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Teaching By Hand/Learning By Heart – London Workshops and Individual Lessons With Bruce Fertman

Saturday, April 22, 2017

The Physics and Metaphysics of Touch 

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Photo: Tada Akihiro

For Alexander trainees and teachers, as well as for other movement educators and somatic therapists who use their hands to help others.

To receive everything one must open one’s hands, and give.   

Taisen Deshimaru

Hands close and open, grasp, cling, clench, and release. Hands express. They welcome, warn and inform, and in our case, hands educe. Educative hands lead out that which lies within. Together we will increase our tactual palette, become more tactually literate, learn new ways of using our hands sensitively and effectively.

We understand well the paramount importance of personal use while teaching, and the direct impact our use has on our quality of touch.  As important as good use is, my 55 years of experience using my hands to help people move well has taught me that additional knowledge into the hand’s inherent design can help us acquire hands that are, at once, soft and powerful, light and deep, stabilizing and mobilizing, quieting and energizing. As there are primary colors, so too there are primary touches: push, pull, slide, spin, and roll. In other words, physics.

We will also consider the metaphysics of touch. It’s a disservice to reduce a person to their body. I never touch a person’s body. I only touch a person. Our goal is to touch a person’s being through their body. But to touch a person’s being through their body we have first to be able to see a person’s being through their body, which means we have to be looking at more than a person’s use. There are ways of developing this way of seeing people. 

Sunday, April 23, 2017

Bringing the Work to Life and Life into the Work 

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For students, trainees, and teachers of Alexander’s work.

Become aware of your habits, because your habits will become your character. 

Become aware of your character, because your character will become your destiny.    

Anonymous 

Have you noticed it’s relatively easy to make good use of Alexander’s work when we are doing well, but nearly impossible when confronted with something truly challenging or threatening? How can we practice sticking to principle under emotionally stressful circumstances, when relating to family members, when encountering problems at work, while coping with physical injury and pain, when overwhelmed by stressful thoughts and emotions?

Working Situationally is a procedure I developed, slowly, over the past 40 years. That is to say Working Situationally is a “way of proceeding,” to teach people how to employ Alexander’s work when under trying conditions and faced with harsh realities.

Being able to work with people this way has been enormously beneficial to me personally. It has brought the work to life for me, and into my life in ways that before were inaccessible.

I love sharing this way of working with other Alexander teachers. And ironically, it’s really fun. 

Saturday and Sunday, April 22 and 23, 2017

Walking into the World

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Our work on walking will be incorporated into both days of study and relevant to everyone. 

It’s no use walking anywhere to preach unless our walking is our preaching.   

Francis of Assisi

Walking, when understood, is the Alexandrian procedure that most naturally integrates rotational and spiraling motions into our upright structure, motions that are conspicuously absent in Alexander’s other procedures, as wonderful as those procedures are. Walking, when taught dynamically, helps dissipate postural holdings, often resulting in a profound sense of freedom and power.

Once when I asked Erika Whittaker what she felt like after working with Alexander, she said, “When the lesson was over, I could have said thank you, and walked out the door, or I could have said thank you, and walked through the wall.”

We’ll spend time learning about the mechanics of walking, as well as how to use our hands to help our students walk naturally, freely, and powerfully.

About Bruce Fertman

Photo by: Anchan of B. Fertman

Photo by: Anchan of B. Fertman

In Bruce’s class you feel as if you are sitting by a deep, soft lake. His pace and patience, his quiet confidence allows people to unfold and open layer by layer. The superfluous falls away leaving only life’s inner vitality effortlessly expressing itself through you.

He is the embodiment of his work. His touch is like a butterfly settling down on the very turning point of your soul. And then you know, “That’s who I am, that is who I could be.”

M. Tueshaus, Alexander Teacher / Tango Teacher/ Equestrian

For 55 years Bruce has been using his hands helping people to move well. For the past 30 years he has traveled annually throughout Europe, Asia, and the United States helping people understand and experience the interconnectedness between physical and spiritual life.

In 1982, Bruce co-founded the Alexander Alliance International, an intergenerational, multicultural community/school, the first Alexander teacher training program inspired by the work of Marjorie Barstow. Currently, director of training and senior teacher for the Alexander Alliance in Germany, Bruce also teaches annually for Alexander Alliance training programs in Japan, Korea, and America. He directs the Alexander Alliance Post Graduate Programs in Dorset, England and Zurich, Switzerland.  

Bruce trained with five first generation Alexander teachers; Catherine Merrick Wielopolska, Marjorie L. Barstow, Richard M. Gummere Jr., Elisabeth Walker, and Erika Whittaker. He brings a lifetime of training as a movement artist to his work as an Alexander teacher having trained in Gymnastics, Modern Dance, Contact Improvisation,  Tai Chi Chu’an, Aikido, Chanoyu, Argentine Tango, and Kyudo.

He has worked with members of the Berlin Philharmonic, Radio France, The National Symphony in Washington DC, the Honolulu Symphony, for the Curtis Institute of Music, and most recently for Jeong Ga Ak Hoe, a traditional Korean Music Ensemble. Bruce taught for the Five College Dance Program in Amherst, Massachusetts for 13 years, and for the Tango community in Buenos Aires. For 6 years, he taught movement for actors at Temple and Rutgers University. For ten years Bruce taught annually for the College of Physiotherapy in Gottingen, Germany. 

Bruce’s heart centered approach as a teacher rests upon extensive study in psychology and theology, specifically, the work of Eric Berne, (Transactional Analysis), Carl Rogers, (Person Centered Therapy), Frederick Perls, (Gestalt Therapy), Albert Ellis, (Rational-Emotive Therapy), Carl Jung, (Analytical Psychology), and Byron Katie  (Inquiry). Having also studied with Jewish, Christian, and Buddhist scholars, Bruce’s teaching not only transforms people physically; it creates a decided shift in people’s personal lives.

Gone is the straight-lined striving, the stopping and oughting. Instead curiosity, inquisitiveness, and permission to experiment, to play, to open boxes and to climb out of them into a world of possibility – a world both soft and strong. And all this through a quiet power, an exquisite touch, a clarity of speech, and a wealth of wisdom. For me, Bruce’s work is more than exciting; it is important, both to the world and to anyone involved in any way with Alexander’s Technique.

A. Turner – Alexander Technique Teacher
Cornwall, England

One of the foremost representatives of Marjorie Barstow’s lineage, Bruce’s work is unique and innovative. Bruce is especially gifted when it comes to teaching in groups. He’s a philosopher, poet and writer who gives voice to what is wonderful about the Alexander Technique.

Michael Frederick – Founding Director of the International Congresses for the Alexander Technique

Workshop Details:

Where:

Alexander Technique
The Walter Carrington Educational Trust
13, The Boulevard
Imperial Wharf
London SW6 2UB

020 7727 7222

http://atiw.org/find-us/how-to-find-us

We are only three minutes walk from Imperial Wharf Station.
Imperial Wharf Station provides a direct link to Clapham Junction (4 minutes) in the South and Willesden Junction in the North. Change at West Brompton (5 minutes) for the District Line or at Shepherds Bush (9 minutes) for the Central Line.

When:

April 20th and 21st private lessons, by appointment.

April 22nd and 23rd. Workshops.

1o:00 – 1:30 morning class.

1:30 – 3 lunch break

3:00 – 5:30 afternoon class

Fee:

£200 for both days of study. £175 early registration.

£120 for each day of study.  £100 early registration.

Half price for all Alexander teachers enrolled in the Alexander Alliance Post Graduate Training Program.

Early registration ends March 20th, 2017.

Note: I will be giving private lessons on April 20th and 21st. The teaching fee is £60 for a 45 minute lesson. If you or anyone you know is interested write to me, or have them write to me at: bf@brucefertman.com

To Register Contact Ruth Davis at:

Email: ruth.a.davis@me.com

Phone: +44 (0) 7590 406267

To Make Payment: 

BACS

(Please reference your payment with your full name.) Sort Code: 40-47-59

Account No: 12037351

Acc Name R Davis

International Transfers via:

IBAN: GB24MIDL40475912037351 BIC:MIDLGB2172

Or send a cheque made payable to:

Ruth Davis 

Sakura,

7 McKinley Road

Bournemouth

BH4 8AG

If you have any questions, please do not hesitate to write to me, bf@brucefertman.com or to Ruth Davis, ruth.a.davis@me.com. I look forward to meeting you and to working with you.

Bruce Fertman

Letters To A Young Teacher

The thing is I feel alone, in terms of doing the AT work, when I live in Taiwan.

I have heard about this feeling of loneliness and isolation from other Alexander teachers.You spend three years inside a school, then you graduate, and you are on your own. It feels like there’s no support. Life takes over and the work starts to fade away.

Shortly after I met Marj Barstow, when I was 25, I began to organize her summer workshops. There was a great community spirit at her workshops. In 1982, when we began the Alexander Alliance, my vision was to create not just a school, but a community/school. And somehow we did it. It’s now 34 years later and I am still part of an Alexander community. So I have never, first hand, experienced this kind of loneliness of which so many teachers speak.

If there are not other teachers close to you, then there are three things I can think of doing.

Invite people to come to you. I’ve invited over 50 teachers to my school over the last 30 years, some of them for many years, so I could study with them, and my students too of course.

You find a community of people you like and, when you can, you go to them. That’s what I did so I could study with Marj Barstow. I traveled 2000 miles in the winter and spring for ten years, and invited her to where I was every fall and spring.

You begin your own community from where you are. This is not easy and it takes great energy and passion, but it is possible.

It’s probably best to do all of them.

Just make a commitment to begin and you will begin to feel less alone.

Magic is believing in yourself, if you can do that, you can make anything happen. Johann Wolfgang von Goethe

Whatever you can do, or dream you can, begin it. Boldness has genius, power, and magic in it. – Johann Wolfgang von Goethe

I feel like I am gradually losing the coordination I had when training at my school. So my question for now is how to avoid losing the skill.

When Marj was 40 she stopped assisting A.R. Alexander in Boston and Pennsylvania, returning to Nebraska to help her father with their large ranch. She told me it was over the next 20 years that she really began to understand Alexander’s work. She said it was mainly through hard manual work on the ranch, and through training horses. She was a kind of cowgirl. She was beautifully coordinated, at 75, when I met her.

Marj working with me in 1976

Marj working with me in 1976

So what I hear in that story is that at some point you’ve got to get very interested in how you are doing the things you do in your everyday life, even that 4 hours of computer work that you are doing everyday at your job. You’ve got to be refining your own quality of coordination, and it’s important to find the pleasure in it all.

Now during those 20 years Marj hardly taught at all. But personally, I think it would help you to teach as much as you can. As you continue to figure out things about yourself and your own use, it really helps if you can share your insights with other people. For me this dynamic really works.

One time I asked Marj what I could do to improve my hands as a teacher. I was not going to see her for about 4 months. She told me to watch how I used my hands in everything I did. Everything. She said if I ever saw that I was distorting my hands, that I should stop for a second and then sense my whole body. She said I would begin to see that if I was distorting my hands I had to be distorting my whole body. Then she said once I knew how I was distorting myself I should free myself, that is, cease distorting my whole body, begin again, and this time find, as I began working, how not to distort my hands. She said if someone took a photo of my hands at any moment they should look beautiful.

Forty years later, I am still practicing this.

Erika Whittaker once told me a story. She said she began training when she was 16. She graduated 4 years later, stayed around for a couple of years assisting Alexander, met a man, got married, moved to Australia, got pregnant, had a daughter, raised the daughter, got divorced and found herself 50 years old. Someone said to her, “Erika, now, you could start teaching. You have plenty of time.” It hadn’t occurred to her. She thought, why not? I’ll give it a go. To her surprise she found herself tremendously better as a teacher than she had been when she was younger.

Erika Whittaker

So the work is working within you, whether you know it or not.

That said, from my own experience I can tell you there is no substitute for teaching and using your hands as much as you can. Never turn down an opportunity to teach the work, and to use your hands. Look for those opportunities. Make them happen.

From some of your photos you look to me to be pretty physical: snorkeling, pilates, climbing, hiking. Tap into those communities. Let them experience what you do.

If you can find a movement form that you really like, a formal study, it can be another way to keep the work going, especially if it’s a form that requires great sensitivity.

I hope these thoughts help you. Let me know.

Yours,

Bruce

When The Child Was A Child

Messengers 

In Wings Over Berlin, two angels, invisible to humans, softly, silently offer comfort, sometimes, but not always, lifting the spell of isolation and despair from suffering human souls.

They touch humans lightly, tenderly. Through their empathic presence an opening, where there had been none, would suddenly appear, a way to go forward now lay before them.

from Wings Over Berlin

from Wings Over Berlin

In Hebrew malach means both messenger and angel. In Greek too, aggelos means messenger and angel.

Messengers send messages. A message is a communication through writing, speech, or signals of some sort. A little like the angels in Wings Over Berlin, we Alexander teachers convey messages through touch. A message can be an underlying idea. It can also be an inspiring or sacred communication.

Now I am no angel. I am hopelessly human. I am not always at peace. I sometimes butt heads with people. I am not a spiritual being. I have no wings. I live on the ground. But I think we can and do serve as messengers for one another. Sometimes, unbeknownst to us, we do something, say something or write something that helps someone. Others sometimes unbeknownst to them, do, say, or write something that helps us, that may even change our lives. We may not be angels, but sometimes we perform our angelic function as messengers.    

from Wings Over Berlin

from Wings Over Berlin

In our Alexander community we refer to teaching through “procedures.” How do we “proceed” to impart the principles underlying Alexander’s work? Some of us use the procedures Alexander developed. Some of us also use procedures other teachers have developed, like Walter Carrington’s saddle work, or Raymond Dart’s developmental movements, or Marjorie Barstow’s working in activity. Others of us use procedures we ourselves have developed. To my surprise, I seem to have evolved a procedure, a way to proceed, that enables people to make use of the principles underlying Alexander’s work under trying conditions and when coping with harsh realities. I call it Working Situationally.

When The Child Was A Child

When the child was a child, it walked with its arms swinging. It wanted the stream to be a river, the river a torrent, and this puddle to be the sea. When the child was a child, it didn’t know it was a child. Everything was full of life, and all life was one. When the child was a child, it had no opinion about anything, no habits. It often sat cross-legged, took off running, had a cowlick in its hair, and didn’t make faces when photographed. – from Wings Over Berlin by Wim Wender and Peter Hendke

It’s not easy growing up. We have all known times when our arms stopped swinging, when the puddle was just a puddle. Times when we’ve felt exhausted, empty, our world shattered. Times when nothing was new under the sun, when we were unable to pick ourselves up from the ground, let alone take off running, when we put on yet another smiling face for yet another silly photo.

“When have you experienced yourself lost, without support, helpless and afraid,” I ask a group of fairly new Alexander teachers? “Can you see where you are, the situation you’re in; can you see what’s going on?”

Michiko, a small, middle aged woman in the back of the room says,“I’m going through a divorce. I have yet another session in court next week where I have to plea for the custody of my children. I am terrified of losing them.”

All eyes in the room lower at once.

“Thank you.” Let’s see if there is a way, through Alexander’s work to help ourselves when we really need it, when we’re feeling threatened, when our life’s hanging in the balance. How can we develop the wherewithal to be how we want to be in these situations, how not only to survive them, but to meet them?”

When The Master Is Home

“Michiko. Look around and see who can help you set up your scenario. Look and see who can help you, and how you can arrange the space.” Everyone springs into action. Seriously playful commotion fills the room. I sit back and watch as the space is transformed into a courtroom.

In the front of the room sits a judge. Michiko’s husband and his lawyer sit to the judge’s left, Michiko and her lawyer to the right. I’ve got a translator behind me, ready to whisper into my ear.

The judge begins. “We are here today to determine who is most deserving of the privilege of caring for your children. As you know I do not approve of divorce. I believe children should grow up with a mother and a father in the same house. But for whatever reasons, both of you seem incapable of doing this. Michiko, what do you have to say for yourself?”

“Judge, I am the parent who has spent the most time with my children. I am the one who cooks for them, who packs their lunches, who takes them and picks them up from school, who helps them with their homework. I am the one who does their laundry and who takes them shopping for sneakers and who gets out of bed at night when they have nightmares. I’m their mom.”

Yamato, Michiko’s husband blurts out, “And I am the breadwinner in this family. I’m the one that pays for the food you cook, who bought the nice car you drive to that top notch private school that I also pay for, not to mention the designer sneakers. I’m the guy that pays for the roof over your very head.” By the end, Yamato’s face is beet red.

It’s working. The scene’s been set up well enough that Michiko’s beginning to cringe from the sound of Yamato’s voice. But I don’t intervene. I want to see where this is going.

“Judge, Michiko says, right now I have 32 private piano students who I see every week. I earn enough money to take care of my own children. My children have already told you they want to live with me, that they don’t want to move to Tokyo, leave their school, and live with their father.”

“And I, the judge says, don’t appreciate your telling me again. I am well aware of what your children want, but they are children and have no idea as to what is, in the long run, best for them. The decision is up to me, not up to them, and not up to you.”

“They have also told you they are terrified of their father,” Michiko adds cowering.

“You liar! You total and complete liar, Yamato yells standing up and throwing his pen across the room, almost hitting Michiko in the face.

Terror. There it is, Michiko’s eyes frozen in fear. As she sits there, glued to her chair, her body looks weak and hopeless.

I quietly enter,  kneel down beside her, place my right hand softly over her shoulders and my left hand over her clenched hands that sit on her lap. “Michiko, let’s just freeze the frame here. Stay exactly as you are in your body and from the bottom up describe to me what you are sensing.” 

Michiko says, “I’m pulling my feet almost off the ground. My knees are touching and I feel like I’m jamming my thighs back into my hip sockets. My stomach is tight. I’m not breathing. The middle of my back is pressing against the back of the chair. My hands hurt. My shoulder blades are hunched up toward my ears, and my head is pressed down between them.” “Michiko, can you see the exact shape your whole body is taking, as if you were looking at a puppet?” “Yes, I can see it,” Michiko says. “Let me ask you, do you want to be like this?” “No, I don’t.” “You are now about a third of the way home.”

“Okay Michiko. If you are the one holding yourself in this position, then you are the one who can let go of holding yourself in this position. Let’s begin by letting your feet come back to the ground. What happens as you do that?” “My legs come down and my knees begin to separate a little.” I place the hand that was over her hands onto her left knee and then over to her right knee suggesting that her knees could release slightly away from her hip joints. I watch more air enter her lungs but say nothing about it. I quietly stand up behind Michiko, place my hands along the sides of her ribs and ask her to let the entire surface of her back spread out against the back of the chair. I feel more air coming into her lungs. I reach around and gently place my index finger onto the top of her sternum and from there gently guide her head back on top of her spine. Her eyelids flutter for a few seconds, followed by two slow blinks. Her eyes appear to settle back into their eye sockets. She’s calm.

“Okay Michiko. Now you are two-thirds of the way home. This next part I can’t help you with. Only you can do it. I want you to find out what would happen it you decided not to fight, not to flee, not to freeze, and not to fidget. Can you make the decision not to fight…not to flee…not to freeze…and not to fidget?” I wait and watch Michiko as she becomes deeply and quietly strong. “Can you sense what happens when you make that decision?”  “Yes I can.” “Good. Now be that decision.” 

I ask Yamato to continue.

Yamato looks at the judge and says. “Judge, my wife is lying to you. She’s a compulsive liar. That is what she does best. My kids don’t hate me.” Yamato turns toward Michiko, glares at her and says, “You wait. You just wait.”

Michiko’s body remains strong and open, her face calm. She’s breathing.“Quietly Michiko stands up, looks at the judge, and says, “Your honor, I’d like to submit for your judgement the evidence just set before you. Thank you for considering it.”

The judge turns, looks at Yamato, then at Michiko, and says nothing.  He appears to be reconsidering, reevaluating the situation.

“Michiko, I say. That is what it feels like when the master is home.”

Teaching Moments

In the Alexander Alliance, when we want to direct our student’s attention to pedagogy, to why we did what we did, or to why what we did worked or didn’t work, we make a T shape with our two hands, as if we were a referee at a football game. This means we are going to stop and step out of what we are doing and move into commentary.

“Okay class, what was Michiko’s goal?” “Not to lose custody of her kids.” “That’s right. That’s what she told us.”

“You can’t practice “the means whereby” unless you’ve got an end. Our work is about ends and means, about how we are being as we move toward our end, whatever that end may be. The idea is not to compromise the means for the end, not to sacrifice our integrity, no matter what happens. That’s the practice. That’s why I don’t like thinking about Alexander’s work as a technique. I think of it as a practice, because it’s hard, and I fail a lot. And sometimes I don’t. It takes practice.”

So let’s see if we can find the means whereby inside of what just happened. Where does it begin?” 

“You stopped everything.” “That’s true, and what is also true is that in real life you can’t stop a situation like that. You can’t say, “Okay judge. This is getting too intense. Let’s just take a pause here so I can calm down.” Here is an idea I want you to understand. Alexandrian inhibition does not necessarily happen just because you stop an action. It only happens when you succeed in stopping your habitual holding pattern within the action. So when I froze the frame, I only stopped the action. Stopping the action, freezing the frame, pausing, is a teaching device allowing me to slow everything down. So, what happened after I froze the frame?”

“You asked her what she was sensing.” “Right. Michiko shifts from being kinesthetically unconscious, to being kinesthetically conscious, which means she can now begin to sense how she is doing what she is doing. Once Michiko knows what she’s doing to herself, she has the chance of undoing it. As Marj Barstow used to tell us, “You have to know where you are before you can make a change.” So because she knew where she was, and because Michiko has had a good bit of training, she could pretty much come out of this pattern with only a little guidance from me.”

“I was sending her messages, I was fulfilling my angelic duty. Alexander called messages, directions. I think of messages as messages in a bottle that drift to the edge of the shore. You pick up the bottle, reach in and read the message. My first message to Michiko was, you are not alone, and then, Michiko, become aware of yourself, and then, come to your senses, and then, you’re one-third of the way home, and then, do you want to be this way, and so on. Messages were being communicated not only through my words, but though how I was in my own body and being, through the quality of my voice, and of course through touch, through her knees, and ribs, and sternum.  I was sending her messages and she made good use of them.

“And next?” “Well, all along you could actually begin to see Michiko’s primary movement emerging. As soon as her legs began to let go I could see her neck begin to free and her head poise returning, and I could see her whole body opening up and the air filling her lungs. But the most impressive change was her face, how the fear fell away.”

So far we have,

One, the goal, the end.

(the employment of freezing the frame, a pedagogical device and not necessarily part of the means whereby.)

Two, kinesthetic consciousness.

Three/Four/Five, Alexandrian Inhibition/Direction/Primary Movement.

In actual time, it’s virtually impossible to separate these. My words, my voice, and my touch helped Michiko let go, that is, neurologically inhibit. Within that letting go, though she likely did not think the words, ‘neck free, head forward and up, back to lengthen and widen, immediately direction was happening, because I was embodying and passing on, to the best of my ability, those directions through touch to Michiko, and because Michiko has had so much training, those directions were wordlessly operating within her primary movement. 

“And then?” You asked her to make a decision not to fight or flee or freeze or fidget. “Right. This is me preparing Michiko for the critical moment, for that moment when she’s going to want to go back to her old way of reacting to Yamato and to the judge. Michiko’s decision is going to have to be incredibly strong. Walt Whitman says it perfectly in Song Of The Open Road when he writes, Gently, but with undeniable will divesting myself of the holds that would hold me.  You can’t say it better than that. Erika Whittaker, when I asked her what Alexandrian inhibition was  answered me in one word. She said, “Inhibition is decision. It’s sticking to your decision against your habit of life.”

“So I’m watching to make sure Michiko is accessing tremendous inhibitory power within herself, and then I tell her, I send her a message, and that message is?”  To be that decision.  “Yes, because Alexandrian Inhibition is not something we can do. It’s only a way we can be.” 

Six, passing through the critical moment.

And then what happened?

Michiko responded to Yamato and to the judge the way she wanted. “And what do we call that in the Alexander world?” Choice? “That’s a good answer.” Freedom. “Another good answer. I have something else in mind.”

“We could call it Primary Control. For me Alexander’s Primary Control is the Great Protector. Imagine babies and toddlers. They are not well coordinated, but more often than not, they don’t get hurt. They scream, but they don’t hurt their voices. They fall, but rarely bang their heads. There is a force at work within them continually integrating them, keeping them whole as they gradually figure out how to coordinate themselves.”

“But as adults we lose touch with this integrative, protective force within us. When Michiko adhered to the means whereby she was protected. She didn’t disintegrate. She could function. She could say what she wanted to say the way she wanted to say it, without hurting herself, without fighting, without withdrawing, and with less fear. She could think on her feet. She could take care of herself, and to the best of her ability, her children.”

“Will she get custody of her children? Will she achieve her end? We don’t know. But we do know she was her best self in that courtroom. We watched her find her integrity, her dignity. We can’t entirely control how our lives unfold, nor the lives of our children. But with training, we can learn to attend to our integrity. And we can let our children see that. 

When the child was a child, it walked with its arms swinging. It wanted the stream to be a river, the river a torrent, and this puddle to be the sea. When the child was a child, it didn’t know it was a child. Everything was full of life, and all life was one. When the child was a child, it had no opinion about anything, no habits. It often sat cross-legged, took off running, had a cowlick in its hair, and didn’t make faces when photographed.

          

from Wings Over Berlin

from Wings Over Berlin

 

From Within And All Around

F. M. Alexander

F. M. Alexander

Boiled down, it all comes to inhibiting a particular reaction to a given stimulus. But no one will see it that way. They will see it as getting in and out of a chair the right way. It is nothing of the kind. It is that a pupil decides what he will or will not consent to do. They may teach you anatomy and physiology till they are black in the face—you will still have this to face: sticking to a decision against your habit of life.

 F.M. Alexander from Articles and Lectures (white edition), Mouriz 2011, p. 197.

The post office was crowded. Every line seemed equally endless. I chose one, and of course it soon became apparent this line was at a standstill. The teller had just disappeared into the back room, not to return for fifteen minutes.

Standing in lines made me almost claustrophobic. We were required to stand in lines every morning at Pennypacker Elementary School. Standing in neat rows out in the cement yard, we’d wait for the loud buzzer to sound before marching into school. On a particular day, while standing in line, a bee began buzzing around my mouth. Hysterically, I jumped out of line and began dodging, and ducking, and swinging at the bee. A teacher came over, demanded I get back into line, and the moment I did the bee stung me on my bottom lip.

In the meantime, I had just injured myself. We were rehearsing for an upcoming performance until well after midnight. Having hardly slept the night before, I was beat. Coming down from a barrel turn, I landed on the outside of my foot, my ankle twisting under me. A physical trainer did his best to tape it, but after another sleepless night, it was still swollen and throbbing. Standing was difficult. A poor, old kindly man was standing in front of me. His clothes were worn and soiled. There was a strong smell of urine in the air that was impossible to avoid. 

I escaped into my thoughts. Images of a recent fight I got into with my girlfriend surfaced. It was over money. We were living together. The rent was due and we were short about $100. She wanted me to ask my parents for the money. I didn’t want to do that. We ended up  yelling at each other and I heard myself sounding just like my father. I hated that about myself, but as hard as I tried, I couldn’t seem to get control over it. I felt like a dog who, when the mailman walked by, had to bark, and basically had to go crazy. Certain situations pushed my buttons, and immediately there I was, barking and going crazy.

About 40 minutes later, I found myself next in line. I had just had an Alexander lesson earlier that week with Catherine Wielopolska, a trainee in Alexander’s first teacher training class back in the early 30’s. “Kitty” was telling me how Alexander’s work was not about physical culture, not about how to get up and down from a chair, but that it was about how we reacted to stimuli from within ourselves and from all around us.  Kitty had begun working with me on speaking. Speaking was a nightmare for me as a child. At six I began stuttering, which meant also dealing with the humiliation and shame that accompanied it. It was clear to me now that this was the source of the fierce habit I still had of jamming the back of my skull down into my neck, which ended up compressing my entire spine right down into my lower back, which all too often was a source of pain.

Consequently, when the time came to ask the teller for a book of twenty stamps I was determined not to go into my old speech pattern of thrusting my head forward. As the teller gave his customer his change and receipt, I stood there doing my best to free myself the way I had been learning to do from my teacher. But just as I stepped forward and opened my mouth to ask for a book of stamps, my head thrusted forward on its own. I no longer stuttered but that old stuttering pattern was still there, seemingly hard wired into my nervous system.

I asked for a particular series of stamps that honored great Black American heroes. The teller told me they were out of them. All that was left he said were the usual stamps with the American flag on them. I said okay. He looked in his drawer and then said he didn’t have anymore books of stamps, only rolls of a hundred stamps. I didn’t have enough money on me to buy a hundred stamps. I heard myself sigh and felt my head press itself even further into my spine. I was tired and frustrated. It seemed I was at the complete mercy of stimuli bombarding me both from within and without. More training, I thought to myself as a hobbled away empty handed.  More training.

I was twenty-three years old. The trying twenties. Little did I know I was embarking on a life devoted to self examination and self reflection. Meanwhile, I had to get some control of myself, and of my life. 

I set about categorizing stimuli in hope of making the whole enterprise more manageable.  We all lived in time and in space. We all had to move. We were always in contact with the world through our senses, whether we knew it or not.  And, whether we were with people or not, we were always with them. If they were not physically around us, they were in our minds or hearts. They were always in our past, and in our futures.

Time. Waiting. Hurrying. Deadlines.

Space. My fears of spatial confinement. My fear of heights. My inability to organize my things, my desk, my clothes. My utter lack of orienteering. 

Movement. My limitations as a dancer and martial artist. My being injury prone..

Senses. Mental preoccupation with my unresolved past, or my fantasies of some utopian future often took me out of my body and out of the real world. How to come back to my senses. 

People. Well, if it were any consolation, people seemed to be an issue for everybody. It was people above all, communicating with people, or rather mis-communicating with people that seemed to be the major source of pain in the world. Communication between husband and wives, parents and children, between siblings, bosses and employees, even between countries.

And then there was the world within, the amorphous world of thoughts, emotions, drives, and sensations.

Thoughts. Comparing myself to other people, being better than them, or worse than them. Thinking too much about myself, about my body, or about how great I was at this or that, or how terrible I was at this or that. 

Emotions. Little control over anger, frustration, or fear.

Drives and Sensations. Physical drives ruled the day; a visceral appetite, culinary and sexual, and an insatiable appetite for new experience. I couldn’t seem to get enough. As for physical pain. My father was a man who, when he woke up in the morning and did not feel absolutely perfect, concluded that something was seriously the matter. I inherited this gene.

I know. I’m beginning to sound like Woody Allen.

Years have passed, 42 to be exact, and after a lifetime of disciplined, and increasingly pleasurable study, I am happy to say I’ve made some progress. Boiled down, it all comes to inhibiting a particular reaction to a given stimulus, I hear Alexander saying.

Time. Rarely do I rush. I have learned to give more time to things and to people. But then again, I am no longer raising children. When I need to be somewhere and I am running late, I have learned to ask myself if I am late, and if the answer is no, then I stop rushing. And if the answer is yes, then I decide to move lightly and swiftly and enjoy myself.

I rarely wait. When I find myself waiting I simply stop waiting and the world, through all of my senses, returns and entertains me. I still find myself waiting when I want to say the next thing on my mind and my translator is still translating, but less so.  And I still, at times, interrupt people, but less so. I still wait when my computer is not moving as fast as I think it should. But I feel a little less exasperated. 

And yes, sometimes I will awaken from an afternoon nap anxious about dying. It doesn’t last long. Once I get up and start moving, I am fine. Most of the time I feel like I have all the time in the world.

Space. I am no longer afraid of heights. I have not been for years. In Osaka, where I live half the year, I love feeling myself part of the river of people streaming in and out of trains morning and night. I get comfort feeling myself huddled together with others. I don’t mind the middle seat on planes. I like sitting next to people. I have no problem standing in lines. I enjoy not waiting.

Movement. I’ve learned to move well, comfortably and enjoyably. I used to think that movement was the end all and be all. Now, ironically, I move well and I care very little about the way I move. Or about how others move. I care about how I am, and how others are. I’ve fallen in love with stillness. I love sitting quietly and doing nothing.

Senses. This perhaps above all is what I have found through my years of study, the sensory world. The world of lightness and darkness, of sound and silence, of coolness and warmth. Literally, I have come to my senses.

My appetites no longer have the hold on me they once did. My sexual self seems to have fallen in love with the world at large, the wind against my face, the warmth of the sun on my shoulders, the scent of pine in the high country, the sand under my feet, the taste of the ocean in my mouth.

Thoughts. My thoughts no longer harass me. I’m at peace with my past. Most of my future is behind me. I’ve made it this far. I trust I will figure the rest out as I go along. At some point, thanks in large part to Byron Katie, I learned that I am not my thoughts. I’ve learned not to believe everything I think. I know how to question thoughts, how to diffuse them and let them fall. Thank God for teachers.

Physical pain remains a challenge. And I still bark like a dog when the mailman goes by. Something tells me I’m not going to work everything out this time around. But then again, who knows?

During the last few years of my father’s life not once did I see him get angry. Not once. My Dad had evolved into a peaceful man.

In the last weeks of his life, while in the intensive care unit, he began looking like Gandhi. He’d sit in the chair next to his hospital bed, wrapped in a white blanket, his shining bald head and his round wire rimmed glasses looking out from above, smiling, never complaining of pain or discomfort, though his pain and discomfort were considerable.

More training, I say to my self, happily. 

Language And Movement by Keith Hjortshoj

 

Keith Hjortshoj

Keith Hjortshoj

“Writers may not be special, sensitive or talented in any usual sense. They are simply engaged in sustained use of a language skill we all have. Their ‘creations’ come about through confident reliance on stray impulses that will, with trust, find occasional patterns that are satisfying.”

William Stafford, Writing the Australian Crawl note1

For several years now, and in ways that continually change, I’ve been using the principles of the Alexander Technique to teach writing at Cornell University, in classes for students at all levels, and in a tutorial course I designed for writers who are contending with special difficulties, such as ‘writing blocks.’

These changes in my teaching began shortly after my wife, Marty Hjortshoj, began her training at the Alexander Foundation of Philadelphia, in 1987, and invited Bruce Fertman to give a weekend workshop in Ithaca, New York, where we live. I attended this workshop, and immediately noticed the powerful somatic changes that new students often experience. When I entered the classroom the following week, however, I felt that the principles of the Technique were still experimenting with me, and with my students as well. I was moving differently, of course, but I was also teaching differently in a deep sense that included uses of language: more slowly and calmly, with more clarity, less effort, and heightened awareness of myself and my students in that place. The students in this small, advanced writing seminar immediately responded to me and to one another in ways that were at once more lively and more relaxed.

Because I liked these changes, I tried to hold on to them, and found that the worst classes I taught often followed the best ones. The students immediately sensed some new, hidden expectation they didn’t understand, and waited for me to tell them what it was. Gradually realising that effective teaching is not a position one assumes, but a kind of movement, I continued to experiment that semester and in following years. Sometimes I noticed, for example, that all of us had become habitually frontal, as though the classroom began at the ends of our noses. Words then spilled out on to the empty expanse of the seminar table and lay there, like unclaimed property. If I got up and moved around, breaking the circle, a subtle tension would often break as well, and we could talk more easily with one another. When our presence in the classroom became more lively and open, student writing became more lively and open too: more directly and fully voiced. I still can’t explain how these connections between language and movement work, and I can’t really control them. I simply know that they are always working, for better or worse, with unfathomable complexity.

Awareness of these connections was a revelation to me, because an unwritten canon of the university suggests that we should attend to language and thought in our work and pay attention to the body elsewhere–at the health club, perhaps–or ignore it altogether until it cries out in pain. As a consequence, there are whole realms of information we routinely disregard–information not only about the use of our bodies, but also about the interactive qualities of our presence, our effects upon others, and their effects upon us. Through unconscious uses of voice and bearing, teachers can easily cause students to use language with caution and formality. Be careful! Don’t make a false move! Because we learn fear too well, these messages tend to undermine the flexibility and responsiveness that young writers retain from childhood. By the time they graduate from college, therefore, most students have learned to write in voices so habitually disguised and constrained that their own parents wouldn’t recognise them. Dissolving these layers of interference with the use of voice has become my primary goal as a teacher.

What I am rediscovering in my teaching is a kind of deep knowledge we have all possessed throughout our lives. All Alexander teachers know how freely small children use their bodies and acquire new movement skills, in response to kinaesthetic information they just absorb from their environment, like little sponges. All linguists know that small children absorb and use language like oxygen, as naturally and freely as they breathe. But we tend to forget that these extraordinary abilities develop simultaneously–in whole, integrated fields of perception and response.

When Hannah, the two-year-old who lives next door, entered our kitchen last summer on her daily visits to stalk our cat, she used to make two statements: “I want to find Babycakes. She’s my friend.” One day, then, I noticed that Hannah had begun to use subordinate clauses in complex sentences, to express causal relationships. “I want to find Babycakes,” Hannah announced, “because she’s my friend.” Knowing that Babycakes would be wasting the day in one of the second floor bedrooms, Hannah ran straight to the stairs, lengthened to grasp the railing above, and told me at each step , “I hold the rail, so I won’t fall.” Because Hannah told me what she was doing and why, I noticed that she no longer bent over and crawled onto each step with her hands on the next one.

“Oh, she’s been doing that for a month,” Marty observed, because she notices what people do with their bodies without having to be told. What Marty noticed and what I noticed, however, made little difference to Hannah, who was putting language and movement together in her own brilliantly co-ordinated fashion, in the whole of her experience, without needing any help from grammarians and Alexander teachers.

Language teachers typically believe they are working with language and thought. Alexander teachers typically believe they are working with movement and thought. But all of us are actually doing more, even if we remain oblivious to the full dimensions of our work. Like Hannah, we are using our voices and our bodies in whole fields of perception, in intricate ways that include, reach, and affect others.

When I pay attention, my students constantly teach me this lesson: that I am not just working with the written texts they produce, with the ‘skills’ they use to produce those texts, or with the structure of written English. Instead, I am always working with what Noam Chomsky called our “underlying competence”: an innately human ability to use the “hidden organising principles” of linguistic co-ordination to communicate with others. note2 If this ability represents a kind of ‘skill,’ the poet William Stafford observed, “…it is the skill we all have, something we must have learned before the age of three or four.” In writing, we can remind ourselves of our underlying competence by using the freewriting exercises that Peter Elbow–who studied the Alexander technique with Frank Pierce Jones–first described in his book Writing Without Teachers. note3

All of us can write freely, spontaneously, and continuously, if we simply stop ourselves from stopping. When we write without stopping ourselves, we are using what Elbow has called our ‘freewriting muscle’–an ability to co-ordinate language, thought, and physical movement without interference. Like the ‘primary control,’ this ‘muscle’ is what always allows writing to happen, if it happens at all, even if we habitually use this ability with self-consciousness, hesitation, confusion, or fear.

The students who have taught me the most about the connections between language and movement are the ones who experience the most interference with their ability, to the point that they feel incapable of doing what they are fully able to do. When these writers do not believe in their underlying competence, or do not trust it, the deliberate effort to orchestrate the structures of language interferes with the co-ordinated use of language, just as the deliberate, self- conscious effort to move correctly interferes with co-ordinated movement. In the embodied moment of its occurrence, writing, like walking, is a kind of falling into empty space, with faith that our ability to use language will be there to support us.

Movement into that void–across what William Stafford called “…that precious little area of confusion when I do not know what I am going to say and then I find out what I am going to say” note4–will occur only when we release ourselves into motion, not when we prepare to do so. When writers have lost faith in their own competence, therefore, they feel paralysed and disembodied in their efforts to write, and they often tell me that they have lost their ‘voices.’ If I pay attention, I can usually see the somatic effects of this effort and loss. And when these writers rediscover their voices, they find them not just on the page but also in their bodies, in the world.

With obvious discomfort, a student named Joanna was describing the agonising process of constructing academic essays for her classes when I asked her who was orchestrating this construction and when she felt that she was writing in a voice of her own. In response to this question about her voice, Joanna looked at me directly and began to cry, silently, with a sense of loss so deep and open that I was also overwhelmed. Then she said, very quietly, “I don’t think I have a voice of my own.”

After this first meeting, at the end of spring term, Joanna left my office with hope that she could resolve her difficulties with writing in the fall. But some kind of release had already occurred, and during the following summer Joanna began to solve the problem on her own–not through writing, but through dance. Joanna had been studying modern dance for several years, but she had always thought of dance movement as a set of ‘skills’ she had learned, and of dance performance as choreography: ‘written’ compositions that dancers execute with the skills they have been taught. These perceptions of dance corresponded with her ideas about writing ability: that we learn writing skills primarily in school, and then use these skills to produce compositions that conform to preconceived designs and expectations. Through the equivalent of ‘freewriting’ exercises in a dance workshop, Joanna realised that the acquisition of ‘skill’ depends upon the use of abilities we already possess. When she returned in the fall, she had already recovered her writing voice to the extent that she could describe what she had discovered:

Besides technique courses I enrolled in improvisation. The teacher led us through weeks of very specific exercises that worked with qualities, rhythms, interactions. Born out of the class was a new personal vocabulary of movement. But most remarkable was my ability to improvise to music with clarity of intent. Clarity of movement occurred when I ‘conversed’ with music not allowing time to choreograph. I achieved a continuity between my environment/audience (classmates sat and watched one another) and my self when I forgot effort and reflected the music. In light of this experience, of clearing a lot of inner space in order to dance better, I am very optimistic that having found my dancing voice I can go about exploring language as an unselfconscious way to express myself.

Joanna and I had both discovered that somatic changes can directly affect uses of language, but the opposite is also true. Linguistic co-ordination can release people into free movement. By the time Andrea, a PhD. student, came to see me about her difficulties with writing, her dissertation topic had become a conceptual labyrinth she inhabited alone and could not describe to anyone, even in a one-page statement she was supposed to submit to her thesis adviser weeks before. When she entered my office, Andrea was pale and tense, and when I asked her direct questions about her research she looked startled, cleared her throat repeatedly, and spoke in meandering, halting sentences she never completed. While she was struggling with these sentences she looked away from me and seemed to drift off into inaccessible corridors of thought.

When our second meeting continued in the same bewildering fashion, I asked Andrea just to tell me, in one complete sentence, what her dissertation was about. She froze for a moment, with a look of panic, and then slowly said, “Well. . .what I’m really trying to get across is that. . .well, I think…”

I interrupted her then and said, “No. Just finish the sentence. You said, ‘What I’m really trying to get across is that…’ Just start over, patiently, until you complete the statement.”

On the third or fourth try, Andrea did complete a statement I could understand–a powerful argument she had apparently known all along, but would not allow herself to state. More powerful, however, were the accompanying changes in Andrea. When she had completed this sentence, I noticed a great release through her whole body. She sighed, laughed, relaxed in the chair, and then became flushed and animated: full of moving blood and energy. She was also fully there with me in the room for the first time, looked at me directly, and was able to talk about her work without hesitation.

This was the beginning of an extraordinary process of recovery that continued over the following months, with effects in every aspect of Andrea’s life. I immediately asked her to write that sentence down, and over the next weekend she expanded it to a couple of pages. After her thesis adviser read her proposal, he began to give her the active support she needed from him. Because Andrea recognised that the release she had experienced was at once linguistic and somatic, she began to study the Alexander Technique with Marty while she was working with me.

Within a few weeks Andrea was writing her dissertation, two professional articles, and postdoctoral fellowship applications with a kind of ease and speed so unfamiliar that she found it almost alarming. One afternoon, when she tossed the latest chapter of her dissertation on my desk, with playful disregard, Andrea said, “I’ve decided that anything worth doing is worth doing badly.” It was the kind of unpredictable statement that Alexander himself might have made to his students, to undermine the association of effort with value.

In speech, while he was teaching, Alexander freely used these interactive, intersubjective connections between language and movement. Alexander did not teach in silence, entirely with his hands. He talked constantly to his students, using the creative power of language to stimulate responses and reconstruct perceptions. Examples of Alexander’s instructions to his students demonstrate that he continually used language to dismantle misconceptions, alter perceptions, and direct movement. When the conventional meanings of words represented false categories and stimulated habitual responses, Alexander constructed un-conventional, often paradoxical statements that gave these words new meanings. Here are a few examples:

The things that don’t exist are the most difficult to get rid of.

The experience you want is in the process of getting it. If you have some thing, give it up. Getting it, not having it, is what you want.

The right thing to do would be the last thing we should do, left to ourselves, because it would be the last thing we should think it would be the right thing to do.

You all want to know if you’re right.

When you get farther on you will be right, but you won’t know it & won’t want to know if you are right. note5

Even in print these statements convey Alexander’s playful, thoughtful, unfettered use of his voice, embodied in the moment, in co-ordination with movement and in direct interaction with his students. These inventive uses of language are possible because the meanings of words are not intrinsically fixed; they become fixed, instead, within conventional patterns of usage, just as the functions of muscles become fixed in habitual patterns of movement. Language therefore moves in two senses of the term: it moves within and through syntactic structures, and it moves others to respond, within or beyond their habitual patterns of response. When Alexander’s use of language was freely co-ordinated with kinaesthetic perception and interaction, he also moved and moved his students beyond the confines of their time and culture. Because Alexander was using language to convey acute perceptions in the moment, his statements to his students do not seem dated or culture-bound. They sound as Eastern as Western, and more Post-Modern than Edwardian.

This lively quality of voice is easiest to maintain in conversation, when the language we use is fully embodied, and when it reaches the listener directly, even visibly. As Alexander realised, this sense of ease is harder to maintain in public speaking, when we feel we are performing for a potentially critical audience that does not immediately respond. In writing, a lively, embodied voice is still harder to maintain because written communication occurs across time and space, through the medium of a disembodied text. When we are writing, the reader is not there; when we read, the writer is not there. Unless we feel very close to the imaginary reader, therefore, it is extremely difficult to avoid ‘end-gaining’ in the act of writing: the effort to anticipate and control the outcome of this act.

Interference with writing ability results from that effort, which affects not only the writer, in the moment, but also the qualities of voice conveyed in the writing: the sounds and meanings of the language itself. Even across decades and continents we can hear those qualities, like the resonance of tones struck in one bell ringing in another, because we humans are linguistically tuned to similar frequencies. With linguistic information, as with kinaesthetic information, we can perceive effort, tension, and distortion as well as ease, strength, and grace. That is why so many of the words we use to describe qualities of language–fluent, poised, graceful, or awkward, stiff, ungainly–also describe qualities of movement.

When I read Alexander’s writing, I notice a lot of stiffness and posturing for the imagined audience–a kind of effort very similar, I suspect, to the posturing that once interfered with his speaking voice in performance . If I had learned of Alexander’s work only through his books, I wouldn’t have found much of relevance to my own work, because in his writing Alexander tended to ignore the roles of language, both in his teaching practice and in his conception of the self. When Alexander refers to the use of the self, he rarely includes the use of language as a medium of communication.

One reason, I suspect, is that Alexander distrusted language. In The Use of the Self, Alexander noted that “…knowledge concerned with sensory experience cannot be conveyed by the written or spoken word, so that it means to the recipient what it means to the person who is trying to convey it.” note6 In relation to sensory perception, he observed, language is often not only impoverished but misleading. The conventional, socially constructed meanings of words such as ‘head’ and ‘neck’ represented the misconception s Alexander had to overcome when he revised his map of the body. He was less inclined, however, to notice the positive ways in which he used language to bring this revision about.

In books such as Man’s Supreme Inheritance, Alexander was also trying to establish the validity of his ideas among prominent philosophers and scientists in his generation. In his effort to join the ranks of Tyler, Frazer, and Thomas Huxley, he clothed his discoveries in the ponderous formalities and sweeping generalisations of 19th century rationalists, evolutionists, and racists. In the language of positive science, Alexander describes the student as an individual “psycho-physical organism” or “human machine” that is not working properly, due to incorrect perceptions and habits. The Alexander teacher conveys correct information to this organism through “expert manipulation.” In Alexander’s literary imagination, these kinaesthetic transactions represent no less than an evolutionary force, through which enlightened Europeans might transcend both the mental deficiencies of the “savage races” and the physical afflictions created by industrial civilisation. As a writer, therefore, Alexander became a creature of his time.

Alexander no doubt believed that he was accurately describing the nature and significance of his work. But “All the damn fools in the world,” he once said to a student in a very different voice, “believe they are actually doing what they think they are doing.” I suspect that when Alexander was teaching, he was doing much more and much less than his writing tells us. In practice, language and movement were co-ordinated, interdependently, in the embodied self. This work was not only ‘psycho-physical,’ but also linguistic and intersubjective. Sensory perceptions were stimulating uses of language, which were stimulating somatic changes and new ranges of perception, not only in the individual ‘organism’ he happened to be teaching, but among all of the people present.

In relation to his practice, the weakness of Alexander’s writing does not result from the poverty of language or from the passage of time. The voices of writers can move people to awareness, action, or tears across centuries. Many passages from Alexander’s writing still ring true and illuminate his practice. Even in Alexander’s time, however, it was his teaching, not his books, that moved people in new directions. And it was Alexander’s teaching, more than his writing, that led John Dewey toward a progressive, fully integrated vision of individual development: in “…rich and manifold association with others,” Dewey wrote in The Public and Its Problems, through “…the means and ways of communication” in “…interdependent activities.” note7 This is how we still discover the richness and vitality of Alexander’s teaching afresh: through the hands, voices, perceptions, memories of his followers, resonating in the fullness of our own experience.

Endnotes

(1) Stafford, William, Writing the Australian Crawl, University of Michigan Press, Ann Arbor (1978) p.20 go back to text

(2) Chomsky, Noam, Language and Mind, Harcourt, Brace and World, New York (1968) p.14 go back to text

(3) Elbow, Peter, Writing Without Teachers, Oxford University Press, London (1973) go back to text

(4) Stafford, William, op. cit. go back to text

(5) Maisel, Edward, The Alexander Technique, The Essential Writings of F. Mattias Alexander, Carol Communications, New York (1989) pp.3-12 go back to text

(6) Alexander, F. Mattias, The Use of the Self Centerline Press (1988) p.viii go back to text

(7) Dewey, John, The Public and Its Problems, Swallow, Athens (1988) pp. 150, 155 go back to text

About The Writer
Keith Hjortshoj teaches writing and is the Director of Writing in the Majors, an interdisciplinary language and learning program at Cornell University. He is completing a book called Ease and Difficulty in Writing, based on his studies of language and movement.

 

Porto Workshop In The Alexander Technique For Performing Artists October 29th and 30th, 2016

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Durante mas de 100 años, la Técnica Alexander viene siendo estudiada por

los artistas con la finalidad de aprender a “utilizarse” a si propios correctamente

para alcanzar así los mejores resultados en sus actividades artísticas.

Miquel Bernat/Drumming-GP, profesor y solista de Percusión, me convidó

para impartir una introducción a la Técnica Alexander en la ciudad de Oporto

(Portugal), por tratarse de una herramienta muy útil para los bailarinos,

actores, cantores y músicos que pretendan participar en este “workshop”.

No podemos tocar cualquier instrumento, danzar, actuar, recitar o cantar

sin nuestro cuerpo. Este es también nuestro instrumento y los

instrumentos musicales son como una extensión de nuestro próprio cuerpo.

La forma como tocamos es un reflejo de quien somos y de como somos.

La diferencia entre un instrumento afinado y otro desafinado es enorme.

Lo mismo se aplica cuando nuestro “cuerpo” está afinado o cuando no

estamos afinados; la diferencia es también considerable.

El mismo princípio se aplica a los artistas en general, el uso de si propios

necesita de una afinación eficiente para poder llegar a un nivel de interpretación

y ejecución elevado.

Un cuerpo tenso normalmente produce un resultado poco positivo, ya sea en

una coreografía, en un concierto o en una pieza teatral,

igualmente observamos que un cuerpo flácido irá producir un resultado poco

energético en cualquier performance.

Para alcanzar nuestro mejor estado, nuestra puesta a punto, necesitamos de

estar totalmente en el momento presente, totalmente en “nosotros próprios”.

La música o la creación imaginada en nuestras mentes y sentida en nuestros

corazones debe fluir en nuestro cuerpo y en nuestras manos sin obstáculos.

Para mas informaciones, por favor contacten Miquel Bernat en bernat@drumming.pt

Venga a compartir conmigo esta técnica en un momento de introspección y gozo.

recuerden que los músicos pueden traer sus instrumentos.

Bruce Fertman

Workshop   Sábado 29/10/2016 y domingo 30/10/2016

horario: 10h-13h15  y  14h30-17h45

Bruce Fertman

La pasión y devoción de Bruce Fertman asi como su capacidad de ajudar a los

artistas debe ser experimentado por todos.

J. Maddux, Alexander Teacher / Voice Teacher, New York and California, USA

Con mas de 50 años de experiencia como artista del movimiento y educador,

Bruce Fertman tiene una vida de práctica intensiva como profesor da la técnica

Alexander.

Bruce enseñó a los miembros de la Filarmónica de Berlim, Radio France, Sinfonica

Nacional de Washington D.C, Sinfonica de Honolulu para la Jeong Ga Ak Hoe-música

tradicional em Seul – Corea, en el “Curtis.Institut of Music” así como en el Five College

Dance Program en Amherst, Massachusetts por 13 años y para la comunidade de

Tango en Buenos Aires. Durante 6 años, Bruce dedico parte de su tiempo en enseñar

el movimiento a los actores en la Universidad de Temple e Rutgers.

La experiencia profesional de Bruce abarca el estudio en Gimnasia, Danza Moderna,

Improvisación de contacto, técnica Alexander, Tai Chi Chu’an, Aikido, Chanoyu,

Tango Argentino y  Kyudo.

En 1982, Bruce fundó la Alexander Alliance International, una inter-generacional y

multicultural comunidad escolar devota a entrenar y enseñar la técnica Alexander.

Bruce Fertman es autor del libro “This Path Begins, Renderings of the Tao Te Ching”.

En la actualidad está en vias de lanzar su segundo libro titulado “Touching The Intangible”.

Miquel Bernat

bernat@drumming.pt

http://www.ictus.be/BERNAT

+351965836719

Touching Down

touching-down

 

In my front yard the rufous and ruby throated hummingbirds are heading south. Intelligently so, off to where it is warmer, without crossing time lines. No jet lag. I, on the other hand, am a migrant worker heading west, across time lines. Jet lag, long an occupational hazard. Still, I am a wanderer at heart, at home wherever I touch down.

For those interested, or those knowing of friends or colleagues who may be interested, here is my itinerary. Join me, if you can.

 

A World Of Possibility

Four Master Classes For Alexander Trainees and Teachers

Sept 24-27. New York City

Living The Work

For Alexander Trainees and Teachers

October 1-2. London

Individual Lessons At Studio One

October 3-4 London

The Alexander Alliance Post Graduate Training Program

October 5-7/10-11 Dorset

Prepared For Nothing/Ready For Anything

A Seriously Playful Introduction To The Alexander Technique

October 8-9 Dorset

Joining Hands

L’Estudi Center Technica Alexander Barcelona

And

The Alexander Alliance Germany

October 16-23 Barcelona

In Tune, In Tone, In Time

An Introduction To The Alexander Technique For Musicians

October 29-30 Porto

Prepared For Nothing/Ready For Anything

A Seriously Playful Introduction To The Alexander Technique

November 5 Zurich

A Sneak Preview Into The Alexander Alliance

Post Graduate Training Program

November 6 Zurich

 

38 bruce smiling copy

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