The Power of How: A journal about The Alexander Technique and Movement

THINGS I LOVE #6: ARTISTS, TEACHERS, PRODUCERS

Are you someone who dreams big, has crazy ideas, beautiful ideas, and tries to bring them into fruition? Are your ideas ones that cross boundaries, donʻt fit in to a commercial mold, seem far far away from any source of income, yet still call you inexorably towards them?

I LOVE YOU! I want to encourage you. If you need some encouragement, check out these lovely tributes to this years honorees at the Movement Research Gala. It is so important to have images and records of the interdependent community it takes to support artists through the times of not knowing, of failure, that are inevitable along the road to success.

Movement Research is like the family in which I was nurtured and grew up as a dancer and artist. It brought me into contact with the most inspiring teachers and artists over the last 30 years. It continues to support me as a teacher, which is now my chosen art form. So grateful.

illustration

Edens-by-Ian-Douglas

May 16th, 2013 • No Comments

How we pay attention: final notes on Alexander Technique at Movement Research

I want to give a giant THANK YOU to all of the people who attended the Movement Research open Alexander Technique group class in April. Movement Research is having their Gala tonight! I wish I could go! but I canʻt so – instead, Iʻm posting the final installment of notes from my class. Sorry itʻs so late!

Affordable, high quality Alexander Technique group classes continue at Movement Research every Wednesday, 12:30 – 2. Plus many other AWESOME WORKSHOPS AND CLASSES. This is the cutting edge of movement work. Donʻt miss this awesome opportunity!

NOTES: In the last class of the series we reviewed all of the material covered, looking for connections between the principles of the technique as they are commonly understood, and our experiences in the framework of the classes. Our focus was on the sensory function of our nervous system and on an experiential investigation of the sensory and motor functions of the first 5 cervical nerves.

We worked from sensation first, investigating the immediacy of sensation through our skin, which is the organ that separates the inside of us from the environment in which we live. We investigated the sequence of innervation of all the areas of skin (dermatomes), starting from C1 or the first cervical nerve and traveling all the way down to the tail.

One insight appeared regarding the relationship between “inhibition” and “direction”, basic principles of the AT.

In the Alexander Technique, we use the practice of inhibition (a function of the central nervous system in which voluntary movement is inhibited) in re-integration sensory and motor functions. We discovered together that one way to do this is simply to give more attention to the sensory input from the surface of our bodies – which means we simply shift our attention away from motor function (making movement) to sensory experience. Taking time to allow this shift in attention had positive results for everyone – sensations of aliveness, support, being fully present and attentive, breathing more easily were all reported. Changes were also observed in the experience of receiving touch from the teacher – more pleasant, revelatory, surprising responses were experienced from students.

This is a different use of “inhibition” than the traditional one of “stopping habitual movement.” Itʻs an inhibition not of “tension” but of how we pay attention. This was the biggest discovery for me, and for many participants.

We also explored a concept common to both the Alexander Technique and many forms of developmental movement: that head-to-tail length and integrity is of primary importance in organizing movement, and that “headward direction” is essential in creating head-to-tail length, mobility, and integrity.

Each participant received hands-on (sensory) support in clearly defining the meaning of “headward direction” – a coordination of head and spine that is complex to describe in language.

Spinal integrity is necessary for the voluntary musculature connecting limbs to torso to function smoothly, expanding outward along the spiral pathway determined by design of muscles and bones, lifting the body up off the ground skyward and providing postural support for our movement. In FM Alexanderʻs terminology, this is referred to as a “lengthening and widening” of the voluntary musculature to produce smooth, expansive movement in whatever direction the person wishes to go. Another way that we use language to describe this relationship is the directions: Head to release forward and up, torso to release back and up, legs to release forward and way, arms to release away from torso – to create movement. A sensory awareness that simultaneously includes all part of the body as fully as possible – which we achieved via attending to sensations on skin – seems key in our ability to allow expansion (which means inhibiting contraction) of the whole self in relation to gravity.

This last element of integrating particularly the arms in supporting the torso was our main area of investigation in the last class. Exploring movements of looking down and up, side to side, and crawling forwards and backwards in a prone position were starting points. All of these movements were explored with an intention of “not narrowing or shortening” the head/spine/limb relationship. Many participants reported feeling much more supported in their uprightness afterwards – walking, running, standing – than they had previously. Areas of strain and discomfort disappeared as the use of all of the voluntary musculature was much more coordinated and activated.

latissimus

May 13th, 2013 • No Comments

Movement Research Workshop notes: 4/10/13

Iʻm continuing to post notes on the open Alexander Technique classes Iʻm teaching at Movement Research this April. I am taking a very small part of the Dart Procedures, and investigating the tiniest details of movement in an effort to understand how Iʻve managed to heal a shoulder injury and a hip injury over the past 5 or so years.

If you attended, and have anything you would like to add – please do! Iʻd love to know how you are using any of the material we worked with.

Our second class was a bit larger. We took time for introductions around the circle, and then spent ab out 10 minutes looking at images of the spinal column showing itʻs wave-like structure from different angles. Counting all of itʻs segments, we came up with a total of 29, with the sacrum counting as 1, and the tail bone with itʻs tiny segments counting as 4.

We also looked at images of the 29 dermatomes (areas of our skin that are enervated by separate spinal nerves) and took a long, delightful sensory journey through all of them, starting at the top of the head and working our way all the way down to the soles of the feet, taking time to quiet down the “motor” side of our nervous system and focus more on the sensory side. Though lots of beautiful movement is generated while in this state, the preference of the mover rests in sensation rather than in “making movement.” While in this more sensory, less “motor” state, we ended on our backs supported by the floor and took a little time to explore the meaning of the Alexander “directions” for the use of the self: neck to be free, head to go forward and upward of torso, torso to release into length and width, legs to release away from torso, arms to release away from torso.

Working in partners, one person then lay in a prone (face down) position, with some support from pillows under the chest, which gives the whole body very different points of sensory reference than lying on your back. The partner then traced the spaces between each vertebrae, following the wave-like curves of the spine from tail to head. Many of us observed a beautiful, delicate motion occurring between each vertebra as the person lying in prone breathed in and out. This motion did extend all along the spinal column.

During this time I (the teacher) went all around the class, attending to the relationship of arms to the head/neck/back, assuring that the arms were widening away and not bringing pressure to bear on neck, jaw, or breathing capacity.

Lastly, the prone partner investigated head nodding (the movement of the skull on the atlas) and head turning (the movement of the skull and atlas on the axis, or second vertebra) while continuing to attend to the widening of the arm.

From there, head turning became a spiral, became a roll, and this rolling spiral lead each person into standing and walking again.

Iʻm so grateful to have this time at Movement Research to explore the details of my work – integrating my understanding of the sensory and motor sides of the nervous system with my understanding of movement in space.

NEXT WEEK: finding the muscular support for a lengthening spine and a “free” neck in moving forward, backward (as in variations on crawling) and rolling.

 

April 12th, 2013 • No Comments