Integrating principles of the Alexander technique into a dance technique class can provide tools for facilitating a more coordinated use of the self. There are six themes that are will be explored and methods of incorporating these principles.
Alexander technique is designed to be taught through private lessons. The teacher uses her hands, along with verbal instructions, to elicit changes in the student’s fundamental movements patterns. This one-on-one training session provides students specific feedback about patterns of movement and ingrained habits, which they might be unaware of. The focus is on an individual. However in the nature of a dance class, the teacher is required to give her attention to a group.
Another philosophical difference between dance technique and Alexander technique is that Alexander technique is based on the notion of “non-doing” while dancers are trained to be “doing”. In a dance setting, the idea of correcting is a common approach. In Alexander technique, students are taught how to “not do” before proceeding with a new approach to a movement. They are more concerned with the process of getting to the result also known as “means whereby”, whereas dance students are inclined to attain the result.
1. Unreliable Sensory Application
When a student receives a correction from a teacher during dance class, the student is challenged with their idea of what is right. What might feel normal may not be the most optimal? Receiving a correction that you have been standing with your weight too far back and having to shift more weight forward, would feel “wrong” to you. It feels uncomfortable and wrong because your habitual way of standing feels normal. Alexander called this phenomenon “Unreliable Sensory Appreciation.”
One cannot rely on just feeling to alter the habitual patterns of movement. The first step to making change is recognizing it and becoming aware of it. One way of incorporating this into technique class is to get students to pair up, observe and give feedback to each other. Get them to share their observations and bring habitual patterns into consciousness. This help to cultivate students’ observation and communication skills, providing an alternative method of feedback instead of relying on the mirror and the teacher. (Gelb, 1987:52)
2. Psychophysical Unity: Use affects function
Alexander believed that a person functions as a whole, a psychophysical unity of the body mind and emotion. The body and mind cannot be separated from the “self”. The focus of the technique centers on the improvements of the entire system. When one can alter and changed the way you coordinate yourself as a whole system, specific habits improve gradually. (Gelb,1 987:53) The emotional aspect is also an integral to the functioning of the whole system. The state of happiness has a positive influence on the overall emotional state of the individual.
A goal of the Alexander technique is to give students tools to make choices about the way they employ physical, emotional and intellectual functions. The purpose is to “create the conditions for ‘natural functioning’, through a balanced distribution of energy, each part of the system performing its work in harmony with the rest.”
Dancers must learn to view themselves as a whole organism as they go through their technique classes and rehearsals and give them a different perspective when they deal with injuries or pain. To enhance one’s functioning, one must make improvements in one’s overall pattern of use. To improve the use of one part, one must improve the use of the whole.
3. Primary Control
“The Primary Control is made up of processes which control the use of the head and neck in relation to the body and enable us to use ourselves in the right way.” (Netti-Fiol, 2006)
Primary Control is the dynamic relationship between the head and the neck, and of both the head and neck in relation to the back is central to one’s coordination, balance, and functioning. It is not the correct position of the head and the spine, but the discovery of the poised relationship of the balance of the head on the spine that is free and ready for movement. (Netti-Fiol, 2006)
One method to help initiate this is to think of allowing the neck to be free, allowing the head to move in any direction. Learning to use the primary control is key to finding a coordinated use of the whole system. The best way to observe primary control in action is to observe a baby learning to crawl, sit or walk or a cat jumping. In these examples, you can clearly see the poised relationship of the head, neck and torso, causing coordinated and efficient movements. (Netti-Fiol, 2006)
Teachers can use the concept of “primary control” during dance class to remind students not to lock the muscles of the neck, allowing freedom and to experiment with initiating movement with the eyes first. In addition, students can allow the head and then the body to follow. The teacher can get the students to explore the idea of “head leads, body follows” can benefit and improve the use of the whole body system. (Netti-Fiol, 2006)
Once students begin to experience and understand the coordinated use that is gained through the effective balance of the head in relation to the neck and back, they can explore this on a much subtler level. When initiating another movement from another body part, simply thinking of the “head leads, the body follows” concept will stimulate primary control in the movement.
4. Inhibition
When you stop doing the wrong thing, the right thing does itself. – F.M. Alexander (Stevens, 1987: 50)
To initiate change in the Alexander technique, the first steps is to inhibit or prevent our automatic way of responding to a stimulus. Experienced dancers may have difficult to “not to do” rather than “do” or “overdo”. Inhibition means stopping an initial response and instead of replacing it with another action, this gives space and open door of new possibilities. Inhibition or learning to pause and think for a split second prior to making a decision allows the opportunity for choice over the habit.
A teacher can encourage this practice by mixing up the way a combination start and make the count “1” as an empty count with no movement. Use this count to direct students to think or not do or allowing the neck to be free. (Netti-Fiol, 2006)
The concept of inhibition can be applied to giving correction to students and encourage an investigative approach. The teacher can observe the students in a variety of contexts and see if one notice patterns of movements and make suggestions to the student to address the initiation of the pattern.
5. Direction
“There is no such thing as a right position, but there is such a thing as a right direction.” Alexander FM (1995:194)
After inhibition, the next step is to give oneself a specific direction that involves a process of thinking with intention in preparation for movement. Releasing the neck, allows the head to move forward and up, and the back can lengthen and widen. Directions should be thought, but not consciously translated into muscular action. The practice of “thinking” rather than “doing” is essential to counteract habitual muscular response. Stiffening is not a part of Alexander technique, and a good checkpoint is to see if the neck is free. (Netti-Fiol, 2006)
The phrase “head forward and up” describes a relationship of the head to the spine in which the head balances forward and upwards in relation to the top of the spine. This allows a lengthening force on the neck and then the spine. It does not mean that one should take one’s head in the direction, forward and up in space. (Netti-Fiol, 2006)
The teacher can challenge the student to get them to think of the direction, or spatial intent of the movement prior to performing that movement. The movement phrase can consist of distal initiations: top of the head, fingertip or toes, for example. This helps to facilitate directions of lengthening and widening, allowing students to experience a sense of expansiveness.
6. Primary and Secondary Curves-the lively interplay
The Alexander technique allows dancers to find freedom of movements in the joints, allowing ease of motion and efficiency in movement. Applying the principles allow a constant change and adjustment each time one makes a move, versus a perfect posture or alignment that we aim to attain.
The primary curve known as the “fetal curve” is the curve the baby is born with, which may be described as a flexion of the spine. The primary curve in the adult is the thoracic and sacral curves. The secondary curve is known as hyperextension of the spine. The secondary curves in the adult are the cervical and lumbar regions. When a dancer executes a tendu in front from position, the back goes into primary curve. When the dancer executes a tendu with the back foot, the back goes into secondary curve.
Dancers need to have a kinesthetic and intellectual understanding of the spinal curves allow for natural adjustments to happen in the body as they perform movements. It discourages dancer from bracing and rigidity and from over-straightening that frequently occur in dancers as they strive to be “correct.” (Netti-Fiol, 2006)
As a teacher creates dance material for technique class, she should examine the material and allow for alternation between primary and secondary curves. While teaching the material, the teacher should find cues to direct the students’ bodies to adjust from one curve to another. The teacher should observe the students natural tendencies.
Reference:
Gelb, M (1987) Body Learning An Introduction to the Alexander Technique. Great Britain: Hartnolls Ltd, Bodmin.
Netti-Fiol, R (2006) Alexander Technique and Dance Technique Application in the Studio. Journal of Dance Education 6 (3) 78-85. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&vid=15&hid=4101 [15 January 2015].
Alexander technique is designed to be taught through private lessons. The teacher uses her hands, along with verbal instructions, to elicit changes in the student’s fundamental movements patterns. This one-on-one training session provides students specific feedback about patterns of movement and ingrained habits, which they might be unaware of. The focus is on an individual. However in the nature of a dance class, the teacher is required to give her attention to a group.
Another philosophical difference between dance technique and Alexander technique is that Alexander technique is based on the notion of “non-doing” while dancers are trained to be “doing”. In a dance setting, the idea of correcting is a common approach. In Alexander technique, students are taught how to “not do” before proceeding with a new approach to a movement. They are more concerned with the process of getting to the result also known as “means whereby”, whereas dance students are inclined to attain the result.
1. Unreliable Sensory Application
When a student receives a correction from a teacher during dance class, the student is challenged with their idea of what is right. What might feel normal may not be the most optimal? Receiving a correction that you have been standing with your weight too far back and having to shift more weight forward, would feel “wrong” to you. It feels uncomfortable and wrong because your habitual way of standing feels normal. Alexander called this phenomenon “Unreliable Sensory Appreciation.”
One cannot rely on just feeling to alter the habitual patterns of movement. The first step to making change is recognizing it and becoming aware of it. One way of incorporating this into technique class is to get students to pair up, observe and give feedback to each other. Get them to share their observations and bring habitual patterns into consciousness. This help to cultivate students’ observation and communication skills, providing an alternative method of feedback instead of relying on the mirror and the teacher. (Gelb, 1987:52)
2. Psychophysical Unity: Use affects function
Alexander believed that a person functions as a whole, a psychophysical unity of the body mind and emotion. The body and mind cannot be separated from the “self”. The focus of the technique centers on the improvements of the entire system. When one can alter and changed the way you coordinate yourself as a whole system, specific habits improve gradually. (Gelb,1 987:53) The emotional aspect is also an integral to the functioning of the whole system. The state of happiness has a positive influence on the overall emotional state of the individual.
A goal of the Alexander technique is to give students tools to make choices about the way they employ physical, emotional and intellectual functions. The purpose is to “create the conditions for ‘natural functioning’, through a balanced distribution of energy, each part of the system performing its work in harmony with the rest.”
Dancers must learn to view themselves as a whole organism as they go through their technique classes and rehearsals and give them a different perspective when they deal with injuries or pain. To enhance one’s functioning, one must make improvements in one’s overall pattern of use. To improve the use of one part, one must improve the use of the whole.
3. Primary Control
“The Primary Control is made up of processes which control the use of the head and neck in relation to the body and enable us to use ourselves in the right way.” (Netti-Fiol, 2006)
Primary Control is the dynamic relationship between the head and the neck, and of both the head and neck in relation to the back is central to one’s coordination, balance, and functioning. It is not the correct position of the head and the spine, but the discovery of the poised relationship of the balance of the head on the spine that is free and ready for movement. (Netti-Fiol, 2006)
One method to help initiate this is to think of allowing the neck to be free, allowing the head to move in any direction. Learning to use the primary control is key to finding a coordinated use of the whole system. The best way to observe primary control in action is to observe a baby learning to crawl, sit or walk or a cat jumping. In these examples, you can clearly see the poised relationship of the head, neck and torso, causing coordinated and efficient movements. (Netti-Fiol, 2006)
Teachers can use the concept of “primary control” during dance class to remind students not to lock the muscles of the neck, allowing freedom and to experiment with initiating movement with the eyes first. In addition, students can allow the head and then the body to follow. The teacher can get the students to explore the idea of “head leads, body follows” can benefit and improve the use of the whole body system. (Netti-Fiol, 2006)
Once students begin to experience and understand the coordinated use that is gained through the effective balance of the head in relation to the neck and back, they can explore this on a much subtler level. When initiating another movement from another body part, simply thinking of the “head leads, the body follows” concept will stimulate primary control in the movement.
4. Inhibition
When you stop doing the wrong thing, the right thing does itself. – F.M. Alexander (Stevens, 1987: 50)
To initiate change in the Alexander technique, the first steps is to inhibit or prevent our automatic way of responding to a stimulus. Experienced dancers may have difficult to “not to do” rather than “do” or “overdo”. Inhibition means stopping an initial response and instead of replacing it with another action, this gives space and open door of new possibilities. Inhibition or learning to pause and think for a split second prior to making a decision allows the opportunity for choice over the habit.
A teacher can encourage this practice by mixing up the way a combination start and make the count “1” as an empty count with no movement. Use this count to direct students to think or not do or allowing the neck to be free. (Netti-Fiol, 2006)
The concept of inhibition can be applied to giving correction to students and encourage an investigative approach. The teacher can observe the students in a variety of contexts and see if one notice patterns of movements and make suggestions to the student to address the initiation of the pattern.
5. Direction
“There is no such thing as a right position, but there is such a thing as a right direction.” Alexander FM (1995:194)
After inhibition, the next step is to give oneself a specific direction that involves a process of thinking with intention in preparation for movement. Releasing the neck, allows the head to move forward and up, and the back can lengthen and widen. Directions should be thought, but not consciously translated into muscular action. The practice of “thinking” rather than “doing” is essential to counteract habitual muscular response. Stiffening is not a part of Alexander technique, and a good checkpoint is to see if the neck is free. (Netti-Fiol, 2006)
The phrase “head forward and up” describes a relationship of the head to the spine in which the head balances forward and upwards in relation to the top of the spine. This allows a lengthening force on the neck and then the spine. It does not mean that one should take one’s head in the direction, forward and up in space. (Netti-Fiol, 2006)
The teacher can challenge the student to get them to think of the direction, or spatial intent of the movement prior to performing that movement. The movement phrase can consist of distal initiations: top of the head, fingertip or toes, for example. This helps to facilitate directions of lengthening and widening, allowing students to experience a sense of expansiveness.
6. Primary and Secondary Curves-the lively interplay
The Alexander technique allows dancers to find freedom of movements in the joints, allowing ease of motion and efficiency in movement. Applying the principles allow a constant change and adjustment each time one makes a move, versus a perfect posture or alignment that we aim to attain.
The primary curve known as the “fetal curve” is the curve the baby is born with, which may be described as a flexion of the spine. The primary curve in the adult is the thoracic and sacral curves. The secondary curve is known as hyperextension of the spine. The secondary curves in the adult are the cervical and lumbar regions. When a dancer executes a tendu in front from position, the back goes into primary curve. When the dancer executes a tendu with the back foot, the back goes into secondary curve.
Dancers need to have a kinesthetic and intellectual understanding of the spinal curves allow for natural adjustments to happen in the body as they perform movements. It discourages dancer from bracing and rigidity and from over-straightening that frequently occur in dancers as they strive to be “correct.” (Netti-Fiol, 2006)
As a teacher creates dance material for technique class, she should examine the material and allow for alternation between primary and secondary curves. While teaching the material, the teacher should find cues to direct the students’ bodies to adjust from one curve to another. The teacher should observe the students natural tendencies.
Reference:
Gelb, M (1987) Body Learning An Introduction to the Alexander Technique. Great Britain: Hartnolls Ltd, Bodmin.
Netti-Fiol, R (2006) Alexander Technique and Dance Technique Application in the Studio. Journal of Dance Education 6 (3) 78-85. Available at: http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=ca1648a1-32bc-4985-8ed6-4c340e5c0b05%40sessionmgr4001&vid=15&hid=4101 [15 January 2015].