This is the third in a six-part series about my experience studying the Alexander Technique for the first time.
Actually, I can’t possibly have learned everything I know about the Alexander Technique from my cat, since Odin didn’t come into my life until 7 years after I first started lessons—not to mention a couple years after I’d certified as an Alexander teacher. At any rate, yesterday I wrote about the emphasis on building my basic awareness in my early lessons. Today, I want to talk about being introduced to traditional Alexander chair and table work. But to make sense of those early lessons, it’s necessary to talk a bit about the nature of habit first. Odin’s quite helpful in this regard, since as a kitten, he gave me an object lesson in habit, especially what it means to be conditioned to a cue.
Odin was a kitten living in the Pilsen neighborhood of Chicago, and for reasons too complicated to get into, he spent his first two weeks off the street at Jerry Coyne’s fruit fly lab at the University of Chicago. A fruit fly lab is a perfect place for a three month old, street-smart kitten: regular food, errant fruit flies to chase, and potted plants in which to bed down.
When I went to pick Odin up, Jerry was excited to show me a trick that he had taught him. He opened up a bag of kitty treats and Odin trotted over. Jerry held the treat at his belt and Odin quickly clambered up his pant leg and snatched the treat from Jerry’s hand. So cute!!
"Ha ha, so cute!" I said outloud, while inwardly grimacing. That was not going to be so cute when Odin was a FULL GROWN CAT CLIMBING MY LEG. But I didn’t say anything. As I headed home with my new feline companion, I silently resolved never to do that again.
Odin settled into life nicely. But one morning a couple of weeks after he arrived home I was making oatmeal and I opened up a bag of raisins. Suddenly Odin climbed up my leg. What was that all about? A week later I casually got out some trail mix and no sooner had I opened the bag then the cat climbed my leg, scaring the crap out of both of us.
It kept happening. A few months in—the cat getting bigger, claws needing to be cut—I opened up a bag of brown sugar and the cat climbed up my leg, digging deep gouges through my jeans. I grabbed him from my leg and as I was about to shake him and say, “Why are you climbing my leg?!? There are no treats!”, I looked into his perplexed eyes and realized: wait a second. Jerry hadn’t trained Odin to the cue of offering a treat. He’d trained him to the cue of the sound of a bag opening.
I’d thought that if I didn’t offer Odin a treat held up at my belt, that he wouldn’t climb my leg. But everytime I opened a bag, he come running, expecting a treat.
It’s important to know what the cue is.
When we think of our habits, it’s natural to focus on the behavior, whatever it is—a cat climbing your leg, say—and forget to really understand the cue. What sets the behavior off?
This is especially true in the Alexander Technique, because the behavior we’re talking about seems practically invisible, it’s so fundamental. How we prepare to stand. How we get set to sit. Our postural coordination. Most people don’t even think of these habits as habits. They think of them as just how they are.
But these habits are still contextually driven: set off by cues built into our activities and environment. Only by understanding this aspect of habit—the difficulty not only of perceiving them, but knowing what sets them off—can we really understand why Alexander teachers teach the way they teach.
In my first few months of Alexander lessons with Carol, I experienced traditional chair and table work. I described yesterday how Carol was using her hands to give me basic feedback. She was also using her hands to quite literally move me. If we were working with sitting, for example, I would stand in front of the chair and Carol would sit me. This kind of guided movement is a unique experience, and one that I grew to love. There was a feeling of the movement just happening. It felt a little magical—I sometimes felt like Carol was my Jedi master. And it gave me a real experience that moving more easily was possible.
Table work was equally enjoyable. I would lie on my back on a firm massage table in what was called constructive rest: head supported on a paperback book or two, knees up. Carol would gradually bring about what she called the “lengthening and widening of the back” through gentle manipulation with her hands—or at least, that’s how I would have described it at the time. It was relaxing, yes, but I was expected to stay awake and aware, noticing the changes in my body. At the end of the 15 or so minutes, I would feel flattened, almost pancaked to the table. And when I got up I would feel taller and wider across the shoulders and much lighter in my body.
For a long time, I assumed that chair and table work was teaching me the right way to be: the proper way to stand and sit. I assumed that at a certain point the experience would stick, and I would never forget it, as if she was molding me like a piece of clay into a better version of myself.
But this isn’t how it happens. Carol was showing me what the ideal felt like so that I could eventually experience how my habits pulled me away from the ideal. She was giving me a basis for comparison so that I could sense what actually changed when a habit was cued.
For the first few months, I didn’t bring my violin to my Alexander lessons. For maybe 8 to 16 lessons, we worked on the simpler movements of sitting and standing. I started to get used to the experience of finding my true height, the width of my shoulders, a sense of ease and integration across my back. I was loving it. And then Carol said I should start bringing my violin to my lessons.
And everything went to hell.
Next: When Violins Attack, in which my illusions about my heroic poise at the violin are exposed and I discover the tension I’ve conditioned into my playing.