Sorting out Good Ballroom Posture

by Bette Chamberlin

When I was a professional ballet dancer with American Ballet Theater, people would come up to me and ask “are you a dancer? and then immediately “you have such good posture.” I would reply “yes”, and “thank you”. I felt content that in fact I had good posture. But that compliment was always tied with “are you a dancer?”

Hmm…

When I stopped dancing professionally and started to teach ballet, I continued to be that dancer that “had good posture”, yet I was unwittingly passing along the model of an over straightened spine to my students. At the same time, I was experiencing intense neck and shoulder pain. My spine was braced and operating by habit, acting as if I was still a professional ballet dancer, and not responding to conventional treatments. My anxiety about this was building and became another daily challenge.

The reality is that most of us dancers have an idea about posture that involves way too much muscular tension.

And I was an excellent example of this.

It wasn’t until I started looking for both relief for my neck pain and a more organic way to look at posture that I bumped into F. M. Alexander’s discovery. Rethinking the relationship between my head neck and spine was a revelation. I was soon pain free and decided to train as an Alexander Technique teacher.

Since that time, I have studied Ballroom dancing for the past 12 years, in particular American Rhythm and International Latin. There is no question that had I not changed my impression of “good posture” I would not have been able to continue lessons all these years, win competitions and find the enjoyment in moving.

Is there a special posture that we apply to ballroom versus walking down the street, waiting in line at the market, singing or playing a musical instrument?

We have all been taught by our awesome teachers that there is a specific angle of the head, or an element of body positioning that is required to evoke tango, salsa, waltz or rumba.

However, I have learned that good posture is based on the architecture of our bodies, the support of the spine, muscles, ligaments and tendons that help to move our amazing structure. But HOW to coordinate this in an efficient manner is what I have learned over the years.

Election Cycle Fatigue: What you can do to take care of yourself and those around you

by Brooke Lieb The first time I voted in a Presidential election was 1984. My memory is far from perfect, but I cannot recall a presidential race that began as early as the 2016 race, with one party's campaigning for the nomination starting in March, 2015; nor can I remember the type of rhetoric I am hearing as overt and extreme in US politics as it is during this election.

vote
vote

Frankly, it frightens me. And I am not alone. There are a plethora of articles about the heightened anxiety levels precipitated by this current election cycle. A search for "election anxiety" yields online articles from The Atlantic, US News, Newsweek, Time Magazine and The Washington Post, among other news outlets.

As an Alexander teacher, I spend my days teaching my students how to self-regulate so they can manage moments of spiking anxiety. To be an effective teacher, I use the very tools I am teaching, at work and in my life.

No matter which side of this debate you are on, it is likely that you feel strongly, believe in your own point of view and fear the outcome. It is also likely that your feelings are being heightened by the coverage you are exposed to.

What can you do to take care of yourself? Here are some resources, including simple tools I teach my students.

1. Remind yourself that you don't have to hold your breath.

When we experience fear or other strong emotions, we sometimes freeze. It may be a tight jaw, it may be subtle or not so subtle clenching in shoulder, chest or abdomen. Frequently, tension reduces the mobility of our torso, and breath requires movement in the ribs.

2. Stand with your back touching a wall or door.

Use the contact with your back against the surface to bring you into the present environment. See and name what is around you, in as much detail as you can. (Example from my studio: Area rug with floral patterns, in beige, burgundy, sage green; massage table with a green cotton sheet that has stripes; dark brown wood computer desk with a cordless phone/answering machine and an iMac; fireplace mantle surrounded by teal tiles).

3. Research what actions you can take to assure your vote counts and that your elected officials represent your values.

Search your state and federal nominees to find out where they stand on the issues (search "[your state] 2016 candidate platforms". In addition to finding out where they stand, you can find out how to support the campaign of those who represent your views.

4. Learn how to bring awareness to, change the subject, and minimize participation in conversations that upset you.

It is possible to effectively bring awareness and shift the conversation without shaming anyone. This article from the New York Times is entitled "Lessons in the Delicate Art of Confronting Offensive Speech"

5. If someone has decided who they are voting for, there is no need for discussion. If speaking to an undecided voter, learn how to listen to what matters to that person.

Here is an article "5 Ways To Have Great Conversations"

6. Limit your exposure to media

Once you have done your research and know which candidates represent your values, and how you can take action to improve their chances in the election, take a media vacation. This has not been easy for me, but I have designated media black out days, when I do not read or watch anything about the election.

7. Have an Alexander Lesson

Alexander Technique teaches mindfulness in daily living. Akin to meditation, Alexander Technique teaches conscious inhibition, or how to calm your "flight or fight" response.

This article in Wikipedia explains the neural mechanisms of mindfulness techniques.

This blog was originally posted at brookelieb.com

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/Brooke1web.jpg[/author_image] [author_info]N. BROOKE LIEB, Director of Teacher Certification since 2008, received her certification from ACAT in 1989, joined the faculty in 1992. Brooke has presented to 100s of people at numerous conferences, has taught at C. W. Post College, St. Rose College, Kutztown University, Pace University, The Actors Institute, The National Theatre Conservatory at the Denver Center for the Performing Arts, Dennison University, and Wagner College; and has made presentations for the Hospital for Special Surgery, the Scoliosis Foundation, and the Arthritis Foundation; Mercy College and Touro College, Departments of Physical Therapy; and Northern Westchester Hospital. Brooke maintains a teaching practice in NYC, specializing in working with people dealing with pain, back injuries and scoliosis; and performing artists. www.brookelieb.com[/author_info] [/author]

Alexander Student, Alexander Teacher, Alexander Teacher Trainer - What's the difference, and why does it matter?

brookeby Brooke Lieb I have been taking lessons as a student of the Alexander Technique for over 33 years. I still take lessons to this day.

I began teaching 27 years ago, and have been training teachers for the last 25 years.

My greatest passion is training teachers, though I will take lessons for the rest of my life, and I get deep satisfaction teaching my private students.

I thought it would be useful to me, my students and the teachers-in-training that I work with, to consider what is different about each of these roles: student, teacher, teacher-trainer.

STUDENT

When I take a lesson, my attention is on myself. I gratefully accept the objectivity of my teacher as she uses her hands and words to engage me in learning. My learning takes place on many levels.

My teacher's hands are giving me information and experiences that assist my ability to observe and know how much excess tension I may be generating in my being. I am using my lessons to enhance the benefit I gain in my daily life when I bring my Alexander Technique tools to bear.

Sometimes the excess tension arises in response to a muscular demand, in activity, involving motion. We might explore how I carry out the activity of getting in and out of a chair, use my handheld device, or move into and out of downward dog during yoga practice.

I might observe excess tension in the context of my inner dialogue. Thinking about my workload, administrative tasks I have yet to complete, my response to someone's actions.

Any and every activity, mental or physical, can be material for the lesson.

Whatever I am exploring, I am interested in my own skills. I allow my teacher to be my guide and to educate me about myself and how I can best use my Alexander skills to access the efficiency and intelligence of being a human.

I have no focus whatsoever on assessing my teacher's use or process, I trust she is my guide. I am grateful and appreciative for the support and benefit I receive from the lesson and her teaching.

TEACHER

In contrast, when I am the teacher, my level of awareness is expanded to observe how my student is progressing, as I observe how I am teaching.

What skills might she benefit from learning or deepening during this lesson?

How can I use the hands-on component of the work to help guide her into a more integrated and poised state?

Private students (including me) take lessons for self-benefit, so they are focused on applying the Alexander principles to aid them in their lives. They are not planning to teach the work to anyone else. Their attention is NOT on the teacher.

As the teacher, I manage my end-gaining, and apply the principles to myself in the activity of teaching (hands-on work; choosing where to put my hands; what concept I may emphasize in the moment or in the lesson; speaking; and utilizing instructional aids, such as pictures of anatomy and videos). I use Alexander's means-whereby to teach, i.e., I am using the very same skills I am teaching in order to teach effectively.

As a teacher, my attention is on my student, her goals for learning and applying Alexander Technique to solve her own problem. That dual attention leaves me less time to wander around in my own mental chatter, so teaching becomes an activity that supports me in inhibiting my own habits on multiple levels.

I also benefit directly in my own self from working with Alexander principles, even if I am the "teacher" in this situation. When I give a lesson, I get a lesson.

My work is as healthy and beneficial to me as it is to my student.

TEACHER TRAINER

In this role, I am adding a level of assessment for how self-sufficient the teacher-in-training (trainee) is when working on herself, and as she reaches a high level of competence, I assist her in applying her means-whereby to teaching.

On our training course at The American Center for the Alexander Technique (ACAT), our trainees regularly put hands on faculty members as a tool for training. This approach is educational on multiple levels:

1) Faculty members all have a high level of competence at applying means-whereby to activity, so in the same way we use our hands on our trainees to convey inhibition and direction, when our trainees put their hands on us, we are still transmitting that information through our whole bodies. As the trainee progresses through the three-year training, she recognizes what she is witnessing under her hands, and with her eyes and ears. She has worked with classmates, and practice students with less skill, and can compare and contrast what she has observed under her hands. This gives her a sense of the kind of changes and progress she may observe in her students, so she knows that learning and change really are happening over time.

2) When a trainee works on a faculty member, we give specific verbal and hands-on cues so the trainee can observe how a change in her system facilitates a change in the teacher she has hands on. Sometimes the change is towards enhanced poise and efficiency, sometimes the change is towards increased strain, effort or tension in muscle tone. Either way, observing the change allows the trainee to consider her own internal state, use her developed skills at self-work, and observe the change in the teacher-trainer she is working with. This is the means-whereby of teaching in action.

3) As the trainee works with faculty, she realizes we all have habits of use that interfere with our full potential for poise and efficient coordination. The trainee can provide valuable instruction to the trainer, and can also understand that a teacher's use need NOT be perfect for a teacher to be highly skilled and effective in our teaching.

I theorize that when a teacher has hands on and is working with her skills to inhibit and direct in herself in order to communicate that to her student, that process is discernable to the student. It may be so subtle the student is not yet aware of how the teacher's use is facilitating ease and poise, but the intention comes through. So even if the teacher is sometimes tightening her neck in moments, she is ALSO freeing her neck and using inhibition and awareness. That intention is picked up by the student, who is also providing inhibition and direction in the lesson. Student and teacher assist each other in this process. Both startle and pull down in moments, but both ALSO apply inhibition and direction to antidote startle and pull down.

In Closing

In some ways, the same means-whereby is in play in all three distinct roles, but there are clear differences in the short-term outcomes for learning and how this is accomplished in these three roles.

This post was originally published on brookelieb.com

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/Brooke1web.jpg[/author_image] [author_info]N. BROOKE LIEB, Director of Teacher Certification since 2008, received her certification from ACAT in 1989, joined the faculty in 1992. Brooke has presented to 100s of people at numerous conferences, has taught at C. W. Post College, St. Rose College, Kutztown University, Pace University, The Actors Institute, The National Theatre Conservatory at the Denver Center for the Performing Arts, Dennison University, and Wagner College; and has made presentations for the Hospital for Special Surgery, the Scoliosis Foundation, and the Arthritis Foundation; Mercy College and Touro College, Departments of Physical Therapy; and Northern Westchester Hospital. Brooke maintains a teaching practice in NYC, specializing in working with people dealing with pain, back injuries and scoliosis; and performing artists. www.brookelieb.com[/author_info] [/author]

New Group Class: Experiential Anatomy and Alexander Technique

fig-70-deep-muscles-of-the-upper-part-of-the-backExperiential Anatomy and Alexander Techniquewith Witold Fitz-Simon

Tuesday Evenings (see dates below)

Learn to see, understand and talk about anatomy with an Alexander Technique twist. In this 10-week class, we will learn about bone, its physiology, function and use as a support structure and foundation for movement, with a special focus on the head and spine. This class is part of the American Center for the Alexander Technique's teacher-training program, the longest-running program in the US, but is open to anyone interested in the body and the way we use ourselves. Excellent for teachers of dance, yoga or other movement modalities, and for anyone interested in how their bodies work.

Class Day/Time: Tuesdays, 7:55 pm to 9:15 pm Class dates: September 13, 20, 27 October 25 November 1, 8, 15, 22 and 29 December 6 Class Fees: $400 for 10 classes; $45 per drop in class All fees are payable by cash or check to “ACAT” To register for the whole series: send $400 payment in full* to ACAT, 39 West 14th Street, Room #507, between 5th and 6th Avenue or click below to pay via PayPal (processing fees apply) Buzz #507 to enter the building *There are no refunds for missed classes

 

Riding the Wonder Wheel at Coney Island: How to manage a fear of heights with the Alexander Technique*

Wonder Wheelby Brooke Lieb *I recommend NOT riding the ferris wheel in the first place, but if you do find yourself having to manage your fear of heights, at least you might be able to ease some of the discomfort.

In early August 2016, I joined a friend of mine on her birthday adventure to Coney Island. There were three other friends joining us, and the five us rode the F train to the last stop. Our first stop was the 150 foot high Wonder Wheel. The birthday person vetoed the moving cars, the ones that swing along the spokes, towards and away from the center of the wheel, in favor of a stationary car, which had instructions “Do Not Swing This Car” repeatedly posted outside the ride and inside our car.

We bought a discount ticket – Five rides for $30.

There was no line, and there weren’t many people on the ride. That would mean less stops as riders got off and on, so this would be over soon enough.

I got in the back with one other woman, and our Birthday person and her two remaining friends got in front.

My seat companion began to tense up the moment we began our ascent. She expressed her discomfort at heights, and I could see she was starting to panic, just a bit.

“I don’t like heights, either” I said. “This is what we’re going to do. Let’s both move into the middle of the car. Look down at the floor, at our feet. I’m going to hold your hand, and we’re going to breath together. I bet your heart is pounding like a scared rabbit in your chest, I know mine is!”

“Yes, it is…” she said.

“Now, as you’re breathing, if you can think about releasing any tension at the nape of your next, that can help to.”

We managed to look out at the view, part of the time. We kept periodically stopping, rocking in the air and hearing the creaking sound of metal as riders were let off and on the ride. There was no way I could pretend this wasn’t happening.

I held my seat mate’s hand, and tried to see what else was happening, as I took comfort in knowing I would with another being at the moment of my death if this car came off and plunged to the ground. (Yes, I was ABSOLUTELY having those kinds of thoughts!)

Our birthday person’s two friend in the front were doing well, though she wasn’t so keen on it…

One woman had her selfie-stick out and was snapping shots of all of us and the view. The other woman, sitting in the middle, was very easy going and relaxed. Clearly, these two weren’t experiencing anxiety like the rest of us.

“You have a very calming effect” my seat mate said.

“Doesn’t she?” my friend replied.

As we began our descent of the first rotation, my friend speculated “Maybe we only go around once…” with hope.

Coming down didn’t bother me at all, and my anxiety immediately receded as we finished our first rotation. When we didn’t stop, heading up again, my friend said “Well, then it’s only two rotations, because it’s not too busy.”

I was surprised by the return, in full force, of my pounding heart, fluttering stomach and general discomfort as we headed up for the second round. My seat mate was just as uncomfortable as she had been during our last trip up.

We did talk about our discomfort throughout the ride, and the other women were sympathetic to our reactions. It strikes me, in retrospect, that it must’ve helped that we didn’t have to contend with either teasing or well intentioned attempts to calm us with intellectual reasoning. There is nothing intellectual about this fear response.

Once we were on our descent for the second and thankfully final revolution, my anxiety dissipated and was gone by the time I embarked from the ride.

What has the Alexander Technique got to do with this story?

It is my long time study of the Alexander Technique that gave me the skill to summon my inner resources in the face of a frightening experience. I have learned how to stay more present in moments when I have historically panicked.

Part of my skill as a teacher of the Alexander Technique allows me to teach others to summon their inner resources, and the act of teaching gets my attention off my own internal reaction to things that trigger me. Taking care of my student, by teaching and modeling this self-soothing, is best taught by me actually self-soothing as I teach. It’s a win-win.

Alexander calls this self-soothing skill “inhibiting” – that is, interrupting a habitual cascade of responses to a trigger (Alexander referred to it as a stimulus), in order to stay more present to assess the current situation more accurately, in order to respond more appropriately to this moment, in this moment.

I have an old whiplash injury, so any abrupt impact, whether it’s front-to-back or side-to-side triggers my injury.

I skipped the kiddy rollercoaster, I don’t ride any rollercoasters, and I don’t do water rides.

I do fine with spinning rides, so bring on the Merry-Go-Round!

I know I can survive the Ferris Wheel, so if someone offers me a good enough incentive (I am seeing a $ with at least 3 zeros after it…) I can do it, but otherwise, there’s no reason for me to EVER ride one again…

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/Brooke1web.jpg[/author_image] [author_info]N. BROOKE LIEB, Director of Teacher Certification since 2008, received her certification from ACAT in 1989, joined the faculty in 1992. Brooke has presented to 100s of people at numerous conferences, has taught at C. W. Post College, St. Rose College, Kutztown University, Pace University, The Actors Institute, The National Theatre Conservatory at the Denver Center for the Performing Arts, Dennison University, and Wagner College; and has made presentations for the Hospital for Special Surgery, the Scoliosis Foundation, and the Arthritis Foundation; Mercy College and Touro College, Departments of Physical Therapy; and Northern Westchester Hospital. Brooke maintains a teaching practice in NYC, specializing in working with people dealing with pain, back injuries and scoliosis; and performing artists. www.brookelieb.com[/author_info] [/author]

Alexander Technique and Voice: An Interview With ACAT Teacher Training Student Ezra Bershatsky

Ezra Bershatsky by Sandro Lamberti Photography-23by Brooke Lieb LIEB

I began taking voice lessons with you, Ezra, recently, and have been fascinated with the process, and very grateful for your skill and clarity. We established that I haven’t injured my voice, since I don’t sing regularly and was lucky not to have any harmful teachers in the past. I think my ability to inhibit along with my blissful ignorance of “vocal technique” and my lack of attachment to what sounds I produce, has helped me explore what you are offering. I am excited to see how your practice evolves as a result of your progression through the TCP at ACAT. Tell me about how your lessons in the Alexander Technique have influenced your own singing?

BERSHATSKY

Well, I believe and teach that vocal technique is a state of being rather than something to do. I used to employ a vocal technique to sing rather than allow for a spontaneous, natural, mutable technique to evolve in response to music. Unsatisfied with my progress in the former, I eventually found functional voice training, which stresses spontaneity and function over aesthetic. The Alexander technique has helped me expand my awareness and curiosity for anything that might prevent my voice from organizing itself in response to vowel, pitch and intensity. I sing now with the added awareness of the floor I stand on, the space around me and the overall organization of my body, whereas before the Alexander technique the process of singing so fascinated me that all of my attention was focussed on singing and I was basically unaware of everything else, including where I was. This narrowing of focus isn't very conducive to spontaneity or freedom. The Alexander technique is my practical guide to explore the unexplored and helps me keep my bearings in unfamiliar lands.

LIEB

How has your work with Alexander Technique informed your work with your voice students?

BERSHATSKY

My first major realization was how important words are and how varied are students' responses to them. A lesson with an advanced student is almost completely devoid of spoken cues, relying on my piano playing and mouthing the vowel to be used for the exercise, while talking is mainly for validating an experience. But for new students, talking is very helpful. I was already used to customizing exercises for each student, but hadn't considered that wording could have such an effect on the outcome of an exercise. For instance, I used to tell students to "hold" a pitch, but discovered that this rarely happened without the student tightening somewhere in response of their desire to feel and grasp something. I now say “sustain" or merely indicate with a gesture from my hand instead. I used to use the word "attack" instead of "onset". I also now encourage my students to remain aware of their environment as they sing. I already strove to encourage a judgement-free environment where aesthetic is suspended and the student is permitted to experiment and release sound rather than manage it. The Alexander technique has given me more awareness of the impact of what I say and do and the responses they elicit in the student, so that I can communicate more effectively. When one approach fails I don't persist with it, but will rather look for another means that will facilitate a more organic, unhabitual response in the student. The most important benefit I am reaping is that I can teach for longer periods of time with less of a toll on my own body, use and vocal technique. When I first began to teach, much of my information about what the student was doing came from empathetically responding to the students’ use, so that when they sang poorly my throat would begin to ache or feel dry or I would notice what felt like my larynx trying to climb out of my throat. And after teaching a long day my body would complain and I'd be left feeling drained. The idea of "staying back and up" while I teach has been invaluable and helps me maintain awareness of what I'm doing as I listen to my students. The student benefits as much as I do as I hear more accurately and am less attached to any outcome. I still have the choice to allow my body to try on their misuse pattern but it's a choice now instead of a habit.

LIEB

Why did you decide to train as an Alexander Teacher?

BERSHATSKY

After a few Alexander teachers suggested I might enjoy training I started to seriously consider it. Especially after I began teaching voice to a graduate of ACAT, who pointed out some of the similarities between what I was teaching and The Alexander Technique. My primary draw to start training, however, was to improve my own use and understanding of the Technique.

LIEB

How do you see your work as a singer, voice teacher and Alexander Teacher evolving in the future?

BERSHATSKY

I'd like to have a private Alexander technique practice alongside my vocal studio. My plan is to use the next two years of my ACAT training to further hone my skills as a singer and teacher while learning repertoire along the way. When I finish training I want to do as many auditions as I can and get as much stage experience as possible. If I'm successful, my teaching practices will mostly be on hold, but the experience will add another dimension to my teaching and is crucial to my own happiness as a performer. I don't want to live vicariously through my students.

LIEB

What are some of the things you are working on as a teacher?

BERSHATSKY

I never want to limit my students with my aesthetic and this is an ongoing endeavour. To hear past aesthetic to the overall function. And to allow each student’s voice to be unique, as an expression of them, rather than of my idea of what their voice should be. I’m working on the clarity with which I communicate to each student. I'd love to get to the point where I consistently feel as good as the student does after a lesson. This is rarely the case at present, although the better I teach the better I feel during and afterwards.

LIEB

What do you love most about teaching voice, and teaching in general?

BERSHATSKY

I love watching as a student has a completely new experience. It's like watching a child taste ice cream for the first time. I imagine seeing the new neuronal pathways forming. I also love the trust that forms between teacher and student. I strongly believe that the burden of teaching should fall solely on me as the voice teacher and that there is no burden on the student to learn. Assuming the student who is willing to pay with their time and money is genuinely interested in improving, the student can't help but learn if they are being taught well.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/Brooke1web.jpg[/author_image] [author_info]N. BROOKE LIEB, Director of Teacher Certification since 2008, received her certification from ACAT in 1989, joined the faculty in 1992. Brooke has presented to 100s of people at numerous conferences, has taught at C. W. Post College, St. Rose College, Kutztown University, Pace University, The Actors Institute, The National Theatre Conservatory at the Denver Center for the Performing Arts, Dennison University, and Wagner College; and has made presentations for the Hospital for Special Surgery, the Scoliosis Foundation, and the Arthritis Foundation; Mercy College and Touro College, Departments of Physical Therapy; and Northern Westchester Hospital. Brooke maintains a teaching practice in NYC, specializing in working with people dealing with pain, back injuries and scoliosis; and performing artists. www.brookelieb.com[/author_info] [/author]

Being A “Yes" to Life, Without Losing My Reason

unnamedby Brooke Lieb I have been involved in business and life coaching and spiritual communities that were all about being a yes. “Being a Yes” means looking on the positive side of things, going for it, not taking no for an answer, and with that, the dark underside of self recrimination, FOMO (fear of missing out), shame if I’m not being a yes, and the uncomfortable feeling that comes when you say yes in times when a “no” is more authentic.

Over the years, I have come to recognize I have a number of patterns and cycles that are starting to feel out of balance. There have been long periods of time, years or more, when I have been in some form of business or life coaching, or trying different systems and strategies to create results in my personal or professional life, focusing on fitness, focusing on diet, shifting from one system to another. I have read hundreds of self-help books, and have been more or less systematic over the years at making steps to move towards having the life I think I want. I have been fortunate, with good health, access to education, employment and enough success to call my passion for the Alexander Technique my profession. I have experienced very few tragedies or economic challenges that caused me any prolonged stress. I don’t know how much of that is the result of my good fortune, good decisions, or my perception or interpretation of events and circumstances. I don’t know how much is because of how the Alexander Technique has given me access to my reason.

Even with all of that, my tendency is to avoid risk, keep my life simple and operate in a small orbit. I have many stories and rationalizations for why I don’t or can’t do certain things, and there are a lot of “no’s” in my moment to moment choices. I don’t mean saying no to a stimulus, I mean habitually saying “no”.

It ends up being an ongoing balancing act. Too many yes’s or too many no’s tend to throw me out of balance. Too many yes’s, and I can end up overcommitted, spread too thin, exhausted, coming up short, pushing too hard and irritable. Too many no’s, and I may start to feel lonely, isolated, and as though I am not taking advantage of what life has to offer.

How does the Alexander Technique help?

I have a process to assess where I am and what I am doing in the short and long term. If I consider "the need to choose" as a stimulus, the rest of Alexander’s process is consistent. Pause, inhibit my habitual response to “choosing”, send my directions, continue to send my directions while considering my choice in this more integrated state, and move forward. In the case of a decision, I may need to reevaluate and reassess as the choice plays out over time.

My choice may yield an unsuccessful outcome, but if I continue to work with Alexander’s process, I can make a new decision, change my strategy, and seek additional information to assist in how I respond to the outcome. There is always a new stimulus, there are always more moments of making decisions.

I am not implying that I, or anyone else, NEEDS the Alexander Technique in order to access what I have described here, and find balance in the moment. I don’t know, however, how it happens without the Alexander Technique in the mix, because for me, the Alexander principles have been part of the equation for my “balancing act" since I was 20. Considering my peers and family members who haven’t had Alexander principles at their disposal, I would bet good money that I can give credit (lots of it!) to Alexander Technique for helping shape my life, and giving me a way to continue to find that delicate balance.

If you are intrigued by this idea, be sure to visit www.acatnyc.org to find out how you can start learning Alexander principles to help you find more balance in life.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/Brooke1web.jpg[/author_image] [author_info]N. BROOKE LIEB, Director of Teacher Certification since 2008, received her certification from ACAT in 1989, joined the faculty in 1992. Brooke has presented to 100s of people at numerous conferences, has taught at C. W. Post College, St. Rose College, Kutztown University, Pace University, The Actors Institute, The National Theatre Conservatory at the Denver Center for the Performing Arts, Dennison University, and Wagner College; and has made presentations for the Hospital for Special Surgery, the Scoliosis Foundation, and the Arthritis Foundation; Mercy College and Touro College, Departments of Physical Therapy; and Northern Westchester Hospital. Brooke maintains a teaching practice in NYC, specializing in working with people dealing with pain, back injuries and scoliosis; and performing artists. www.brookelieb.com[/author_info] [/author]