In a human figure there are the masses of head, chest and pelvis. Each of these has a certain height, breadth and thickness. Considered as blocks, these masses balance, tilt and twist, held together in their different movements by the spinal column. As they twist and turn, the spaces between them become long, short or spiral.
We might liken these movements and the spaces between the masses or blocks, to an accordion when it is being played. Here we have an angular, virile, active side, the result of forcing the ends or forms towards each other and by this action compressing and bringing together on the active side, the pleats of the accordion; the opposite or inflated side describing gentle, inert curves.
The blocks or masses of the body are levers, moved by muscles, tendons and ligaments. The muscles are paired, one pulling against the other. Like two men using a cross-cut saw, the pulling muscle is swollen and taut, its companion is flabby and inert. When two or more forms such as the chest and the pelvis are drawn violently together, with cords and muscles tense on the active side, the inert, passive mass opposite must follow. There is always to be considered this affinity of angular and curved, objective and subjective, active and passive muscles. Their association is inevitable in every living thing. Between them, in the twistings and bendings of the body there is a harmony of movement, a subtle continuity of form, ever changing and elusive, that is the very essence of motion.
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