Five Questions with Alexander Technique Teacher Jean McClelland

by Anastasia Pridlides

[Jean McClelland is teaching a free workshop for ACAT members—"The Flow of Voice, Breath and Body"—on Monday, January 26th, from 7:00pm to 9:00pm. To confirm your space in the class, email the ACAT office.]

Q. How long have you been teaching?

A. I was certified by AmSAT and ACAT in 1991, although I have been teaching singing since the late 1970s.

Q. How were you first introduced to the AT?

A. I was introduced to the Technique through a friend of mine at the Longy School of Music in Cambridge, where I went in 1972 (after college) to study with the extraordinary singer, artist, and teacher, Olga Averino. My friend Susan had been studying voice since high school but had developed enormous vocal tensions. Susan's teacher at Longy (not Olga) had lived for some years in South Africa and was acquainted with the Technique and felt that Susan would benefit from lessons. There were very few AT teachers in the area at the time, but Susan started lessons with Joe Armstrong. Susan would share with me her experiences in her lessons, and she encouraged me to study with Joe by saying that she thought I would like the AT because it was "very intellectual!" Without knowing a whit about what the Technique was about, I went off for Alexander lessons. Everything in my life changed. I remember so clearly my first lesson, looking at Joe and thinking that he was standing in a very odd fashion. He clearly had a "torso back and up off the legs,"which is what we see in great athletes and musicians, but it was foreign to my eyes and foreign to my body. It was however exactly what Olga meant when she said that a singer must, "stand like a baseball player." At that time, I had little understanding of how to use my body. Indeed, the comment after my first jury in conservatory was, "Musically very intelligent but needs to develop the physical requirements necessary for solo singing."

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

A. About six months after I started lessons with Joe Armstrong, my posture changed quite significantly, and about a year after that, I had an experience that was quite revelatory. I was in conversation with someone, and for the first time in my life, I was totally present and spontaneous. I think that experience made me understand the profound nature of the Alexander Technique, even though I was light years away from understanding it. Those early years of study were so transformative to every aspect of my life that it seemed natural to want to share this work with others. I have always loved teaching, and once I started doing more and more voice teaching, it became apparent to me that including Alexander as part of voice study would be ideal. In the late 80s, I began to shift my performing away from musical theater to more concert work, and it became easier for me to commit to the three-year training. I entered ACAT in the spring of 1988.

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

A. The art of using one's voice in singing and acting can often seem quite mysterious. In her autobiography, "The Inner Voice: the Making of a Singer," the opera singer Renée Fleming asks: "How can I describe a process to you that is mostly unconscious?" And Olga Averino in her book, "Art and Principles of Singing," writes that "the process of good singing is a process of physical and psychological coordination. Physical coordination depends on the alignment of the singer's instrument. In itself, it produces no sound, but it creates the conditions which allow the imagination to produce the sound." As Alexander teachers we guide our singing and acting students to an improved use of their bodies and their coordination, but we must also be able to help them free their imaginations and encourage them to have a curious and improvisational mind. Only then will they truly sing or act freely and expressively.

My main goal for this workshop is for participants to explore how to use their imaginations to stimulate breath and voice, and to understand and how to creatively work with many of the vocal concepts that abound in voice lessons, such as: vocal support; open throat; breath movement; diaphragmatic breathing; grounding; embodied voice, intention, etc.

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

A. It's simply a way of being present in the world, isn't it?

[author] [author_info]JEAN MCCLELLAND received her B.A. from Vassar College, did graduate study at Boston University in opera, and has studied extensively at the Carl Stough Institute, Psychosynthesis Institute of New York, and the Michael Chekhov Studio. As a performer she has appeared in the Broadway production of "Camelot" and has played leading roles in numerous musicals and operas. Jean also performs in concert with her husband, Bill McCelland. Jean is on the faculty of the New York Open Center and has given workshops at New York University, Vassar College, Rutgers University, William Paterson University, Stevens Institute and the Rowe Conference Center. www.jeanmcclellandvoice.com [/author_info] [/author]

My Powerful Learning Experience from an Alexander Technique Group Class

by Jeffrey Glazer Group classes can be a great way to learn the Alexander Technique. I recall a vivid example of one group class when I discovered the power of the mind/body connection, and realized how much my thinking was affecting my body.

During this class we played a simple game. The students all stood in a circle, and the teacher introduced a soft, squishy ball to toss to each other. We were supposed to make eye contact with someone in the circle before we tossed the ball to them.

As we began, I didn’t notice much. Then the teacher asked us to tune into our bodies. It was then that I noticed a tightness in my neck, that I was clenching my jaw, and more or less holding my breath in anticipation of the ball being thrown to me.

Gaining a New Perspective

The teacher then pointed out that there were no penalties for dropping the ball or making an errant throw, no winners or losers, and no time limit. In fact, we could even let the ball drop in front of us instead of catching it. That’s when something clicked. I realized I was bringing the same attitude to this game that I brought to many other areas of life. Namely, that I was supposed to be right, good, and not mess up. I assumed the goal was to catch the ball, make accurate throws, and look good doing it.

I decided that the next time the ball was thrown to me, I would let it drop. But the instant the ball was thrown my way I found myself reacting and trying to catch it. It took a few times before I was able to stop reacting and let the ball drop. I had finally opened myself up to something different, a non-habitual reaction to a ball being thrown my way. Then I noticed my neck and jaw weren’t so tense anymore, and I had stopped holding my breath. The next time the ball was thrown to me I did catch it, but it was a choice rather than mandatory. The traveling of the ball through the air and into my hands seemed to happen in slow motion, and my movements were fluid and spontaneous.

Choosing How to Respond

I realized that my thinking really did affect my body, and not just in this game, but in all walks of life. I had learned that before reacting to something, I could decide how I wanted to respond. My habitual attitude of “catch it or else!”, only created fear in my nervous system, which I reacted to by clenching my jaw, tensing my neck, and holding my breath. Once I changed my thinking to allow for a choice, I was in a state of poise, so that during the times when I decided to catch the ball, I did so with greater ease. Most importantly, the chronic pain in my neck and arms began to dissipate as I let go of the tension in my neck and jaw, and stopped holding my breath.

What’s great about the Alexander Technique is that it paves the way to do something differently, with more ease and poise. Beginning this January, ACAT will be offering drop in group classes. Come for a class and experience for yourself how the Alexander Technique can help you.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2015/01/jeffrey.jpg[/author_image] [author_info]JEFFREY GLAZER is a certified teacher of the Alexander Technique. He found the Alexander Technique in 2008 after an exhaustive search for relief from chronic pain in his arms and neck. Long hours at the computer had made his pain debilitating, and he was forced to leave his job in finance. The remarkable results he achieved in managing and reducing his pain prompted him to become an instructor in order to help others. He received his teacher certification at the American Center for the Alexander Technique after completing their 3-year, 1600 hour training course in 2013. He also holds a BS in Finance and Marketing from Florida State University. www.nycalexandertechnique.com[/author_info] [/author]

"Indirect Procedures" by Pedro de Alcantara at ACAT

by Brooke Lieb Alexander Technique teacher and author Pedro de Alcantara is celebrating the release of the 2nd edition of his popular book, "Indirect Procedures: A Musician’s Guide to the Alexander Technique," with ACAT! He will be discussing how his deepening understanding of the Alexander Technique in the sixteen years since the publication of the first edition has led to a substantial revision of the book in a free event open to all on Monday, November 10th. This will be followed by a weekend workshop, "Forward & Up: A Creative Approach: An experiential workshop for Musicians, Alexander Students and Alexander Teachers" on November 15th and 16th.

When did you first experience the Alexander Technique, and why did you decide to have private lessons?

I went to college at SUNY Purchase in Westchester. One of my cello teachers took lessons from Pearl Ausubel and suggested that I try the Alexander Technique to improve my coordination at the cello. I went along with his suggestion, not knowing what I was getting into!

What are some of your stand out memories from those initial private lessons?

Pearl was my first teacher, and I took infrequent but regular lessons from her for about two years. My memories of my very first lesson, in the fall of 1978, was the feeling of growing, growing, growing like a plant in a speeded-up stop-motion video clip. It was absolutely intoxicating.

Why did you decide to train; and how did you choose which course to join?

Lessons were having a deep effect, and I decided to see what would happen if I brought the Technique to the very center of my life. I trained with Patrick Macdonald and Shoshana Kaminitz in London, from 1983 to 1986. My motivation was partly to train with someone who had trained with Alexander himself, and partly to study the cello with a great London-based teacher, the late William Pleeth.

What was your inspiration for Indirect Procedures?

In the spring of 1990 I visited the pianist and composer Joan Panetti, one of my old music teachers at Yale (where I went after my undergrad studies at SUNY). She witnessed me in a somewhat directionless personal and professional transition, and she suggested that I write a book as a way forward. I’m of course very thankful for her insight regarding the merits of writing a book and my potentialities as a writer.

Tell us about the revised edition.

The first edition was published in 1997, but some of its concepts were borne of a research project I did while training back in 1985 and 1986. This is almost 30 years ago! Naturally enough I learned many things over the decades, and the old edition didn’t represent my convictions or my temperament anymore. I’d say the revised edition is actually a new book. You might want to check my essay “The Process of Change,” published in AmSat News, where I explain the book’s transformation.

What advice would you give to other Alexander Teachers to stay inspired and excited about their teaching?

Lessons are actually encounters in disguise—encounters with the “other,” who really is a mirror for you to learn about yourself; encounters with the unpredictable, the challenging, the entertaining. Years ago I actually stopped thinking of myself as a teacher, with the duties and constraints that the word implies. Now I think of myself as an informal researcher in the field of creativity and health; my students really are my partners and assistants, each bringing completely individual contributions to my explorations. It makes for a very gratifying professional life!

More information about Pedro de Alcantara can be found at his website.

To register for the free event on Monday 11/10 at 7pm, go here: An Evening with Pedro de Alcantara: “Indirect Procedures, New Edition: The Process of Change”

To register for the weekend workshop on Saturday 11/15 and Sunday 11/16, go here: Forward & Up: A Creative Approach: An experiential workshop for Musicians, Alexander Students and Alexander Teachers

Space is limited for both events, so be sure to register in advance to guarantee your place.

[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]

Finding What You Need: Collaborating to Create Your Support Structure as an Alexander Technique Teacher

by Karen Krueger Teaching the Alexander Technique can be lonely. After the structure and camaraderie of training, it can be daunting when we suddenly find ourselves having to create our own schedules, our own ways of self-care, continued learning and practice development.

For me, the answer to this dilemma has involved connecting with other teachers and other professionals. The difficulties of creating a practice as a solo entrepreneur can lead us to view others solely as competitors, rather than potential collaborators. But there are many different models of collaboration being put into practice in our community. This blog post describes some of mine. At the next free member event at ACAT on October 20, we will explore this topic in greater depth. Please come, contribute your voice, and connect with fellow ACAT members.

The Many Benefits of Exchanges

My two weekly exchanges are my most important support. I also enjoy occasional exchanges with others, but there is something very special about the relationships that have developed through consistent, regular interaction with the same people, who are friends as well as colleagues. We share our questions and interests of the moment; experiment with different approaches (everything from where we put our hands to what we think and say); discuss challenges that we are dealing with in teaching; and generally have fun while honing our skills and taking care of ourselves. We also get to see each other, socialize, and support one another in practice development. We share practical information like where to find teaching space and what interesting workshops are coming up. These weekly meetings are a source of joy and well-being for all of us.

We also refer students to one another. I have several students who also work with one or more of my exchange partners. Occasionally we have had lessons with two teachers and one student—which is wonderful for all concerned, though perhaps not practical as a regular teaching model!

Other Collaborations

Many other forms of collaboration, both formal and informal, are possible. We can volunteer at ACAT's monthly free introductions to the Alexander Technique for the general public (the "Hands-On Demonstrations"). We can partner with other teachers to promote our work, or to develop our individual marketing approaches. We can team up with other professionals to reach people who might not otherwise hear of our work. For example, last year I taught a series of small group classes in a physical therapist's studio: she got her patients to enroll, and I showed up and taught. I learned a great deal and enjoyed the class, and several of the class participants went on to take private lessons with me.

Not every such effort bears fruit. I have done many things to promote the Alexander Technique and my own practice that have not resulted in an immediate influx of paying students. I keep making connections, though, because I believe that the more people have heard of our work and have some understanding of what it is and what it can do, the better for all of us.

Free Member Event: Building Your Practice Through Collaboration

If this topic interests you, I hope that you will join Michael Hanko, Anastasia Pridlides, Morgan Rysdon and me on Monday, October 20, 7-9pm, for "Building Your Practice Through Collaboration." We will explore ways to connect with others to create the support structures we need to thrive and grow as teachers. First, we'll hear from the panelists about how their various collaborations with Alexander Technique teachers and others have contributed to their teaching skills and helped them develop their practices. Then, we'll break into smaller groups so you can connect with others looking to support each other in various ways. I hope to see you there.

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/06/Kreuger.jpg[/author_image] [author_info]KAREN G. KRUEGER became a teacher of the Alexander Technique after 25 years of practicing law at two major New York law firms, receiving her teaching certificate from the American Center for the Alexander Technique in December 2010. Her students include lawyers, business executives, IT professionals and others interested in living with greater ease and skill. Find her at her website: http://kgk-llc.com. [/author_info] [/author]

"Physical Expression on Stage and Screen: Using the Alexander Technique to Create Unforgettable Performances" by Bill Connington

by Helen Farmer When I moved to New York after completing my MFA in acting I bought several books that claimed to be New York actor survival guides how to build your career, how to audition etc. I quickly realized little information that help me in the way I needed. I was tense, unsure, and had no idea how to make use of my training when I was sitting in a casting office or worse, waiting for the phone to ring. I wish I had been able to carry Bill Connington’s "Physical Expression on Stage and Screen" with me then. For, Mr. Connington has written a book that both educates and inspires. Working through this book an actor will not only find their feet on the ground and their head moving forward and up, but they will reignite their creative fires and empowered to be the artist they want to be. A true ‘survival guide’ if there ever was one.

Mr. Connington begins as many Alexander teachers do with the story of F.M. the way he tells sets tone for the book to follow. He is not interested in being mired in the past. He touches briefly on the history of AT as well as his own experiences. These sections serve to contextualize the work, making it more someone who has never heard of Alexander or this kind of work. But this is a book for actors, not necessarily Alexander practitioners Mr. Connington moves quickly into the heart of the matter. With the suggestion that the results he has seen are: “Unique, surprising and unexpected” from an approach described as “organic, non-judgmental and open”, I would defy an actor struggling with any kind of block in their creativity to not dive right into the this book.

Basic Principles Brought to Life

In the early chapters Mr. Conninton begins to explore some basic Alexander concepts such as proprioception, end-gaining and startle response. Each explanation if followed by a clearly laid out experiential exercise that the actor can do on their own or with a friend. These exercises allow concepts to become integrated into the actor’s process. Being able to fully blend the Alexander technique into the daytoday lives of the actors and have it be relevant is clearly important to Mr. Connington and is manifested in several interesting ways. The most striking being the of the Alexander principles: Sensory Awareness, Inhibition, Direction, and Constructive Conscious Control. Instead Mr. Connington gives us: Sense, Poise, Flow and Choice. Reading this language I felt as if someone had opened a window in a musty room and let a little light in. The principles are all present, but the shift to less arcane language encourages a kind of accessibility I really responded to. The classical Alexander ‘directions’, become ‘flow thoughts’ and are dropped into the subsequent exercises that investigate both everyday (sitting, talking on the phone, typing) and more expansive activities (walking and talking, balancing, stillness), as well as breathing. Mr. Connington describes this work as: “a multi-platform self-improvement program” and through these exercises he offers concise, simple ways for the actor to gain more self-knowledge and freedom in their work.

Had the book stopped there it would be an excellent introduction to Alexander technique, but it is the second and third sections that truly set this book apart for an actor. In the second section Mr. Connington asks the actor to come out and play or as he puts it: “stimulate and develop your imagination and emotion.” While never losing sight of the principles, the second series of exercises gives the performer the opportunity to explore character building, vocalization and movement in an enjoyable non-judgmental way. Mr. Connington asks the reader to do everything from chanting, to creating a silent movie, to reciting Emily Dickinson. Drawing on such influences as Michael Chekov and Stanislavski, Mr. Connington clearly demonstrates through this expansive and fun section that the Alexander technique is not a stand-alone aspect of theatrical training, and can be used to broaden the range of an actor’s work.

Practical Advice

In the third section Mr. Connington gets down to the nitty-gritty, how an actor is going to use the Alexander technique outside of the studio. This is an essential and oft-missed element of actor training; how do you take the creative exploration of rehearsal or class and put it to work in an audition or performance? Mr. Connington’s vast experience as an actor and working with actors is clear here. Using the Alexander principles he offers exercises that an actor can use in the mundane everyday work of being an actor. Exercises that will get one comfortable with a cold reading (essential if you want to audition for film and TV), or will warm up you up in three minutes or less (great if you are running audition to audition), or will allow you to let go and get some sleep at the end of the day (in case you ever want to play Hamlet). Moreover, he introduces the concept of constructive conscious control, or as he calls it ‘choice’ and offers it to his reader as the ultimate gift. As an actor it is easy to feel like you are not the one in control of your destiny. To be reminded that everything is a choice and that the ability to change lies within their grasp is a very empowering message and one every artist should hear.

It is that message of empowerment I take away from this book. Mr. Connington is offering to every actor a simple, concise, and fun way to fully realize their potential as artists and as healthy happy human beings, an incredible gift to say the least.

ACAT and Bill Connington will celebrate the publication of "Physical Expression on Stage and Screen: Using the Alexander Technique to Create Unforgettable Performances" with a one-time, free event for Alexander Technique teachers and trainees, performers, and their guests on Friday, September 19, 2014, 7-9 pm at ACAT, 39 West 14th Street, Suite 507. Space is limited.  Reserve your place by e-mailing connington@acatnyc.org

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/09/helen-farmer.jpg[/author_image] [author_info]HELEN FARMER is originally from Calgary, Canada. She holds a B. A. in Theater from the University of Guelph and an M. F. A. in Acting from Rutgers University. A professional actress, she currently teaches acting at Rutgers in the BA faculty and lives with her husband in Manhattan. Helen first experienced the Alexander Technique while working with Kelly McEvenue at the Stratford Festival and continued to study with Greg Seel at Rutgers. She is entering the third year of the ACAT Teacher Training Program.[/author_info] [/author]

Engaging With Play: How Games Can Enhance Your Teaching Practice

by Anastasia Pridlides I attended the "games teachers play" free member event on April 28th ready for fun. I had been looking forward to this event from the moment it went on the calendar, not only because I really enjoy playing, but also because I love working with groups. I'm always looking for new things to put in my group teaching toolbox. We attendees had a fantastic time as Brooke Lieb, Luke Mess and Mark Josephsburg for shared their teaching games with us. Here are some of the things that I took away from the workshop.

What games can accomplish in a group setting

Ice Breaking

Asking a group of strangers to explore their sometimes personal habits together can be kind of intense. One of the best group class experiences I had as a student of the Technique was in a class where all of the participants really gelled. The level of comfort that we developed with one another created a supportive and relaxed learning environment and that enhanced my learning exponentially. Ice Breaker games are a great way to energize your group, to encourage them to tune in to one another and to build a group rapport.

Loosening up

We have all had those moments where we have gotten very serious about our selves and our process as we are learning. I know that in me an overly serious or inwardly focused mindset usually leads to end gaining and when that happens lightening up is exactly what I need. Sometimes a laugh or a smile is just the thing to encourage an "up" in the system.

Skill application

Games can be a really fun way to explore applying the Alexander Technique in an activity. It can help get your students out of their sitting and standing routine and help to bridge the gap between their lessons and their application of the Technique to their everyday life.

Alternative way of exploring abstract concepts

Concepts like inhibition, or faulty kinesthesia can be challenging ideas when they are new. Games that explore or incorporate these concepts can reinforce your students learning process by giving them opportunities to engage them experientially in a variety of different ways.

Incorporating games into your own teaching practice

The first question to ask oneself when planning games for your classes is "what do you find fun and engaging?" If you as the teacher pick something that you find stimulating, your students will pick up on the tone that you are setting for the activity. For instance, I love playing with balls and anything that involves lots of movement. I have a variety of go-to games that are either variations on catch or that encourage my students to move through space in new ways.

Next, decide what it is that you wish the purpose of your game to be in the context of your class. The purpose of an ice breaker game is to build a group dynamic and get your students more comfortable with one another. For that purpose, a game where everyone is standing in a circle and paying attention to the group as a whole, rather than one that breaks people into teams or pairs, might be a better choice. I like games that are forms of catch, whether you are using an actual ball or sending words or energy around the circle. Any name game where the participants get to say the names of others in the group can also help your group class get to know one another.

If however, you are looking for a game that explores a concept, the concept itself is your starting point. Do you want to explore inhibition? Then create a playful activity where taking a moment to a moment to pause or to not respond to a stimulus in an integral part of the game. What is it like to choose not to catch the ball, or not to run when you are tagged? Is faulty kinesthesia the concept you are interested in? How can you demonstrate that what we think we are doing isn't always what we are actually doing in a way that encourages your students to laugh at the discrepancy and be excited to find other places that don't match up? Can you ask them to close their eyes and move a certain way and then open them to see where they actually end up?

I've always thought of games as primarily being a group teaching tool, but these same concepts can be adapted for private lessons as well. I hope this gives you something to think about the next time that you are planning your classes. Do you have a favorite game that you like to teach in your classes, or a favorite game that you like play as a student? Then join the conversation and post it in the comments! I would love to hear about your ideas and experiences.

We have one more free member event coming up this season. Join us at ACAT on May 19th for “The Teacher’s Process, the Student’s Process: The Delicate Interplay of a Lesson” with Brooke Lieb. This workshop is perfect for Teaching Members who would like to get a taste of what it's like to be a trainee again and for Associate Members who are interested in learning more about how one learns to teach this work.

[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]

Engaging Curiosity and Dialogue: How to Introduce the Alexander Technique

by Morgan Rysdon 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

Sage Advice From Seasoned Teachers

The diversity of the teachers sitting on the panel clearly illustrated the range in which we can approach this topic. Jessica Wolf, for example, strongly believes that as teachers we have a responsibility to raise the bar on how we present ourselves and the Technique to the world. Highlighting that teaching the Alexander Technique is a profession—just like any other kind of profession—and therefore, we should always be treating it as such when we talk about it with others.

While Rebecca Tuffey made it a point to emphasize the importance of knowing who you are talking to. Encouraging teachers to start asking those who are in front of them questions about themselves to help better direct their conversation. Stressing that it is easier to talk to someone about what the Technique is if we know who they are and where they are coming from.

My dear friend and colleague, Bill Connington, made by far the most interesting comment (for me) of the evening—he does not "sell" the Technique, but rather he informs people about it. This simple approach of educating people about what he does lends itself to the idea that talking to people about "What is the Alexander Technique?" does not always have to be as hard as we think it is. If we start thinking we have to 'sell the work' we run the risk of getting too complicated. Keep it simple! This is Bill's common theme—and one that seems to be working well for him and his practice—his new book is coming out later this year!

Practice Saying "Yes"

When it came to my own participation on the panel, my 2 points were:

1. Practice, practice, practice:

I think the more often we practice talking about this work, the more comfortable we become sharing it with others—no matter what scenario we find ourselves in.

2. Get into the habit of a "Yes" practice:

I say 'yes' to whatever someone brings to me. For example, "Is the Alexander Technique like Tai Chi?" I might be asked. "Why yes," I'd respond, "in the sense that it is a process that is always growing and further develops over time. And once you think you have mastered one aspect, new things always present themselves for you to continue learning." This practice of 'Yes' allows my dialogue with others to continue—and helps people draw similarities to those things they are already familiar with to the Alexander Technique.

What Is Your Way?

None of the teachers had a set way of explaining this work—and the varying responses were a helpful reminder that there is no one 'right' answer, just different answers. As a teacher or a teacher in training, what are some of the ways that you have found work well for introducing the Alexander Technique to new people? Do you have any sure fire ways to spark interest? Or perhaps you've had an experience that helped teach you what NOT to do when talking about this work to newcomers? We would love to hear from you!

[author] [author_image timthumb='on']http://www.acatnyc.org/main/wp-content/uploads/2014/01/morgan-rysdon.jpg[/author_image] [author_info]Morgan Rysdon enjoys introducing the Alexander Technique to new audiences. She holds a BA in Acting and received her teaching certification from ACAT in NYC. She has an active private practice in Hoboken, NJ, and Manhattan, where she coordinates and teaches introductory classes, group classes, and private lessons. She also assists with a weekly Parkinson's class at the Jewish Community Center (JCC) and is active in improving work environments for company's who value their employee's health. To support her professional community, she serves as Chair of ACAT's Board and sits on AmSAT's Membership Committee.She can be found at atcenterstudio.com[/author_info] [/author]

"So Tell Me, What is the Alexander Technique?": A Presentation Skills workshop for Alexander Teachers

Starting on Wednesday, February 12th, and running for the next 4 Wednesdays, Brooke Lieb will be leading a workshop open to all Alexander Technique teachers, members and non-members of ACAT. Q: What prompted you to design the class “So Tell Me, What is the Alexander Technique?: A Presentation Skills workshop for Alexander Teachers”?

A: I used to lead presentation and leadership skills workshops for TAI Partners in the early 90s, where we helped consultants, corporate trainers, teachers and performing artists find their authentic style of presenting to large and small groups. My background as an actor and Alexander Teacher allowed me to streamline the process for these participants, and give them real time experience presenting to a group so they truly embodied the tools and ideas on skillful presenting. The only way to get better at it is to do it, not read a book or listen to a lecture about how to present well.

Working with clients over the years, I realized I also understand workshop and presentation design. Again, my background in theater, training Alexander Teachers, and corporate training exposed me to a wide range of design elements, from presentation/storytelling, to interactive dialogue, to experiential group and partner activities. These skills are teachable, and learnable, and the best way to refine them is to have a place to practice them.

This workshop will give participants a chance to learn design and practice presentation. Everyone will walk away with ready to use components for introductory talks, content for your online introductory video, workshop design, and pitches to corporations. I expect more of us will have the chance to participate in conferences and TedX type events, and it's an important aspect of attracting clients and educating the  marketplace about the Alexander Technique.

Alexander Teachers can offer high level media training to our clients, so this course is also a chance to see how to incorporate the Alexander Technique when coaching your client in preparation for a talk, seminar or pitch she or he may be presenting. This might be a part of a client's job, even if she or he doesn't realize it. People rank the fear of public speaking higher than death, and we have a vital resource to help people not only survive but stand out in their communications.

"The lesson you gave me was super helpful. It was the calmest I've ever been during a presentation, and several people remarked on my delivery!" Jessica Santascoy, ACAT '14, on presenting at an Astronomy Conference.

For more information on course content and how to register, click here.

[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]