Natural Process

There is a depth in natural processes that cannot be replicated artificially. Even in a time of continuous technological innovation, we often find ourselves drawn back to traditional, natural ways of living. I’d like to share with you some of my favourite examples of the beautiful depth and complexity of nature—oud and indigo—and explain how this relates to my approach to movement and physical therapy.

A piece of Chinese oud wood. Photo from EnsarOud.

OUD

Oud is the costliest aromatic in the world. Also known as agarwood, this rare substance has been appreciated for thousands of years in the East and is becoming increasingly popular in western perfumery. The raw wood can be heated as incense, distilled into an essential oil, or carved into fragrant jewellery and sculptures. Its smell comes from the resin that saturates the wood, which can be seen as dark-coloured strands. This resin is only found in certain types of trees (Aquilaria and Gyrinops) and is extremely rare in nature. Found exclusively in parts of India, China, and Southeast Asia, the tree only produces the resin as a protective mechanism if it becomes infected by a specific type of mold.

Cambodian Oud wood and oil. Photo from Oriscent.

Papuan oud bracelet. Photo from EnsarOud.

What makes oud so special as an aromatic is its chemical complexity. It can contain over 150 different aromatic compounds in a single oil, and this is what allows it to act as either a standalone fragrance or a rich ingredient in a perfume. Whether it is heated or used as oil, the scent of good oud evolves throughout its use, displaying a full array of top, middle, and base notes.

The irreplaceable scent of wild oud is brought about by many variables, like differences in weather, soil content, and the maturation of the tree, that come together to form something altogether unique. Just like how a sommelier can deduce a wine’s time and place of origin based on its flavour, oud collectors can often tell an oud’s region of origin from its scent alone.

Attempts to recreate this rare compound have led to man-made and carefully controlled synthetic and cultivated ouds. Unfortunately, neither comes close to the real thing. Their smell is shallow and linear, lacking the characteristic depth and complexity of wild oud.

Indigo dyed yarn. Photo from visvim.

INDIGO

Natural indigo dye is used by luxury garment makers because of the uniquely deep and rich hue it gives. Sitting somewhere between blue and purple, its colour is the result of many variables, like variations in temperature, the chemical properties of the dye itself, and the unique methods that are used by experienced artisans.

The dye is made by fermenting leaves of indigo-producing plants (e.g., Indigofera tinctoria). The fermentation process releases indican, which converts to indigotin, the blue pigment. The liquid is aerated to oxidize the dye, then dried into cakes or powder. The final dye is reactivated in a reducing bath before use.

Aigata, a traditional indigo dyeing method used in Japan to create pattern art on fabric. Photo from visvim.

While synthetic dyes may be able to create beautiful blue hues, they cannot replicate the nuanced depth and patina that natural indigo can impart on a fabric. The unique finish of indigo-dyed products is achieved through repeated cycles of submerging and drying, giving it a beautifully layered effect. Over time, the layers of indigo fade in high-use areas, creating a garment that is unique to its wearer. When applied to quality fabric, the result is a piece that is personal, genuine, and vintage: “worn-in” rather than “worn-out” (a key distinction that we’ll soon revisit).

A well-loved indigo denim jacket.

MOVEMENT AND REHAB AS NATURAL PROCESSES

I first started In Tune because I noticed too many movement and rehab programs with a lot of marketing, but very little substance. The catalyst to my actually registering the business and launching the website was the feeling of having been taken advantage of after spending almost $500 on an online course that offered no real value. I wanted to build something that, like oud and indigo, had real depth, nuance, and personality—something that was not only objectively valuable in terms of offering original concepts and helpful exercises, but that also resonated with people in a personal way.

So how do we approach movement and rehab in a way that reflects the depth and complexity we find in nature? I’d like to offer an idea.

One of the more surprising facts of motor learning is that experts can perform a skill with inconsistent technique and yet achieve highly consistent results. Because of their mastery, experts are able to perform a task in a variety of ways while still accomplishing their goal: pro tennis players can serve an ace from either side of the court, with different kinds of spin, and at different speeds. Bradley Cooper’s character in Burnt expresses this idea when he tells his sous-chef that “a chef should strive to be consistent in experience, but not consistent in taste.”

Many think of variability in movement and rehab as a constant exploration of new patterns and stimuli, but this approach leads to superficial results that lack the characteristic depth of anything truly valuable or meaningful. Using variability as a movement concept is more like rereading your favourite book, or rewatching your favourite movie. Even though you know the story, every retelling uncovers some hidden meaning, or presents something familiar in a new way.

On the other side, we often hear about how movement will lead to “wear and tear” on the body, but I think it is more true to say that the way we move will shape our body, for better or worse. Monotonous, thoughtless movement will lead us down a certain path, but present, thoughtful, meaningful movement will take us somewhere else entirely.

In this way, a movement practice requires equal parts action and receptivity: action, because it all starts with doing something; and receptivity, because we must be open to learning what we can at all times. This interplay between task and process, action and thought, performance and assessment, is the framework within which a truly rich and meaningful movement or rehab practice can grow, naturally.