Standing Up Straight Can Be Just As Bad As Slouching

by Karen Krueger Many Alexander Technique teachers don't like to even mention the word "posture." They think the very word has so many wrong connotations that it should be avoided. But I take Humpty Dumpty's point of view: the important thing is not what people think a word might mean, but what we say it means:

"When I use a word," Humpty Dumpty said, in rather a scornful tone, "it means just what I choose it to mean—neither more nor less." (Through the Looking-Glass, Lewis Caroll.)

In my opinion, the Alexander Technique does involve posture, but it defines "good posture" and how to achieve it in a very different way than most approaches.

There's no doubt that bad posture is hard on the body. What most people think of as good posture is generally maintained by using excessive muscle tension in the neck, shoulders and back, which in turn stiffens the limbs as well.

If you habitually slouch in your chair, you probably can notice the amount of extra work that is required to "sit up straight" according to the usual idea. On the other hand, if you habitually maintain what you have been taught to believe is good posture, you may not realize how much you are overworking. You have learned to carry yourself stiffly erect as a child, from relatives or teachers. Or perhaps you learned it as an adult, from a physical therapist, a dance teachers or a yoga instructor. Those who taught you to do this had the best of intentions, but the result can be inflexibility, impairment of full breathing and even pain: ironically, the same problems that can result from slouching.

Several of my students have come for lessons with what most people would say looked like good posture, but who had suffered for years from mysterious neck and back pain that could not be traced to any injury or disease. It was immediately apparent to me, with my Alexander Technique lens, that each of them was holding his back and neck ramrod straight, with very tense muscles. As we worked together on letting go of that tension, these students were able to experience being fully upright with much less effort, and the pain gradually disappeared.

Adapted from "A Lawyer's Guide to the Alexander Technique: Using Your Mind-Body Connection to Handle Stress, Alleviate Pain, and Improve Performance."

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER practiced law in New York City for 25 years before training at ACAT, and has now been teaching the Alexander Technique for almost five years.  She is the author of the recently published book A Lawyer’s Guide to the Alexander Technique: Using  Your Mind-Body Connection to Handle Stress, Alleviate Pain, and Improve Performance (ABA Publishing).  Website:  http://kgk-llc.com.  Buy the book.[/author_info] [/author]

Spreading The Word, Even If The Word Is "Posture"

by Karen Krueger I'm a big believer in speaking up about the Alexander Technique whenever I get the chance. So I jumped right in with a comment when I spotted an article in the New York Times about the importance of posture:

New York Times: Posture Affects Standing, And Not just The Physical Kind

When I checked the comments section again a few days later, there were over a hundred comments -- most of them singing the praises of the Alexander Technique!

Not only that, but I saw no reluctance to identify the Technique with "posture" and no striving to convey all the complexity of the Technique in a few sentences. Rather, each comment mentioned that the Alexander Technique is a great way to improve posture, and added something about the studies that have shown its effectiveness, gave a personal testimonial, or mentioned ways to find a teacher or books to read. Some also responded to other comments in a constructive way. Anyone who reads even a handful of the comments would come away with the clear message that if you are concerned about your posture, you should check out the Alexander Technique.

Because the comments on the New York Times website are moderated, and perhaps also because of the nature of the Times' readership, the comments are often the best part of the articles. The Alexander community's vigorous response to this opportunity to publicize our work will reach thousands of readers who otherwise might never have heard of the Alexander Technique.

So thanks to all of you who added your comments to this story. It only takes a minute or two to add a comment to a news item or a magazine article; I hope we all will make it a practice to mention the Alexander Technique whenever the opportunity arises.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER practiced law in New York City for 25 years before training at ACAT, and has now been teaching the Alexander Technique for almost five years.  She is the author of the recently published book A Lawyer’s Guide to the Alexander Technique: Using  Your Mind-Body Connection to Handle Stress, Alleviate Pain, and Improve Performance (ABA Publishing).  Website:  http://kgk-llc.com.  Buy the book.[/author_info] [/author]

A Better Speaking Voice in One Easy (Alexander) Lesson

by Karen Krueger I've been reading a lot lately about "vocal fry," a speaking mannerism that some people find extremely annoying and others defend as an innovative trend among influential young women. Vocal fry is a gravelly or creaky sound to the voice that is most clearly heard at the ends of words and phrases. Some people call it "the NPR voice." Others trace it to Kim Kardashian.

People who find vocal fry to be unpleasant and irritating often say it makes the speaker sound frivolous. Others reportedly consider it a mark of authority. Some say that young women cannot expect to be taken seriously in the workplace if they speak this way, and others respond that this is anti-feminist.

I do not propose to join this debate over aesthetics, politics and meaning. However, I would like to weigh in on one thread of the argument. Those who defend their own vocal fry and other trendy vocal mannerisms often say that "it's just the way I talk, and I can't change it." Inevitably, speaking coaches, vocal therapists and other such professionals will chime in with "yes you can, if you take lessons in how to speak properly, and by the way, if you don't, you'll damage your voice in the long run."

I'd like to point out another way: the Alexander Technique.

Anyone who talks can make an immediate change in how her voice sounds by changing what Alexander Technique calls her "use." You can try this out for yourself by duplicating an experiment I tried using the recording function on my phone.

Pick a text to read aloud while recording your voice. First, sit comfortably upright and read a few sentences in your normal speaking voice. Then, slump really badly and continue reading without purposely changing your voice. Next, sit up really straight and stiff, and continue for a few more sentences. Finally, relax and resume sitting easily upright, and read a bit more.

When you play back the recording, I think you'll be surprised by how different your voice sounds in the different parts, especially as you assumed postures different from your normal way of sitting. In my experiment, my "good use" voice (sitting like a good Alexander Technique teacher) was resonant and pleasant, though it had the usual weird otherness that I hear in all recordings of myself. My "sitting up straight" voice sounded unpleasantly strident. And I was very interested to hear that when I slumped, I developed a flat-sounding voice with a distinct vocal fry.

Four Readings, Three Postures

Alexander Technique lessons are good for many things: easing chronic pain, increasing efficiency of movement, dealing with stress, and on and on. I'd like to add to that list that the Alexander Technique can turn vocal fry from something you are stuck with to something you can eliminate -- when and if you choose.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER practiced law in New York City for 25 years before training at ACAT, and has now been teaching the Alexander Technique for almost five years.  She is the author of the recently published book A Lawyer’s Guide to the Alexander Technique: Using  Your Mind-Body Connection to Handle Stress, Alleviate Pain, and Improve Performance (ABA Publishing).  Website:  http://kgk-llc.com.  Buy the book.[/author_info] [/author]

Stretching with Ease

by Brooke Lieb Linda Minarik is a pianist, dancer, singer, and fitness professional. Her new book is entitled Stretching with Ease. Linda has been familiar with the Alexander Technique for nearly 40 years. Her first private lessons were with ACAT alumna Linda Babits in connection with practicing piano with ease. Linda’s life-long love of movement inspired her to train in ballet, and to become a certified group fitness instructor, including teaching qualifications in Gyrokinesis® and the MELT Method®.

LIEB

Tell us about the inspiration for your book Stretching With Ease.

MINARIK

For a number of years I have been teaching the art of flexibility at a corporate gym facility called Equitable Athletic & Swim Club in mid-town Manhattan. The membership is largely made up of left-brainy people with corporate positions, often high in their chosen professions. Attorneys, doctors, financial wizards, administrative assistants to corporate CEOs—highly articulate people, capable of understanding subtle concepts. They come to class to learn about their bodies; yet fitness is not their field.

I set out to create a worthwhile stretching experience for this fitness audience: teaching them stretching basics while respecting their intelligence. Over the years, I formulated a teaching language that seemed to work. I started explaining as much as I could about why pursuing flexibility might be helpful in their lives, how to allow their bodies to release gently into a stretch, how to align their positions correctly to avoid stressing other body areas, and—a crucial point—exactly where they should be feeling the muscular pull.

Stretching as I teach it emphasizes giving the body adequate time to settle into a position—without rushing into or out of it. Most important is partnering mind with body to increase calmness and minimize fear. Recruit your mind to address your body’s tight spots.

The more I taught, the clearer my instructions became, and my classes began to grow in size. My goal: to clear up the mist of incomprehensibility around flexibility. I wanted to share all the hard-won knowledge I had unearthed over more than two decades of searching. Everyone has his own journey, but I wanted to help people shorten their stretching one.

LIEB

How can stretching contribute to health and well-being, and what are some of the conditions or fitness goals that stretching can help manage or improve?

MINARIK

In some detail, I develop the following benefits of stretching for health, well-being, and fitness improvement in Stretching with Ease:

• Reduces and heals stress
• Prevents injury
• Relieves pain
• Relieves muscular soreness
• Improves posture and body symmetry
• Advances physical and athletic skills

LIEB

You include the Alexander Technique in the “Further Resources” section of your book. When did you first encounter the Alexander Technique, and how has it contributed to your own performing and teaching?

MINARIK

My experience with the Alexander Technique began back in the’70s, when I was beginning to seek better alignment for my body in general, and also physical ease over the many hours I was practicing piano daily for my degree recitals. My study of the Technique long predates my involvement in fitness teaching. Along with other body-work methods, I am sure it was instrumental in making it really easy to start an athletic fitness teaching career in my ‘40s. After taking an introductory group class at a long-forgotten (by me!) studio in the Lincoln Center area, Linda Babits became my first private teacher. A pianist herself, she spent many hours helping me apply the Technique for a pianist’s unique needs. After training with Linda, I also worked extensively with Caren Bayer and Jane Kosminsky.

~

Linda currently teaches group fitness at the New York Health & Racquet Clubs and the Equitable Athletic and Swim Club, both in Manhattan. She pursues classical dance and bodybuilding, and has recently branched out into the study of rhythmic gymnastics, working privately with a former member of the Russian team. Linda is a classically trained pianist, operatic mezzo soprano, and aromatherapist. She lives in New York City. Contact her and/or purchase her book through her website at www.lindasarts.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]

How the Alexander Technique Helps My Vision

By Jeffrey Glazer

Just like we have habits of movement and thought, we also have habits of how we use our eyes. My habitual eye pattern is called convergence, which means one or both of the eyes tend to be turned inward. In my case, muscularly my left eye converges to the right, and as a result my peripheral vision to the left is partially cut off. But because my convergence is habitual, I’m usually not even aware of its effect on my peripheral vision until I experience a change. To a behavioral optometrist or other keen observer of the eyes, they can see this pattern in me. However, it’s mostly unnoticeable from the outside, but the experience on the inside when it is changed is significant and clear.

While eye exercises can and do help, there is another approach that I use to help remedy this situation. Using my Alexander Technique skill, I am able to let go of neck and upper back tension, which activates better use of my primary control. The primary control is the relationship between the head, neck, and back; the quality of that relationship, for better or worse, affects movement and overall functioning. Once my neck and upper back is freed up from the habitual tension that I employ, my vision changes in the process!

There are two distinct vision changes that occur.

• First, my vision actually becomes sharper. I am nearsighted (myopia), but I notice that I am a little less nearsighted when free from neck and upper back tension. Even with contact lenses or glasses on, the clarity of my vision improves.
• The second change I notice is that the left side of the world seems to open up for me. This is a result of my left eye convergence dissipating. I experience more peripheral vision on the left side and it feels like I have two eyes again.

What astounds me is that I get these results without directly manipulating my eyes. It comes about as an indirect effect of successfully using the Alexander directions (thoughts sent from the brain to the body) to change the quality of my head, neck, and back relationship (i.e. primary control).

This was one of F.M. Alexander’s main points, that to deal with a specific issue we don’t always have to address it directly. Since everything is interrelated, one can get more bang for their buck by working with the whole. And not only does changing the primary control improve my vision, my movement becomes more fluid, breathing improves, my voice is more resonant, my thinking is clearer, and I feel taller and lighter.

In Aldous Huxley’s 1942 book, The Art of Seeing, he writes the following:

“In myopes especially, posture tends to be extremely bad. This may be directly due in some cases to the shortsight, which encourages stooping and hanging of the head. Conversely, the myopia may be due in part at least to the bad posture. F.M. Alexander records cases in which myopic children regain normal vision after being taught the proper way of carrying the head and neck in relation to the trunk.

In adults the correction of improper posture does not seem to be sufficient of itself to restore normal vision. Improvement in vision will be accelerated by those who want to correct faulty habits of using the organism as a whole; but the simultaneous learning of the specific art of seeing is indispensable.” (Huxley 158).

Huxley was a big proponent of the Alexander Technique as well as the Bates method for improving vision. Alexander himself did not approve of specific exercises without attention to the whole self, so his philosophy may differ from Huxley. However, what they have in common is what I know in myself to be true. The restoration of a balanced head, neck, back relationship, and the consequent correction of posture that comes along with it, results in an improvement in my vision.

Bibliography: Huxley, Aldous. The Art of Seeing. Seattle: Montana Books, 1975. Print.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/01/jeffrey.jpg[/author_image] [author_info]JEFFREY GLAZER is a certified teacher of the Alexander Technique. He found the Alexander Technique in 2008 after an exhaustive search for relief from chronic pain in his arms and neck. Long hours at the computer had made his pain debilitating, and he was forced to leave his job in finance. The remarkable results he achieved in managing and reducing his pain prompted him to become an instructor in order to help others. He received his teacher certification at the American Center for the Alexander Technique after completing their 3-year, 1600 hour training course in 2013. He also holds a BS in Finance and Marketing from Florida State University. www.nycalexandertechnique.com[/author_info] [/author]

View from the Table, ACAT Pipes

by Cate McNider

As an Alexander Technique teacher in training, we are introduced to what is called a ‘lie down’. With the right number of books placed under our heads so that our heads are in right relationship with our backs as if we are standing, and our knees are bent to the ceiling and our feet on the table.  This horizontal position put me in visual contact with the external pipes running longitudinally and laterally six or so inches from the ceiling at ACAT.  As the teacher directed my thinking to allowing my spine to lengthen and my back to widen, I was seeing these criss crossing symbols above me.

At the beginning of my first term I wished, along with my ‘neck to be free’, to have something more stimulating to look at, but soon I realized the simplicity and beauty of the pipes, the functional details of their construction and the shadows they cast. So in the spirit of awareness, inhibition and direction I created these replicas of various perspectives of the ceiling pipes at ACAT. I decided to photograph them with my iphone and paint them in charcoal and water color, to celebrate my overhead surroundings.

Taking time to have a 5 or 10 minute ‘lie down’, we give ourself the gift of deepening our awareness of ourselves and seeing what ease can follow with that practice.  (see Witold Fitz-Simon’s post on how to do Constructive Rest) Next time you do that for yourself, notice the ceiling, see what is above you and if you can let go more into what is underneath you, and you might find when you return to vertical, you most likely are more up than when you went down!

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/12/McNider.jpeg[/author_image] [author_info]CATE MCNIDER is a third year trainee at ACAT and has been a bodyworker since 1991. She came to NYC as an actor in 1985 from studying at the Drama Studio in London for two years after graduating from Sweet Briar College.  She performed Off-Broadway as well as solo dance performances from 1986 -2013. In 2002, she became Body-Mind Centering® practitioner, which brought her closer to understanding movement patterns. She produced two one hour improvisational dance evenings in 2005 about her past-lives, ‘RISK, It’s Really All One Dance’ (excerpt on youtube). In 2010 she published a collection of her poetry: Separation and Return. She began painting in the early 1990‘s as a means of expressing experiential states and concepts where words fell short. Paintings are for sale, contact Cate: www.thelisteningbody.com.[/author_info] [/author]

From Our ACAT Faculty: "Does training teachers require a different set of skills?" by Brooke Lieb

by Brooke Lieb

Training teachers is a different contract than work with private students.

My private students are the ones who set the pace and depth of how they work with their own habits. I explore whatever activities or concepts are most useful, relevant and meaningful to them. I have no timeframe for their progress, and no agenda about their level of understanding or interest in the work. As a teacher, I need the scope of understanding to meet my students where they are, and to give them the skills of Alexander’s work to use as they choose. They, on the other hand, are there for themselves and their own needs. I notice things going on in their behavior, use and function that they may be unaware of. I take my lead from them to determine when and how I might share those observations with the student. Learning this skill is something I hope to impart to a teacher-in-training.

On the training course, I expect and demand a much higher level of rigor and commitment from teachers-in-training. They are no longer focusing exclusively on themselves and their needs and interests. I am assessing their skills against a standard and there are specific developmental benchmarks for them to meet to progress to the next level. I strive to be clear and able to articulate in every moment what I am doing, why and how so I can transfer that knowledge in a way that will be accessible for teachers-in-training when they are the ones teaching.

When I teach a private student, I have an awareness of myself, my student and the interplay between us. My private students don’t need to observe or understand my role in their learning, but the teachers-in-training need to understand the "means where-by" of teaching. They are using the skills they learned when studying privately and applying them to the task of teaching. On the training course I teach teachers-in-training pedagogical skills that are not specific to the Alexander Technique. A teacher-in-training needs a clear understanding of how and why touch is used to teach, whether touch is ultimately used in a given class or lesson. I also need an understanding of group dynamics, and how to support individual needs balanced with the needs of the group.

[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]

Continuing Community at ACAT

by Karen Krueger In my last blog post, I wrote about why I chose to enroll in the teacher training program at the American Center for the Alexander Technique ("ACAT"), and described the unique strengths of the program. Graduating from that program was a bittersweet moment for me, as it seemed I would lose my connection to the community that I was a part of as a trainee.

Luckily, as I soon discovered, ACAT gives its graduates many ways to remain part of the community. To begin with, there is the opportunity to serve as a volunteer faculty member. This meant that I could continue to participate in the training course at a level appropriate to my experience. Working with trainees was an ideal way to hone my hands-on skills, as ACAT trainees are expert at giving constructive verbal and nonverbal feedback. Participating in a training class also allowed me to observe and experience what the trainers were teaching, and to contribute with questions and observations from my own growing teaching practice.

In addition, I learned that ACAT is not just a training program. It is a not-for-profit membership organization, offering free and paid continuing education programs for teaching members and free and paid programming in the Alexander Technique for associate members and the general public. A majority of ACAT's Board of Directors are ACAT graduates.

ACAT teaching members offer monthly free introductions to the Alexander Technique. Volunteering to present or assist in these "Hands-On Demonstrations" is a great way for recent graduates to get valuable experience working with groups on the Alexander Technique. ACAT also sponsors low-cost drop-in group classes in the Alexander Technique, staffed by teaching members who have been active volunteers at the Hands-On Demonstrations.

In addition to these formal connections, ACAT graduates have their own more spontaneous ways of nurturing the ACAT community. Many of the people I trained with remain friends, have exchanges with each other to work on their skills, and refer students to each other. As I become a more experienced teacher, I find that my most valued form of continuing education is exchanging work with the ACAT people I met during my three years in the training course.

If you love the Alexander Technique, you can be a part of the ACAT community, even if you did not graduate from ACAT, by joining as a teaching member (if you are an AmSAT-certified teacher) or an associate member.

To learn more about the benefits of membership, go here.

To learn more about ACAT's teacher training program, go here.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER became a teacher of the Alexander Technique after 25 years of practicing law at two major New York law firms, receiving her teaching certificate from the American Center for the Alexander Technique in December 2010. Her students include lawyers, business executives, IT professionals and others interested in living with greater ease and skill. Find her at her website: http://kgk-llc.com. [/author_info] [/author]

From Our ACAT Faculty: My First Contact With The Alexander Technique, by Marta Curbelo

by Marta Curbelo I always loved movement and dance. I became a “star” in my brand new elementary school when I danced in front of my father’s Latin band at a school assembly. As a stay-at-home mom, I missed dance. When Nicole was eight, I decided to get active again: I joined The Nickolaus Technique exercise classes. After a few years of taking classes, I became an instructor and gave classes. One of the franchise owners was training at ACAT and asked me to volunteer as his student. At the time, I was about to buy a Nickolaus franchise. After volunteering at ACAT and experiencing a lightness I had never before felt, I started The Alexander Technique lessons with Sarnie Ogus and my life changed. Forget about the Nickolaus franchise, this was for me. My then-husband was going to be assigned to London and I knew I could find a home in England with The Alexander Technique. We never made it to London, but I have been able to teach The Alexander Technique wherever I found myself: New York City, Stamford CT or Santa Fe NM; even being invited to give annual workshops in Italy and Switzerland over a six-year period.

I was diagnosed with Multiple Sclerosis a few years after graduating in 1987 from ACAT. At the time, I had a private practice in Stamford and was an assistant ACAT faculty member. My symptoms were (and are) fatigue and paresthesia, or nerve-ending pain, and spasticity on my left side. I found early on that I could quiet my nervous system by applying the principles of The Alexander Technique. This has enabled me to minimize the debilitating effects of the disease. I am in the process of working with my neurologist on a case study to show the potential of using The Alexander Technique in the management of MS symptoms.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/12/Marta.Curbelo.png[/author_image] [author_info] MARTA CURBELO was certified by ACAT to teach The Alexander Technique in 1987, immediately volunteered as an assistant teacher and then became an associate teacher and finally a member of the Senior Faculty in 1989. Marta has taught at The Juilliard School and has had private practices in New York City, Norwalk CT and Santa Fe NM. She has conducted workshops in New York City, Switzerland and Italy and taught in a physical therapy facility in Mt. Kisco, NY.  Marta also has been certified, after a one-year course of study in the Art of Breathing, to teach breathing coordination in conjunction with The Alexander Technique. See her website: MartaCurbelo.com.[/author_info] [/author]

From Our ACAT Faculty: My First Contact With The Alexander Technique, by Brooke Lieb

by Brooke Lieb I first heard about the Alexander Technique when I was researching theater training. Alexander was part of the curriculum at The Juilliard School, Carnegie Mellon University, ACT in San Francisco, and many of the acting programs in London. I was planning to study for theater as an undergraduate, though I honestly didn't think I had the talent or constitution to manage the business side of the profession. Since I always liked to communicate through touch, I thought the Alexander Technique would be a profession that would place me within the performing arts world as a teacher, without dealing with the stress and rejection of auditioning and relying on being the right type to get to practice my craft as an actor. I knew on some level that I was going to train to teach the Alexander Technique even before I had a lesson.

I was 20 when I took my first lesson, with Nancy Wanich Romita during her last term of her teacher training at ACAT, on the campus of SUNY Purchase. After that first lesson, floating out of the dance building, I remember how excited I was having finally experienced the work that I had intuitively known was my life's work! It was more amazing then I could have imagined. I studied privately for 4 years, and had over 120 lessons at the time I applied to train at ACAT. I was on the course from 1987-1989, and feel so fortunate that I found my life's work so early. I also feel fortunate that I have had this work as part of my life resources since such a young age. I continue to learn and grow as both a student and a teacher. My enthusiasm and passion for the work has only deepened with time.

[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]

From Our ACAT Faculty: My First Contact With The Alexander Technique, by Daniel Singer

by Daniel Singer As a young man in my 20’s and well out of college, I was continuing with the spiritual search I had consciously begun at age 15. So as it happened, I found myself living in upstate New York on a rural farm, with a serious group of spiritual seekers. We were studying, in a practical way, the ideas of Gurdjieff. This farm/craft guild was an extraordinarily impactful learning environment, centered around traditional arts like pottery, weaving, woodworking, printing, farming, home-crafts, etc. We were studying the ideas of Gurdjieff; and working at traditional crafts was part of a means we used for self-study. I myself became a glassblower artisan there, and made this community my home for 6 years.

While I was living there, a group of musicians visited us from Minnesota. They were from the orchestra in St. Paul. As it happened, their Alexander teacher, Goddard Binkley, (who had been trained by F.M. Alexander), had been invited by one of their group to visit us. And so, when he visited we all received a single private lesson with Goddard.

My half-hour lesson with Goddard was a very simple, no-frills chair session. The only procedure besides sitting and standing was a formal lunge. Although it was my first lesson, (and I hadn’t a clue about the AT or what was expected of me as a student taking a lesson) few words were exchanged and, strangely, nothing at the time felt like it actually needed an explanation. I recall the education in that lesson felt sufficiently implied through the intention of Goddard’s touch, directly impacting my kinesthetic sense. Looking back on it now, it is quite easy for me to argue against adopting such a model/strategy for teaching a “first lesson.” His choice to not explain anything was a curious and radical choice. I speculate that his view might have been: “If my student is leaving themselves alone sufficiently to receive new kinesthetic data from my hands and not fall back into their old pattern of thinking, this new student’s nervous system will sufficiently interpret and use the new data, even in a first lesson.” Again, it seems like a less than optimal model for most first lessons, in my current view. Yet, in Goddard’s defense, it might be useful to note that the residents of this community were all rigorously focused on mindfulness, a living relationship to silence and contemplative inquiry. We were all studying together, as a group, the axiom "Know Thyself.” Therefore, it may be likely that Goddard felt that relative silence in a first lesson was a feasible strategy in the case of these particular first lessons in the Alexander Technique. However, I only speculate.

I recall the feeling of Goddard's hands to this day…inviting, strong and dynamic. They mysteriously sculpted my body and calmed my mind. He guided me into the chair in a totally new way. There was no table work given in that first lesson. When my half-hour lesson was done, I experienced a feeling that was truly unprecedented in my young life experience. It was an epiphany without words and I felt profoundly altered in my sense of self. It was as if I had landed on planet Earth for the first time, a wakeful presence mixed with a lightness of being that had hitherto eluded me. Much to my own surprise, right after walking away from the chair at the end of the lesson I turned to Goddard and said to him, “I know this must sound strange to hear, but someday I am going to teach this work to others.” To this day, I don’t know how I had the chutzpah to say that to him in that way, but I did. And even though it took 5 more years before I actually was able to have another Alexander Technique lesson, this time with Judith Leibowitz, eventually my prediction came to pass and I trained to become a teacher of this work.

As a child, I had been rather sickly, not having sat up until almost 2. As an infant, I couldn’t keep food down so barbiturates had been medically given as a remedy for that. Prone to continuous infections, I had been well-meaningly placed on oral penicillin for 11 years until the doctors decided that medical choice was no longer a smart one. I developed acute asthma and my nervous system became overwhelmed by the “speedy” drugs given for that. I wasn’t reading until after age 7. So there were definitely developmental lags and missing pieces, as well. Yet, through the graces of nature, by the time I was a young man, I had caught up in many areas. But my relationship to organization, self, balance, breath, movement and a normal sense of physicality was still quite challenged.

I feel it was a gift from God that I was guided to my first lesson with Goddard back in 1974. The trajectory of my life was significantly altered during that half-hour with him. And so, today I teach and help train others to study awareness, inhibition and direction through the Alexander Technique as I continue this ever-new investigation into the I-Thou-ness of living.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/11/Daniel-Singer.jpeg[/author_image] [author_info]DANIEL SINGER is a senior faculty member at the American Center for the Alexander Technique Teacher Certification Program. He maintains a private practice in NYC and is currently on staff as the Alexander Technique teacher at three performance Conservatories: AMDA, Circle-in-the Square and Michael Howard Studio. Daniel is an author of the book The Sacred Portable Now (Prima Publishing, 1996). He also co-produced a CD “The Back Alive Advantage” based on principles of Alexander Technique self-lesson work. Additionally trained and certified in educational and therapeutic uses of visualization by the American Institute for Mental Imagery, he’s an artist whose mediums have included glassblowing, painting and writing. And for the last ten years he has joyfully pursued a passion for studying and dancing Argentine Tango. [/author_info] [/author]

The Alexander Technique: Spiraling Our Lives

by Mariel Berger When something is organized it flows in the most efficient way possible.  I just moved into a new apartment and am discovering the joy of changing my habits to create a super organized home. Every object has a place, and that place is set up in relationship to all other things so the dynamic of the house flows effortlessly. The apartment itself is small, but its efficient arranging lets everything be seen as a whole, and function to its potential. Just as when our muscular system is integrated well, we are conscious of how the parts relate to each other: one at a time and all together.

In this modern world, it is easy to forget about the Whole, since our days are governed by the clock. Linear Time is structured in a way that you can’t see what came before or what will be.  We are trapped in seconds, minutes, days --lost in the fleetingness of moments---each one vanishing as we step forward into the next. What if we allowed time to soften from its hard line into a spiral that wraps and wraps around itself? What if we were able to experience time in its Entire Presence?

From years of anxious doing, humans have learned and constructed different patterns from the ones found in nature. Patriarchy, Capitalism, Western Culture--all these very narrow systems have detached us from our true and effortless flow. Just as Corporate Agriculture turned farming into rows, despite the fact that nature’s most efficient growing shape is nonlinear, years of industrious work regimented and fixed our muscles into an unnatural shape. Tension and pain are from habits that are not aligned with nature’s organization.

Western Culture worships lines----------------------------------------------------->

[Linear Time] --------------------->  [GRIDS]-------------------------> [Boxes]------------>

Time in one fixed and narrow arrow always pointing from past to future.

[Lists] [Periods]

[Streets] [Fences]

[Wars] [Watches]

[Patriarchy]

All of these linear forces have tried to grid over nature’s beautiful and miraculous organization--the endlessly flowing spirals moving through every part of life.  Spirals are found in all parts of nature: galaxies, hurricanes, whirlpools, nautilus shells, cacti, cauliflower, cabbage, sunflowers, pine cones and even inside us. “Examples of spirals in the human body  include the spiral waves of blood flow, twisting curves in bones, and the corkscrew-like umbilical cord.” There are also spirals throughout our muscular system. “The human body is fundamentally built upon spiral design and moves most efficiently in accord with spiral motion.” Carol Porter McCullough via Raymond Dart discusses the “double spiral arrangement of the human musculature” here.  

In Alexander Technique we are constantly practicing connecting to the spirals within us, as well as allowing our walk to return to its natural spiral motion.  The more we practice Alexander Technique, the more we expand our experience from two dimensional to three dimensional. As our relationship to our bodies shift, our thought process becomes three dimensional, and our experience of time softens from a line into a spiral. Instead of end-gaining or moving in a two dimensional straight line from point A to point B, we find the infinite three dimensional spiral which lets us experience the whole and the parts: one at a time and all together. We allow for our neck to be free, head to move forward and up, torso to widen and deepen, knees to move forward and away, simultaneously and part by part. We pay attention to each piece while remembering the connection to the fluid spiral within and around us.  

Just as Alexander Technique organizes our bodies, in Permaculture Design, a practice of efficient and sustainable gardening/farming, we are encouraged to organize our gardens to mimic nature’s shapes. Many people arrange their gardens in spiral pyramid designs. “The Herb Spiral is a highly productive and energy efficient, vertical garden design. It allows you to stack plants to maximise space – a practical and attractive solution for urban gardeners...This Permaculture design maximises the natural force of gravity, allowing water to drain freely and seep down through all layers – leaving a drier zone at the top (perfect for hardy herbs) and a moist area at the bottom for water lovers.” – Adrian Buckley (from here).

Alexander Technique and Permaculture Design are both practices to help the body and land return to an integrative system of parts relating to the whole. Spirals are the essence of nature, and through these practices we organize our bodies and landscapes to resonate with their natural flow. Tiny spirals are in our DNA, pour into our blood, twist into our bones, make up our muscle sheets--and as we walk our arms, hips and torso spiral around our spine. We organize our garden into a spiral of sunflowers and even the sunflowers are endlessly repeating spiraling fractals of themselves. The part is the whole, the whole is the part...and on and on…………Read this piece in any order until you see that the meaning is in every word, and the words combined make meaning. Allow yourself to flow in and out of time, spiralling around and around…..

all together one at a time all together one at a time all together one at a time……..

all together one at a time…….. alltogetheroneatatimealltogetheroneatatimealltogetheroneatatimealltogetheroneatatimealltogetheroneatatimealltogetheroneatatimealltogetheroneatatimealltogetheroneata….…… .... …...

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/07/helsinki-sun-headshot.jpg[/author_image] [author_info]MARIEL BERGER is a composer, pianist, singer, teacher, writer, and activist living in Brooklyn, NY. She currently writes for Tom Tom Magazine which features women drummers, and her personal essays have been featured on the Body Is Not An Apology website. Mariel curates a monthly concert series promoting women, queer, trans, and gender-non-conforming musicians and artists. She gets her biggest inspiration from her young music students who teach her how to be gentle, patient, joyful, and curious. You can hear her music and read her writing at: marielberger.com[/author_info] [/author]

From Our ACAT Faculty: My First Contact with the Alexander Technique, by Kim Jessor

by Kim Jessor It was 1977. I had recently graduated from college, and had come to New York to be a dancer. I was living in Soho, taking dance classes, rehearsing and performing in lofts, and living the downtown New York arty life I had dreamed of. But then my knees began to give me trouble. Like F. M. Alexander, the medical world had no answers for me, nothing showed up on an x-ray, rest was advised. I was desperate; the life I had envisioned, the great joy dancing brought me and how much my young identity was tied up in it, seemed to be slipping away from me. At Sarah Lawrence College I had known Missy Vineyard. I knew she had become an Alexander teacher, and I had another dancer friend with knee trouble who was studying with Missy. They were the first people to tell me of this work that would change my life. I don’t remember clearly how I found my way to Jessica Wolf for my first lesson. She was still in her final semester of training. Once I went with her for a supervisory lesson to Judy Liebowitz’s (one of ACAT’s founders) apartment!

While I can no longer recapture the specific details of that lesson, I do remember that I experienced myself in an entirely new way, with this unfamiliar quality of ease and lightness. I left with a renewed sense of hope and possibility. I immediately called Jessica and asked her to meet me for lunch to talk about what training entailed. I told her I wanted to become a teacher of this Technique. She explained to me that I would need to take more lessons in order to apply, which I subsequently did. But I knew right away—this was the work I wanted to do. I was completely compelled by my experience, by the sense that there was a way out of my knee pain, and that the work combined my love of movement with my enjoyment of the process of teaching. I studied with Jessica for awhile, then Andrea Hanson, and in 1979 excitedly entered the ACAT teacher certification program. Many years later, I continue to teach others to become Alexander teachers at ACAT, and still thoroughly love this work.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/k_Jessor_1642.jpg[/author_image] [author_info]KIM JESSOR received her BA from Sarah Lawrence College in 1976, where she danced and choreographed under Bessie Schoenberg. She received her ACAT certification in 1981 and has taught since then on ACAT’s faculty, serving as Director of the Teacher Certification Program from 1991-1994. Kim has taught at the Juilliard School, Mannes College of Music, the Michael Howard Acting Studio, the New York Open Center, the Brooklyn Conservatory of Music, the Chautauqua summer music program, Penland School of Crafts, and the Miller Healthcare Institute for Performing Arts Medicine, among others. Kim has written articles on applying the Technique to marathon running and on her work with survivors of 9/11. She has also presented at several national meetings. Currently she is on the faculty at NYU’s Graduate Acting Program/Tisch School of the Arts, while maintaining a private practice in Brooklyn and Manhattan. Kim has done post certification work with Barbara Kent, Pearl Ausubel, Ann Mathews and Rika Cohen. She is also certified in Body-Mind Centering from Bonnie Bainbridge Cohen.[/author_info] [/author]

"Physical Therapy May Not Benefit Back Pain," But The Alexander Technique May

By Karen Krueger and Witold Fitz-Simon Just this week, Nicholas Bakalar of the New York Times reported on a study published in the Journal of the American Medical Association on back pain and Physical Therapy. The  goal was to determine whether or not treatment with Physical Therapy in the form of manipulation and exercises was effective in treating the back pain of recently-diagnosed individuals. Participants were between the ages of 18 and 60, had no lower back pain treatments of any kind in the past six months, and had symptoms for no more than 16 days. All the participants received education about lower back pain, while one group received four Physical Therapy sessions over four weeks. The results in relief of pain for those who received the physical therapy was reported as "modest," but in the long run not distinguishable from the care received by the control group.

Some back pain is caused by poor posture and movement habits. Physical Therapy, yoga, Pilates, and other approaches can help strengthen muscles, add needed flexibility, etc. But too often they do not change a person's habits: when the person gets busy, they go right back to the habits that got them into trouble in the first place. It makes sense to us that people would not show significant improvement after three months.

The only approach that actually provides a systematic way to change habits that really "sticks" in real life is the Alexander Technique—a set of skills that you learn—rather than a therapy. Sadly, lessons in the Technique are not covered by insurance in the United States (though they are in the United Kingdom). But the skills you can learn can last a lifetime. It worked for Karen's chronic neck pain and headaches, and we know many people who found it solved their problems with back pain.

If you experience back pain and would like to learn an effective alternative way to care for yourself, find a qualified teacher of the Alexander Technique here.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER became a teacher of the Alexander Technique after 25 years of practicing law at two major New York law firms, receiving her teaching certificate from the American Center for the Alexander Technique in December 2010. Her students include lawyers, business executives, IT professionals and others interested in living with greater ease and skill. Find her at her website: http://kgk-llc.com. [/author_info] [/author]

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/After-crop1.jpg[/author_image] [author_info]WITOLD FITZ-SIMON has been a student of the Alexander Technique since 2007. He is certified to teach the Technique as a graduate of the American Center for the Alexander Technique’s 1,600-hour, three year training program. A student of yoga since 1993 and a teacher of yoga since 2000, Witold combines his extensive knowledge of the body and its use into intelligent and practical instruction designed to help his students free themselves of ineffective and damaging habits of body, mind and being. www.mindbodyandbeing.com[/author_info] [/author]

From Our ACAT Faculty: My First Contact with the Alexander Technique, by Joan Frost

by Joan Frost Due to my mother’s lack of understanding regarding nutrition, as an infant I was fed boiled condensed (pet) milk to grow on. It didn’t work so well. I didn’t get to my feet until 18 months old and when I finally did, my legs buckled so that my knees and ankles caved in. In Ireland, they called this the “green stick syndrome”. I don’t know what they called it in America, but it was not uncommon in the ‘50’s. To remedy this, I had to sleep on my back every night wearing a brace – two shoes turned out 180 degrees from each other with a bar between. This put my legs into a frog position. I wore the brace every night from about 18 months to 3 years old. I have no memory of this time, but I do remember for years going to the doctor for walking exercises to deal with my very pronated ankles.

There was a problem with this mechanistic remedy: I was very pigeon-toed. The brace forced total outward rotation. Since my hip-joints couldn’t structurally accommodate that, where did the adjustment go? To the next level up – my lower back. I became extremely swaybacked. Standing equaled pain.

I must have had a weak back. When I was nine, while on my hands and knees playing with my sister, she jumped on my back and something “went”. It was my upper back. From that time forward, I couldn’t sit unsupported for more than 20 minutes before my back became hot, then numb. I gave up my piano lessons.

I couldn’t stand, I couldn’t sit. Any length of time with either and I was in significant pain. My mother took me to chiropractor after doctor. Nothing helped. I was a stoic girl – I dealt.

In college, typing papers was agony. But when I moved, I felt better. I enrolled in the dance program at the University of California at Santa Cruz and started learning about my body. I discovered my psoas muscle and my lower back lost some of its exaggerated curve. My lower back pain diminished. My upper back? It didn’t change much at all. I was always in pain behind my right shoulder blade and every few weeks it got acute.

I graduated from college and moved to New York City to immerse myself in the modern dance scene. A California friend discovered the Alexander Technique and told me I should take some lessons. She said my neck was very forward. I reached back to feel my neck and discovered she was right! I resisted studying, though. Why should I? I could have five dance classes for the price of one of those lessons. She persisted. Finally, after about six months of urging, I agreed. I called Missy Vineyard and made an appointment.

I don’t know what happened in my first lesson. I just remember taking a floor barre class afterwards and not being able to lift my head off the floor. I did return for another lesson. Again, I didn’t understand what was going on, but it seemed as if Missy knew something true about my body that I didn’t yet know. The closest I could liken to my experience was readings I had done in Zen and eastern philosophy.

Not far into the lessons, I started sticking out my elbows. Missy set me straight. I was confusing elbow width with upper back width. Amazingly, my upper back began to change! My pain started to lessen! I had started studying the Technique to keep my friend quiet. It had not occurred to me that it would affect the way I felt. By the time I was in my 20’s, back pain was a fact of my life and I took it for granted that that’s the way it was going to be.

I had ten lessons with Missy, then she moved to Baltimore for her husband’s medical residency. The effects of those lessons lasted about nine months, then I felt I had lost the sense of it. I asked around for and found another teacher and continued my Alexander journey.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2011/12/Joan-Frost.jpg[/author_image] [author_info]Joan Frost was certified to teach the Alexander Technique by ACAT in 1983, joined ACAT’s faculty in 1984, and was Director of Teacher Certification from 2001-2008. Joan has also taught the Technique at The Juilliard School, The New School, the Diller Quaile School of Music, and at Sarah Lawrence College. For years she was a lecturer for The Arthritis Foundation. Currently, in addition to training teachers at ACAT, Joan maintains a private practice in Manhattan, in Rockland County, in White Plains, and in Stratford, Connecticut. Find her at her website: joanfrost.com.[/author_info] [/author]

From Alexander Technique Student to Teacher: Why I Chose ACAT

by Karen Krueger

In January 2008, shortly after my 50th birthday, I walked into the American Center for The Alexander Technique ("ACAT") to begin the three-year journey to becoming a teacher of the Alexander Technique. I would soon leave behind a 25-year career as a big-firm lawyer, a choice I have never regretted.

The Alexander Technique is all about choice: it empowers people to make choices about previously unconscious, habitual or reflexive behaviors and reactions like poor posture, excessive muscle tension and anxiety. Learning the technique through weekly private lessons had enabled me to address the chronic neck pain and headaches brought on by my legal career. It also led me to choose to spend the second half of my life in a different pursuit, by becoming an Alexander Technique teacher. Having decided on this change, I faced another choice: where to train? After learning about the structure of training programs in general, and the differences among them, I had no difficulty deciding that ACAT was the place for me.

I was particularly attracted to ACAT's many faculty members from diverse backgrounds. Most training programs have a single head teacher with a single vision, whose assistant teachers, if any, follow the head's approach. I liked the idea of working with many teachers throughout the week, getting different "takes" on the Alexander Technique, different approaches to the use of hands-on guidance in teaching, different philosophies and pedagogical methods. I thought it could become tedious and limiting for me to work with the few teachers in the same way for the 1600 hours of training.

The Alexander Technique world has several different styles, including those developed by prominent members of the first generation of teachers trained by the Technique's founder, F.M. Alexander: the "Carrington" approach, named for Walter Carrington; the "McDonald" style, for Patrick McDonald; and the Barstow legacy, for Marjorie Barstow. ACAT's faculty includes trainers steeped in each of these three traditions. By its very structure, ACAT never delivers the message that "this way (my way) is the best (or only) way to teach the Alexander Technique." Rather, trainees learn explicitly that there are many choices; they try out different styles and approaches; and they are given the tools to develop their own approach and to be creative in their teaching, rather than simply copying the way someone else does it.

Some people have told me they find this confusing. A trainee at another course that I visited called the ACAT program a "conveyer-belt" approach and said she preferred having one trainer with a consistent message, rather than having one faculty member on Monday say X and another on Friday say Not X. This didn't trouble me, and in fact it turned out to be one of my favorite things about training! I enjoyed thinking about and experimenting with the possibility that X and Not X might both be true, possibly at different moments or in different situations or for different people.

Moreover, there is a consistent vision underlying ACAT's training: a written curriculum setting forth the progression from beginner to graduate, term by term; a strong devotion on the part of all trainers to the fundamental principles of the Alexander Technique, as expressed in F.M. Alexander's own books (required reading for all trainees) and developed by his successors; and a rigorous approach to hands-on practice in a supportive environment. This strong foundation, first laid down by founding teachers Judy Liebowitz and Deborah Caplan, combined with the diverse group of collaborating faculty members, makes training at ACAT like a musical "theme and variations," in which each successive variation both elaborates and embodies the theme.

After three years, I graduated from ACAT confident in my skills and ready to begin teaching on my own. At the same time, I was sad to come to the end of my training, having become very attached to ACAT, its faculty and my fellow trainees. Fortunately for me, ACAT affords its graduates many ways to remain part of the community and to continue learning and improving our skills. I'll write about that in a subsequent post.

Found out more about ACAT's teacher training program here.

And be sure to stop by our next Open House on October 19, 7-9pm—details here.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/10/karen-headshot-67.jpg[/author_image] [author_info]KAREN G. KRUEGER became a teacher of the Alexander Technique after 25 years of practicing law at two major New York law firms, receiving her teaching certificate from the American Center for the Alexander Technique in December 2010. Her students include lawyers, business executives, IT professionals and others interested in living with greater ease and skill. Find her at her website: http://kgk-llc.com. [/author_info] [/author]

Create More Ease Walking With The Alexander Technique

by Witold Fitz-Simon Here are two different takes on walking from an Alexander Technique perspective. The first is from ACAT Teacher Training Program faculty member Judith Stern, and the second from first-generation teacher Marjorie Barstow. (Barstow is in her 90's in this video and still going strong!)

https://youtu.be/m6l7F_nrjeM

https://youtu.be/GOMUKfh_bqw

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/After-crop1.jpg[/author_image] [author_info]WITOLD FITZ-SIMON has been a student of the Alexander Technique since 2007. He is certified to teach the Technique as a graduate of the American Center for the Alexander Technique’s 1,600-hour, three year training program. A student of yoga since 1993 and a teacher of yoga since 2000, Witold combines his extensive knowledge of the body and its use into intelligent and practical instruction designed to help his students free themselves of ineffective and damaging habits of body, mind and being. www.mindbodyandbeing.com[/author_info] [/author]

The Habit of Dissatisfaction

by Brooke Lieb The Alexander Technique teaches a robust tool to recognize and address habits, including movement patterns, posture and muscle tone; and thinking and behavioral habits, as well.

As a child, growing up in the United States, and particularly as a student in American academia, I developed the tendency to respond to my circumstances with dissatisfaction. I was inclined to focus on what needed to be changed or fixed, how to garner or continue to get approval, and to seek distraction from my habitual internal dialogue and attitude towards my life circumstances. This attitude was reinforced by the people around me, by the media, and in particular, by advertisers. I was encouraged, first externally, and then internally, to strive to be better, to look for the next goal, the next success or win in life, the next project, the next task. What can I do next, so I can better myself and get the next toy, reward or show of approval or love from the world around me? And as a woman, what can I do to be more attractive, and thinner?

At the same time, from a very early age, I knew I wanted to experience contentment, satisfaction and joy in my life, and I had a strong inkling that I was going to need to work to overcome my tendencies to find fault and feel unsatisfied. I first saw a therapist at 18 and then began therapy in earnest for 11 years at around 21, with my primary goal being to love the life I am actually living. I began having Alexander lessons at aged 20, so I cannot be sure, but I believe my Alexander lessons contributed to my growing awareness of my emotional habit of being dissatisfied, and gave me skills to change my belief systems and responses to the challenges of life.

Over these last 32 years, having Alexander Technique as the central tool in my life, I feel like I have woken up more each passing year, and with this alert, aware state, I have gained more inner peace, self acceptance, patience for those around me, and an acute awareness of the dynamic of chronic dissatisfaction in myself, mirrored many ways in the world at large. My process has often been painful and hard won, as I grappled with my perfectionist issues, but I believe without the Alexander Technique, I wouldn’t be enjoying the wisdom that comes with age, and feeling so awake to life. I have learned how to enjoy myself more. This awakening is still a work in process.

One of my great pleasures as an Alexander teacher and a trainer of Alexander teachers, has been the honor of helping my students wake up to themselves and their lives, as well. I am inspired by their journeys, and I learn about myself in the process. At this point, work is play for me, and I feel so lucky that I earn my livelihood doing something I love so much.

If any of this resonates for you, I would be delighted to hear from you about your journey around the habit of dissatisfaction.

NOTE: The Alexander Technique is a useful tool as part of your self-care regime, but is not a replacement for consultation with a trained medical profession. It is important that you seek the assistance of a trained medical professional for persistent and on-going physical, emotional or mental symptoms, to rule out and/or address underlying causes.

[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]

Thinking But Not Doing

by Brooke Lieb

In her wonderful new book, Living The Alexander Technique, Ruth Rootberg interviews senior members of the Alexander community, who have been living with the tools of the Alexander Technique well into their later years. In her interview with Frank Ottiwell (1929 - 2015), who was certified by ACAT founder Judith Leibowitz in 1959, he reflects on his continued development in learning what it is to inhibit and direct. As I was reading, I could especially relate to the following section from the interview.

Frank Ottiwell is quoted:

“I think one of the things one has to learn—and certainly Judy [Leibowitz] was teaching me that right from the beginning—is 'Leave yourself alone.' Practice Inhibition. You learn to say the words, but not to do them. That’s the trick…. I think, too, that my focus has re-directed towards stopping something from happening, rather than being seduced into getting something to happen. With the order to 'free my neck,' for example, it is easy for me to slip into making tiny movements, even without intending to. I think, for a long time, some devil in me tricked me into little direct doings. I’m sure it will try again. I will have to be on the lookout for devils.”

Having been a student of the Alexander Technique for over 32 years myself, I found it reassuring and comforting to know that Frank Ottiwell was still tempted to do something muscular when working with the Alexander Technique after all his years of experience. I, too, am always refining my thinking and working on inhibiting (withholding consent) from my inclination to do something directly with my muscles when my true wish is to “free my neck.”

I think this process of relearning and refining what we are after when we use the Alexander Technique is common for Alexander teachers and students, alike. We live in a world full of triggers, we are habitual creatures, and it seems that as technology advances, we are all trying to accomplish more, not less, and are rushing to get things done. Taking time, and learning the difference between thinking intelligently and using muscle force is vital to manage our energy and tension levels under these circumstances.

One of the main challenges in learning to work with the Alexander Technique is learning not to turn the ideas and instructions from your teacher into a direct muscular action. When I work with a student, I tell her or him: “Listen to my words and think them, allow my hands to guide you to define what those words mean in your movements, but do not use your muscles to directly do your idea of what those words mean.” Easier said than done, but anyone who has been working in this way and had glimpses of what is possible will likely agree, it is very worthwhile.

Buy Ruth Rootberg’s book, Living The Alexander Technique on Amazon: http://www.amazon.com/Living-Alexander-Technique-Interviews-Teachers/dp/1937146774

Other epub versions are available on Nook, Google Play, and iBook.

You can read Frank Ottiwell’s obituary in the SF Gate here: http://www.legacy.com/obituaries/sfgate/obituary.aspx?n=Frank-Ottiwell&pid=175665326

[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]

Student Abbe Krieger and ACAT's Health and Wellbeing Program

by Brooke Lieb ACAT’s Health and Wellbeing Program offers experienced students (10 or more lessons) the opportunity to join classes in our World Class Teacher Training Program. The emphasis is on self discovery, self-awareness and learning more efficient ways of applying Alexander concepts to everyday life. The program is ideal for students who wish to take their study to a more advanced level, and for those who are considering training and would like to experience the Training Course environment firsthand.

To learn more and and download an application an brochure, click here, or contact me at “tcp@acatnyc.org”.

BROOKE

Why did you first start studying the Alexander Technique?

ABBE

The first time I started studying the AT was because my flute teacher from Juilliard suggested that it might be useful for my playing. I was a big end gainer; if anything could help me be an even better "fluter," I would do it. Years later, after a long stretch without any AT, I came back to it because I thought that it might be a nice complement to my daily meditation and mindfulness practice.

BROOKE

Why did you decide to participate in the Health and Wellbeing option within ACAT’s Teacher Certification Program, including the option of adding the 10-session private lessons?

ABBE

I love the AT and have been taking privates with a handful of NYC's top teachers for the last several years—sometimes twice a week. Bravos and Bravas to Ann Waxman, Bill Connington, Jean McClelland, Hope Martin, and most recently, to you, Brooke. Also, my very first AT teacher, Judith Muir. Thanks to the care and guidance of these amazing teachers, my desire to become more intimate with the AT has grown significantly. To that end, I came to ACAT to enhance my experience and "understanding" of the AT. Also, I am thinking about training…TBD

BROOKE

What has the experience been like?

ABBE

Studying and learning AT in the context of a full-time AT training program, even just once a week, and as a HWB student, has been transformative. I have become much better acquainted with the mysteries of primary control and I am starting to take my familiar debauched habits less seriously. Also, observing what the students are being taught to "not do" to facilitate length and expansion in another person is fascinating and unbelievably useful to my own use. I love that ultimately it is about learning to take care of yourself first so that you can be of service to another human being. My body is my first instrument.

About Abbe

A recent first prize winner of the Alexander and Buono International Flute competition, Abbe Krieger’s recital performances have included Bechstein Piano Center, Weill Recital Hall and Klavierhaus. As a chamber musician and orchestral player, her appearances have included Avery Fisher Hall, Carnegie Hall, Paul Hall and the Peter Jay Sharp Theater as well as music festivals including Bowdoin, Chautauqua, Tanglewood and Saarburg. Ms. Krieger's musical training includes degrees with honors from The Juilliard School, Carnegie Mellon University and Brandeis University. Ms. Krieger serves as guest teaching artist and soloist with the Florida Gulf Coast Symphony and teaches privately in NYC.

[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]