tirsdag 28. april 2026

Vitalism in the Alexander Technique – Part 2

The Vitalism of Walter Carrington


Vitalism is the belief that living beings are endowed with a kind of "life force" or "energy" that sets them apart from non-living objects. This view was abandoned by science a hundred years ago but seems to be fairly common among Alexander Technique teachers. 

Vitalism is a philosophy with implications for how we understand and explain the technique. But there has been little awareness of the role of vitalism in the history, development, and practice of the Alexander Technique. I'm writing a series of articles with the aim of increasing the awareness of vitalism among Alexander Technique teachers and contribute to a professional discussion.

In the first article in this series I looked at the signs of vitalism in the writings of F.M. AlexanderThe clearest example is the use of "vital essence or life force" in his first book (Alexander 1996, 25; Alexander 2021, 59).). Throughout his writings, Alexander's concept of directing, conducting, or projecting energy is based on a vitalistic understanding of human physiology. In this second article I will discuss similar ideas expressed by Walter Carrington.


Walter Carrington (1915-2005)
Walter Carrington was for many years one of Alexander's assistant teachers, and one of the teachers who took over the running of the training course. In some respects he can be considered Alexander's successor. Carrington developed his own personal style of describing and explaining the Alexander Technique, clearly based on Alexander's ideas. Like Alexander, he uses language that can be interpreted as expressing vitalism. (1)


Vital Force and Force of Nature
In one of his published talks, Carrington uses the expression "vital force" when talking about fallen arches and flat feet:
… unless the whole working of what we call the primary control is taken into consideration then the vital force doesn't flow properly in the arch, … (Carrington 1999, 32).

This is a parallel to Alexander's "vital essence" and an indication that Carrington held similar views. It could be, however, that Carrington intends it to be metaphorical. On the preceding page, he defines "vital force" as "the upward working of the whole of the neuromuscular system" (ibid., 31).

In a later talk he uses the expression "force of Nature" which also could be interpreted as a vitalistic concept. It is the force of Nature that "takes us up":
… we have to rely on Nature to put things that are wrong, right. It's the force of Nature, the energy of Nature that takes us up, that mobilizes us, that enables us to do all the things that we have been speaking about (Carrington 2006, 181).

Upthrust and upward energy
"Upthrust" is another term with potentially vitalistic connotations used by Carrington to describe postural activity:
It's the whole of the body's musculature right the way through that is working in a way that generates an upthrust (Carrington 1999, 30).

But most frequently Carrington describes postural activity as a flow of upward energy:
… clearly it is desirable that you should go up as much as possible all the time. Because the more the upward energy flows, the lighter and freer you'll be … (Carrington 1999, 85).
[Our task] is to prevent what will hinder Nature from the natural flow of energy that takes us up and supports us (Carrington 2006, 182). (2)

Direction and energy
As I mentioned in the first article, vitalism is often revealed by the way a person uses the word "energy". 'We saw that Alexander's definition for "directions" may be interpreted as vitalism:
… projecting messages from the brain to the mechanisms and … conducting the energy necessary to the use of these mechanisms (Alexander 2018, 35).

Carrington refers to Alexander's definition, saying it is "one of the most important things he ever put on paper" (Carrington 1994, 23). Like Alexander, Carrington frequently describes giving directions as "directing energy":
Conscious direction we can speak of as a thinking process to direct energy, as an energetic process … (Carrington, 1994, 23).
If you realize that your body is shrinking, ...that instead of your shoulders going out as they should, they're hunching in, … then you've got to direct the energy for them to go out (Carrington 1994, 27). (3)

Carrington appears to go one step further than Alexander by suggesting that we not only direct energy but that the directions themselves may also produce or generate energy:
You see, the direction produces energy (Carrington 2006, 191).
People often forget that our simple wish is the prime source of all our energy (Carrington 2017, 146). (4)

In addition to talking about energy being directed, like Alexander did, Carrington also describes the energy as flowing:
So if the head is going to lead somewhere, then leading means, as far as vertebrates are concerned, that there has to be an energy, a direction, a flow of energy through the spine (Carrington 1999, 53).
Freedom of the neck is the keynote because it's only when you've got that freedom can the energy flow occur that is necessary for uprightness or counteraction of gravity (ibid., 88). (5)

Carrington compares directing to controlling the flow of water, another potentially vitalistic metaphor:
If you think of a stream of water flowing, you can direct the water this way or that way, you can, with a bit of care and luck, stop it from flowing where you don't want it to flow - although this is often pretty difficult, as people will know if they've ever tried to do it in a practical way, because when water is flowing there's no question it, so to speak, has a life of its own. So this metaphor of flowing water really does give you a picture of what inhibition and direction is all about, because the problem is not the flow of energy. The problem is how you deal with it and how you control it (Carrington 1999, 104-5). (6)

Alexander Technique teachers may use flow of energy as a metaphor for directions but without necessarily believing it to be objective reality (Carey/Nicholls 1991, p.120). Carrington, on the other hand, uses the flow of water as a metaphor for the flow of energy. This give the impression that Carrington believes the flow of energy to be real and not just a fitting description of a sensation.


Energy of life
Carrington associates energy with life itself and with living beings:
As life goes on, life flows, energy flows. You don't have to do anything to make the energy flow … (Carrington 1999, 104).
As a natural property of living things, we all do generate energy to counteract gravity (Carrington 1994, 30).

This energy is constantly operating in the body:
Energy is directed all the time in the body by processes that we often are not aware of, processes that operate below the level of consciousness. Even when we are asleep, energy is operating in the body (Carrington 1994, 23).

The energy can be directed, but also interfered with, misdirected, blocked off, or leaked:
… you can't make the energy flow, but you can interfere with it, you can prevent it, you can stop it and also you can direct it and redirect it (Carrington 1999, 104).
There are all sorts of ways in which you can block off and inhibit the natural flow of upward energy (Carrington 1994, 30)
… when there's masses of energy about the place, if it gets misdirected, disaster really can follow (Carrington 1999, 105).
If the body weight is not being supported efficiently, then there is a tremendous energy leak … (Carrington 1999, 105). (7)

These descriptions may indicate a vitalistic conception of energy.


Sources of energy
Carrington describes several sources of energy. Most important seems to be the source of energy associated with intentions and thinking directions:
… our simple wish is the prime source of all our energy (Carrington 2017, 146); … direction produces energy (Carrington 2006, 191).

This energy is organic; it is "generated" in the body.(Carrington 1994, 30). (8) But Carrington questions our knowledge about it:
Nobody really knows at the present time exactly how the whole neuromuscular mechanism, how the neurophysiology, works. How it is that throughout the whole organism the energy is generated to neutralize the gravitational effect? (Carrington 1999, 84).

We know perfectly well how energy is converted in the body to enable nervous or muscular activity. So what kind of energy is Carrington talking about? The impression is that Carrington's understanding of human physiology is influenced by vitalism.

Carrington also mentions external sources of energy:
Gravity is a tremendous source of energy and it's a tremendous help in our lives (Carrington 1999, 48).

Human beings are not physiologically capable of utilising gravity as an energy source. What Carrington is referring to is that we can "make use of weight, heaviness, the propensity of things to drop and fall" (Carrington 1994, 26), and we can make use of the related contact forces:
By lying down on the table, going into monkey, by putting our bodies into different attitudes, we are able to use this valuable source of external energy to assist us (ibid.).

To label these forces "energy" is inaccurate, and they are definitely not a source of energy. We never get as much back as we put in, something Carrington might seem to acknowledge:
This energy is a very valuable addition, but we do need to have our own conscious energy if we are going to succeed (ibid.).

Carrington also defines receiving hands-on guidance from an Alexander Technique teacher as a source of energy:
Then of course there is a third source of external energy, somebody else's hands. This, again is extremely valuable. It is a great deal of what teaching the Technique is all about. Helping each other by applying our energy to the benefit of the other person (ibid.).

It is tempting to associate energy in this last quote with hands on healing energy. But from the context it is clear that Carrington is referring to mechanical forces and kinetic energy when talking about the practical teaching situation. Carrington does not, as some Alexander Technique teachers do, ascribe the sensations experienced when receiving hands on work to vitalistic energy like "chi" (Farkas 2019, 202). Sometimes, Carrington may use energy only as a metaphor.


Energy as metaphor
Carrington seems sometimes to be equating energy with movement, muscle tension, or nerve signals:
The supporting reaction is a very positive process of generating movement, generating a flow of energy … (Carrington 1999, 78).
… if you overdo the counteraction of the downward force by generating more energy in the neck, that clearly will have the effect of tilting the head back … (Carrington 1999, 84).
… all the nerve pathways and all the inter-connections whereby energy flows from one nerve center to another are very largely habitual. … (Carrington 1999, 146).

He also defines energy as that which causes movement, a 'mechanistic' explanation:
Energy is that which enables us to mobilize our weight. It enables us to move (Carrington 1994, 22).

But in his explanation for why he chooses to use the word energy, Carrington says:
I am emphasizing energy because as soon as we start talking about movement, people are naturally inclined to start thinking about muscles. […] You see, if we stick just to using the term energy and thinking of energy […], then we are not committed to saying that it is just muscles that cause movement. We are not really committed to saying it is nerves. We don't even have to say it is nervous energy. There may be other sorts of energy (ibid).

The term "energy" is vague and indefinable. Carrington finds this useful. It allows for what might be seen as more "holisitic" or non-dualistic descriptions. Carrington uses energy to describe different aspects of human functioning. The word can have different meanings and be used as a metaphor. Carrington admits, however, that "There may be other sorts of energy". This suggest that even when used as metaphor there is potential for a vitalistic interpretation.


Legacy and influence
Carrington continued Alexander's use of language that can be interpreted as vitalistic. But his vitalism is more explicit. Alexander directs, projects or conducts energy. Carrington's energy is a property of living beings, always operating in the body. It can be generated by directions; it flows upwards, it flows along the spine.

It has to be considered that all but one of the quotes in the material (Carrington 1996, 225) are from published talks or interviews. It may not be how Carrington would have formulated himself if he had sat down to write. On the other hand, it can also be said to reveal his thinking unfiltered.

Carrington gave regular talks at his training course for teachers more or less on a daily basis (Carrington 1994, 9). These talks were unscripted improvisations over a theme, often a passage from Alexander's books. In his introduction to the first volume of published talks, John Nicholls, who was present at these talks over several years, sums it up like this:
The message repeated again and again is that we are responsible for how our energies are directed, whether we are conscious of it or not, that we can learn how to redirect those energies into more useful pathways … (Nicholls 1994, 13-14).

"Energy" is a recurring theme in Carrington's talks. (9)

Through his training of teachers, Walter Carrington's rhetoric has had the potential to influence generations of Alexander Technique teachers. The aim of this article has been to highlight an aspect of his teaching that has until now been very little discussed. I think it is time we did. As the practical skills of teaching the Alexander Technique are handed down to us, so are habits of thinking. We need to question those habits if we are going to evolve as a profession.

In the next article in this series, I'll present the ideas of other teachers trained by Alexander himself, "the first-generation teachers".


Related blog posts


Notes

(1) Information about Walter Carrington can be found on the Mouritz Companion website:

(2) List of references to related quotes.
Upward energy: Carrington 1992, 26; Carrington 1999, 16. Upward energy flow: Carrington 1994, 30; Carrington 1999, 85, 109, 112. Energizing upwards: Carrington 1999, 94. Energy counteracting gravity: Carrington 1994, 30; Carrington 1999, 88, 108. Energy counteracting downward pressures/forces: Carrington 1994, 31, 32; Carrington 1999, 78, 84, 116. Upward force: Carrington 1996, 225.

(3) References for directing energy: Carrington 1994, 19, 23-27, 53; Carrington 1999, 53, 104, 105. Conducting energy: Carrington 1994, 24.

(4) See also Carrington 1994, 83; Carrington 1999, 80; Carrington 2006, 194.

(5) References for flow of energy: Carrington 1994, 24, 30, 32, 83. Carrington 1999, 53, 78, 85, 88, 104, 105, 108, 109, 110, 112, 146. Carrington 2006, 182, 191. Carrington 2017, 73.

(6) The quote is from a talk given in October 1989. The same metaphor can be found in another talk from the same month (Carrington 1999, 146) and in a talk from March 1983 (Carrington 1994, 36). It seems to be a metaphor Carrington used on several occasions. 

(7) References for misdirecting, blocking, interfering or leaking energy.
Misdirected: 1994, 25; 1999, 105. Block: Carrington 1994, 30. Prevent, interfere, stop: 1999, 104. Leak: 1999, 151.

(8) References for energy generated: Carrington 1994, 30; Carrington 1999, 16, 78, 80, 84. Energy generated by thinking directions: Carrington 1994, 83; Carrington 1999, 80; Carrington 2006, 191; Carrington 2017, 146.

(9) According to Nicholls, several hundreds of these talks were recorded. My first teacher in Oslo, who trained with Carrington, had at least one audio cassette. These recordings deserve further investigation. A closer analysis could reveal, for instance, whether the vitalistic tendency increases over time, as is my impression.


Literature
Alexander, F.M. (1996) Man's Supreme Inheritance. Mouritz.
Alexander, F.M. (2018) The Use of the Self. Orion Spring.
Alexander, F.M. (2021) Man’s Supreme Inheritance (1910), Addenda (1911), Conscious Control (1912): Facsimile of First Editions of Books on the F. M. Alexander Technique. Mouritz.
Carrington, W.; Carey, S. 1992. Explaining the Alexander Technique: The Writings of F. Matthias Alexander. The Sheildrake Press.
Carrington, Walter. 1994. Thinking Aloud: Talks on the Alexander Technique. Mornum Time Press.
Carrington, Walter. (1996). Beyond Words. In J. Sontag (ed.), Curiosity Recaptured (pp. 223-228). San Francisco: Mornum Time Press.
Carrington, Walter (1999) The Act of Living: Talks on the Alexander Technique. Mornum Time Press.
Carrington, W. (2006) Inhibition and Direction. In Langford (ed.), Remembering Walter Carrington (pp.171-185). Alexandertechniek Centrum vzw, Leuven.
Carrington, W. (2006) Checking the Compass. In Langford (ed.), Remembering Walter Carrington (pp. 187-197. Alexandertechniek Centrum vzw, Leuven.
Carrington, Walter and Dilys. 2017. An Evolution of the Alexander Technique: Selected Writings. The Sheildrake Press.
Farkas, Alexander (2019) Alexander Technique: Arising from Quiet. Hite Books.
Langford, Elisabeth, ed. (2006) Remembering Walter Carrington: Keystone of the Alexander Technique. Alexandertechniek Centrum vzw, Leuven.
Nicholls J. & Carey S. (1991) The Alexander Technique: In Conversation with John Nicholls and Sean Carey. Brighton Alexander Training Centre.
Nicholls, John (1991). The Annual Memorial Lecture 1986: The Alexander Technique in a Larger Context. In Nicholls & Carey, The Alexander Technique (pp. 103-122). Brighton Alexander Training Centre.
Nicholls, John (1994) Introduction. In Carrington, Thinking Aloud (pp. 9-14). Mornum Time Press.
Sontag, Jerry, ed. (1996) Curiosity Recaptured: Exploring Ways We Think and Move. Mornum Time Press.


tirsdag 31. mars 2026

Bli bevisst intensjonen bak bevegelsene

Du beveger deg bedre om du beholder lengde og bredde i kroppen. Å være oppmerksom på lengden i aktivitet kan være nok. I fjor skrev jeg flere blogginnlegg om hvordan du kan eksperimentere med ideer om lengde og bredde.

Å bruke tanker konstruktivt i forhold til aktivitet kaller vi i Alexanderteknikken å tenke retning, eller "directions" på engelsk. Vanligvis tenker vi ikke bare på lengden, vi tenker aktivt på å bli lengre. Vi har en intensjon om bevegelse. Intensjonen blir generelt formulert som "å la nakken være fri slik at hodet kan gå fram og opp, slik at ryggen blir lengre og bredere".

Hva vil det si å ha en intensjon om bevegelse? Du har helt sikkert intensjon om bevegelse stadig vekk. Du beveger deg mer eller mindre hele tiden. Det er naturlig. Men det er ikke så lett å være bevisst intensjonen. Ønsket om bevegelse oppstår ubevisst. Vi blir klar over intensjonen først like før gjerningsøyeblikket.

Eksperiment 1
Du kan gjøre et par eksperimenter for å observere intensjonen til bevegelse. Det ene er å gjøre en bevegelse flere ganger, som for eksempel å løfte en arm, og hver gang gjøre bevegelsen mindre til du nesten bare tenker den. Det andre er å gi deg selv valget mellom to bevegelser, for eksempel løfte høyre eller venstre arm, men utsette lengst mulig valget om hvilken arm du løfter.

Å ønske å løfte en arm eller å la hodet gå "fram og opp" er ganske likt, men ikke helt. Det finnes en annen måte å sette i gang bevegelse på. Et annet eksperiment kan belyse det.

Eksperiment 2
Hold underarmen opp foran deg slik at den er vertikal og med hånden lett knyttet. Du kan godt hvile albuen mot noe. Hvis du gir slipp på hånden vil du sette i gang bevegelse - hånden vil falle, mest sannsynlig i den retningen håndflaten vender. Hvis du forestiller deg at underarmen er kroppen din, og hånden er hodet, så tilsvarer bevegelsen at du lar hodet falle ned mot brystet. Det betyr kollaps og ikke det vi ønsker selvfølgelig. Vi vil at hodet faller "oppover".

La hånden falle noen ganger til. Gi så slipp på hånden enda en gang, men istedet for å la den falle, tenk at den går oppover i den retningen underarmen peker. Du vil mest sannsynlig ikke kjenne at det skjer noe. Det er heller ikke meningen. Tanken om retning er først og fremst preventiv. Effekten viser seg først når du er i aktivitet Hvis du har intensjon om å la hodet gå opp mens du gjør en bevegelse, vil andre ting skje i kroppen enn om du ikke gjorde det. Du vil beholde lengden.

Eksperiment 3
Om du blir anspent blir du kortere. Hold underarmen vertikalt igjen og knytt hånden lett. Hvis du strammer knyttneven bruker du muskler i underarmen. Samtidig som hånden knyttes vil den bli dratt i retning albuen. Det blir et økt press mellom knokler i håndrota og underarmen. Når du gir slipp minsker presset og hånden føles lettere. Veksler du mellom å stramme og å holde hånden lett knyttet kan du se fingrene bevege seg når de blir klemt sammen. Det samme skjer mellom virvlene ryggsøyla om du er anspent. Det er derfor du blir litt lengre etter en time i Alexanderteknikk.

Om du gir slipp på hodet kan spenningen minke, ryggsøyla bli lengre, og hodet gå "opp". Dessverre er ikke dette så enkelt som å gi slipp på knyttneven. Vi strammer nakken av mange grunner, og å avspenne nakken direkte vil ikke alltid virke. Dessuten må vi alltid ha noe spenning i nakken, noe som gjør at du ikke bare kan "slappe av". Men du kan påvirke nakken og resten av kroppen indirekte ved å tenke retning for hodet.

Eksperiment 4
Igjen, hold underarmen loddrett. Denne gangen kan du knytte neven hardt, og så slippe helt så hånden faller. Gjenta noen ganger før du uten å slippe spenningen bare tenker at du gir slipp på hånden i retning oppover, vekk fra albuen. Du gjør ingenting, men gjentar intensjonen.
Kanskje kjenner du en effekt i underarmen, men mest sannsynlig ikke. Poenget er at det er mulig å ha en intensjon om retning samtidig som du bruker kraft. På samme måte kan du tenke retning på hodet og samtidig ha tilstrekkelig tonus i nakke og rygg, eller tenke retning når du for eksempel løfter tungt.

Å tenke retning er lett. Du gjør det hele tiden. Det uvanlige er å gjøre det bevisst, for intensjon til bevegelse oppstår ubevisst. Intensjonen er også uløselig knyttet til bevegelsen. Intensjonen om bevegelse og selve bevegelsen er en og samme ting, samme prosess. Men du må prøve å skille mellom årsak og virkning.
I Alexanderteknikken har vi intensjon om bevegelser du ikke kan gjøre. Da kan det føles som om noe mangler, for du er så vant til at det skjer noe. Det er veldig fristende å gjøre noe ekstra for å kjenne en effekt. Når du gjør en bevegelse vet du at du har gjort den. Når du tenker retning er det at du har tenkt det eneste du kan vite sikkert.

Det hender at en direkte effekt kan kjennes, særlig om du oppnår å gi slipp på spenning. Men veldig ofte om du kjenner noe kan du mistenke at det er noe du gjør galt. Effekten av intensjon om lengde og bredde viser seg først og fremst anvendt i aktivitet, så de er noe du må prøve ut i praksis. Det skal jeg skrive mer om en annen gang.

Relaterte blogginnlegg





torsdag 19. februar 2026

Twelve Fundamentals

My blog article this time is a review of Penelope Easten's book Twelve Fundamentals of Integrated MovementThe book seems to have had quite a lot of attention among Alexander Technique teachers. I have met people who regard it very favourably. But it has also gotten some harsh criticism. Here I present what I think are the pros and cons of the book.

The actual title of this book is "The Alexander Technique". I'm using the subtitle so as not to confuse it with all the other books of the same title. I see the author herself using the subtitle in her communications. In the introductory chapter Easten tells about her background and influences, and the aims of the book, which seems to be "grasping the whole elephant" of the Alexander Technique.

As other authors, Easten explains how we end up using ourselves badly. She then presents her "Twelve Fundamentals". I'm sure they make perfect sense in Easten's head, but there are too many to be practically helpful to the reader. Besides, some are derived from other fundamentals and so not fundamentals after all. We are told that the fundamentals don't "resonate with you as true if they are currently outside your experience". Apparently they are not supposed to make sense logically. In the following chapters we are taken through the fundamentals of structure, awareness and thinking.

Easten attempts to give a modernised explanation of how the body works. She draws on, among other things, the tensegrity principle and polyvagal theory. She eagerly refers to scientific research, but criticises at the same time "Western thought". Similar comments about "Eastern thought" would be interpreted as racist. Easten very often uses phrases like "I propose that" or "I suggest that", found in scientific papers, which gives a sciency veneer. Not all ideas are backed by research, and Easten admits some ideas are "highly speculative".

Easten seems to think that awareness of a part of your head activates the corresponding part of the brain. She encourages the use of the right brain hemisphere, albeit saying it is "partly metaphor". She also seems to propagate the myth that we are "only accessing a fraction of our neurology".

Throughout the book there are "Explorations". These are always opportunities for learning, even though some are rather crude, (imagining having a paintbrush on my nose is not my thing). Unfortunately, Easten diminishes their value by generally suggesting what you are going to feel.

Easten stresses the importance of both internal and external awareness, but gets lost in her own jargon. We are told to "think from embodied intelligence and spatial awareness"; and from "mind in the brain". The mind apparently being something that can move around. (Easten herself points out the dichotomy).

The first part ends with a look at walking and breathing. Bouncing is an activity in one of the explorations. I generally appreciate Easten's attempt at bringing in more dynamic activities. Balancing on one leg, and going into the "plank" position are other activities used in the book. Strangely, Easten claims swimming is a two-dimensional activity, so there seems to be limitations to her understanding.

The second part is to a great extent about developing a new and improved alignment of the body. This seems to stem from the "Initial Alexander Technique" method by Jeando Masoero. He claims it to be an early version of the Alexander Technique, heavily influenced by Delsarte. The ideal for alignment appears to be based on interpretations of pictures of FM Alexander. This in itself invalidates the theory. Nobody is perfect and everybody is different.

The means for achieving this improved alignment could be said to be the Alexander Technique, though. You have a set of movements to perform, and directions to give. Here, Easten has a brilliant way of explaining how to give directions in sequence, "all together, one after the other".

Her instructions accompanying the Explorations are a mess, unfortunately. She doesn't differentiate between what to think, what to do, and what you end up feeling. Often she goes into anatomical detail which might dazzle the ignorant, but which isn't necessarily helpful, or even credible. (How do you for instance pull your pubococcygeals [sic] forwards, widen the lower ribs using the inferior posterior serratus muscles, or widen the chest by using the transversus thoracis?)

Easten is a great admirer of Margaret Goldie. Easten claims the increased postural tone necessary to attain the improved alignment is what Goldie sought in her teaching. It is highly unlikely Goldie would have agreed with Easten's direct methods. Micromanaging posture only leads to excess "doing". Try following Easten's instructions and then do something like play a musical instrument or singing! Goldie would most likely have performed Alexander's "hands on the back of the chair" in semiflexion to stimulate dynamic tone. She is known for having left pupils in a "position of mechanical advantage" for prolonged periods of time. 

Goldie is often mentioned in the book, and so is something Easten labels 'the modern Alexander technique'. It is not clear what this is. Is it the simplified version teachers present online, or what Easten learned in her training (which had shortcomings according to Easten), or the technique after about 1925 when Alexander came up with the concept of primary control? Some of Easten's critique of the "modern" AT is maybe warranted, but the concept is a strawman.

Easten divides AT history into four periods, and places Goldie conveniently in the third, but Goldie started having lessons in 1927 and so would belong to the fourth and "modern" period. This is just one of numerous inaccuracies in the book relating to the history of the Alexander Technique. She puts forward many claims without backing them up with evidence. She for instance claims that Alexander didn't see "directions" as a fundamental. This is not correct, of course.

The third part begins with a chapter on inhibition. This is possible the most useful material in the book. Easten presents games/explorations throwing a ball. This is not very original as most teachers have probably done something similar. But Easten's variations, the explanations, and the details, are excellent. Thankfully, you are not asked to pull yourself into improved alignment before you start. Then follows a chapter on voice, also with very useful explorations.

The last chapter is about how to approach hands on teaching. Again, there are lots of useful advice. Unfortunately, this chapter is steeped in pseudoscience. Easten seems to believe it is a good idea to mention quantum physics. Easten even presents her own interpretation of the Copenhagen interpretation! In fact, I have never read another Alexander Technique book so full of pseudoscience, and I have read most of them. On the back cover we can read that "[t]he new scientific theories described will help the reader accept these very different physical experiences". The pseudoscience has a purpose, then.

I read Twelve Fundamentals on and off over a period of more than two years. I tried out the "explorations" and watched the accompanying videos (which are well made). But now I wonder if it was worth the effort. Easten has tried to grasp the "whole elephant of the Alexander Technique". But it is her personal species of the AT, with some very weird mutations, and I'm not sure the rest of us should bother. It would have been better if she did like Miss Goldie and kept to the core elements of the Alexander Technique, which she handles brilliantly, and left out the speculative rubbish.



Literature
Easten, Penelope (2021) The Alexander Technique: Twelve fundamentals of integrated movement. Handspring Publishing Limited.



onsdag 28. januar 2026

Fysioterapiens blindsone 2

Mange kommer til Alexanderteknikken med muskel- og skjelettplager. Alle har vært til fysioterapeut og fått øvelser. Som lærer i Alexanderteknikk er jeg ikke så opptatt av hvilke øvelser du gjør. Det er fysioterapeutens fagområde. Jeg er mest opptatt av hvordan du utfører øvelsene. Jeg ser på hvordan du organiserer kreftene og hvordan du bruker oppmerksomheten. Alt kan forbedres slik at du får større utbytte av treningen.

Dessverre er min erfaring at de som er dårligst og har mest behov for rehabilitering er de som får minst ut av øvelsene. De kan lett bli verre heller enn bedre. Det har ikke nødvendigvis noe med selve øvelsene å gjøre. Årsaken er for tunge og for mange repetisjoner. 

Styrketrening
Øvelsene du får fra fysioterapeuter har ofte til hensikt å styrke enkelte deler av kroppen eller styrke spesifikke muskler. Musklene må få en viss belastning for å bygge opp styrke. Styrketrening er typisk noe som utføres noen få ganger i uken. Dagene med pause er viktige for det er da musklene bygges opp.

Lege eller fysioterapeut, kan gi en vurdering av hvilken belastning du kan tåle. Men det er bare du som kan finne det ut i praksis. Det er ikke enkelt. Når du trener kan du få vondt her og der uten at det nødvendigvis betyr at noe er galt. Det kan være vanskelig å tolke signalene. Men du er den eneste som kan kjenne din egen kropp og din egen erfaring er avgjørende.

Begynn lett
Enten du er frisk eller har helseproblemer er det smart å begynne å gjøre en øvelse lettest mulig. Å starte opp med mange kilo og tjue repetisjoner er en dårlig idé. Begynn med så lite belastning at du kan gjøre øvelsen hver dag, gjerne flere ganger om dagen. Og begynn med noen få repetisjoner, ikke mer enn tre.

Det er flere grunner til å begynne forsiktig. Følsomhet er omvendt proporsjonal med kraften du bruker. Bruker du mye vekt vil du ha mindre følsomhet og mindre kontroll på om du utfører bevegelsen riktig. Minst mulig belastning gjør også at du kan gjøre øvelsene daglig. Daglig rutine kan være lettere å gjennomføre over tid og gjør sjansen større for at du fortsetter treningen. Det er også smart å begynne med få repetisjoner. Gjør du mange repetisjoner kan du miste fokus og kvaliteten blir dårligere

Læringsperspektiv
Med bakgrunn som musiker, fiolinpedagog og lærer i Alexanderteknikk har jeg kanskje et annet perspektiv enn mange fysioterapeuter. Som musiker og pedagog er jeg opptatt av læring, at læring tar tid, og at vi lærer for resten av livet.

Å ta seg tid til å gjøre styrkeøvelser i en lettere versjon, med få repetisjoner av gangen, gjør at du kan teste ut hva som er dine grenser, og lære deg å gjøre bevegelsene med god kvalitet. Så kan du øke belastning og antall repetisjoner etter hvert. Det er ikke mulig å begynne "for lett".

Gradvis oppbygging kan gjøres over noen dager, uker eller måneder alt etter situasjonen og behov. Det kan ta lengre tid å nå målet. Men veien dit er tryggere. Og på lengre sikt vil du oppnå mer.


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