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THE COMPLETE ILLUSTRATED GUIDE TO k
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ALEXANDER TECHNIQUE A Practical Program For Health, Poise
and Fitness
GLYNN MACDON
THE COMPLETE ILLUSTRATED GUIDE TO
ALEXANDER TECHNIQUE Modern
life is
hard on our bodies. Stress
and tension lead ,
stiff
necks,
and
all
backaches, headaches.
and other common ailments,
too often
part of the
to
we accept them
normal wear and tear of
The Alexander Technique shows not be that way.
control
as being life.
need
it
By using conscious
we can change
old patterns of
misuse and give our minds and bodies a
chance to work more freely
Developed by F.M. Alexander
in the last
century, the Alexander Technique
a
is
body
unique system of awareness of your
and mind which helps
to reduce
inappropriate tension.
The
relationship
between the head, neck, and back
is
recognized as the primary control in
we
function. In this comprehensive
beautifully illustrated book,
how
and
Glynn
Macdonald shows how the Alexander Technique can change
body and mind. which
will
It is
t
lie
vitality of
an expert guide
appeal to everyone as an
introduction to the therapy, and to those familiar with the Technique, as an
extension of their understanding.
THE COMPLETE ILLUSTRATED
GUIDE TO
ALEXANDER TECHNIQUE
\
THE COMPLETE ILLUSTRATED GUIDE TO
ALEXANDER TECHNIQUE
A
Practical Program for
Health, Poise, and Fitness
GLYNN MACDONALD Barnes JkNlOBLE
BOOKS
Acknowledgments The author wishes
©
Km
Element Books
©
and techniques
First
published
acknowledge permission
Quotes from F.M. Alexander's book
Glynn Macdonald 1998
Articles
and
1998 by
in
©The
kind permission of Mouritz,
IMITED
I
in
Living by
Estate of F.M. Alexander
1998. Quotes from F.M. Alexander's Constructive Conscious
8BP
Shaftesbury, Dorset SP7
to
Lectures, Man's
Supreme Inheritance and The Universal Constant
Books
I
to gratefully
quote excerpts from the following copyrighted works:
imited 1998
Great Britain
in
111 Ml \
1
Control of the Individual and The Use of the Self by kind permission of the publisher Victor Gollancz. Quotes from
1
published b\ Barnes
Ins edition
Noble
c\
arrangement with Element Hooks
b)
Barms & NOBI
1998
Raymond Dart's Skill and Poise by kind permission of Jean Fischer, STAT Books Ltd. Quotes from F.P. Jones Freedom to
Inc.,
united
I
Change by kind permission of Mouritz.
Books
i
Quotes from the
M
98765432
10
'Enhanced Respiratory Muscular Proprioceptive
in
Musculoskeletal Education Without Exercise', published
7607 1178 X
ISBN
article
Functioning In Normal Adults After Lessons
1
in
Chest
(1992) by kind permission of Joshua Siegal. Quotes from Indirect All rights reserved.
No
p.irt
Procedures:
book may be reproduced or
of this
utilized in
any form or by any means, electronic or mechanical, without prior permission
given
hook
in this
Any person with
Quotes from The Lost Sixth Sense:
a condition requiring medical
Theory and Practice
and created with
(
J. A.
of the publisher,
Book Company L
Books LlMl
mi nt
i
1
n
1
Editor:
A
Medical Scientist Looks at the
1995) by Charles Harris by kind permission Allen and Co. Ltd. Quotes from
miranda
Hole
spicer
m My Sidewalk, 01993
Beyond Words Publishing
of
The Neck
(Thesis, 1995) by kind permission of the
author, Mikael Karlberg. Permission to print the
Creative Director: fd day
Managing
editor,
author. Dr. David Garlick. Quotes from Fundamentals of Riding:
and Human Balance El
A Journal of The Alexander
The Alexander Technique (1990) by kind permission of
or therapist. Designi
Quotes from A Means of
by Ed Maisel by kind permission of Thames and Hudson Ltd.
attention should consult a qualified practitioner
Tlie Bridgcwai
Press.
by kind permission of the author Walter
Jeremy Chance. Quote from The Resurrection of the Body (1969)
medical advice.
to be taken as a replacement for
Man
Technique (Vol.2, No. 3, 1995) by kind permission of the
not intended
is
Understanding
Carrington. Quotes from Direction:
NOTE FROM THE PUBLISHER Any information
Musician's Guide to the Alexander Technique
Oxford University
publisher,
writing from the Publisher.
in
A
(1997) by Pedro Del Alcantara by kind permission of the
poem
There's a
Portia Nelson, by kind permission
Quotes from Understanding
Inc.
Senior Commissioning Editor: caro ness
Balance: The Mechanics of Posture and Locomotion (1995) by
Production Manager: susan sutterby
kind permission of the author. Dr. T.D.M. Roberts. Quotes from
The Endeavour of jean Fernai (1946) by
Thi Bridgewater Book Company Limited
(
alyson kyles, kevin knight
Managing
Editor:
Three-dimensional models: Studio photography: Illustrators:
MK
HAI
r
at rest
and
in
integrating,
to the pupil,
both
movement.
Even while they teach,
men
learn.
Seneca: Epistulae Morales
The experienced hands of the teacher allow the appropriate release to happen.
;
,,J ^**-***-
J>
.;
Use Alexander Technique _
of
teachers give precise
verbal instructions reinforced by use of
their hands. In most forms of
what might be
Hands needs of the trunk for upright support and
freedom quoted
Uexander himself
to breathe.
l>\
teachers
who
termed "manual therapy." for example,
saying this procedure contained
experiences one needed to use the hands as a
distinct
modes of using the hands. The) are
used to
feel, to
in the patient: then the\ are used
perform some type of
manipulative maneuver
problem. teaching
A is
to correct the
distinct feature of
that these two
perceived
good Alexander
modes are
for greatest sensitivity in the
happening
key aspect of conveying possibility of
One
hands
in the pupil is at the
change
makes
to feel
what
same time the
manner
back of the chair."
It
known
as
background
the hack
required to use
"Hands on
the
provides a paradigm for
all
this
best
done
in small
first
two years of the course. In
way, simple practices become the basis from
which more complex
skills
can develop.
It is
a
steady, well-worked-out discipline, which needs
be established before
students become able to
work more
fluidly as they
near the end of their
of the hands
training.
coordinated with the primary
is
groups, being guided through a step-by-step
use of the hands in activity, ensuring that the use is
The hands on
to all the learning
program. This learning
to
of use.
of Alexander's most useful discoveries was
the practical procedure
the
of the chair procedure therefore provides the
program over the
unified:
to the pupil the
to a better
all
one's hands on others in an Alexander teaching
that use of the teacher's whole self that
is
teacher of the Technique.
palpate and discover what the
to intervene, to
,
on a flat surface with the head supported the knees bent allows the back to lengthen widen and the breathing to deepen.
'ing
id
often
physiotherapy or osteopathy, there are two
problems are
id
is
trained with him as
BREATHING DEEPENS
But Uv
us they
are special because they look this wag
PART TWO The Use
of the Self *
PRACTICAL EXPERIENCE
*
ANATOMY AND PHYSIOLOGY THE PROCEDURES
^"••S^
t>
Look at the digereitae
Tke spine
(joes
the
&M*ts wbui as the zges
a*uL the, ojts
o
Forward
o
A
I
c \ a n
(I
c
T
r
e c
n
li
i
r
t
I
a
I
(I
1
G
u
i
d e
A
o
i
I
SITTING The
human
most important developments in skills to
and tool-using
humans had
develop,
position with their
c h n
(I
sitting
ability to sit in the upright position is
manual
a n
hands
a more conscious process and not putting so
much
weight down onto our joints.
evolution. For
to
be
a stable
in
Most of the tool-making
free.
activities of
one of the
humans and
of the great apes
are carried out in the sitting position.
When seated, our bodies find more stability than when Often
standing.
we tend
much
to sit badly, putting too
weight on our hip joints and internal organs and creating excessive pressure on the joints and disks of our spines
and on our
thighs.
very comfortable at is
a
relief.
longer likely
first.
down
sit
sit,
to sit in a
we
and finding
that
it
feels
our feet
often sag down.
are to cause stiffness and rigidity.
or telephone
off
The
collapsed way, the more
experienced having to get up quickly
move.
to relax,
Taking the weight
However, as we
we continue we
When we
we
to
We
have
all
answer the door
are almost too
stiff to
We get pins and needles in our legs and feet. The
reason for this
is
we have moved from
that
deadening posture
to
a collapsed,
an active moving one and our
muscles could not respond.
We can avoid this by making
Frederick Matthias Alexander
and
child sitting
Sitting STEPl Use a chair with a
and put your If
your chair
level seat
feet flat is
on the
floor.
too low, put
something on the
seat.
If
it is
STEP 2
STEP
Stand
Do
your
in front of the chair with
feet
apart and your weight
3
not think of going
into
evenly distributed between them.
two-way stretch of your back
Do
muscles. Let the hinge mechanism
not stiffen your ankle joints
work
too high, put something under
and knees. Let your head pivot
of your hips
your
forward from the top joint and
bring your head back over the
feet.
breathe out.
in
order to
spine so that you are seated in the upright position.
66
down
the chair, but be aware of the
T
Sitting in all types of chairs
DO • Sit
on your seat/sitting bones.
•
Release your ankles.
•
Release your knees.
•
Think of lengthening along your spine.
straight-backed chair with a
\
flat,
bard seat gives you clear feedback
on your
with equal weight on each buttock.
The
sitting position.
procedure for
• Sit lightly. • Sit
(linking
sitting in a
soft chair is the
same
as for
a straight-backed chair,
because the chair
DON'T
is
need not mean collapsing. Put something behind your
your neck.
•
Think of going down
•
Hold your breath.
chair or sofa to keep you
•
Arch your back.
upright.
Brace your legs
•
Lower yourself with your arms.
•
down
back
to sit.
•
• Pull
if
the seat
If
feet up, so
to get up.
is
very deep and use the arms of the
more
you can put your
much
the better.
By taking time to how you sit, you can avoid postural problems.
to get up.
think
Collapse in front.
Ancient
knew
Egyptians
how
sit.
STEP
6
Your weight should be equally
Make
sure your feet are
of the pelvis called the seat
divided between the front of your
the floor
bones
STEP
to
There are two bony projections
STEP
4
(ischia).
They are
a
little
foot
5
and your
heel.
Your
feet
and
higher than the lower edge of
calves should be vertical to your
your buttocks. You should be
knees.
sitting is
on them
in balance.
if
When we
we habitually
switch off and end up in a crumpled heap. Relaxing
your head back.
• Stiffen
in soft chairs,
but
soft, there
a lack of feedback.
sit
• Pull
is
your pelvis
Do
not hold yourself up
rigidly as the seat of the chair is
'
w
on
Let your head lead the
movement by
gently nodding
forward so that your body follows your
moves up
supporting your weight.
1
stiff.
flat
and your ankles are not
head and
in space.
-
67
T
li
e
C o
ni
p
ed
1
Guide
Alexander Technique
to
READING The to
earliest
books were large and heavy. People needed
use stands with sloping surfaces (lecterns), on which
to rest
the books.
viewed
at
The
an angle
lectern
is
This also allowed the books that
made reading easier on
not essential for
to
be
the eyes.
modern books, which
are not as large or heavy, but having the book at an
angle to your eyes
beneficial.
is
more
It
efficiently
strain that
allows you to see
and prevents the
can develop
your
in both
neck and shoulders from
f
looking directly downward.
Resting the book on the
back of a chair
is
a good
of improvising a lectern.
you are reading
in bed,
way
When
prop yourself
up with pillows and bend your knees to
form a natural slope on which
to
place your book.
A
lectern provides a
good angle
for
your book. Frederick Matthias Ale:
)ER
READING
Reading
STEP
STEPl Sit
comfortably on the chair
with your feet
Breathe out.
68
flat
on the ground.
Do
2
not hold yourself up rigidly,
but allow the back of the chair to
support your back.
STEP
3
Pick up the book and rest
it
on your knees with your hand keeping
it
open and breathe
out.
Thinking
in
Acti
ty
DO • Sit
Resting a book on the back of a chair
on your seat/sitting bones.
a good way of improvising a lectern. is
•
Release your ankles.
•
Release your knees.
•
Think of lengthening along your spine
• Sit lightly. • Sit
with equal weight on each buttock.
DON'T Pull your head back. Stiffen
your neck.
Think of going down
to sit.
Hold your breath.
When
Arch your back. Brace your legs
you are
on back and
sitting
a soft chair, sit well
put pillows behind you.
to get up.
Lower yourself with your arms. Pull
down
to get up.
Collapse in front.
STEP
STEP
4
Lift the
book by supporting
the back of
it
with the other
hand and hold
it
at
of about 45 degrees.
an angle
5
STEP
6
Try not to hold your
Remember
breath (even when the
down on your
story gets exciting).
from the
to
text
put the book lap and look
now and then
up as this
can stop you from overfocusing
and prevent eyestrain.
69
\
ll
I
I
< \ a
i)
(I
c
r
T
e c h n
(|
i
u e
HANDWRITING Medieval manuscripts took time
DO giving
write,
to
who read them.
Have
a good desk height.
Pride was taken in having a good hand, and people were
Have
a sloping surface.
pleasure both
paid
to the
scribes and to those
to write beautifully. Italic
writing was taught in
schools,
but today handwriting
carefully.
Many
is
not
of us type our thoughts
taught as
and miss out
on the link between forming the letters manually and
Take time. Get up
at
regular intervals.
Have equipment properly
set up.
Keep awake.
the satisfaction that a well-written page gives.
Today we write with a variety of implements — pencils, fountain pens, fiber-tipped pens,
One is
of the claims that a manufacturer
that
it
writes easily.
of his
pen
We need to consider how we use
the pen in order for this to be the case. Too often
create is
undue
effort
by holding the pen too
tightly.
we It
helpful to practice picking up the pen easily and
making some preliminary movements you put
A
it
to the
paper
DON'T
and crayons.
makes
in the air before
Collapse forward and hunch over.
Hold your breath. Stiffen your wrists.
Narrow your shoulders. Tighten your forearms.
Go
to write.
too fast.
sloping writing surface creates a better angle for
Grip your pen.
your eyes and helps to prevent you from collapsing down
Remain seated
in front, putting
undue pressure on your
internal
Go
into trance
organs and breathing.
too long
•
The sloping
writing surface
is important because the extra support helps to reduce tension in the forearm and wrist.
FLEXION
EXTENSION Place the pen gently
the
70
between
thumb and index
finger.
Bend the thumb and index finger, moving the pencil up and down.
Handwriting
tir\k STEP
STEP1
Check the height of the
table or
desk you are going to use. You
need
to
be able to move forward
from the hinge
freely
joints of
2
Allow your head to nod forward
and
let
your body move forward
from the hinge
STEP
3
Allow the muscles
to flex until
you can place your hand on the table. Rest there for a
joints
your chair up closer
moment,
then slowly rotate your hand
of your hips. As you do this,
from the palm-down position
your hips. Point your fingers
slide
down
your desk. Breathe out and
(prone) to the palm-up position
bend your arm
(supine).
to the
ground, then take
hold of the chair.
elbow
to
freely at the
as
joint.
Keep your
you do
wrist free
this.
Italic Writing Italic
writing requires the
position of the
pen
to vary,
which means that the pressure on the pen must change. Because the letters are not joined up, the
writer has the chance to stop as
STEP
he goes along. The pen has to
STEP 4
be dipped in ink very often,
Turn your hand over and
providing more time for the
back from your
muscles of the hand to recover
your hand straight so your
from the fixed position of holding
fingers point directly
flex
wrist, keeping
upward.
it
5
Keeping them straight,
flex
your fingers forward from the
Now
knuckles.
around
so
it
rotate your
This movement
the pen. Writing was originally
your index
done on a sloped surface with
is
the writer standing up.
bend and straighten your
known
finger.
as opposition. Gently
and thumb. Repeat
movement feels
STEP
6
Place your pen by a simple
movement between your index
and thumb. Gently hold
take care not to grasp
it,
it.
Repeat the bending and straightening of your fingers and
thumb with
the pen in your hand. Put the pen to paper,
take vour time, and
make some
definite strokes.
finger
thumb
meets the pad of
finger
this
a few times until
smooth and
easy.
it
r
li
e
C
Illustrated Guide
lete
o
USING
A
to
Al
KEYBOARD
to
Although old-style typewriters, with their heavy
been
have
action,
by
replaced
go
at
breakneck speed.
for the
presents
still
many
breath as
we work
difficulties.
causes
push down the keys, typing
the problems typing
is
face
when
we peer
can get
*
stiffness
neck
muscles.
When
audio-
we
/
make
order
to
When your
72
stretch of
your
buttocks reach the
mechanism of your hips work
bring your head back over the spine,
you are seated
in the chair.
to lose
the flow of air
a
in the upright position
we
of what
When we
out.
we
mistakes. Taking short breaks,
chair,
for a
down toward
moment
can help.
2
and breathe
to
be
cause
are bored,
Keyboard
Stretch your fingers
to
are doing.
often
AND TENSION
STEP
seat, let the hinge
being said. As
we tend
As
activities
behind your
STEPl back muscles.
is
even standing up
I
are tempted
Using
so that
boredom.
*
Keep maintaining the two-way
word,
our brains. This not only helps
Mindless
MEETING A DEADLINE CAN CAUSE STIFFNESS
in
to
more conscious
by
the
tightening
hear what
a computer screen,
keep us awake, but enables us
at the paper,
we cause
try to
try to type a
We tend to hold our
keeps the intrathoracic cavities open, more oxygen
of
document. Often
the
as
we
success.
strain in these difficult situations.
the need to look
at
typing,
we
One
give ourselves a second
aware of our breathing pattern can reduce neck
still
neck aches, headaches, frozen
shoulders, and frustration.
we at
we
before
concentration and go into a trance. Becoming
Although we no longer need great muscular effort to
If
to register
we may have more
better
keyboards, using our fingers freely on a
keyboard
sound
the ground
Thinking
in
Activity
ERGONOMICS The design
of the
work space may be given serious
consideration, but the design and function of the
people using the work space
is
often ignored. THE BREATH
NECK AND SHOULDERS STIFF
HOLDING BREATH
ROUNDED SHOULDERS
STEP
STEP 4
3
Breathe out and bend your arms freely at the
elbow joints. Allow the muscles to
flex until
you
Begin as you did for writing, but flexing
this time, after
your hands back from your wrists, place
can place your hands on the table, keeping your
them gently on the keyboard. When your
arms
are over the keys you wish to press, say
a
at right angles to the table.
moment.
Rest there for
fingers
"No"
to
the thought of hurrying, free your neck, breathe out.
Do
not
make undue
effort
and especially
try
not to tighten your wrists.
73
C.
o
m
p
I
e
G
,1
u
Alexander Technique
.I
i
SQUATTING Squatting
is
ourselves. Small children
and down
all
us lose the
ability.
on.
employ
and lower
raise
to this
way
of getting
up
many
of
the time, although later in life
Squatting
to get close to the sit
Squatting can be beneficial by giving a good stretch to
way
natural
the
we would
ground.
is
If
the simplest natural
we did
the long muscles of the back and stimulating the soft internal organs (viscera) of the body. it
way
is
an impossible movement, but
lack of use.
As
become
squat.
freer,
then squatting does
possible.
Squatting STEP1 Stand with your
STEP
feet slightly
wider
apart than for the standing
2
Continue with these directions until
you encounter any
procedure (see Standing, page 58).
resistance in your muscles. Stop
This helps to maintain your balance
where you are and wait for a
when you lower
yourself to the
ground. Say "No" to the feeling that
you
will
not be able to squat.
second, then see
if
you can
continue. If you find further
movement
is
not possible, stop
where you
are.
CHILD SQUATTING
When
a child squats, the heels contact with the ground. When our ankles get
are
in
stiffen
we may
find
it
difficult
to keep the heels flat. If you can do this, you will create a
good
antagonistic stretch of
the muscles.
STEP
3
In the squatting position, allow
your arms
to
hang
freely
between
your knees ready for use (see Gardening, page 156; see Lifting,
page as
75). Stay like this for as long
you
feel
give
your muscles a chance
comfortable in order to
release into the
new
to
position.
that
through
the general tone of your body improves
and as your ankles become
not have chairs to
Many may feel
this is only
STEP 4 When you decide to
get up,
think of where your head will go. It
needs to move in a
diagonal direction up over
your
feet.
your
Do
not overtighten
leg muscles.
T
LIFTING AN OBJECT (INANIMATE
minimal
)
Do you remember going clowns struggling
to
to
eircus and watching the
move
Then suddenly they were
the head with the dumbbells,
something.
hitting
be difficult
what
then
the
can become a
made
if
foam rubber, painted
When we find
imagine things are going
them more
much muscular heavy,
look like gray metal.
to
we
difficult to
tension.
lift if
When we
get ready with what
to
we
be heavy, we will
expect things to be
can become an
be the
appropriate amount of muscle tension.
When needs
to
assumes
stiffening
our muscles,
grasp an object
of the
hand are
When
is
impossible,
or
procedure
little
easier
effective
you grasp an object, the shape of your hand
to
give your directions. Second,
counter-balance. By
change. The position that the hand naturally
function of the hand.
try to lift
and say "No"
Your
freely.
body weight
to
inhibition,
you move
get ready with too
we consider
to
lifting
vou had thought were huge heavy balls were actually of
remember
not to expect the task to
try
each other over that
First,
and remember
the weights were very
and you realized
There are two things that can help
you get into a proper position before you
the heavy dumbbells? Their
lift
unsuccessful attempts funny.
to the
effort.
hink
called the position of
fixinj
we are
often defeating ourselves
the muscles and joints
in a state of equilibrium,
and
before
we
begin.
promoting
muscular efficiency, then we can grasp an object with
Don't make undue effort... it is not as heavy as you think.
Lifting an Inanimate Object
STEPl Before you
lift,
moment and ask
STEP
pause for a
yourself whether
you are generating unnecessary effort in
preparing to
lift.
STEP
2
Being careful not to grip too tightly,
take hold of the object.
When you
grasp an object, the
handle follows the
life line
of the
hand. Bend your knees and lower
You may
3
find that the
move
was easier than you had expected.
By not
stiffening
your
arms you have, not interfered with your breathing.
yourself and take hold of the object. Lift off the
it
a
little
way
ground and check
the weight of
it.
75
Complete
rated Guide
111
Alexander Technique
to
LIFTING AN OBJECT (ANIMATE)
In
SHOULDERS RELAXED
order to lift a child safely, is important to remain
it
relaxed; otherwise, the
tension
in
our bodies
will
communicated to the
When we
have
to
we hold
a baby or a child, so often
lift
our breath. Because we are frightened we might lose our grip, we tend to hold on too
change shape, but not
tightly.
KEEP BREATHING
Our hands must
to the extent that
they
become
claws and by their excessive tension frighten the baby.
We
need
balance the weight of our body against the
to
moving weight of the Because we
we
feel
living object
we need
often create too
shoulders.
We
to
much
we
are trying to
lift.
hold the baby close to us, tension in our arms and
can hold someone freely yet securely
without tightening. Support and a feeling of security are
given to the child through the feelings in our body.
Lifting an
Animate Object
j STEPl Before you
lift,
moment and ask
yourself whether
you are generating unnecessary effort in
preparing to do
attention to your neck
STEP
STEP 2
pause for a
so.
and
Pay let
your head go forward and up.
Being careful not to grip too tightly,
Lift
it
and
When
a
take hold of the object. little
way
off the
ground
register the weight of
holding the weight close to
your body, allow your hips well
to go
back and your long back muscles to stretch.
76
it.
You may
much
3
find that the
easier than
expected.
By
move was
you had
not stiffening your
arms, you have not interfered with your breathing or pulled
down
in front causing pressure
on your internal organs.
be
child.
Thinking
REACHING UP WITH THE ARMS We need
to
be able
to
reach up with our arms
without incurring pain or even injury. strain our shoulders, if
we use our arms
and
stiffness
wrongly.
If this
persistent, "frozen shoulder" result.
that
The design
problems
in the joints
the
is
We
When
can
movement
arms and
operating to raise the arm, these muscles
tendonitis can result. This painful condition can
misuse
raising the
is
is
impossible (see Tendonitis, page 46).
so flexible
make
arms even a small degree almost you need
If
to
get something out of a cupboard, use your eyes to look
and muscles are very
up without pulling your head back. You can look up
of the clavicle, or
without shortening your back and neck.
the only fixed joint for the whole of
Ah, Man's reach must exceed
clavicl
runs the width of the shoulders and of the upper is at
for the
hand (manipulation).
can result
arm and the only bony connection. The
bodv, and
of the
can easily overtighten, and inflammation or
can be the
of the shoulder
common. The medial end collar-bone,
The muscles provide support allow for the
Act
in
else what's
the center of movement of the arms.
his grasp,
a heaven for?
Robert Browning
Reaching Up STEPl
STEP
Rotate your arms so your
Turn your hand around
palms are facing forward.
palm
STEP
2
is
so
facing backward.
your
Your
3
Look up and begin
arm by
This anatomical
shoulder girdle
position helps
should move
the
your shoulder
freely with you]
Try not
girdle to
arm
sway.
release.
extension of
as
to
lift
the
allowing your pointing
finger to lead
an
movement to
your head, neck, and
back.
STEP
4
Raise the other
arm
so both
arms are reaching up. Be careful not to
lift
your
STEP 5 When you
have
hold a weight
•
Free the neck.
up with your arms, use your
•
Breathe out.
own body weight
•
Drop the shoulders.
•
Lengthen the
to
as a
shoulders,
counterbalance and
and do not
do not
fingers.
stiffen up.
brace your
DON'T
knees,
arch your back, or
• Lift the shoulders.
hold your
•
breath.
•
Brace the knees.
•
Overextend the elbow
•
Drop the head back.
Hold the breath.
joint.
77
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:
E
d a
Task
y
CASE STUDY Roger Kidd Alexander Teacher
stiffness
correcting
The
Nature of the
physical craft.
heavy
tiles
It
Work -
Floor
involves a lot of
tiling
lifting
is
a very
and carrying
and bags of cement, bending down, kneeling
for long periods while reaching and twisting. All these
actions have to be carried out carefully with attention
to
detail,
because the end
The Problem -
my lower in
I
was
result has to look
more time
in
back and knees. As the jobs had to be done
a reasonable time (both for myself and the client),
would then throw myself
into the
work
with
hurried brute strength.This approach not only
my
-The Alexander Technique showed me
how was tensing up I
enabled setting
it
me
me
clumsier, forcing
these awkward positions
mistakes.
Solution
usually feel
in
well before the point
when
could
I
(after a long period of kneeling). This
then
to avoid these unnecessary tensions before
about the work, so
I
could see
how
I
could
lift
and carry heavy bags of cement without bracing and
good.
getting aches and stiffness
The
me
worse, but also made
to spend even
I
more
made the
holding
my
breath;
bend down repeatedly without
effort;
reach and turn while kneeling without any strain and
me work more easily and more quickly am more efficient in my work, and more energy because am no longer wasting
stiffness. All this let
without the hurry. have
I
I
it.
I
MAINTAIN STEADY BREATHING
KEEP BACK
LENGTHENED
Do
not hold your
when engaged demanding and
breath in
repetitive work.
59
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HOUSEHOLD CHORES We have in
benefited from the skills of the designer
all
our homes. Our kitchens are time-and-motion studies
aim
to
conserve our energy by reducing how far
we have
to
walk between appliances, by making the
that
T
(I
< c
li
n
especially washing dishes.
Remember to keep your mind
on the job that you have
at
hand and do not
the trap of end-gaining (seeing
is
is
cup or plate you are washing
in itself, so the
fall into
finished) or thinking
Each action
of something else altogether.
moment
it
complete
at this very
the only thing that you are thinking about.
height of the work surfaces appropriate, and by
Thinking about something else
generally styling the work surfaces and door handles
what you are doing, because you do not enjoy
to
be ergonomically correct. Yet despite
practical advantages,
we
still
dishes, cut our fingers, slip and
manage fall,
all
these hot
spill
to
take your mind off
to
makes
Another area
always making
carrying of heavy pots and dishes, often
of preparation.
of jobs to be done, from a
What would
it
menus,
be like
to the
list
order
we made a few
if
we had
memo board,
this
we could refer
went from job
Lifting and Carrying The expectation often
lift
something
that
makes us
stiffen
as
we
expensively prepared disl
By
on
it
the
floor,
ourselves before the action,
reflex increases
to
75).
burned,
and
and we
The way you prepare to
very important.
lift is
Take a moment
vegetables.
page
overtighten.
injure ourselves. Let us look
the familiar job of chopping
hot food.
going to be heavy
the
excitation of the fear
less likely to
the lifting and
full of
(see Lifting,
carefully
a
to job.
to
is
is
to this the fear of possibly getting
dropping
or
can cause problems
taking the time to prepare
we would be
at
that
When you add
notes for ourselves? If
a
interesting.
it
A little more study of our own time and motion would off. We rush from job to job, without paying due attention to how we are performing. We are of ingredients, to shopping, to the
is
and burn the food.
pay
lists
it,
pointless exercise. Paying attention to the job at hand
DO NOT STIFFEN YOUR WRISTS
to free
your neck and give your directions, then test the weight of the dish or pot
Chopping Think of how you are standing before you begin. Do not
stiffen
your knees or lock your ankles,
but allow your knees to flex gently and your hip bones to
move
When
you pick up the knife,
tightly, to
you are beginning
slightly back, so
chop,
try not to
try not to
hunch your shoulders, and
your knife sharp, so you do not have effort into
chopped
pressing
down on
for a while, stop
this position
to
the handle.
to
grasp
When
and do not hold your breath.
bend. it
too
the heat source. So often you only realize that the gloves
are not working
burning yourself.
try to
When
have
much
you have
I
r
o n
into simple jobs. jar,
to
will not
resume your task
and
efficiently
check how much you are gripping the with half the
lid off
a
the
grip
not
nor press
heavily.
principles
are
of
too
apply
the
Inhibition
and
you
If
iron
down
and see
Direction, you will achieve a
The same
good result without aching
jar,
effort.
effort
principles apply to any job done in the kitchen,
160
Do
up
set
tightly,
Next time you are taking the
it
waste
better.
wasted by putting too much
whether you can unscrew
the
very way you get the
faster is
at
moment, so
important.
So often energy
n
ironing board and the
board
it
i
The way you stand
mode. Taking these momentary breaks
and probably do
how you perform
you begin
put too
for a
are half-way across the
these
actions will decrease the likelihood of straining or
your muscles do not lock into the repetitive chopping
your time, but allow you
when you
kitchen. Being conscious of
and take a break. Move from
and do some other job
and
whether your gloves or oven mitts really protect you from
shoulders and back.
MAINTAIN YOUR FULL HEIGHT
Sport and Recreation: Everyday
Ti
m ng
a c u u
Memo Board Vacuuming
is
one of the most common sources of back
home. Suddenly,
injury in the
our back suddenly gives out. the
vacuum
no apparent reason, are bent double over
cleaner, unable to straighten
explanation
we
that
is
Why
power.
to switch off the
relatively
for
We
does
to the
up or
to
bend
happen? One
are pushing and pulling a
heavy object back and
enough attention
this
forth,
and not paving
way we are using our bodies
we
are lulled into an almost
semiconscious state by the repetitive nature of the
movement and
physical
We
appliance.
almost robotic
the
numbing sound
1
.
2.
let
5.
keep your width
your upper chest
6. free your ankles 7. free
your knees
8. think of your shoulders, elbows,
and wrists
of the
as tunnels
are expending physical energy in an
Our muscles decide
state.
much
primary control
this is not wise;
activity with is
no thought
for
how
the
working makes them rebel and go
of his
do you stay conscious
in a repetitive task? If
DO NOT
DO NOT
HOLD YOUR
PULL
BREATH
IN
instrument. You can lean back against a
work
great temptation as you get engrossed in your
is to
allow your eyes to draw you
you keep thinking of your directions and get a good
nearer and nearer to your work so you
breathing rhythm established, you can avoid the robotic
end up with the work
can induce muscular reaction that ends
state that
in pain
in
your lap and
your back a semi-circle.
By waking up the conscious response,
So support yourself comfortably
even the most seemingly mundane task can be
on a firm pillow, raise your arms
satisfactorily performed.
toward your eyes, and enjoy your
or even injury.
creativity.
The
first
7
on your
sitting
when you want
sit.
to
sew or knit
is to
To begin, your weight should be
bones and your
feet
on the
floor.
Your
body should not be leaning forward putting weight on the thighs
abdomen
is to
in balance.
thing to do
consider how you
Whatever one
the important thing
Sewing
and causing the muscles of the legs and
to lighten.
When you
pick up your work, you
/
have always found
sewing a great
test
same way
to
Alexander Technique. DlLYS
Carrington
lean slightly backward in the
as a musician has to counterbalance the weight
of
the principles of the
should compensate for the weight of your arms and work
by allowing the torso
DOWN
FRONT
supporting pillow.
The
spasm.
How
in
and back
appliance.
into
your head go forward and up
your back lengthen and widen
4. breathe out
Be careful when vacuuming that you let your body weight move forward and back as a counterbalance to the
using too
to:
free your neck
3. let
to
counterbalance the weight of the appliance. As we continue with the activity,
Remember
/T
is
doing,
remain
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