Beat performance plateaus by changing point of view

79739734_8b9453075a_n

Performance plateau?

Are you experiencing a point of difficulty in one of your hobbies or work activities? Perhaps you can’t quite hit that tennis forehand the way you’d like, or nail that top G reliably? Possibly you’ve always thought the problem was intractable, or that you’d reached a ceiling on your abilities.

But have you considered that the reason why you’ve plateaued could be because you’re getting in your own way?

Performance plateau: the young swimmer

I had a taste of this from my son the other day. On the way home from school, he said he didn’t like swimming any more. I asked him why. He said it was because the teacher kept telling him to put his head in the water while swimming freestyle lengths. “But I do put my head in the water!” he said.
“Really?” I asked.
“Yes! … Some of the time…” he said, rather less vehemently.
“Okay. When do you put your head in the water?”
“I put it in for a bit, then I lift it up to breathe,” he replied.
“Ah. Is that what the teacher wants you to do to breathe?”
“Well, no. But it’s the way I do it.”
“Do you think the teacher would stop telling you off if you did what she asked?”
“Yes,” my son said. “But I want to do it my way.”

 

“My way” – Performance plateaus as a state of mind

And there you have it in a nutshell.

Most of us, when we go about the activities that make up our day-to-day lives, have ways that we like to do them. The ways we choose are based on our personal preferences, our experiences, and our beliefs about the right way to go about things.

But what if we’re wrong? What if our way is not the best way? What if our way of doing things is, in fact, the cause of the performance plateau that we’re experiencing?

FM Alexander was able to write that, after 20 years of teaching experience, he had “no hesitation in stating that the pupil’s fixed ideas and conceptions are the cause of the major part of his difficulties.”*

Even worse than this, Alexander goes on to say that if a person has a very fixed idea of “their way” of doing things, they are likely to go on trying to do things “their way” even after the teacher has demonstrated that their way can’t be relied upon! My son, for example, knows that his swimming teacher is correct, and that his way of breathing is not helping him. But no amount of the teacher yelling at him is going to make him stop!

So what will?

 

A change of mind as the key to breaking performance plateaus

My son needs to change his mind. Currently he is held back by, to borrow Alexander’s phrase, his “fixed and unreasoning conception” about what he needs to do to breathe while swimming freestyle. He will need, in short, to give up his desire to feel right, in order to do the thing that will increase effectiveness.

 

Here are the steps to take:

  • A touch of honesty. Are you like my son – do you secretly know what is holding you back?
  • Thinking about teacher/mentor feedback. Are you consistently being given the same criticisms in feedback? Can you recognise these criticisms in your own performance?
  • Listening to teacher/mentor advice. Are you being given advice that you’re not following? Maybe you could have a go at trying it, if only to prove your teacher wrong!
  • Loosen up and be prepared to feel ‘wrong’. Sometimes, letting go of what seems ‘right’ is the only way forward. Loosen your grip, and see what happens!

Performance plateaus are not a lot of fun. Even though it might be scary, why not try tearing up the rule book you’ve got in your head, and have a go at the thing that feels ‘wrong’? And let me know how it turns out.

 

*FM Alexander, Constructive Conscious Control of the Individual in the IRDEAT edition, p.294.
Image by Tup Wanders, flickr creative commons.

The talent myth – why we really can have a go at anything we choose

musician2

Have you ever been faced with a complicated bit of arithmetic and thought ‘I’m just not good at maths’? Or struggled to run to catch the bus, wheezing and thinking ‘I was never sporty’? If so, then you may need to think again. The talent myth has you in thrall.

The talent myth – or the recognition that people having an ‘inbuilt’ natural ability is just a false belief – has become a bit of a commonplace in the past few years. Readers of Matthew Syed or Malcolm Gladwell are familiar with the concept of the 10 000 hours rule, and the concept of ‘putting in the hours’ to achieve mastery is well on the way to becoming a cliche in self-development blogs.

But the idea that talent is not a fait accompli delivered by genetics, but rather a quantity that can be developed and trained in anyone, is not a new one. Shinichi Suzuki, founder of the Suzuki Method, firmly believed that there is no such thing as natural ability – that any child could exhibit remarkable abilities if they received a careful and nurturing environment in which to grow and mature.*  Notably, though his Method is now almost synonymous with musical training, he himself described his system as Talent Education.

Reading this, I was inspired to read again FM Alexander’s beliefs about children and education. Alexander is more careful about allowing there to be limits to a child’s potential within its genetic make-up. However, both men, when faced with the question of whether genetics or environment is the more important factor influencing a child’s future success, come down firmly on the side of environment.

And environment, dear readers, means us – parents, educators, friends, and general public. If Suzuki and Alexander are right, we create the conditions in which children develop their gifts – and their deficits – and then laud the gifts by labelling them ‘talent’. That’s the talent myth.

So how does the environment in which a child grows up create such a major impact on success? This is FM’s view:
The child of the present day … is the most plastic and adaptable of living things. At this stage the complete potentiality of conscious control is present… Unfortunately, the usual procedure is to thrust certain habits upon it without the least consideration of cause and effect, and to insist upon these habits until they have become subconscious and have passed from the region of intellectual guidance.**
In other words, children either choose or are forced to take on board ideas about what is right and normal, whether or not there is any logical reasoning behind them, and with no regard to whether the ideas will cause harm in the long run. And then they accept the ideas as normal, and choose how to act based upon them.
And this can generate odd effects. Things that we came to accept as true about ourselves when younger become unquestioned ‘facts’ as we grow up.
Suzuki tells the story of a young violinist who had come to believe that she had clumsy hands because she couldn’t play a passage as fast as she wanted. By an artful process of questioning and demonstration, Suzuki showed the girl that there wasn’t anything wrong with her fingers, merely about her idea of what her fingers could achieve.  When Suzuki gave her a different practice process to follow, she played the passage easily and without complaint.***
FM Alexander summed it up very simply in his second book:
I have no hesitation in stating that the pupil’s fixed ideas and conceptions are the cause of the major part of his difficulties.****
If we are to take Suzuki and Alexander at their word, we need to at least entertain the idea that our ideas about what we can do and what we can’t are just that – ideas. They are a product of our childhoods, of our schooling, of our friendships, and of our experiences. But there is nothing to say that our ideas are right, or accurate, or based on any firm foundation.
What if ‘tone deaf’ is just an idea?
What if ‘not sporty’ is just a label?
What if ‘not sciencey’ is just a decision we’ve made?
If this is true, then we’d be free to change our minds, and make a decision to create an entirely new version of ourselves.
And wouldn’t that be fun?

 

* Suzuki, S., Nurtured by Love, Exposition Press 1969, pp.46-7.
** FM Alexander, Man’s Supreme Inheritance in the IRDEAT complete edition, p.73.
*** Suzuki, op.cit., p.48.
**** Alexander, Constructive Conscious Control of the Individual, IRDEAT, p.294.

Don’t be discouraged by failure: tips for a great year from Alexander and Caesari

Yarn-Kitty-500

This week I’m completing my mini-series inspired by the singing teacher Caesari’s warning to singing students.

Let the student beware, however, of three prominent evils:
Unbridled enthusiasm which leads to precipitancy and excesses;
Impatient expectation of rapid measurable results;
Discouragement in face of temporary or occasional failure.*

Firstly I talked about the dangers of unbridled enthusiasm. Last week, we looked at the second of Caesari’s warnings, that of being impatient about results. To end the series, we’ll investigate the dangers of being discouraged by failure, and consider whether it might be more sensible to learn from failure instead.

Why we hate failure

We hate it because it sucks, and it feels bad.

Let’s flesh that out a little. If we fail, it means that we had a goal. we wanted to achieve something, probably something important to us. We planned, we invested ourselves in our goals emotionally, we put in the time. When the time came, we attempted to follow our plan, and it went wrong.

When it all goes wrong, we feel downhearted because we didn’t reach our goals. This is normal and completely reasonable. We didn’t achieve what we wanted to achieve, and we feel the loss not just of the goal, but of the time invested and the emotional energy spent. FM Alexander was no stranger to this stinging sense of disappointment. While trying to work out what he was doing while using his voice to cause his vocal problems, Alexander often took wrong turnings or failed to do what he intended. And when he failed, he definitely felt it: “This indeed was a blow. If ever anyone was in an impasse, it was I.”**

Running from failure

Failing hurts because we didn’t achieve what we wanted. But more than that, very often we take it personally:

“I didn’t make the team, so I must be a bad player.”
“I didn’t get that high note. Everyone knows I’m a rubbish singer.”
“My book didn’t sell. I should quit writing now and stop making a fool of myself.”

Notice that these hypothetical people go one step further than just feeling disappointment. They utilise one or more cognitive distortions and draw incorrect and unfounded conclusions that bear little relation to the event. They manufacture feelings of embarrassment and shame, and then run from them. They may even quit the activity rather than face failure again!

Please don’t quit – there is a better alternative…

Learn from failure

One of the most striking character traits of FM Alexander – in my opinion – is his determination. Because he was passionate about his chosen career, he kept fighting to solve his vocal problems even in the face of a stream of failures and disappointments. He keeps writing sentences like this:

“Discouraged as I was, however, I refused to believe that my problem was hopeless.”***

Do you, like me, find that sentence tremendously encouraging? I love the way that Alexander could feel the disappointment, then put it to one side and keep reasoning out new courses of action. More than that, Alexander realised the value of his failures as a resource:

“I practised patiently month after month, as I had been doing hitherto, with varying experiences of success and failure, but without much enlightenment. In time, however, I profited by these experiences…”****

Even though he didn’t know how the failures could help him at the time, Alexander knew that the experience would be useful at some point. He knew that failures could help him progress, even if he didn’t understand how at the point when the failure occurred. By analysing the failures, he could begin to understand how they occurred and why.

Learn from failure by…

  • Collecting your failures. Store them up.
  • Analyse them. Are there patterns? Any obvious errors or things that you overlooked?
  • Getting feedback. If you have a teacher, coach or mentor, ask them for feedback. And try to have someone in your camp who will cheer you on even when you lose or fail.
  • Use the information you’ve gathered and create a plan for your new attempt.

For example…

If you didn’t make the team, there may be any number of reasons. Maybe there were better players there on the day. Maybe you made a mistake or two. Maybe the coaches just decided you needed more time to prepare. It does not mean you are a bad player. Ask your coaches what you should work on to improve your game, and keep playing.

You didn’t get the high note? It’s a shame, yes. Some of the audience might notice, but most of them won’t. And will one missed note destroy the integrity of the rest of your singing? Probably not. Keep practising. Work out why the top note didn’t work, and then perform again.

There might be any number of reasons why your book didn’t sell, and the quality of your writing is only one of the possible options. Have you investigated the others?

Don’t run from failure. Feel it. Learn from it. Learning how to learn from failure is probably one of the biggest and most significant steps you could make on your road to success.

* E. Herbert-Caesari, The Alchemy of Voice, Robert Hale, London, 1965, p.22.
** FM Alexander, The Use of the Self in the IRDEAT complete edition, p.420.
*** ibid.
**** ibid., p.418.

Impatient about results? Tips for a great year from Alexander and Caesari.

checklist

This week I’m continuing my mini-series inspired by the singing teacher Caesari’s warnings to singing students. Last week I talked about the dangers of unbridled enthusiasm. This week, we look at the second of Caesari’s warnings, that of being impatient about results:

Let the student beware, however, of three prominent evils:

  • Unbridled enthusiasm which leads to precipitancy and excesses;
  • Impatient expectation of rapid measurable results;
  • Discouragement in face of temporary or occasional failure.*

 

We’ll look first at why we want measurable results fast, then at why this is unrealistic. Finally, I’ll leave us with a couple of ideas to help counter our thirst for results.

 

Impatient about results: I want improvement, and I want it NOW!

On any new activity or goal we’re working on, or even if we’re working to improve something we’re already doing, the one thing we’re looking for is improvement.

If I take singing lessons, I want my singing to get better.

If I go to French classes, I want to come out after a few lessons with at least a smattering of French.

If I go running, I want to start feeling fitter.

But we don’t just want improvement. We don’t just want results. We want those results to be measurable, and we want that measurable improvement quickly. We suffer, to use Caesari’s words, impatient expectation of rapid measurable results.

And life often just doesn’t work that way.

 

Why results (often) don’t come quickly.

Even if we are learning a whole new skill (as I did last year with tennis), we still are likely to have preconceptions about what the activity involves, how it is meant to be done, how successful we are likely to be, and what body parts we are going to have to use to do it. We are full of preconceptions.**

Part of learning anything is learning to give up what you think you know in order to take on board the ideas that you could never have dreamed of. And this is sometimes a hard task. We are almost preconditioned to hold on to the things we know – they are ours, we thought of them, and we like them. Letting go can be difficult. And yet this is what we must do.

Sometimes it will be fast. We will make terrific process.

Sometimes it is slow. It feels like it is taking forever. Sometimes I feel like I would rather chew my own foot off than have to wait any longer for improvement in the areas that I’m working on! But change comes. In its own time. And it probably won’t look anything like what you thought it would.

At this point, it is practically irresistible to begin feeling impatient about results, get frustrated, ‘chuck a wobbly’, ‘throw your toys out of the pram’. But let’s not, just for a moment, because it’s usually at this point that I remember my all-time favourite quote from FM Alexander.

…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.***

I love this quote because it reminds me that if I’m following a well-designed process, if I’m keeping my enthusiasm in check and using my head, then I cannot fail to have success. I just don’t know how long it will take.

 

How to avoid impatient expectation of rapid results

These are my tips:

  • Keep a list (either mental or on paper) of things that have improved. My own favourite example is playing musical passages that I used to find too difficult, but that I can now play easily. Look at the list whenever you start to feel impatient, and remind yourself of how frustrated you used to feel about the thing that is now simple for you.
  • If you feel frustrated, take a break. Go for a walk or a run. Put on some music and dance around the house. If you release some of the mental energy, you may well find that you’ve solved the issue blocking your progress without having to ‘think’ about it.
  • Remember that frustration and impatience are also signs of growth. When you think about it, this makes sense. If we always stay within what is comfortable and easy, then we don’t ever reach the limits of what is possible for us.

Impatience and frustration, of themselves, are not detrimental. What is truly destructive is allowing impatience and frustration to be the excuse to quit. Why not dance instead?

 

* E. Herbert-Caesari, The Alchemy of Voice, Robert Hale, London, 1965, p.22.
** See FM Alexander’s wonderful chapter ‘Incorrect Conception’ in Constructive Conscious Control of the Individual for a fuller description of this.
*** FM Alexander, The Universal Constant in Living in the IRDEAT complete edition, p.587.

Unbridled enthusiasm – tips for a great New Year from Alexander and Caesari

ID-100135027

Are you filled with enthusiasm for the coming year?

How are you going with your New Year’s Resolutions?

Or have you worked out your goals for 2014? Are you sticking to your plans so far?

If you’re anything like me, you experience a heady mix of emotions at the beginning of the year as you make plans for how you want to best use your time and energies. And it can be tricky navigating a path through the mix of excitement, puzzlement, enthusiasm, fear and confusion.

It was a pleasant surprise, then, as I started one of my holiday reading books, to come across a reminder of some of the most important lessons that FM Alexander teaches us about navigating the process of change and development.

My holiday reading was called The Alchemy of Voice, written by singing teacher E. Herbert-Caesari. In the opening chapter, the author exhorts singing students to strive, experiment and practise daily – all good things, I’m sure you’ll agree! But then he issues this warning:

 

Let the student beware, however, of three prominent evils:

  • Unbridled enthusiasm which leads to precipitancy and excesses;
  • Impatient expectation of rapid measurable results;
  • Discouragement in face of temporary or occasional failure.*

What a list! It’s such a powerful selection of principles that I’m going to spend this blog post just talking about the first of Caesari’s three points: the dangers of unbridled enthusiasm.

 

Unbridled enthusiasm – too much of a good thing.

When my son made chapattis recently, he decided not to follow the written recipe instructions. Measuring ingredients seemed slow and tedious. Instead, he decided to put two large double handfuls of flour in his bowl, sprinkle in a bit of salt, and then slosh in some water.

The mix was a little dry, so he added more water.

The mix was still too dry, so he added a little more water.

The mix was STILL too dry, so he added… a lot more water. A whole lot. His chapatti mix looked a little like soup. It needed a lot more flour, and some adult help, to bring it back to being the right consistency.

Caesari’s point at the beginning of his book is that singers are a little like my son. He decided that he knew what chapatti dough looked like, so he didn’t need to measure ingredients. He knew what he was doing. Similarly, Caesari suggests that singers very often think they know what sort of sound they want to achieve, and don’t necessarily follow a reasoned process to get there.

But it isn’t just singers who are like that, and it isn’t just my son. I suspect everyone has this experience. We are convinced we know what our end product should be, so in our enthusiasm to get to the end, we skip some of the slow, boring, tedious, necessary steps that will get us there.

FM Alexander certainly had this experience. In 1910 he wrote:

One day I hope to write an account of how I arrived at the practical elucidation of my principles of conscious control, and when I do, I shall show very plainly how one of the greatest, if not the greatest danger against which I had to fight was my own enthusiasm. It is as vivid and keen today as it was over twenty years ago, but I should never have worked out my principles, if I had allowed it to dominate my reason.**

Enthusiasm and reason

Notice that Alexander doesn’t say that enthusiasm is bad. Neither does Caesari. They both say that unbridled enthusiasm is bad. Unbridled enthusiasm blinds us; it stops us from assuming that we know everything, and causes us to miss out vital steps. It stops us from using our heads.

So this is what we must do:

  • Be enthusiastic. Enthusiasm is good. It keeps us going through the inevitable failures and disappointments along the path to our goals;
  • Remember that we don’t know it all! Humility will keep us remembering that we need to watch out for our hidden assumptions and blind spots;
  • Keep using our heads and following all the steps. It’s hard to be a good musician if you don’t practise. It’s hard to keep fit if you don’t exercise. It’s hard to be a writer if you don’t write! Keep showing up, and keep doing the steps.

If we follow these pointers, then together we can all make a true difference to ourselves, to our families, and to our communities this year. Wouldn’t that be a great thing?

 

* E. Herbert-Caesari, The Alchemy of Voice, Robert Hale, London, 1965, p.22.
** FM Alexander, Man’s Supreme Inheritance in the IRDEAT complete edition, p.90. And he did write that account of how he arrived at his principles of conscious control – it’s the first chapter of his book The Use of the Self.
Image by supakitmod from FreeDigitalPhotos.net

Decision making and FOMO: what FM would say…

decision-making

Are you good at decision making, or are you plagued by those modern evils, Fear of Commitment and Fear of Missing Out? This post is about why decision making is a fundamental skill within Alexander Technique, and how you can do it better.

Decision making fail – leaning on the fence

A week or so ago I had the great pleasure of taking my family along to the ExCeL conference centre in London to see the Doctor Who 50th Anniversary Celebration. It was a massive exhibition – tons of displays of costumes and props, lots of stalls selling things, and lots of demonstrations and theatre shows in a number of small spaces.

Many of these small spaces were defined within the large exhibition space by little fences. Inside each fence there were chairs and a stage. The fence was small, and though you could easily see over the top, staying outside to watch the demonstrations wasn’t exactly comfortable. The fence was rickety and wobbled every time it was touched, and the crowds bustled past constantly.

But that didn’t stop people. Every time I walked past one of these little theatre spaces, only about a third of the chairs inside was filled, but the fence was lined entirely by people leaning uncertainly against the rickety barrier and watching from the outside.

They didn’t want to commit. If you went inside you got a (more or less) comfy seat, but it also made it harder to leave if you didn’t like the show. And who was to say that there might not be a better show starting in the next space in just a few minutes?

So most people decided to hedge their bets, and spend an entire 40 minute show jammed against a wobbly barrier while the crowds brushed past.

Decision making and reasoning

Now, I admit that I’m not the world’s best decision maker. But I do know that standing around in a crowded passageway for 40 minutes just to ‘keep my options open’ is what FM Alexander would disparagingly call ‘unreasoned’. It stems from a fear of making the wrong choice, and a lingering worry that we might be missing out on something ‘better’. But really, does it really matter if there’s a better show than the one we’re watching, especially if it will take use half of the show time to push through the crowds to get to it?

If FM Alexander had worried about making the wrong choice about what experiments to make while he was trying to find the solution to his vocal troubles, we wouldn’t have the Alexander Technique today. FM made tons of mistakes. He went up conceptual blind alleys, tried wrong things, and even realised at one point that “all my efforts up till now to improve the use of myself in reciting had been misdirected.” (p.419)

But he never let his errors stop him. Indeed, more than once in Evolution of a Technique (the chapter in which he describes the creation of the work we now call the Alexander Technique), he says clearly that he profited from the experiences he had from his mistakenness – the experience helped him to form new ideas and new experiments to try. (see p.418, p.424)

 Decision making – which side of the fence are you on?

Ultimately, there are very few decisions where the outcome is really that crucial. Most things can be changed, or improved upon. Most decisions will not be completely bad or wrong – we can learn from most things.

Therefore, don’t sit (or lean) on the fence.

Try that new restaurant or cafe.

Try that new watercolour brush technique.

Try playing that phrase with a different fingering pattern.

Try a different route home.

In the vast majority of circumstances, even if the choice turns out to be less than optimal, it won’t matter that much. You might end up with a lesser cup of coffee, or it might take you five minutes longer to get home. But if you don’t try, you might end up missing the best cup of coffee you ever tasted.

If you lean on the fence for too long, you’ll just end up with sore feet.

 

“You can do what I do”… 5 hints from FM Alexander about what it takes if you want to improve posture (or anything else).

search for clues to improve posture

Do you want to improve posture (or anything else, for that matter), but feel a bit stuck as to how to go about it? Today’s post may have some answers…

I’ve been a bit silent for the past few weeks on the blogging front. Apologies. I have been very busy researching and writing lectures for a new course I am teaching at Royal Welsh College of Music and Drama, this time to the music degree students. It is a course that is part experiential Alexander Technique, and part lecture-based presentation of FM Alexander’s ‘Evolution of a Technique.’
It has been a real learning curve for me, never mind my students. I have been studying Alexander’s text in a depth that I haven’t ever quite managed before. It has been revelatory.

What I have discovered is a whole new perspective on the journey that all students face on the road from threatened passion on to improvement and ease. Marjory Barlow, amongst others, recounts that FM often used to say, “You can do what I do, if you will do what I did.” But what exactly did FM Alexander do?

The points below are some of what I believe are the essential markers of FM’s journey from a threatened acting career to an improved voice and a whole new vocation. I think we could all benefit greatly if we took some of these points on board.

 

“I must try and find out for myself.”

FM suffered vocal problems, so he did the obvious thing and went to the doctor. He tried all that was available to sort out any medical problem that may have existed. This is really important. If there is a medical issue, you need to get it sorted out by a medical person. But FM suspected that the reason why the medical solutions didn’t help was because his troubles didn’t have a medical origin. He suspected he was doing something while speaking that caused his problem. So he decided to find out.

The learning point:

If you’ve got issues that you suspect aren’t medical, be thorough and check out the medical, but also think about finding out if you’re right. And no one can do this for you. An Alexander Technique teacher is trained to help and offer principles to help you on the path. But ultimately, you have to do the work yourself.

 

“I could do no harm by making an experiment.”

FM knew his problem occurred while reciting, so he watched himself in a mirror, first in ordinary speaking and then when reciting, in order to see what differences there may be between the two activities. And he didn’t just do it once. He did it many times.

This is classic scientific method: look at the evidence, make a guess about why things are the way they are, construct a way of testing if you’re right, and then run the test several times.

The learning point:

Think about your issue. Can you construct a way of testing its extent or causes?

 

“I found myself in a maze. For where was I to begin?”

There are many occasions, especially in the first half of Evolution of a Technique, where FM Alexander has made so many observations, has so many different things to test and try, so much on his plate, that it is almost overwhelming. So what does he do? He picks a place to start, and keeps experimenting.

The learning point:

When you’re bogged down and don’t know what to do first, sometimes the best thing to do is just pick a spot, and start there. You’ll soon find out if there was somewhere better!

 

“…all my efforts up till now to improve the use of myself in reciting had been misdirected.”

FM had vocal problems, and tried to trace backwards to find out what was causing them. He found some physical movement patterns of his head in relation with first his neck, then his whole body, which seemed to be the cause. So he tried to stop doing them, and even to do something else. And while he had some small degree of success, he found he wasn’t able to do all the things he wanted to do. FM found himself down a cul de sac.

The learning point:

That happens to all of us. We try something, and it doesn’t seem to work. Failure is normal and to be expected.

 

“Discouraged as I was, however, I refused to believe that the problem was hopeless.”

If there’s one quality (other than passion) that characterises FM Alexander, it is that he was tenacious. He experienced massive setbacks in his quest to solve his vocal issues, yet he didn’t allow his disappointment to get the better of him. Seth Godin recently wrote a blog about the difference between being tenacious and persistent. Telemarketers, says Seth, are persistent, because they keep pestering. Seth continues:

“Tenacity is using new data to make new decisions to find new pathways to find new ways to achieve a goal when the old ways didn’t work.”

This, for me, typifies FM Alexander. He kept looking for new data, made new decisions, tried new pathways, and discovered amazing things as a result.

The learning point:

What can you do today to be tenacious in pursuit of your goal?

These are just 5 things that I have discovered during my journey with FM Alexander in Evolution of a Technique, all from the first half of the chapter. There’s plenty more in the next half!

Which brings me to a question…

My RWCMD students have been getting enormous benefit out of studying FM’s journey in detail – even though the majority (contrary to what I’d been told to expect) had never even heard of Alexander Technique before entering my classroom. So I’m wondering… how many more people would really enjoy an in-depth class looking at Evolution of a Technique?

I’m thinking of making a class that does just that: a study of Evolution of a Technique. Course notes, discussion time, plenty of time for questions, and held both in person here in Bristol, and online via Skype.

Would you be interested in a course like that? If so,  send me an email and let me know. I honestly have no idea if there’s any interest out there for a course like this, so PLEASE, if you’re interested, contact me and let me know.

Image by winnond from FreeDigitalPhotos.net

Does perfect posture for the piano (or anything else!) exist? And if not, what should we look for?

pianohands

Does perfect posture for piano – or flute, or singing, or trumpet, or cycling, or anything else, for that matter – exist? This is a topic I’ve been thinking about a lot recently, as I’ve recently started teaching Alexander Technique to a new class of music students.

Perfect posture for the piano – or perfect posture for whatever instrument my student studies – is usually high on a student’s agenda at the beginning of a course of lessons with me. If they’re in my teaching room to learn Alexander Technique, they’ve probably booked the appointment because they’re having trouble playing to the standard they’d like. And a lot of the time they’ve been told, often by a teacher or coach, that their posture is poor and needs fixing.

So they’re in my teaching room. Wanting to learn the secret of achieving perfect posture.

I’ve been reading a book called Piano Notes by noted pianist and critic Charles Rosen, and he very much writes what I have experienced in my practice – that looking for an externally verifiable perfect posture is to look at the problem completely the wrong way around.* Let’s investigate.

If there was a perfect posture, then it would have to fit everyone. I other words, any pianist would have to sit the same way, use the same hand technique, and so on. And for this to work for everyone, all pianists would need to be roughly the same size physically and have the same hand shape.

But we know that this isn’t true. Rachmaninov and Richter had famously large hands. By all accounts, Ashkenazy has quite small hands. Casadesus had famously stubby fingers. Is it reasonable for us to expect that all these players should use the same fingering technique and the same hand position? And what about seating position? Should we expect all sizes of people to sit in the same way?

If there was indeed such a thing as a perfect hand position or seating position, we may well be left with the uncomfortable conclusion that those people who weren’t physically suited to it shouldn’t play piano. Hm.

And what about perfect seating posture at the keyboard? If there were such a thing, then there would also be a myriad ways to sit which were not perfect. But what if, in order to get the effect the composer demanded, you had to sit or move in such a way that you left the ‘perfect’ position? That would be a tricky dilemma!

Perfect posture punctured!

Put simply, my students are having trouble maintaining ‘perfect posture’ as they play, because it doesn’t exist. There is no one right way, because there is no one right person. There are so many different shapes and sizes of performer, and so many different demands placed upon them by different pieces of music, that to try to make firm and fixed rules is doomed to failure.

And I think my students know this in their heart of hearts. But they still want fixed rules to follow, because it is somehow more comforting to think that there is a perfect answer out there, and if they just have the secret of it, they’ll never have to think or worry about playing again.

FM knew all about this very human desire for rules we can follow unthinkingly, which is why even in his very first book he was at pains to point out that instructions that helped one student could be troublesome or even detrimental to another. That’s why he didn’t give lists of instructions on how to sit or stand.**

So in the end, we need to work out for ourselves what is likely to be best for our bodies, whether we are playing musical instruments or just chopping the veggies. But how are we to do this? Are there any guidelines that can help us?

Look to the anatomy, and learn from basic principles of how we’re structured. For example, a 90 degree angle between forearm and upper arm is always going to be beneficial to aim for, because it’s where you arm has maximum torque (turning power) and thus the most potential and freedom to move.

Work out what is required of you. For example, if you’re playing piano and come across a section of music that the composer intends to be loud and forceful, make note of this.

Check out the externals. Is the piano stool high, or low? Is the veggie knife sharp? Is the music stand high or low?

Once you know all the contributing elements, you can design your own optimum solution for the circumstances you’re in right now. Just remember that today’s optimum might be different to tomorrow’s!

 

*Charles Rosen, Piano Notes, London, Penguin, 2004, pp.1-3.
** FM Alexander, Man’s Supreme Inheritance, IRDEAT ed., pp.155-157.

You can Improve Performance by Doing Less: Why it Works, and 4 Tips to Harness its Power

61263_9449Have you ever wondered how the truly great artists manage to create their masterpieces? Have you ever listened to Yo-Yo Ma play cello, or watched Roger Federer play tennis, or Fred Astaire dance, and considered how they got that good? Well, practice is a big part of it, absolutely. But I want to suggest that the great artists have all realised the power of a simple process: they understood that you can improve performance by doing less.

Novelist Rolf Dobelli recounts a story of the Pope asking Michelangelo, “Tell me the secret of your genius. How have you created the statue of David, the masterpiece of all masterpieces?” Michelangelo’s reply is remarkable: “It’s simple. I removed everything that is not David.”*

This story, for me, cuts to the heart of what the Alexander Technique is all about, because it speaks to the principle of economy of effort. Michelangelo had an idea of what he wanted his David to be, and then he cut away everything that wasn’t a part of his vision. Simple. Elegant.

Economy of effort to improve performance

Back in 1910, FM Alexander realised that people had a problem with economy of effort. He wrote: “Unfortunately, all conscious effort exerted in attempts at physical actions causes in the great majority of the people of today such tension of the muscular system concerned as to lead to exaggeration rather than eradication of the defects already present.” **

Bluntly, when FM looked around at the world, he thought that people weren’t having the success they craved because they were doing too much. And a lot of us are STILL doing too much, or going about things the wrong way. Or even doing too much WHILE going about things the wrong way! And then we worry, because we aren’t achieving the results we expected.

If that sound crazy, well, it’s because it is crazy. But it’s also very human. We’ve learned from a very early age that doing more is the socially expected course of action. Want to succeed? Do more. Even if you’re not sure you’re doing the right thing in the first place. I’m sure you, like me, have had the experience of playing music, or acting, or hitting a tennis ball, wanting to improve performance, and actually making things worse.

The solution?

To improve performance by doing less. If you think you’re doing too much – whether physically or mentally, try doing a little less. The game I often give my students is the 50% less game – ‘can you do this with 50% less effort?’

And when you take away the unnecessary, what are you left with? I ran across this quote from Alexander teacher Marjorie Barstow. It very much speaks to this idea of taking away the unnecessary. She is quoted as saying to a student, “All you have is the absence of what you had.”

Michelangelo’s absence was David.

So how do you achieve an absence? Here are my tips.

 Keys to Doing Less.

Have a good idea of what you want to achieve. Steven Covey talks about things being created twice. Before the physical creation there is a mental creation. The better your mental creation, the better your idea of where you want to end up.

Know your resources. I can’t give a quote or a footnote, but I’m guessing that Michelangelo chose both his materials and his tools carefully, picking ones that were appropriate to his intentions. We need to do that, too. This may mean going out and buying the right sort of shoes if we plan to start running. It may mean finding out where our hip joints are.

Watchfulness. I’m willing to bet that Michelangelo didn’t wield his hammer and chisel mindlessly! He would have been incredibly watchful, making sure that he didn’t cut away more than he needed to, and that he cut away in the correct places.

No preconceptions about the effort required. This may sound like I’m contradicting tip number 1. But I’m not. Having a goal is one thing, but keeping an open mind about how little effort you may need to achieve that goal is quite another.

Yes, it takes a little bit of work. But will it take any more than all the unnecessary effort we’ve been channelling into our activities? Probably not. And if we are successful, we may well be amazed at how easily we can take away ‘all that is not David.’

 

* Rolf Dobelli, The Art of Thinking Clearly, Sceptre Books, p.304.
** FM Alexander, Man’s Supreme Inheritance, IRDEAT edition, p.62.
Photograph by Richard Simpson, stock.xchng

“Just One More…” – how the desire to do more can be harmful, and how to stop overworking.

time_AY130730

Do you have problems with one of the holy grails of personal productivity: how to stop overworking? Do you find yourself exhausted by your drive to keep checking things off the To Do list?

I’ll answer just one more email…
I’ll write just one more paragraph…
I’ll play that phrase just once more – just to be certain of it…

At the recent Dance and Somatic Practices conference in Coventry, Jane Toms and I presented a workshop in which we discussed how Alexander Technique can be a great tool for circumventing the stories and beliefs we all hold that can prevent us from achieving our potential. I mentioned a couple of the self-limiting (and self-harming) beliefs that caused me to begin studying Alexander’s work.

My tendency to try to fit in ‘just one more thing’ wasn’t one of them. But I’ve realised that it should have been.

If you’re anything like me, you’ve grown up exposed to the belief that hard work is the key to success. I knew I had taken this belief to heart, but only recently have I begun to see how it affects my day-to-day life. I don’t like to cook only tonight’s dinner. I like to start tomorrow’s lunch, too.

I will try to fit in just one more email. Just one more dish on the rack. Just one more load of washing. Just one more student in the schedule.

Yes, this can be productive. But it can also land me in trouble. I can take on too many jobs, or end up doing too many things at once. It’s exhausting.

So I made the decision to stop overworking, and to start treating myself more kindly. But it’s hard. It is as though I have a ‘default setting’ that demands overwork, and any stimulus can set my default setting into overdrive.

But it is not for nothing that FM’s last major piece of writing was entitled ‘Knowing How to Stop’, because stopping is a major key in his work.* When trying to solve his career-threatening voice troubles, FM realised that he needed to “make the experience of receiving a stimulus to speak and of refusing to do anything immediately in response.” **

In other words, FM received a stimulus to speak but made the experience of refusing to respond in his usual way. This gave him time to choose not just how to respond, but whether to respond at all.

And this has been my challenge: to receive the stimulus – another email, another phonecall – and to refuse to spring instantly into action. This gives me time to choose what I actually want to do – stop overworking. It gives me time to think. And when I take this time, I have the chance to make the decision anew to choose the path that I have decided is best for my purpose, rather than relying on my default programming.

This is the way we change habitual behaviour – by receiving a stimulus, not instantly using our default programming, but instead making a decision to put into effect the process that we have decided is better.

For me, this is the key to how to stop overworking. It means pausing before fitting in ‘just one more’ of anything. What about you?

*Michael Bloch, FM: The Life of Frederick Matthias Alexander, Kindle ed., p.186.
** FM Alexander, The Use of the Self, Irdeat ed., p.424.
Image courtesy of stock images, FreeDigitalPhotos.net