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Alexander technique

 
Oxford Food & Fitness Dictionary:

Alexander technique

A technique that corrects established defects of posture, particularly those related to the back when lying, sitting, standing, or walking. According to its deviser, the Australian therapist F.M. Alexander, the technique promotes relaxation and can help eliminate aches, pains, and other disorders associated with muscle tension and poor posture.

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Oxford Companion to the Body:

Alexander Technique

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Frederick Matthias Alexander (1869-1955) was an Australian actor and Shakespearean reciter who suffered persistent loss of voice during performance. Although the treatments prescribed by his doctor, combined with rest, succeeded in restoring his voice, this was only a temporary solution. The problem returned as soon as he went back on the stage. Alexander put it to his doctor that the cause must lie in the way he was using his voice, in something that he was doing. Although the doctor agreed, he couldn't say what was wrong. Alexander decided, therefore, to find out for himself.

Over a period of years, beginning in about 1892, Alexander made careful observations of himself and experimented with the way in which he spoke. He did this with nothing more elaborate than a simple arrangement of mirrors. He discovered a pattern of habits which were putting a strain on his larynx and which were responsible for his vocal problems. Through his efforts to change his habits and restore his voice to its proper functioning, he discovered a great deal about human co-ordination and created the method which is taught today as the Alexander Technique.

The particular habits which were the source of Alexander's problem included the tendency to pull his head back and down upon his spine, depress his larynx, and gasp in air through the mouth. These habits were not difficult to discover, though he had not noticed them before. What was really difficult however, was to change them. His repeated failures forced him to reconsider some common and basic assumptions about how the human organism works.

One such assumption was the idea that specific habits can be dealt with separately. Alexander discovered, to the contrary, that specific habits are inseparable from the whole. The way he used his head, neck, larynx, and his breathing were all tied up with everything else he was doing. He found that the solution was to change the way he co-ordinated his action as a whole. When he improved the quality of his co-ordination, the specific habits improved as a consequence. This illustrates the principle of psycho-physical unity, which is central to the Alexander Technique. The individual always acts as a whole, which includes all mental and physical processes.

Alexander also had to reconsider his reliance on the sense of feeling. For he saw that at critical moments he was not doing what he felt he was doing. Even though he felt he was speaking without pulling back his head, the mirror showed otherwise. He had discovered unreliable sensory appreciation. He learned that to change his habits he had to rely on reasoning, for the sense of feeling only enables the repetition of familiar, habitual actions. It could not guide him into a new experience. In the Alexander Technique, you maintain a series of thoughts to direct your co-ordination, rather than relying on the sense of feeling.

The Alexander Technique is a method you can use to change your habitual patterns of co-ordination. It is a skill which you can apply in any circumstance. The first step is inhibition, which is the refusal to act immediately. The second step is direction, which involves thinking of the optimum pattern of co-ordination. This optimum pattern consists of a certain relationship between head, neck, back, and limbs, which is referred to as the primary control. The third step is to make a conscious choice, whether to go ahead with the original intention, do nothing at all, or do something different. These procedures must be unpacked and expanded with the help of a teacher in order for them to be accurately understood.

The improvements in Alexander's voice, and in his health in general, were striking. He was soon in great demand to teach his technique to other actors and singers. As they learned to correct their habits of co-ordination on a general basis, they too experienced greater control in performance and an improvement in functioning in all areas. Poor co-ordination and the chronic strain it entails is associated with problems as diverse as backache, migraine, arthritis, digestive disturbances, circulatory disturbances, breathing disorders, acne, eczema, insomnia, anxiety, neurosis, and depression. When he saw that improvements in co-ordination led to corresponding improvements in health, that use determines functioning, Alexander realized that he had discovered something more important than vocal development, and gave up the stage to devote himself to teaching full time. In 1904 Alexander came to London, armed with letters of introduction from prominent Sydney doctors and specialists who urged him to seek wider recognition. Later he also took his technique to the U. S. Between 1914 and 1924 he spent half of his time there and half of his time in London.

The Alexander Technique is fundamentally educative, in that people learn to improve the way in which they use themselves in any activity. They learn a skill which gives them greater control over themselves. Yet, as Alexander discovered with his first pupils, it is very difficult for people to put this into practice with only a verbal explanation. He evolved a way of putting his hands on people to guide them away from their fixed habits and into a better co-ordination. This use of the hands is often misunderstood. It is not therapeutic, but is instructive for the student who is learning to put the technique into practice. Alexander also discovered that individual attention was of utmost importance. Lessons in the Alexander Technique are given on a one to one basis.

The Alexander Technique is often grouped with alternative therapies. However, it is neither a therapy, nor is it alternative. It is founded on the same scientific process of investigation as any orthodox practice. It is based on the evidence, not yet fully appreciated by modern medicine, that our psycho-physical habits in the daily activities of life play a significant part in determining our state of health and performance.

The Society of Teachers of the Alexander Technique in London, and affiliated societies in other countries, oversee and certify the training of teachers, who must undergo a 3-year practical training programme. Teachers are increasingly accepted in scientific and medical circles, for even though the technique represents an approach to human problems which is new and challenging, it does not conflict with any established anatomical or physiological principles. When Nikolaas Timbergen won the Nobel Prize for Physiology or Medicine in 1973 he devoted a portion of his oration to praise the value of Alexander's technique, and to confirm its scientific standing.

— Tasha Miller, David Langstroth

Bibliography

  • Alexander, F. M. (1985 [1932]). The use of the self. Gollancz, London.
  • Barlow, W. (1973). The Alexander Principle. Gollancz, London

See also mind-body interaction; movement, control of.

A technique that corrects established defects of posture, particularly with regard to the back when lying, sitting, standing, or walking. According to its deviser, the Australian therapist F. M. Alexander, the technique promotes relaxation, and can help eliminate aches, pains, and other disorders associated with muscle tension and poor posture.

Wikipedia on Answers.com:

Alexander technique

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The Alexander Technique teaches the ability to improve physical postural habits, particularly those that have become ingrained or are conditioned responses. The technique is purported to improve performance, self observation and impulse control and relieve chronic stiffness, tension and stress.

The technique is named after Frederick Matthias Alexander, who in the 1890s[1] developed its principles as a personal tool to alleviate breathing problems and hoarseness during public speaking. He credited the technique with allowing him to pursue his passion for Shakespearean acting.[citation needed]

Contents

History

Alexander was a Shakespearean orator who developed voice loss during his performances. After doctors of the era informed him they could find no physical cause, Alexander reasoned that he was doing something to himself while speaking to cause his problem. His self-observation in multiple mirrors revealed that he was contracting his whole body prior to phonation in preparation for all verbal response. He developed the hypothesis that this habitual pattern of pulling the head backwards and downwards needlessly disrupted the normal working of the total postural, breathing and vocal mechanisms. After experimenting to develop his ability to stop the unnecessary and habitual contracting in his neck, he found that his problem with recurrent voice loss was resolved. While on a recital tour in New Zealand (1895) he began to realise the wider significance of head carriage for overall physical functioning.[citation needed] Further, Alexander observed that many individuals commonly tightened the musculature of the upper torso as he had done, in anticipation of many other activities besides speech.

Alexander believed his work could be applied to improve individual health and well being. He further refined his technique of self-observation and re-training to teach his discoveries to others. He explained his reasoning in four books published in 1918, 1923, 1931 (1932 in the UK) and 1942. He also trained teachers to teach his work from 1930 until his death in 1955. Teacher training was interrupted during World War II between 1941 and 1943, when Alexander accompanied children and teachers of the Little School to Stow, Massachusetts to join his brother. A.R. Alexander also taught his brother's technique, despite being in a wheelchair.

Process

Alexander's approach emphasizes the use of freedom to choose beyond conditioning in every action. The technique is applied dynamically to everyday movements, as well as actions selected by students.

Because of a change in balance, actions such as sitting, squatting, lunging or walking are often selected by the teacher. Other actions may be selected by the student, tailored to their interests or work activities such as hobbies, computer use, lifting, driving or performance in acting, sports, speech or music. Alexander teachers often use themselves as examples. They demonstrate, explain, and analyze a student's moment to moment responses as well as using mirrors, video feedback or classmate observations. Guided modeling with light hand contact is the primary tool for detecting and guiding the way past unnecessary effort. Suggestions for improvements are often student-specific.[2]

Exercise as a teaching tool is deliberately omitted because of a common mistaken assumption that there exists a "correct" position. There are only two specific exercises practiced separately; the first is lying semi-supine; resting in this way uses "mechanical advantage" as a means of releasing cumulative muscular tension. It's also a specific time to practice Alexander's principle of conscious "directing" without "doing." The second exercise is the "Whispered Ah," which is used to coordinate and free breathing & vocal production.

Freedom, efficiency and patience are the prescribed values. Proscribed are unnecessary effort, self-limiting habits as well as mistaken perceptual assumptions. Students are led to change their largely automatic routines that are interpreted by the teacher to currently or cumulatively be physically limiting, inefficient or not in keeping with anatomical structure. The Alexander teacher provides verbal coaching while monitoring, guiding and preventing unnecessary habits at their source with a specialized hands-on assistance. This specialized hands-on requires Alexander teachers to demonstrate on themselves the improved physical coordination they are communicating to the student.[3]

Alexander developed terminology to describe his methods, outlined in his four books that explain the sometimes paradoxical experience of learning and substituting new improvements.

Constructive Conscious Control: Alexander insisted on the need for strategic reasoning because kinesthetic sensory awareness is a relative sense, not a truthful indicator of factual bodily relationship in space. The current postural attitude is sensed internally as customarily normal, however inefficient. Alexander's term, "debauched sensory appreciation" describes how the repetition of a circumstance encourages habit design as a person adapts to circumstances or builds skills. Once trained and forgotten, completed habits may be activated without feedback sensations that these habits are in effect, just by thinking about them.[4] Short-sighted habits that have become harmfully exaggerated over time, such as restricted breathing or other habitually assumed adaptations to past circumstances, will stop after learning to perceive and prevent them.

End-gaining: Another example is the term "end-gaining". This term means to focus on a goal so as to lose sight of the "means-whereby" the goal could be most appropriately achieved. According to Alexander teachers, "end-gaining" increases the likelihood of selecting older or multiple conflicting coping strategies. End-gaining is usually carried out because an imperative priority of impatience or frustration justifies it.

Inhibition: In the Alexander technique lexicon, the principle of "inhibition" is considered by teachers to be the most important to gaining improved "use." F.M. Alexander's selection of this word pre-dates the modern meaning of the word originated by Sigmund Freud. Inhibition describes a moment of conscious awareness of a choice to interrupt, stop or entirely prevent an unnecessary habitual "misuse". As unnecessary habits are prevented or interrupted, a freer capacity and range of motion resumes, experienced by the student as a state of "non-doing" or "allowing."

Primary control: This innate coordination that emerges is also described more specifically as "Primary Control". This is a key head, neck and spinal relationship. The body's responses are determined by the qualities of head and eye movement at the inception of head motion. What expands the qualities of further bodily response is a very subtle nod forward to counteract a common backward startle pattern, coupled with an upward movement of the head away from the body that lengthens the spine. Students gradually learn to include their whole body toward their new means of initiating motion.

Directions: To continue to select and reinforce the often less dominant "good use", it is recommended to repeatedly suggest, by thinking to oneself, a tailored series of "Orders" or "Directions." "Giving Directions" is the term for thinking and projecting an anatomically ideal map of how one's body may be used effortlessly. "Directing" is suggestively thought, rather than willfully accomplished, because the physical responses to "Directing" often occur underneath one's ability to perceive. As freedom of expression or movement is the objective, the most appropriate responses cannot be anticipated, but are observed and chosen in the moment.

Psycho-physical unity: Global concepts such as "Psycho-physical Unity" and "Use" describe how thinking strategies and attention work together during preparation for action. They connote the general sequence of how intention joins together with execution to directly affect the perception of events and the outcome of intended results.[5]

Uses

The Alexander technique addresses the nuisance habits of actors and musicians. As remedial movement education, it teaches freedom of movement, improving specific self-imposed limitations brought about by unconscious postural habits. It offers a means of aware self-observation and holistic impulse control.[citation needed] The remedial application includes alleviating pain and limitation as a result of poor posture or repetitive physical demands. The technique improves pain management for chronic disability. It offers rehabilitation following surgery or injury where compensatory habits were designed to avoid former pain that needs to be eliminated after healing for complete recovery.[citation needed]

As an example among performance-art applications, the Alexander technique is used and taught by classically trained vocal coaches and musicians. Its advocates claim that it allows for the free alignment of all aspects of the vocal tract by consciously increasing air-flow, allowing improved vocal technique and tone. Because the technique has allegedly been used to improve breathing and stamina in general, advocates also claim that athletes, people with asthma, tuberculosis, and panic attacks have also found improvements. The technique has been used by actors to reduce stage fright and to increase spontaneity. By improving stress-management, the technique can be an adjunct to psychotherapy for people with disabilities, Post-traumatic Stress Disorder, panic attacks, stuttering, and chronic pain.[6]

Teaching

The technique is most commonly taught privately in a series of 20 to 40 private lessons which may last from 30 minutes to an hour. Its principles have also been adapted to be taught in groups and workshops. This often uses short individual lessons demonstrated in turn which act as examples to the class, along with other group activities about principles. To qualify as a teacher of Alexander Technique, completion is required of at least 1,600 hours, spanning at least three years of supervised teacher training. The result must be satisfactory to qualified peers to gain membership in professional societies.[2]

Evaluation

There is evidence that the Alexander technique is effective and cost-effective in the management of chronic pain.[7]

In 2004, Maher concluded that "Physical treatments, such as acupuncture, backschool, hydrotherapy, lumbar supports, magnets, TENS, traction, ultrasound, Pilates therapy, Feldenkrais therapy, Alexander technique, and craniosacral therapy are either of unknown value or ineffective and so should not be considered" when treating lower back pain with an evidence-based approach.[8]

Costs and insurance

In the United Kingdom, there is some insurance coverage for the costs for Alexander lessons through the Complementary and Alternative Practitioners Directory. Otherwise, individuals must pay for their Alexander Technique education out of pocket. Private lessons usually cost in a similar rate compared to private music lessons, depending on the reputation and available time of the teacher.[citation needed]

Inexpensive classes are rarely available. Workshops do exist, but usually do not last long enough to fulfill educational requirements for most students, who must then attend additional private lessons if they want to gain proficiency. Consumers who have been sold on the benefits of instant results may hesitate giving the required commitment of twenty to forty private lessons. This is the duration most Alexander teachers recommend to gain proficiency.[citation needed]

Lessons may result in changes of height and posture, which call for a new wardrobe or require other costs for new ergonomic adjustments in the daily environment. Practicing the Alexander technique cannot affect skeletal deformities once they occur (such as arthritis, osteoporosis) or halt the progress of other diseases affecting movement ability, (such as Parkinson's, etc.) However, Alexander Technique can augment the ability to cope with these issues.[citation needed]

Influence

The American philosopher and educator John Dewey became impressed with the Alexander technique after his headaches, neck pains, blurred vision, and stress symptoms largely improved during the time he used Alexander's advice to change his posture.[9] In 1923, Dewey wrote the introduction to Alexander's Constructive Conscious Control of the Individual.[10]

Since Alexander's work in the field came at the turn of the century, his ideas influenced many originators in the field of mind-body improvement. Fritz Perls, who originated Gestalt therapy, credited Alexander as an inspiration for his psychological work.[11] The Feldenkrais Method and the Mitzvah Technique were both influenced by the Alexander technique, in the form of study previous to the originators founding their own disciplines.

See also

References

  1. ^ Rootberg, Ruth (September 2007). Mandy Rees. ed. "Voice and Gender and other contemporary issues in professional voice and speech training". Voice and Speech Review, Voice and Speech Trainers Association, Inc, Cincinnati, OH 35 (1): 164–170. 
  2. ^ a b Arnold, Joan; Hope Gillerman (1997). "Frequently Asked Questions". American Society for the Alexander Technique. http://www.alexandertech.org/misc/faq.html. Retrieved 2007-05-02. 
  3. ^ Improvement in Automatic Postural Coordination Following Alexander Technique Lessons in a Person With Low Back Pain - W Cacciatore et al. 85 (6): 565 - Physical Therapy
  4. ^ Body_Learning - An_Introduction to the Alexander Technique, Macmillan, 1996 ISBN_0805042067, quote p. 74, an article in New Scientist by Professor John Basmajian entitled "Conscious Control of Single Nerve Cells"
  5. ^ McEvenue, Kelly (2002). The Actor and the Alexander Technique (1st Palgrave Macmillan ed.). New York: Macmillan. pp. 14. ISBN 0312295154. http://books.google.com/books?id=ixvTPRlcSMoC. 
  6. ^ Aronson, AE (1990). Clinical Voice Disorders: An Interdisciplinary Approach,. Thieme Medical Publishers. ISBN 0865773378. 
  7. ^ Smith BH, Torrance N (June 2011). "Management of chronic pain in primary care". Curr Opin Support Palliat Care 5 (2): 137–42. doi:10.1097/SPC.0b013e328345a3ec. PMID 21415754. 
  8. ^ Maher CG (January 2004). "Effective physical treatment for chronic low back pain". Orthop. Clin. North Am. 35 (1): 57–64. doi:10.1016/S0030-5898(03)00088-9. PMID 15062718. 
  9. ^ Ryan, Alan (1997). John Dewey and the high tide of American liberalism. New York: W.W. Norton. pp. 187–188. ISBN 0-393-31550-9. 
  10. ^ F. M. Alexander, Constructive Conscious Control of the Individual, E. P. Dutton & Co., 1923, ISBN 0-913111-11-2
  11. ^ Tengwall, Roger (1996). "A note on the influence of F. M. Alexander on the development of gestalt therapy". Journal of the History of the Behavioral Sciences (Wiley) 17 (1): 126–130. doi:10.1002/1520-6696(198101)17:1<126::AID-JHBS2300170113>3.0.CO;2-X. ISSN 1520-6696. 

Further reading

  • Alexander, FM Man's Supreme Inheritance, Methuen (London, 1910), revised and enlarged (New York, 1918), later editions 1941, 1946, 1957, Mouritz (UK, 1996), reprinted 2002. ISBN 0-9525574-0-1
  • Alexander, FM Constructive Conscious Control of the Individual, Centerline Press (USA,1923), revised 1946, Mouritz (UK, 2004) ISBN 0-9543522-6-2, ISBN 978-9543522-6-4
  • Alexander, FM The Use of the Self, E. P. Dutton (New York, 1932), republished by Orion Publishing, 2001, ISBN 0-7528-4391, ISBN 978-0752843919
  • Alexander, FM The Universal Constant In Living, Dutton (New York, 1941), Chaterson (London, 1942), later editions 1943, 1946, Centerline Press (USA, 1941, 1986), Mouritz (UK, 2000) ISBN 091311118X, ISBN 978-0913111185, ISBN 0-9525574-4-4
  • Brennan, Richard (May 1997). The Alexander Technique Manual. London: Connections UK. ISBN 1-85906-163-x. 
  • Jones, Frank Pierce (May 1997). Freedom to Change; The Development and Science of the Alexander Technique. London: Mouritz. ISBN 0-9525574-7-9. 
  • Jones, Frank Pierce (1999). ed. Theodore Dimon, Richard Brown. ed. Collected Writings on the Alexander Technique. Massachusetts: Alexander Technique Archives. ISBN ATBOOKS058. 

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