How The Alexander Technique Helps Musicians

From BodyLearning: Michael Parkinson, a bassoonist and Alexander Technique teacher in Vienna, Austria, talks to Robert Rickover about his own experiences with the Technique, and how it can help musicians.

Michael writes:

…[R]eplacing habitual patterns of movement with something more appropriate isn’t quite so easy if one is not aware of what those habits are. With the guidance of an Alexander Teacher one learns to recognize those habitual movement patterns of “use” in everyday activities, and how to modify them to promote lighter, more economical movement and more efficient breathing.

Alexander’s teaching technique has been valued by those involved in the performing arts since he came to London from his Australian homeland in 1904. In many respects everyone is a performer in their own right, whether it be walking the tightrope in a circus, making a business presentation…or doing something more mundane like pushing a vacuum cleaner around the apartment! Irrespective of the nature of the activity, how well the body functions is very much dependant on how well it is used.

Michael was 12 years old when he started learning the bassoon. He was thin and weak and the heavy instrument quickly got the better of him. “I remember going for an audition to the National Youth Orchestra, and after I played, this lady said, ‘That was very good and we want you to come back next year. Meanwhile, you need to take care of that left shoulder.’

“I had no idea what the lady was talking about. I went to the bathroom and looked in the mirror and the left shoulder was an inch higher than the other one. This had crept up on me without me realizing. I had been struggling with this beast for so long that I had adopted this strange body posture to get my hands around the keys and play.”

Michael began taking Alexander lessons with Elizabeth Langford. “It helped me realize what I was doing to myself. It wasn’t the bassoon that was doing something to me.”

“People sometimes say I have this back problem because of my computer or because I drive a lot, but it is what we do to ourselves that causes these problems. An Alexander teacher helps us to come to terms with what we do to ourselves and to change that so we can do what we do without interfering with our neuro-muscular system.”

“The hardest things to get rid of are the things that don’t exist. If you don’t know what you’re doing, it is hard to stop doing it.”

“My head twitched ridiculously from side to side as I was playing. Plenty of people told me, why don’t you stop doing that? But I didn’t have a plan of action. Lots of teachers of all sorts of disciplines will yell at their students, ‘Just relax!’ But you need something more specific.

“I remember in my first Alexander lessons, Betty saying to me, ‘I want you to think of allowing your neck muscles to release so that your head can go forward and up.’

“As I left that lessons, I didn’t want to twitch. My twitching was a way to relieve tension in my neck but I was just creating more. Many people with back ache will arch the back and pull the back in and it changes something and it’s a temporary relief.”

Robert: “It’s a rearranging of tensions. If you watch people sitting, if they’re habitual slumpers, every once in a while they’ll arch their backs and brace themselves up and that provides some temporary relief but they’re not going to stay. If they did, they’d have another series of discomforts.”

“Your teacher, using her hands and her words, guided your head-neck-torso into a different relationship and helped alleviate the shoulder issue in an indirect way.”

Michael: “Every singing, acting and dancing teacher in the world wants their pupils to be open and wide but that’s usually accomplished by stretching and bracing the upper chest open. It creates a shortening and narrowing the upper back where many people suffer from tension anyway.”

Ethan Kind writes:

Alexander teachers look at the movements and posture patterns of their students, and help them realize which are effective and which lead to discomfort and pain. Problem patterns are often increased by the repeated movements in playing a musical instrument. After observing the student while playing or during other activities, the teacher shows her where she is tensing and instructs through touch and with verbal instructions, guiding her through activities like walking, speaking or playing an instrument.

BALANCE

The body ideally should be in constant flow and movement. Good posture is both an upward and a downward flow. The torso should flow upward from the hip joints, the legs should flow downward from the hip joints, and the shoulders should flow by widening horizontally as they float on the ribcage, in constant expansion and contraction through breathing.

Unfortunately these flows are often absent. For example many violinists try to hold a particular position with their shoulder girdle. Once they decide where they think their shoulders should be in relation to their arms and torso, they lock their shoulders.

None of this is necessary, or helpful. Whether standing or sitting, the violinist does not need to lock a single muscle in the body. Power and support do not come from a held position. They come from a balanced skeleton that is constantly rebalanced by muscles in flow. The skeleton supports the musculature instead of the muscles locking to support the skeleton.

DIRECTING

F.M. Alexander, the originator of the Technique, observed that the head leads the body into movement. When the head is properly leading or directing the body, the whole body is organized around a free neck and a lengthening spine. When teaching or playing a musical instrument, instinctive, graceful, pain-free movement requires that the neck release and the spine lengthen immediately before the body goes into movement.

However, many people habitually tighten or set their muscles before they move. When they tighten in anticipation of doing something, they lock up their musculature with the unconscious assumption that this will help them do the activity more precisely. But the body is considerably more accurate and comfortable in performance when there is no tensing before initiating movement. Most of the pain and exhaustion in music teaching and playing comes from the body compensating for poor posture, rather than from the activity itself.

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Double Standard?

Tim emails: Shavuah Tov!
Mr. Ford, can you explain 2 things please.
1. why would you report a misdemeanor a person that happened 9 years ago?
and 2. if that’s the case why wont you report on a bigger scale what is happening regarding Rabbi that has abused his rabbinate by being arrested for prostitution, have affair with a congregant, settled a sexual harassment lawsuit using synagogue funds and more…

Luke says: In one case, I have a case number. I have specifics. In the other case, I have allegations without names and without case numbers.

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I’m Avoiding The Social Ghetto With A New App

REDMOND, Wash. (CBS Seattle) – Microsoft has been granted a patent for its “avoid the social ghetto” feature for bloggers.

Microsoft’s patent states that a route can be plotted for bloggers to avoid an “unsafe post or being in an open discussion that is subject to harsh responses from peers.”

Created for mobile phones, the technology uses the latest emotional temperatures and communal norms when calculating a public statement.

The patent, written in a combination of tech-speak and legalese, was awarded to Microsoft earlier this week.

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Why Should Children Study Alexander Technique?

Gal Ben-or, an Alexander Technique teacher in Jerusalem and Tel Aviv, talks with Robert Rickover about the usefulness of the Technique for children.”

Gal: “The Alexander Technique teacher tries to teach his students how to use themselves properly.”

Robert: “It’s restorative.”

Gal: “It gives young people the assurance that what they’re doing is right. Unless we have an accident, we’re born perfect. When we work with young children, it’s an affirming of what is. That this is OK.”

I’m struck by how kids enter school with beautiful posture and usually end up warped by the time they graduate high school. These problems are particularly severe among the Orthodox because the religion’s emphasis on study leads to people sitting in chairs most of the day and this is horrible for the body, as bad as smoking.

Gal: “The way I teach is a dialogue with the child. The teacher has to be sensitive to not force his ideas, even if they are right ideas.”

Robert: “Their minds are more plastic. They’re more able to change their habits because their habits are not so deeply rooted.”

I find that the older the student, the more difficult it is to change his habits. I also find that men, particularly abstract thinkers, are the most difficult to change.

Gal: “With adults, you sometimes have to work hard just to get through these preconceived ideas. With children, it is easier. Because children are more flexible, it will be easier for them to accept the natural habits [of Alexander Technique]. We are creatures of habits. We can’t all the time be conscious of what we do. We adopt habits. If we adopt the right habits, it will work positively for us.”

“Alexander Technique is not a technique that Alexander developed and we have to adapt to it. These are natural laws. We need to see them, to understand them, and to work with them. If you want to prepare your child for life… I would want my child to have the right understanding of how to use himself, how to use his body, for life.”

Robert: “An example of a natural law is that it is a good idea to learn to do things with as little unnecessary tension as possible. It is a good idea to learn to move using the joints and muscles best designed for that movement.”

Gal: “Parents should look at themselves and see if their back hurts, if they have knee problems. Do they aches that they didn’t have when they were young and came up at age 30 or 40? Look at the adult world around them. See how 90% or more of adults in the Western world suffer from different back problems. A lot of these problems are because people don’t know how to use their bodies. If you take any machines and don’t work within the rules, it will break.”

Robert: “If a parent has back ache or stiff shoulders, it might be worth thinking about if your child is picking up some of the habits you have. While they might not show up clearly in the child now, they’re likely down the road to be a problem. If you are modeling something that leads to problems, you can be sure your child will pick up on that. Small children tend to imitate the people around them, particularly the most bizarre stuff people do. If you choose a nanny with a tight neck and stiff shoulders to hold your child and hang out with them, you’re prescribing that [misuse] for your child.”

Gal: “The tension, effort and stress of school life, no wonder [there are so many problems with kids].”

“An Alexander teacher is focused on the use of the self. A swimming coach is focused on swimming. Swimming correctly may not necessarily help with sitting on a chair.”

“Parents should take responsibility and not give the system outside too much force on their children. Learn the subjects, whether it is swimming or using the body properly. Be involved. Ask questions.”

Robert Rickover writes:

My Alexander Technique(1) students often ask me why people develop the restrictive physical patterns that cause back pain or a sore neck or restricted arm and leg movements. The great majority of small children, after all, carry themselves with grace and ease – yet the same cannot be said for most adults. When – and how – does the problem typically begin?

Of course, there are many reasons these restrictions can creep in – the trauma of injuries, physical or emotional abuse, to name a couple of examples. But for the most part, harmful patterns of posture and movement can be traced to two factors: children’s unconscious imitation of adults around them and the unintended effects of their early classroom experiences.

When I was training in England to become an Alexander Technique teacher, I can vividly remember sitting at an outdoor pub one Sunday afternoon with another Alexander teacher-trainee and noticing a large group of adults and children at a nearby table. Several of the children were playing games near the table and we decided to guess which children belonged to which parents. Very quickly we associated two little boys who were holding their shoulder’s rigidly back with a man who had precisely the same pattern. A teen-aged girl with stooped shoulders and a very tight neck was assigned to a slouching couple.

When the children returned to the table, we were correct in both cases. In fact, you can often spot this sort of thing within a family. Children learn a great deal by observing the people around them and it seems that they are particularly adept at copying patterns that are out of the ordinary, such as an odd walking gait or shoulders dramatically hunched up toward their head.

Other, and equally important, causes of harmful habits of posture and movement can be found in most school classrooms.

When children are old enough to go to school, a serious challenge to their health presents itself: sitting still for what seems like forever – tricky enough in itself – combined with some of the worst furniture design they’re ever likely to encounter.

For reasons of economy, and presumably to minimize the work of the custodial staff, most schools today have chosen desks and chairs that are of a standard size and shape, despite the fact that the children using them come in a great many different sizes. Chairs, for instance, are often chosen for their “stackability”.

In my daughter’s middle school, the lunchroom tables have seats bolted onto the sides so there is no way to adjust for different heights, leg lengths etc. This makes it quick and easy to clear the room for cleaning; but it encourages some pretty harmful postural patterns as short and tall children try to adjust.

Take a look at a group of 5-6 year olds as they play and you’ll notice that for the most part they move with ease and agility. Then watch some 7-8 year olds and you’ll see the beginnings of hunched shoulders, tight necks, and restricted breathing that you can see more fully developed in many adults. I sometimes ask my Alexander Technique students to assemble a collection of photographs of themselves at various ages. It is striking just how often obvious physical deterioration seems to set in just when they first start going to school.

In America in recent years, we’ve been reading a lot about new federal government legislation to make sure all workers have access to ergonomically designed furniture. This legislation grows out of the near epidemic occurrence of repetitive stress injuries such as carpal tunnel syndrome and the realization that good furniture design can lessen the chances that workers will fall victim to these modern scourges.

Yet, the people most at risk – small children in classrooms – are being forced to use furniture that would never be tolerated in a work situation.

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Man Convicted Of Domestic Violence Teaching At Yeshiva Ohr Elchonon Chabad

In 2003, Jerome Gene Braunstein was convicted for domestic violence (a misdemeanor) in Malibu. (Case 2MA02148)

That same year, he was cited in Van Nuys for resisting arrest and assaulting a police officer. There was talk of a felony prosecution but the case was never brought.

Dr. Braunstein’s wife ran away and left the state with full custody of the kids.

Jerome Gene Braunstein now teaches math at high school Yeshiva Ohr Elchonon Chabad in Los Angeles.

Email: He was arrested twice, tried by the DA, and served 6 months time in a mandatory sentence at a mental hospital

He was hired this fall to teach math to high school boys at Yeshiva Ohr Elchonon, the Lubavitch Yeshiva in Los Angeles. Boys from Lubavitch homes around the country attend this school and board in the dormitory. he wears a full beard, kapote, etc – he has the appearance of being a Lubavitcher

From my understanding he beat his wife & endangered his child. he may do this to a bochur in the yishiva.

Case # 2ma02148
Malibu office 310-317-1343
Jerome G Braunstein
7/5/69
The case has been archived after 7 years but it’s in the system.
charges: pc273.5 corporal injury to spouse and battery 243E1
misdemeanor
it’s all in the system – he has a rap sheet
da case #23670493 Van Nuys DA didn’t go to court – 818-374-2400 for assaulting peace officer and resisting arrest – this was not filed properly but the Van Nuy’s DA can shed more light if they call, perhaps.
Attacks took place in 2002.

When he resisted arrest (for breaking restraining order, trying to take baby) at the courthouse we were on lockdown for over an hour. It took 5 peace officers to subdue him. During the arrest they broke his arm. His family is very wealthy. They lawyered up w/ top criminal lawyers and I believe they threatened to sue the police/court peace officers and they were able to plea down to just the charges for his attack on me. So he was not sentenced on those crimes.

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I Want To Teach You Alexander Technique!

Learn to live with grace and ease! Let go of needless tension and bad habits. Take up your full space in the world!

Let’s study Alexander Technique together!

Check out my website Alexander90210.com.

I charge $100 for a 45-minute lesson.

If my student is in pain, I’ll typically have him lie down and I’ll use my hands and my questions to help him notice patterns of unnecessary tension and to let them go.

Most of my work is helping the student to become aware of needless compression. Once he realizes how he’s scrunching himself, it is relatively easy to show him how to take up his full space in the world.

Some of our lesson will take place in a chair. We’ll learn together how the stimuli of folding and unfolding the limbs getting in and out distorts the head-neck-back relationship. I frequently notice that people hold their breath when they stand up and sit down. Often they go into a little bit of a startle pattern, compressing their necks and tipping their heads back, shortening and tightening their torso during this common activity. Most people only bend their knees when they have to, preferring compression and collapse into a chair. The older people get, the more these simple tasks of life become an ordeal.

Without becoming aware of our patterns of needless tension, most people become trapped in their own habits of useless compression.

I want my students to notice what they’re doing to themselves and to stop doing the things that are hurting them. For most of us, if we stop injuring ourselves and pulling down, we naturally bounce up and do the right thing.

Alexander Technique is less about learning new things to do than about learning what not to do.

Most transformational systems build upon where you are at. By contrast, Alexander Technique deconstructs your harmful habits.

I like to have my students walk and to bring their attention to what is going on with them. Many people tip to one side an inch or two. I help them to become aware of their habits and to move more gracefully.

For most people, graceful movement leads to graceful thinking and graceful feeling and graceful relationships with others. How many people do you know who are needlessly contorted in their movements but easy to be around?

Some of my students are actors or musicians or athletes. I like to watch as they do their thing and then I offer suggestions on how to do things more easily. I don’t need to know anything about throwing a javelin or playing an oboe to be able to spot patterns of needless tension and to help a student release them.

* How many lessons will I need?

Most people can learn the basics of the Technique in about five lessons. Becoming proficient usually takes dozens of lessons. Some people don’t make permanent changes without at least 30 lessons. Learning the Technique is like learning a foreign language. You can master the alphabet and a few phrases in a handful of lessons but fluency takes more study.

* How much does a lesson cost?

Most Alexander teachers charge between $50 and $150 per lesson (which will range from 30-60 minutes). I charge $100 for a 45-minute lesson.

I have a 24-hour cancellation policy.

If I come to you for the lesson, depending on how far you are from Beverly Hills, I charge from $25 (within 2 miles) to $100 extra.

* What should I wear?

Doesn’t really matter. I can work with anyone dressed in anything. Preferably, wear pants rather than a dress.

* Where can you take a lesson?

I can teach anywhere. I can teach the Technique anywhere, including walking down the street. Most of the time, I’ll teach in an office, working chiefly with the student in a chair and on a table.

* Will it hurt?

I’ve never heard of anyone getting hurt in an Alexander lesson. Alexander teachers have liability insurance premiums under $200 a year because our work is gentle and safe.

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Israeli Supreme Court Rules: Author Naomi Ragen Innocent of All Plagiarism and Copyright Infringement in Tal Case

Bob emails:
Published: Jan 5, 2012 11:52 AM
The Supreme Court of Israel accepted the appeal of author Naomi Ragen for a verdict in the case brought against her by Michal Tal after the Jerusalem District Court vacated the case following Tal’s death. The verdict on Tuesday by Chief Justice Beinish, Justices Gronis and Arbel accepted the agreement reached by Ragen and Tal’s heirs, rejecting Tal’s case, stating that “There is not and never was any basis whatsoever for any claim of plagiarism or copyright infringement brought against Naomi Ragen in the Jerusalem District Court.”
In 2007, Tal’s lawyer, Gilad Corinaldi, sent Ragen a letter in which he demanded that Ragen “pay my client, in light of the copyright violation and the profits you have made from this which have illegally enriched you, a more than appropriate sum of money..You have five days of grace (from the receipt of this letter until Monday 19 March 2007) to take the above actions. If you do not comply with these demands, my client will take the following actions:.apply to the courts for injunctions against you and the three publishers who market and sell your books to remove the books from the bookstores (Steimatsky and others stores); sue you for millions of shekels (the sum has not yet been fixed); publicize your copyright violations on a special internet site and also issue a press release to all the media in Israel and especially outside Israel in order to give your readers an opportunity to judge for themselves the act of plagiarism you committed. Your fate is in your hands Your good name and the future of your works hang in the balance.” [emphasis in the original]
Ragen, who maintained throughout that she had never seen Tal’s book, refused to pay. In an ex-parte session of the Jerusalem District Court, Tal obtained injunctions removing The Ghost of Hannah Mendes from the bookstores; she filed a one million dollar lawsuit; and publicized her claims in the press and on the internet.
During the trial, Ragen presented evidence that she had submitted her book, The Ghost of Hannah Mendes, to her publisher months before Tal self-published her novel in England. The “mutual friend” who Tal claimed had given Ragen a copy of her book testified that she had never done so. A forty page book of similarities compiled by Tal was shown to contain texts deliberately reworded to give the appearance of plagiarism. In her testimony, Tal blamed these inaccuracies on typographical errors made by her lawyers. Despite holding a degree in Hebrew Literature from Tel Aviv University, Tal testified that she had not understood the affidavits she had signed at the request of her lawyers.
The decision also states that “Tal sincerely believed at the time in the justice of her claims.”
“Tal’s claims were delusional,” said Ragen, “but the travesties and suffering I endured for five years over this frivolous case were very real. It has been a truly horrifying experience for me and my family. I am immensely pleased that justice has been finally been served and that the truth has come out in this case. Just as the truth has come to light in this case, it is my hope and belief that I will eventually be fully exonerated in the other cases against me.”

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Jewish Guys 2012 Calendar

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How the Alexander Technique can help Dancers

From BodyLearning: “Ariel Weiss, an Alexander Technique teacher in Philadelphia, talks with Robert Rickover about the usefulness of the Alexander Technique for dancers. Ariel’s website: alexandertechniquephiladelphia.com Robert teaches in Toronto and Nebraska: alexandertechniquenebraska.com. For more information about the Alexander Technique: alexandertechnique.com.”

Ariel: “We’ve passed down misuse to many generations of dancers.

“Dancers need to understand their own habitual patterns so that when a teacher makes a correction, they’re not stuck in a trap of constantly over-correcting and over-efforting but understand their own best use and function.

“There’s a great deal in dancing technique about keeping the shoulders down. We don’t like to see shoulders rising toward to the ears. One habit of misuse that gets adopted is that dancers often pull their scapulae down their backs in a way that immobilizes them and restricts movement, restricts a graceful line, and puts a great strain on their neck and shoulders.”

Robert: “So they’re trying to correct one problem by introducing a correcting movement to fight it.”

Ariel: “They’ve added a push to a pull.”

Robert: “The Alexander approach is if your primary habit is to lift your shoulders, why not let go of that instead of fighting it.”

“I sometimes find it difficult working with dancers. There tend to be some ideas about how they present themselves on stage, a little arching of the lower back, etc… With a musician who has back pain while playing in an orchestra and you can show the musician an easier way to sit and play, most of the time they’re going to be fine with that. They don’t have a lot invested. Oh, this is an easier way to sit and I’m playing the violin better, I’m down with that. With a dancer…”

Ariel: “It’s a lot more threatening.”

Robert: “You’re tampering.”

Ariel: “The dancer has much more invested in what those movement patterns feel like and if you take away that feeling, even if that feeling is causing them to be injured, which happens commonly… There’s been a commitment to that feeling because they believe it is helping them achieve what they’re after.”

“If you can show a dancer that by attending to their best use and functioning, they can achieve their goals more readily, then you have their attention and they might be willing to relinquish that commitment to faulty sensory perception.”

“This is one instance of where teaching in a group is helpful. Dancers most often study in groups. They’re used to watching each other and learning from others. If somebody can suspend their belief system for a moment and dare to do something non-habitual, and everyone in the room can see that their leg went up higher, then that is going to make a larger impression than anything else.”

Robert: “More than anything you can say to them.”

Ariel: “I like to tell my students, please don’t believe me.”

Robert: “Independently verify.”

Glenna Batson writes: Dance is a performing art built upon the ebb and flow of muscular tension. Through muscular tension, dancers express their aesthetic sensibilities. The word “dance,” in fact, stems from the Old High German “danson,” meaning to stretch, and from the earlier Sanskrit root “tan,” meaning tension. The building and resolution of tensions we experience in performance touches us deeply — kinesthetically, emotionally, and spiritually. At the heart of a dancer’s training lies the cultivation of muscular effort – its degree, sensibility, precision, refinement. Although dancers train their bodies in many ways, the cornerstone is technique. Dancers would be hard pressed, however, to come up with one succinct phrase that adequately defines technique. Returning the the dictionary, the word technique simply means the “manner and ability with which we pursue a particular endeavor.” What is the “manner and ability” needed to dance?

Traditionally, various dance techniques have evolved out of the stylistic (muscular effort) preferences of their inventors — the “Vaganova” technique, after the famous ballerina Agippa Vaganova, the “Graham” technique, after modern dance pioneer Martha Graham, and so forth. Ideally, the dancer’s training goes beyond attempts to mold the dancer to a certain style or set of neuromuscular patterns. Instead of simply looking “right” or doing the movement “correctly,” the dancer learns to move from an embodied source — fully receptive and responsive to the moment of movement. Such training frees the dancer from rigid holding patterns or other constraints that bind thought, feeling, and action. The emergence of somatic approaches and “release” techniques, and their incorporation into dance training supports the trend toward finding more free, autonomous ways of moving.

Many artists – actors, musicians, as well as dancers – have found the Alexander Technique to be a powerful way to enhance performance. Aficionados say that the Alexander Technique is “the technique under all techniques,” because it is a process of embodied thinking, sensing, and acting. Through studying the Alexander Technique, dancers can move with greater ease, poise, and accomplishment, regardless of the movement style.

The Technique involves three pivotal arms of training coordination developed by F.M. Alexander: the “Means-Whereby,” “Inhibition,” and”Direction.” The Means-Whereby helps dancers pay attention to their whole Self as they are moving. By paying attention to how you are moving — as you move — process takes precedence over product. The process of learning or performing movement becomes more important than the goal. Movement becomes freer when dancers focus on sensing the changing relationships of the moving body, not just on positions or steps.

Inhibition is F.M. Alexander’s term for a process that facilitates effortless, natural movement. By using inhibition, dancers learn to recognize habitual, unembodied movements and to choose not to do them. Habitual tensions leave anyone with a paucity of body relationships and movement options — the scourge of the dancer. Using the Alexander process of Inhibition, a dancer can pay exquisite attention to the moving Self without interfering with the inherent laws of coordination. Inhibition further affords the dancer a means of refreshing their kinesthetic sense which may have been diminished from the fatigue of hours of rehearsal.

Ariel: “Excessive work misdirected is strain. Dancing requires work. It’s glorious work. When we direct that work in a direction that helps us succeed helps us enjoy what we’re doing. We’re helping to prevent injury. We’re increasing our skill, our expressiveness and our own enjoyment.”

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I Don’t Like Representing Anybody But Myself

Throughout my life, I’ve been condemned as a bad representative of my group.

I fear my critics are right. I am a bad representative. I don’t think I’ve put any group I’ve belonged to in a good light.

“Why don’t you scathe somebody else?” has been a frequent response to my antics.

I have an ambivalent relationship to community. With the exception of a few years, I’ve always belonged to a traditional religious community but always straining against it at the same time. I’ve belonged to the Los Angeles Press Club but made life difficult for myself by writing bad things about its members.

I often find group membership suffocating and I have to get away, to loosen my ties so that I can retain some freedom of speech.

For instance, I think Orthodox Judaism and Alexander Technique and 12-step programs are frequently awesome for people but simultaneously I have no problem reading about the downsides to all of these things. I have no problem musing aloud and on my blog about the ups and downs of such memberships.

I guess I want to be an individual. I remember dating this woman who hated Orthodox Judaism and she had all these hateful preconceptions about who I was simply from the fact I davened (prayed) in Orthodox shuls. Many of her preconceptions were far removed from reality. In some ways, I am not a typical Orthodox Jew. Yet even a year into the relationship, she was still relating to me as a representative of this hated group and not for the individual I am.

I don’t go up to black people and say, hey, what do you think of Barack Obama? I treat people as individuals, not primarily as representatives of groups.

Usually being a good representative of your school or of your group means that you say nothing publicly that could reflect ill upon your team. I find that suffocating.

Out of all the groups I’ve belonged to, I think I have the most respect for Judaism for the way it balances the freedom of the individual with the needs of the group. I have no desire to live along and no desire to live in anarchy. Social ties are important to me and so is group membership.

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