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History of Alexander Lessons Experiencing Alexander Lessons Benefits of the Alexander Technique Client Case Studies and Testimonials Scheduling An Alexander Technique Session | |||
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The Alexander Technique is an educational process. It is a form of mind-body re-education based on the premise that positive changes in alignment and breathing can lead to positive life changes. The goal of this process is to help you use your body better. Proper use of the body facilitates ease and freedom of movement, lengthens the spine, supports your head on your neck without strain, and promotes coordination in the performance of everyday activities. Improper use of the body results in strained muscles and feeling stressed and fatigued. Through the Alexander Technique, many singers and other performers have learned to make their bodies move in such a way as to achieve their goals. Even if you are not a performer, learning how to use your body more effectively can relieve muscle tension, improve your posture, boost your self-confidence, and enhance your vitality. You can learn to do tasks as varied as working at a computer, lifting young children, or talking in front of a group with greater ease and less muscle strain.
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F.M. Alexander
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The History of Alexander Lessons Frederick Matthias Alexander (1869-1955) developed the Alexander Technique at the beginning of the twentieth century. He was a Shakespearean actor touring in Australia and Tasmania. A chronically hoarse voice interrupted his burgeoning career, and he lost his voice while performing. When numerous doctors were unable to help him, Alexander decided to find a solution on his own. He intuitively suspected that the crux of the problem resided in his posture and body movement, particularly the positioning of his head and neck areas. By devising a system of mirrors placed at various angles, he observed himself as he stood and spoke. Beginning in 1890, Alexander devoted nine years to rigorous self-observation and experimentation, examining and correcting how he used his body. He made detailed self-observations, and noted postural positions that made him lose his voice. He took corrective actions that created better balance in the relationship of head to neck to spine. The postural and movement corrections he made helped his voice return to normal and surprisingly improved many other areas of his body. He ultimately solved his vocal problem, developed a full, rich voice and discovered what he named the Primary Control. After reeducating himself on how to use his body more effectively, he chose to share his technique with others. Actors and singers who wanted to improve their performances became interested in learning what Alexander knew. It was not long before he began to formalize his process in what became known as the Alexander Technique. The Technique consisted of a course of individualized instruction known as Alexander Lessons. The design of these lessons effectively organized the teaching and learning of the technique to suit the needs and goals of each individual. By the early 1900s, Alexander Lessons were very fashionable. Alexander moved from Australia to Western Europe, spreading the word about his effective methods for correcting postural and vocal problems. Students included actors, singers, teachers, musicians, and others who wanted to improve the way they moved and used their bodies. Doctors referred their injured patients. It was not long before Alexander's work spread throughout the world. After World War II, the growth of Alexander’s work slowed. In the 1960s, a resurgence of interest in this work led to the opening, in New York City, of the American Center for the Alexander Technique. This was the first center in the United States to offer training in this discipline. In recent years, his techniques have been used at major educational institutions, including New York University, the Julliard School, Boston University, the London Academy of Music and Dramatic Art, and England's New College of Speech and Drama. The American Society for the Alexander Technique (Am.S.A.T.) was founded In 1987, to maintain the high standards set by the original society, S.T.A.T in London. Am.S.A.T. sets and oversees the qualifications for teaching training, certification and membership in America. Am.S.A.T. teachers are trained in the tradition established by F.M. Alexander and adhere to professional standards that include 1,600 hours of training over three years at an approved training program. | |||
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The Theory Underlying the Alexander Technique Alexander observed that the relationship between the head, neck, and torso is primary in controlling movement and function. Compressive movement habits interfere with the body's ingenious design. Having mastery over this primary control restores the innate postural reflex - a natural, dynamic force that counters gravity and easily guides the torso upward. Learning to use your body more effectively can alleviate a variety of posture and movement related problems, while continuing to move your body incorrectly can be at the root of chronic muscle pain, underperformance and respiratory difficulties. How You Learn to Misuse Your Body The misuse of the body is a learned process that starts at an early age. The body moves into a state of misalignment as it tries to adapt to such stresses as being handled improperly in infancy and early childhood. Stress, emotional and physical trauma, and being forced to sit in uncomfortable chairs in school often create powerful startle patterns. Through conditioning, distorted movement patterns become habitual and automatic. As adults, we continue these compensations for the misalignment that developed in the early years of life. This throws the entire body out of alignment. Through the unrelenting misuse of our bodies, we cause ourselves to suffer from chronic physical problems, stress, and tension. The Consequences of Misusing Your Body The continual misuse of your body creates and maintains a variety of physical problems that can become chronic and interfere with accomplishing the tasks of everyday life. Moving inefficiently and incorrectly strains the muscles and is an energy drain. Some recurring physical problems associated with incorrect posture and movement patterns can include:
The misuse of the body can contribute to internal problems as well. If your posture is slumped or otherwise distorted, your overall musculature will become compressed and contracted. In addition to causing you physical pain, the poor postural habits put excess pressure on internal organs and restrict the space around them, thereby making them work harder and less efficiently. Such systems as respiration, digestion, and elimination are adversely affected by poor posture and muscle strain. These vital functions are supported through an improvement in overall posture. Alexander theorized and demonstrated that alleviating such problems requires correcting the misalignment and distorted movement habits. The Alexander Technique focuses on promoting optimal alignment of the head, neck, spine, and torso by examining and correcting the relationships between these critical parts of the body. In a state of optimal alignment, the head releases up and the neck and spine lengthen. The alignment of the head, neck, and spine manifests as good posture. The Secrets of Good Posture Contrary to popular belief, good posture is not something that you force yourself to do and hold unnaturally. According to the Alexander Technique, engaging in deliberate forced movements and postures is just another way of misusing the body and putting strain on your muscles and internal systems. Rather, good posture develops naturally as you reeducate your body to perform simple tasks-like sitting, standing up, and walking with greater ease. Performing these tasks correctly involves reeducation in the use of the whole body with particular focus on the head, neck, and spine. The core Alexander ideal is that your spine should be allowed to lengthen and should not be compressed. The lengthening of the spine is the key to good posture. Balance is also important. Rather than holding your head stiff and erect to achieve a tightly straightened back, it is better to free up the muscles in the neck and allow your head to balance on its own at the top of your spine. The paradox is that good posture is achieved and maintained not by force and discomfort but by ease, balance, and release. Mental Processes Guide the Physical Changes Changing how you move and hold your body requires thought. To change ingrained body movements and stances, you have to exert mental energy in the forms of paying attention, engaging in detailed self-examination, and conceptualizing yourself making the corrective actions. Having a clear concept of new, more effective ways to use your body will give you the freedom to choose new, less stressful, and more efficient patterns of movement. There are other mental forces that drive the bodily changes and make the bodywork effective. These include:
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Reeducation means changing old patterns that do not work for you and establishing new ways of using your body. Learning how to use your body correctly is a process that requires active learning and participation. It is not a process that can be done for you or to you. The guidance provided in Alexander Lessons is designed to reeducate your mind and body in the direction of more efficient movement, posture and response to stimulus. The process of mind-body reeducation in the Alexander Technique can be broken down into the following sequence:
Experiencing Alexander Lessons Modern Alexander Lessons are fifty minutes in length and generally are taken as a thirty-lesson course. Although a group format is sometimes used, individual lessons are ideal, allowing learning to occur at your own pace. The initial focus is twofold: to discover how you move as you perform the tasks related to your everyday life and to help you achieve awareness of the components of those movements. For one person, the movements may involve working at a computer; for another, the movements might be posture and breathing while singing. The Assessment As a precursor to the educational process, the teacher observes the posture and movement patterns of the student. In addition to the visual examination, the teacher will place his or her hands on the neck, back, and shoulder areas in order to assess muscle tension and breathing patterns. Assessment may involve asking the student to move around or perform simple tasks, like sitting, bending, or walking. If the student is a musician, the body position is observed while performing. The teacher's eyes and hands gather information that will determine the content of the lessons. The Lesson Once the assessment is completed, the teacher provides the student, who remains comfortably clothed, with verbal instruction and physical guidance, using the hands in a nonintrusive way to coax muscles into better alignment. No movements are forced, and no pain is involved. Concentration and a desire to change are required by the student, whose task it is to release the body and respond to the teacher's verbal and manual instructions. Awareness of movement habits requires using the mind to study what the body has been doing habitually. The next step is actualizing the ability to change ways of moving and responding. The teacher helps the student achieve an awareness of this. Once awareness is achieved, work begins towards the goal of learning how to consciously control movement and making it work for you. As part of the process, the teacher guides practice in the activities that are a part of your life. For example, if you work on a computer many hours of the day, the teacher will guide those movements with a gentle touch. If you are a dentist or in another profession that requires leaning over for prolonged periods, the teacher observes and guides you in those positions. Your task as the student is to examine your posture and movement patterns while performing the actual activity, inhibit the conditioned patterns of movement that have led to your physical difficulties, and consciously practice more natural ways of using your body. During a lesson you will: • Receive sophisticated hands-on guidance & feedback. • Get personally-tailored one-on-one lessons. • Enjoy a safe, sensitive, nonintrusive approach. • Become aware of your habitual patterns of thought and movement. • Relearn core movements and improve activities you choose such as computer work, public speaking, gardening, running, singing and instrumental performance. Your qualified teacher is indispensable in learning the Technique because movement habits are unconscious and below the threshold of your awareness. It takes a highly-trained teacher to help you perceive and change your ingrained patterns. With a supportive touch, your teacher helps you notice areas of tension, make pleasurable changes and experience your body in a new way. The duration of study depends upon your initial condition and personal goals. To enjoy the full benefit, a recommended course is thirty private sessions. Lessons last fifty-five minutes. Lessons will not continue indefinitely. The goal is to use what you learn independently so you can participate in the pursuits you enjoy with renewed energy, comfort and confidence. Benefits of the Alexander Technique The Alexander Technique teaches you how to move with ease while you improve your overall functioning. Engaging in this work releases excess body tension, helps you feel calmer and more confident, enhances your energy and vitality, and increases your powers of concentration during your activities. The Alexander Technique is an intelligent way to solve common body problems and improve your self-image. Study of the Technique optimizes your strength, endurance, muscle tone and flexibility. Athletes and fitness enthusiasts use it to help them reach their goals. For over 100 years, actors, dancers, singers and musicians have used the Alexander Technique in order to be more effective on stage. The Technique is taught worldwide in universities and conservatories, including the Juilliard School, the New England Conservatory of Music, Yale School of Drama, UCLA School of Theater, Film and Television, Royal Academy of Dramatic Art, The Royal College of Music, and The Verbier Festival and Academy. Noted performing artists have used the Alexander Technique. These include: Julie Andrews, Sting, Sir Colin Davis, William Hurt, Jeremy Irons, James Earl Jones, Paul Newman, Lynn Redgrave, Maggie Smith, Mary Steenburgen, Robin Williams, Joanne Woodward and members of the New York Philharmonic Orchestra. The Alexander Technique is a safe method for alleviating stress on the back, the neck, the spine, and the internal organs. Students report that it has successfully provided relief from a wide array of physical problems, including chronic back pain; stiff neck and shoulders; symptoms of work-related upper limb disorder; discomfort from slipped, herniated, or worn discs; whiplash; sciatica; pinched nerves; scoliosis; hip problems; arthritis; TMJ syndrome; headaches; and angina. This procedure has proven to be particularly effective after back surgery to prevent recurrence of the injury. Because of its value in releasing the musculature, the Alexander Technique helps sooth respiratory problems, including some symptoms of asthma and emphysema. It has also been effective in calming nervous tension, spastic colon, anxiety, and panic attacks. Clients have Reported the Following Benefits from learning the Alexander Technique:
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Joseph Lee's Alexander Technique Credentials Joseph Lee is an experienced Alexander Technique teacher trained in the tradition established by F.M. Alexander and is certified by both the American Society for the Alexander Technique (Am.S.A.T., formerly N.A.S.T.A.T.) and the Society of Teachers of the Alexander Technique, London, U.K., (S.T.A.T.). He is also a registered Teaching Member of Alexander Technique International, (A.T.I.). Joseph received his Bachelor of Fines Arts degree in Acting from the Catholic University of America. Over the last seventeen years as an Alexander Technique teacher, Joseph has taught numerous workshops and master classes for arts and educational institutions throughout the Southeast. He is recognized for his lively, evocative and challenging programs. Though his work successfully addresses the concerns of the public, he has developed a particular skill in managing the performance problems of musicians and other performing artists. In his Virginia Beach studio he focuses his practice on transformational work with individuals. In addition to his work with adults, Joseph frequently works with children privately and through Suzuki music programs Client Case Studies and Testimonials SHEILA’S BODY-STORY Sheila was a kind, actualized, psychotherapist in her early fifties. She had no chronic complaints or nagging pains that might have driven her toward taking a course of Alexander Technique lessons. She was motivated by the simple promise of expanded awareness that the work assures. Sheila was an apt student. The principles were easily understood and she was clearly practicing between lessons striving to actualize what had been covered. Within the first lessons a specific pattern of holding became observable. Her chest was slightly and unremittingly lifted and her chin was raised in what commonly would have been judged as regal. This clearly called for attention, but it was a more subtle pattern that held my attention consistently. Sheila did not place her heels on the ground when she walked; she avoided what is called a "heel strike." I drew her attention to these initial observations and gently guided her to rest "into her body." Lesson after lesson we watched, eased, and investigated what seemed like a simple movement problem, but which would not yield. I had successfully helped clients with much more serious problems, the client who usually attended right before Sheila was finally free of tens years of chronic neck pain after only six lessons. But Sheila’s unconscious habit to brace upward would simply not yield. Even when my bewilderment began to give way to professional frustration, Sheila’s unflappable optimism kept us both constructively focused. One day we were focused on walking, again, and as I was observing her gait as she approached me from across the studio I realized that I was also trapped in a habit, a habit of watching that limited my entire response to her difficulty. My eyes dropped as I introspected. When I raised them I saw her so clearly that the story her body was ‘speaking’ became clear. I said, "You know Sheila, you look like you’re creeping, like you’re afraid to make any noise." She reeled back and froze. Her hand fluttered to her throat then her mouth. With her other hand she pressed hard into her belly as she bent over and sobbed. She sank to the floor and sat, like a child, stifling her groans. After several anguished minutes I whispered to her, "What’s happening? What are you remembering?" She couldn’t speak and I waited ten more minutes. "I just remembered three years of my life that I had completely forgotten", she quietly spoke. "For three years, in my early teens, my father was obsessed with the sound of my walking. He would say, "Don’t walk like a damn horse!" I would come home from school and he would follow me around the house making me balance books on my head and then monitor me to discover if he could hear any sound from my feet. Every day for three years!" She quietly sobbed. "How could I forget three whole years of my life?" she asked herself. Sheila wanted to pick up the session as soon as she composed herself. Suddenly her body was malleable. Her chest relaxed into her back with the gentlest suggestion. Her neck softened and her head floated forward like a child rather than an empress, and her heels struck the ground, without fear or shame for the first time in forty years. I have marveled, over the years, at this experience. What a mystery it is that we will hold so tenaciously to the life stories and decisions that mold our patterns of moving and being; the relentless tenacity of our adaptations to the stress and pain of life that will not let us go until we hear their story and honor their purpose no matter how inappropriate their ongoing demands upon us are. Sheila required only two more sessions. She freed up and entered into the childlike buoyancy that she has been envisioning. I still listen for the body-story of every client. Every time I witness the power of acknowledging those deep stories, I am humbled by the power of this profound Work. | |||
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Scheduling an Alexander Technique Session
How Much Does a Lesson Cost? A single lesson costs $80. (Credit cards are not accepted.)
How Long Does a Lesson Last? A single lesson lasts for fifty minutes.
What Should I Wear For a Lesson? Please wear comfortable non-binding clothes. Do not wear a skirt or dress. Athletic clothing is ideal.
How Do I Schedule a Lesson? All initial sessions are pre-scheduled by phone at (757) 460-4477.
In Virginia Beach, VA, Sessions Are Conducted At: Neuromuscular Pain Relief & Postural Improvement Studio Dove Landing Professional Building 700 Baker Road Suite 108 Virginia Beach, VA 23462 (Specific directions from your home can be acquired at www.mapquest.com)
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The Alexander Technique has played an important part in my life. It keeps the body alive at ages when people have resigned themselves to irreversible decline. Those committed to it find they cannot do without it.
Robertson Davies, Writer | |||
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©Copyright
2003 Joseph R. Lee
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