Tag Archive | direction

All Practices Are Carried Out at Once

“All practices are carried out at once: there is no before or after, and no in between.”
Zen Dawn: Early Zen Texts from Tun Huang, trans. J. C. Cleary (Shambhala, 1986), p.291

We are inclined to think in sequences.

First awareness.

Then inhibition.

Then choice.

Then direction.

Then movement — or not.

But lived experience does not divide itself so neatly.

The organism is never waiting to begin.

Before visible movement, organisation is already shifting.
Before speech, tone and breath are forming.
Before we are aware of deciding, something in us is orienting.

There is no empty interval between impulse and action.

Preparation, inhibition, orientation and execution are distinguishable in thought.
But in life they are not separate. They are aspects of one unfolding organisation.

Inhibition, then, is not a momentary pause. It is not a gap inserted into time. It is the sustained capacity to remain adaptable while action is forming — not allowing the first familiar pattern to close too quickly around us.

When organisation narrows prematurely, effort localises, breath shortens, perception tightens. Reaction hardens into habit.

When adaptability is sustained, a different quality appears.

Elastic organisation within gravity.

Not lifting away from gravity.
Not collapsing into it.
Not bracing against it.

Simply coherent, responsive support.

We see this easily in an alert animal: upright without stiffness, ready without strain. The head is poised, the spine alive, the whole creature available.

There are moments in which awareness is quiet and purposeless — no project, no vector, no movement forming. That too is a mode of organisation.

There are other moments when movement is about to occur. A direction appears. A trajectory forms. To lead with the head at such a moment is not to perform a separate act before moving. It is to allow orientation to shape the movement from within. Intention, inhibition and execution are not lined up one after another. They are carried together.

Direction is not a command to parts. It is a decision about relationship. To conduct a direction is not to push energy, but to allow that decision to be reflected in the whole of one’s support — in breathing, in balance, in how one meets the horizon.

The system responds to intention, provided we do not interfere.

We are not repairing a mechanism. We are refining participation in a living organisation that is already at work.

All practices are carried out at once.

The question is not what to add between impulse and action, but whether we can remain present as organisation unfolds — adaptable, oriented, and free from premature narrowing.

  1. I am grateful to Erika Whittaker for drawing my attention to this line which, although not referring specifically to directions, calls to mind Alexander’s phrase “all together, one after the other”, used when describing the giving of directions in The Use of the Self. ↩︎

Meeting Reality: An Imagined Contemporary Alexander

Alexander was not primarily a theorist but an experimenter. If he were working now — with access to contemporary language about motor control and anticipation — how might he describe what he discovered? What follows is an imaginative exercise: not a replacement for his words, but an attempt to speak enduring principles in contemporary terms.

When my voice again showed signs of strain, I had access to resources unimaginable in the nineteenth century. I underwent medical examination, worked with skilled voice teachers and therapists, and explored contemporary approaches to breathing, performance, and stress regulation. These were intelligent and often helpful. Yet the essential difficulty remained.

The problem did not lie in the vocal folds, nor in breathing mechanics, nor in posture as alignment. It lay in what occurred the moment I intended to speak.

Before producing a sound, my whole organism prepared itself. My neck stiffened, my head subtly retracted, my torso compressed, my breathing altered. These changes were rapid and largely outside awareness. One might say the nervous system predicts what is about to happen and organises in advance. Prediction is necessary. The difficulty arises when preparation becomes fixed before it is required.

No local correction resolves a problem that begins in premature commitment. When I tried to improve my voice directly, I merely added more doing. The underlying pattern remained.

Only when I learned to pause — to refuse the immediate habitual response to intention — did something different occur. This was not collapse or relaxation. It was the prevention of premature stabilisation — what I once called inhibition: stopping the wrong thing first.

When interference ceased, the relationship between head and torso changed. The head no longer pulled back and down, the neck no longer shortened, the torso lengthened and widened without effort, and breathing reorganised itself. In practice this proved simple: allow the head to go forward and up in relation to the torso, and the organism reorganises; interfere with that relationship, and distortion follows. The improvement in the voice was a consequence.

What became clear was that we do not simply act — we prepare to act, and that preparation often contains the very distortion we later attempt to correct. When habitual commitment is suspended, organisation remains adaptable. Action and adjustment unfold together rather than in rigid sequence. The head–torso relationship is a sensitive place where such fixation shows itself. Prevent fixation there, and interference reduces.

It has become clearer that much of our organisation occurs before consciousness catches up. By the time we intend to act, preparation is underway. Conscious influence therefore does not initiate action so much as prevent misdirection. There is a brief but workable interval in which preparation has begun but has not yet hardened. In that interval one can refrain from adding interference, allowing organisation to remain fluid rather than fixed.

The work therefore concerns more than voice production. It concerns how we meet each moment: through accumulated habit, stabilising in advance of what we expect, or through ongoing adaptability. This I would now describe as adaptive presence — not the absence of anticipation, but the refusal to let anticipation close too soon.

New Year Residential: “Orders” and “Directions”

 

A Three-Day Residential for Teachers and Students of the Alexander Technique

Surprisingly, some teachers now no longer teach their pupils how to direct — a loss that deprives them of one of the most fertile means of self-study and of applying the Technique in daily life.

In this residential we will explore, in depth, what F. M. Alexander and the first-generation teachers taught about ordering and directing: their different shades of meaning, their shared roots in conscious intention, and the ways each invites a different quality of awareness.

We’ll work practically and reflectively with how ordering can calm and clarify the mind, how direction awakens orientation and relationship in space, and how both together lead toward the integrated directive state that unites thought and movement.

See my blog post, Tips4Teachers: Some Thoughts about “Orders” and “Directions”, for an introduction to the ideas behind this course.

Dates: Friday 2 – Sunday 4 January
Cost: £420 (including accommodation in twin, single-sex rooms and all meals)
Overnight accommodation is also available on 1 and 4 January to facilitate travel.
CPD: 15 hours

To enquire about availability, please email me.

Schedule

Time Day 1 Day 2 Day 3
08:00-09:00   Breakfast Breakfast
09:30-11:00   Session 4 Session 8
11:00-11:30 Coffee Coffee Coffee
11:30-13:00 Session 1 Session 5 Session 9
13:00-15:00 Lunch & break Lunch & break Lunch & break
15:00-16:30 Session 2 Session 6 Session 10
16:30-17:00 Tea Tea Tea
17:00-18:30 Session 3 Session 7 Departure
19:30-21:30 Dinner Dinner  

Second Weekend Masterclass

It was so interesting that the programme, and even the menus, for the second weekend were just the same as the first – and yet, with a different group of people, the event was so different.

We were so lucky to have good weather and be mostly outdoors.

With the permission of the writers, I will share some feedback from this course.

The next weekend residential masterclass will be from 5 to 7 January 2024. Contact me for details.


First of all, thank you very much for the residential weekend and your kind extra hospitality! It was really generous from you to share everything with us, your house, your wisdom, your presence, your example. As I said there, I got a very good refresher of the Alexander technique. It was powerful and inspiring, encouraging me to keep up with it. 

On the Sunday, I felt already the wonderful effects of being busy with the technique for two days. I was feeling light, pain-free, energised, easy in my body and movements… I felt happy!

The atmosphere at your home with you and the other students was super pleasant to me! I really enjoyed your comfortable house and felt super cosy sharing a room with Gabriella. The fact that the sessions were in the garden made it extra pleasant and I think that was very helpful for keeping the learning atmosphere light and so enjoyable.

It was great to learn with the other ladies. To enjoy my dear Gabriella’s presence.  To practise with and get feedback from the qualified ones. And actually to be with all of them, each one made a precious contribution to the course, sharing what they had.

I got a lot of inspiration from watching Naama playing the Beatles. Normally I feel very upset with myself in this kind of situation because I am never able to play anything without a music sheet. But this time I think I was able to stop and choose to think something different: “let’s see how she does it, let’s see what I can learn from her” and when I watched her it didn’t seem so difficult, and I got the sense I would be able to learn it too and the motivation to do it. So, when I came back, I made the resolution of playing a little bit from ear every day. 

Also, it felt really good when I played some Beethoven on Sunday. I was able to really enjoy the music and enjoy that I was able to sight read it. I didn’t know you and Naama were sitting down listening, but when I found out your words of appreciation meant also a lot to me, thank you!

I also feel very grateful for the reassurance and the encouragement you gave me to go on with the AT and teach it.

I was reminded that I have the possibility to take my time to think the means whereby for any end.

I also loved how you taught us about directions in the hands-on, as coming from a smooth movement and meeting the person.

How if we wanted the person to move we needed to be movable ourselves.

I loved to be able to walk so light and easy with the hands-on walking game.

I realized I need to realize that I have freedom to choose.

The idea of a flux state of mind instead of a fixed one.

The hands on back of a chair with extra rotation was very helpful, and especially for piano playing.

The talks in and outside the sessions where very much inspiring and appreciated.

And I really appreciate your open, truthful, gentle, quiet presence. The clarity of your teaching and the being able flow into singing and to telling us stories.

Elena
AT teacher and pianist

 

I value the time I spent at John’s masterclass weekend retreat in September. It was an enjoyable and invaluable learning experience with a group of 7 people all interested like me in deepening more into the understanding of the work.

We explored different themes and one of them was the primary postural pulls. John demonstrated “hands on a student” and then allowed us one by one to explore the same movement with him and each other. The pace was just perfect, with lots of inhibition and directions.

I felt comfortable and at ease as John created a safe learning environment. 

I also loved the time spent preparing the meals and eating together, the discussions around the tables and the singing in the evening.

Thank you, John, for sharing your knowledge and your lovely home, bringing everyone together and making the weekend a special time.

Daniela 
AT teacher MSTAT

 

The course responded brilliantly to the interests and needs of every participant. It is such a privilege to witness and receive John’s art of teaching! My main interest was to refine my teaching skills and hands on work.

On another level, it was a joy to reconnect with old Alexander friends and meet new wonderful people. We cooked and enjoyed together delicious meals. In a word: a unique mix of learning hugely and having a great time. 

Anca
AT teacher

 

Alexander Technique made me discover a profound way of transforming my whole being and helped me understand what unfavorable effects my usual way of “using myself” can have, so I came to this Masterclass with the intention of refreshing and deepening my ability to apply Alexander Technique in everyday life. The opportunity to do this under the guidance of John Hunter is a chance for which I am deeply grateful.

Several times during this Masterclass, each of us individually benefited from personalized guidance from John. On the second day (at the exercise where we apply Alexander Technique while walking), as a result of the few minutes that John checked and corrected my use, I felt a continuous flow of upward energy in the spinal area. I perceived this upward flow as an engine that fuels and even energizes me as I walk. I felt as if I was being carried on the arms. My back had awakened and was strong like a massive door that (not only supported itself, but) was also in a continuously uplifting direction. I continued to walk through the workspace, and I felt that this transformation that I felt in my body produced such profound effects on me that I became a completely different person, much more confident and more free than I used to be. Although my usual “relaxed-collapsed” attitude had disappeared, my wrists were moving freely, the inner state was one of serenity and joy.

Another exercise that left deep traces in my being is the exercise in which a colleague played the role of “student” and I was the one who had to offer her Alexander Technique guidance – of course under the careful guidance of John. On this occasion I felt in my body how much an Alexander Technique professor has to work on himself moment by moment and how non-intrusive needs to be the guidance he offers to the student through touch. Thus, practicing the “hands-on” exercise became for me an opportunity to work on my own being so intensely that the effect could be transmitted subtly, by means of touches (gentle but firm) on the exercise partner. I also received feedback from my colleague who was at that moment in the role of “student”, and I was amazed to learn that such a gentle touch on my part can have such great effects on another. I remember now how in my first meetings with Alexander Technique I was so amazed: I didn’t understand why my being suddenly transformed (like a Phoenix Bird) when the teacher only lightly touched my neck or my back…

Another discovery I remember is that during the practical exercises, when I invited my back to expand, I saw that I could intentionally and consciously connect not only with the lumbar area but also with the intercostal muscles of the floating ribs. The effect of this discovery remained even after the Masterclass, even when I did not remember to do this consciously. In the days that followed I was amazed to notice that during breathing my ribs moved freely and fluidly like an underwater plant and that the resonance of my voice had become wide and deep. Although during the workshop I did the exercise related to breathing and vocal sounds only once, I discovered with amazement that the effects of this exercise were maintained over time. My voice continues to be softer and warmer. Even my attitude became much more lenient. I noticed that when I feel like reacting impulsively, a new attitude of patience and compassion awakens inside me. Even when I express a critical opinion, I do it with much more gentleness and tolerance. When I remember the individual exercise at the end of the Masterclass it helps me to access and relax a deeper part of the muscles inside the ribcage.

The experience lived at the masterclass this September 2023 was much richer than I can describe in words. During these 3 days I also had experiences that I am only now beginning to understand little by little. Maybe I overlooked them at the time, but my body’s memory is starting to remember parts of the practical teaching that was shared and passed on to us.

I tried to reawaken in my being the intense experiences I lived there, but I did not manage to access all the inner processes that generated those effects. Therefore, I began to apply little by little what remained in my memory and in the memory of my body.

Cristina
Actress, Acting Teacher

Lessons with Miss G: #6, “My Way”

“Quiet throughout, with particular attention to head, neck and back” came the familiar mantra from Miss G, as she gently tapped the back of my head with one finger.

After a minute or so (one’s sense of time was very different in her teaching room) she asked me, somewhat incongruously – and almost in a tone of curiosity, as if we were chatting over a cup of coffee, “Have you heard of an American singer called Francis Sinatra?”

“Yes Miss Goldie,” I replied, wondering where she was going with this.

“Then are you familiar with a song he recorded entitled ‘I Did It My Way’?”

“Yes Miss Goldie”, my attention dancing now between the anticipation of what might be coming next and the call back to the quiet energy that flowed, under her touch, between my head and spine.

“Well …” she said, stepping back so I no longer had that external reminder to ‘not interfere with head, neck and back’, her voice rising now in a crescendo “… he got it quite wrong you know! It’s not about doing it your way. It’s doing it your way that’s got you into the mess you’re in today.”

I’m saying to myself, “Don’t react! Stay quiet! Head, neck and back……”

“You want to stop doing it your way. Not your way”, her voice quietening now, her hand coming back to my head/neck area. “Not your way, but Nature’s way.”

I began to see that inhibition and direction are two aspects of a way of being; they are inextricably linked.

© 2013 John S Hunter

The Trustees of the Charity for the F Matthias Alexander Technique are piloting what we call a “legacy project” with the aim of recording and storing material about first-generation teachers trained by F M Alexander. The first subject of the project will be Margaret Goldie (1905-1997).Anyone who knew Miss Goldie, either in a personal capacity or as a pupil, is invited to contact the Charity with a view to participating in the project: https://www.fmatcharity.org/legacy-project.html