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Individual Lessons in London at Studio One – October 3rd and 4th, 2016

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Thanks to Selma Gokcen, I’ll be giving individual lessons on October 3rd and 4th.

Location: 1 Wolseley Road, Crouch End, London, N8 8RR

Fee: £50 for a 5o minute lesson.

To save yourself a space simply drop me an email at:

Perhaps you’d enjoy reading a few accounts of memorable individual lessons I’ve given over the years.

Hope to see you in London at Studio One!

Bruce Fertman


In Tune, In Tone, In Time  An Introduction In The Alexander Technique For Musicians And Other Performing Artists October 29th and 30th, 2016 Porto, Portugal



Bruce Fertman

Founding Director of The Alexander Alliance International

 For a hundred years now performing artists have been studying the Alexander Technique to learn about attuning themselves, as people, and as artists. Miquel Angel Bernat, a marimba professor, has invited me to Porto to introduce Alexander’s work to his students. Because the Alexander Technique is so useful to dancers, actors, and singers as well, we have decided to open the workshop to anyone who is a performing artist, amateur or professional.

We cannot dance, sing, act or play our music without our bodies. Either our body is our instrument, or our instrument is an extension of our body. In both cases, how we use our bodies while performing profoundly influences the quality of our performance.

The difference between playing our instrument when they are in tune, and when they aren’t, is enormous.

The difference between acting, singing, dancing or playing our music when our bodies are finely tuned, and when they aren’t, is equally enormous.

Musical tone and muscular tone are strikingly interconnected. A tight body tends to produce a tight sound. A flaccid body tends to produce a flaccid sound.

To act, dance, sing, or play it helps when we are fully embodied. We want what is in our minds and our hearts to flow immediately through our bodies, through our hands, and through our voice, without obstruction.

Please join me for a day of insight and enjoyment. Bring your instruments!

For details and to register contact Miquel Angel Bernat Martinez at


Bruce Fertman

About Bruce Fertman


Bruce Fertman’s joy and passion for the work, his keen intellect, his amazing ability to help the artist open completely to his or her imagination and creativity must be seen – no it must be experienced. Bruce is quietly astounding.

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

With over 50 years experience as a movement artist and educator, Bruce Fertman brings a lifetime of training to his work as an Alexander teacher. 

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

Bruce’s training encompasses disciplined study in Gymnastics, Modern Dance, Contact Improvisation, Alexander Technique, Tai Chi Chu’an, Aikido, Chanoyu, Argentine Tango, and Kyudo.

In 1982, Bruce co-founded the Alexander Alliance International, an intergenerational, multicultural community/school devoted to the training of Alexander Technique.

Author of Where This Path Begins, Renderings of the Tao Te Ching, Bruce is currently at work on his second book entitled, Touching The Intangible.

Genesis Revisited

Photo: B. Fertman

Photo: B. Fertman

 There was once a little girl and she was terribly bored. There was nothing to do, and not only was there nothing to do, there was absolutely nothing at all.

On The First Day

Since there was absolutely nothing the little girl decided, quite confidently, that the first thing she needed was space. “Nothing is nothing, she thought, but space is definitely something. It’s open and it can be filled.” She was surprised how easy it was to create space. Just like that.

The little girl liked space. It made her feel free. For quite a long while that was enough for her. Until she felt the need for something else, something a little more substantial, though she didn’t want to lose the sense of space she loved so much.

On The Second Day

She created moisture. She was proud of herself for coming up with such a good solution. Her creation still felt infinitely spacious and yet now, it also felt full. She closed her eyes sensing the coolness of the moisture upon her skin, and as she did she saw darkness, a darkness as vast and as beautiful as the space she had created. The little girl rested within this moist coolness and safe darkness for a long time. She enjoyed being creative.

On The Third Day

Feeling mischievous, she awoke with a sparkle in her eyes. She wanted an adventure. She decided, in one fell swoop, to create every thing in the world that ever would be. She hadn’t realized that she had inadvertently created time, and she had no idea of just how many things that would be, but then again she had made a tremendous amount of space. To make sure she had indeed created all the stuff of the world, she made light to shine upon everything she created. It was turning out to be an exceptionally busy but good day.

Suddenly there was utter chaos, and it was exhilarating. She hadn’t as yet names for anything, and she hadn’t the foggiest idea of what all these things were for, but she loved watching them floating in her space. Some things were moving slowly and some things were whizzing by dangerously fast, so fast that sometimes things would collide into one another, creating loud sounds. She had never heard sounds before.

All this commotion was intoxicating. It was awesome. But after a while the little girl began to get dizzy. Nothing ever stayed in the same place! Something would appear that she loved and then, in a flash, it would be gone. Never to be seen again. Or worse, something would smash into what she loved and it would shatter into a thousand pieces.

On The Fourth Day

Her dizzy spells continued. She didn’t want to get rid of everything. She didn’t even know for sure whether she could de-create something. Then she came up with what she thought was a great idea. She decided to create gravity and ground, and the moment she did, everything, literally, fell into place.

She couldn’t believe how good this felt. It was as magnificent as her first experience of space. Everything was sitting comfortably. Everything was at rest. Everything was settled and seemed entirely happy exactly where it was, and exactly being what it was. There was some logic to where everything was but the little girl did not yet know what it meant for something to be logical.

After a while she realized that even with all the stuff that was now in her world there still seemed to be an equally infinite amount of space. This seemed mysterious to her. And there was still plenty of moisture. In fact, by creating gravity and the ground, some of the moisture had become more substantial and concentrated and had fallen, making oceans and rivers and waterfalls, which for some unknown reason made her feel quiet inside and happy.

Everything looked beautiful to her. All at once she realized that, since she started creating, she hadn’t been bored for a second! It was as if she had discovered the secret to happiness. Creativity. She was content for a very, very long time, for eons.

On The Fifth Day

The little girl was so utterly content, that is until she realized she had not had a really creative idea in a long time. And then she did. Out of the blue, (why the sky was blue she did not know), another idea popped into her head. She wondered where on earth these ideas came from. She thought, “What if I could create creatures who had entirely different ways of perceiving and experiencing this beautiful world I have made?” So she created creatures that could see her world from above, and creatures that could see under the water, and creatures that lived within the ground itself, and creatures that lived in the trees. She created creatures that lived where it was hot and creatures that lived where it was cold, creatures that could see, and smell, and taste, and hear and touch the world she had created, all simultaneously experiencing the same world differently. “Why, she thought, that would be like creating millions of worlds inside of the one world I created! That struck her as quite clever and efficient.

The little girl spent a long, long time just watching all these creatures and comparing one to the other. Again there was some kind of logic to the whole thing but still she did not know what that meant. Soon this was to change.

After a long while her curiosity got the better of her. What was making her world go round? What made the creatures in the air able to be up there? Why did some creatures eat other creatures? Most amazing to her was how these creatures seemed to come and go. New creatures would appear while older ones would disappear. Creatures tended to be small at first and then got bigger, and the trees too. What was that? The questions seemed endless.

Another idea popped into her head, but she was not sure whether it was a good idea or not so she did not act upon it right away, which she thought was very mature. She loved the world so much as it was, even if she didn’t understand it. “My world seems to understand itself, she thought. It knows exactly what to do. Maybe I should stop here. This feels complete. Everything works. It’s beautiful. It’s interesting. Who cares if I don’t understand it?” But the questions kept coming. They were beginning to make her uncomfortable, sometimes even unhappy.

On The Sixth Day

The little girl decided to take one of the creatures she had created and make them capable of thinking about her creation. Personally, she did not want to think too much about it. That wasn’t her thing. She didn’t feel very smart, just very creative. Besides, there were just too many questions. The little girl became very serious and thought, “If I were to make every individual creature of this particular kind able to think maybe, eventually, this creature would be able to answer my questions.”

And so even though the little girl felt a funny feeling in her stomach, she went ahead and did it anyway. She thought, “Well, how am I going to find out if this is a good idea or not if I don’t try?” There seemed to be something logical about that too.

She mustered up her courage and made it so this one kind of creature could think and then right away she realized these creatures would need to be able to communicate their thoughts to one another if they were to be able to figure things out together, and so she created a bunch of languages because she thought a bunch of languages would be more interesting than just creating one.

On The Seventh Day

Without noticing it, (she had been so, so busy), the little girl was growing older. She had seen a lot, and done a lot. She began feeling tired, something she’d never felt before. “Perhaps it would be good for me to rest for a while and spend a little time not creating,” she thought. The little girl spent a long while simply gazing at her creation. “It’s good,” she thought, “very good.” She loved her world. Sleep was coming over her as if she were being covered with a soft, warm blanket. She thought, “I think the world will be okay for a little while if I don’t watch it.” Again there was that funny feeling in her stomach, but before she knew it she had fallen fast asleep.

This brings us exactly to where we are now. Our little girl remains asleep. As she sleeps our thinking creatures have been busy trying to figure everything out. They’ve found a lot of answers to a lot of her questions. On this front, they are doing very well, even though there remain far more questions to be answered than the ones they have answered because each answer they come up with seems to create new questions. These creatures may be busy for a long time, maybe forever.

I say maybe forever because it seems that thinking as much as these thinking creatures do brings with it strange side effects, something the little girl could not have predicted. One of the side effects is that these creatures seem not to care very much about the other creatures or, for that matter, about anything the little girl created. The thinking creatures seem so busy thinking and trying to figure everything out that they don’t notice how beautiful everything is, how everything works together, how well it all takes care of itself.

As our little girl sleeps, the world continues on its own course without her. I know that sooner or later she will wake up, and when she does I wonder what she will find and what she will think about it. I am sure once she sees the lay of the land another idea will pop into her head.

After all, she is a very creative little girl.


You might wonder how this story of Genesis popped into my head. Without my knowing it, it had been writing itself for a long time.

After many years I began to discern a sequence within my method for helping people create more of the kind of world they wished to live in. The story of our little girl, and the creation of her world, unfolds precisely in this sequence. It’s a story that contains within it my pedagogy, the genesis of one way of working with people.

First there is nothing.

There is nothing like the concept of nothingness to put life into perspective. The prospect of individual non-existence can have a sobering affect. And it can have a freeing affect too. Eliphalet Oram Lyte wrote a little ditty that expresses my attitude as a teacher, the mood I do my best to create within my workshops and classes.

Row, row, row your boat

gently down the stream,

merrily, merrily, merrily, merrily,

life is but a dream

 We’re all here rowing our own boats. We are all going down the same stream to the same place. It’s not our stream. We don’t know where the stream will carry us. Our boats don’t belong to us either, but we are responsible for taking care of them. We want to learn how to row our boats gently, that means to me, without excessive force. We want to develop the sensitivity to discern the undercurrents, and the perceptivity to read the river. And when we can, why not bring a bit of merriment to our little adventure…merriment, that is, buoyancy, liveliness, zest, lightheartedness, warmth, friendship, festivity, hilarity, and pleasure?

Life is but a dream. Could be. Who knows for sure? Can we know for certain that we are not being dreamt? Could it be we are but figments of one creative imagination, seemingly alive within a very realistic dream?

But whatever the case may be, best not to take ourselves too seriously. When something seems unimportant, that’s the time to take it seriously. When something seems vitally important, that’s the time to crack a joke, to smile, to have some fun.

Why? Because it just works better that way. When people are not trying too hard to get it right they have more fun, and when they have more fun, they learn more.

One the first day she thought, Nothing is nothing, but space is definitely something. Its open and it can be filled.

 That’s where I begin, with a person’s sense of space. For me, the sense of space is a sense, just like our other senses. There is essentially no space within our bodies, but with training we can come to sense a tremendous amount of space within us. We can be in a packed subway car, everyone pressed against one another, and feel a tremendous sense of space and relaxation. There is learning to see and sense the space all around us in such a way that it actually supports us like an invisible spider web, allowing us to sit comfortably in the center of our world. There is the lively space between, between us and our computers, between us and our food, between us and our thoughts, between us and those we love and those we don’t. This is where I begin.

One the second day she closed her eyes sensing the coolness of the moisture upon her skin and as she did she saw darkness, a darkness as vast and as beautiful as the space she had created. 

When I begin to use my hands to help awaken a person’s kinesthesia and propriception my hands have a way of getting under the skin, of finding fluidity within them, a kind of underground stream streaming throughout them. I am water touching water. This sense of moisture is new to most people and they find their eyes closing. They want to sense this moisture within a vast inner space.

On the third day some things were moving slowly and some things were whizzing by dangerously fast, so fast that sometimes things would collide into one another, creating loud sounds. She had never heard sounds before.

 The world sometimes feels like this when we’ve got lots to do. We’ve got to get to work, but first we have to make lunches for the kids, and drop them off at school, then pick up our coworker whose car broke down. I ask students to bring me the “stuff” their lives are made of, their responsibilities, their projects, their problems, their pain, and their pleasures. It’s easy to become overwhelmed. It’s as if the world we’re whirling around us. It’s as if someone were stirring things up. How can we allow the stirring to stop, how can we let the mud settle to the bottom until the water is clear?

On the fourth day she decided to create gravity and ground, and the moment she did, everything, literally, fell into place.

 Humans need mobility and stability. Objects are great at showing us how to be stable. They know how to sit, how to receive support from the ground, so they can rest, so they can just be where they are and what they are. They know how not to fidget, how to be still. Humans need to learn this too. As far as gravity is concerned there is only space and stuff in this world, and humans classify as stuff. Gravity treats us the same way it treats every thing and every one. Gravity is fair. It’s our responsibility to learn how to work with gravity. We live on common ground, shared ground. The same ground supports us all. We’ve got to learn how to come down to the ground. We must come to realize we were all created equal. From where doth our support come? It comes from the ground. But sometimes we must go down to get it.

On the fifth day the little girl thought, What if I could create creatures who had entirely different ways of perceiving and experiencing this beautiful world I have made?

 A big part of my work is re-introducing the sensory world to people. We have spent time becoming oriented, fluid, and stable. Now it’s time to enliven and refine our sensory life. It’s not about sensory indulgence. The senses can take us way beyond pleasure. The senses allow us to gratefully receive the subtle magnificence of the world in which we live. Paradoxically, through the senses we get a glimpse of something beyond the senses, we get a glimpse of the essence of life itself, of life speaking directly through its own language without interpretation. Through the senses we experience communion.

On the sixth day the little girl decided to take one of the creatures she had invented and make them capable of thinking about her creation.

 Once my students have had glimpses into another way moving, sensing, and being in their world, their curiosity awakens. The questions start coming. “How come we lose our mobility and stability?” “Are there cultures who don’t lose it as much?” How about other animals?” “Is there some structural flaw in our upright structure?” “What makes us able to be upright?” “Why is it so difficult to continue to sense ourselves kinesthetically?” Mostly I say, “I don’t really know for sure.” We begin to think about thinking? Are there different ways to think? Cognition. Meditation. Contemplation. Awareness. Consciousness. Intelligence. Sensory Intelligence. We begin to find language for our new experiences. Together we enter a world of wondering.

On the seventh day the little girl thought,Perhaps it would be good for me to rest for a while and spend a little time not creating, she thought. The little girl spent a long while simply gazing at her creation. Its good, very good, she thought. She loved her world.

 You can’t do anything forever. Obsessing doesn’t help. It’s not healthy. Sometimes you just have to forget about the whole thing. Take a break. Don’t think about yourself or your work. “You’re fine exactly the way you are,” I tell my students. I tell them, “Never change. I love you just the way you are!” Everyone smiles. I encourage people. I know people do the best they can. I don’t evaluate people. Through this work goodness in people rises to the surface by itself. I don’t know why. Goodness, and love too. Love for the world, love for others, love for themselves. And love for that little girl.

ENGLAND – Third Alexander Alliance Post Graduate Training Program – England – Accepting Applicants Now for April 2021

Read more

GERMANY – Quintessence – A Documentary On The Alexander Alliance Germany

In this heartfelt documentary, award winning videographer Renea Roberts captures what Alexander’s work is about as understood through The Alexander Alliance Germany, a school I founded in 1996, now knows as the Alexander Alliance Europe.


Enough Is Plenty

Sitting by Chimney Rock overlooking Pedernal Mesa.

Sitting by Chimney Rock overlooking Pedernal Mesa.

There have been years in my life when I have felt inspired, creative, exuberant; distressed, deflated, depressed; centered, sensible, devoted, disciplined; selfish, recalcitrant; lonely; hopeful, hopeless, fragile; tenacious. But until now I have never had a year, not one I can remember, when I have felt at peace with myself, with my life, content.

Will this contentment last? Maybe. Maybe not. For now, I will rest within it and quietly proceed to live out my days. For now, now is enough, now is plenty.




The Space Within, Around And Between

photo: B. Fertman

photo: B. Fertman

Within but not enclosed, without but not excluded.
Hildegard von Bingen

The world is our consciousness, and it surrounds us.
Gary Snyder

Our souls dwell where our inner world and the outer world meet. Where they overlap, it is in every point of the overlap.

I don’t paint what I see. I paint what is between me and what I see.

All I’m trying to show you is a little bit of nothing.
Marjorie L. Barstow

The Alexander Technique is as much about the metaphysical as it is about the physical, as much about the mind as it is about the body, as much about the spirit as it is about the senses, as much about stillness as it is about movement.

Good postural support and moving well are wonderful, but they’re not, essentially, what the Alexander Technique is about. They’re perks.

The Alexander Technique is about space, space deep within us, physically, mentally, and spiritually. It’s about presence through absence. It’s about the space all around us, beside us, behind us, before us. It’s about the space between; it’s about closeness through distance.

In this workshop you will learn, practically, how to bring greater spaciousness into your body and being. It may very well change the way you relate to yourself, to others, and to the world at large. It’s not difficult.

Whether you are new to the work, studying the work, training to become an Alexander teacher, or an Alexander teacher, I invite you to join me for a day you likely won’t forget.

Bruce Fertman

Founding Director Of The Alexander Alliance International

Naturalness And The Alexander Technique


photo by Bruce Fertman

photo by Bruce Fertman

When an investigation comes to be made, it will be found that every single thing we are doing in the work is exactly what is being done in nature where the conditions are right, the difference being that we are learning to do it consciously. – F.M. Alexander

There lies the rub. Conscious naturalness is virtually a contradiction in terms. As soon as we become conscious of our breathing we immediately begin interfering with it. Consciousness is a double-edged sword. It can free us, and it can stifle us. In our attempt, as Alexander teachers, to understand, embody and impart naturalness to our students we sometimes, unbeknownst to us, begin manifesting certain artificialities.

We can, at times, become a bit stayed, crusty, overly starched and pressed, like the beautiful white shirts my grandfather once wore. Sometimes, rather than simply occupying ourselves, we be become preoccupied with ourselves. Giving so much attention to the subtle relationship between our head, neck and back, we can become top heavy, losing our full ground support.

Inadvertently, in our quest for poise, symmetry, and calmness, we can hamper our spatial, gestural, and emotional freedom. It’s not easy being consciously natural. It’s understandable that sometimes we fail. In this workshop we’ll take a look at what some of the antidotes might be for countering these unwanted side effects.

If you are an Alexander student, trainee or teacher I hope you will join me.

Bruce Fertman

Founding Director of The Alexander Alliance International

Eleven Days


For eleven days, Rusty was nowhere to be found. Of course, we notified the local animal shelter, put up posters everywhere that made sense, notified people via Facebook. But it was disheartening looking out at 1.3 million acres of forest, a forest with mountain lions, and Coyote packs.

Officer M. Vigil arrived shortly after we ran off the road and Rusty had bolted. He looked to be about 40, slow moving, calm. The first thing he did was take down a lot of information about me, and just what happened. “I’m supposed to give you a ticket, but it’s been a bad enough day for you as it is, and the last thing you need on top of it is a ticket.” After a neighbor, Ernesto Trujillo, a generous man, came down and took Yoshiko and her mom, Masako, back to the house, and after all the kind people who had stopped to make sure we were okay had left, (some of them drove around looking for Rusty), there we were, just Officer Vigil and I, waiting for a tow truck to arrive. Given how far away we were from civilization, it would likely be a while.

Feeling shaky, after having withstood such a strong impact, I was a bit wobbly around the knees, and without thinking, I just leaned against the police car. When I noticed what I was doing, I said, “I hope it’s okay I’m leaning against your car.” “Some police officer’s are mighty protective of their vehicles, but no, please, go ahead, just rest.”

I don’t know why, maybe it was from all the training I had with Byron Katie, all that work we did on seeing through our prejudices, undoing all the beliefs we have about all kinds of people, about all police officers, or all republicans, or democrats, or about all Spanish, Anglo, Native American, African American, or Asian peoples, or about all gays and lesbians, or about all very overweight people, or about all people who live in the city or in the country, or about all old people or young people.

But whatever it was, I just saw this man next to me as a person, a person I knew little about, other than that, so far, he had been kind to me. And then again, it was as if I did know him, the way we know everyone, when we really see them.

“Where do you live,” I ask the officer? “I’m from Taos, that’s where I was born and raised.” “How was that, I asked?” “Well, Taos was a whole lot smaller when I was growing up. No Walmart, no big stores of any kind. No fast food chains. Everybody knew everybody.” “What did your parents do?” “They were both schoolteachers…’ and so it went for the next 40 minutes, as we waited by the side of the road, leaning on his super clean car, on a perfect sunny day, under a vast blue sky, with nothing around us but open space going forever in every direction.

The tow truck came. It wasn’t easy getting the car out of such a deep ditch. Officer Vigil stayed until the very end, just watching, making sure everything was going to work out. As I was hopping into the tow truck, I looked back, and called to him. “By the way, what’s the M. stand for on your badge?” “Matthew.” Looking at him in the eyes, I said, “Matthew, thank you for all you did for me. I won’t forget it.”

Eleven days later I get a call. “Is this Bruce?” “Yes.” “This is Matthew. I’m the officer that helped you out when you had the accident. Do you remember me?” “Sure I remember you.” “Have you found your dog yet?” “No, we haven’t.” “Well, I’m down by Abiquiu Lake keeping watch over things here in the campgrounds and there’s a dog roaming around. Is your dog kind of red in color, male, mid size?” “Yes,” I say, as I stand up looking for my coat.“I think this may be your dog. Take my phone number down. I’ll be here. Don’t rush.”

A half hour later, Yoshiko and I pull in next to Matthew. We shake hands. “I didn’t think I’d see you again Matthew.” “Good to see you too,” Matthew says with his straight face, unemotional voice, but sparkling eyes. I turn, whistle loudly. Rusty comes over. He’s thinner, but fine. We thank Matthew again. We drive by the campers who fed him that night and thank them too. On the way out we pass the gatekeeper. “I hear you found your dog. I’ll tell you, there’s something special about that officer. When he came in tonight he asked me if I had seen a dog roaming around. I hadn’t. He was driving around here for the past hour looking for him.”

Last night Rusty slept soundly. Sometimes his eyes would kind of turn back inside his head and begin to flutter, his body twitching. I would have given anything to know where he was, where he’d been, how he survived.

It’s morning. Rusty’s resting in the sun. Curious, I Google, “what does the name Vigil mean?” The Vigil surname comes from the word “vigil” which is from the Latin “vigila,” meaning “wakefulness.” Also, it may derive from the town of Vigil, in Asturias, Spain.

Then I Google, what does Matthew mean?

Gift from God.


Anchan Akihiro Tada – About The Touch

Photo: Bruce Fertman

Photo: Bruce Fertman

“Anchan, I will pay for all your expenses, travel, room and board, training, film, everything, if you travel around with me and take photos.” That’s how it all began, the making of a man able to catch that elusive moment when a person opens up, frees into who they really are, revealing their intrinsic beauty, their fundamental dignity.

That’s not easy. In the first place you have to be able to see, to see people. You have to be able to feel the instant before a person lets go into a space unknown to them. You have to remember what’s most important; to draw the viewers eye to the inner life of the student.

Now videography, something Anchan taught himself how to do, poses formidable challenges. Movement can be distracting, and words too. Photographs have power. Catching a moment, one moment, the moment of transformation, within stillness, within silence, suspended there in front of you with all the time in the world to enter into what you are seeing, and to be moved by it.

Anchan had an idea. He thought, “what if I could make a wordless video that showed not only the transformative moment, but the transformative movement, without losing the beauty and the stillness of photography?” And with that question Anchan made, The Touch.

But Anchan’s much more than a photographer. He’s an Alexander Teacher in his own right. And a good one.  Not only does he have a better eye than most Alexander teachers, he knows how to teach what he knows. It’s moving to watch Anchan with his kids, how he gives them the time and space to figure things out for themselves, and only interjects a suggestion when needed. He knows when and exactly how much encouragement to give, and he knows when it’s not needed. 

Anchan’s always there. He’s ready to serve. He makes things work. He’s generous. He overflows with generosity.

We were young men when we met, and though Anchan is a good ten years younger than I am, we are both decidedly older, no longer young. But rather than growing tired after all these years of dedicating ourselves to making the invisible visible, to making people see the power of touch, the beauty of Alexander’s work, we’re becoming ever more engaged in this undertaking. We keep getting closer, and closer.

In this short video, made by Anchan, entitled The Touchyou get to see how Anchan sees, and what Anchan loves. You get to see what the students are seeing.  And you get to see the students seeing what they are seeing.  See that, and you will see why I have faith in young people. Those students are delighting in the power and beauty of teaching through touch, something Marj Barstow passed onto me, that Alexander passed on to her,  and that I will continue to do my best to pass on to my students for as long as I am able.

I could tell you much more about Anchan, but I won’t. Let The Touch speak for itself.

Watch The Touch.

Tell us your impressions.

We welcome any and all feedback.