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

by 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

Experiential 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*

by 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

by 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

by 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]

Seven Questions with ACAT Teacher Training Student Tim Tucker

by Brooke Lieb Q. What, if anything, did you learn from putting hands on faculty?

A. ACAT's faculty offers me the ultimate laboratory to test my skills as a budding Alexander Technique teacher. The faculty is incredibly sensitive to the messages I'm transmitting, or not transmitting, through my hands and can quickly diagnose and tactfully communicate what my hands are up to. The learning that putting hands on faculty permits is quite unlike what happens when working with fellow trainees or supervisory students -- faculty feedback and guidance has repeatedly taken my practice of the AT to a whole new level.

Because I tend to "try too hard" and am often "highly serious" my work with faculty also helps to address those particular habits in the context of my attempts to teach them. I'm repeatedly offered the chance to lighten up and do less when working with my hands on the teachers, and to see how easing up can make me a better teacher and my teaching practice more sustainable.

Q. Did you observe direction in your teacher when you put hands on her or him?

Teachers at ACAT offered me vivid direction -- sometimes consciously amplified by them because of where I was in the training process -- whenever I put hands on them.

Q. If you did observe direction in your teacher, did the experience illuminate the concepts of AT, the actual mechanism of h/n/b integration/primary control, or any of F. M.'s ideas from his writings?

Teachers know when I'm inhibiting, and when I'm not. And they illustrate, sometimes overtly and sometimes implicitly, the impact of inhibition coming through my hands on their nervous systems and coordination.

Q. How did the supervised teaching in the third year contribute to your learning, and/or prepare you for teaching on your own?

Having faculty observe and participate in supervised teaching has been a boon for me as a trainee. Often supervisory students exhibit patterns of misuse that I have not encountered before on the training course; having faculty immediately available to answer my questions and offer suggestions regarding a student's misuse takes the pressure off in challenging teaching situations and supports my learning. Meanwhile, faculty often put hands on me as I put hands on my student, helping me to come back to my own use and address my own habits as the foundation from which my teaching must originate. Lastly, the opportunity to discuss each supervisory session with faculty and colleagues after the students leave has helped me to gain more insight from my own experience and to learn from my colleagues as 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]

Thoughts on Doing and Non-Doing

by Ezra Bershatsky It is almost irresistible to become fascinated with the philosophies that are so perfectly compatible with the Alexander Technique; to revel in the Zen-like mysticism it inspires: “The chair lifts; I don’t lift it," or "I am breathed." For some, this is confirmation of what they already believe. However, I think this only serves to obscure for others and even ourselves what is actually happening.

This topic is of especial interest to me as I have found a wealth of knowledge in the Tao Te Ching: “Wei wu wei,” or “doing without doing,” is a prevalent theme throughout the text, and it offers considerable insight into various implications of The Alexander Technique. As pointed out by Walter Carrington, we cannot lead a life of non-doing, as we would inevitably starve to death. Carrington says that muscular activity in the body is obviously doing; however, to me this is anything but obvious. Would anyone say, “I’m doing my heartbeat?” Another way to define “doing” is as any volitional or potentially volitional muscular response. I say potentially, as the vast majority of muscular responses and coordinations are allocated unconsciously by the brain through the stimulus of a desired outcome.

Doing without doing is a way of accomplishing an end while avoiding an habitual means to obtain it. This might be achieved by changing one's immediate intention, thus delaying the ultimate outcome. For instance, if my goal is to sit in a chair, I can decide merely to sit, which would trigger a complex muscular coordination involving hundreds of muscles contracting and releasing simultaneously and sequentially. My desire to quickly carry out the action of sitting might allow for little new input into achieving the action, so that if the chair is lower than the average chair, I will probably fall into it, expecting to have been sitting sooner. If I wanted to employ a "non-doing" approach, I could first try to have my desire to sit become the outcome of another intention: my knees bending. If I continuously bend my knees, eventually I will make contact with the chair. Such an exercise would begin to reeducate me from my habitual way of sitting, so that when next I go to sit in a "doing" or habitual manner, it might happen more efficiently. It should be said that this improvement will most likely revert quickly to my more habitual behavior shortly thereafter, unless this type of work continues.

It is our goal to accomplish any end by finding a way to allow a spontaneous coordination instead of imposing one; to consider how this action will be achieved instead of predetermining it; to avoid habitual response patterns and allow for spontaneous ones, even if the latter are at first clumsy or less efficient. Once we have established clarity about this goal, the implications for similar or seemingly related philosophies and mystical ideas can be safely considered, and will not be conflated with the principles and workings of the Alexander Technique.

Nonetheless, Carrington is ultimately correct in saying that “doing” is any muscular response, because this definition furthers the understanding of the interdependence of mind and body. We needn’t be aware of what we are doing to be doing it. Even unconscious processes that we could never hope to control directly are happening in us. If they are happening we can say we are doing them; for we are these involuntary processes just as we are our awareness.

When placing hands on the back of the chair and increasing the intensity of the dynamic opposition between the elbows, we are distally initiating movement in our arms, which is a valuable tool for facilitating a spontaneous muscular coordination, thus bypassing habitual patterns, which may ultimately result in the lifting of the chair. To then assert, “I did not lift the chair,” serves no constructive purpose. What it clarifies is that because we were consciously choosing to initiate movement elsewhere without lifting the chair, we avoided habitual response patterns associated with it; and since we identify so strongly with these habitual patterns, when we do achieve the (conscious or unconscious) goal of lifting the chair, it doesn’t feel very gratifying or familiar, and thus has no personal significance for us. In other words, we don’t identify with having lifted the chair. However, the chair did not levitate, and so what must have happened is, “I lifted the chair, even though it was not my intention,” rather than, “the chair lifted.”

I think it is of paramount importance to avoid attaching mystical concepts to this work as it alienates more scientific-minded professionals and clientele, and as teachers we are disparate in our beliefs and world views. Spiritually, mystically and psychologically inclined individuals will have no problem finding these implicit philosophies, some of which tie into the fields of astrology, homeopathy, reiki and crystal healing, classified as pseudoscience—which is not to say that these have no validity. But the Alexander Technique seems so often to find itself conflated with non-scientifically verifiable disciplines, when it was developed through the use of the scientific method, is scientifically substantiated to the degree that it has been formally studied, and would withstand the rigors of thorough scientific testing and peer review. Ideas unrelated directly to AT serve only to obscure our concept of a unified human organism, in which the mind and body are inseparable. Hence, “non-doing” should be taught and discussed with its originally intended implications only, making it safe for any of us to consider its possible implications for other areas of inquiry.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2016/07/Ezra-Bershatsky-by-Sandro-Lamberti-Photography-23.jpg[/author_image] [author_info]EZRA BERSHATSKY—A graduate of The Juilliard School Pre-College Division, Ezra has two Bachelor degrees of Music from Mannes College The New School for Music, in vocal performance and musical composition. He is currently training to be a teacher of the Alexander Technique. He has been singing and performing since childhood, and early in his training he discovered that he has a passion not only for making music, but for teaching others. Ezra teaches voice in New York City on the upper west side. [/author_info] [/author]

Taking Action: How Does That Work in the Context of the Alexander Technique?

by Brooke Lieb

In light of the recent hate crime, the mass killing in Orlando targeting the LGBTQ community on June 12, I thought about what it was to respond with meaningful, integrated action.

What has this got to do with the Alexander Technique? Alexander Technique often emphasizes “non-doing” which can be mistaken for inaction. Non-doing is more about having the time and space to unpack a response to find what may be habitual and automatic, and gain access to a conscious, reasoned response.

Working with this paradigm gives me a way to question the accuracy or validity of my feelings, both those I label as sensations, and those I label as emotions. I can also question the habits I have around using those feelings to guide my behavior and actions. I don’t want to respond to this latest tragedy comfortably or in my familiar and habitual way, I want to respond accurately and in measure with my examined belief systems.

I want to communicate with the people who feel particularly at risk of being targeted because of who they love or how they look, a danger that may be even more in the forefront of their day to day lives, as a result of this recent atrocity. I want to offer my support. But for me, my kind words are empty if my actions and behavior don't have the potential to generate a safer world for them.

I want to show empathy and connect with my friends and loved ones to show that I care about this issue and it breaks my heart that people are being murdered because of some distorted set of artificial values held by others. Those beliefs are what make some of us a threat to others of us.

I saw a number of posts about taking action, as the more impactful response to this latest in a “much too frequent and much too long” string of mass killings.

So I went to google to find out how to take action. I donated to the Brady Campaign, I signed a petition which I was informed was equivalent to writing a letter.

I wrote to both of my state senators to say I am a constituent who supports strict gun control, and when considering the second amendment as written: "A well-regulated militia being necessary to the security of a free state, the right of the people to keep and bear arms shall not be infringed” I support limiting access to and the use of guns to the confines of a well-regulated militia.

So, yes, I have been crying since Sunday, June 12, and looking at my transparent biases and bigotry to take responsibility for the ways I may have inadvertently contributed to the climate in our country by being ignorant and unable to see what I may be a party to. I see that my inaction contributes to the status quo. By the way, I was raised around activists, growing up in the late 60’s and early 70’s, and I take a lot for granted because so many took action during that time in history.

What has this got to do with the Alexander Technique? I am saying “no" to my comfortable habit to remain silent while feeling hopeless. I often keep silent out of my desire to appear non-judgemental and neutral so my clients won’t feel judged in my hands. Silence can be useful in some situations, but silence can also be a way to stay comfortable and ineffective.

So, instead, I am taking action, and being non-habitual by using my literal and literary voice to express my fondest wishes and hopes - that we take the actions needed so we live in a world that values all human life and celebrates creativity and diversity in how we each express ourselves. I wish to live in a world where no one is in danger from another, because of what they have or don’t have, for what they believe or don’t believe. And that we don’t use our personal beliefs to injure each other.

If you want to learn more about some possible actions to take, here are some links:

Contact your congressional representative: http://www.house.gov/representatives/find/

Contact your Senator: http://www.senate.gov/senators/contact/

How did your senator vote on background checks?: http://everytown.org/senate-votes/?source=etno_ETActPage&utm_source=et_n_&utm_medium=_o&utm_campaign=ETActPage

Tweet your congressperson: http://everytown.org/tweet-at-congress/?source=etno_ETActPage&utm_source=et_n_&utm_medium=_o&utm_campaign=ETActPage

Support the Brady Campaign to end gun violence: https://secure.bradycampaign.org/page/contribute/center-enough

[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]

Returning Home

by Mariel Berger Many thanks to my Alexander Technique teachers: Witold Fitz-Simon and Jane Dorlester.

For a lot of people, sexual intimacy is an attempt to return to our bodies and feel whole. We spend so much time in our heads, experiencing life not fully in our bodies, not feeling the integration of our system. There is so much fixation on finding a partner and experiencing intimacy as a way to feel connected and validated. Through Alexander Technique we practice feeling whole so that we don’t need to be in our front bodies grasping for more. We can be aware of our back bodies, our head moving forward and up, neck free, torso widening and deepening, knees moving forward and away. All of the parts create a simultaneous awareness of the whole: one at a time and all together.

A lot of the pain I experience in life comes from a feeling of being disconnected and isolated. There’s a quote I love by Lawrence LeShan, “It is the splits within the self that make for the feeling of being cut off from the rest of existence.” I am slowly learning how to experience myself without all the splits -- to gather all my different sides --shawdowed and bright -- and hold them into a unified whole.

This past winter I was severely depressed and felt as if my Self were fragmented into tiny meaningless pieces. I felt alone in my head, and disconnected from myself, loved ones, or any purposeful connection. My mind was full of vicious and self-loathing thoughts, and I tried to escape the abuse by fleeing from my body and myself and towards someone I was romantically interested in. I have learned, again and again though, that true resolution comes from staying -- creating space for the pain, witnessing it, holding it, and integrating it into my whole self. If I try to reach outside of myself to escape pain, that only takes me further from home.

I recently took a course on Visceral Manipulation, taught by Liz Gaggini. We learned that in order to heal a client’s organ, you must have an attitude of nonchalance and only put some of your attention on the person. The rest of your attention will stay in your body, in the room around you, and beyond. In order to heal another, you must stay whole. If you give too much, you offer the person a fragmented presence, an energy that is coming just from the front of the body -- a grasping, an end-gaining.

This is so true for relationships. When connecting with another person, even someone to whom I’m greatly attracted, I can practice not coming forward into the pull of hormones and craving, but remain in my full body. There is much pleasure to feel just here as I am, inside myself. This is a new and exciting practice, to realize that simply walking around and being inside my body can feel good, especially after the last 5 years of chronic pain and health problems. I am learning how to hold pain as part of the experience, not the only thing. I am learning to accept all the parts of myself, and to hold them in an awareness that is deep and fulfilling.

This past winter I liked someone so much that I lost my awareness of my back body. I fell forward. I fell hard.

And the ironic thing is, I was leaning forward in order to feel a connection -- to return home. But home is back and up into my torso, widening and deepening, my head moving forward and up, my gaze softening, my neck being free.

Here I am again, having remembered, but life is a process of forgetting and remembering, of getting lost in the pieces, and then expanding our awareness to perceive more. Alexander Technique is the gentle practice each day to return to our whole.

[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]

Epiphany

by Cate McNider

As a soon-to-graduate Alexander Technique teacher, my time at ACAT, and why I embarked on this Alexander journey, has crystallized into this realization: I love epiphanies and live for them! I love that moment when ‘I get it’. That is in the direction of the UP for me. That realization is the inner up that supports the physical going up. Getting out of my own way, and allowing my head to go forward and up is what allows the space to receive information from my consciousness. We focus a lot on the physical habits and procedures to enliven our dynamic oppositions in this biomechanical suit we call a body, and it works. What underlies the physical is our curiosity, our innate impulse to rise, to evolve, to discover who we are, to be ourselves. That journey is a process, the process is a journey. It is the best investment we can ever make, to take that journey consciously, to think in activity, to be aware of what we are doing to and with ourselves, and how those habits are reflected back to us in the world.

It is this love of deepening understanding that makes me curious about how can I help this person, this student, realize they are compressing themselves and that they can stop whatever the habit is and dis-cover the un-ease and allow the ease to reveal itself.

Words are always a problem. For example, how I mean these words and how I am crafting them to communicate a feeling to you may not be what you hear or understand, which is where the hands come in to give you an experience of the AT principles and how that applies to you personally. Most of us share some variation of the ‘back and down’, but how that manifests in our neural network is unique and individual. Many books are written about the AT and the authors themselves struggled to various degrees to describe what FM was doing and what the principles point towards.

The quality of the touch is what takes three years to ‘get’, to just begin this ‘teaching’ journey, to allow the energy of the thought to be transmitted to the student’s whole wedded self. The epiphanies come more often after 3 years of study because I am pausing enough, thus more available for what comes through me and to me, the result of ‘getting out of the way’.

And this communal moment of ‘inhibition’ when the teachers hands are on me, and we are thinking together, powerful change occurs. This ability to change is within all of us. If we don’t let go of the old that no longer serves us, we wear it on our body, as the wind shapes the sand, and our lives repeat old outcomes. Breaking out of a cycle of any psychophysical habit is enhanced by practicing the principles and like a run in stockings, it runs both ways.

How you read this is how YOU read this. What I wrote is what I have real-ized. Take your own trip and find out for yourself!

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/12/McNider.jpeg[/author_image] [author_info]CATE MCNIDER is in her final term at ACAT and soon to graduate (all requirements being completed)! She has been a bodyworker since 1991, also practitioner certifications in Body-Mind Centering® and Deep Memory Process®.  She is a dancer, poet and painter (see youtube).  She most recently performed a piece called: ‘Habit and Non-doing‘ at Dixon Place.  Her art can be seen at: www.artsicle.com/Cate-McNider and contacted thru her website: www.thelisteningbody.com.  Many thanks to all my teachers, volunteer teachers and fellow trainees at ACAT.[/author_info] [/author]

Five Questions with ACAT Teacher Training Program Alumna Barbara Curialle

by Brooke Lieb Barbara Curialle graduated from the ACAT Teacher Training Program in June 2009.

Q. What made you decide to train as an Alexander Technique teacher?

A. Many years ago, I saw a former piano student of my teacher play the same piano piece before and after 2 years of Alexander lessons. He was completely transformed, and his playing—stiff and constrained the first time—had become open and joyous. It was many more years before I was able to take lessons, but my first teacher—Nina D’Abbracci—encouraged me to do the training.

Q. Why did you choose ACAT's training program?

A. I chose ACAT because it was the first program in the U.S. and because of the faculty’s amazing credentials and backgrounds.

Q. What, if anything, did you learn from putting hands on faculty?

Once I got over my initial nervousness, I appreciated the guidance—especially the verbal portion—from the faculty. Everyone’s friendly encouragement and appreciation of my efforts was a tremendous boost to my confidence. I also appreciated the opportunities to work with many faculty members: Everyone’s use and comments were different, but they all helped me integrate my own thinking.

Q. Did you observe direction in your teacher when you put hands on her or him?

A. Yes! I think that at first I was expecting some dramatic, large-scale change, but the changes I noticed were more subtle than that.

Q. If you did observe direction in your teacher, did the experience illuminate the concepts of AT, the actual mechanism of h/n/b integration/primary control, or any of F. M.'s ideas from his writings?

A. Yes, the experience did illustrate the AT concepts and especially HBN integration/primary control. In terms of F. M.’s ideas and writings, the connection was more subtle but still strong.

Q. How did the supervised teaching in the third year contribute to your learning, and/or prepare you for teaching on your own?

A. I’m glad I had the experience of teaching with supervision. Having a faculty member there when I ran into a problem was very helpful. Again, having so many different viewpoints that all led to the same goal enriched and validated my learning experience immeasurably and helped me to formulate my own goals for working with students and making the work my own.

[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]

ACAT's Alexander Technique Teacher Certification Program: Supervised Teaching Component

by Brooke Lieb, ACAT Training Director ACAT’s Teacher Certification Program follows a developmental curriculum, which has been refined over the last 49 years. Our program is designed so that our graduates are prepared, and more importantly, are confident about their ability to teach, by the time they receive their teaching certification.

Throughout the course, students are being taught hands on skills, sometimes being guided through activities with the assistance of the teacher, and sometimes putting hands on the faculty to receive specific and customized instruction. At the core of effective hands on skills is always our own application of the principles to ourselves. Students come to understand and develop proficiency in applying Alexander Technique principles to all their activities, including the hands on and verbal components of teaching. How we are each applying those skills is at the heart of everything that we do in life, including providing instruction to another. Graduates have typically taught a minimum of 58 sessions under supervision by the time they graduate. I trained at ACAT  from 1987 to 1989, and I, too, felt fully prepared and confident about my abilities to work with students by the time I completed my training.

Here's what Karen Krueger, who graduated in December 2010 and who has served on ACAT's board of directors, had to say about the experience:

"Supervised teaching in the third year was a vital bridge from working with my trainers and fellow trainees to teaching on my own.

"Like ACAT's entire curriculum, the supervised teaching class follows a clear sequential structure. Although it was always challenging, it never seemed impossible. Week by week, throughout the year, my skills grew gradually, until I was able to teach an entire lesson to a beginning student. This was perfect training for becoming a teacher in private practice, since at the beginning, most of my students were also beginners.

"In the first term of our third year, our supervisory students had significant previous experience with the Alexander Technique. We then moved on to less experienced students, and we worked with beginners in our last term. As the experience level of our students decreased, the expectations of us as teachers-in-training increased: starting with 10- or 15-minute segments of teaching specific elements of the technique, and building up to teaching 45-minute lessons. Throughout the process, our trainers were in the room with us, helping as needed. At the end of each teaching session, we had the opportunity to discuss what had happened with our classmates and the supervising teacher.

"Throughout the year, I got to try out different approaches to teaching, and to experience many real-world challenges, in a safe and supportive environment, in which both my students and my trainers were there to contribute to my learning. I also took advantage of the opportunity to teach a few private students outside class during my 9th term, and this, too, played an important role in my development as a teacher.

"The Alexander Technique teaches us to set aside undue focus on a goal, and to give attention instead to the "means whereby" -- the way in which we go about the activities involved in reaching the goal. This approach to learning is exemplified in the third-year supervised teaching curriculum at ACAT. And it works: when I graduated from ACAT, I felt fully confident in my ability to teach from day one."

[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]

Nine Questions with Alexander Technique Teacher Bob Britton

by Anastasia Pridlides

We are so pleased to have visiting teacher Bob Britton presenting a workshop—"Tuning Direction"—and there is still space for you to join us at ACAT on Saturday May 14th at 1pm. In advance of him joining us in our space we thought we would ask him a few questions to introduce him to the community.

Q. How long have you been teaching?

A. I first started taking lessons in 1974, and graduated as an Alexander Technique teacher in 1978.

Q. What was your first exposure to the Alexander Technique?

A. I first experienced the Alexander Technique because I had a knee injury as a result of sitting intensively in Zen meditation. A friend recommended that I try taking a lesson with Frank Ottiwell after I found out that the surgery for my knee injury would be a major operation. As soon as I walked into the lesson Frank noticed that my habitual style of walking was awkward because I habitually carried my right foot pointing out to the side ever since I had broken my leg when I was 10 years old. Frank asked me to completely relax my leg and then to drop the foot to the floor. My foot came down pointing straight ahead. Frank then asked me to take a step and I put it down with the toe facing out to the side. Frank said, “You see the foot knows where it wants to go, but you think the foot should be pointing out to the side.” I was amazed that what I was doing with my foot would make a difference in my knee. Gradually after six weeks of lessons my foot gradually came back around to pointing ahead as Frank introduced me to the larger organization of my whole body. Then the knee problem basically took care of itself and healed. I was impressed!

Q. What made you decide to become a teacher of this work?

I was not planning on becoming an Alexander teacher while I trained. I really was training to deepen my own experience of this marvelous work. After I graduated many people started coming up to me with ailments and the Technique was quite successful in helping them out. So when I left the Zen community it was a very natural choice to pursue the way of life of being an Alexander teacher.

Q. What most excites you about your upcoming workshop at ACAT?

A. Teaching workshops in the Alexander Technique is always energizing and gratifying. Somehow, thanks to human evolution, when we are sharing knowledge and skills about moving with more grace and efficiency everyone has a chance to experience joy and satisfaction. This is because our nervous systems are not neutral about the experience of moving with more efficiency. If we are moving with more skill we have more of a chance of survival, and the nervous system rewards us with endorphins. Of course working with old friends and new teachers who want to learn is always is a delight.

Q. What is your favorite way to engage with the AT in your daily life right now?

A. My favorite way of engaging with the Technique is organizing myself dynamically upward each morning, and throughout the day, especially by allowing my ribs to move buoyantly upward and engaging with the engaging with the environment around me. Meeting life from a dynamic and energetic organization is a true pleasure.

Q. What is most fascinating to you about the AT today?

A. Our human vertebrate structure is very, very old, and tuning into its beauty and brilliance is constantly refreshing. In addition, I love refining and finding more depth and sophistication in Alexander’s work.

Q. What is the most surprising effect your study of the AT has had on your life?

A. My experience is that everything changes with our posture. When our posture is dynamic, expanded, and engaged with our environment, the freshness of being happens. This is possible in every moment. The Alexander Technique is the best thing we can do in the present moment to improve our quality of being.

Q. Tell us about an interest/skill/passion of yours other than of the Alexander Technique.

A. One passion I am following now is going out with my local astronomy club to observe our Universe from dark sky locations. To be peering through my telescope and suddenly see the light from a distant galaxy that left there millions of years ago and now is arriving inside of my eye, is a rather awesome experience.

About Bob

Robert Britton graduated in 1978 from the Alexander Training Institute-SF (Frank Ottiwell and Giora Pinkas). In addition to his private practice in San Francisco, he has taught the Alexander Technique to musicians at the San Francisco Conservatory of Music since 1984. He served as the Chairman of the American Society for the Alexander Technique, and was a director of the 2011 International Congress of the Alexander Technique. He has helped train Alexander Technique Teachers since 1989, and regularly gives workshops to Alexander Teachers around the World.Find out more about Bob at uprighthuman.com

There are still a few spaces left in Bob's workshop. Go here to find out more and to register.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/05/Anastasia.jpg[/author_image] [author_info]ANASTASIA PRIDLIDES teaches Alexander Technique, Bellydance and Yoga in New York City.  Studying the Alexander Technique has been a deeply transformative and life changing process for her. Every day she wakes up excited to know that her job is share it with others. You can find her at movementhealingarts.com[/author_info] [/author]

Recipe for Change

  by Patty de Llosa

Contrast is crucial, bright/dark, sound/silence. We always forget our deep need for quiet as we go thru our day of achieving, solving, hesitating, and wondering if we’ve done all we should. How refreshing a change would be right then, in the middle of the action!

Well, how about it? What if you could stop to listen at any time, over coffee, while brushing your teeth, even at your desk, leaving off focusing on your papers or computer? You could close your eyes and imagine for a moment that there’s another way of functioning. What would you notice? What would you hear? Perhaps your own heart beating and your own soul calling you home.

Unfortunately, without being aware of it, we often allow ourselves to function in an automatic stimulus-reaction mode that leaves no room for conscious awareness. The pressures of life and our habitual patterns rule our choices until it seems nothing new is possible.

However, new findings in neuroscience show that changing how we do what we do is as important for our wellbeing as eating the right food. Studies in neuroplasticity indicate how new impressions stimulate and even feed our neurons. It’s time to celebrate the fact that what we think changes the physical structure of our brain. When we change our minds, we change our brain.

Dr. Jeffrey Schwartz, a practicing neuropsychiatrist affiliated with UCLA, and author of Brainlock, works with people who have obsessive-compulsive disorder (OCD) by teaching them to change their thinking through a specific four-step program. Well, friends, when you look at it you’ll see that his program could apply to all of us if we want to live more consciously!

The first step is to Relabel your thought, feeling, or behavior—to give it another name. For example that’s what I did some years back when I identified the voice I’d assumed was my conscience to be a tyrannical inner judge (See Taming Your Inner Tyrant). As you recognize and separate out what’s really important to you, you can begin to call some of your drives what they really are, compulsions. They aren’t just another habit, but much stronger, and they live on your energy. In other words, they eat you.

The second step would be to Reattribute what you want to change by calling it by its new name, which could be Automaton, Habit, Tyrant, Mealy-Mouthed Complainer, or any juicy expletive that resonates with you and helps wake you up to its presence.

Dr. Schwartz suggests that the third step, where the real work is, would be to Refocus, replacing your thought or behavior with a new action. What’s more, your brain chemistry will create new patterns of behavior if you can stick at it long enough. As Schwartz explains, “The automatic transmission isn’t working, so you manually override it. With positive, desirable alternatives—they can be anything you enjoy and can do consistently each and every time—you are actually repairing the gearbox. The more you do it, the smoother the shifting becomes. Like most other things, the more you practice, the more easy and natural it becomes, because your brain is beginning to function more efficiently, calling up the new pattern without thinking about it.”

The fourth and final step is to Revalue. As you begin to understand that the old patterns never really worked for you and another way of living is possible, even desirable, the intensity of need for that particular behavior diminishes. You become a happier and healthier human being. This methodology, dear friends, is truly exciting! You can work at any moment to change the chemistry of your brain!

Here are a few exercises you might try:

1. Begin to notice which of the demands that come at you in your day you jump to respond, and which you hold back from. Maybe you are like me, good at making to-do lists, but more involved in checking items off than in prioritizing them. When I’m overwhelmed with my list, a couple of questions can help me bring balance to my day: What do I need to do right now? What do I want to do right now? They may not be the same.
2. Let it ring. The telephone is our ever-present means of communication with the world. But we don’t have to be its slaves though I sometimes question the intensity of my focus on it. OK, maybe my job is to answer it, but I can begin to take charge of the automaton in me who wants to grab it at the first ring. Try this: Let it ring three times as you allow the sound to penetrate (and perhaps irritate) your newly aware body/mind, then pick it up and respond. Another time, wait two rings, or four. Anything to stay alive to where you are in time and space.
3. One way of refreshing your outlook is to take a different route. Whether walking to the subway, driving to the office or taking time for a brisk walk, go a different way, forge a new path. Why does it matter? Ask the nearest neuroscientist!
4. When you are at home, the same wake-up-and-live methodology applies. Invite yourself to put on the other shoe first for a week, then change back. Use your other hand to pour the coffee or hold the knife or fork.
5. Finally, the uber neuro-improvement challenge will be to experiment with writing with your other hand. Becoming ambidextrous is a royal road to refreshing the brain. So is learning a new language. Investigate crossword puzzles, jigsaw puzzles, brain teasers.

This post appeared originally at Patty de Llosa's blog.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2016/04/dellosa.jpg[/author_image] [author_info]PATTY DE LLOSA, author of "The Practice of Presence: Five Paths for Daily Life," "Taming Your Inner Tyrant: A path to healing through dialogues with oneself", "Finding Time for Your Self: A Spiritual Survivor’s Workbook," and co-editor of "Walking the Tightrope: The Jung-Nietzsche Seminars as Taught by Marion Woodman" is a Tai Chi and Alexander teacher who lives and practices in New York City. A contributing editor of Parabola magazine, she has studied many spiritual teachings while making her living as a mainstream journalist at Time, Leisure and Fortune, and raising a family. Visit her blog at www.findingtimeforyourself.com.[/author_info] [/author]

Ease on Skis

by Emily Faulkner This past February, I had the good fortune to travel to the Alps to take Erik Bendix’ one week Ease on Skis workshop. I am a passionate skier, and not too bad at it, but having started skiing late in life, I am always frustrated by how slowly I seem to progress and how hampered I am by fear. As a dancer, I love to move. The technique of skiing - the rhythm and the fluid motion – is magical when it comes together, but frustratingly elusive. As soon as I approach a pitch that seems too steep, a patch of ice, or some unexpected bumps, fear takes over, my technique goes out the window, and skiing becomes a matter of survival instead of joy. The Alexander Technique is, of course, the perfect medium by which to analyze fear and response. Enter Ease on Skis!

Ease On Skis is a combination of a new skiing technique and the application of the Alexander principles to skiing. There is a general methodology to skiing, but there are infinite variations in how different skiers approach the specifics. The most unique aspect of Erik’s approach, it seems to me, is how tall he asks you to stand. One thinks of skiers in a deep monkey, but to watch Erik ski is to see something entirely different. Erik has a unique style of skiing that is much more elongated and upright than any skier I’ve ever seen. It reminds me of how one works on a flying trapeze. In order to maneuver on a small bar hanging in space from ropes, you need to extend your limbs and torso. You need to really spread out in order to counterbalance your body, from head to feet and use it like a long lever. Erik dances down the mountain like a trapeze artist. His basic technique is the same as any good skier – transfer the weight from one ski to the other and glide, like ice skating – but the manner in which he accomplishes this, his speed and power, come from a place of ease, length and balance as opposed to compression and strength.

The way Eric teaches is, of course, quite unique, and we did a lot of interesting exercises both on and off the slopes. We practiced falling and getting up again with and without skis. Skiing is basically controlled falling, so it is helpful to get comfortable with actually falling. We examined walking and turning to see how we can allow our heads to lead our body into a graceful curve around a corner. We examined breath to see how the breath can contribute to a graceful turn. We rolled on the ground allowing the body to spiral, as opposed to rolling in one piece like a log. This helped us access our spirals when we got on the slopes. One exercise that was particularly interesting and satisfying was twisting. While skiing down a slope, you slowly turn your head to one side or the other and then patiently wait for the twist to make its way down to the feet and skis in order to turn. Thus by turning your head and merely allowing the body to follow, you inhibit almost all doing and simply allow yourself to turn.

The week of the workshop happened to be particularly foggy and so I, coincidentally, have an entirely new relationship to the fog. Having calmly directed for a week in fog, I actually sort of enjoy the fluffy comfort of being enclosed in white, and I associate it with the Alexander Principles.

By the end of the week, my fear reflex had dampened considerably. I’d had ample opportunity to breath, relax and direct while careening down a slippery hill, and I was starting to trust my new calmer responses. The internal voice saying, “you are safer and happier when you use the Alexander principles” was finally stronger than the voice saying, “at all costs, hold on tight, and just don’t get hurt!” what Eric calls “crisis management.” From the lens of the Alexander Technique, I also had the opportunity to consider my whole approach to skiing. I love the feeling of skiing, and I love the sociability of it, but if it is so hard for me to become the sort of skier I want to be, can I still enjoy skiing? Watching one of my fellow participants really helped clarify that. She didn’t have particularly impressive technique, but she was calm, she looked with her head and let her skis follow, and low and behold, her skis turned, and she negotiated all sorts of challenging terrain. And she did it quite joyfully. As with all Alexander discoveries, sometimes you realize you need to examine your goal, and sometimes you discover an option you hadn’t realized existed.

About a month after the workshop ended, I happened to go skiing again in the Spanish Pyrenees with my nine-year-old daughter. I was a little frustrated with my technique, but I must say that I felt pretty safe. My habitual feelings of fear were far less than they had been. Skiing in new terrain with my friends and family is my goal, and it was awesome! The Ease On Skis workshop was filmed so hopefully in the next year or two, Erik’s technique will be on display for all.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2016/02/e.faulkner.png[/author_image] [author_info]EMILY FAULKNER graduated from the American Center for the Alexander Technique in New York City in 1999, and has been an AmSat certified teacher ever since. Faulkner is also a dancer, dance teacher and choreographer.She is on the faculty of Movement Research, a world renowned institution for experimental dance, and has presented her choreography nationally and internationally. Her most current project is a dance film using Steady Buckets players. Emily teaches privately in New York City, and can be found at emilyfaulkner.com. Email her at emily.a.faulkner@gmail.com.  [/author_info] [/author]

I Have Time

by Patty de Llosa Hurrying speeds us away from the present moment, expressing a wish to be in the future because we think we’re going to be late. To counter it, Master Alexander teacher Walter Carrington told his students to repeat each time they begin an action: “I have time.” He tells us that on his visit to the Spanish Riding School of Vienna, where horses and riders are trained to move in unison, the director ordered the circling students to break into a canter, adding, “What do you say, gentlemen?” And they all replied together, “I have time.” Try it yourself sometime when you’re in a hurry. Send yourself a message to delay action for a nano-second before jumping into the fray.

We are bombarded all day long by stimuli that call us to immediate action. But the pause of saying “I have time” summons an alternative mode of the nervous system, inhibiting the temptation to rush forward under the internal command to “do it now!” When you hold back your first impulse to go into movement by creating a critical pause during which your attention is gathered, you become present to the moment you are living.

So why do we feel the need to hurry? It may be an unconscious sense that danger is near, but it’s not a lion in the street — more likely a deadline or an exam or an unpleasant confrontation. In my case it was often the fear that I wouldn’t finish the job soon enough or well enough to please someone in authority. I discovered that I harbored a Stern Judge who kept an eye on me all day long, commenting on everything I did: “This is more important so get it done first,” or “That’s less important, so hurry through it.” Now, any time I find myself worrying that I don’t have enough time to finish something, I remind myself that I’m creating my own stress. Then I can choose to respond rather than react.

Some people prefer to stay in the fight-or-flight mode, honing their “edge” and paying the price for it in physical fatigue and mental strain. I used to do that too. But even in the middle of the myriad demands to perform at your best, telling yourself “I have time” can provide a mini-break to the nervous system. It offers a moment of choice in spite of the fact that you have to finish the job. It reminds you to attend to your body-being as you press forward with your work, inviting you to release the tensions gathered at the back of your head, and let your thoughts latch onto your body movements. You can interrupt whatever you are doing for just a second to stretch out of the position you are in and into the present moment.

You may well ask, “How can I be expected to stay in the present moment when I’m pressured to finish this job?” O.K. When you have to get something done in a hurry and there’s no choice, try any of these five steps I offer up from my own experience.

First, acknowledge how you really feel about the job. Let your reactions appear in your conscious awareness. Accept them, whatever they may be. “That’s how it is at this moment.”

Second, turn to the only remaining place where there’s freedom: within yourself. Notice the thoughts that are athinking in you and turn them toward the job at hand.

Third, focus your attention on the moves your hands are making — feel the tap of each finger on the computer, or sense the strong muscles that press the freshly glued object together, or revel in the warmth of the soapy water you are washing something in.

Fourth, begin to explore other parts of your body, starting with the back of your neck, where stress tightens our muscles into tough guide-ropes that pull the head out of alignment. Let your thought move whenever and wherever the body moves, seeking out the tense corners and inviting them to release.

Fifth, from time to time interrupt whatever you’re doing, no matter how important, to get up if you are sitting, or at least stretch out and away from the position you are in. If you are standing, think of your legs like tree trunks and send down imaginary roots to ground yourself on the earth while your head floats up above your torso.

Since everything’s connected in the mind-body continuum, you might be surprised to what extent you can relieve your stressed-out system with a brief, non-essential walk down the hall, a peek out the window at the larger world, or even give a seriously deep sigh that engages you right down to the toes. Do anything to interrupt the deadening bond that glues all your attention to what you’re writing, reading, cooking, chopping, building. Truly, the body possesses wisdom that thought doesn’t understand. We can practice listening to it and allow ourselves to expand into present reality. “I have time” helps us do just that.

This post appeared originally at Patty de Llosa's blog.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2016/04/dellosa.jpg[/author_image] [author_info]PATTY DE LLOSA, author of "The Practice of Presence: Five Paths for Daily Life," "Taming Your Inner Tyrant: A path to healing through dialogues with oneself", "Finding Time for Your Self: A Spiritual Survivor’s Workbook," and co-editor of "Walking the Tightrope: The Jung-Nietzsche Seminars as Taught by Marion Woodman" is a Tai Chi and Alexander teacher who lives and practices in New York City. A contributing editor of Parabola magazine, she has studied many spiritual teachings while making her living as a mainstream journalist at Time, Leisure and Fortune, and raising a family. Visit her blog at www.findingtimeforyourself.com.[/author_info] [/author]

The Alexander Technique as a Tool for Patients with Multiple Sclerosis

by Rachel Bernsen

In February 2016, Senior Alexander teacher Judy Stern convened a panel discussion entitled Living with MS and How Alexander Technique Can Help: A Students Perspective. The discussion centered around a student named Ron, who shared the numerous ways the Alexander Technique has been effective for coping with symptoms of Multiple Sclerosis (MS). To protect Ron’s privacy I’ll only use his first name.

The National Multiple Sclerosis Society defines MS as “an unpredictable, often disabling disease of the central nervous system that disrupts the flow of information within the brain, and between the brain and body.” Ron credits the Alexander Technique with lessening the severity of his symptoms, improving his quality of life and overcoming several professional prognoses that “there is nothing you can do”. With the aid of the Technique he is still ambulatory, walking with only a cane. He also drives, plays golf and is very physically active.

Ron is in his mid-70s and has been living with the disease for many years. He is a resident of the greater New York metropolitan area, is married with grown children and is a retired business executive. He has studied Alexander regularly for the last seven plus years. During the panel he spoke about how learning the Technique has transformed the way he lives with the disease.

Stern gave a demonstration of working with him in walking, inviting the audience to observe visible changes in his movement patterns. One of Ron’s great concerns is his gait. A few years ago his right knee began to lock involuntarily; spasticity or involuntary muscle contraction is a major symptom of MS. This prevented him from being able to transfer his weight fully onto that leg as he walked. The demonstration showed both Ron and Stern attending to his overall coordination, taking into account the working of his whole body in walking including his head, neck and back. They examined how his whole system responded to weight transfer on to the compromised leg. With an awareness of how he was using his whole body he was able to control his knee spasticity in walking enough to execute a smooth and complete weight transfer onto that leg. Ron was able to release his hips, allowing for an easier leg swing and hence greater flexion through that joint. Conscious releasing of his neck and back muscles helped him resolve the compensatory, maladaptive patterns in his upper body that formed as a result of the knee spasticity. He uses a cane to further improve his balance and coordination but doesn’t need to use it for weight bearing.

Ron discussed how Alexander Technique helps him deal with symptoms of fatigue and stress. These are extremely debilitating symptoms for people with MS. In his Alexander sessions he spends some time lying on the table, practicing constructive rest. The focus in AT on learning to release unnecessary tension often provides him a complete release of spasticity during his lesson time on the table. In addition, a lot of attention is given to releasing his ribcage and improving his breathing coordination. All of these components of the work likely lessen his fatigue and stress level. Working with his breathing in AT piqued his interest in mindful meditation, another modality that has brought him some relief from these symptoms.

Ron describes how his lessons have helped him develop a keen kinaesthetic awareness of himself in movement, learning to pause thoughtfully when he becomes aware of maladaptive patterns, gaining more control over his motor coordination. He describes how it maximizes his abilities in other techniques such as yoga and strength training, both of which he does everyday and have been crucial to his health maintenance. He credits AT as helping him become more adaptable to the rigors of these techniques, able to more quickly and efficiently learn new movements, developing crucial new neural pathways.

The discussion took place at The American Center for the Alexander Technique (ACAT) in New York City during their Annual General Meeting 2016. In addition to Judy Stern, four other teachers (Kim Jessor, Rebecca Tuffey, Joan Frost and myself) who’ve worked with Ron joined the conversation after the demonstration to share methodology, insights and observations. Each of us remarked on what we saw as his extraordinary progress.

The event provided an important context for looking at the benefits of AT through a medical framework, offering an anecdotal example of how Alexander Technique has improved the quality of life for a patient dealing with MS and how it may, with further study, become an accepted practice for functional recovery for MS patients.

This post originally appeared on Rachel's blog: rachelbernsenat.com.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2016/04/Thierryfoto2.jpg[/author_image] [author_info]RACHEL BERNSEN is a choreographer, performer and a nationally certified teacher of the Alexander Technique, M.AmSAT. Bernsen maintains a private Alexander practice in New Haven, CT. She has been guest faculty at Yale University, Wesleyan University, Miami-Dade College Live Arts Lab, Texas Woman’s University, Seattle Pacific University and the Moscow Dance Agency Tsekh. She is currently a visiting assistant professor of dance at Trinity College and is on faculty at Movement Research. Committed to interdisciplinary performance practice, current collaborators include choreographer Melanie Maar, musicians Taylor Ho Bynum and Abraham Gomez-Delgado, visual artist Megan Craig, and legendary composer Anthony Braxton. http://www.rachelbernsenat.com/[/author_info] [/author]

How To Be A Happier Texter

by Witold Fitz-Simon

The Alexander Technique can help you fine-tune the things you do in your life. Instead of your daily routine making you more tired, more compressed, more achy, it can help you find ease, lightness and freedom.

To find out more about how you can save your neck and make your back stronger and freer, come to one of our monthly free introductions to the Technique or to a drop-in group class.

[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 the ACAT Faculty: “What is my Alexander Teacher doing with her hands? It’s not like anything I’ve experienced before…” by Brooke Lieb

by Brooke Lieb When I was taking private lessons, I had no idea how my teacher was facilitating changes in my sense of ease and freedom, I just knew it was different from anything I had ever experienced. I recognized some of it was what what she told me to think and wish for, but it seemed most of the changes were the result of some mysterious and magical quality in her hands.

I decided to give the man I was dating at the time, an Alexander “lesson." I had him lay on the floor and I copied what I thought my teacher was doing. Afterwards, all he noticed was that his shoulders weren’t pulled up around his ears anymore. Other than that, nothing much happened and I realized I had no idea what my teacher was doing with her hands. I began to take private lessons with other teachers as well, and it became clear they had all been trained to use their hands in a specific way. There were differences in the quality of their hands, but the ideas and thought process was the same and I recognized the changes that I experienced with different teachers.

When I started teacher training, I was relieved and delighted to discover that teaching would be an extension of the same skills I had been learning as a private student, and these skills would be applied in a practical, step-by-step process, to the use of hands and all the activities of teaching.

I have now been training teachers on the ACAT Faculty since 1992 and while each graduate has a unique quality to their touch, they are also able to facilitate the same response in my system when they have hands on me as my other teachers. The use of the hands is a skill that can be taught.

A Skill That Can Be Taught

In his book Freedom to Change, Frank Pierce Jones writes:

"F. M. told me that in 1914 he was just beginning to find a new way of using his hands in teaching. By applying the inhibitory control (which had proved so effective in breathing and speaking) to the use of his hands he was learning to make changes in a pupil that were different from ordinary manipulation or postural adjustment."

Throughout my training at ACAT, I was taken through a series of activities where I was touching objects, including a hat maker's head form, balls, cups, common objects, a phone book, and a stool. These activities were preparing me to use the same inhibitory control Alexander referred to when using his hands to teach.

My task was to practice my skills of inhibition and directing during these highly stimulating activities, while the teacher lifted or moved the object with her or his hands over mine. I learned how to avoid unneeded (but very habitual) tension in my hands, wrists, arms, legs and back as I allowed the teacher to do the work. I became increasingly able to allow myself to remain empty of intention and habitual tension as the teacher acted upon the object. I was merely the observer.

As I mastered this ability to follow the leader, I was given more and more responsibility for taking over lifting and moving these objects myself. I continued to override my habit of excess effort and tension and the objects felt lighter and easier to move.

This was the model I was taught to use my hands in teaching: recognize my habit of stiffening or tensing throughout my body to use my hands; pause to give myself time to reduce the level of effort I bring to the task; and use my intentional thinking to carry out the task in a more easeful way, with tone and effort distributed more easily throughout my body.

I use this step-by-step method throughout a lesson, and it is how I train teachers to develop their own step-by-step methods for themselves.

Lifting A Head

A practical example: Adjusting the height of books under a student's head during a table lesson.

This task involves lifting and supporting the weight of a student's head with one hand while adding or removing books with the other.

My first strategy is to spend as little time as possible weight bearing while still accomplishing the task. At strategic moments along the way, I give myself time to pause and release the bracing and effort that arises from anticipating and then actually lifting.

1. I roll my student's head to one side or the other. The books are still supporting the weight of the student's head.
2. I rest the hand that will lift her or his head on the books and let the back of that hand release onto the book. This helps me interrupt my tendency to grasp the student's head with tension.
3. I roll the student's head onto my hand, and give myself time to refrain from lifting. Instead, I keep resting my hand on the books with the stimulus of my student's head on that hand. This moment of inhibition is valuable for me and for the student.
4. I consider lifting the student's head and observe where I want to brace in anticipation of lifting. I undo the preparation I have observed, since I am not yet lifting. This allows me to actually lift with less anticipatory and wasted tension.
5. As I lift, I continue to think in ways that allow me to minimize effort and tension as I support the weight of my student's head.
6. I change the height of the books with the other hands as I continue the thinking process described in step 5.
7. I return my hand to rest on the new book height, and take time to let my student's head rest in my hand, letting go the effort of weight bearing.
8. I use my available hand to gently roll the student's head off the hand that did the lifting.
9. I roll the student's head back to center.

The American Center for the Alexander Technique (ACAT) runs the oldest Teacher Certification Program in the United States and is proud to have trained more than a third of the country’s Alexander Technique teachers, taught by our world-class faculty. ACAT also serves as a membership organization for Alexander Teachers and students. To find out more about the program click here or come to our Open House May 2, 7:00pm to 9:00pm.

[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]

Raising Self-Confidence in Teenagers through the Alexander Technique

by Dan Cayer A couple years ago, a quiet 17-year-old who I’ll call Len, was referred to me by his mother for a course of Alexander Technique lessons. She had heard that the AT could improve his posture and help him focus. Nearly 6’4” – and still growing – he stood and sat with a pronounced slump, which was likely contributing to back pain. His mother also suspected that his slouch was, partially, an attempt to not “stick out” at school.

Being reminded to “sit up straight” was not helping Len. He resisted an upright, healthy posture not only because he didn’t quite know how, but also due to discomfort with his body image.

I am writing about my experience with Len as an example of how the Alexander Technique is uniquely suited for the needs and temperament of young people. Teenagers (and I would include middle school age students in this category) are especially resistant to the agenda of older people and authority figures. For instance, it’s going to be a waste of money if Len thinks he has to change because I or his parents would prefer seeing him in a different shape.

Rather, I try to figure out what Len’s goals are and to frame this process as one that will help his goals, not mine. For instance, I help Len to see how he can feel less stress and pain if he lets go of some of his habitual slumping and tightening. By experimenting within the safe space of the lesson, Len can see how releasing into his full stature actually brings more confidence and energy. He tries adopting this new posture first as if it were a coat he’s trying on. Then, he sees that he actually likes it, not because I told him to but because he experienced it firsthand.

I also encouraged him to bring a basketball to a couple of our lessons and we worked on dribbling and passing using skills of the AT. He happily reported how his playing had noticeably improved with the Alexander influence. Over the course of 10 lessons, Len’s true stature and ease within himself emerged. He learned how, through awareness and conscious choice, he could find an upright, balanced posture that had eluded him for years.

That’s the story of “Len” but I’d like to say, in brief, why the Alexander Technique is well-suited for all young people.

1) In my experience, young people respond quickly (faster than adults) to hands-on and verbal guidance. They are less set in their patterns and more open to change.

2) Given that young people are naturally curious, I find that they can really run with the process of the AT. Rather than having to follow “rules,” students can learn how to manage their own posture and body. This naturally creates confidence and a sense of achievement.

3) Confidence. Though young people are often referred by their parents because of a compromised posture, confidence is usually the second reason. Being a young person nowadays is stressful and they often feel pressure to look a certain way. By slouching, young people might feel they “blend in” and won’t attract undue attention. However, by surrendering their body to tension and slackness, students invariably experience more stress and anxiety because they’ve lost their mind-body connection.

In closing, teenagers are a great candidate for the AT because of the acute pressures they face, their natural curiosity, and their ability to change quickly. I wish it had been sooner than my mid-20s before someone showed me how I could live in my body with more ease and freedom. Young people have such passion and conviction; it’s a wonderful thing to pair that with a little body awareness and wisdom.

This post originally appeared at dancayerfluidmovement.com.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/03/Dan-Head-Shot-13.jpg[/author_image] [author_info]DAN CAYER is a nationally certified teacher of the Alexander Technique. After a serious injury left him unable to work or even carry out household tasks, he began studying the technique. His return to health, as well as his experience with the physical, mental, and emotional aspects of pain, inspired him to help others. He now teaches his innovative approach in Union Square, Carroll Gardens and in Park Slope, Brooklyn. He also teaches adults to swim with greater ease and confidence by applying Alexander principles. You can find his next workshop or schedule a private lesson at www.dancayerfluidmovement.com.[/author_info] [/author]