What the Dog Saw: And Other Adventures

see the way he walks? He drops his hands. They’re close to his side.” The analyst this time was Suzi Tortora, the author of The Dancing Dialogue. Tortora is a New York dance-movement psychotherapist, a tall, lithe woman with long dark hair and beautiful phrasing. She was in her office on lower Broadway, a large, empty, paneled room. “He’s very vertical,” Tortora said. “His legs are right under his torso. He’s not taking up any space. And he slows down his gait. He’s telling the dog, ‘I’m here by myself. I’m not going to rush. I haven’t introduced myself yet. Here I am. You can feel me.’” Cesar crouches down next to JonBee. His body is perfectly symmetrical, the center of gravity low. He looks stable, as though you couldn’t knock him over, which conveys a sense of calm.

JonBee was investigating Cesar, squirming nervously. When JonBee got too jumpy, Cesar would correct him, with a tug on the leash. Because Cesar was talking and the correction was so subtle, it was easy to miss. Stop. Rewind. Play. “Do you see how rhythmic it is?” Tortora said. “He pulls. He waits. He pulls. He waits. He pulls. He waits. The phrasing is so lovely. It’s predictable. To a dog that is all over the place, he’s bringing a rhythm. But it isn’t a panicked rhythm. It has a moderate tempo to it. There was room to wander. And it’s not attack, attack. It wasn’t long and sustained. It was quick and light. I would bet that with dogs like this, where people are so afraid of them being aggressive and so defensive around them, there is a lot of aggressive strength directed at them. There is no aggression here. He’s using strength without it being aggressive.”

Cesar moves into the living room. The fight begins. “Look how he involves the dog,” Tortora said. “He’s letting the dog lead. He’s giving the dog room.” This was not a Secret Service agent wrestling an assailant to the ground. Cesar had his body vertical, and his hand high above JonBee holding the leash, and, as JonBee turned and snapped and squirmed and spun and jumped and lunged and struggled, Cesar seemed to be moving along with him, providing a loose structure for his aggression. It may have looked like a fight, but Cesar wasn’t fighting. And what was JonBee doing? Child psychologists talk about the idea of regulation. If you expose healthy babies, repeatedly, to a very loud noise, eventually they will be able to fall asleep. They’ll become habituated to the noise: the first time the noise is disruptive, but, by the second or third time, they’ve learned to handle the disruption, and block it out. They’ve regulated themselves. Children throwing tantrums are said to be in a state of dysregulation. They’ve been knocked off kilter in some way, and cannot bring themselves back to baseline. JonBee was dysregulated. He wasn’t fighting; he was throwing a tantrum. And Cesar was the understanding parent. When JonBee paused, to catch his breath, Cesar paused with him. When JonBee bit Cesar, Cesar brought his finger to his mouth, instinctively, but in a smooth and fluid and calm motion that betrayed no anxiety. “Timing is a big part of Cesar’s repertoire,” Tortora went on. “His movements right now aren’t complex. There aren’t a lot of efforts together at one time. His range of movement qualities is limited. Look at how he’s narrowing. Now he’s enclosing.” As JonBee calmed down, Cesar began caressing him. His touch was firm but not aggressive; not so strong as to be abusive and not so light as to be insubstantial and irritating. Using the language of movement – the plainest and most transparent of all languages – Cesar was telling JonBee that he was safe. Now JonBee was lying on his side, mouth relaxed, tongue out. “Look at that, look at the dog’s face,” Tortora said. This was not defeat; this was relief.

Later, when Cesar tried to show Scott how to placate JonBee, Scott couldn’t do it, and Cesar made him stop. “You’re still nervous,” Cesar told him. “You are still unsure. That’s how you become a target.” It isn’t as easy as it sounds to calm a dog. “There, there” in a soothing voice, accompanied by a nice belly scratch, wasn’t enough for JonBee, because he was reading gesture and posture and symmetry and the precise meaning of touch. He was looking for clarity and consistency. Scott didn’t have it. “Look at the tension and aggression in his face,” Tortora said, when the camera turned to Scott. It was true. Scott had a long and craggy face, with high, wide cheekbones and pronounced lips, and his movements were taut and twitchy. “There’s a bombardment of actions, quickness combined with tension, a quality in how he is using his eyes and focus – a darting,” Tortora said. “He gesticulates in a way that is complex. There is a lot going on. So many different qualities of movement happening at the same time. It leads those who watch him to get distracted.” Scott is a character actor, with a list of credits going back thirty years. The tension and aggression in his manner made him interesting and complicated – which works for Hollywood but doesn’t work for a troubled dog. Scott said he loved JonBee, but the quality of his movement did not match his emotions.

For a number of years, Tortora has worked with Eric (not his real name), an autistic boy with severe language and communication problems. Tortora videotaped some of their sessions, and in one, four months after they started to work together, Eric is standing in the middle of Tortora’s studio in Cold Spring, New York, a beautiful dark-haired three-and-a-half-year-old wearing only a diaper. His mother is sitting to the side, against the wall. In the background, you can hear the sound track to Riverdance, which happens to be Eric’s favorite album. Eric is having a tantrum.

He gets up and runs toward the stereo. Then he runs back and throws himself down on his stomach, arms and legs flailing. Tortora throws herself down on the ground, just as he did. He sits up. She sits up. He twists. She twists. He squirms. She squirms. “When Eric is running around, I didn’t say, ‘Let’s put on quiet music.’ I can’t turn him off, because he can’t turn off,” Tortora said. “He can’t go from zero to sixty and then back down to zero. With a typical child, you might say, ‘Take a deep breath. Reason with me’ – and that might work. But not with children like this. They are in their world by themselves. I have to go in there and meet them and bring them back out.”

Tortora sits up on her knees, and faces Eric. His legs are moving in every direction, and she takes his feet in her hands. Slowly, and subtly, she begins to move his legs in time with the music. Eric gets up and runs to the corner of the room and back again. Tortora gets up and mirrors his action, but this time she moves more fluidly and gracefully than he did. She takes his feet again. This time, she moves Eric’s entire torso, opening the pelvis in a contralateral twist. “I’m standing above him, looking directly at him. I am very symmetrical. So I’m saying to him, ‘I’m stable. I’m here. I’m calm.’ I’m holding him at the knees and giving him sensory input. It’s firm and clear. Touch is an incredible tool. It’s another way to speak.”

She starts to rock his knees from side to side. Eric begins to calm down. He begins to make slight adjustments to the music. His legs move more freely, more lyrically. His movement is starting to get organized. He goes back into his mother’s arms. He’s still upset, but his cry has softened. Tortora sits and faces him – stable, symmetrical, direct eye contact.

His mother says, “You need a tissue?”

Eric nods.

Tortora brings him a tissue. Eric’s mother says that she needs a tissue. Eric gives his tissue to his mother.

“Can we dance?” Tortora asks him.

“OK,” he says in a small voice.

It was impossible to see Tortora with Eric and not think of Cesar with JonBee: here was the same extraordinary energy and intelligence and personal force marshaled on behalf of the helpless, the same calm in the face of chaos, and, perhaps most surprising, the same gentleness. When we talk about people with presence, we often assume that they have a strong personality – that they sweep us all up in their own personal whirlwind. Our model is the Pied Piper, who played his irresistible tune and every child in Hamelin blindly followed. But Cesar Millan and Suzi Tortora play different tunes, in different situations. And they don’t turn their back, and expect others to follow. Cesar let JonBee lead; Tortora’s approaches to Eric were dictated by Eric. Presence is not just versatile; it’s also reactive. Certain people, we say, “command our attention,” but the verb is all wrong. There is no commanding, only soliciting. The dogs in the dog run wanted someone to tell them when to start and stop; they were refugees from anarchy and disorder. Eric wanted to enjoy Riverdance. It was his favorite music. Tortora did not say, “Let us dance.” She asked, “Can we dance?”

Then Tortora gets a drum and starts to play. Eric’s mother stands up and starts to circle the room, in an Irish step dance. Eric is lying on the ground, and slowly his feet start to tap in time with the music. He gets up. He walks to the corner of the room, disappears behind a partition, and then reenters, triumphant. He begins to dance, playing an imaginary flute as he circles the room.

5.

When Cesar was twenty-one, he traveled from his hometown to Tijuana, and a “coyote” took him across the border for a hundred dollars. They waited in a hole, up to their chests in water, and then ran over the mudflats,