The fallacy of the One Right Way

“Why won’t you just tell me what to do?!”

There is no One Right Way to sit.In early lessons, students very often want me to tell them how to sit/stand/walk/whatever in the ‘right’ way. This is entirely understandable. They’ve come to me because whatever they’re doing at the moment has caused them trouble, and they want to fix it so the trouble goes away.

But there’s a logical fallacy at work, and a misunderstanding about what education is about. There’s also often a degree of self criticism. These are big topics and I want to take time to talk about them, so this week I will deal just with the logical fallacy. Next time I’ll talk about how our concept of education holds us back. Finally, I’ll talk about the issue of self criticism.

Onwards…

The logical fallacy of the One Right Way

Statement: I want to sit the right way

Logical (and emotional) consequences of statement: 

  • There is a right way and (at least one) wrong way of sitting
  • I am doing it the wrong way.
  • (Bad me)

Let’s look at the idea that there’s a right way of, say, sitting, and at least one wrong way. It sounds like life would be very simple if there were just One Right Way of sitting on a chair. We could just learn it, use it, and not have to think about it again. But it really wouldn’t be simple at all, for this reason:

If this was true, we would first have to decide if there was only one right way, or if we would allow One Right Way for each circumstance (eg dining chair, office chair, car seat). At the very least, we’d end up with a list of Right Ways to suit our usual set of furniture and circumstances.

But what if the circumstances subtly alter – like having to get into the car with the seat a little further forward than usual? We would either have to suffer Doing Something Not Right, or make sure we constructed a set of Right Ways to deal with all conceivable changes of circumstance.

And then we’d end up with a big list of Right Ways. And we’d have to memorise them all.

That sounds like a lot of work to me. I’d much rather learn the principles behind constructing a Best Way (for now) for any circumstance as it arose, and then learn how to think and apply it moment by moment. In the end, it’s just so much easier.

And that’s what Alexander Technique lessons are: learning how to construct a Best Way (for now) for the moment that you’re in. Don’t be fooled by the apparent unthinking simplicity of the One Right Way. It leads to lists, prohibitions (mustn’t do the wrong thing!), and complexity. Go for gold, and learn how to reason out the Best Way (for now) instead.

Is your self image up-to-date with reality?

Self image is how we see ourselvesThe other day I was working  with a student who historically had a tendency to pull his shoulders forwards. The student was convinced he was still doing this. Guess what?  He wasn’t. His self image was lagging behind the physical reality.

Self image: not seeing ourselves as others see us

FM Alexander writes in his second book about a particular kind of preconceived idea, in which we do not see ourselves as others see us. He uses it to refer to people whose sense of themselves is so out of step with reality that they perceive as entirely normal characteristic that the outside world would view as being well away from anatomic norms.

As an illustration, FM picks an example from his own teaching experience of a man with a stutter. In lessons, speaking slowly, the stutter vanished. But when asked to speak in that way in his daily life, the student relapsed I to his stutter as he commented that “Everyone would notice me!”

It’s an extreme example, but it really demonstrates how we all have the ability to be entirely mistaken about how others see us. As FM said:

He [the student] no longer saw things as they were, and was out of communication with reasoning, where his consciousness of his defects was concerned.[1]

But it works the other way, too.

Self image lag

There’s a particularly fascinating version of this kind of mistaken self-perception that arises in Alexander Technique students. They started coming to lessons with a particular physical issue – like having their shoulders pulled forwards – and have come to identify themselves in some way as someone who has this issue. The student is no longer just Joe Bloggs; they are Joe Bloggs, the Person with the Shoulders.

And even after they’ve done massive amounts of work on their particular issue and made huge improvements, it is likely that they haven’t yet altered their identity. They are still Joe Bloggs with the Shoulders, not simple Joe Bloggs. In order to truly change, the student still needs to do the vital work of changing their self image to correspond with the new physical reality.

My challenge to you today is this: what have you been working on recently? Are you so fixated on the fault that you’ve perceived that it has become part of your identity? Check and see if you too need to do a little bit of work on your self image!

[1] Alexander, FM., Constructive Conscious Control of the Individual, Irdeat ed., p.302.

Image by Skitterphoto on Pixabay.

Does internet-based learning work?

internet-based learningCan you learn effectively from a teacher who isn’t in the room with you?

I’ve been wondering a lot recently about internet-based learning, and decided to investigate it further. Two recent events motivated me.

  1. Internet-based learning – singing.

My son likes surfing YouTube looking for interesting music types to follow. One of the people he found was Boyinaband, who is famous for his song Don’t Stay in School. Boyinaband decided to try learning how to sing over a 30 day period, and used apps and YouTube videos as his primary means of instruction.

Watching the video he made detailing his adventures in singing, I fell to wondering: what would it be like trying to learn a new skill from the internet? What would it be like not having a teacher in the room with me?

  1. Internet-based learning – Alexander Technique

I, like many Alexander Technique teachers, offer lessons via Skype. I am convinced that this is a viable and valuable learning pathway for many students. I was, however, uncomfortable that I hadn’t tried some form of practical skill-based internet learning myself, and thought that I should be consistent with my beliefs and give internet-based learning a try. (I’ve done lots of more academic courses on the internet-based Coursera platform, and found them excellent.)

Added to this, I know that my students watch Alexander Technique-related videos that are available on YouTube, and that like all things available on that platform, these can be variable in quality! Is it possible to learn, not just via an electronic platform from a teacher who isn’t in the room with you, but also from instructional videos where the teacher can’t even see you?

My own 30 day internet learning challenge

Twitter friends and colleagues had been learning yoga using YouTube videos made by Adriene Mishler of Yoga with Adriene  and saying good things about it. I’d never tried yoga before and wanted to work on strength for the running events I’ve entered this season – it seemed like the perfect opportunity. So I embarked on Adriene’s series 30 Days of Yoga. It was a remarkable experience.

What I learned

  • Yoga looks easy and gentle and flowing. It isn’t easy. Sometimes you are working so hard you shake with exertion. It’s also incredibly good fun.
  • It’s really hard to know if you’re doing the exercise or the pose correctly. You think you’re doing okay, but if you’re a beginner it can be really hard to know if you’re really bending in the right spots. Sometimes it can also feel like it’s going faster than your brain can reason out. Mind you, I know students who have had exactly that experience in face-to-face yoga classes…
  • You form an emotional bond with the teacher. You begin to regard the teacher as a friend and ally, even though intellectually you know that they have never met you and don’t actually know you exist! It got to the point where, if Adriene gave some praise, I felt like it was genuinely directed at me.

Recommendations

If you’re going to learn something by YouTube, check around and get recommendations from friends and colleagues. I was really lucky to find a yoga teacher as good as Adriene. Boyinaband, by contrast, viewed videos from teachers who gave advice that I thought was potentially unsound.

Good teachers will know and predict the errors their unseen students will make. Adriene is really good at this. She gives plenty of advice about how to position oneself in each pose, and sometimes it felt like she had predicted my mistakes. She did this by having a long background in teaching face-to-face classes – she has first-hand knowledge of what mistakes students are likely to make. So making sure your online teacher has a good background in face-to-face teaching might be a really good idea.

Personality is key. Adriene has a lovely open personality and rather engagingly does not edit out her mistakes. By the end of the 30 days I felt like she was my genuine teacher who genuinely saw me, rather than just a person on a screen. It is no accident that Adriene has developed a massive online yoga community. An engaging personality may also be a danger, though. Just because someone is engaging doesn’t mean they know their stuff. You have to do your due diligence and make sure the teacher is well-qualified.

Try to photograph or video yourself. You’ll soon learn if you’re doing things the way the teacher intends – you may even be pleasantly surprised! One of the delights of Boyinaband’s account of his singing challenge is the ‘before’ and ‘after’ snippets. I don’t have any such pictures, alas, that I can share (I’m too shy). However, one of my Twitter friends did video herself doing yoga, and was able to use it to improve her form very effectively.

Alexander Technique is a great pre-requisite for other forms of internet-based learning. I found that I was able to follow Adriene’s instructions pretty clearly, and I think that my AT knowledge played a huge part in that. I know where the muscles and joints are, and what the normal ranges of motion should be. I also am fairly good at designing a process for how I’m going to move, and then carrying out my process with accuracy. I can well imagine that someone without that background of understanding may well fall into patterns of poor use that could impede the learning process.

And all of those points are relevant for learning Alexander Technique by distance learning, too. Go by recommendations. Check out the teacher’s background. Make sure that you feel comfortable with them. If you do these things (and make sure that your technology set-up is up to the task), you’ll have a really good internet-based learning experience.

A dreadful secret about Alexander Technique and pain issues

Alexander Technique and pain issues…

The secret? You don’t notice when it stops hurting.

A story.

As a very young teacher, I worked with a student who had severe sciatic pain. It would cause the student to spend sometimes days in bed, and severely curtailed the person’s quality of life. I gave them weekly lessons – we’d agreed 10. At lesson 7, the student said at the very start that they didn’t feel they were getting any benefit from the lessons.

I asked about why they’d started lessons. “To help me deal with my sciatic pain.” And how was that pain? “Oh, that vanished weeks ago.” Had the student done anything else in that time that would have made such a dramatic difference? “No, just these lessons.” Had their quality of life improved? “I’ve been moving pots around in the garden this morning.” Could the student have done that before taking the lessons? “Well… No. No, probably not. But I still don’t see what benefit I’m getting from these lessons.”

The student had made huge changes to the way they were moving (and thinking about moving), but once the changes were made, they didn’t think about how debilitating their condition had been before. The student was too busy having fun in the garden!

Selective forgetting: we are geared towards health

When people come to the Alexander Technique with pain issues, they (understandably) hope that the lessons will deal with the pain. And they really want it to do the job quickly. And sometimes dramatic changes really do happen very quickly, and are really noticeable. But when often the change is a little more gradual, we sometimes fall into a cognitive trap that is there to help us, but also gets in the way of us celebrating success: selective forgetting.

What do I mean? Well, when things change gradually, we don’t notice them change. The incremental effect is huge, but day-to-day the changes fall below our ‘just noticeable difference’ threshold, and we forget. It’s a bit like when my son was small, and he said ‘ambliance’ instead of ‘ambulance’. There was a day when he used ‘ambliance’ for the last time, but I couldn’t tell you when it was. Or reading to my son: I would read stories to him every night when he was young. Now he is 14, and I don’t read to him any more; it gradually dwindled and ceased. I didn’t pick a day on the calendar and say, ‘this is the final day for reading aloud to my son’. There was such a day, but I didn’t notice it go by.

Change is like that. Even with sometimes quite severe pain issues, students won’t notice when the difficulty stops. They’re too busy having fun with all the new things they can do. My student didn’t really remember how bad the sciatic pain was, because they were too busy tidying their (much-loved) garden. My music students are too busy learning new repertoire to notice that the use issue that had held them back, isn’t holding them back any more.

They are too busy having fun.

Alexander Technique and pain: getting out of the groove

My music students and my gardening student had something in common – they were stuck in a groove. They were used to thinking in moving in certain ways that didn’t help them. But it really doesn’t take much to change that situation. FM Alexander writes:

The brain becomes used to thinking in a certain way, it works in a groove, and when set in action, slides along the familiar, well-worn path; but when once it is lifted out of the groove, it is astonishing how easily it may be directed. At first it will have a tendency to return to its old manner of working by means of one mechanical unintelligent operation, but the groove soon fills, and although thereafter we may be able to use the old path if we choose, we are no longer bound to it.[1]

I would add that, not only are we not bound to the old path, but we are so full of the excitement of finding new paths that we don’t even bother looking at the old one!

What does this mean for our old habitual ways of doing things (and the discomfort we caused ourselves)? There’s a day when the discomfort stops, but you probably won’t even see it. You’ll experience the challenge through the period while things change, and you’ll probably be frustrated that they aren’t completely better. But I have to warn you that, because things change gradually and the moments of discomfort and frustration become fewer, you probably won’t notice when they stop.

You’ll be too busy having fun.

[1] FM Alexander, Man’s Supreme Inheritance, Irdeat, p.67.

Don’t trust teachers implicitly!

trust teachers but don't follow them blindlyShould you trust teachers implicitly? Should you accept the advice of a professional unconditionally?

I met a person recently who had been advised by a doctor that, in order to avoid upsetting the arthritis in their knees, they should avoid going up stairs and not carry anything heavy. The person not only trusted the advice, but seemed to ‘help it along’. Without being aware of it, they made the doctor’s advice pertinent by placing extra strain on their knees. They would almost push themselves down into the floor at the base of the stairs, as if to ensure that their knees were in the least beneficial position for the physical act of climbing the stairs. Their knees would hurt, thus proving the doctor’s advice was sound. I stress: they weren’t aware of the physical movement, but they were very clear on their belief in the doctor’s advice.

Belief creates physical movement

Students in my classes are well used to me remarking that the way we describe things and the language we use to describe them are incredibly important. If we describe our hip joints as being somewhere on the sides of the body and up quite high, then that’s where we’ll move. (This isn’t where the hip joint is, by the way!) But this applies just as much, if not more, to advice we are given by teachers and medical practitioners. If we trust a teacher or other professional, we are likely to listen to their advice, and sometimes a little more unconditionally than is advisable. We can fall into one of these traps:

1. Blindly following advice without understanding it

FM Alexander fell into this trap when he had acting lessons with Mr James Cathcart. FM was told to ‘take hold of the floor with his feet’ and conscientiously tried to do so. He never asked Mr Cathcart what he meant, or what the instruction was trying to achieve. Later, FM realised that the tension in his feet was contributing to the whole-body misuse that culminated in him losing his voice onstage.[1]

2. Thinking we are following the advice, but really doing something different

My music students often speak of their instrument teacher telling them to, for example, use their bow in a particular way on their violins. They go away and think they are doing what their teacher told them, only to find out in the lesson the following week that they’ve been doing it completely wrongly. How frustrating!

3. Following the advice so carefully that we copy the movement behaviours of the person giving it

Many years ago, I had a lecturer who wanted to remind his class that thinking required us to get past a degree of mental inertia. He was fond of saying, “Thinking hurts.” But it wasn’t just a metaphor – he would actually jam his head back and down into his torso as he said it. But because he was a well-like and influential teacher, his class started to take on board not just the words, but the accompanying physical gesture. We started suffering recurring headaches!

4. Following advice that is just plain wrong.

I think we can probably all think of examples of this!

What to do?

The advice from me is this: don’t check your brain in at the door! Hold all advice lightly – even the advice from me. Interrogate everything. Work out what you think is most likely to be true, but even then, continue to gently question and test the limits of what you think is true. FM would call this being ‘open-minded‘. Don’t trust teachers implicitly, but don’t blindly believe your own ideas, either. If you can manage it, you’ll find that the act of reasoning out why you’re being told what you’re told will help you to improve faster and more efficiently.

But that’s just my idea. Go and test it for yourself.

[1] FM Alexander, The Use of the Self, Orion, 1985, p.33.

Photograph of Grayson Perry artwork by Jennifer Mackerras

Big questions: are Alexander Technique lessons expensive? Why not?

Are Alexander Technique lessons expensive?

I noticed a conversation on Twitter recently where two friends were discussing Alexander Technique lessons. One had just been for a lesson and enjoyed it, but was not likely to go back. They both agreed that it was ‘too expensive’.

This got me thinking: are Alexander Technique lessons expensive, and if so, why? And are they really ‘too expensive’? I’ve got three reasons why lessons cost money, and I’ve got a challenge to your thinking. Are you ready?! Read on…

Alexander Technique teachers are professionals

Good Alexander Technique teachers are professionals who have worked very hard to be qualified, and who continue to work hard to improve their skills.

I trained for four years part time. Others from different training schools train for three years part time, but under a different scheduling structure. That’s a lot of time. I learned FM Alexander’s books inside out. I gained a good grounding in basic anatomy and psychology. I learned hands-on techniques and many other vital teaching skills. I had to pass a slew of exams, including a practical exam, and log a large number of training lessons.

I hold public liability insurance and professional indemnity insurance. I am the member of a professional teachers’ association, and I have registered under the voluntary regulator the Complementary and Natural Healthcare Council (CNHC), because this ensures that my students know that I keep to high publicly-available standards. I am also a member of a union (Equity) and am a registered practitioner with the British Association of Performing Arts Medicine (BAPAM). I am required by both my professional association and CNHC (voluntary regulator) to do Continuing Professional Development every year.

Most teachers charge much the same rate per hour as a music teacher. I admit to charging a little more, but I have a fair few years of teaching experience behind me, as well as professional theatre training and music training. When it comes to working with performers or dealing with performance nerves, I really know what I’m talking about.

Most wouldn’t think twice about paying the same to a chiropractor, a massage therapist or an osteopath. When FM Alexander moved to England from Australia in 1904, he charged the same as a Harley Street professional, because he wanted his clients to take his lessons seriously. Some people pay significantly more on a regular basis to have their hair cut or their nails done! When you consider the training and expertise that you recruit when you come to a teacher, Alexander Technique lessons start to look like pretty good value for money.

We are in the business of improvement.

We’re not in the business of making people feel good. We also aren’t concerned with dealing with the structural after-effects of injury or trauma. I can’t necessarily speak for others, but as an AT teacher I help people to learn how to use themselves more effectively. I help them be more efficient so that their minds and bodies are better integrated, their movement easier, and their wellbeing greater. In short, I help people stop pulling themselves around in all the little ways that don’t cause any pain or harm in themselves, but when added together and done consistently over time can lead to a whole bunch of trouble.

I just don’t know of any other discipline that can help you learn to use your body more efficiently no matter what situation you find yourself in. It might be tempting to spend the money on a new pair of high heels; it’s a professional like me who can help you to walk in heels so that you look stunningly elegant.

We want you to be independent.

And I do this in a series of lessons. If you have clear goals and apply yourself between lessons, you can learn quickly and the number of lessons you need will likely be few. It’s part of my job to get you to be able to reason your own way through any situation you find yourself in, so that you can succeed with style and panache. Some of my students come, learn what they need, and then go away and apply it. Others come more regularly, or over a longer period, because they find value in continued self improvement. As with any other service, you take what you need.

My challenge to you.

In short, I’m a professional, trained and under (voluntary) regulation. I work hard to help my students prevent the poor physical use that leads to strain injuries and other related nastiness. I help them succeed and feel free to be more creative, whether on a stage or at their office desk. And I help them feel more in control of themselves and their lives. Some of my students have 1:1 Alexander Technique lessons; some come to groups; some learn via Skype. All of them improve and grow.

But only you can decide if you value your wellbeing, your daily activities, and your beloved pastimes enough to bear the expense.

It’s up to you.

Do you have an evaluation addiction?

Making mistakes in performance: bad or good?I have a number of students with an evaluation addiction. It crops up strongly amongst the musicians, but it’s by no means limited to their number. Writers have it; artists and businesspeople have it. Sportspeople suffer from it too. And a full disclaimer: this is a problem I continue to work on as a musician.

What do I mean by an evaluation addiction? It’s when a performer, for example, evaluates what they are doing while they are doing it, to the detriment of their own performance. Author Melody Beattie describes it very neatly:

After I finished the first two chapters of a book I was writing, I read them and grimaced. “No good,” I thought… I was ready to pitch the chapters, and my writing career, out the window. A writer friend called, and I told her about my problem. She listened and told me… “Stop criticizing yourself. And keep on writing.”
I followed her advice. The book I almost threw away became a New York Times best-seller.[1]

Once upon a time, one of my students, a violinist with perfect pitch, was so intent on criticising her intonation that she had reached the point where she could barely string a phrase together. She was so busy evaluating her playing (and finding it wanting) that she was actually unable to play.

As I see it, there are two major issues at play here. Let’s look at them in turn.

Evaluation addiction assumes the worst

My violin student had a major problem with negative thinking. I think partly as a result of her perfect pitch, she spent all her time not just listening to the intonation of her playing and berating herself for getting it wrong, but assuming that it would be wrong. Before even picking up the instrument, she had decided on some level that things were going to sound out of tune. And because humans are very adept at carrying out what they have decided, that’s exactly what would happen – she would play slightly out of tune.

We need to address this tendency to project a ‘worst case scenario’ onto what we are about to do. FM Alexander realised that mental attitude was important:

When… we are seeking to give a patient conscious control, the consideration of mental attitude must precede the performance of the act prescribed. The act performed is of less consequence than the manner of its performance. [2]

If we want to improve our performance, we need to begin by addressing this addiction to assuming the worst.

Evaluation addiction takes up brain space.

The other major issue with evaluation addiction is that it consumes your concentration. The neuroscience of it is that we only have a limited number of ‘slots’ in our working memory – we used to think seven, but the modern estimate is only four.[3] If you choose to occupy one of these four precious slots for evaluating what you’re doing, then what vital part of performing are you going to jettison? Are you going to stop thinking ahead and planning the next phrases in the music? Or maybe quit listening to your ensemble partners? If you’re playing sport, are you going to stop scanning the field for gaps, or stop keeping an eye on the position of your teammates?

Of course, the big irony with giving up so much of our precious attention to evaluation is that it is practically useless. Think about it: when you evaluate something like the pitch of a note, you are evaluating something that you have already done. If you’ve already done it, you can’t change it. It’s out there in the world. Berating yourself about how bad it is might be tempting, but it just isn’t helpful. Believe me – I know this. I’m renowned for the faces I pull if I mess something up in a concert. And when I pull faces, I usually mess up the phrase I’m just about to play as well, because my mind is in the past rather than the future.

If we give up the temptation to evaluate what is already gone and put our valuable attention on what we are about to do, then things are likely to go so much better for us. FM Alexander has these words of comfort for us:

…where the “means-whereby” are right for the purpose, desired ends will come. They are inevitable. Why then be concerned as to the manner or speed of their coming? We should reserve all thought, energy and concern for the means whereby we may command the manner of their coming.[4]

Our job, then, is to direct our thoughts to planning what we want to achieve. If we have a clear idea of what we want to have happen, then we have a far better chance of directing ourselves in movement to be able to carry out our designs.

It’s something I’m definitely working on: leaving the evaluation addiction behind, and placing my attention on something that will actually help. Anyone else with me?

 

[1] Beattie, M., The Language of Letting Go, Hazelden, 1990, p.11.

{2] Alexander, FM., Man’s Supreme Inheritance, IRDEAT, p.52.

[3] Oakley, B., A Mind for Numbers, (eBook ed) Penguin, 2014, p.41.

[4] Alexander, FM, The Universal Constant in Living, IRDEAT, p.587.

Image by Stuart Miles, FreeDigitalPhotos

Feeling stuck on a problem? Try making an experiment.

make an experimentIf you’re stuck – if you’ve got a problem and you can’t see an easy way out – can you design an experiment? For example, if you’re not sure about whether you are struggling over that semiquaver passage because of fingerings or because of uncertainty about the notes, how could you decide?

The Alexander Technique IS making an experiment

When I ask them, people tell me all sorts of ideas about what the Alexander Technique is about. Some think the AT is all about nice feelings, or all about theory. Or standing up straight (it’s not!). Some people think it’s about having things done to you, like some kind of therapy. But it’s actually based on experimentation. In the opening chapter to his 1932 book The Use of the Self, Alexander described his technique as

“practical experimentation upon the living human being.” [1]

In other words, making hypotheses and finding ways to test them is not just practical – it’s a fundamental part of how Alexander Technique can help you.

I have a student who had had an injury to one of her hips, and knew that she was probably using it gingerly. But how could she tell exactly how differently she used her (once) injured right leg compared to her left? By coincidence, she was given not one but two pedometers by kind friends. And she created an experiment. She put one pedometer on her left leg, and one on her once-injured right. At the end of the day the left pedometer registered around 900 steps, but the right one only registered 400ish.

Proof? Not yet – the pedometer might be faulty. So the next day she followed the same routine, but swapped the pedometers to the opposite legs. The result? The left one registered 900 steps again, and the right one only 400ish. My student had proof that she was doing something very different with her once-injured right leg. Once she had that proof, she could begin to think of ways to change things.

Making an experiment – FM’s approach

So how do we do it? I suggest we try following FM’s example. When he was trying to work out how to solve the vocal problems that threatened his career, FM said that he , FM followed these steps:

He collected his facts. He knew that reciting brought on hoarseness. He knew that normal speaking did not cause the same problems. By observing the patterns, he could see clear differences between the two different forms of speaking.

He made a hypothesis. Based on his observations, FM concluded that he must be doing something different with his vocal mechanisms while reciting that was harmful, compared to what he was doing when speaking normally. It fitted the observations, but it was still just a hypothesis – he needed to find a way to prove if what he suspected was true.

He designed a test. He watched himself speaking in front of a mirror, first just speaking normally, and then reciting. He repeated these steps, to make sure that his observations were accurate. And from these, he was able to prove, interestingly, that his hypothesis was actually false![2] From there, he could design new experiments based on his new knowledge.

And that’s the point. If FM had tried to fix things without forming a hypothesis or making an experiment, he would have been using trial and error – it would have been sheer luck if he’d solved his problems. Luck is fine, but it doesn’t help you the next time a similar problem shows up. When you make an experiment, you are following clearly defined steps, which means that you’ll be able to follow your reasoning again at a later date. You won’t constantly be reinventing the wheel; or worse, just guessing.

Making an experiment: the steps

So if you want to know what is causing your problem and make steps to solve it, follow this simple procedure:

  1. Collect your facts
  2. Make a hypothesis
  3. Design a way to test your hypothesis
  4. Have fun.

Don’t forget step 4 – that’s what it’s all about, really!

[1] FM Alexander, The Use of the Self, London, Orion, 1985, p.22.

[2] ibid., pp.25-6.

What running a half marathon taught me about doing the work.

Me reaping the rewards of doing the work

Last Sunday I ran my first ever half marathon. I’m going to write about it, not because I’m proud of myself (although I am), and not because I want praise. I learned something about the nature of goals and work, and about how we mess ourselves up by misrepresenting them. I’m writing about my experience because I think it simultaneously destroys a couple of myths and demonstrates a really important principle.

Myth 1: “you must be really amazing.”

No, I’m not. Five or six years ago I would have had trouble running for a bus. I’ve been overweight and unfit, and I’m definitely not naturally sporty. I just decided to change, and then did the work to make it happen.

Similarly, FM Alexander wasn’t special. He was just some guy from small-town Tasmania. But he wanted to sort out his vocal problems, so he decided to do the work to make that happen.

Myth 2: “a goal like that is so big, I could never do it.”

This myth is tricky, because it is wrong on two levels. First of all, what looks like the goal (the half marathon) isn’t the true motivating factor. I didn’t wake up one morning and just decide to do a half marathon, any more than FM Alexander just decided to found a whole new field of psycho-physical education. He wanted to act again without losing his voice; I wanted to gain a level of fitness to ensure I’ll stay healthy as I get older. For FM, creating what we now call the Alexander Technique was something that happened because he became fascinated with the process of what he was doing to solve his vocal problems. For me, entering a half marathon happened because I got fascinated by distance running, and because having a race in the calendar helps me to stay disciplined with my training. In both cases, the big goal isn’t actually the true motivating factor. FM and I had intrinsic motivations that were way more important.

The second way this myth bites is that it assumes that the Half Marathon (or whatever the apparent goal is) is too big and scary to achieve. Someone new to running will look at the 13.1 miles, and see an overwhelmingly long course. Which it is.

But it isn’t impossible. It’s just a big goal, which needs to be broken down into more achievable chunks. You take advice. You work consistently. And by working the smaller steps, the larger goal takes care of itself. This is what FM was getting at when he said:

Only time and experience in the working out of the technique will convince him that where the “means-whereby” are right for the purpose, desired ends will come. They are inevitable. Why then be concerned as to the manner or speed of their coming? We should reserve all thought, energy and concern for the means whereby we may command the manner of their coming.[1]

Principle: You can do the work.

What I’ve learned, and what I hope I’m modelling here, is that anyone can do the work.

It’s worth repeating: ANYONE CAN DO THE WORK.

Human beings are amazing. We can achieve amazing things, all of us. But certain conditions need to be met before we can unleash our amazingness upon the world.

  • Have a WHY. Motivation is really important, and intrinsic motivation is the best kind. I wanted to improve my fitness so I can maintain my health as I get older. FM wanted to keep acting – a profession he loved.
  • Have a goal. I chose a half marathon (and previously, some 10k races). FM wanted to recite and maintain his vocal condition.
  • Use the tools to hand. FM used a mirror or three. I found a fantastic website that tailor-made a training programme for me. I talked to friends, and gathered advice. Look at what is around that can help you.
  • Get help and external accountability. I made sure that friends knew what I was up to, so that they would ask me how the training was going. FM checked his physical condition with friends and doctors.[2]
  • Keep going. It takes a certain level of persistence and mental discipline to keep going when things get difficult. One of my favourite sentences in the whole of Evolution of a Technique is when FM says, “Discouraged as I was, however, I refused to believe that the problem was hopeless.”[3] Even when FM’s investigations were going apparently very badly, he kept working. This is where your intrinsic motivation becomes really important. I had plenty of rubbish training runs, but I still kept going.
  • Be prepared to laugh at yourself. My teacher’s teacher, Marjorie Barstow, advocated it, and I think it’s an important point. Take the process seriously, but don’t take yourself seriously.

Running a long race isn’t for everyone. But I think we all have ideas and goals and dreams, and often we cheat ourselves out of them. What would happen if you chose to honour them instead, and do the work?

[1] FM Alexander, The Universal Constant in Living, Irdeat ed., p.587.

[2] FM Alexander, The Use of the Self, London, Orion, 1985, p.28.

[3] ibid., p.36.

Mix it up! Why changing your routines makes you better

changing your routines gets you out of grooves

Chiropractors who only work from one side of the bench.

Music students who use the same practice room at the same time every day.

Runners who follow the same route every training run.

People who park in the same parking space every single day.

What do these people have in common?

They’ve fallen into a groove.

“The brain becomes used to thinking in a certain way, it works in a groove, and when set in action, slides along the familiar, well-worn path.” [1]

Grooves can be good. They help us to get through every day of our lives – they speed up decision making and get us through our days faster. But…The problem with the groove is that, while you’re in it, you’re not thinking hugely effectively. You may be following an established protocol very easily, but you won’t necessarily have analysed whether that protocol is really best for your needs. Sometimes your protocol will be sound, but at other times it will be staggeringly inappropriate, and you’ll be too busy in your groove to notice.

For example, it may look like a time saving measure for a physical therapist or chiropractor to stick to one side of the table for making adjustments on patients. They don’t have to move as much, and they get really good at adjustments on that side. But it comes at a price: they risk being less comfortable if they have to work in a different space where they are forced to use their ‘wrong’ side. And they risk muscle fatigue and injury to the side that is working harder.

Similarly, the music students I work with tend to love the routine of just block-booking a practice room as far into the future as the computer system will allow. They book the same room, and the same time. It gives a rhythm to their day-to-day life, and makes practice as normal a part of the day as eating or sleeping. But this also comes at a cost. When these students come to do recitals, they have to perform in very different rooms at different times of day. At a time when they already have the pressure of grading, they also leave themselves open to the disorientation of new spaces and different circadian rhythms, a new acoustic, and a lack of the environmental cues that helped them to memorise their pieces. The added load from all these new stimuli can be enough to hinder them from performing as well as they could.

Nonplussed by the unexpected

FM Alexander knew this only too well. In his first book he recounts a story of a young man who had been given an introduction to one of FM’s students, a prominent businessman. The young man hoped for a job, but was stunned when the businessman shouted at him, “What the devil do you know about business?”

“Of course,” the young man continued, “I was so unnerved that I could not even collect my thoughts and I was so flurried that I could not answer his further questions. He told me he hadn’t any position to suit me.” “My dear young man,” I remarked, “why did you allow Mr. —– to insult you? Why did you not remonstrate with him …” “I was so upset by his sudden attack, and I didn’t expect to be treated in such a way.” “Just so,” I replied, “you were nonplussed by the unexpected. But I hope this will be a lesson to you. Mr. —– was only testing you, and he wants men who are capable of dealing with unexpected events and situations in his business.”[2]

We need to be ready for the unexpected. We need to be able to deal with stimuli that could cause fear, and the way to do this is through  knowingly and deliberately breaking your grooves, in order that you can improve your physical and mental flexibility and your tolerance of stress.

Physical and Mental flexibility

I know it seems fairly obvious, but unthinkingly carrying out the same physical protocols day in, day out, is not likely to be hugely beneficial for your physical health. You run the risk of never actually taking even a moment to STOP, and allow your body to properly rest.

But this is true mentally, too. Trapping yourself in an unthinking groove won’t help you mentally either. To take the musical example, if you mix up the practice room you use and the time of day you practise, you are giving yourself low-stakes opportunities to experience different acoustics and different experiences of playing. This gives you the mental flexibility to be able to deal with changes of space, time and audience when you perform. This means that you’ll be far less likely to be phased by a grumpy examiner, or that audience member rustling a cough sweet wrapper for an eternity!

Small amounts of stress are good

Deliberately changing your routines will also leave you less open to amygdala hijack. This is where your reasoning centres become unable to inhibit the fear reaction from the primitive parts of your brain, making it difficult to think or remember anything.[3] By choosing to mix things up, you are helping your brain to develop the reasoning power and mental discipline to control your amygdala more effectively. There is an increasing body of evidence that choosing to undergo small amounts of stress helps to prime your brain for improved performance by causing the production of new nerve cells that help you to be more alert. [4]

So try changing your routines. Find ways of subtly placing yourself under a modest (and short-lived) amount of stress.

  • If you are doing an audition, for example, choose to play in lots of different spaces with different acoustics, and choose to play in front of people.
  • If you’re doing a half marathon (like I will be soon), choose to run at different times of day, or after doing some heavy mental work, in order to stretch your mental discipline.
  • If you are involved in an occupation where it is tempting to do things one way all the time, see if you can find a way to change your movement patterns.

Your mind and your body will thank you for it.

[1] Alexander, FM., Man’s Supreme Inheritance, Irdeat ed., p.67.

[2] ibid., pp.140-141.

[3] Katwala,A., The Athletic Brain, London, Simon & Schuster 2016, p.123.

[4] http://news.berkeley.edu/2013/04/16/researchers-find-out-why-some-stress-is-good-for-you/