Tag Archive | primary control

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  

Summer 2024: Residential Masterclasses

There are two dates planned for residential weekends at my home in Hampshire this summer:

Friday 2nd to Sunday 4th August
Friday 6th to Sunday 8th September

TimeDay 1Day 2Day 3
08:00-09:00Check-inBreakfastBreakfast
09:30-11:00Check-inSession 4Session 8
11:00-11:30CoffeeCoffeeCoffee
11:30-13:00Session 1Session 5Session 9
13:00-15:00Lunch & breakLunch & breakLunch & break
15:00-17:00Session 2Session 6Session 10
17:00-17:30TeaTeaTea
17:30-19:30Session 3Session 7Departure
20:00-21:00DinnerDinnerDeparture

All the procedures used in the learning and the teaching of the Alexander Technique have a purpose, and being clear about that purpose can help us to decide when and how to apply them in our teaching.

In this three-day residential course, we will examen, discuss and practise the following procedures – which constitute the main physical aspects of Alexander’s teaching. 

  • Squatting
  • Walking
  • The Lunge
  • Semi-supine
  • Baby-bend (Monkey)
  • Breathwork: Whispered Ah
  • Breathwork: the vowels
  • Breathwork: widening the ribs
  • Hands on the back of the chair
  • Going up onto the toes
  • Wall work
  • Being at the back of the chair
  • Coming forward in the chair
  • Leaning forward in the chair
  • Keeping the back back

Musicians are welcome to bring their instrument. For pianists, please note that I have a piano.

As well as traditional AT work, we will cook and eat together, discuss the therapeutic, educational and evolutionary ideas of F M Alexander. We will explore ways of integrating “stopping” and “directing” into all aspects of our lives.

Attendance will be limited to seven people; teachers, students and pupils welcome.

The cost for each weekend, including food, accommodation (in single-sex twin rooms) and over 17 hours of tuition is £400.  A non-refundable (unless the course is cancelled) deposit of £80 is required to secure a place. The balance is due 28 days before the start date.

If you would like to apply or to get further information, please email me.

For feedback from previous courses see:

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

Tips4Teachers – Lying-down Work, #1 – Horizontal ‘Monkey’

Lying-down work, or ‘semi-supine’ has, of course, many aspects. What I want to address in this post is one of the physical aspects, namely its usefulness in helping the pupil to understand kinaesthetically the body’s primary antagonistic or postural ‘pulls’.

WIth the head supported and the knees bent, pressure is taken off both ends of the spine – allowing for a natural lengthening to take place as tensions release; it is also thought that intervertebral discs can reabsorb fluid during such a period of rest.

These are what might be termed ‘mechanical therapeutic effects’ which come about largely just by lying in this position.

From the perspective of ‘education’, it can be helpful to think of lying-down work as a ‘horizontal monkey position’.

Using touch to sequentially inform the pupil of the antagonistic pulls between head and hips, and hips and knees, the teacher can demonstrate how and where these ‘pulls’ function; pulls which, it should be noted, ‘do themselves’.

To the extent that the pupil is able to respond – which requires an expanding attention – a general expansion of the musculo-skeletal frame ensues.

When giving ‘lying-down turns’, it is advisable to include this aspect, as it makes the whole procedure more than a (nevertheless valuable) therapeutic experience of ‘letting go’.

Lying-down work becomes a powerful tool for developing kinaesthetic information about the antagonistic pulls of the Primary Control.

It also prepares the ground for a more subtle work with energy which may follow in due course.

© 2013 John S Hunter

Tips4Teachers – Head Forward and Up

The relationship between the head, neck and back is, quite rightly, considered to be one of the central tenets of Alexander’s work.  Nothing else can, when working well, give such a sense of lightness, ease and integration; and nothing else is the source of so many difficulties and misunderstandings.

Why is it central?  Poor co-ordination in this area was, as we know, at the root of Alexander’s own problem with his voice.  It is reported (by Marjory Barlow I believe) that FM said in later years that he was lucky his difficulty was in that area as otherwise he would never have discovered the Primary Control.

Head Forward and Up

Alexander does not go into great detail about the meaning of “Head Forward and Up”. In Conscious Constructive Control of the Individual he writes:

This is one of the most inadequate and often confusing phrases used as a means of conveying our ideas in words, and it is a dangerous instruction to give to any pupil, unless the teacher first demonstrates his meaning by giving to the pupil, by means of manipulation, the exact experiences involved.1

So it’s clear! As teachers, we have to be exact! No pressure then…!

Some of his early followers tried to be more explicit.  Lulie Westfeldt gives a detailed description of her understanding of the processes involved.  In particular:

Alexander in using the words meant head forward in relation to the neck. It took a long time and hard work to find this out. One realized in time that his hands, which he used in demonstrating and teaching, were always tending to take the neck back and the head forward in relation to it. Once one had discovered this, one could ask him a direct question and get his confirmation that ‘head forward’ meant ‘head forward in relation to the neck’. The head’s tending to go forward in relation to the neck causes the alignment of the head and neck to improve, in that the head is balanced on top of the neck instead of being retracted back upon it. Once this retraction or locking is done away with, the head will tend to go up whether any other thought is given or not, just as the plant will come up out of the ground if it is not prevented or interfered with. If in addition the head is thought up, however, it will go up more strongly.2

Frank Pierce Jones also addresses this issue:

“Forward and up” clearly is not a single, oblique movement but two movements, the first of which facilitates the second. Depending on where the head happens to be at the start, “forward” will bring the centre of gravity up or down. In any case, the increase in this distance increases the torque exerted by the head on extensor muscles and facilitates extension of the spine. The head feels lighter because more of its weight is carried by discs and ligaments and because muscles that move it (for example, the sternomastoids and the upper trapezii) have lengthened.3

Marjorie Barlow credits Patrick MacDonald with the realisation that “head forward and up”, in physiological terms, involves a release of the atlanto-occipital joint.

We were all very confused, until Pat (Patrick Macdonald) realized that what F.M. meant (although he wasn’t saying it in a word) was that the head goes forward and up from the occipital joint, not from the “hump”. This was such an eye opener to all of us because as soon as we realized that, we could get the freedom there and the rest did itself almost. 4

In his book The Alexander Technique As I See It, Patrick MacDonald goes into some detail about the meaning of “forward” and “up”:

…the direction …..forward in Forward and Up is an unlocking device and … the direction Up should produce a tiny elongation of the spinal column….

and

… release the neck at the atlanto-occipital joint… bring about an expansion along the spine. 5

MacDonald credits Dr Andrew Murdoch, a pupil of FM, with making the connection between Alexander’s “Primary Control” and the sub-occipital muscles.6

The direction “head forward and up” stimulates and activates the anti-gravity muscles of the body’s support system referred to in Tips4Teachers – Keeping the Back Back.

As well as the physical aspect described above, “Head forward and up” also has a more subtle “psycho-energetic aspect” which I will discuss in another post.

________________________________

1. Conscious Constructive Control of the Individual, F Matthias Alexander, Part II, Chapter IV, “Illustration”, Published by Mouritz (UK). ISBN 0954352262/978-0954352264 (back to text).

2. F. Matthias Alexander: the Man and his Work, Lulie Westfeldt, p 135. Published by Centerline Press, California. (back to text).

3. Freedom to Change, Frank Pierce Jones, p148, ISBN 978-0-9525574-7-0, publisher: Mouritz 1997, (First published 1976 as Body Awareness in Action by Schocken Books). (back to text).

4. An Examined Life, Marjory Barlow, p. 81-82, 2002), Publisher: Mornum Time Press; First American Edition edition (October 2002), ISBN-10: 0964435241, ISBN-13: 978-0964435247.  (back to text).

5. The Alexander Technique As I See It, Patrick MacDonald. Chapter 4: Teaching the Technique. Published by Rahula Books, 1989.  (back to text).

6. Ibid. p46. See also The Function of the Sub-Occipital Muscles: The Key to Posture, Use, and Functioning by A. Murdoch M.B., C.M, paper read at the Hastings Division of the British Medical Association, May 5, 1936 (excerpts from which appear in The Universal Constant in Living by F Matthias Alexander, Published by Mouritz (UK). ISBN 0952557444/978-0952557449). (back to text).

© 2013 John S Hunter