by Morgan Rysdon (originally published in 2014)
On Monday, January 13th 2014, a panel convened at ACAT to discuss an issue of great concern to so many teachers of the Alexander Technique who struggle with talking about this rich and complex work. "Engaging Curiosity and Dialogue: How to Introduce the Alexander Technique" was moderated by Karen Krueger and included myself, Bill Connington, Rebecca Tuffey, and Jessica Wolf on the panel. The audience ranged from more senior teachers to trainees, all with a desire to explore this never-ending topic of how do we—as teachers of the Alexander Technique—introduce this unique work to others
Read moreTraining Journal: Classes with Judith Leibowitz #29
Thursday, June 8, 1978
Working on going up on toes:
Back and up – if you feel that your weight is shifting to back of heels when you think torso back and up, you probably have a tendency to hold in the legs.
Read moreTraining Journal: Classes with Judith Leibowitz #28
Wednesday, December 13, 1978
Grounding of feet is essential to the lengthening process. Otherwise the student will not risk this step for fear of falling.
Any kind of movement involving the whole body can be used to free joints for walking, particularly figure eights, in and out of the chair, and going in and out of walking etc..
Read moreTraining Journal: Classes with Judith Leibowitz #27
Wednesday, May 2, 1978
Working on her direction. Taking someone in and out of a chair.
We work in a spiral. Each time we learn shoulder or head direction, etc., We can grasp more. That is why we don't stick to one thing until completely learned. It is a cumulative learning experience.
Take a person into a chair.
Neck free.
Read moreTraining Journal: Classes with Judith Leibowitz #26
Wednesday, April 26, 1978
A. Had directions on the table
One thumb on the neck, giving “neck back” direction, and the other thumb under the jar, giving “head forward” direction.
B. when giving length to the spine from her position, it is useful to sometimes place one hand on the lower abdomen to keep pelvis from “curling up at the base”.
Working on [classmate]:
Read moreTraining Journal: Classes with Judith Leibowitz #25
Wednesday, April 19, 1978
Picking up a knee
First check on the freedom of the leg in the hip joint.
To free the leg:
1. Take care of yourself first, i.e., your own directions.
2. Place one hand on the pelvis, thumb on thigh. The hand is saying pelvis goes with head, thumb is directing out the knee.
Read moreWednesday, April 12, 1978
Head. Look at the angle of the back of the neck. See it and feel it. Also, neck under the chin….
Read moreTraining Journal: Classes with Judith Leibowitz #22
Tuesday, February 28, 1978
Turning the head on the table. Our wrists are free. Holding book between the hands. A figure eight pattern of movement allows for the expanded mobility of the wrist joint. When the other person is on the table, with their head resting on the books, we give head direction and also lateral rotation of the head on the atlas/access articulation.
Read moreTraining Journal: Classes with Judith Leibowitz #22
Tuesday, February 28, 1978
Turning the head on the table. Our wrists are free. Holding book between the hands. A figure eight pattern of movement allows for the expanded mobility of the wrist joint. When the other person is on the table, with their head resting on the books, we give head direction and also lateral rotation of the head on the atlas/access articulation.
Read moreTrain Journal: Classes with Judith Leibowitz #21
February 22, 1978
Taking a leg up on the table: we are not lifting a leg. The teacher is moving through space and the leg comes along with us. The leg is an extension of ourselves and moves through space as we do.
Read moreTrain Journal: Classes with Judith Leibowitz #20
February 17th, 1978
A question came up about how one can be certain that he/she has really understood an idea or experience and can repeat it. Judy said that you cannot learn it by trying to hold onto it. The learning may not be possible to verbalize. Judy can get quick results because she is clear about objective: neck, head relationship, back, etc. She also sees before she touches. This cuts down time required to work period these skills are required over the years and they develop as you teach. First thing is to establish the primary control (poise of the head on the neck, and spine) then get on to the rest of the work. Judy says that she takes the student ahead of the previous experience and knowledge (a preview) to where the student will go, thus it will feel to the student that the use is “odd” or wrong.
Read moreTrain Journal: Classes with Judith Leibowitz #19
February 15th, 1978
Wait for [the] person to respond to your direction. Release the hand into direction. Don't put hand on with intention. Wait for impulse from a student. Anytime you feel like your direction stops, take hands off for a moment.
To correct one sidedness, though we are all one sided, direct into whatever side more clearly is your weak side. Look at your kinesthetic judgment and verify that both sides can support you.
Read moreTraining Journal: Classes with Judith Leibowitz #18
Focus. How we move out of focus. Eyes show where a person is at period closed eyes internalize the experience and separates us from life. Alexander technique should enhance your daily life. You bring it into your life.
Read moreTraining Journal: Classes with Judith Leibowitz #17
February 8, 1978
Judith Leibowitz: “In the exhalation, the diaphragm comes up, allowing the ribs to fall down. When back and up, we can get open breathing period when the back is narrow, it is hard to get that free movement. We don't exhale enough. CO2 level[s] in the blood determines our rhythm and breathing. It is a volume to volume exchange of gases. We are looking for an easy, rhythmical breath. We deal with those things in the body that don't allow a free breath to take place, such as a narrow back, also fixing in the throat and neck.
Read moreTraining Journal: Classes with Judith Leibowitz #15
Keeping the directions going. Being with oneself and touching another person. The feedback of a sophisticated person as a body is useful at this stage of the training. Keep the eyes open and be aware of what one is looking for. Be with yourself and everything around you.
Read moreTraining Journal: Classes with Judith Leibowitz #15
Beginning work on moving a head. Uncommitted hands on an uncommitted head.
Important to put hands on sensitive bodies in order to get valid feedback.
Read moreSTEP 4 and STEP 5
There are some subtle distinctions within Step 4, which leads into Step 5. What does it mean to make a fresh decisions even if you end up carrying out your original action? This is more about your attitude and how it will influence your physicality, than it is about discrete motor action.
Read moreStep 3: F. M. Alexander's 5-Step Process
STEP 3
"continue to project these directions until I believed I was sufficiently au fait with them to employ them for the purpose of gaining my end"
Read moreStep 2: Exploring F. M. Alexander's 5-Step Process
"Project in their sequence the directions for the primary control which I had reasoned out as being best for the purpose of bringing about the new and improved use of myself..."
Alexander applied this to speaking, I will continue to apply this to reaching to lift my cup. You can apply this to any activity you choose.
In practice, this part is the same regardless of your stimulus, although you may develop your own specific directions that assist with particular activities. For instance, I think more detailed directions when I am preparing for a fine motor task, like typing, than I do when I am walking.
Read moreStep 1: Exploring F. M. Alexander's 5-Step process
From the chapter Evolution of a Technique in Alexander’s third book Use of the Self
Supposing that the “end” I decided to work for was to speak a certain sentence, I would start in the same way as before and
1) inhibit any immediate response to the stimulus to speak the sentence,
2) project in their sequence the directions for the primary control which I had reasoned out as being best for the purpose of bringing about the new and improved use of myself in speaking, and
Read more