If I had to give a one sentence definition of Alexander Technique, I would say that it’s a toolkit of ideas and processes to help you carry out any activity you choose in the easiest, most efficient, most enjoyable way possible. Mostly Alexander Technique teachers talk about the way that you’re going about activities, and rightly so. They want to focus on how you are using yourself as you use your office set-up, for example, or your musical instrument, because that’s a primary focus of what the Alexander Technique is about. FM’s whole journey began with the question
[Was it] something that I was doing that evening in using my voice that was the cause of the trouble?
Right from the beginning, Alexander identified that he was using his body poorly, and that this inefficient use of himself was causing trouble. He very clearly here drew a distinction between, for example, medical problems and self-inflicted problems. FM said he wasn’t physically broken; he just didn’t use his body well in order to speak.
We Alexander teachers also tend to focus on this area in part because very often our students come to us having spent a lot of time and money thinking about their set-up. They’ve spent a fortune on chairs, keyboards and wrist rests to no avail. Students are really ready to think about their own part in their problems.
One extreme to the other
However, sometimes we run the risk of throwing the baby out with the bathwater, so to speak. We can fall into the trap of looking only at ourselves. We note that Alexander Technique is about taking self-responsibility for our problems, and we whole-heartedly take responsibility for everything. But that isn’t sensible. We’ve just gone from one extreme (thinking our problems aren’t our fault) to the other (assuming everything is about the way we’re approaching activity). Neither extreme is true or accurate.
We could argue that even Alexander fell into this trap when he was investigating how to solve his own vocal problems. He realised that he needed to know what he was doing; in his own words, he needed to “analyse the conditions of use present.” But why stop at analysing your own use? Why not do a detailed analysis of your desk, or violin, too? As an Alexander Technique teacher, I can teach you how to use the set-up you have efficiently and well, but if your set-up is poor, you’ll always be fighting against it.
I was working with a violinist last year who’d had the same shoulder rest for a few years. But they’d bought it while they were still growing; a few years later, and it was completely the wrong height for them now they were fully-grown. Once they changed the set-up AND looked at their use of themselves, all the shoulder tension went away.
If we exclusively focus on the way we’re using our bodies, we run the risk of missing out on a whole area of analysis that might yield significant improvements. What about the way our office furniture is set up? What about the way my student’s violin is set up, with shoulder and chin rests? Aren’t these equally worthy of examination?
Check the conditions!
Musicians: look at your set-up. Classical guitarists should think about their footrests and music stand position. Violinist should think about their chin and shoulder rests. Recorder players: consider thumb rests. Don’t take anything for granted.
Office people: take a good hard look at your desk. Are your desk and chair the right height? Is your keyboard close enough? Is your monitor the right height? If you use two monitors, is the one you use most directly in front of you?
Hot-desk people: do you take the time to properly set up your work space when you arrive? We kid ourselves that it will take too long. But isn’t a few minutes worth it for a whole day free of discomfort?
There’s a lot we can do to help ourselves. We can work on how we use ourselves, and that’s the most important job! But don’t forget the external circumstances. They can make a world of difference, too.
 FM Alexander, The Use of the Self, Orion 2001, p.25.
 ibid., p.39.
Businessman stretching in an office — Image by © SuperStock/Corbis