It is an honor having Dr. Galen Cranz as a member of our worldwide Alexander Community. Professor of the Graduate School in Architecture at UC Berkeley she is a sociologist and designer, as well as a certified teacher of the Alexander Technique. She studied in San Francisco, but was certified in Thom Lemens’ four-year training course in New York City. Having specialized in how the body meets the environment, she advocates Body Conscious Design. She is the author of The Chair: Rethinking Culture, Body and Design.
Teaching By Hand, Learning By Heart: Delving into the Work of F.M. Alexander
By Bruce Fertman
Reviewed by Galen Cranz
Bruce Fertman was many things before becoming an Alexander teacher: gymnast, swim coach, martial artist (tai chi and aikido), tango dancer, movement educator, and movement artist. He brings those skills to his Alexander teaching, but he himself writes that he has transcended movement teaching to something else. In Teaching By Hand, Learning by Heart, he calls himself a metaphysician who “attends to people’s subjective sense of time and space, to their felt experience of being and becoming.” He introduces the concept of “movement metaphor” to show that people learn more deeply if they can physically experience a principle. To demonstrate the principle that we make ourselves tense rather than a situation makes us tense, he crowds students into a subway-like space to get them to experience that they tighten their own feet, legs, pelvis, shoulders arms, throat and jaws –and that they have choice about whether or not to continue the tension.
Bruce is a skillful writer, who shows the same poetic artistry throughout his book that I have enjoyed in his blog/facebook essays. This book is not an introduction to the Alexander Technique and its 5 –or 10– basic tenets. Instead, in Part I, “The Work at Hand,” he describes how he uses paintings and the arts in his group classes to show how specific physical traits express emotion. In each short chapter he shows how he creates psychological insight regarding sport, nature, anatomy, sensory life, social biology, theology, mysticism, pottery.
Bruce believes in the importance of emotions in changing one’s physical patterns. He focuses on establishing emotional rapport, or creating emotional well-being in this clients/students before seeking to create structural alignment.
Like other skilled somatic therapists, Bruce emphasizes listening –with hands– and receiving rather than fixing a problem. Once witnessed, a problem has a way of solving itself. Open, listening hands witness and receive information, and solutions present themselves—in new feelings, images, movements, words, and concepts.
The second half of the book, “Student-Centered Teaching,” offers stories about profound and poignant moments of transformation in his teaching practice. Examples include a frustrated math teacher, a blind singer, a man with ankylosing spondylitis, a woman suffering for her sister, tango partners, a yoga teacher, a 70 year old caretaker learning to ask for help, a child custody hearing in front of a judge, and more.
Bruce has offered story after story of insight, transcendence, hope, and healing that might inspire other teachers. That is the ultimate measure of the success of this book: does it stimulate and educate other teachers —or is each instance too particular to Bruce or his students, or too local to Japan or Germany or Santa Fe to bring out the best in us? Thanks to one of the teachings in this book, I personally learned to think of freeing not only the top of the neck where it meets the head, but also the bottom of the neck where its muscles connect to the torso, the way a tree trunk has roots. Thus, while his synthesis of philosophy, psychology, the arts, and motor skill is unique, I choose to believe that this book encourages us to develop our own personal signatures in the way we work.