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Posts tagged ‘walking’

A Reading: The Lost Procedure – The Gift of Rotation and Spiraling In Walking

“So we saunter toward the Holy Land,

till one day the sun shall shine more brightly than ever he has done,

shall perchance shine into our minds and hearts,

and light up our whole lives with a great awakening light,

as warm and serene and golden as on a bankside in autumn.”  

Henry David Thoreau

Walking

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Photo: B. Fertman – Trevi Fountain

 

A Reading by Jenny Quick

Text

The Lost Procedure

“So we saunter toward the Holy Land, till one day the sun shall shine more brightly than ever he has done, shall perchance shine into our minds and hearts, and light up our whole lives with a great awakening light, as warm and serene and golden as on a bankside in autumn.”  

Henry David Thoreau – Walking

Marjorie Barstow 1976

Perhaps not lost, not to all but, I fear, to some. It may not be getting the attention it deserves. Few teachers are as confident and accomplished at teaching walking, as a procedure, as they are in teaching chair work or lying down work as a procedure. Marjorie Barstow, one of my mentors, loved this procedure. She took people as much from standing into walking, as most teachers today take people from standing into sitting. And so do I. I like walking because it is the only procedure that clearly incorporates rotational and spiraling motions. Lunge, monkey, and hands over back of the chair, as wonderful as they are, can have the inadvertent side effect of training a person not to rotate or spiral when rotational and spiraling motions are called for, as they are in walking. This creates what I refer to as Alexandrian Artifice, unnaturalness, the exact opposite of what we want, which is naturalness. As we know, stiffness, that is, a certain held stillness, a slightly stayed quality like a beautiful white shirt, over starched and thus uncomfortable can pervade our work. When a person learns to walk well, this insidious artificiality gives way to fluid, powerful motion.

To learn how to walk well requires a working knowledge of the ‘motions of mechanical advantage.’  Here I will list, not all, but some of these motions of mechanical advantage as they apply to walking. I teach them ‘one after the other’ though, of course, the goal is that in the end they are all happening simultaneously, ‘altogether’. We learn them as notes, but ultimately they become chords. We also learn these motions of mechanical advantage from the bottom up and not from the top down. It’s easier this way.

Remember, it is not necessary to ‘do’ anything with force. All that is necessary is to perceive the truth of your anatomical design and what is happening, as it is happening. It is the truth that sets us free, effortlessly. That’s grace.

One. Our feet must learn how to give themselves to the ground. Alexander writes about this clearly in Evolution of a Technique. Most people stand on their own two feet, not on the ground. The way we give our feet to the ground is by allowing our ankles to be loose. In Japanese we call the ankle, Ashikubi, which literally translates, ‘the neck of the foot’.  Once the ankles are loose and free, the back foot, the foot behind us when we are walking, be it our left or right foot, will have a slight tendency to linger in the back. Just perceive it, sense it, and allow this slight lingering to happen. Don’t do it. (A ‘footnote’: remember that the structure of our feet, including the bottom of our feet, are entirely above the ground. Remember that our feet are not like the sole of a shoe. Our feet are more like hiking boots. They have verticality, are also vertical structures, part of our vertical height.) The heels of our feet are low and behind our ankles, and our ankles are forward of our heels and higher than our heels. We don’t stand ‘on’ our own two feet. The ground rises up under our feet and stands us up.

Two. In the Alexander Alliance we teach about the workings of the pelvis, at first, in a simple but very effective way. We teach our students about the “Three Tails,” dog tail, duck tail, and dinosaur tail, as conceived by Robyn Avalon. We have people imagine that they are a dog that did something bad and that their master is scolding them. We get them to put their imaginary tail between their back legs and tuck their pelvis’s under in shame, and then walk around. Then we ask them to keep their dog tails and raise their arms, and then to take a deep breath, and no one can lift their arms over their heads, and no one can take a deep breath. (Try it now.) So we know a dog tail will not help us walk well. But many of us have a bit of a dog tail, and even a little bit of dog tail affects our arms and how we breathe; it  affects everything really. Then we teach duck tail. We have everyone lift their gorgeous tails way up high. Everyone’s chest automatically sticks way out, their necks over straighten, their knees lock back, and again, when asked to raise their arms and then to take a deep breath both again are impaired. So we know that a duck tail does not help us walk. Even a very slight duck tail hampers the freedom of the entire body. Finally, we teach something that is not a dog tail and not a duck tail. It’s a dinosaur tail. A dinosaur tail is huge, grows out of our sacrum and curves behind us down to the ground, where it rests substantially, but lightly and happily. We then walk imagining our dinosaur tail naturally swinging from side to side. We don’t make the dinosaur tail do anything. We just imagine it swinging happily. We want the mind moving the body, not the muscles moving the muscles.

Now we go back to one, get the ankles loose and the feet lingering behind us, add the huge dinosaur tail image, and right away, there will most likely be a lively power coming into our walk. The ground and pelvis are sources of great power.

Three. It is important simply to notice where body parts are, one in relation to the other. We can never figure out where a part of the body is in isolation. We can only know where something is in relation to where something else is. Can you imagine wanting to find Paris and you look at your GPS and there is only one big point on the screen that says Paris? Locating our greater trochanters in relation to our hip joints, what I call our ‘hip pockets’ is important. Sense how much distance there is from greater trochanter to greater trochanter. Then notice where your hip pockets are, how close they are one to the other. Notice how the hip pockets are quite close to the midline, while your greater trochanters are located far out on the periphery of your body. While walking let your knees fall under your hip pockets. This will simply happen, if you let it, because the angle of the femur from the greater trochanter falls diagonally inwards toward the midline of your body, exactly where the knees want to be. Your knees exist close to the midline as do your ankles and your feet, and your spine too. Sense the truth of that.

Add this relational awareness of your wide greater trochanters in relation to what exists and moves close to your midline, i.e., hip joints, knees, ankles, feet, and spine as you allow your ankles to be loose, your feet to linger behind you, and your imaginary dinosaur tail to swing happily, altogether, one after the other. That is, altogetheroneaftertheother. I wish I could say all of those words simultaneously, but I can’t.

One, ankles/feet, two, dinosaur tail, three wide pelvis/ midline joints altogetheroneaftertheother.

Four. It is important to know how huge our rib structure is, how low it is, and how surprisingly high it goes. It’s important to understand how the rib rings become smaller and smaller as they get higher and higher, the top rib ring living just under the clavicles and rising above the clavicles in the back where it inserts into their costovertebral joints. Imagine two people climbing up the sides of your rib structure, your rib ladders. As they get higher and higher, imagine the climbers getting closer and closer together. Imagine them climbing all the way up onto the top rib ring behind the clavicles, and making their way up to where the top ring ribs insert into their costovertebral joints.

One, ankles/feet. Two, dinosaur tail. Three, wide pelvis/midline joints, Four, rib climbers, altogetheroneaftertheother.

Five. Our arm structure, (we don’t have two arms, we have one arm structure), which includes our clavicles and our scapulae hovers above our upper ring rib and is a large, wide structure in relation to our uppermost ring rib, which is small and close to our midline. Shoulders are wide just as greater trochanters are wide. The power of the dinosaur tail sends the pelvis swinging in such a way, (in such a way means in a way too subtle to describe), that sends a rotational spiraling action up the spine, which in turns swings the arm structure, allowing for oppositional motion in walking. It does not help to have dead, hanging, ropey arms. Play with making ‘finger rings’, touching the tip of your index fingers or middle fingers to the tip of your thumbs, creating a slight suspension and circular curving of the arm structure.

One, two, three, four, five, altogetheroneaftertheother. You should now be in ‘four wheel drive’, walking with ease and power.

Six. And of course, for good measure, we invoke within us ‘the true primary movement in each and every act.’  Aristotle speaks of, (I wonder, did F.M. read Aristotle?), the Prime Mover, the Unmoved Mover, a concept which means, ‘that which moves without being moved’ or, the ‘mover of all motion in the universe’. In Metaphysics Aristotle envisions the Unmoved Mover as perfectly beautiful and indivisible.

And so we invoke via our Alexandrian invocation, verbally or non-verbally, out loud or in silence, Let my neck be free, to allow my head to go forward and up, to allow my whole back from head to heel to lengthen and widen, altogetheroneaftertheother, (or whatever slight variation you like), and miraculously all the mechanical parts of the walk transform themselves into one organically logical living whole, at once functional, fluid, natural, beautiful, peaceful and powerful.

Flare your nostrils a few times, feel the coolness of the air as it rises up through your nasal passages. Let the Unmoved Mover breathe you and move you.

One, two, three, four, five, six, altogetheroneaftertheother.

The lost procedure, rediscovered anew.

Seven. All that is left is to see, not only through your eyes, but from your beating heart. Let the world, in all of its glory, enter and fill you.

Say thank you to the forces that be for granting you the ability to walk.

And mean it.

There is more to say about walking and, there is nothing more you need to know.

Gratitude is the ultimate freeing force.

 

Note: Consider recording this essay on your smartphone and listening to it as you take a half hour walk. Pause it when needed. See what happens. When you return home, sit down at your computer and write me a letter telling me of your experience. bf@brucefertman.com. I’d love to know. Thank you.

Just A Hunch

on innocence

photo: Bruce Fertman

Just A Hunch

Through the pressure generated between the growing head and the growing heart, the face is sculpted. Three ridges. One will become the brow, one the nose, one the chin.

Then suddenly the unfurling begins. The head floats away from the heart. Organs begin to form in newly available space. Space precedes substance. First there is nothing, then there is something.

The baby enters the world, C-shaped, one simple curve. Over the first few months, through olympian effort, the baby acquires the needed strength to lift its head and look around, gradually forming a flexible and stable cervical curve. The lumbar curve develops as the baby begins creeping and crawling, and fully establishes itself through the herculean task of learning to walk.

The head becomes the center of orientation, the pelvis the center of locomotion.

We grow, we evolve from zygote, to embryo, to fetus, to infant, to baby, to toddler, to child, to teenager, to young adult, to adult, to maturing adult, (young-old), and if lucky to very old adult, (old-old). 

Somewhere between young-old and old-old another spinal transformation begins, as natural perhaps as all the other spinal transformations. In Onsens, Japanese hot springs, I have spent hours studying the shapes of boys and men of all ages, the children with arching lower backs and rounded bellies, with soft, supple necks, their heads balancing loosely atop naturally upright spines. The young men, unbeknownst to them, but evident to me, already foreshadow how they will sit, stand, and walk as old men. And the now old men, some more, some less beginning to wilt, droop, sag.

Its as if the thoracic curve wants to re-incorporate the cervical curve into itself,  making the head, and with it the mind, the eyes, and ears orient inward, away from the outer world, toward the world of in-sight and hindsight.

Its as if the sacral curve wants to re-incorporate the lumbar curve into itself, tilting the pelvis under, making locomotion more difficult, venturing out more trying, increasing the impulse to sit, perhaps to read, perhaps to write, perhaps to listen to the stories of others, or to give counsel.

I have begun to feel the pull of my primary curves wanting to reclaim my secondary curves. Is it natural, inevitable? I dont know. Ive chosen, however, not to give in to this subtle, seductive undertow. I want my head above water. I want to continue orienting outward to the world. I want to walk onto dry land, feel the earth beneath my feet. Perhaps one of the reasons four out of five of my Alexander mentors taught into their mid to late nineties was because they knew how to feed and nourish their secondary curves. Perhaps those curves allowed their eyes to see and to care about others. Perhaps those curves provided more space for their organs, allowing for greater oxygen intake, better blood flow, good digestive motility. Perhaps those curves helped lengthen their legs under them, kept those feet firmly on the ground.

If our primary curves pull us back to the past and our secondary curves beckon us forward into the future, then having a balance between them might bring us into the present.

Yes, perhaps it was their secondary curves that kept them so vibrant, so engaged, so present, so here, here with us, for so long. 

Its just a hunch. But Im going to follow it.

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

A Sneak Preview Into The Alexander Alliance Post Graduate Training Program – Zurich – November 6th, 2016 – Given by Bruce Fertman

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Teachers well versed in Alexander’s procedures, who have a clear understanding of what Alexander’s work is about have recently sought me out and begun studying with me. Some of them have been teaching for many years. Many of them first encountered me through my writings, sensing I had something new to offer them, new insights, new skills that might enhance their work.  These teachers are open to learning more, to learning new pedagogical skills, both tactual and linguistic, to learning new ways of better seeing and understanding the relationship between body and being, and between movement and meaning.

As an apprentice, and later assistant to Marjorie L. Barstow, with whom I trained for 16 years, and as a person with 50 years of experience as a movement educator and artist, I have learned how to teach Alexander’s work effectively in groups, how to teach others how to work effectively in groups, how to apply Alexander’s work to the physical demands of everyday life as well as to work with the emotionally trying situations all of us encounter along the way. Having also studied intensively with four other first generation teachers; Elisabeth Walker, Erika Whittaker, Catherine Wielopolska, and Richard M. Gummere, Jr., I have gained a deep respect for Alexander’s classical procedures as well.

Given we have only one day, I will touch lightly upon four themes:

1. The Physics and Physiology of Touch

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

– Taisen De`shimaru

Hands grasp, release, cling, clench, communicate. Hands welcome, embrace, inform, and in our case, educe. They lead out that which lies within. In this classwe will study the craft of the hand, increasing our tactual skills as Alexander teachers. We understand well the paramount importance of personal use while teaching and the direct impact use has on our quality of touch. It’s easy to become mystified when trying to understand what experienced Alexander teachers actually do with their hands that make them so effective. Often, teachers with ‘gifted’ hands don’t know what makes their hands so effective. After all, none of us ever get to experience what our hands are really like. From early on in my life as an Alexander teacher people perceived me as a person with ‘gifted hands.’ At some point I decided to take them at their word, and began inquiring as to what made my hands work. I found that, as important as good use is, there’s even more to soft, powerful, effective touch than simply good use. There are ways to demystify touch, to find words for the wordless, to be tactually literate. As there are primary colors, so there are primary touches: push, pull, slide, spin, and roll. In other words, physics. Out of these five primary touches an infinite variety of touches become possible.

2. Disarming the Arms

When it’s over, I want to say: all my life I was a bride married to amazement.

I was the bridegroom, taking the world into my arms.

– Mary Oliver

How do we open our arms? How do we help our students open their arms?

The upper appendicular skeletal structure is like a concentric circle encircling the ribs, which encircle the spine, which encircles the spinal cord, ever widening rings.

Arms that cling to or collapse down upon our ribs interfere with breath, with overall integration, with life. In this class we will learn how to disarm the arms, so the ribs can free themselves from their cage, so the spine can decompress itself under theskull. We’ll spend time learning how to use our arms naturally, the way boxers, martial artists, and athletes use their arms. Then we’ll apply these principles to how we use our arms when we’re teaching.

3. Bringing the Work to Life and Life into the 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

As Alexander teachers we can impart Alexander’s work via his procedures, or through procedures developed by other creative Alexander teachers. We can also help our students apply Alexander’s work into their lives, directly, by helping them as they are doing the things they do in their lives. Working in any or all of these ways is valid. Increasingly, there’s another way I work with my students, a way that has taken me 40 years to develop. It’s a way that brings life into the work and the work to life. It’s what I call Working Situationally.

Have you noticed that when you are doing well it’s relatively easy to make use of Alexander’s work, but when the going gets tough, all our Alexander training flies right out the window? 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? We are meant to be more than bodyworkers, more than movement efficiency and effectiveness specialists, more than performance enhancement coaches. Our job is to help people make good use of themselves, not only of their bodies. We don’t work on a person’s body; we work through a person’s body. We can learn to touch a person, a whole person, indivisible. Our job is to work with the undivided self.

4. Walking into the World

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 integrates rotational and spiraling motion into and around an upright structure. It increases alertness, breath, and vitality. It helps dissipate postural holding. Our ability to help people engage deep postural support, when combined with an understanding of the mechanics that underlie walking, results in a terrific sense of freedom and power in motion. We’ll begin learning to walk with the wind at our backs, and learn how to help our students to do the same. Not to stand on our own two feet, but on the ground. Accessing core support welling up from the ground. Freeing our ankles. Allowing our knees to hang below our hip joints, our pelvis to pedal backwards, our legs to subtly scallop as they swing. Letting our feet find their own footing. Understanding natural gate patterns.

I hope you will consider joining me for a day devoted to improving our skill as Alexander teachers.

To register call +41 (0)78 888 16 64 or write to Alexander.Technik@gmx.ch

About Bruce Fertman

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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

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. For the past 30 years Bruce 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.

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

Bruce has worked with people from all walks of life, often with artists. He has worked with members of the Berlin Philharmonic, Radio France, The National Symphony in Washington DC, the Honolulu Symphony 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 enjoys working with people who take care of people. For ten years he taught annually for the College of Physiotherapy in Gottingen, Germany. Currently, in Japan, he works for the Furitsu Hospital in Osaka, and at the Ebina General Hospital in Ebina, Japan.

Bruce’s heart centered approach as an Alexander teacher rests upon his extensive training in psychology and theology. Having studied 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), as well as having 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.

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.

Photo: Tada Anchan Akihiro

House And Home

handwriting

Rilke’s Letters To A Young Poet

Letters To A Young Teacher

Bruce, you write, “Aren’t there more direct, fun, practical, and effective ways to work with how we react to stimuli from within and without besides endlessly getting people in and out of a chair?” My AT teacher at school would probably say: “Chair work will indirectly affect their use in everyday life – let them make the transfer.” So how does that tie in with your take on teaching “activity work”, which to my mind is not indirect, but direct? 

Thank you for your good question. My understanding is that when Alexander spoke of working indirectly he meant that when a person comes to you with a specific problem, let’s say, a frozen shoulder, working directly would be choosing to work immediately to regain range and comfort in the shoulder, through working on the shoulder. A reasonable idea. The approach in Alexander Work, if we are sticking to the principle of working indirectly, is to attend to a person’s overall integration and coordination, and in turn that may, (and may not), resolve the shoulder issue.

It’s a bit like family therapy. Let’s say the whole body is the family, and the hurting child is the frozen shoulder. The parents are fighting, a lot. The kid begins developing asthmatic symptoms. The problem may not lie within the child, but within the family dynamics as a whole. By the parent’s shifting their way of functioning, their child may begin to function differently as well. That, as I understand Mr. Alexander, is what he meant by working indirectly. Indirectly, that is, getting to the part through the whole.

Once you begin to get this idea of working indirectly, you begin to see that Alexander stumbled upon a very big idea, one that, now, everyone understands. If bees are beginning to disappear, or tree frogs, and you start looking for the cause inside the bee world, or the tree frog world instead of backing up and looking at the entire world they inhabit, their larger body, of which bees and tree frogs are an integral part, you won’t see the whole problem, or find the solution.

Alexander discerned an ecology within people, an inner ecology – the study of our inner house and home, in relation to our larger house and home.  (You could say we are the overlap through which our inner and outer environments become one.) Alexander, seen in this light, was a holistic and ecological thinker and practitioner.

As for working through Alexander’s “conventional” procedures, that is, the procedures that have  become the norm within today’s Alexander world, I am not an expert. Yes, I have worked with lots of teachers, including most of the first generation teachers who employed these procedures and, to the best of my limited ability, I have taught through these procedures as well. But I have spent more time learning about Alexander’s work through his less conventional procedures – walking, going up and down steps (lunge work is beautifully woven within this action),  the performing arts, speaking, and everyday activities. These were the procedures that my mentor, Marj Barstow, enjoyed and explored. Consequently, these are the procedures I have taught through most successfully.

Over the years I began to sense that working through Marj’s procedures were, in a way, working too directly, too specifically, but for a very different reason than your teacher might think. I started to see that any activity happened within a larger context, and that I had to zoom both further in, and further out if I was to work holistically or ecologically. That’s why I no longer refer to what I do as “working in activity.” I call it “working situationally.”

For example, a young man is late. He jumps up from his desk, swings on his coat, hops in his car, squeals out his driveway, double parks, runs up three flights of stairs, knocks on his girlfriends apartment door, and waits, standing there, reliving that phone call, the fight they had that morning, feeling like a total jerk, wondering if she will open the door or not, whether she will ever speak to him again, whether she will call off their engagement, and what his parents will say.

Okay. You could work with this poor, distraught young man by taking him in and out of a chair, a la Alexander, or work with him driving his car, walking up steps, and knocking on a door, a la Marj Barstow. Still, are you really going to get to the precise inner and outer stimuli that cause this man to fall apart, to lose his psycho-physical composure, his integrity?

If I am going to work with this man in his entirety, in relation to his inner and outer home, then I may need to address such factors as his relationship to time, how he listens to his girlfriend when she is feeling insecure and starts criticizing him, how he reacts when he starts believing thoughts like his being a total jerk, or what happens to him when he starts caring too much about what other people think about him. But I am going to figure out a way to do this somatically and personally, not psychologically or clinically. I’m going to “stick to principle” and work as the Alexander teacher that I am.

Not our postural habits, nor our movements habits per se, (though they are part of the picture), but our habits of life, these are the habits we are attempting to unearth, and bring into the light of day, to be seen, felt, and known, accepted, and resolved. This is, for me, profoundly humbling work, both personally and as a teacher. Sometimes I wonder if I’m making any progress at all. I wonder if I will ever really be able to live and teach Alexander’s work. Forty years later, I begin to understand Marj when she would say, “I really don’t know how to teach this work.”

I really don’t.

Not knowing has for me become a good thing. It keeps me questioning, as you are questioning. It keeps me experimenting. It keeps the work fresh and alive in my soul, as it is in yours.

Let’s keep going.

Yours,

Bruce

 

 

 

 

 

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