To me this was some kind of miracle…something to be celebrated. So despite my disappointment with the closed museum I was pain free. Would my back hold out? After two hours of travel that involved several blocks of walking I arrived at Dicken’s Bloomsbury neighborhood only to find the museum closed for repairs. I would make my way to the Charles Dickens Museum, which I knew would be tricky, and probably required significant walking. I really couldn’t tell if it had made any difference, but decided to find out. There I was dealing with serious back issues and you had me moving a single hand and fingers! Really!! I did it, but all the while I thought you must have made a mistake. So I decided this morning that I would take the 45 minutes to complete the recorded lesson you recommended prior to my departure. Since arriving in London, I have had some pretty rough days, back-wise, especially when it came to walking. I have also found that Feldenkrais work clears the mind and makes memorization and concentration easier.
Working with the pelvis, chest and neck, allowing the whole body to take part in movements rather than restricting and localizing them, learning to stand strongly and quietly-all this has great benefit for a singer. Feldenkrais applies it more broadly throughout the body. Singers use this for control of the tongue and palate, the larynx, the ribs and abdominal muscles. I admire the way you work and if you had DVDs of FIs in that style I would want to avail myself of them.įeldenkrais builds on a method that every singer is acquainted with: repeating actions until they become automatic and no longer require conscious effort. Thank you very much for demonstrating your style generously, gracefully, and professionally, I will revisit and watch this FI many more times and continue to learn from it while keeping it in mind and emulating it. You took her through all the coordinates of lengthening (top up and bottom down) and rotation of her head, neck shoulder girdle, spine hips and knees. You helped to guide her to understand precisely what, why and how her body was moving and being perceived by her while coming to a deep and subtle conscious awareness of herself, concretely revealing "Awareness Through Movement". Your communication of the instruction, intention, and direction of the burgeoning outcome, was superb. It was of the best examples I have yet to see on a video or live. I found it mature, respectful, perceptive and functional. I very much appreciated the FI that you taught on the video. If you are a musician, bring your instrument! We will use dynamic, dramatic and effective ATM and FI lessons, designed especially for musicians FI and ATM demonstrations with musicians playing their instruments and video case histories. You will learn to" pinpoint" what the student isn't aware of, or what he isn't doing yet- and provide him with relevant information to improve his performance skills and enjoy a full, pain-free and long career in music. You will fine-tune your ability to sense and feel, and imagine what it is to be a musician -a day in the life of a musician. In this two day advanced training you will learn skills specific to understanding and helping musicians improve their performance. And, how do we know what to observe-see- with each musician? What tools can we give them to develop their potential as musicians and people? How can we be more effective as teachers? And, Lenny was correct-this is what we Feldenkrais teachers do. He surprised me by answering" but this is what you do, as a Feldenkrais teacher" (I didn't know that he knew the Feldenkrais Method nor my work as a Feldenkrais ®teacher at the TMC). After class one day I mustered the courage to ask him directly how he was able to pinpoint exactly what each student needed in order to perform to his potential. I included it as part of the description for the advanced training-"How To Work Effectively With Musicians"ĭuring a Master Class at the Tanglewood Music Center in Lennox, Mass, Maestro Leonard Berstein said to the conducting student "place your hands behind your back, close your eyes, imagine the sound and, conduct!" The student did as he was told - and the result was astonishing- a miracle in one minute! How did Lenny know what this student didn't yet know- about the music, himself and his own potential? Lenny's perspicacity was such that he could immediately see what was missing, or not yet available to the student, and provide him with insight and the tools to make profound changes- on the spot.
Here is a delightful story about my experience with Leonard Berstein at the Tanglewood Music Center. Testimonials/Articles on Mary Spire's Practice of the Feldenkrais Method
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