One might think that rhythm, compass (beat) and cadence are not very appropriate concepts to be used in the activity of walking, because they are usually applied in music and in some other artistic manifestations. I would like to mention and emphasize that walking as a natural human activity comprises a “musicalization” and is therefore realized by combining functionally and organically these three functional concepts. Walking is a percussive musical symphony (Future Posts EXPLORING OUR PERCUSSIVE MUSICAL WALKING-BODY-RHYTHM; THE PERSONALITY DEFINED BY THE RHYTHM WHEN WALKING-BODY; WALKING AND THORACIC PERCUSSION).
THE VIBRATIONS OF THE BODY
Our body is permanently vibrating. It emits its vibrations when performing different functions through its various vital organs and systems: breathing (lungs and alveoli), palpitations, pulsations, heartbeat (heart), voice and language (mouth, larynx, pharynx and oesophagus), blood circulation (blood vessels), lymph circulation (lymphatic vessels), autonomous movements of some organs, etc.
The rhythm, the compass (beat) and the cadence of each body are organically aroused and create a vibrational symphony.
What does “organically” mean?
The term “organically” refers to how the different parts and systems of the body function and relate to each other in a natural and coordinated way to maintain homeostasis (Future Post THE WALK-RWD SYSTEM AND HOMEOSTASIS) and perform its vital functions.
In the physical aspect, the human body functions organically when the different systems (such as the cardiovascular, respiratory, digestive, nervous, etc.) work together to maintain an internal balance and allow for physical activities.
On the mental side, organic function refers to the brain’s ability to process information properly and maintain emotional and cognitive balance.
This implies – in both aspects – a complex interaction of biological, psychological and social factors that allow for effective adaptation to the environment and the demands of everyday life.
Considering the above, we can also consider arrhythmias, peristaltic movements and others as a source of organic vibration.
FUNCTIONAL ORGANIC RHYTHM, COMPASS (BEAT) AND CADENCE
Let us briefly analyze the concepts of rhythm, compass (beat) and cadence, taking into account the sensations and effects on the physical body as well as on the mental aspect:
RHYTHM: is the regular succession of events or phenomena with a certain periodicity. In the human body, rhythm can be observed in biological functions, such as heart rate, breathing, sleep and wakefulness, among others. It can also manifest itself physically as in artistic expression, in dance and ballet (Future Post WALKING, DANCE AND BALLET).
COMPASS (BEAT): is the regular division of time into equal units, which is used in music to measure and organize rhythm. In the human body, the compass (beat) can be used as a meditation technique to regulate breathing and mental concentration; it can also be observed in the coordination of movements and in the regulation of heart and breathing rate during physical exercise, e.g. walking.
CADENCE: is the rhythmic variation in the intensity, speed and duration of a movement or sound. In the human body, cadence can be observed in the way we walk, run or perform any type of physical activity. It can also be present in the way we speak (speeches and poetry), and in artistic expression such as in music and poetry. Cadence can be used as a tool to improve physical performance and mental attention in different situations.
Cadences, those variations in the intensity, speed and duration of our movements while walking (of constant time lapses) have been learned over millions of years in the natural practice of walking. We have developed that cadence (*) that we use when walking from the pristine origins of the human being.
(*) PERCUSSIVE CADENCE: Cadence implies rhythm, but also organization and harmony. In percussive music (percussion) it involves rhythm and time periods. An ordering that leads to intonation and harmony. It is the series of percussive sounds that are performed in a standardized and regular way. The percussive cadence in walking also involves the movement of the body to match the intonation (tones) produced by the steps. It is the perfect and normal distribution and organization of the sounds generated by the steps and the movements of the body as a whole. This walking cadence can normally be combined with sounds, movements and pauses, in both cadential spheres (sound and movement), which participate in a physical and auditory intonation, in full harmony. It is the normal harmonization that the body achieves when walking, as the steps are performed to a rhythm and musical beat of its own.
Each individual has his own rhythm, compass and cadence, as well as his own opening of step “d” when he performs his personal walking.
NORMAL STRIDE OPENING “d”
The step distance “d” of an individual is constant in normal walking. When we perform some extra activity while walking, this distance “d” is modified, either by increasing or decreasing it, transforming it into an irregular or out-of-normal gait.
In general, the normal walking pace “d” is greater than when reading at the same time:
DISTANCE d’ WHEN READING AND WALKING
d > d’
In the same way, we can illustrate for the other 2 structured activities within the WALK-RWD system, writing and drawing, and each of them will impose on each individual a specific stride opening.
To walk with a different stride opening than normal is to walk out of cadence, and of course, also with a definite rhythm and beat (compass).
It should be noted that the rhythm, cadence and compass, and therefore the step width “d”, change throughout the life of a human being, man or woman. The same values are not maintained in childhood, adolescence, maturity and old age. However, each individual develops these 3 parameters according to his or her gender, physical structure, weight, height, etc., and keeps them constant during certain periods of time.
The determination of each of these parameters involves measurements of time, space and number; and with them other quantifications such as speed, gravity, acceleration, weight, mass, etc. are combined.
Gaston Bachelard in his book THE INTUITION OF THE INSTANT, F.C.E., Mexico, 1987 (1932 in French) expresses his ideas about habits and conditioned rhythms, which shape the human being:
“A particular habit is a sustained rhythm, where all acts are repeated by equalling quite exactly their novelty value, but without ever losing that dominant character of being a novelty”(pp. 61-62).
“The global identity [of the human being] is made up of more or less exact reiterations, of more or less detailed reflections. The individual undoubtedly strives to copy today from yesterday; and this copying is also helped by the dynamics of rhythms” (pp. 63-64).
“The dominant habitus flows over those which are more unconscious” (p. 64).
“The human being is an integral sum of rhythms” (p. 64).
“The chronotropisms will be those that integrate the habits in this integral sum of rhythms that form the being” (p. 65).
Something more related to walking, Johan Huizinga, in his book HOMO LUDENS (p. 222), gives us some ideas that I will summarize: He refers to the body with its movement and balance when walking. That same rhythm that “contains” the body, from time immemorial, from the most remote times, which has manifested itself in the manufacture of food (archaic times), in an instinctive way, we also observe that the body carries it out, in an unconscious and imperceptible way, in walking.
And I, for my part, in the introduction to my book “Cocinopea”, describe this rhythmic movement that ancient human groups developed, to prepare their food:
It seems that someone whispered to us that the highest art, the best art, is the one that is performed with the greatest number of human senses. And therefore, we could venture to say that rhythm in bodily movements has a profound and subtle effect on the preparation of the cymbals, that rhythmic faculty, sensation and capacity are determinant in the being for it. I do not wish to expand any further on this, but I do wish to comment that the activities that take place in the kitchen, aimed at preparing food, have always been carried out in the company (association, adhesion) of chants and work tunes since the most ancient times and in very primitive activities such as grinding, milling, cutting, kneading, etc., as well as in the preparation of food, grinding, chopping, cutting, kneading, crushing, combining, mincing, mutilating, dismembering, slicing, carving, mixing, baking, roasting, and all of them surely had a compass (rhythm), a song, a rhythm, a melody, which accompanied and led them.
It was characteristic that these activities were carried out in groups, and as the activity of preparing food became more and more an individual activity, the custom and rituals of accompanying them with chants and rhythmic body movements in groups was lost.
Hence, we could also venture to say that a good cook is one who has an adequate and relevant inner rhythm. Rhythmic balance and good flavor merge to achieve the best dishes, which is why we recommend for this type of cooking the setting with music from the region, highlighting Huastecan sones; for each of the dishes there should be a specific suggestion of the music that can accompany the preparation of each recipe.
So it is also in our interiority that these 3 factors work to prepare the food: Rhythm, Compass and Cadence.
To conclude I would like to communicate the 5th Principle of the WALK-RWD system or Principle of Rhythm and Cadence, which arises and is an essential part of this Post:
5th Principle or Principle of Rhythm, Compass and Cadence.
Every individual has a rhythm, a compass and a cadence of his own, he only has to discover, apply and maintain them while walking.
The determination of these 3 parameters in each individual can be determined by the practice of walking itself. Only by walking can each person identify which ones are ideal for the body, both physically and mentally. There are two very important stages that we can go through in order to understand how to identify them. The first is related to ideas and the second is identified with health.
STAGE OF IDEAS. The human being when walking can manage to generate a greater number of ideas through the application of the WALK-RWD system (Post THE WALK-RWD SYSTEM ENCOURAGES CREATIVE THINKING. PART I; Future Post THE WALK-RWD SYSTEM STIMULATES CREATIVE THINKING. PART II, THE WALK-RWD SYSTEM AND COGNITIVE PERFORMANCE), the generation of an inexhaustible (unfading) wellspring of ideas and creativity; and when we enter into an attunement (symphony) with these three parameters when we walk, we may be assured that these are the normal and ideal parameters for that particular person, for he is generating an optimum number (quality and quantity) of ideas.
STAGE OF HEALTH. In the stage of health we can express the same; walking for the human being is a source of unquestionable youth (generation of health and prevention of diseases), besides the correction of morbid states when walking, through the application of the WALK-RWD system (Future Post THE SILENT SOUND OF OUR FOOTPRINTS HEALS US) and when we enter in a tuning (symphony) with those three parameters when we walk, we could assure that those are the normal and ideal parameters for that special person.
Let’s take a walk and introduce ourselves to these 2 stages of ideas and health