I had discovered the Alexander Technique over twenty years ago and became fascinated by the work thanks to my years at the University of Miami in the College of Arts and Sciences Theater Department. I earned her Bachelor of Fine Arts in Music and Theater in May 2001. As part of the course requirements in the Conservatory Program as in any reputable theater program across the world, I studied the Alexander Technique. I learned about who Alexander was, the impact of his work, and the history of the technique.
The Alexander Technique was the most important skill I learned in college, as it helped me cope with stress and anxiety. Always seeking perfection, I had trouble in my own artistic growth, finding a way to remain present and open during my performance. As a dancer from a young age who won every award and competition, I learned that my physical body was my most valuable asset and I worked hard to maintain a strong, healthy physique. Studying the technique taught me about the importance of the mind body connection; that this is the key to a strong performer, which allowed me to free up in multiple ways. The technique grounded me in a way that no other therapy or practice had before. After teaching for many years, I began writing an online program to teach breath support and technique to aspiring singers, and called upon the technique as part of the training.
I realized that I needed to brush up on my Alexander Technique skills and began lessons at the start of 2020. I was lucky to meet Sherry Berjeron in my backyard, a veteran Alexander Technique Teacher who inspires me to no end. After working with her and experiencing the pandemic, I decided that I wanted to seek certification despite many set backs.
I began lessons at the Moving Younger Institute based in South Florida with Master Teacher, Sherry Berjeron in January 2020. I had to delay some in person sessions due to the pandemic. Instead we met via Zoom. From September 2020 – December 2021, I worked both privately and with other trainees. Following 2 years of intensive study and practice, I began student teaching, working with 3 students of varying backgrounds over the course of 6 weeks.
It became clear that gaining certification is major part of my life path, a journey that has become the fiber of my being. As I dove into my first assignment, and reread The Use of the Self, I began to research Alexander’s life, reading through so much information that was not currently available in the 90s when I had first learned about the book. I was so full of wonder and abundance that I had discovered an idol. Someone who has overcome their shortcomings without medicine or any major therapy, solely by self-discovery, experimentation, and commitment to the study of human evolution, is a person I aspire to be and is a practice I pledge to teach for a lifetime.
To observe the changes my students have made utilizing the technique, is truly a gift. The first major hurdle is their struggle to learn inhibition, fighting for their poor habits as if they were attached body parts. Awareness and inhibition in my experience teaching the technique, is the most challenging piece, but also fascinates me as a teacher. As a student begins to overcome those challenges, and own the new direction, to see the transformation to freedom in the way they react and move is something of a revolution. There is deep discipline required to learn the technique, but I believe in practice it is quite simple and accessible to learn. Once Alexander made the discovery that habitually pulling his head back was the main cause of his vocal issues, he began to make incredible discoveries within his own use. The primary control, needed to drive all movement of the body: uses the eyes to lead, the neck muscles to soften, the head sits freely on top of the spine without contraction or strain, the spine lengthens, as well as the iliopsoas muscle releases; all of which encourages freedom of movement of the inner organs and overall good coordination. As one can read in The Use Of The Self, satisfactory primary control is the starting point to unravel our tension, create space to inhibit our poor habits that cause pain and disease, and support a new direction to move with conscious direction. In Alexander’s case, and in many who practice the technique, it became crucial to utilize the technique to allow the respiratory system to function in the most optimal way. All of these discoveries encouraged further development and experimentation of the technique.
In my experience, I have come to understand the critical nature of how holding my body in a position, habitually restricting the natural placement of my skeleton – essentially my alignment, prevents free movement and projection. Without mindful movement, I was continually straining my body. Over time this caused stiffness, inflammation and pain. As I continue on a path to understand F.M. Alexander’s Technique more deeply, I respect that it is even more critical to live in a “means whereby” to stay well and healthy in my mind and body.
The evolution of the technique was born out of Alexander’s need and passion to save his voice and moreover his career. Without his struggle he may not have embarked on this search. He discovered the technique of inhibiting his poor habits, that were causing vocal strain, and prevented him from utilizing all of his respiratory power. He then initiated a new path of use that supported healthy vocal technique to recite with a powerful and free voice. In turn, there was a distinct improvement of use of his entire body, so profound that he wrote many books about his experience. He also created a practice for teachers to provide their students a hands on experience so that they too could reap its benefits. He committed his life to teaching a technique that has stood the test of time. All manifestation of tension is caused in the mind. When you free your mind, you can heal your body. This conscious connection of mind and body can create immense positive change.
