I’m not the sort of person who figures things out for myself. When I get lost, which is often, rather than look at a map, (I’ve no smartphone), I will usually ask someone. I enjoy the encounter. I listen, understand, and then a thick fog passes by and I find I’ve forgotten most of what they just told me. I turn and ask someone else for help until, by and by, I get to where I am going.
I don’t like reading instructions either. This does not help. What I do is ask someone to teach me how to do what I don’t know how to do. I like this. I love having people teach me. I like learning directly from a person. Is that bad? Well it is when you are sitting alone in your kitchen wanting to find a literary agent and you’ve got no idea how to go about it, and no idea of whom to ask.
So I ask the oracle.
How to find a literary agent, I ask. I am transported to AgentQuery.com. I’m reading. Whosever writing for this company is doing a great job. He or she is so personable I feel like they are right by my side teaching me just what I need to know. (Of course, I have no idea if this is true.) They teach me how to search for a literary agent who might be interested in what I am writing about. They teach me about how to write a query for a work of non-fiction. I decide simply to follow their directions, to follow them to a tee, as is most strongly suggested.
One page. One sentence, referred to as “the hook.” After hooking them, one paragraph to reel them in to wanting to know more about you and your book. A brief, pertinent bio. Thank them courteously and then say goodbye. If they ask you to include some of your manuscript, do so, and if they don’t, do not.
I did it. I followed the simple directions. Here it is – the hook, the reel, the bio, the thank you, and the first 25 pages of what I hope will be a published book that you can actually hold in your hands.
Of course, as my Alexander teachers taught me, I am not holding my breath. It seems unlikely that the first people I send a query to will want to take me on as their client, speaking on my behalf to the most prestigious publishers but, Carol Mann and Tom Miller, I hope you do.
If Carol and Tom should not, I ask all of you who read this for direction, for help. Alert me if you know of a literary agent or a publisher. Offer me guidance if you know your way around this world of books and business. And if you are so moved, let me know what you think of my little project.
To Carol Mann and Tom Miller,
As one who has held in my hands, in my arms, 15,000 people, whose primary sense is touch, who has lived life as a blind man who happens to be able to see, as one who has traveled this world teaching a simple song of physical and spiritual grace, I attempt here to lay the foundations for a theology of touch.
What is the connection between body and being, between the sensory and the spiritual, between movement and meaning? What does it mean to be tactually literate, to have educative hands? How can we, as educators, as therapists, as parents discern how our students, patients, and children interfere with themselves, somatically and spiritually, so that we might help them suffer less and enjoy life more? Touching The Intangible – Towards A Theology Of Touch tells of the sensibilities and values those of us who teach through touch must cultivate if we are to venture beyond the welfare of the body, and into the workings of the soul. Stories; of an aging mother no longer able to lift her disabled son, of a doctor in a race against time, of an adopted child who cannot eat or smile, of a man who can’t stop blinking, of a woman in search of her real voice, stories of transformation through touch, stories pointing the way toward a theology of touch.
Biography: Bruce Fertman
— 50 years experience as a movement artist and educator. — 1982, founded the Alexander Alliance International, an intergenerational, multicultural community/school dedicated to the training of Alexander Technique teachers currently with branches in Germany, Japan, America, and Korea. — 30 years traveling annually throughout Europe, Asia, and the United States helping people understand and experience the interconnectedness between physical and spiritual life. — A lifetime of disciplined training in Gymnastics, Modern Dance, Contact Improvisation, Alexander Technique, Tai Chi Chu’an, Aikido, Chanoyu, (Japanese Tea Ceremony), Argentine Tango, and Kyudo, (Zen Archery). — Taught members of the Berlin Philharmonic, Radio France, The National Symphony, the Honolulu Symphony and for the Curtis Institute of Music. — 13 years teaching annually for the Five College Dance Program in Amherst, Mass. — Taught the Alexander Technique for the tango community in Buenos Aires. — 6 years teaching Movement for the Actor at Temple and Rutgers Universities. — 10 years teaching annually for the College of Physiotherapy in Gottingen, Germany. — Currently, lives half the year in Osaka, traveling throughout Japan and Korea working with physical therapists, occupational therapists, speech therapists, psychologists, dentists, yoga and Pilates instructors, movement research specialists, classical pianists, and with the traditional Korean music and the traditional Korea tea ceremony communities. — Lives the other half of the year in northern New Mexico, hiking and writing.
Thank you for your time and consideration. I believe I have a substantial social platform of support upon which this book could be successfully launched. I include the first 25 pages as requested. I do have a first draft of the entire manuscript ready if you should like to read it.
Touching The Intangible
Towards A Theology Of Touch
Being blind I thought I should have to go out to meet things, but I found that they came to meet me instead…
If my fingers pressed the roundness of an apple, I didn’t know whether I was touching the apple or the apple was touching me…
As I became part of the apple, the apple became part of me. And that is how I came to understand the existence of things.
As a child I spent hours leaning against objects and letting them lean against me. Any blind person can tell you that this exchange gives a satisfaction too deep for words…
Touching the tomatoes in the garden is surely seeing them as fully as the eye can see. But it is more than seeing them.
It is the end of living in front of things, and the beginning of living with them.
Jacques Lusseyran – from And There Was Light
God is Reality.
No one knows the story behind Michelangelo’s choice.
What I do know is in the Torah the story goes that God blew the breath of life through Adam’s nostrils. Breath was the vital force. When painting the Sistine Chapel Michelangelo chose not to depict the creation of Adam through this image. He chose touch, not breath. God touches Adam, and Adam begins to live. That’s closer to how it works. Two people embrace. Spermatozoa race toward the ovum. Only one will penetrate the ovum’s protective layer, allowing the genetic material of the biological father to touch, then merge, with the genetic material of the biological mother.
Michelangelo’s depiction of Adam’s creation may be more widely known than the original. Michelangelo re-conceived the creation of man in his own image. He was the ultimate creator of the human form, a man who brought, through touch, the lifeless to life.
No wonder, when I was thirteen and saw for the first time Michelangelo’s Pieta at the Worlds Fair in New York in 1964, I wept. And wept. My mother had no idea why. Neither did I.
Now I do.
Was This Book Written For You?
This book is written in honor of and for…
…people interested in the relationship between physical and spiritual grace.
…people interested in touch, but especially for people who use their hands to help others.
… people interested in the interplay between sensory life and spiritual life. For anyone seeking to live a spiritually embodied life.
…counselors, psychologists, psychiatrists, and therapists of any kind who want to learn how to better listen, see, and be with their patients.
… body workers who want to learn how not to work on a person’s body, but through a person’s body. For movement artists and educators who better wish to understand how meaning underlies movement.
… all teachers who want to be better teachers, who want to learn how to quickly and deeply connect to students, how to foster trust, how to teach through the telling of stories, through metaphor, and through movement.
… performing artists, actors, musicians, dancers and singers who wish to know more about authenticity, about presence, and about inner beauty.
… people who are interested in Taoism and in the teachings of Lao Tzu.
… people who want a good introduction into what the Alexander Technique is and what it is about.
… people who are currently students of the Alexander Technique who wish to incorporate the work into their everyday lives, and into their way of being in the world.
… people who are training to be Alexander Technique teachers or who are currently Alexander Technique teachers who wish also to learn how to impart Alexander’s work outside of his procedures, who also wish to be able to teach effectively in groups. For Alexander trainees and teachers who want to take the work beyond the body. For Alexander trainees and teachers who wish to teach more from the heart. For Alexander trainees and teachers who wish to find contemporary language for Alexander’s work. For Alexander trainees and teachers who wish to explore the relationship between Alexander’s work and spiritual life.
This book unfolds from beginning to end, leading you deeply into the work at hand. At the same time, each essay stands on its’ own.
Table Of Contents
Was This Book Written For You?
Part I. The Work At Hand
The Way Of It
Revealing That Which Is Hidden
Taking Care Of The People Who Take Care Of People
At The End Of The Road
Part II. Sensibilities
Our Essential Task
Don’t I Know You?
How Are You?
In This Deep Place
The Lay Of The Land
Part III. Openings Into Grace
The World In A Dewdrop
One Small Gesture Of Kindness
All In A Days Work
In Blind Daylight
In The Blink Of An Eye
Sing For Me
A Little Lightness
On Becoming A Person
Living Until You Die
God In The Palm Of Your Hand
Part IV. Meditations On The Sensory World
Intrapersonal Sensory Intelligence
God Trying To Get Your Attention
Shekina – A Contemporay Midrash On Genesis
Without Our Having To Ask
What You Are Not
The Nameless Song
Inside The Majesty
V. Living The Work
Love Runs Downstream
A Real Softy
Drenched To The Bone
You’re Too Much
How To Make A Good Impression
Gravity and Grace
The Place Just Right
A Little Girl And A Little Boy
The Wind And The Willows
Beyond Right And Wrong
When I’m Right, I’m Right
Begin With Yourself
Where Do They All Come From
Barely Squeaking By
Not A Second Too Late
It Cannot Be That Simple
Teaching Without Teaching
Beauty Longing For Itself
Chasing After Your Own Tail
Can’t Stand The Pressure
Don’t Take My Advice
Heaven Help Us
A Nameless Song
Me And My Shadow
Putting Your Foot In Your Mouth
Ready Or Not
Life On The Edge
Too Late For You
A Poor Little Old Lady
Out Of Nowhere
Just Between You And Me
A Big Fat Nobody
Death Warmed Over
My Letter Of Resignation
The Work At Hand
Poise occurs by itself when we stop interfering with it. The hitch is we don’t know precisely how we are interfering with it because we can’t feel the interference.
What we do feel is the result of the interference, some particular or generalized strain, effort, tension, or fatigue. It’s there. We’re uncomfortable, and we don’t know how to become comfortable. We try to sit up straight, or we stretch for a while, but soon enough this lack of ease, this lack of support returns.
We go back to work with this sluggish sense of weight, this thickness we have to push through to get anything done. Or we go back to work so revved up that we don’t feel a thing for hours until we stop and find ourselves hurting, or totally wiped out.
Poise. It’s elusive. We see very young children, how lightly suspended they are, how lithe, how nimble. They’re not trying to do anything right. They’re just naturally buoyant and springy.
Unwittingly, from the inside out, we sculpted “a tension body”, a body made of tension.
The Awakening Slave by Michelangelo
It takes a lot of energy to keep two bodies going, especially two bodies that aren’t getting along. While our real body is putting its foot on the gas pedal, our tension body is putting its foot on the brake. We feel un-free, enslaved by our tension. This is the opposite of poise.
Poise returns as you begin to distinguish your tension body from your real body. As you become acquainted with your tension body, you can ask it, kindly, to let go of you. As it does, your tension body generously gives you its energy, its very life. The conflict ends. You’re free.
The Way Of It
On this particular day, in Japan, in a hospital, I am with physical and speech therapists. I have two days, fourteen hours. Two professors of Physical Therapy invited me because it has become apparent to them that, when it comes to educating physical therapists, two key elements are missing: how they use their hands, and how they use their bodies when they are doing their work. Physical therapists in Japan get a lot of theory in school. They learn a lot of specific techniques for a lot of specific problems. But they don’t have a class called Touch 101, or Movement for Physical Therapists 202. They just don’t, and these professors are beginning to wonder why. There are about thirty-five therapists in the room, about seven Alexander Technique teachers. That should work. The workshop begins.
I Don’t Know
The Alexander Technique is not a technique, not in the same way you guys learn techniques for working with adhesive capsulitis (frozen shoulders or in Japan as it is known, the 50 year old shoulder), or hemiplegia (severe strokes), or dysphagia (swallowing disorders). The Alexander Technique is not a technique for anything particular.
The Alexander Technique is a field of study. It’s an inquiry into human integration, into what integration is, what restores it, and what disturbs it. It’s a foundational study. Integration underlies everything we do. The more of it we have, the easier it is to do what we’re doing.
So what is integration? You PTs help people a lot with strength, flexibility, and coordination, super important for everyone. Integration includes all of these but is, at the same time, something distinct from them. For example, a baby can scream for an hour and not lose its voice. Why is that? Why can’t a grown up do that? A baby will reach for something, but never over-reach for something. They will only extend their arms or legs so far and no farther. Why is that? Babies will work for a long time figuring out how to pick up a pea on their plate but will never distort their hands or bodies while they’re doing it. They just won’t distort themselves. They are somehow prewired, preprogrammed to remain whole, all of a piece, a flexible unit. That’s integration.
So why do we lose it? I don’t know. I don’t know a lot of things. How do we lose it? I don’t know that either, but I’ve got a few theories. What I observe is that in the process of our becoming coordinated, something happens. At some point we’ve got to learn how to button our shirt, tie our shoes, eat with hashi, (chopsticks). We’ve got to learn how to speak, how to ride a bicycle, how to write kanji. Did you ever see little kids trying to write kanji? There you can see it. Children disintegrating. Their tongues are sticking out of the corner of their mouths, they’re not breathing, their heads are hanging down, spines bent and twisted, little hands gripping their pencils for dear life. And the more pressure around learning, the more felt fear, the more the body just falls apart. There’s no preventing it entirely, no matter how great your parents are, or your teachers, or your culture. Sooner or later it’s going to happen to everyone, more or less. The fall from grace. Somehow, we’ve got to find our way back to the garden.
Have you ever been to a rodeo? (I’ve now moved from standing in a big circle with everyone, into the center of that circle.) I haven’t, but sometimes when you walk into a bar in New Mexico, which is where I live when I am not living in Japan, you might look up at the TV and see one. A rodeo’s a contest where cowboys and cowgirls show their skill at riding broncos, roping calves, and wrestling steers. These are practical skills ranchers need in order to roundup cattle, to count them, or brand them. (I’ve chosen this example for the PTs because it’s profoundly physical, strongly kinesthetic. It’s also exotic, and people like that.)
It so happens that Marjorie L. Barstow, the first person formally certified to teach the Alexander Technique, and my mentor for 16 years, took Frank Pierce Jones, a man she helped train to become an Alexander teacher, a classics professor at Brown University, an East Coast intellectual, a man who would never find himself at a western rodeo, except for on this day, when Marj wanted to show him what the Alexander Technique was all about.
Okay Frank, in a minute a big, mean, steer is going to explode out of that gate, and out of the gate next to it, a cowboy on a horse is going to burst out, and that cowboy is going to do his best to lean over, grab that steers horns, dig his heels into the dirt, and take that steer down. And that steer is going to do his best not to let him.
The gates open. Frank watches. He sees the cowboy lean over, take the horns, snap them back, jam the back of the steers skull into his massive neck while twisting that neck to the side and bringing that steers head to the ground. The steer, unable to stay on his legs, crashes to the ground.
What did you see Frank? Not too much, Frank says. Keep watching Frank. They watched, and as they watched, little by little Marj got Frank to see exactly what was happening. You see Frank, the cowboy snaps the steers’ head back, and jams it into his neck. That compresses his entire spine. Now the steer can’t breathe. His front legs begin to buckle. His pelvis tilts under. His hind legs can’t get any power, any traction. That steer’s got nothing left. The man’s in control now.
There’s one last cowboy to go. Looking down at him as he sits on his horse, Frank can see that this cowboy doesn’t look well. He’s slouched back in the saddle, the horse’s head is dropped way down. Maybe he was out late. Maybe he drank more than he should have. The gates swing open, the steer gets the jump on him, the cowboy catches up, leans over, grabs the horns but can’t seem to snap the head back. Rather than the horns going back, Frank sees them rotating slightly forward, the neck looks enormous, the steers’ ribs are widening as air fills his huge lungs. The steers’ body seems to be getting longer, his front legs are dropping under him, his pelvis is out, his tail is up, his haunches powerful, his back hooves driving him forward like a train. Meanwhile, the cowboy looks like a flag flapping in the wind. This time around, the steer’s in charge.
Now that’s the way of it, that’s how it works, that’s what we’re after, Marj says. We’ve got that kind of organized power in us too. We’re just interfering with it all the time. That’s what Alexander figured out.
And that’s what I mean, I say to the class, when I use the word integration. I mean that naturally organized freedom and power that’s in all of us.
I can see I’ve got everyone’s attention. I’ve been telling this story as much with my body as with my words. I see that everyone’s been sitting for a while, so I say, Okay, enough sitting. Why don’t you stand up. The second they start to stand up I tell them to stop and just stay where they are.
Don’t move a muscle. Where are your horns? I mean, if you had horns. Are they rotating forward or are they rotating backwards? My eyes see one guy whose head is pretty jammed into his neck. I walk over and kneel down on one knee in front of him. I invite everyone to come closer so they can see us. I scoop his head lightly into my hands the way my grandmother would do to me when she greeted me, and I gently tilt his imaginary horns forward. His spine surges up. Everyone can see the power filling his body. That’s the steer, I say.
I guide his weight over his sit bones, then over his feet, and without any effort, he floats to a stand. How was that, I said? Smiling, dazed, he says, “Zen zen chigau! Totally different! I floated up without any effort.” “Well, I say, that’s what happens when the cowboy gets off your back.”
Now here’s where it gets interesting. We’ve all got a steer inside of us. I call that your mammal body. And we all have a cowboy inside of us. That’s your acquired body. And sometimes our acquired body works against our mammal body. There’s a conflict in there. We’re fighting against ourselves. And it can get dangerous. The steer can get hurt, and the cowboy too.
Now our cowboy can’t take us down by our horns because we don’t have horns, and besides, the cowboy is not outside of us. So how does the cowboy within us bring us down? Well, instead of coming at us from on top of our heads, he comes at us from below our heads, from our necks. It’s like he’s hiding there inside our neck, looking up, reaching up, and pulling our skull back and pressing it down into our spines. That’s not the only place where he hangs out, but it’s definitely one of his favorite places from which to operate.
Here’s what’s very cool. Our mammal body has got a lot of energy in it. And our cowboy body does too. Now if they’re going at each other, they’re using up all of our energy, and that’s the energy we want to be using to get on with our lives. If we can get the energy of the mammal body and the energy of the cowboy body to harmonize, to work together toward a common purpose, if we can get them both working for us, not busy fighting against each other, then just imagine how much energy that would free up.
And that’s why it felt so effortless standing up. Not only was the cowboy off your back, the cowboy was actually helping you get up! So you’re going from having almost no available energy to stand up, to having a surplus of energy to stand up. Now, that’s exciting. Imagine what it would feel like to work with patients with all that organized energy, what it would be like to move through your day like that.
(Glimpses into what it looks like as I work with physical therapists.)
Over the next half hour, I do this with about ten students. I make a point of always catching a person unaware that their horns are pulling back. Don’t move, I tell her. You’re perfect just like that. Okay, I’m going to be the cowboy. I place my hands around her head, but this time I put a slight pressure with my little fingers against the back of her neck and take her more into her “disintegration pattern,” gently getting her throat to bulge forward and down, which immediately tilts her head back, collapses her chest, and tucks her pelvis under.
Now, I’m going to have a change of heart, a conversion. I’m a cowboy who decided to change his ways. My new mission is to free the steer, free its power. Finding the potential spring in her spine, I guide her back into her “integration pattern.” (I don’t use any Alexander jargon. I don’t need it.)
Supporting teachers, I call out! It’s time to give everyone this experience! I can sense a bit of panic in the air. I know what they’re afraid of. Don’t be afraid of taking people down, I say to them. Do it., but do it slowly and gently. It’s good for them. It’s good for everyone. We want to get springy down there. When you buckle a person’s neck forward and press their heads gently into their spines, it’s an intelligent response for the body to go into a collapse pattern. If the spine is too rigid and can’t do that, there’s a problem. So take people down, softly, and get them to know what’s happening down there. Lead them down in a way that makes their spine springy. Load the spring. Fill it with potential energy. Then take the pressure off it and let the spine spring back up. Get to work. Have fun.
By the end of the first morning we are off to a good start. Everyone’s got a clear idea of what the work’s about, what the workshop is about. They’re beginning to be able to see what the cowboy within looks like, and what the steer within looks like. They’ve all felt the power of their mammal body when the cowboy is working for it, and the weakness of the mammal body when the cowboy is working against it.
Their Own Story
I want to tell them about their own countries story of the ox and the ox herder, about the boy who finds the wild ox and tries to tame it, and has a real hard time of it, how they both end up exhausted. I want to tell them how, if they just hang in there for forty years, the ox and the ox herder will come to trust one another, like one another. The fighting will stop. But I decide not to go there.
Have a good lunch. Get some fresh air. Move around. Rest a bit. Come back ready to work.
Doumo arigatou gosaimashita, thank you very much, I say, bowing, grateful after all these years to still be teaching, grateful there are young people out there interested in what I know. Doumo arigatou gosaimashita, everyone repeats, happy and energetic.
Mounting the ox, slowly I return homeward.
The voice of my flute floats through the evening air.
Tapping my foot to the pulsating harmony of the world around me,
In rhythm with the beating of my own heart.
If you look closely at some of the large figures on the ceiling of the Sistine Chapel, you may notice something peculiar. A good number of them have books in their hands. It seems they want to read. Often kids are bothering them. Perhaps Michelangelo also wanted to read but was always being interrupted.
When I was a modern dancer, I wanted to read too, but I was either in technique class, or rehearsing. I remember seeing a bumper sticker that read, I’d rather be dancing. I knew, straight away, that person was not a dancer. If they were a dancer their bumper sticker would have read, I’d rather be reading.
There was one figure on the ceiling of the Sistine Chapel that mesmerized me, that possessed me, that became my muse, and eventually the logo for my community/school, the Alexander Alliance. She was the Libyan Sybil. When I began using her image as the logo for the Alexander Alliance, students wondered why, why the Libyan Sybil? And as I often do, and did then, I answered their question with a question.
The Libyan Sybil
Why do you think?
She’s got a great back.
Once I feel my students have seen what they are going to see then, if there is more I want to direct their attention toward, I will.
Notice how Michelangelo figures often appear androgynous. I like this. Often as men undo their culturally acquired masculine holding patterns, they feel more feminine. And as women undo their culturally acquired feminine holding patterns, they feel more masculine. I move people away from their acquired gender bodies and into their mammal body, the body that men and woman share, their human body.
She’s got a beautiful synergetic flexion of the hips, knees and ankles. We want that happening in conjunction with an expanding back that is emanating power through the arms into the hands, and through the spine and into the skull. And the Libyan Sybil has got all that going for her.
Something else I love about the Libyan Sybil is her upper appendicular skeletal system, her arms. They remind me so much of my mentor’s, Marj Barstow’s, arms when she worked with us. Marj’s scapulae were wide. Her shoulders were neither up nor down, more just out and away, one from the other. Her elbows and wrists were articulate. Her elbows were ever so slightly back and out, creating room between her arms and torso, while her wrists were going in slightly toward the mid-line, exactly as you see here as our sybil holds her very, very large book. Marj’s arms always looked natural and elegant. Her hands looked at once easy and powerful. Really, Marj’s arms were just like the Libyan Sybil!
Then there’s that exquisite spiraling throughout her body that you’ve noticed. Let’s look more closely at what is going on there. There’s a descending spiral, and an ascending spiral. The descending spiral begins with the head and eyes. Something’s got her attention; something’s turning her attention away from her book. The descending spiral is primarily concerned with orientation. Your orientation begins to change. You hear something, or you see something, and your orientation to the world shifts. You can see this descending spiral happening in some of our other readers too. Go and take a look.
Now what about the ascending spiral? From where is that initiating?
From her hips.
From her left foot.
From the ground.
That’s what it looks like to me, from the ground, and then sequentially up through the body. So if the descending spiral is about orientation, what’s the ascending spiral about?
Maybe action. It’s helping her to hold up the book.
Power to do what she’s doing.
That’s how I see it too. Maybe she was oriented more fully toward the book and then something got her attention and Michelangelo caught her just at that moment of transition.
Why would he want to do that?
Because it looks cool.
The cool factor is very important. The Libyan Sybil is a super cool figure. Just imagine how cool the Sistine Chapel was when the first people ever to enter that room looked up and saw these huge three dimensional figures almost falling out of the ceiling. Painting was not Michelangelo’s thing. He was a sculptor. He was forced to paint the Sistine Chapel. So he discovered new techniques for making his two dimensional figures appear three-dimensional.
Michelangelo likes that transitional moment because change is taking place. But you don’t know what she’s really doing or why. It’s mysterious. Is she opening the book or closing the book?
There’s action. She’s in motion. He’s not just painting form, but motion, coordination, emotion, drama. He’s a motional and emotional anatomist. He’s a storyteller.
Now when you really think about it, there aren’t two spirals. There’s just one. Imagine you are holding a wet towel. Get your scarf, or your coat, or a towel, and try this. Hold it in your hands and turn your top hand gently in one direction as you counter that action by gently turning your bottom hand in the other direction.
Imagine turning it so gently that no water is squeezed out of it. When we wring out a wet towel our spiral turns into a twist. An area is created where both movements oppose one another and stop each other, creating torsion. But if the spiral is gentle enough, and if it moves through the whole towel, there is no conflict, there is no blockage, there’s just one integrated spiraling motion occurring in two complimentary opposing directions.
The Libyan Sybil, for me, is the symbol of a person who can gracefully transition, change direction, change opinion, adapt, without losing poise, without disturbance. Imagine being a parent who is trying to do something, like read, or cook, or pay the bills and your two young children have just started fighting with each other. How are you inside of that transition? How gracefully can you shift your attention? How do you adapt to changing circumstances?
Revealing That Which Is Hidden
Let’s compare our Libyan Sybil to another figure, one of the Ignudo figures, one of the twenty naked, muscular figures on the Sistine Chapel. Let’s take a look.
What is he feeling, and what specifically tells you what he is feeling?
He’s panicking. His eyes are bugging out. It looks like he’s gasping. Even his hair contributes to this sense of panic.
Worried. Something about how his forehead is raised and her eyebrows are dropping down.
Dreading something. I really don’t know. I feel it through his whole body. Maybe it’s in his back and neck and shoulder. And the way his upper lip is pulled up. Something bad is happening.
Really sad. It could be the angle of his eyes, or the tilt of his head or the sunken feeling in his chest.
Feeling hopeless. The chest and eyes.
Feels threatened. It looks like he wants to get away. He’s looking back but his body is trying to go forward. Maybe.
Images are like Rorschach tests. We project our inner life onto outer images. Why else would we all be interpreting what we see differently? Let’s compare the Ignudo to the Libyan Sybil. Tell me what you are seeing and the feeling it creates.
The scapula’s moving down and out and around the ribs. It looks strong and graceful.
The spine looks long. The neck is not compressed or shortened. It creates a feeling of balance and elegance.
The eyelids are lowered; forehead and eyebrows relaxed. That makes her look calm and objective and in control.
The mouth is closed. It makes her seem observant, self possessed.
The head, instead of tilting back, is tilting ever so slightly forward. I don’t know, she feels dignified.
Yeah, instead of looking over the shoulder by flipping the head back, the Libyan Sybil is tilting the head forward and rotating around; two ways of looking over the shoulder, but they’re so completely opposite. There is no fear. She’s quietly confident.
It’s amazing. The figures are completely opposite in almost every way.
That is why I juxtaposed them. You’re beginning to see how I see because you are recognizing the specific physical traits that express, (press out), the emotion (to move outward).
Go ahead. Try both ways and see if it changes how you feel, emotionally. Do your best to do exactly what they are doing. And once you have them let yourself gently, slowly, softly transition between one and the other.
They get to work. I sit back and watch. Again, getting to know my students.
So what was that like?
It’s eerie. When I take on the Ignudo, I feel scared. I start to panic. And when I become the Libyan Sybil, I grow calm. Really calm. I feel mature.
Many heads are nodding in agreement.
Head poise has an organizing, integrative influence, a governing influence throughout the entire body/self. And when this head poise is disturbed, disturbance happens throughout the whole body/self. That is why a head is called a head. It’s in charge.
So lets look one more time. What do you see happening to the Ignudo figure’s body?
It looks really uncomfortable. The head is looking back to the right, but the right arm and upper torso is twisting to the left, and the pelvis is falling back and looks weak.
His body looks stuck, disorganized, and confused. Caught in the middle.
His head is in front of his torso and his right arm too. And maybe that’s counterbalancing his torso falling back.
He looks really compressed in his chest and belly, and his mid-back looks like it’s pushing back with a lot of force. And his right scapula is rising up toward his ear.
When I look at him, I notice I’m holding my breath.
That’s a good one. It is good to kinesthetically feel what you are seeing. That’s what I call embodied seeing. Why do you think I sometimes choose to teach people about the body through art instead of through strictly anatomical drawings?
Because they’re beautiful.
Because sometimes people get a little scared around pictures of skeletons?
For some people who are not academically oriented, it might feel like studying, like it’s going to be difficult, like there’s going to be a test.
They’re images of humans that are not alive, not expressive.
Yes, and because, first and foremost, I want you to see a person’s beauty. I haven’t seen a person who wasn’t beautiful in 35 years. And often, the more distraught the person is, the more beautiful. And through that beauty I want you to sense a person’s humanity. And only then do I want you to drop concern yourself with a person’s anatomical structure.
Life is not primarily about how we use our bodies. It’s about how we are being in ourselves. So I want you to begin by seeing a person, how a person is, how a person is being, in their entirety. That’s what Michelangelo could do. Profoundly.
Perhaps now you may see why I fell in love with the Libyan Sybil, and why I chose her as our school logo. It is said she has the power to “reveal that which is hidden.” Perhaps she ‘s turning toward us, opening the great book for us, inviting us to read, and to learn.
Again, my thanks for your time. I look forward to hearing from you.