I enjoyed my Alexander Technique class Tuesday evening: a light-hearted gathering of folks looking at our human selves in activity.  If you choose to read this synopsis, please realize you're coming in in the middle of a conversation...

"Player 1" made an experiment between playing hand drum with and without eyeglasses.  We noticed that you were not taking your chin up and pushing your head forward and you weren't wrinkling your brow as much.

I wonder, when you chose to do something different, whether the improvement has more to do with with just being conscious of what you were doing than it did with the presence or absence of glasses. When you put your glasses back on you didn't go back to doing the things you've been doing before.  However, there might be a place for just trying little different things; the different thing doesn't by itself change the way you do things in such a way that makes you wonderfully free, yet it still will make you conscious of what you are doing in a way that will bring in whatever it is that you love about doing this work.

"Player 2" reports on a few things tried since last class:

-Thinking not only about shoulders away from each other, but also about thinking beyond to the space around the shoulders.  You figured this one out without my input!  I got a lot of this idea from Peter Nobes (http://www.alexandertech.co.uk/)  We talked about also the space above and the space behind.

-Lifting a garage door, conscious of how the action is done most effectively. In Alexander terms this is using a "position of mechanical advantage" also sometimes referred to as a "monkey".

Then we moved from the monkey at the garage door into being on the spot when performing and staying present when you're on the spot, which can be very challenging (especially if you know how to hide!)

Looking forward to next Tuesday! Info on the class at djernigan.com.

ongoing introductory course:
Mondays, 12-1:30 pm, or Tuesdays, 7-8:30 pm.
Course fee: 5 weeks of your choice for $150, or drop in for one class for $30; 
in a private home in Silver Spring, MD (contact for directions) There is room for 6 people; please contact David to register:
240-393-1916 or
david.jernigan@gmail.com

I love teaching the Alexander Technique

I love teaching the Alexander Technique more than anything in the world..  It's a chance for me to meet one-on-one with people, get to know what they care about, and help them solve problems related to those cares.

Years ago, I was having trouble playing the bass-it was beating me up.  Helen Rea (my first Alexander Technique teacher) taught me to use a little less tension here, a little more intention this way, and it got easier.  I stopped hurting myself.  And, I got freer and more expansive and expressive.

Most people who come to me for Alexander lessons are hurting like I was.  It seems to be the only thing that gets people to be willing to come to Alexander.  It's absolutely necessary as an Alexander teacher to address the whole person; first, how they sit in a chair or stand, then what happens as they think about approaching a task like playing an instrument, then how they move as they play.

It ends up being about more than people think it does.  People who have stayed with me usually find themselves changing in many small ways throughout their lives.  The playing gets better, freer.  And then the pain becomes smaller, often disappearing.  "pain?  what pain?"

For me, there was the phase of "I don't have to be so tense; I don't have to hurt"; then the phase of "hey, I like playing like this; it's more fun, and I'm playing better"; and then comes thinking about it while I'm walking the dog, or waiting in line, or hurrying up to get somewhere.  Putting a bit of thought into the way I go about doing things has a calming effect, almost meditative, that I can get while in action.  I find myself generally calmer, even when I took on a new career of being a dad.

So now I'm teaching others, sharing this with people who come to me for help.  It feels like I'm finally making a direct contribution to individuals (not so subliminal/subtle as playing music).

Hands-I use my hands.  I touch people.  It's a lot easier for people to understand the shifts in tone that go on in someone with AT when it's communicated by hand as well as through words.  It's perhaps clearer that way.  Words don't fully describe it.  Though they can help re-create the process, which feels different every time but can always move toward freedom or at least prevent getting stuck.

I enjoy this.  This is my work.  I knew it, recognized it when I first visited the Alexander training program in Philly.  I want to connect with people, share something of value with them.  And I think this is the most valuable thing I've ever learned.  I'm grateful that I've had the opportunity to do this, and I would like to do more.

So tell all your friends to come to my class, already!  DJernigan.com

F. M. Alexander video-1930s training course

Here's a video of F. M. Alexander from the 1930's:

http://vimeo.com/34097954

I'm posting this to give you an idea of who Alexander was and what he was like. This might be a celebration of the end of the term on his teacher training course. So far I've only seen silent videos of Alexander.

Lots of biographical info is available at http://en.wikipedia.org/wiki/F._Matthias_Alexander.

2 for the price of 1!

Most people come to Alexander Technique 'cause they've got back trouble or some kind of injury. I did, way back early in my career as a bass player. And it helps prevent injury, and you can get better. Worked for me, definitely . . .

The other part is that you learn to move more efficiently, and all the sudden things get freer and easier. As a performer it really opened me up. More expressive, swinging. Even fun!

I've seen the Alexander Technique help people in both of these ways so many time that I find it hard to try to sell it as just pain relief. I'd rather offer the twofer: you can deal with your problem-pain, tension, posture, etc., and you can connect more with your music, or any sort of performance, or any kind of job or avocation.

Class tonight! (Tuesdays at 7). Call me at 301-562-9079 or email david.jernigan@gmail.com.

notes on learning from an Alexander Technique teachers' workshop

Last weekend I attended a workshop for Alexander Technique teachers led by Rosa Luisa Rossi. I've typed up most of my notes, and here I've pulled out a few quotes, partial quotes, etc.; phrases that stood out. While I'd like to organize it into a well-crafted essay, that could take another week! This should interest anyone with some experience of the Alexander Technique, and anyone with curiosity.

main ideas:

using an accepting touch

working with curiosity with my students.

working on inhibition of the "neuroset" rather than the action.

R.L.'s Alexander story: "How can I be with myself in this way?"

"our greatest gift as humans is the ability to constructively and consciously control the way we use our whole selves, mind, body and spirit. This way we use ourselves is a constant influence in all areas of life." This is a paraphrase of a sentence using the titles of FM Alexander's 4 books:

"Man's Supreme Inheritance (1918), Constructive Conscious Control of the Individual (1923), The Use of the Self (1932), and The Universal Constant in Living (1941)

Body-oriented awareness in action.

"you just wish to be quiet throughout" (quote from Margaret Goldie, "Miss Goldie") -so the right thing can happen - the whole organization can happen.

hands-on: quality where person feels ACCEPTED.

QUALITY OF TOUCH THAT DOESN'T DEMAND ANYTHING.

FREEDOM TO CHOOSE - don't impose it.

SELF:

1. I EXIST

2. EXIST - TANGIBLY IN MY BODY

3. THEN IN SPACE

4. CURIOSITY

guide people into constructive conscious choice

Learning through INSIGHT

INHIBITING - THE ACTION?

NO, THE NEUROSET

*neuroset is a pattern of brain activity used in formulating and triggering present action plans, in light of specific situations. experiments have shown that sets influence actions in general; and habits of movement, ideas, and feelings

CONTINUE, WHILE

"I EXIST

IN BODY,

IN SPACE,

W/CURIOSITY

AN ACCEPTING TOUCH CAN CHANGE A PERSON'S BODY MAP ["this is here, that is there, this can move this way, this can be like this" -DJ]

("Body work"?) no, AT is BODY-ORIENTED AWARENESS IN ACTION

AWARENESS IN ACTION, EMBODIED

SATISFACTION:

LEARN WITHHOLDING CONSENT-STIMULATES SATISFACTION HORMONE.

"A MOVEMENT THAT WANTS TO BE ALLOWED"

FOLLOWING MOVEMENT THAT WANTS TO HAPPEN.

UNDERSTAND THE PROCESS, THE MECHANICS

** WHAT NEUROSETS COME UP?

THAT'S THE TEACHING.

I like waking up. Alexander Technique-why, how, what?

I have the opportunity to take a workshop for Alexander Technique teachers tomorrow with Rosa Luisa Rossi, who's visiting from Zurich.

She's asked some questions in advance of the workshop that challenge me to think about my Alexander Technique teaching. I hope this clarifies things and helps me move forward with my practice.

Why do I do what I do? How do I do what I do? When do I do what I do? -and, what do I like about the Alexander Technique?

First I'll say what I like about the Alexander Technique.

I like waking up, becoming aware of the world around me and the people and things in it. I like being open, free. Available to respond in a fresh way. Confident. Knowing I'm well-made for the tasks I may choose.

Now, some of my attempts to describe AT, as with doing anything that matters to me, have come along with insecurities and questions. How can I transform (with curiosity?) those questions into a positive and confident expression of this work that I love?

Why do I do what I do? How do I do what I do? When do I do what I do?

Why do I ask a lot of questions and engage in a dialogue before putting my hands on you?

I would say to a student: I want to know who you are, what you struggle with, what you want to accomplish, and how, with what qualities, you want to be and act. I want to know these things both in terms of specifics and in general, global terms.

Why do I come over and put my hands on you? It intensifies, multiplies by many times the effect I have on you.

The first thing I wish to share, the first effect, is to calm and settle you, bring your awareness into here and now. We want to prevent too quick a habitual reaction. We also would hope to prevent undue tension in your back, neck and shoulders.

Flowing out of this, I'll invite you to think about how you're poised. Become aware of your head's potential orientation up and out toward what's around you. I'll help both by touch and by having you let your eyes and ears stay open. I'd want you to become aware of your back's potential for length and width, your bottom on the chair and/or your feet on the ground, your legs and arms long, free and movable. Expansive directions, availability for movement.

Continuing to refresh these directions, we'll choose whether and how to move next. We might include an activity that's important to you, such as playing your musical instrument (many of my students are my fellow musicians or singers).

Because this is a lesson and I want you to have something to take with you, I'll ask what idea you've gotten and how you might apply it in your daily life. This is also an opportunity to see what you understand, and possibly to prevent trying to do something counterproductive. It's also a point to start from next time. Did you think about AT? Was it helpful? Where do we go from here?

More about how do I do what I do. On a good day, I bring what I love about the Alexander Technique: presence, confidence, availability, openness. When it's not completely there, when I'm distracted by my worries, I remember to just stop; I drop my worries and my left shoulder drops an inch as if the weight of the world has just departed. Then I have the physical space in my chest for breathing and heart; I become more alert and energized, more available and confident.

I'm looking forward to working with Rosa Luisa tomorrow. The practical work always helps build my confidence in my own Alexander Technique teaching. Please contact me at davizao@juno.com or 301-562-9079 and I'll show you in person!

FREE introduction to the Alexander Technique for musicians Monday, May 9

Playing more freely and comfortably

Preventing and recovering from injury

It’s a gentle process of retraining your body and refocusing your mind. It’s been used by all sorts of performers. I use hands-on guidance to help you find comfort and poise, and to keep that poise going as you get moving. Classes have individual attention and group observation.

My next free introduction:
Monday, May 9, at the crack of noon
122 Fleetwood Terrace, Silver Spring MD 20910
301-562-9079; cell 240-393-1916;