When we practice Alexander Technique, we are being mindful. Since ‘mindful’ means different things to different people, it is worth considering just what kind of attention Alexander Technique is calling for. There is a parallel with some streams of mediation practice. Learning from Zen traditions, we can use FM Alexander’s principles to refine a healthy mindful attitude.
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In early Alexander Technique lessons, students are sometime frustrated to suddenly realise they persistently use excess tension or scrunch themselves up in daily activities. Upon hearing this, I offer my congratulations. It is a significant step forward as it indicates the student has acquired recognition, a positive step in making change. To discover you are wrong is to have learnt something.
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In using Alexander Technique, one core principle is considered primary. The process of coordinating the head-spine relationship is essential to all other motion. The effective use of Alexander Technique pivots around how skilfully one can engage this coordination.
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Musicians and computer users are at the top of the list for Repetitive Strain Injuries (RSI).
Alexander Technique’s unique approaches make it a powerful tool in prevention and management of RSI symptoms. poise and action in accord with Alexander Technique principles promotes long term resolution of underlying causes of strain.
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Inevitably, students of Alexander Technique become aware of previously unrecognised habitual tensions. When interference with easeful movement or balance of tone is recognised, change for the better can be initiated. It may be tempting to perceive practice of Alexander Technique as based on looking for excess tension, then removing it. This potentially limiting view calls for an evaluation of process in using The Technique.
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For most of us, concentration is associated with tightening. When we see someone working and tightening - especially in the face - we may perceive this as concentration. It has been proposed that every thought leads to muscular action, but there is no prerequisite for this to manifest in a way which contradicts ease.
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“Get job done at any expense” is a modus operandi we’re probably all familiar with. Persistence of this attitude, the cost to ourselves wears us down. An upgrade to “Get job done without compromise to self” infinitely improves outcomes. Staying true to the principles of Alexander Technique transcends even this, and proposes a third paradigm.
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At the end of an Alexander Technique lesson, students may comment on a sense of lightness or ease and a mild bewilderment at how it came about. There are few instantaneous dramatic changes in sessions. The profound outcome comes about through an accumulation of small change. Understanding this, gives an insight into how Alexander Technique achieves what it does, and how one can practice with efficiency.
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Looking to the root of stress, one common theme is that of not being good enough. Musicians might recognise this in the form of ‘not doing enough practice’. Alexander Technique identifies the struggle which arises and introduces practices which dissolve the context for such judgement.
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Alexander Technique process is centred around thought. Whilst we are asleep, most of us have no conscious voluntary thought, so the way Alexander Technique might influence the quality of sleep is indirect. Many students comment on improvements in sleep associated with lessons, so it is worthwhile considering just how we can change sleep habits.
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It is quite easy to become absorbed in a task and lose a sense of body. After some time, the body may assert its neglect in stiffness or soreness. In early stages, it seems Alexander Technique trains us to be aware of ourselves - body and mind - whilst we undertake any activity. A deeper level exists where Alexander Technique becomes a force integrating technique, body, mind and artistry in action.
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When studying Alexander Technique, each student will progress in an individual way. There are, however, some common themes students may be able to relate to. A consideration of progression can help to put into perspective one’s own experience and development.
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Depending on a student’s condition, needs, goals and learning style, the frequency of a lesson may vary. Most students have a weekly session - sometimes other options are preferable.
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In my youth, I loved the rare opportunities for downhill skiing. There were what I considered inevitable bruises and soreness for days afterwards, but it was worth it for the thrill. After a twenty-two year hiatus, I returned to the slopes. the Alexander a Technique skills I have learnt during that time made an unexpected and remarkable impact.
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Alexander Technique cultivates skilful use of thought. It undeniably trains positive thinking. It differs, however, from other practices commonly grouped under the ‘positive thinking’ umbrella. Practicing Alexander Technique principles may help in assessing the value of other ‘positive thinking’ practices, and assist in making them constructive.
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Exercise is touted as the key to sustained good health. For many, the practice of exercise is unfortunately failing to achieve healthy outcomes. One hour of exercise per day is often not the panacea to spending the rest of the day sedentary. Alexander Technique presents a wholistic approach both to exercise, and to purportedly sedentary routines. It can keep exercise healthy, safe and fulfilling.
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The Alexander Technique has a remarkable relevance to any vocation - be it trade, art or sport. It deals with fundamentals of human coordination and has a set of principles which organise specialised skills into a constructive framework. Effective prioritisation of attention is a characteristic of positive coordination. Many attempts to find relief from pain, or to improve performance, fail because a certain hierarchy is neglected.
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A downwards orientation of the self creates a compressing, depressive force. Alexander Technique directions are sometimes abbreviated as “Think Up!” - a universal tonic to downward orientation. The upward direction may stimulate positive engagement with gravity and energise activity. A consideration of the distinction between ‘buoyancy’ and ‘opposition’ may add some refinement to the concept of ‘up’.
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In any educational process, there are inevitable ups and downs. When progress stagnates, this is an indicator that some mode of thought is preventing further development. One of the most confounding barriers to a musician is when an intention for musicality inadvertently creates conditions which limit performance.
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