Alexander Technique Brazil 97

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razil '97

azil '97

Articles & Lectures

by John Hunter Brazil 1997: A Teacher's Working Holiday

o de Janeiro: Working with the Teachers

all starts in February 1997 in a cafe in Holland Park where I have arranged to meet three of the Brazilian

achers. They tell me of their plan to invite me to Brazil. During the months that follow we have to work

gether to overcome many difficulties and obstacles, but at the beginning of September I arrive at Rio de

neiro airport at 5:20 in the morning. Roberto and Valeria are waiting, having bravely risen early to come aeet me. As we leave the arrival hall to go to the car-park I notice that the external temperature is 21°C....a

s is winter. Apparently, because of "El Niño", they have not really had a winter this year, as I am soon to

t.

y first weekend is spent in Ipanema, 100 yards from the famous beach of that name. The strain of the

mous pop-song from the sixties keeps wafting into my head. Walking along the sea-front one has an

mediate impression of the importance of physical culture here. The women are extraordinarily beautiful w

ur-glass figures; young men with muscular bodies are exercising on beach-side apparatuses; there are

merous games of "futevol" (an extremely energetic combination of football and volleyball, which really ne

e softness of the sand for the players to land on as they throw themselves at the ball); and countless peo

e cycling, jogging, "power-walking" or, just like me, strolling along the pavements and cycle tracks. On

ndays they even shut off the traffic to allow more people to join in these favourite "carioca" pastimes.

hat a beautiful city, so full of contrasts, Rio is! A perfect setting of beach after beach; hills; an enormous

the middle; an enchanted forest minutes away; and architecture which reflects the past, present and futu

such a way that they all seem to be condensed together in an accelerated history

r the first week I am not teaching. I have time to get to know a little the city and the people. My strongest

pression, from a philosophical point of view, is that of "influences". In Great Britain early Celtic, Roman,

nglo-Saxon, Norman and other early influences have more or less blended into something which we

cognise as "British". Later immigrants from the Caribbean, India, Pakistan etc. often maintain strong cultu

d community links. Rio does not seem quite like either of these. The influences of different cultures and

ces are in a certain "degree of blending". One recognises native Indian, Portuguese, African, Mediterrane

orth European and North American influences almost, as it were, in a chemical mixture; not yet a compou

ork starts with a lecture at the Music Department of the University of Rio. I have prepared a talk and show

my translator, Laura, but there is also the possibility of speaking in Spanish. It seems that in Brazil most

ucated people understand Spanish, much more than in Portugal where there seems to be a certain

ejudice against their neighbouring Iberian tongue.

ting in the lecture theatre before people start to arrive, Roberto and I fold leaflets to hand out; and I am

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nking, "What? Me, here? How strange! How on earth do I come to find myself about to address a group

ople in Rio de Janeiro on the subject of an Australian actor and his discoveries about human functioning

hat a strange world it is!" So surrealistic does it seem to me at that moment that I am hardly even nervou

rtunately they understand my Spanish - "¡Qué maravilla!", and Laura, my Portuguese/English translator,

ly to help occasionally. They are an interested audience and ask intelligent questions.

e next day I give private lessons to some of the Rio teachers' pupils and then have two very intensive da

work. A teachers group each morning followed by public workshops in the afternoon.

y focus with the teachers is to try to direct their thinking towards their own use in activity and away from

aching". We take as our starting point Alexander's famous statement. "You can have what I have if you d

hat I did," with the all important addendum which, as Marjory Barlow reminded us at the 1997 Annual

onference, is usually missed out, "but none of you wants anything mental."

e discuss the importance of "making discoveries" about oneself; "eliminating the wrong"; being clear abo

hat it is we are trying to inhibit; how the primary control has to emerge and not be superimposed. What is

at emerges? Some simple facts about the relation of the head to the neck and spine; the capacity and

lingness - given half a chance - of the body to expand. From there we move on to the role of the teacher

lp the pupil to enter into the discovery-making process; to give them the tools.

ter lunch in a typical Rio "buffet restaurant" (a delicious spread of meat, fish, pastries, salads, vegetables

its, desserts etc. to which you help yourself and then pay for by weight) we all go to the public workshop

very useful to have worked together in the morning as we arrive with a certain cohesion of purpose which

lps to create an atmosphere of "work".

e pupils are mostly in the performing arts and have varying degrees of experience of the Technique. I be

saying that we are going to explore some aspects of the subtleties of human functioning and that we wil

ed all our attention and all our powers of observation. I also ask that those who were willing to perform

ould prepare something for the following day.

ay that Alexander discovered a way of organising oneself in the ordinary activities of daily life; that this ishieved through a process of eliminating the wrong, the unnecessary, and discovering the underlying natu

-ordination. Any attempt to "get it right" is bound to hinder this process. In order to start to make the

ploration practical I split the group into two; one half observes while the teachers work with the others in

tivity of walking. The role of the teachers is to try to help the pupils discover what is really going on and n

st to "put them right". To give the observers some ideas about what to look for I demonstrate different sty

walking with different parts of the body leading. The groups then swap round and observations are

changed. We are gathering data on how people function; what is necessary and unnecessary; what are

econditions of efficient functioning, and I allow plenty of time for these exchanges. It is important to stimu

eir minds as well as their bodies.

e most common observation people make is that they feel more present, focused and more aware of

emselves - including their tensions. Nothing could be more useful. After some lying down work we end th

st session.

e following morning with the teachers we review the work with the head, neck and back; the "unlocking"

e atlanto-occipital joint in order to allow the spine's inner spring to open and the rib-cage to expand - the

sic, simple "physical" aspect of the Technique. We then explore how to take this "auto-co-ordination" into

tivity, in particular the activity of working with a pupil. It is stressed that the work of co-ordinating oneself

ould be carried out before putting hands on the pupil, not afterwards.

e then return to the psychological aspects of Alexander's discovery using a simple experiment. I am alwa

uck by the fact that Alexander could not progress in his own "work on self" until he had explored the




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estion of "consent".

his experiment - stopping and making a decision - is carried out in the right conditions it can give someon

en relatively inexperienced, an immediate and potentially transformational experience of having choice.

en for many teachers it opens a new door into the oft ignored psychological rather than kinaesthetic or

ergetic aspects of "work on self".

the afternoon at the public workshop people arrive over the space of several minutes and spontaneously

emselves on the floor. It was not how I had planned to start the session, but it seems to be what they nee

the teachers go round and work with them.

en we go into an exchange of experiences and observations arising out of the previous day. In order to g

eryone up and moving again we return to "walking" with the teachers helping. We then try to work with th

hispered "Ah", which proves very difficult in such a large group.

ter the break I work with someone on this experiment of stopping and making a decision. I am very lucky

e volunteer responds exactly as one would expect (i.e. reacting immediately without "inhibiting"), giving g

edback and allowing people to observe a "principle" at work.

e then try to develop the application of this principle to certain activities that interest people. It is a little

ficult at first to persuade anyone to try anything, though I feel in them an underlying willingness to "have

". Eventually one person tries some writing, another some dance movements, someone sings and anothes some shiatsu. The changes which can happen when they are "directed" are impressive. A new interes

d willingness to try is beginning to awaken in the room - but ....alas, time runs out and we have to stop. W

ally need a third day when, I feel sure, we could "modulate" into another key.

hat is the benefit of such an event? My view is that it can open possibilities for people. I don't think that b

ly working in such a way people would have enough exposure to the nitty-gritty of undoing habits - but, f

me to time, to explore the principles in a dynamic group context can, as Marjorie Barstow demonstrated o

any years, open up new perspectives.

ter a celebration and farewell dinner that evening, I leave early the next morning for Sao Paolo and Foz

uacu. My experience in Rio has been a rich one and I hope that one day I will return. Many thanks to all

ose people who made it possible.

Spectacular Diversione journey from Rio de Janeiro to Sao Paolo is memorable for me. We leave very early in the morning to

oid the rush hour traffic and take the long, scenic route via the coast. Apart from the beauty of the coasta

enery there is the added bonus of a visit to Parachí, a colonial port, whence gold and precious stones we

ported to Europe. Because of one of those quirks of fate, it was by-passed by a new road and preserved

its colonial splendour. Now it is on the tourist trail but fortunately in an epoch which values conservation,

d no modern buildings or traffic spoil the impression of stepping back in time.

ave one day in Sao Paolo and then a three day trip to the south of Brazil; Foz de Iguacu, where there is

traordinarily beautiful natural phenomenon on the border with Argentina - a waterfall some five times wid

an Niagara Falls. Opinions differ as to which side of the border offers the best views, so I go to both sides

d even take the view from underneath in a high-powered rapid-shooting motor-launch. It is awesome.

hat is also interesting is to observe people's behaviour in front of such a force of Nature. On the way to th

ls I am sharing a mini-bus with one other passenger. He is about sixty years old, tense, hyperactive, his

ntre of gravity in his head and gives the impression of taking an enforced holiday with a sort of grim

termination to "do all the sites". The whole way there he is quizzing the driver about the value for money




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rious trips on offer. In his hand he is carrying a book. I try to see what it is - perhaps it will give me some

sight into his character. It is a text book on molecular biology; he is a scientist. I determine to get as far aw

possible from him when we reach the falls, as I prefer to see them from a poetic rather than a scientific

int of view. However, we chance into each other at one of the main observation platforms. All his tension

s gone. He is struck dumb by the scale of what is in front of him. Such a phenomenon has a strange

velling" effect on people. We are all equally insignificant when measured against such forces. We excha

ook and a smile: a simple human contact.

eturn to Sao Paolo the night before Isabel and I are to present the Alexander Technique at a Choir FestivMorumbi. One of Isabel's pupils is involved with the organisation of this annual event and it is their intent

invite a guest speaker each year to present a theme; this year it is to be the Alexander Technique.

ao Paolo and the Music Festivale leave early in the morning to find the condominium where the festival is to take place. Neither of us kno

ite what to expect. Such moments are full of possibilities: how to respond to the unknown? Does one

sperately try to prepare for all contingencies with the "known" - and thereby fall back on habit, or plunge

e experience with all senses alert: "..the readiness is all" ? I try for the latter, enjoying the sharpened

wareness which invariably accompanies the really new.

e arrive and are welcomed. There are some organisational matters to attend to; positioning on the platfoding leaflets, microphones etc. A translator is on hand in case of need. Participants begin to arrive and th

ll is filling up. What sort of people are they? What is their level of interest? I am used to working with

ofessional musicians, but these are (the conductors excepted) amateurs. How serious are they about the

usic, about themselves?

the morning session I give a lecture in which I try to outline Alexander's life, the main principles of his

scoveries and their relevance to performing artists. As in Rio I speak in Spanish and it seems that I am ea

derstood. My translator, whose English is impeccable, is hardly needed. The talk is fairly well received a

cites a certain amount of interest and curiosity. So far, so good.

rtunately Isabel, well knowing the Brazilian character, has had the foresight and resolve to ensure that w

ve a private lunch with our translator and are unassailed by festival participants. We find ourselves in the

ge condominium restaurant, practically empty, with an excellent choice of food. Knowing my predispositi

feel sleepy after lunch I do not take full advantage of the fare on offer, and have a light meal only.

e first session after lunch is with the conductors. It soon becomes apparent that what has most captured

eir interest is the idea of a pause between stimulus and response. I am surprised but very pleased about

s, because usually people are too quickly captivated by the "physical" aspects of the work. They someho

uit that this is something of great significance and are eager to explore how this idea can be applied in a

actical way to their work with the choirs. We discuss various possibilities and try some practical work; a v

mulating and engaging hour.

en the pièce de résistance: the workshop with the festival participants - a group of around sixty people a

would estimate, between seventeen and seventy. What are we going to do with all these people? Of cour

ve some ideas, options and possibilities in mind, but I have certainly not decided in advance. This appro

f trying to "be in the situation" and respond to what is needed, rather than to follow a predetermined plan

fore even meeting the people one is going to work with, can be somewhat nerve-racking to say the least

brings the whole thing to life. There is a real demand to stay alert, observant and (as we are always sayin

r pupils) to "let do".




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e chairs are still arranged in rows from the morning lecture, so we quickly get people to move them to fo

ge circle. The first group of people I am going to work with are selected from each of the six or seven ch

the festival, as I feel that it is important that those observing know at least one of the participants, partly

cause it will bring a more personal interest to the proceedings but also because they are more likely to

gister any changes which may take place; any differences between their usual known states and how the

e after our "input".

hat then follows in the next two hours or so is really a wonderfully new and enlivening experience, certain

r Isabel and I and also for many of the singers. Perhaps because they are amateur musicians and lesshibited by the worry of protecting their self-image in front of their peers, perhaps for other reasons, I do no

ow, but what is certain is that they are very willing to take risks and "have a go". We witness some

traordinary, albeit temporary, changes in people that afternoon. The ambience is relaxed and supportive

ople are encouraged by their fellow choir members to try something and great appreciation is shown for

ose who do.

e start by taking groups of people and working with them in a simple activity; walking. From there we look

ting, and then move on to singing. What particularly stands out is one young man who has no real voice

eak of, but having "let go" of something, he really sings to people, from his heart, and they are touched.

so surprised himself by the experience that he is almost overcome. At the end we work with one choir an

conductor. First we hear them "do their own thing". Then we work on each one for a while, encouragingem to divide their attention between their own backs and the conductor. When they next try to sing,

mething is a bit more focused, but a kind of "trying" has crept in. We then get them moving around, with

ad leading, and at a certain signal they reassume their positions in the choir and begin their song.

omething then comes alive; a wonderful fluidity and effortless performance - all working together as a co-

dinated unit.

a way I feel that I should not separate Isabel and myself from the participants, because I believe that we

so are participants in what occurs that afternoon. We play a small part in facilitating something - perhaps

oviding a focus - but what happens is the result of a coming together of many different factors and I certa

el privileged to be a part of it.

r the rest of my time in Sao Paolo I am working with Isabel's pupils. Her main reason for wanting me and

hers to come to Brazil is to give her pupils the experience of working with other teachers They are very

rtunate to have someone who has such a care for them and for the development of the Alexander Techn

Brazil. They are lively and interesting. We spend an evening together discussing some ideas and try som

ngs out. It can be very useful for people having lessons to meet each other from time to time and exchan

eir observations and experiences.

ere is little time to do much in Sao Paolo as I have such a busy schedule, but I retain some colourful

oments with Isabel and her husband, Marcel, and look forward to our next meeting, wherever and whene

at may be.

ow interesting that the extraordinary blend of influences that makes up what is known as "Brazil" now

cludes the as yet small but significant one of F. M. Alexander's discoveries.

ack to the top

is document maintained by [email protected]

aterial © 1996-2004 John S Hunter

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