nourishing it is irritating.  It did allow me to go into the wordless void where I had external awareness but without thought. It is like a little death and kind of peaceful.

It occurs naturally when in C curve on your side to allow the blurs to arise. Gentle and beautiful, not a protective defensive animal “growl” but a nurturing animal sound.


Life on Land_ Exaptation

Life on Land – Tissue

Life on Land – Culture

The Polyvagal Theory
Porges S. W. (2009). The polyvagal theory: new insights into adaptive reactions of the autonomic nervous system. Cleveland Clinic journal of medicine, 76 Suppl 2(Suppl 2), S86–S90.

Polyvagal Theory vs. Continuum discussion between Donnalea Van Vleet Goelz and Dr. Steve Porges. Polyvagal Theory focuses on neuro-regulation, yet to my way of thinking it is somewhat different in that it emphasizes prosocial behavior as a means of co-regulation. My experience of "neuro-regulation" in Continuum is independent of co-regulation that takes place between people. I am listening to my own body instead of the soothing voice of a teacher (voice, gesture and the safety that is created in the presence of others) as I dive deep within to follow inner movement. However, a community of practitioners provides a support system (we are not in actual physical proximity in Zoom). Our discussions create a shared experience where we learn to speak a new language around our experiences. But for me the Continuum is the lived experience of self-nourishment. Our purpose is to find a door or portal into it. But I do experience the effect of my practice in my social relationships when my body has felt nourished: I am peaceful and less reactive and am even compassionate. Continuum Movement allows me to know what loving kindness actually feels like because I am being loving and kind to myself. While the social engagement system (voice and face of regulated others) is a beautiful thing it is not actually necessary to experience the Continuum. At the same time, so much of what Steve Porges said (30:36) describes a big part of the experience of Continuum in that if you throw away defensiveness, the body's endogenous rhythms can express themselves. He says that psychological stillness is allowing the homeostatic neuro physiological processes to optimize how they function."

Donnalea interviews Dr. Sue Carter (she is married to Steve Porges)

HOLOGRAPHIC TOUCH Carol Ann Agneessens, MS.

Gravity and the Fluid Body– April 9, 2015. Liz Koch of Core Awareness interviewing Carol. Gravity, Embryology and the Fluid Core.

Embryology – The Nervous System

Embryology and Cranial Sacral Therapy

When the Moment Sings: The Muse Within (1996)

Healing From the Core® and the Continuum Process 2010 – Overview Part 1 of 2

Healing From the Core® and the Continuum Process 2010 – Overview Part 2 of 2

Gesture, Gravity, & Dexterity Overview – A Continuum Virtual Intensive with Emilie Conrad

Val Loeffler, Continuum teacher and bodyworker Val Leoffler discusses a creative approach to healing in her work with clients, as well as in her own recovery from a brain tumor.

Amber Elizabeth Gray, From Darfur, Kosovo and Haiti to her clinic in New Mexico, human rights psychotherapist Amber Elizabeth Gray blends dance therapy and Continuum in her recovery work with refugees. “Every human being deserves the right to inhabit his or her body in the way they choose.”
Watermark Arts,(4:53)

Watermark Arts Performance,Omega Institute, 2019

Megan Bathory-Peeler, The “artistry of healing” inspires Continuum teacher, bodyworker & dancer Megan Bathory-Peeler.

Kori Tolbert, Kori Tolbert on how the practice of Continuum has allowed her to keep “growing and expanding in breath – something unheard of with cystic fibrosis.”

Bonnie Gintis , “Health is about the full expression of life, which is movement,” Bonnie Gintis, faculty with the Somatic Movement Summit at Omega, June 30 – July 5, 2019. “On so many levels, I am convinced my practice of Continuum is what has allowed me to live for 9 years with a fairly advanced level cancer diagnosis.” Bonnie Gintis is an osteopath, author, Continuum teacher & Watermark Arts Science Advisor.

Sharon Weil, “Navigating change is the new stability,” author and Continuum teacher Sharon Weil on how the practice of Continuum supports the writing process, as well as life in a fast paced ever changing world.

Beth Riley, “With Continuum and creative expression I found home,” Beth Riley on the life enhancing practice of Continuum.

Ellen Cohen, Through the practice of Continuum, improvisational dancer Ellen Cohen learned to trust in the unknown.

Somatic inspired dance, poetry and music from Watermark Arts artists, Omega Institute, 2018

Elaine Colandrea shares her passion for Continuum and Watermark Arts with this informal “curtain talk” recorded at Watermark Arts May 5th 2018 New Canaan, CT program, “Watermarkings…” at Holly & Bill Mensching beautiful barn.

Interview and performance footage of Continuum teacher, dancer & choreographer Melanie Gambino.

Watermarkings...somatic inspired art, dance & poetry at The Barn, New Canaan CT, May 5, 2018. Artistic Director Elaine Colandrea with Megan Bathory-Peeler, Robin Becker, Lisa Clementi, Ellen Cohen, Melanie Gambino, Lacey Ann Moore, Nicole Sclafani and special guest artist Florence Suerig. Music: Morena Boschetto Video footage and editing: Hannah Tobias.

Elaine Colandrea talks about The Ways of Water and how somatic practices such as Continuum facilitate our connection to the fluidity of presence, our birth right as seen expressed in our embryological creation for better life quality, responsiveness and creativity for ourselves, our relationships and society.

Elaine Colandrea, Artistic Director of Watermark Arts guides an introductory somatic movement exploration using Continuum.

Elaine Colandrea, Continuum Teacher and Director of Watermark Arts explores Embryonic Origins with Continuum whilst in Italy with Continuum Italia.

Robin Becker, Artistic Director at Robin Becker Dance, speaks about the somatic practice of Continuum as, “a way of accessing one’s deepest being as a resource” for creativity. Robin’s insights are applicable to all creative process, to all of life.

Fascia Movement Demo with Elaine Colandrea, Italian narration by Simona Arbizanni

Somatic Movement Summit: Diving in the Waters of Creation at Omega Institute, Rhinebeck, NY

Living Prayer

Wind Dance III

Continuum Movement Arts Live Dance Event, NYC, Oct 30, 2014

The Spirit Soars – Emilie Conrad

Emilie Conrad’s visionary perspective on Continuum and the arts. “Creativity is the juice of life.” 10 minutes (2014)

Open Attention (discussion by practitioners)


Angelika and I are doing tree dive zooms (7/25/2022), We sit at the base of a tree (mine is an apple tree). I had to step away to help my dad. In the waiting, she realized the tree has time. There is no hurry. Waiting is a good thing, she said. “It helps us to manage our expectations.” BASELINE – Our baseline is sitting at the base of the tree, our back aligned with the trunk. We pay attention to our bodies in relation to the roots, trunk, branches, and canopy of the tree. Our eyes wander up to gaze and in this way we bring awareness to the inside of the eyes and outside of the eyes to the leaves. In fact, the tree is the baseline of our lives as we return to it regularly (like a ritual). The dive is an inquiry (which is a state of open mind) on the nature of our relationships with our trees. During this inquiry, Angelika related how the tree is always giving…whether it is shade, protection, or food. The exploration could be about this GIVING quality. We are still discovering the breaths, my favorite is Shhhhh or the Lunar breath. Angelika suggested the Cave Wind breath but for now it is open-ended, just like the movement exploration. We make skin contact as much as we are able to in order to feel our relationship with the tree. It is fun to hang from the branches while being aware of the flow of water in our bodies and the tree – finding the rhythm and the flow, remembering that the tree is in no hurry. When we return to baseline we imagine our sit bones as rooted and feel into the relationship with the tree’s roots. We are curious about roots and branches, and our crown or canopy of the tree. In this dive we are not telling anyone what to do – it is not an instruction as in other forms of somatic movement, rather we offer guidelines. Angelika expressed that earlier this week she was led to water the trees on her property, approximately 200 liters (1/2 hour). They needed nourishment, too (the weather is so dry – one of the trees in the forest near her just fell over from exhaustion or dehydration).