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Events & Forthcoming
Meetings
Please note: if you wish to come to an event without booking then you are
advised to contact the administrator or check the website to ensure that the
event is taking place. If an event has to be cancelled for any reason, only
people who have made a booking will be informed.
London AT
Friends
Tuesday
22nd February
6:30-8:30pm, Friends Meeting House, 8
Hop Gardens, St Martins Lane, WC2N 4EH. Entrance fee: £5 (concessions £3)
Guest Speaker:
Jeannette Nelson
The Actor’s Voice: the influence of the
Alexander Technique on theatre voice coaching.
Jeannette will speak about how the
Alexander Technique impacts on her work with actors and she will
demonstrate some of that work. There will be opportunities to
participate in the exercises.
Jeannette Nelson is the Head of Voice at the National Theatre.
She
has worked extensively as a voice coach in West End, Regional and
International theatre as well as film and TV. At the National
Theatre from 1992 to 2001, at Shakespeare’s Globe for the 1997,
1998,1999, 2001 seasons and at the Royal Shakespeare Company from
2001 to 2005. In 2006 she went to Sydney Theatre Company before
returning to the National as Head of Voice in 2007.
If you would like to come to this event
then please contact Friends administrator Julia Outlaw by email at:
julia@atfriends.org
For map click
here.
Tuesday
17th May
6:30-8:30pm, Friends Meeting House, 8
Hop Gardens, St Martins Lane, WC2N 4EH. Entrance fee: £5 (concessions £3)
Guest Speaker: Dr Theodore (Ted) Dimon
Alexander Technique : A new principle of
Human Behaviour
Ted Dimon’s talk will examine why
Alexander’s discoveries represent a revolutionary body of knowledge
that makes significant contributions to our understanding of human
behaviour. By looking at its contribution to five specific fields:
education, movement, skill, health, and the psychology of mind and
body, Ted will elucidate why, in spite of the increasing popularity
of the technique, the larger scientific and educational implications
of Alexander’s work have yet to be fully appreciated.
Dr Theodore (Ted) Dimon is a
leading specialist in education and human development. His
research, carried out over the last 30 years, covers evolutionary
theory, anatomy, psychology and neuroscience with particular
reference to mind/body awareness disciplines.
He completed his training as an
Alexander teacher at the Constructive Teaching Centre with Walter
Carrington in London, UK. After graduating in 1983 he came back to
the US and took courses in biology, philosophy, psychology, and
anthropology at Harvard University leading to a Masters degree and
subsequently a Doctorate in Education in 1987. Following his
studies, Ted Dimon started writing his first book, “The Undivided
Self”, a complex 10-year project which explains the concept of
mind/body unity, and its application to the relief of stress in
everyday living.
In 1997 Ted Dimon started his first
training school for Alexander teachers in Boston; the school was to
move to New York in 2005. The challenges involved in training
students in Alexander technique has led to a series of books, the
first of which, “Anatomy of the Moving Body”, has become a standard
course book for students. Other books include “The Elements of
Skill,” a study of conscious learning techniques, and “The Body In
Motion”, a simple explanation of functional anatomy of movement.
The content of his books also forms the basis for a series of
lecture tours Ted Dimon has been giving since 1998 to audiences
across the US and Europe in major cities including London, Paris,
Amsterdam, Copenhagen, and Barcelona.
In 1996, Ted Dimon created The Dimon
Institute, an organization which promotes the development, education
and transmission of FM Alexander’s work. The Institute also houses
the Alexander Technique Archives - ATA, the collection of papers of
the late Frank Pierce Jones.
Ted Dimon currently resides and teaches
in New York, whilst maintaining an international touring schedule.
If you would like to come to this event
then please contact Friends administrator Julia Outlaw by email at:
julia@atfriends.org
For map click
here.
Coming Soon
Guest Speaker: Sue Laurie
The Alexander Technique for Performers
(This talk will be rescheduled for later in 2011)
September 2011
Diana Devitt-Dawson from The
Alexander Technique Institute in Sydney, Australia
(More details soon)
Write-Ups
Receptivity: The Accepting Hand:
a talk by Alex Farkas,
Friends Meeting House, London, November 9th 2010.
Report By Sarah Chatwin.
This was a thoughtful, practical
and inspiring session that wove together discussion,
demonstration, questions and hands-on work. In this report
I will attempt to capture the key points that came up. The
core theme was end-gaining, albeit of a subtle variety, and
the ways in which end-gaining is at odds with
self-acceptance. Alex’s own introduction to the talk sets
this out best. He wrote:
It has occurred to me of late
that the Alexander Technique offers us an opportunity to
discover and to be our true selves. We are often burdened
by the idea that when we have reached a certain goal, or
when we have achieved a certain level of skill, that only
then will we be happy with who we are. And on a parallel
plane we often think we must bring our students to a certain
level of ability or we have not fulfilled our
responsibility. Both these ideas are a type of end-gaining
albeit well-intentioned. My talk will deal with this area
of exploration and the actual application of this idea in
the course of giving a lesson: how non-doing creates a power
of attraction and leads us gently into a state of peaceful
balance and ease of movement: how the accepting hand helps
both teacher and student.
Alex began by recounting his
experiences teaching Alexander Technique in Bard College
Conservatory of Music amidst rampant end-gaining. The
pupils wanted to have knowledge but not bother with going
through the process of learning it – an attitude not
confined to music students. In contrast, for Alex the
Technique is an assertion of entirely the opposite values:
‘I’m here now and I don’t have to be anywhere else’. Staying
true to this is the work for both pupil and teacher. Alex
described the Technique as an endless process, a revealing
series of discoveries that are related to our inner states
and that never stop. On this model there is no final point
of arrival, no end to gain.
The teacher’s hand, as Alex
described it, is accepting and reassuring, quieting and
energising. It encourages self-acceptance. Humans are
susceptible to each other’s states of being, so as long as
the teacher is fluid, the hand has a receptive and
attractive power that can invite the pupil to make a
positive change, to release and experience fluidity for him
or herself. The teacher’s responsibility is his or her own:
if the teacher is not fluid, the pupil won’t respond. Alex
described this attractive power of the hand as intimate but
not personal. Through receptivity and waiting, acceptance
and self-acceptance, it is as if the teacher creates a
vacuum which attracts and influences the pupil to find the
still point at which energy bubbles up, there is release and
movement follows. Once you have release, Alex maintained,
everything else is application.
This is in no sense an
end-gaining process. The teacher is not accumulating a
level of skill to have and keep, nor looking for a
particular kind of change in the pupil. Rather this is an
experience of being in fluidity. Once the energy is
generated it will flow by itself unless we interfere with
it. We get to a state where movement and activity seem to
happen ‘without me’, they just happen.
Alex described how helpful it
had been for him to have the application of piano playing
with which to work with the Technique. His hands become
softer, the music improves and changes shape. He said that
it could help all pupils to have an activity in which they
apply the Technique. Working with musicians, Alex stressed
the importance of practicing continuity of fluidity. He
described the habit of stopping and correcting each mistake
as merely testing, instead of genuine practice which
sustains fluidity either by not interfering with it or by
recreating it moment to moment.
In the context of hands-on work,
Alex cited Marjorie Barlow’s report of FM using his hands as
little as possible, but with a clear intention and so light
that the pupil hardly knew it was there. This is the
non-doing hand, where non-doing means a doing of a very
special order. Alex gave some practical pointers to create
this quality in the hand: the opposition of softness and
length through the fingers with opening and width in the
wrist. He pointed out that when the centre of the wrist on
the back of the hand opens, there are changes in both the
lower back and in the feet. In fact Alex maintained that
the wrists can be thought of as two of our five ‘necks’ –
the others being the two ankles and of course the neck
itself. In place of the idea of Primary Control, Alex cited
FM’s earlier formulation ‘a true and primary movement’,
which for him better captures the idea that once there is
fluidity of head/neck, then energy flows.
Alex demonstrated by inviting
pupils to walk a minuet. Standing side by side, the
teacher’s hand is raised to shoulder height and the pupil’s
hand rests lightly on top. The teacher is fluid and free,
receiving and accepting the pupil. Once communication is
established, release become energy becomes movement and they
walk.
Alex was asked to describe his
internal state whilst putting hands on. Although not an
exhaustive description, Alex began by noting his feet were
soft and malleable, and that he had the thought of he inner
side of his heels rotating forwards. If this were to be
translated into movement it would lead to the feet turning
out like Charlie Chaplin, but Alex was working with the
direction only, so a thought or intention, not a position
for the feet. He also described an intention of lengthening
in his legs.
In contrast with this openness
and connectedness through legs and feet, Alex explained what
is going on for the person who says ‘I don’t know what to do
with my hands’. In this case, the flow of energy is blocked
above the wrist so the hands feel awkward. However if the
wrists are encouraged to open, it will bring vitality to the
whole arm.
Alex was asked to say more about
his understanding of the term ‘energy’. He explained that,
for him, we can feel movement and sense it as energy. This
energy can get stuck, in which case the practical thing to
do is not to worry away at the stuck area but to work
somewhere else. A change in any one place will change
everything, so the point of entry isn’t important.
To conclude, Alex said that by
the end of a lesson both teacher and pupil should feel
optimistic. The Technique will not solve the problems of
life, but rather put us in a better state to deal with
them. The work maybe an endless process, but it should be
encouraging. Alex stressed that the Technique is very
simple, but the difficult thing is to find out how simple it
is. A few weeks after the session, I received a joke email
circular featuring ‘Sayings of the Jewish Buddhist’. The
first one read:
‘Be here now. Be someplace else
later. Is that so complicated?’
I think Alex would approve.
© Sarah Chatwin 2010
Sarah Chatwin teaches
in central London. You can contact Sarah by
phone 07828 636 244, by email
sarah@sarahchatwin.com or via her website
www.sarahchatwin.com
Articles
End of an Era:
Constructive Teaching Centre moves out of Lansdowne Road
(First published in STATNews, January 2011) |
|
The era of Lansdowne Road as an international focus for the
Alexander Technique came to an end in December 2010 when the
Constructive Teaching Centre moved out of number 18. It had been
a teaching centre as well as a training course for over half a
century. Here we take a brief look at how Walter and Dilys
Carrington came to buy the house and set up one of the first
training courses in the world – a course
that has now trained hundreds of teachers.
In 1955, after F.M. died and Ashley Place
closed, Walter taught and ran a training course in Staflex
House, Bainbridge Street. Joan and Alex Murray both had lessons
there, and the teachers included Peggy Williams and John
Skinner. Around 1958, the house in Lansdowne Road came up for
sale. At first it seemed that Walter and Dilys would not be able
to buy it, but Ursula Benn and her husband came up with a scheme
that made it possible. Michael Aronson, a long-time pupil of
Walter’s, acted as solicitor. Walter and Dilys were delighted,
not least because they wanted to live and work at the same
place. They lived in the flat at the top of the house and rented
out the flat on the first floor. Tenants included the BBC TV
presenter Derek Hart (best known for Tonight), and Brian
Door, who went on to train and teach at the Centre. The four
main rooms on the ground floor, of course, were used for
training and teaching. The house also had a beautiful private
garden which led into a communal garden, accessible only to
residents.
Initially the training course was small and included Rivka
Meshoulam (now Cohen) who, with Joan Murray, had been a trainee
in Charles Neal’s class. Tony Spawforth and Edward Gellatly were
qualified teachers who worked in the class, as did Peggy
Williams. |

The front of 18 Lansdowne Road
Holland Park, London |
|
During the early 1960s Walter initiated an evening group class.
In the late 1960s, when Chariclia Gounaris and Grethe Laub were
on the course, a ‘little school’ was started in the basement.
Both of these initiatives were relatively short-lived
experiments. When Betty Rajna (later known as Betty Collins and
Betty Langford) and Paul Collins were on the course, also in the
late 1960s, Walter hosted summer week-end courses for musicians.
By 1971, Walter and Dilys wanted to make some
alterations. The flat at the top of the house was too small, and
Walter’s teaching room had to double as his study. Christina
Wilton became Walter’s secretary, which freed up Dilys’ time so
that she could work with an architect to re-model the flat
across the middle of the house. When it was ready, they made the
big move from the top flat to the new, much larger flat on the
first floor. |
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In the early 1970s there was an exponential increase in the
number of students on the training course. In fact, by 1972
there was a waiting list of several years, partly because the
then Greater London Council recognised the course and awarded
grants for studying there. (Before that, nearly all young people
worked while they trained.) The character of the training course
had changed markedly from the early days.
As well as housing the training course, 18 Lansdowne Road was
also an extremely important centre for private lessons, with
many teachers working there and hundreds of lessons being given.
For the Carringtons, of course, it was also their home. Their
three sons grew up there, and Dilys –
with her marmalade, clematis, roses, costumes, and tapestry –
lent it a feminine, homely atmosphere.
Walter passed away in 2005. Dilys continued
to live in the first floor flat until she too passed away in
2009. With the connection between the Carringtons and the
Constructive Teaching Centre no longer there, it was time for
the Centre to move on. It has found a very nice temporary home
at The Porchester Centre in Bayswater.
Anyone who trained, taught, or had lessons at
Lansdowne Road will find this a poignant and thought-provoking
time, and will have fond memories of this remarkable
establishment. |

|
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The Training Room at Lansdowne Road
© Noel Kingsley, FRPS |
|
With thanks to Alex and Joan Murray and Christina Wilton for
providing background information, and to Annie Sayer and Noël
Kingsley (http://www.noelkingsley.com/walter-carringtons-study.asp)
for the photographs. |
Inner Voice Plays
Role in Self Control
by Malcolm Williamson
(First published in STATNews, January 2011)
Scientists at the University of Toronto Scarborough have found that
talking to yourself might not be a bad thing, especially when it comes
to exercising self-control. We give ourselves messages all the time with
the intent of controlling ourselves
– whether that is telling ourselves to keep running when
we're tired, to stop
eating even though we want one more slice of cake, or to control our
temper. Alexa Tullett and colleagues have shown that your inner voice
plays an important role in controlling impulsive behaviour.
The
research team performed a series of self-control tests on participants.
In one test, participants were asked to press a button if they saw a
particular symbol appear on the screen. If they saw a different symbol,
they were told to refrain from pushing the button. The test measured
self-control because there were more
'press'
than 'don't
press' cues, making
pressing the button an impulsive response.
They then
included measures to block participants from using their inner voice
while performing the test to see if it had an impact on their ability to
perform. Participants were told to repeat one word over and over as they
performed the test. This prevented them from talking to themselves while
doing the test.
The
team found that through a series of tests, participants acted more
impulsively when they could not use their inner voice or talk themselves
through the tasks. Michael Inzlicht explained,
"Without being
able to verbalise messages to themselves, they were not able to exercise
the same amount of self-control as when they could talk themselves
through the process."
Tullett
said that it had always been known that people have internal dialogues
with themselves, but until now we had not known what an important
function they serve. Talking to ourselves in this inner voice actually
helps us exercise self-control and prevents us from making impulsive
decisions.
Now, I wonder whether the Canadian team's
findings have any relevance to our understanding of the mental activity
of 'giving orders'
– inhibiting and directing to control our own "too
quick and unthinking reaction"
– known as the Alexander Technique?
I'm
sure that using the inner voice – sub-vocalising
– is one of the ways people learn to inhibit and direct. Nowadays, it's
common to 'speak'
silently to ourselves, but not so long ago it was unusual. People
thought that voices in the head were those of God or our soul speaking
to us – and these voices of conscience were most likely telling us what
we shouldn't
be doing, not what to do.
Reading
silently to ourselves is an ability discovered only in the Middle Ages.
The Romans only read aloud. St. Augustine in A.D. 384 gives the first
account of someone reading silently to himself when he watched Ambrose
of Milan (later also made a saint):
“When he read his eyes scanned the page and his heart sought out the
meaning, but his voice was silent and his tongue was still."
It
was not until the tenth century that this manner of reading became usual
in the West. It needed the skills of Irish monks to add punctuation
marks to written texts so that their meaning could be understood without
speaking them aloud. From the earliest days of the first Sumerian
tablets, written words were meant to be pronounced out loud. The ancient
languages of the Bible –
Aramaic and Hebrew – do not differentiate
between the act of reading and the act of speaking. Gradually, written
symbols representing vocal sounds evolved into symbols representing
ideas which could remain in one's
head and never be broadcast to a wider world. More and more our culture
has developed the mind's
ability to chatter privately to itself, as Iain McGilchrist writes in
his book (2009) subtitled The Divided Brain and the Making of the
Western World (reviewed in the September 2010
issue of Statnews).
Left hemisphere over-dominance leads to less communication, social
engagement, presence
and connectedness. The difference between self-generated mind chatter
and 'sense-informed thinking'
was brought home to me some years ago by Temple Grandin in an interview
for the BBC's Horizon
programme. Animals are continually monitoring the here-and-now whereas
we humans easily become separated from where we are – less sensorily
aware – and 'live'
in a virtual world of our thoughts.
The
mind is a useful tool for solving a problem or learning how to do
something: you talk instructions though to yourself silently or out
loud. Think of how you first learned to drive a car and rehearsed the
sequence, "Mirror,
signal, handbrake". But with practice, it becomes
routine (habitual) and then you only have to decide to set off and the
sequence is played out automatically. It's
similar when learning the Alexander Technique. As a way of working on
yourself it is useful to vocalise or to sub-vocalise the directions
– ideally both ways, as speaking directions
out loud adds qualities to merely running through them in your head.
Giving time to speak out the words allows you to relish the resonance
and rhythm of the sounds. Try reading aloud from one of Alexander's
books and discover how his sentences rise and cadence with the breath,
and readily reveal their meaning.
Eventually, though, as Patrick Macdonald (1989) points out, directing
becomes something else (p82). That's
why it's important,
when you're learning to
give directions, that you say them in the right order. When all that's
entailed in primary control – 'going
up' – has become our primary habit, as Dewey
called it, then all we have to remember is to 'go
up' to take a step (or whatever). 'Going
up' creates the
advantageous conditions which determine how the
activity of stepping is organised. Walter Carrington used to say, "You
don’t go around rabbiting on to yourself about freeing your neck and not
pulling your head back once you've
decided that's what you
want."
The
Alexander Technique develops a sense of presence and non-attachment
– space that gives you time
to survey what's happening and your role of involvement: "Given
what is happening, if I take that action then that
is the most likely consequence – I wonder what will happen if...? Shall
I go ahead now or not?" That's when the
self-control operates, in the space between receiving a stimulus and our
response. We are, then, not so liable to becoming out of touch with our
reason (or our senses), or quite so subject to impulsive
"emotional gusts".
So,
yes, talking to ourselves is a very useful tool for learning and
practising self-control – a
useful way of working on ourselves, as
we say – but it's not
necessarily a part of applying the Technique or good use. Once we are
competent then our mind quietens and awareness can return to
sense-informed observing (monitoring), and we can fully engage with the
unfolding of life's
rich tapestry.
References
Tullett, A, et al., Inner Voice Plays Role in Self Control Acta
Psychologica, September
2010.
http://media.utoronto.ca/media-releases/inner-voice-plays-role-in-self-control/
Alberto Manguel, A History of Reading,
New York: Viking 1996.
John Dewey, Human Nature and Conduct,
1922.
Patrick Macdonald, The Alexander Technique as I
See It, Rahula Books
1989.
Iain McGilchrist, The Master and His Emissary,
Yale University Press 2009.
© Malcolm Williamson, January
2011
Books
|
Golf Sense
Practical Tips On How To Play Golf In The Zone
Roy Palmer, illustrated by Sophie Webber, FrontRunner
Publications, 2010, pbk, 153pp
ISBN 978-0-956259-30-1, available from Amazon.
(First published in STATNews, January 2011)
Review by Martyn Jones
|
|
As a golf coach and Alexander teacher, I was asked to review
Roy Palmer’s new book Golf Sense. I have not met Roy
personally and, when reading the Acknowledgements, found out
Roy does not play golf. So I was intrigued to find out if
this book could, in fact, help me find and consistently be
in ‘the Zone’, the Holy Grail in golf, a place where one
would like to be, but a place so difficult to find that many
golfers never find it, and for the few that have experienced
the phenomenon, so difficult to return to.
I have read many books on the mental side
of golf. All have had a chapter on the Zone, all have
similar ideas, but none goes into such detail as Golf
Sense. I am looking forward to trying to find the Zone
and playing in it, after reading the book. The book is nice
to feel and easy to read, with simple illustrations which
are easy to understand.
Alexander wrote, in The Use of The
Self, a chapter on the golfer who cannot keep his eyes
on the ball. He wrote: “Strange as it may seem, I have
always found that a pupil who uses himself wrongly will
continue to do so in all his activities”. Golfers are, by
nature of the game, severe end-gainers, as they are trying
to get the ball in the hole. |

|
|
Palmer starts by using a table of practical exercises which
would be of great interest in a workshop on the Alexander
Technique: the chair, head balance, semi-supine, spiralling,
walking, and a number of ways to try to find ‘neck free’.
Getting into ‘the Moment’ is right on for ‘neck free’. Where
Palmer slips up is in mentioning the dreaded ‘monkey’ word,
a horror in the golf world. Golfers do not like to ‘do the
monkey’. In the world of golf there is the ‘set up’, the
position a golfer adopts when preparing to hit the ball. In
our world it is ‘the monkey’. Golfers are taught to do the
movement, and when they can do the movement, they practise
it over and over again to create a habit and put it in their
memory banks, using what they call ‘feel’. They try ‘to
feel’ the swing.
Tom is an imaginary golfer working
through the book: his thoughts in the last chapter are a
non-stop check-out of instructions, making the mind totally
confused. This is the opposite of what is trying to be
achieved, i.e. of being in the Zone, a place of being able
to maintain a relaxed concentration on what you are doing.
I asked a non-golfer to read the book and
give me feedback: she said it was interesting, but it kept
going over things in the same way. The book seems to make
trying to do nothing very complicated, as we teachers all
do, sometimes, when saying too much in an Alexander lesson.
Moreover, there is a tendency to refer to pages yet to come
and pages which have passed, which interrupts the thread of
the reading.
Also, at the end of the book, under
Useful Resources, there is a reference to audio
instructions and videos which are available from Roy’s
website, but they had not been set up when I accessed the
site. To use technology to your advantage, you must be sure
it works.
What will be the reaction and
understanding of the golfer when taking this book off the
shelf? In my mind, they may find it complex and confusing.
There are a number of practical exercises, including Playing
in the Zone, Body Basics, Seven Experiments –
all very complex to the golfer, who is, by nature of the
game, an end-gainer.
Who would benefit from this book? I think
it, and the work which went into it, is of great interest to
all of the Alexander Technique community. It is a detailed
study of Inhibition, and one I have not seen before in our
world. We should all have a copy on our bookshelf, next to
Alexander’s books.
As for me, I can get into the Moment, and
find the book very helpful for that, but the Zone is still a
very occasional companion.
© Martyn Jones, 2011
Books |
Please
contact us
with any ideas or contributions relating to books.
Notices
We are sorry to report that Fran
Robinson passed away on 18 August 2010.
Announcements
For details of the International Congress of the F M
Alexander Technique in Lugano (7-13 August 2011) go to:
www.atcongress.com
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