Alexander Technique is based on principles that are fundamental to all spheres of life. It may have an obvious influence on poise and movement, but the practice of Alexander Technique can also have an impact on one’s very personality. With improved sensitivity to our predispositions, we can be more discerning in choosing our responses. Alexander Technique helps us to regulate how we react to others and how we express ourselves. In this way, Alexander Technique may support the user if tensions arise in interpersonal relationships.
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FM Alexander named one of his books ‘The Universal Constant in Living’. It seems he hit upon something fundamental that transcends time and place - Alexander Technique is just as relevant and profound in our current unprecedented situation as it was in his era. This article considers some applications of Alexander Technique while we are in ‘lockdown’.
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The most profound learning of Alexander Technique does not happen during a lesson: it happens when pupils take the skills and sensitivity they are working on and apply these in ‘real life.’ Alexander Technique is designed to be used in action, whether at work or play. Yet when we are active - especially when it is an engaging or stressful activity - this is the time when students find it most difficult to remember to use the Technique.
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Alexander Technique is an effective method for managing stress and cultivating efficiency. If we use the Technique when we are stressed and rushed, its effect is profound. If we feel we must wait for a quiet moment to use it, we may not realise the potential Alexander Technique has for enhancing and creating ease during performance. Too often, the situations in which we could most benefit from Alexander are also the situations in which we feel we haven’t the time to use it.
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‘Whenever I use Alexander Technique, it helps. But I keep forgetting to use it! Sometimes I get to the end of a job and realise I didn’t think of it once.’
Even when we appreciate the benefits of Alexander Technique, remembering to engage with it can be a challenge. This is all the more difficult if we are unaware of ourselves in the moment in which we are moving or resting with poor quality.
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Alexander Technique is a skill which is practised in order to experience associated benefits. The many ways in which we may study or apply the Technique are all based on two particular kinds of thinking: inhibition and direction.
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This article presents a simple entry point for beginners to Alexander Technique. Those with experience will recognise it as a core practice for using the Technique at any level. Leaving space for customisation, expansion and refinement, let’s start with an ABC: Availability, Buoyancy and Continuity.
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Instrumental technique may be considered as the interface between concept and sound. Our technical prowess determines how effectively our ideas flow from imagination, through the instrument, to the listener. The definitions we create of technique, guide our practice and teaching. They may be a liberating or limiting factor. We inevitably acquire a set of judgements around what is appropriate technique, and what is not.
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Semi-supine, also known as ‘active rest,’ ’constructive rest,’ or ‘lying on the floor with your head on books,’ is a learning tool and ongoing part of practising Alexander Technique. Semi-supine gives a framework for positive movement towards ease and comfort. This guide is intended to support independent practice.
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In early Alexander Technique lessons, students are sometime frustrated to suddenly realise they persistently use excess tension or scrunch themselves up in daily activities. Upon hearing this, I offer my congratulations. It is a significant step forward as it indicates the student has acquired recognition, a positive step in making change. To discover you are wrong is to have learnt something.
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In using Alexander Technique, one core principle is considered primary. The process of coordinating the head-spine relationship is essential to all other motion. The effective use of Alexander Technique pivots around how skilfully one can engage this coordination.
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Looking to the root of stress, one common theme is that of not being good enough. Musicians might recognise this in the form of ‘not doing enough practice’. Alexander Technique identifies the struggle which arises and introduces practices which dissolve the context for such judgement.
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When studying Alexander Technique, each student will progress in an individual way. There are, however, some common themes students may be able to relate to. A consideration of progression can help to put into perspective one’s own experience and development.
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In my youth, I loved the rare opportunities for downhill skiing. There were what I considered inevitable bruises and soreness for days afterwards, but it was worth it for the thrill. After a twenty-two year hiatus, I returned to the slopes. the Alexander a Technique skills I have learnt during that time made an unexpected and remarkable impact.
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A threefold process is at the core of Alexander Technique. Together, these three practices offer a concise springboard to its application. The acts are simple, the effects profound.
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By its nature, Alexander Technique is indirect. It deals with unfamiliar sensations, and proposes new ways of thinking. Since its effects may also be very subtle, especially in the early stages of learning, students may be unsure if their practice outside of the lesson is “right”.
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To have one’s eyes open seems like such a trivial thing. In the practice of Alexander Technique, however, it is an application of principles with deep implications. It challenges views on concentration and intention.
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All students of Alexander Technique arrive with an acknowledgement of scope for improvements in their life. It may be a pain one has, or a recognition of falling short of potential which is the catalyst to study. After a period of study, this initial motivation usually becomes fulfilled. Students may feel content to discontinue lessons. If the principles have been fully embodied, the student at this time is asking: “what now?
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There is a story of a zen monk who approached his teacher after reaching a great realisation:
“Master, I have attained enlightenment! What should I do now?”
The master replied: “Have you finished your rice porridge? Then you should wash your bowl!”
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I am often asked for an opinion on office chairs. My answer is necessarily indirect. I propose that a chair which makes engaging in positive co-ordination most readily accessible is preferable. I then go on to unpack what that statement means, suggest some practices to aid comfortable sitting, and some ergonomic considerations. I may also challenge the enquirer as to how they came to ask in the first place, to ensure he is not delegating responsibility for the use of himself to his furniture.
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