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AT Congress® Berlin 2022

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Presenters – Workshops

Workshops

Workshops are the cornerstone of every Congress, and your chance to showcase the work.

Your reputation and professional expertise are extremely valuable to the international Alexander Technique Community, and will help to make the Congress a reflection of the best that the global Alexander community has to offer.

This time, we are offering three different time lengths of workshops to allow you to match your energy levels.

  • Mini (30 min)
  • Medium (75 min)
  • XL workshops (150 min.)

Every day of the week, except for Wednesday, there will be at least two Mini or Medium and one XL running in parallel.

* Workshops (and all other Congress events, except Continuous Learning) are walk-in events. This means you don’t need to book your spot.
We only have to make sure that maximum room occupancies are being observed. For your favourite workshops, we therefore advise you to be there a few minutes early before the workshop starts.

Workshop Presenters List

Presenter Profiles Count:

This is the list of all confirmed Presenters offering a Workshop at the Congress.
The list is sorted by first name

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  • Agnes de Brunhoff

    Agnes de Brunhoff
    France

    France Singer and pianist, qualified Alexander Technique teacher, vocal, instrumental and drama coach,
    Agnès de Brunhoff\\\’s dual career as both artist and trainer has earned her an international reputation.
    In response to the back problems, injuries, nerves and tension which plague so many musicians and
    actors, and in the light of her own experience working in film, theatre and concert, she has
    developed a revolutionary approach to musical coaching, adapting the Alexander Technique tools
    to the demands of instrumental and stage work, her method coming close to that of trainers in the
    sports sector.
    First at the Guildhall School of Music and Drama and the European Union Youth Orchestra,
    then in her class at the Paris Conservatoire, her method of psychophysical preparation and
    application to instrumental practice has proved itself time and again, and she was invited to extend
    it to the Paris Opera Academy in 2018.
    She launched the Alexander Technique Training Centre (CFTAlexander) in October 2008, and
    has since been training teachers in order to extend the professional reach of her method. The Centre
    receives visitors from all horizons – music students, people with back problems at work, etc).
    The third edition of her 2012/2015 book which is available in translation as “On stage! Back to
    yourself with Alexander Technique” was followed in 2017 by another, also available in English as
    “Backstage mysteries of body and mind”, and a third book, “L\\\’engagement détaché” (“Detached
    engagement”) appeared in 2021, all published by Delatour France

  • Alexander Technique Liberation Project
    USA

    USA Gathering in Community at the Intersection of DEI and AT

    The AT Liberation Project, formerly ATDC, started in 2016 after the 2015 International Congress in Ireland where the lack of diversity among the attendees and on the main stage was very stark. Six Alexander Technique teachers in the New York City, USA area began meeting regularly to discuss what could be done, and how to move the work of DEI forward in the AT world. ATLP has presented at the ATI conference (2016), the AmSAT Conference (2016 and 2019) the International Congress (2018), and as the Plenary Speakers at the ATI Conference (2021).

    DEI work can be complicated and difficult as well as liberating and joyous. Our listening process helps us to navigate this territory. Taking a closer look at our shared values has revealed that our AT tools are essential; we rely on pausing and observing, choice and means-whereby to be collaborative, generative and to embody a liberating process. Listening is an essential part of this group. In the fall of 2020 we undertook a four-month project to define our values, vision and mission. Listening was at the heart of our process, and continues to be as our mission grows and changes.

    ATLP volunteers met with Restorative Justice, Nonviolent Communications facilitators, and gathered in Council circles. We listened and surveyed participants in affinity groups to better understand what matters most when building a sense of belonging. From these listening sessions we created mind-maps to see the big picture of the DEI work needed in the Alexander Technique community and in the work itself. We did this so that we could gather together in a way that was safer and more productive for everyone.

    The ATLP has been continuously working since 2016. Coming together to learn more about DEI has deepened our commitment to the practice of AT as a process for change. The ATLP welcomes you to participate, too. Join us!

  • Alexandra Mazek
    Österreich, Austria

    Austria At 27, I lost my voice due to a so-called spasmodic dysphonia. The voice sounded broken, vanished and reappeared like a radio signal flickering. Talking to strangers, ordering coffee from a waitress, and even casually saying “Hello” became very difficult. Not to speak of the inability to confront groups of people. Eventually, I had to give up my job in International Development.

    When I encountered the Alexander-Technique I felt that here was a possibility for recovery but also an art to be learned; so I trained and have been learning and working full time as an AT teacher ever since. Several people affected by Dystonia have had lessons with me for years.

    Apart from the Alexander Technique, my “Heartfulness” meditation practice has been instrumental in re-establishing my health.

  • Portrait Andreas Dirscherl

    Andreas Dirscherl
    Bavaria, Germany

    Germany Andreas has been teaching the Alexander Technique continuously in his own studio in Munich since 2005. In 2009, he became Assistant Teacher with a training course in Munich, where he taught until 2015. In this time, Andreas repeatedly substituted for the Head of Training – at one point, he has been running the training course for a period of seven months.

    For over 20 years, Andreas has also been a well-known radio presenter and newscaster with the Bayerischer Rundfunk (Bavarian public radio) where he regularly presents the news and can be heard in various radio features and radio plays.

    He offers regular introductory AT workshops, is a visiting teacher in several German-speaking AT schools and gives Alexander Technique Workshops throughout Europe.
    Combining his practical experiences in front of the microphone with AT principles, he developed a series of voice-oriented workshops. Other specialised workshop formats include “Practical Everyday Anatomy”, “The Power of Doing it Wrong”, and “AT in the Digital Age”.

    Andreas is very interested in connecting teachers and exchanging experiences and ideas. He was a founding member of the Munich Alexander Cooperation and has been participating in the AT work exchange in the Munich Area whenever possible.

    With a like-minded AT teacher, he co-created an easy-to-follow toolset for AT beginners called the “Alexander Basisplan” – for which he created a website and a free smartphone app that features audio narration, a diary and a reminder function (an English version “Alexander Technique Basic Steps is in the works).
    Andreas was part of the Congress team for the 2011 AT Congress in Lugano, where he was in charge of designing and maintaining the website. He is also very involved with the German AT society (ATVD) where he, among other things, co-conducted the first extensive member survey form in 2018/19.

  • Ann-Kathrin Fliege
    Niedersachsen, Germany

    Germany Ann-Kathrin dived into the world of the Alexander Technique in 2009 and completed her training with the Alexander Alliance International in 2013. Her main teachers were and are Robyn Avalon and Bruce Fertman from the USA, Midori Shinkai from Japan, Margarete Tüshaus from Germany and Célia Jurdant from France.
    Since 2015, she has been teaching within her own company, where her passion for group teaching became more and more evident, as well as a deep-rooted desire to make the work known and spread throughout the world.
    Since 2020, she has been training aspiring Alexander teachers and people in the process of personal development as the director of the northern branch of Alexander Alliance Europe (AAE).
    In July 2022, she took over the AAE with a team of AT teachers and brings her competencies there as executive director.
    In the Alexander Technique work, she is particularly interested in recognizing one\’s own imagined or self-imposed limits and in developing one\’s own potential – on a physical, mental and spiritual level.

  • Anna Tolstoy

    Anna Tolstoy
    MA, USA

    USA Anna’s interest in the Alexander Technique began long before her official teacher training. While Alexander Technique was virtually unknown in Russia, Anna discovered one of the first ever books on the Technique translated into Russian, and was immediately deeply taken by this work.
    Anna successfully graduated from the course after completing mandatory 1600 training hours. During the three-year training, she was assisting Tommy Thompson at Harvard A.R.T. classes for actors. In addition to that, she interned for four semesters at Berklee College of Music with Bob Lada.

    She then also completed a two-year Post-Graduate study with Tommy Thomson at ATTC.

    It was a natural progression of things, that Anna started working as Alexander Technique teacher with musicians, dancers and actors. Thanks to the opportunity to participate in artists’ professional education classes, Anna became finely attuned to the needs and challenges that artists encounter. Assisting her Alexander Technique instructors in real life teaching scenarios, Anna gained an extensive repertoire of ways in which Alexander Technique can help professional performers.

    Yet professional musicians are not the only population that finds Anna’s lessons highly beneficial. Anna truly believes, that deep inside every person is an artist, and welcomes people from all walks of life to her studio.

    At the same time, Anna makes the learning process much fun. She wants her students to enjoy their Alexander Technique studies and to easily transfer their newly acquired skills and insights to reaching milestones in their lives. That is why she calls her approach Interactive Alexander Technique. She keeps her students engaged with games, fun video clips, and many explorational exercises, that she specifically develops to meet her students’ challenges. Anna loves a challenge that each student brings to the lesson. In fact, the more challenges the student can come up with, the more excited she gets to explore each and everyone of them.

    Her primary source of new business is referrals from her past and current students. There is a saying that “A referral is sending someone you care about to someone you trust,” – and this seems to be an unspoken agreement among Anna’s student body.

  • Antoinette Kranenburg

    Antoinette Kranenburg
    Maryland, USA

    USA Antoinette Kranenburg had the good luck to be introduced to the Alexander Technique in 1978. She qualified to teach in 1988 and started her private practice. She is certified by Alexander Technique International (A.T.I.) and is an active member of A.T.I.’s Professional Development Committee.
    Before moving to the United States, Antoinette earned degrees in psychology and urban planning in the Netherlands.
    Antoinette teaches Alexander Technique at Peabody Institute of Johns Hopkins University, Baltimore, Maryland, US, is guest faculty at the South Bank Alexander Technique Centre, London, UK, and on the faculty of the longstanding Alexander event at the Sevenoaks Retreat Center, near Charlottesville, Virginia, US.
    As a parent of a three-year old, Antoinette immersed herself in Adlerian parenting and then became a parenting educator certified by the Parent Encouragement Program. She values the practical and transformative approach of both the Alexander Technique and of Adlerian Psychology and teaches a workshop series that builds on both.
    Antoinette works with adults of any age who want to improve their mental and physical wellbeing, while dealing with life’s challenges and opportunities. She works with organizations and individuals, with groups and one-on-one, in-person and online.
    Antoinette travels with her tango shoes, and enjoys community singing, yoga, Tai Chi, and the outdoors, all of which are enhanced by the Alexander work.

    www.KensingtonAlexander.com
    email: ak@Kensingtonalexander.com
    mobile: 01-240-762-9755

  • Ariel Weiss portrait

    Ariel Weiss
    PA, USA

    USA Ariel Weiss has nurtured a lively private practice in Philadelphia, PA in the USA since 1988 and studied extensively with Marj Barstow in the 1980’s. Active as a dancer and choreographer for most of her life, she delights in helping people learn to move freely in service of their design so they can feel and function at their full potential.
    Ariel trains teachers at the Philadelphia School for the Alexander Technique and also teaches at The Curtis Institute of Music and Temple University. Previously she co-produced the Freedom to Make Music conference, presented at the 11th International Congress for Alexander Technique and was a guest teacher at training programs in Toronto, Tokyo and Osaka.
    Pivoting in March 2020, Ariel presented a TEDx talk: Posture myth-busting, created two online courses and teaches five classes weekly online.

  • Belinda Mello

    Belinda Mello
    New York, USA

    USA Belinda Mello, MFA, is an Alexander Technique and movement specialist in practice since 1989. Based in New York City, she is the founder of the AT Motion Center for Actors, has served on the faculty of Brooklyn College Theater Department, SITI Conservatory, and is currently with The Barrow Group and Terry Knickerbocker Studio. She is a co-designer of the Freedom to ACT Conferences and collaboratively built the core curriculum designed for care partners of people with Parkinson’s Disease for the Poise Project. Belinda Mello is a regular member of the volunteer organizing team of the AT Liberation Project and recently completed a certificate program in Embodied Social Justice. Published in BackStage Online, Theatre, Dance and Performance Training Journal, her blogs focus on wellness, mindfulness and performance.

  • Bob Lada and Rachelle Tsachor

    Bob Lada and Rachelle Tsachor
    USA

    USA Bob Lada

    Bob Lada is a Certified Teacher of the Alexander Technique having received his certificates from Tommy Thompson and from Alexander Technique International. Bob is a professor at Berklee College of Music and a member of the Effortless Mastery Institute there. He teaches at the Boston Conservatory, the Alexander Technique Center of Cambridge, Chesapeake Bay Alexander Studies as well as in private practice in Cambridge, MA. He has taught at American Repertory Theater and Harvard Extension School, conducted workshops throughout the USA, Asia, and Europe and is a charter member of Alexander Technique International. Bob has also completed Actors Secret training with Betsy Polatin which he continues to study. This training combines Alexander Technique with the trauma work of Peter Levine and the breath work of Carl Stough. Bob’s primary background is in athletics and analytics and he looks at the Technique as a tremendous aid in getting out of one’s way in performance situations so that creativity and skill can come through. His perspective on AT is one of transformation as the path to more fully participating in the present.

    —–

    Rachelle Tsachor

    Rachelle Palnick Tsachor is Associate Professor of Movement at the University of Illinois at Chicago. She is certified in Mind-Body Medicine (CMBM), Laban/Bartenieff Movement Analysis (CMA), Somatic Movement Therapy (RSMT-ISMETA) and is an ATI teacher of the Alexander Technique. Her research investigates body movement to bring a human, experiential understanding to how movement affects our lives. Tsachor analyzes patterns in moving bodies in diverse projects, researching movement’s effects on our brains, emotions, health, and learning. She is co-author of a series of studies: “Emotion Regulation Through Movement” and “How Do We Recognize Emotion From Movement?” (Frontiers in Psychology), “A Somatic Movement Approach to Fostering Emotional Resiliency” (Frontiers in Neuroscience), and the chapter on movement in “Integrative Rehabilitation Practice – The Foundations of Whole-Person Care for Health Professionals”. At UIC, Tsachor’s artistic contributions as movement specialist serve to support kinesthetic empathy for diverse peoples and cultures through embodied understanding. She is co-PI in NSF-Funded initiatives to bring expressive movement and drama methods into Chicago Public Schools that primarily educate students of color, supporting learning in embodied ways. Resisting the colonizing pedagogy of the mind–body divide, this work aims to create pedagogical spaces and places in classes to sustain equitable opportunities for meaning-making through whole-person engagement.

    Her work with trauma emerges from the Center for Mind-Body Medicine’s mind/body skills group approach (CMBM): Tsachor is a supervisor for the CMBM, taught the model in the Global Health Studies program at the University of Iowa, The University of Haifa and Wingate College in Israel. She is currently doing what she can to share this approach with therapists working with people displaced by the war in Ukraine.

  • Carsten Møller

    Carsten Møller
    Denmark

    Denmark Has been active teaching since he trained to become a teacher in Copenhagen 1986-89. In private practice, companies and Art Schools. In 2004 he started his own training course in Copenhagen. He has given workshops for AT teachers in Denmark, Germany and Finland.
    40 years of Ki Aikido practice has been a major inspiration in his approach to teaching the AT, notably in areas of movement and mind-body integration.
    The Phenomenological view is the undercurrent in his approach to the work: the experience of ‘how it is’ for the pupil, as a important resource in the learning process. With a focus on the experiential aspects, he aims to overcome the binary thinking of right or wrong, towards a more ‘what is possible’ perspective.
    The last 10 years he has expanded his professional activities with different systemic therapeutic approaches:
    ISP- Integral Somatic Psychotherapy, Biodynamic Craniosacral Therapy and IFS- Internal Family Systems Therapy, which all are built on supporting the system/body’s own ability to heal.

  • Catherine Kettrick portrait

    Catherine Kettrick
    WA, USA

    USA I studied and trained with Marj Barstow, from 1973 until the year she died, and her effect on my life and teaching has been profound. From Marj I learned that thinking is moving; that we always have a choice; and that while this work may have lasting and joyful “physical” benefits, they all stem from a clear and well-coordinated consideration of how I choose to live and be in the world. And, most importantly, it’s fun!

    My goal as a teacher is to see pupils embark on a journey of self-directed and independent learning. As they discover where they want to go, I help them navigate that process.

    For me, the most exciting part of this work is watching people realize how free they can be in their thinking and reaction to the world, and what profound effects that can have in all of their lives. I feel privileged to witness people discover the power, clarity and potential of well-coordinated thinking and moving.

    As David Mills has said: “Habit is being ready for the one thing you expect next. Coordination is being ready for anything.” I want to be ready for anything.

    And if you are interested:

    –I am co-director of The Performance School, with David Mills, where we have a rather unique teacher training program (https://performanceschool.org);

    — My revised study guide to the major writings of F. M. Alexander is on the Performance School website (keep scrolling!) along with a resource list;

    –I assisted Marj on two European tours and have also taught in Australia and Japan and (of course) in the US, and in time compatible time zones on Zoom;

    –I co-founded Alexander Technique International (www.alexandertechniqueinternational.org), have served on its Professional Development Committee since its inception (except for two years when I was Chair of ATI), and many other committees also!

    –I have extensive experience in Formal Consensus decision making, which ATI uses in its meeting, and am currently chair of the Agenda Planning Committee;

    –and I am an actor, a hoofer, and as Lady Allegra Germaine, a burlesque performer!

    www.artofselfdirection.com

  • Catherine Kettrick, Sarah Barker and Joe Kaplan
    USA

    USA Sarah Barker has a passion for teaching people how to live in a conscious body, how to embody their imagination, and how develop physical intelligence. She focuses on giving her students independence and personal success by helping them discover their own inner abilities and the power to change their quality of moving and living.

    She was introduced to the Alexander Technique and the Human Potential Movement during her graduate study of acting at the Southern Methodist University. From the moment she began working with Marjorie Barstow she knew she had a thread that would stitch all of her studies together into a unified approach. The idea that one could use conscious awareness and intention to change one’s whole experience of life and art was revolutionary. She dedicated her studies in the art of acting to the psycho-physical realm. Over the 48 years since that first discovery Sarah has studied more than forty somatic systems for unlocking the freedom and ability that comes with a mind/body unity. She became a Theatre Movement Specialist helping to establish the Association of Theatre Movement Educators. She is also an actress and an acting teacher. She has directed two graduate programs for actors and has developed a body of work for physical approaches to acting and other performing arts. She is now professor Emerita at the University of South Carolina. Sarah continues to teach regularly as an invited guest for Alexander Technique teacher training schools around the world.
    She has been teaching the Alexander Technique since 1974 with a focus on providing tools that help people learn the technique when there is no teacher available and then for practice as they work closely with teachers to develop the mind/body connection. More recently she has investigated the scientific understanding of touch and its implications for teaching and learning. She has delivered hundreds of workshops, demonstrations and panels throughout the United States and in Japan, Germany, the UK, Canada, Portugal, and Switzerland.
    Sarah writes regularly for theatre movement and Alexander Technique publications. Most recently she launched Allez-Up!, her wellness app for smart phones. In the last few years she has authored chapters in two internationally published books: in Galvanizing Performance (with Jessica Knightly) a book of essays on new developments in applications of Alexander Technique in performance and in Physical Dramaturgy (with Routledge Press) a book of essays on physical approaches to theatre performance. Her book, The Alexander Technique, has been distributed worldwide for forty years and has been translated into French, Japanese, Portuguese, Italian and German. Moving with Ease, her innovative DVD for learning the Alexander Technique, is available in English (through easyalexander.com) and in Japanese (through Being Net Press).

    @sarahbarker2@mac.com

    Joe Kaplan has been a teaching member of ATI since 2018. A musician with a keep technical mind, he applies the Alexander Technique to his work as a composer, pianist, and percussionist as well as many computer-related endeavors. He has scored several dance shorts that have received recognition at festivals around the world. He is also the founder of YAWP Music, an inclusive collaborative community that composes, notates, rehearses, and performs new pieces of music on the spot.

    Joe approaches the Alexander Technique from the perspective that FM\’s main contribution was philosophical. Analyzing human behavior in terms of \”projecting directions\” is a novel paradigm shift in the way we understand ourselves. Joe has written several articles relating the Alexander Technique to symbolic logic and other trends in 20th-century philosophy. This technical analysis of the Technique gives his teaching rigor and clarity. His detailed, research-oriented approach has helped him demystify the Alexander Technique for new students by finding the simpler ways to express the nuances of the work.

    @jkaplan55@gmail.com

    Catherine Kettrick:
    I studied and trained with Marj Barstow, from 1973 until the year she died, and her effect on my life and teaching has been profound. From Marj I learned that thinking is moving; that we always have a choice; and that while this work may have lasting and joyful “physical” benefits, they all stem from a clear and well-coordinated consideration of how I choose to live and be in the world. And, most importantly, it\’s fun!

    My goal as a teacher is to see pupils embark on a journey of self-directed and independent learning. As they discover where they want to go, I help them navigate that process.

    For me, the most exciting part of this work is watching people realize how free they can be in their thinking and reaction to the world, and what profound effects that can have in all of their lives. I feel privileged to witness people discover the power, clarity and potential of well-coordinated thinking and moving.

    As David Mills has said: “Habit is being ready for the one thing you expect next. Coordination is being ready for anything.” I want to be ready for anything.

    And if you are interested:

    –I am co-director of The Performance School, with David Mills, where we have a rather unique teacher training program (https://performanceschool.org);

    — My revised study guide to the major writings of F. M. Alexander is on the Performance School website (keep scrolling!) along with a resource list;

    –I assisted Marj on two European tours and have also taught in Australia and Japan and (of course) in the US, and in time compatible time zones on Zoom;

    –I co-founded Alexander Technique International (www.alexandertechniqueinternational.org), have served on its Professional Development Committee since its inception (except for two years when I was Chair of ATI), and many other committees also!

    –I have extensive experience in Formal Consensus decision making, which ATI uses in its meeting, and am currently chair of the Agenda Planning Committee;

    –and I am an actor, a hoofer, and as Lady Allegra Germaine, a burlesque performer!

    www.artofselfdirection.com

  • Portrait Catherine Madden

    Cathy Madden
    WA, USA

    USA Cathy Madden is a Teaching Professor for the University of Washington School of Drama, Author of Teaching the Alexander Technique: Acting Pathways to Integrative Practice (Singing Dragon, 2018) and Integrative Alexander Technique Practice for Performing Artists: Onstage Synergy (Intellect 2014), and Director of the Integrative Alexander Technique Studio of Seattle. She is a founding member of Alexander Technique International, an ATI Sponsoring Teacher, has served and has served as its chair. Her original exploration of this work began with Marjorie Barstow and she is a regular visiting teacher at training schools and performance centers around the world. Her specialty is integrative practice of this work, particularly in relationship to the performing arts and professional communication, is part of the Integrative Alexander Technique Circle, and she is also a theatre director, clown, doula and Creative Collaborator with Lucia Neare Theatrical Wonders

  • Célia Jurdant

    Célia Jurdant
    France

    France As a classically trained singer, I graduated to become an alexander teacher in Cologne in 1999, with Mc Donald trained teacher Stan Hobbs. As I started teaching workshops and individuals in firms or institutions, I furthered my learning with countless colleagues and voice teachers such as Kristin Linklater, B.Fertman, N.Kevan, R.Avalon, M.Shinkai, C.Bayer, J. Wolf etc… In 2008, I became the managing director of the teacher training school The AlexanderAlliance in Germany. Since 2017, France is my home from which I lead Alexander trainings in both Strasbourg and Cologne, Germany. In my 25 years of practice, I was invited to teach in Switzerland, Japan, England and the USA. Today I support performers, voice and movement coaches, singers and public speakers in french, english and german, online and in presence, in AT trainings and at my yearly bi-lingual AT summer retreat in Alsace. “Celia’s work is magic. Her touch is wise: it teaches you to connect back to your own wisdom, your own freedom, your own power.” Sasha, writer, capoeira dancer and singer, philosopher, anthropologist

  • Christoph Bacher

    Christoph Bacher
    Deutschland, Germany

    Germany I was born in Austria in 1975 and grew up in the mountains. For 25 years I have been active as a personal trainer and fitness coach and have accompanied many people on their way to feel more comfortable in their body and mind. I prefer a playful and explorative approach to movement. This is exactly why I found the Alexander Technique, because for me it is very undogmatic and can serve as a foundation for any movement.

    I have always been interested in the way people move, and that is why I have borrowed a lot from children and indigenous peoples, because I think that they best embody the natural movements of human beings.

  • Clara Sandler

    Clara Sandler
    Massachusetts, USA

    USA Clara Sandler is a classically trained singer, Voice & Alexander Technique instructor in the Boston area. An Alexander Technique International (ATI) and its International Committee member, she teaches at the New England Conservatory, Boston College Music Department and privately.
    Clara has performed in opera, oratorio, zarzuela and recitals in Boston, New York, Washington DC, Uruguay and in her native Buenos Aires. She loves to dance and takes Modern dance classes in Boston and has performed with the Lynn Modell Dancers.
    Clara has presented the workshop “Voice & Movement, a Flowing Integration” for ATI’s Conference in Ireland, for Freedom to Make Music in New York, at the New England Conservatory in Boston, and online for In the Company of Support summer AT retreat. She has also presented the workshop “Whispered Ah & Walking in Nature” for ATI’s 2020 Conference. Her article “Whispered AH to the Rescue!” appeared in ATI’s ExChange journal.

  • Clare Maxwell and Eleni Vosniadou

    Clare Maxwell and Eleni Vosniadou
    USA, Brazil

    Brazil Clare Maxwell:

    I have been teaching the Alexander Technique for 22 years and studying for over 30, and was active as a dancer, teacher, and choreographer in the experimental dance community in NYC for most of that time. I trained at ACAT/NYC, certified with Jessica Wolf in The Art of Breathing, and am engaged in a life-long study of developmental movement forms. I am the creator of Mobile Body Alignment™, a method of bringing awareness to the self in movement that harmonizes the nervous system, skeleton, and musculature. Mobile Body Alignment™ liberates the practitioner from negative self-consciousness, stiffness, and loss of ease. Inspired by my many years dancing and teaching the Alexander Technique, Mobile Body Alignment™ can be applied to any movement form or activity.

    One of my main research interests in The Union is how to get new perspectives on my habitual assumptions, especially concerning the different roles of teaching and learning; a non-hierarchical, peer-to-peer work exchange structure is one way of doing this. I’m also very interested in the plasticity of our body schema, how to practice updating, refining, or changing this self image, and how that kind of practice affects our ability to organize and move ourselves in space.

    Eleni Vosniadou:

    I have been studying the Alexander Technique since 2006. Growing up in Greece, my first passion was classical music. I came across AT as a percussionist with chronic pain issues related to playing and after recovering through my study of AT I went on to train as an AT teacher in London. In 2012 I became certified as an AT teacher and later moved to Brazil, where I am now happily married. I am the founder and director of Consciência Corporal para Músicos®, an AT learning program for musicians and music teachers, where music makers can go deeper in the study of AT, learning to uncover the freedom and joy in their music making. I am also on the faculty of Total Vocal Freedom, an international program for singers to enhance their music performance skills through the Alexander Technique.

    As a member of the Experimenters Union, my primary interest is to explore and research the inner life of the teacher; how common challenges faced by teachers are social issues within the community of education and when it comes to teaching a subject as deep and multifaceted as the Alexander Technique, those challenges can invoke a deeper understanding of AT principles and skills, when addressed without fear and self-judgement. Also, the Experimenters Union is a place where I can freely experiment with crazy teaching ideas and formats and receive a kind of feedback that provides insight different to what I get when receiving feedback from my students.

  • Corinne Cassini
    North Carolina, USA

    USA Corinne Cassini, a professionally trained cellist, teaches the Alexander Technique at the Hayes School of Music at Appalachian State University and privately in Boone, North Carolina, USA since 2012, guiding performing artists and many others both individually, in groups, and in workshop settings. Her first Alexander lessons were over 25 years ago and she has been practicing as a certified teacher in Boone, and abroad for over 10 years. She initially trained in the Netherlands (ATON), and continued to deepen her studies with Tommy Thompson as a post-graduate assistant. She is a Sponsoring-Member of ATI. In 2015 she founded Light in Being-Alexander Teacher Training and started training Alexander teachers at her school, in Boone, NC. Most recently and throughout the pandemic, she translated Tommy Thompson’s book “Touching Presence” with Manuelle Borgel, taught online, and followed courses with Bruce Fertman, Tommy Thompson, and Betsy Polatin. She’s an active member of the AT Liberation Project since 2020 and is passionate about making AT more accessible and inclusive.

  • Corinne Cassini and Manuelle Borgel

    Corinne Cassini and Manuelle Borgel
    USA, France

    France — Corinne Cassini —
    Corinne Cassini, a professionally trained cellist, teaches the Alexander Technique at the Hayes School of Music at Appalachian State University and privately in Boone, North Carolina, USA since 2012, guiding performing artists and many others both individually, in groups, and in workshop settings. Her first Alexander lessons were over 25 years ago and she has been practicing as a certified teacher in Boone, and abroad for over 10 years. She initially trained in the Netherlands (ATON), and continued to deepen her studies with Tommy Thompson as a post-graduate assistant. She is a Sponsoring-Member of ATI. In 2015 she founded Light in Being-Alexander Teacher Training and started training Alexander teachers at her school, in Boone, NC. Most recently and throughout the pandemic, she translated Tommy Thompson\’s book \”Touching Presence\” with Manuelle Borgel, taught online, and followed courses with Bruce Fertman, Tommy Thompson, and Betsy Polatin. She\’s an active member of the AT Liberation Project since 2020 and is passionate about making AT more accessible and inclusive.
    www.lightinbeing.com

    — Manuelle Borgel —
    Manuelle Borgel, a Choreographer-Dancer, discovered AT in 1995 and was certified by ATI in 2015. She currently teaches the Alexander Technique in Paris to artists, seniors, children, … individually and in groups. She teaches somatics to explore performances and the creative process, fields she trained in linked to Life Art Process. She continues to develop her approach in Collective Intelligence, cooperation, conflict, trauma, breath and stress management using the tools of Non-Violent Communication and Co-construction.

  • Crissman Taylor and Gilles Rullmann

    Crissman Taylor and Gilles Rullmann
    The Netherlands

    The Netherlands Ms. Crissman Taylor runs an integrated Alexander Technique curriculum at Utrecht Conservatorium for the past 30 years. Courses, lectures and lessons create common language, practices and experience among all students and teachers, and space for continued discovery throughout conservatory training. She has created new tactics to stimulate musicians to incorporate Alexander principles into their daily music practice, and has developed an online learning environment to support class and lesson work at conservatory level.

    Ms. Taylor’s background in vocal and violin performance, combined with her AT teaching, and studies in sociology/psychology at Harvard University combine in her work life. In addition to a long career as violinist in New York and Europe, she is also a mezzo-soprano, and active as soloist in a wide range of repertoire, singing in recitals, chamber music concerts, and performances of cantatas, oratorios and other works with orchestra.

    Ms. Taylor is a founding member of Artist in Balance, an interdisciplinary performance and educational collective. Her work has been informed by cross-disciplinary collaborations including Alexander-based performance research work for dancers and musicians with Tony Thatcher of the Trinity Laban Conservatoire of Music and Dance. She conducted extensive research into the challenges of violin playing, founding the Violinist in Balance method, which combines Alexander re-education with custom made chin rest and shoulder rests, using 3-D printing technology.

    www.artistinbalance.org
    www.violinistinbalance.nl

    ——————————-

    Gilles Rullmann

    Gilles Rullmann is an Alexander teacher and violinist from Haarlem, the Netherlands. He has been a professional violin player for over 20 years, specialising in (Irish) traditional music, performing extensively in Western Europe. In his AT teaching he draws on years of experience teaching violin, Irish music, whitewater kayaking and Environmental Science at Utrecht University.

    Gilles works as an AT teacher at the conservatorium of Amsterdam and the conservatorium of Utrecht. Together with Criss Taylor he founded Artist in Balance, where they provide a combination of teaching and making custom chinrests and shoulder rests for string players from all over the world.

    Gilles was trained at ATCA by Tessa Marwick and Paul Versteeg in Amsterdam. An avid outdoor sports enthusiast himself, in his private practice he works a lot with runners, climbers, tennis players and musicians. Gilles was chairman of NeVLAT, the Dutch Society of Teachers in the Alexander Technique from 2017-2021.

    www.alexandertechniekhaarlem.nl
    www.artistinbalance.org

  • David M Mills

    David M Mills
    Washington, USA

    USA I was a graduate student in Biophysics when I first met Marjorie Barstow in 1974. When I dropped Catherine off in Lincoln, Nebraska for Marj’s summer workshop in something called The Alexander Technique, I wasn’t planning to attend that workshop myself the following summer, much less all of 20 summers after that. I recall that I found in Marj’s approach to what she liked to call “the discoveries of FM Alexander” a new kind of biophysics – a study of the workings of the whole human person, as a whole – and by that person. What in the world, I thought, could be a more fascinating field of study than ME? And what knowledge would be more useful? So I never did get that degree in Biophysics, though I did eventually get my PhD in Human Learning, and of course Alexander’s work played a central part.

    Over the years of working with people engaged in all sorts of performance, I have enjoyed sharing their moments of fascination with their own “unity in action.” John Dewey claimed that this work “bears the same relation to education that education bears to all other human activities.” A strong statement. I continue to see my work with the Alexander Technique as a means of exploring what that statement might mean, and what it might be like to become educated in that way. In the meantime, I find that the secret compensation for practising the Technique is that we get to spend moments enjoying the presence of truly fascinating people – ourselves.

  • Elke Mastwijk
    The Netherlands

    The Netherlands Elke Mastwijk has been a passionate Alexander Technique teacher for over 25 years with a full-time practice in Amsterdam, the Netherlands.

    Over the years one question became a quest for knowledge. “Why do some pupils make significantly better progress than others?”

    She has been inspired by two pioneering colleagues. Firstly, by Hil Boode, who was a Dutch Alexander Technique teacher and CranioSacral therapist. Secondly, by Gitte Fjordbo, who spoke at the 2011 Alexander Technique Lugano congress about early childhood development in a special lecture titled: “when conscious control is not an option”.

    After graduating as an Alexander Technique Teacher from ATON in the Netherlands in 1996 and a post graduate term with Walter and Dilys Carrington, she went on to study CranioSacral Therapy (2005) and Reflex Inhibition Therapy (2014). She is able to translate relevant knowledge from these disciplines to the Alexander Technique. She combines a special passion for understanding how fascia (connective tissue) restrictions affect use with an intense curiosity about early childhood development. How do we develop from lying on our back as babies to toddlers who can stand up and walk? How does an early childhood compromised by stress or health issues affect the adult nervous system and motoric skills?

    Over the last 25 years, Elke has managed to connect the dots as to why some of her pupils make spectacular progress with the Alexander Technique and others do not. After presenting her work at workshops at previous AT Congresses in Lugano and Ireland, she has been invited to share her insights in the Alexander Technique communities of Switzerland, Belgium, Germany, Austria, and the USA.

    She has a busy practice teaching’ the Alexander Technique as well as providing support through Reflex Inhibition for pupils seeking help with early childhood issues. She is a CranioSacral therapist for people as well as for horses and dogs.

  • Erik Bendix

    Erik Bendix and Ease on Skis
    USA, Germany, Czech Republic

    Czech Republic Erik Bendix

    I started skiing at age 10 while attending school at the Ecole d’Humanité in Switzerland. Skiing scared me stiff at the time. I managed to reach moderate skiing competence by my 20’s, but was stuck at a plateau of skill until I began studying the Alexander Technique. Then, suddenly, my skiing began opening up and has been opening since. Every day on the slopes now brings further improvement. I have been experimenting with applying Alexander Technique to skiing for over 25 years now. In 2004, I was encouraged to go public with this work by Steven Shaw (of The Art of Swimming), and began teaching and writing about it. Movement touches all aspects of my life. I am known as a teacher of world folk dance traditions, I practice Tai Chi, I swim and I have a private practice teaching Alexander Technique and Body-Mind Centering®. I also write and translate poetry, a movement form in words. Although I have now written a book on skiing, my experience of skiing goes far beyond words, often into bliss. I teach it because I want to share that.“

    —–
    Christoph Bacher

    I practically grew up with skiing. I stood on skis for the first time at the age of two and as a child I only wanted one thing, to become a racer. The mountains became our playground and we spent every free minute there. Then came racing and suddenly skiing wasn\’t so nice anymore. The excitement and fear of failing often paralysed me. So I stopped racing and wasn\’t on skis for 15 years. It wasn\’t until I did the Alexander Technique training that I found joy in skiing again. Luckily, I met Erik Bendix and our passion for this beautiful sport quickly bonded us. I love the ease on skis.

    —–
    Jana Boronova

    I first learned to ski when I was about eight. I loved it and was reasonably good at it. However, in my early twenties I felt I had reached a plateau – my skiing technique was not getting any better, I worked way too hard and didn\’t have as much fun anymore. I gave up skiing and took to snowboarding instead.
    Years late, at the Melbourne Alexander Technique school I came across Erik\’s article on the Art of Alpine Skiing. I was delighted to find someone applying the Technique to skiing and felt really inspired by Erik’s insights. I knew immediately this was something I wanted to explore further. Thanks to Ease on Skis my technique has improved tremendously and I fell in love with skiing again.

  • Esther Visser

    Esther Visser
    The Netherlands

    The Netherlands Esther Visser is a Dutch violinist, specialized in historically informed performance practice, PhD researcher and Alexander Technique teacher. Directly after gaining her Bachelor of Music Degree in the Netherlands she was invited to continue her studies with Vilmos Szabadi at the Franz Liszt Academy in Budapest, where she completed a 3 year Postgraduate program. Simultaneously, she followed a 2 year program ‘Formation Superieure’ with the Orchestre des Champs-Elysées in France. She was coached by the concertmaster of the orchestra, Alessandro Moccia, and performed at the ‘Spotlight on Young Artists’ concert series of the Festival de Saintes. She subsequently gained her Master of Music degree for baroque violin with Sigiswald Kuijken in Brussels.
    Esther acted as a concertmaster at several orchestras and during two years she was leader in the European Philharmonic Orchestra. With modern violin she worked as a substitute a.o. at the Netherlands Chamber Orchestra and the Arnhem Philharmonic Orchestra. Esther performed as a soloist with orchestras in The Netherlands, Belgium, France and Finland. As a baroque violinist she collaborates in concerts and CD recordings a.o. with La Petite Bande, Collegium Musicum, Concerto d’ Amsterdam, Florilegium Musicum, Musica Aeterna, and the Harmonious Society of Tickle-Fiddle Gentlemen.
    Esther is founder and artistic leader of ensemble La Chambre du Roi, winning the title ‘Promising Ensemble’ at the International Young Artist Presentation in Antwerp. She received prizes and study grants from the SNS REAAL Fonds, the Marti Keuning Eckhardt Stichting and the Ben Remkes Cultuurfonds. During 3 summers she participated at the Aspen Music festival, USA. Esther did practical artistic research on authentic performance practice of Romantic repertoire at Leuven University, winning the ‘Excellence Prize’ from the Roger Dillemans Foundation Belgium for this research.
    Since 2013 Esther works as a guest lecturer at Codarts, Rotterdam Conservatory, as a specialist in historically informed performance practice, coaching Mmus students. Since 2017 Esther also works as a guest lecturer at the Royal Conservatoire in The Hague. Esther is running a successful Alexander Technique practice in Haarlem (NL) specialized in musicians. Since 2019 Esther is doing PhD research through the Canterbury Christ Church University (UK), researching the way how violinists supported their violin between 1790-1830 and the implications of that on performance practice and health.

    Esther trained as an Alexander Technique teacher with Paul and Tessa in Amsterdam, from 2012-2015.

  • Frances Marsden

    Frances Marsden
    CA, USA

    USA Frances trained as an Alexander teacher at the Constructive Teaching Center in London with Walter and Dilys Carrington and has been teaching for forty years. She completed two years postgraduate work at the Urbana Center for the Alexander Technique, directed by Joan and Alex Murray. Prior to her Alexander training, Frances studied acting at the Royal Scottish Academy of Music and Drama, Glasgow. She is a member of the faculty and Board of the Alexander Training Institute of Los Angeles. She has taught at University of Southern California and California State University at Los Angeles and currently teaches at Occidental College. She also teaches at the Shakespeare Summer Institute, the Claremont Clarinet Festival and Alexander Technique Workshops-International. She maintains a private practice in Pasadena, California. Frances gave the F M Alexander Memorial Address at the 2018 ACGM

  • Gabriele Fahrenkamp Brandt and Christina Schober

    Gabriele Fahrenkamp-Brandt and Christina Schober
    Baden-Württemberg, Germany

    Germany Gabriele Fahrenkamp-Brandt

    As a pedagogue (MC) and AT teacher, I have dedicated my life to the work of developing people’s personalities.

    For more than 40 years, I have been concerned with how the inherent need to learn in every human being can become active again. My focus in AT work is to support people in discovering their own knowing-wanting about themselves and to use it where it is needed: either in realising goals externally or in solving problems and developing new perspectives in the physical-mental realm.

    I am enthusiastic about the fact that the psycho-physical method of AT makes use of the great influence of what happens in the brain in order to change something in oneself or in the outside in connection with body perception.

    In 2020 I was able to realise my great dream of training in AT and now run a training centre in the south of Germany, on Lake Constance.

    ———————–

    Christina Schober

    Since my early childhood I loved horses and sometimes, I had the possibility to ride. As a young adult I started taking regular riding lessons and joined a pony team as groom. With which I gained experiences in equestrian tournaments. In addition, I took part in lessons with well-known trainers and studied various methods of carriage horse training. Nearly 10 years ago I got a driving certificate. In 2016, I bought a horse that enables me to go to several riding workshops as an active participant.

    Professionally, I established myself as a human resources manager after studying education. In 2018, after years of health problems, I decided to take a break from my career because I didn’t want to being sick all time and getting sicker and sicker.

    How it came about?
    In 2016, I had first contact with the Alexander Technique (AT) in a riding course. Already after the first lesson, I was aware that this method was much more than a way to better riding. Since 2017, I regularly took individual lessons in the AT and in 2018 I started the training to become an AT teacher. I expect to finish the training according to the ATVD guidelines in December 2022 with Gabriele Fahrenkamp-Brandt.

  • Portrait Gal Ben-Or

    Gal Ben-Or
    Mate-Ehuda, Israel

    Israel A teacher of the Alexander Technique, developed a unique method for working with children, youth and parents in accordance with the principles of the Alexander Technique

    Education: Graduated in 1988 from the Jerusalem School for the Alexander Technique, under the direction of Schmuel Nelken

    1998-2002: Established and directed the non-profit organization \”Mishal\”, founded in April 1998 by the parents of children who had been helped by the Alexander Technique.

    2001-2006: Member of the professional team at a residential institution for teenagers at risk

    Teacher of the Alexander Technique at various institutions: “Yedida”, for adults suffering from light or medium retardation; “HaTene”, a Jerusalem school for special education; Ilan Children’s Hospital; ‘HaSatat”, a teacher of the Alexander Technique at “Kessem” School Jerusalem municipal nursery school.
    Teacher of the Alexander Technique at “Kessem” School.

    2004-2006: Chairman of the Israeli Society of Teachers of the Alexander Technique (ISTAT)

    2008: Chairman of the professional organization for complimentary medicine

    Presently:
    Director of the training course for teachers of the Alexander Technique in Jerusalem.
    Associate Director of the training course for teachers of the Alexander Technique in Tel-Aviv;
    maintains clinics for the Alexander Technique in Jerusalem and Tel Aviv for adults and children.

    Personal: Born 1963, married with 3 children

  • Gali Adamov

    Gali Adamov
    Israel

    Israel Gali Adamov, the chairperson of Istat – the Israeli Association for the Alexander Technique, was trained as an Alexander technique teacher in 1987 by Sheika Harmelin. She has been an active teacher ever since.

  • Greg Holdaway

    Greg Holdaway
    NSW, Australia

    Australia Hi Congress people, I’m Director of Training at BodyMinded Alexander Technique in Sydney Australia. I have a dance performance background and have been teaching Alexander for 30 years. In that time I have worked with diverse populations of students including tertiary students, musicians, sports people, health practitioners and the general public but am now primarily involved in Alexander teacher training and professional development training for musicians and music teachers.

    I have a Masters degree in Human Movement science from the University of Sydney. I’ve conducted collaborative university research into movement teaching methodologies (dance related), and investigated the role of motor imagery in peripheral movement reflexes as part of my degree. I’m now preparing an application and judging if my busy teaching life has room for a science oriented Phd program investigating aspects of coordination related to the Alexander technique.

  • Harry Hobbs

    Harry Hobbs
    Massachusetts, USA

    USA A Florida native, Harry currently lives and teaches in Boston, Massachusetts. He moved to the area to attend Boston University’s School of Theater where he was first introduced to the Alexander Technique. He had the great fortune of studying the Alexander Technique for 4 consecutive years as an undergraduate with Betsy Polatin as his teacher.

    After graduating and working as an actor, his interest in the Alexander Technique continued to grow and his desire to understand and embody the work compelled him to train to become a teacher. He became certified from The Alexander Technique Center at Cambridge headed by Tommy Thompson.

    He primarily works with individuals who want to address pain and movement issues, but thoroughly enjoys working with artists of all kinds to deepen their level of performance. He has done postgraduate work with David Gorman, Betsy Polatin and Tommy Thompson. His current interests lie in using the Alexander Technique to inform spiritual practice, deepen our sense of self, and become more of who we truly are.

  • Heather Campbell

    Heather Campbell
    Ontario, Canada

    Canada Heather Campbell is a classically-trained pianist and accompanist who studied under Dr. Damjana Bratuz and Ronald Turini (who studied with Vladimir Horowitz), earning Bachelor and Master degrees in Piano Performance. She also has a Master of Arts (Philosophy) and a Bachelor of Arts (English Literature) from the University of Toronto and completed her three-year Alexander Technique training in Toronto.

    Heather has been teaching Alexander Technique since the 1990s and piano since the 1980s with a particular interest in the application of the Technique to music performance. Her students have won national Royal Conservatory of Music exam awards, national competitions, and university entrance music scholarships. In addition to her ongoing piano and Alexander Technique studio, adjudication, and international masterclasses, she is currently writing a comprehensive book on the application of Alexander Technique at the piano.

    Heather is President of Alexander Technique Canada, former chair of its Professional Conduct Committee, and its ATAS representative.

  • Hella Linkmeyer
    South Africa

    South Africa • Child- and adulthood in Germany and Southern Africa.
    • Study of Arts and culture, at University of Cape Town, South Africa.
    • M.A in Literature and History of Art in Munich and Tübingen, Germany.
    • Teaching, writing and studying painting in Berlin.
    • While teaching literature at a University in Wales ,I had my first lessons in Alexander Technique with Jean Clark and Tony Spawnforth in Bristol in 1983.
    • Training as a Teacher of the AT at the International School of AT in Denmark with Karen Wentworth and Chris Stevens from 1984-1987.
    • Time in Namibia, where I came into contact with the Bushmen for the first time. I realized the potential for a film when I saw how they lived and went about their lives with such amazing good use. I trained in documentary film making, to organize an expedition in order to film the Bushmen of the Kalahari.
    • Since 2018, I have been, living in Cape Town, South Africa

  • Irma Hesz

    Irma Hesz
    Germany

    Germany Irma Hesz absolvierte die AT-Ausbildung in Freiburg mit Dan Armon und schloss ein Postgraduate Training mit Donald L. Weed an. Weitere berufliche Hintergründe sind Musik, Pädagogik und Coaching. Sie leitet die AT-Ausbildung in Düsseldorf im Institut für Alexander-Technik und ist Dozentin an der Robert-Schumann-Musikhochschule.

    Irma Hesz trained with Dan Armon in Freiburg, Germany and continued in a Postgraduate Training with Donald L. Weed in Bristol, England. From her previous trainings she got a strong background in pedagogy, music teaching and coaching. She is head of Training in the Alexander Technique Institute in Düsseldorf and teaches in Robert Schumann Music Conservatory.

  • Jana Boronova portrait

    Jana Boronova
    Prague, Czech Republic

    Czech Republic Jana trained at David Moore’s Melbourne school and was certified as an Alexander Technique teacher and Smart Yoga teacher in 2015. She was working at the Melbourne Alexander School before returning to Europe in 2019. Afterwards she stayed in touch with David and during lockdown helped him set up his Smart Yoga Online Teacher Training. At the same time she was working with Rosella Buono on Authors – Not Your Usual Book Club series which will be back for season five this autumn.

    An avid snowboarder and skier, she has been part of the Ease on Skis project for many years. Together with Erik Bendix and Christoph Bacher she has been teaching regular EOS workshops in Austria.

    During her Alexander training she came across Shaw Method which greatly improved her swimming skills. She found many links between Shaw Method and Ease on Skis and decided to train to become a certified Shaw Method teacher in 2019. She loves working with swimmers and skiers of all levels.

  • Jana Tift portrait

    Jana Tift
    WA, USA

    USA Perhaps my favorite moment, in teaching the Alexander Technique, is the look of wonder and delight on the face of a performer, when they realize that they don’t have to push or force or squeeze in order to be heard or seen. It is from this strong, centered place, that they can share their performance with an audience — and it is their openness that allows the audience to enter – there is give and take, a \”mutual love affair\” between performer and audience.
    That was what happened for me 30 years ago, when I discovered the Alexander Technique. AT opened the door to unlimited creative possibilities; I discovered I could perform with greater depth and authenticity, yet with less effort. I wanted to know more!
    I became certified in 1994, and since then, I’ve worked with hundreds of performers, speakers, and teachers throughout the U.S. and internationally, offering them a means whereby they can share their most authentic creative impulses with an audience. Many, many times, I have seen that look of wonder and delight as an actor or musician realizes that the music or text is moving through them, they are a coordinated whole, and all they have to do is “get out of the way.”
    I have taught movement for actors in BFA and MFA programs and led workshops for musicians, choirs and performers. Most recently, and very happily, I am the coauthor (with Meade Andrews) of Your Body Knows: A Movement Guide for Actors (Routledge, 2020).
    Here\’s the story of my \”moment of awe and wonder\” – my first encounter with performing \”under the influence\” of AT:
    My love affair with AT began on my 32nd birthday, and it changed my life forever. It was the moment that I experienced, for the first time since childhood, a sense of freedom, openness, and balance in my body.
    I had become aware of AT when a brochure came to my mailbox at the college where I was teaching acting. At the time, I was frustrated, because my students did not move well. They were stiff and habit-ridden in their physical life when playing a character, and I was powerless to help them.
    The brochure read, “You Have a Choice about the Way You Move.” I stared at the statement, and I almost cried. I thought, “No, I don’t.” And then, “Because I don’t know enough to have a choice. And neither do my students.” So, I signed up for the workshop in the Alexander Technique.
    My life-changing experience took place in a group performance class in which each person had brought a piece of music or a bit of text to share. The teacher, Barbara Conable, used her hands to guide me out of my restrictive patterns of tension. Patiently, she helped me to allow my body to move – into its natural, coordinated balance.
    From this place of lightness and ease, I began to share my text with the class. I was surprised (and yet, a part of me was not surprised) to experience a sudden rush of emotion. I was sharing a poem by W. B. Yeats, which begins, “When you are old and grey and full of sleep, and nodding by the fire…”
    Suddenly, as my body softened, my mind cleared. I was deeply aware of the poignancy of that moment in the speaker’s and the listener’s lives. My voice deepened and my eyes moistened.
    I discovered that when my body was at ease, there was nothing, nothing between me and the text. No interferences blocked my delivery. My whole self – body, mind, imagination – were effortlessly connected. I felt that in that moment there were no barriers between my authentic self, my unique relationship with the text, and the audience.
    It was WOW! Is this even me? And how was it happening?
    I felt I was exerting next-to-no effort, but I was more connected, more alive, and more effective as a performer than I had ever been in my life. My gestures arose without effort or thought. I was 32 years old, I had been performing in plays since I was 13, I had a master’s degree in theatre. Why didn’t I know this? Why had I never encountered what it really means to act?
    In that moment, I knew that I had to become a teacher of the Alexander Technique. My students at the college needed this wonderful information. And I needed it too.
    Every day, I am grateful for that brochure that came across my desk, because now I do have a choice about the way I move, and so do my students.

  • Jennifer Mizenko portrait

    Jennifer Mizenko
    Mississippi, USA

    USA Jennifer Mizenko loves all things movement, and is a Professor Emerita of Dance and Movement for the Actor at the University of Mississippi, where she taught movement and dance for 30years. She has a B.A. in Psychology, and an M.A. in dance. She studied period dance with Wendy Hilton and Richard Powers, T\\\\\\\\\\\\\\\’ai Chi with Maggie Newman, the work of Growtoski with Grzegorz Bral in Poland and Anna-Helena McLean, of the Moon Fool Company, and Chekhov acting technique with MICHA. Jennifer is a teaching member of Alexander Technique International, and served as Chair of ATI. She is a Laban/Bartenieff Movement Analyst certified by LIMS, and yoga instructor from Yandara Yoga Institute. She regularly presents internationally at Laban and Alexander conferences and specializes in teaching Character Physicalization, integrating her knowledge of dance, LMA, Chekhov and the Alexander Technique. Jennifer is one of the co-authors of the The Laban Workbook for Actors, A Practical Guide with Video. Recently she has become a part of The Alexander Technique Liberation Project.

  • Jeremy Chance
    Tokyo, Japan

    Japan Jeremy Chance, STAT cert.

    Jeremy Chance has been studying Alexander’s discoveries since 1969. His book Principles of the Alexander Technique has been published and translated into 7 languages. Jeremy originally trained in London during the 1970s and continued his studies with Marjorie Barstow in the 1980s. From 1985 to 2002 he was the Publisher & Editor of DIRECTION, a Journal on the Alexander Technique. He was a founding member of AUSTAT in Australia and is currently a member of no Alexander organisations or societies. In 1999 Jeremy married and moved to Japan where he founded an Alexander Training School. Today he continues as Managing Director of BodyChance – still the world’s largest College of Alexander Technique Teacher Education, and now one of the oldest too.

    *** LONGER VERSION ***

    Jeremy began his three-year Alexander training in England in 1976 with Paul and Betty at the School of Alexander Studies in Highgate. After qualifying, he taught at the E15 and Rose Bruford Performing Arts schools in London before returning to Australia in 1982.

    In Sydney, he taught regularly at the National Institute of Dramatic Art (NIDA), The Actors Centre and The Actors College, while also regularly visiting the Victorian College of the Arts (VCA), The Conservatorium of Music and many other leading art institutions around Australia.

    During this time he founded two Alexander Technique teacher training schools in Sydney and Melbourne – Directed by other teachers. The Department of Immigration told Jeremy it had a 6-inch file full of applications for Alexander teachers to immigrate to Australia.

    Next, at a residential conference where Erika Whittaker debuted her return to teaching – Jeremy established the Australian Society of Teachers of the Alexander Technique (AUSTAT). What a mistake that was. From 1988 to 1993 he travelled throughout Europe and America, leading seminars and giving presentations to performing artists, business leaders, peer groups and the general public.

    From 1986 to 2003, Jeremy was the Editor and Publisher of DIRECTION, an international Journal on the Alexander Technique (http://www.directionjournal.com) which is now being managed by Jean Fischer at Mouritz Press.

    In 1998 Jeremy met Jaldhara, the mother of their children Grace and Angelica, and decided to settle in Kyoto and start an Alexander Teacher Training school. He initially named it ATA in honour of Don Burton’s trendsetting school of the 1980s in London. ATA eventually evolved into BodyChance and before COVID-19 hit, had 120+ trainees in the school – making it by far the largest school in the world.

    BodyChance grew to this size as a result of Jeremy making a conscious decision to save his family by building his business. At 43 he embarked on a long-term project to become a master of business technology and over the next 20 years spent a lot of money and time studying his personally designed MBA. At first, Jeremy taught his own trainees how to gather students. Alexander\\\’s Discovery flourishes in Tokyo today as a result of his trainees using business skills learnt while training at BodyChance.

    Out of this experience, Jeremy formed ATSuccess and began coaching Alexander teachers and trainees the world over. During this time Jeremy conceived and developed his 12-Point Plan for becoming a successful teacher. Today, the world’s largest online Alexander Training Organisation – Peter Jacobson’s Total Vocal Freedom – grew out of Peter’s association with ATSuccess. Many of today’s most commercially successful teachers have had some kind of contact with ATSuccess.

    In 2018 Jeremy embarked on an expensive and ambitious program to introduce Alexander’s Discovery to corporations in Japan. He was about to sign an annual contract with a large corporation when COVID happened and the project fell into ruin. BodyChance also diminished from a peak of 140+ trainees to 68 trainees today. However, BodyChance survived COVID.

    Jeremy still lives in Japan but spends as much time as he can in Australia to be with his daughters and family. He runs the world’s largest Alexander training school – BodyChance – and is about to embark on a major new project. If successful, this will constitute an unprecedented development for Alexander’s discovery, and a gamechanger for Alexscovery Teachers (AT) in Japan. Stay tuned…

    You can keep in touch with my ideas by reading my (almost never) Daily email. Read what teachers say about it and sign up by clicking on the website link below…

  • Jonathan Sheratte

    Jonathan Sheratte
    ., Germany

    Germany I discovered the technique while at art college in 1986. It released a creativity and authenticity in my work, which was indescribable and unexplainable.
    36 years later, as a co-director of a training course in Berlin, I discribe it and explain it.
    And still the mystery remains.

  • Dr. Joseph Weissenberg
    Bayern, Germany

    Germany Joseph Weissenberg
    Hi, I am Joseph Weissenberg and I have a PhD in Music. My Dissertation was a baseline study about “Alexander Technique and Stage Presence”. I published the book Alexander Technique and Stage Presence (german language) in 2015.
    After that, I started to develop different trainings to help people on stage. It turned out to be more than simple trainings for stage performances. The beginning was the movement balance training and then quickly came the movement listening training.
    What did I do? To be able to train the body and awareness online you need reference points. I developed two trainings which apply 12 MAP’s (Master Awareness Points) and two active bodylines.
    I also started to work with constellations and use Soul Room Meditations to become acquainted with the soul, the inner self. I use it now to build the inner chi.
    I have three different training approaches to help artist with their problems – body – soul – stage presence.
    And this is the latest development, to train the inner chi using movement listening and soul room meditations in a workshop, combining body and soul with the AT as knowledge base.

    Short Vita
    1982 – BA in French horn
    1995 – MA in Music and Dance Education, Salzburg – Recorder, Voice, Piano, Drums, Percussion, Children Musical Theatre, Early Childhood Piano Lessons
    2000 – Alexander Technique Certificate – Teacher first year – Joan and Alex Murray, Urbana, second and third year – Ruth Kilroy, Boston
    2002 – Alexander Technique Post Graduate Program with Rivka Cohen, Boston
    2013 – Systemic Coach – Dr. Renate Wirth, Berlin
    2014 – PhD in Music Pedagogy, Salzburg. Topic: Baseline study “Alexander Technique and Stage Presence”.

    Publications:
    2015 – Alexander Technik und Bühnenpräsenz – (AT and Stage Presence)
    2022 – Seelenraummeditationen, Buch und eBuch
    Soul Room Meditations – ebook


    Joseph Weissenberg
    Hallo, ich bin Joseph Weissenberg und ich habe einen Doktortitel in Musikpädagogik. Meine Dissertation war eine Grundlagenstudie zum Thema \\\\\\\”Alexandertechnik und Bühnenpräsenz\\\\\\\”. Im Jahr 2015 habe ich das Buch \\\\\\\”Alexandertechnik und Bühnenpräsenz\\\\\\\” veröffentlicht.
    Danach habe ich begonnen, verschiedene Trainings zu entwickeln, um Menschen auf der Bühne zu helfen. Es wurden mehr als ein einfaches Trainings für Bühnenauftritte. Am Anfang entwickelte ich das Bewegungsausgleichstraining und dann kam schnell das Training des Bewegungshorchens.
    Was habe ich gemacht? Um den Körper und das Bewusstsein online trainieren zu können, braucht man Bezugspunkte. Ich habe zwei Trainings entwickelt, die 12 MAP\\\\\\\’s (Master Awareness Points) und zwei aktive Körperlinien verwenden.
    Ich habe auch begonnen, mit Aufstellungen zu arbeiten und Seelenraum-Meditationen zu verwenden, um die Seele, das innere Selbst, kennenzulernen. Ich benutze sie jetzt, um das innere Chi aufzubauen.
    Ich habe drei verschiedene Trainingsansätze, um Künstlern bei ihren Problemen zu helfen – Körper – Seele – Bühnenpräsenz.
    Und dies ist die neueste Entwicklung, das innere Chi mit Hilfe von Bewegungshören und Seelenraummeditationen in einem Workshop zu trainieren, der Körper und Seele mit der AT als Wissensbasis verbindet.

    Kurzer Lebenslauf
    1982 – BA in Waldhorn
    1995 – MA in Musik- und Tanzpädagogik, Salzburg – Blockflöte, Gesang, Klavier, Schlagzeug, Percussion, Kindermusiktheater, frühkindlicher Klavierunterricht
    2000 – Alexander-Technik-Zertifikat – Lehrerin im ersten Jahr – Joan und Alex Murray, Urbana, im zweiten und dritten Jahr – Ruth Kilroy, Boston
    2002 – Alexander Technik Post Graduate Programm mit Rivka Cohen, Boston
    2013 – Systemischer Coach – Dr. Renate Wirth, Berlin
    2014 – PhD in Musikpädagogik, Salzburg. Thema: Baseline-Studie \\\\\\\”Alexandertechnik und Bühnenpräsenz\\\\\\\”.
    Veröffentlichungen:
    2015 – Alexander Technik und Bühnenpräsenz – (AT und Bühnenpräsenz)
    2022 – Seelenraummeditationen, Buch und eBuch
    Seelenraummeditationen – ebook

  • Karin Heisecke

    Karin Heisecke
    Berlin, Germany

    Germany Karin Heisecke combines her practice as a teacher of the Alexander Technique with her work as senior political and philanthropic advisor. After two decades of living and working in various European countries, she has been based in Berlin, Germany, since 2010.

    Karin has been involved in social justice activism, with a focus on women’s human rights, for more than two decades, and the Alexander Technique has been an integral part of her life / work / activism since she took her first lesson in the mid-1990s in London.

    She is particularly interested in the potential of applying the principles of the Alexander Technique in the context of political decision-making processes and for people involved in activism.

  • Kathryn Armour

    Kathryn Armour
    New York, USA

    USA Kathryn Armour received an MA from the University of Chicago and then trained as a classical singer in Italy and New York.  She taught vocal technique at New York University (Tisch) for 17 years.  Kathryn also trained as an Alexander teacher and was certified by ATI in 2004.  She has been the AT and Voice teacher to the Fiasco Theater Company in NYC since 2011.  She coached the company in two Sondheim revivals produced for Broadway by Roundabout Theater Company.

    The Kathryn Armour Studio is located in mid-town Manhattan.  Kathryn also teaches summer AT/Voice intensives at Lake Como, Italy.  She was a presenter at both the Limerick and Chicago Congresses.  She will be assisted in this workshop by her husband and daughter, who are both trained AT teachers.

  • Kathy Privatt

    Kathy Privatt
    Wisconsin, USA

    USA Kathy Privatt welcomes the opportunity to apply Alexander Technique to any activity, and deeply appreciates the connections revealed. She graduated from Chesapeake Bay Alexander Studies with Robin Gilmore and Marsha Paludan, and was certified by Alexander Technique International in 2010. An Associate Professor of Theatre Arts, she teaches Alexander Technique Classes at Lawrence University, conducts workshops for a variety of communities, and also offers private lessons.

  • Korina Biggs

    Korina Biggs
    East Sussex, United Kingdom

    United Kingdom Korina is on the Faculty at RADA (Royal Academy of Dramatic Art), London, teaching the Alexander Technique to trainee actors, and movement and devising on the Short Course program. She also teaches at the Institute of Contemporary Theatre, Brighton and has a private practice.
    She graduated from the Nicholls’ Training School in 2001 and has been a member of STAT ever since. She has served on the STAT Research Group, The Performing Self team and is currently a member of the Alexander in Education Group and the ATLP (Alexander Technique Liberation Project)
    She has roots in physical theatre and has always engaged in various forms of movement improvisation. She has an MA in Dance and Somatic Well-being which gave her initial training in Authentic Movement, did further training with Jane Bacon and went on to found a regular peer group practice.

  • Kristin Mozeiko portrait

    Kristin Mozeiko
    Connecticut, USA

    USA Kristin Mozeiko, founder of ArT of Releasing and Alexander Technique Brooklyn, is an AmSAT certified Alexander Technique teacher and a graduate of ATNYC where she completed a three-year training in New York City. Dr. Mozeiko served from 2005-2019 as a part of the full-time faculty at Queens College teaching music education courses and the Alexander Technique for musicians. Additionally, she became a certified Releasing coach and completed the training in 2019. Dr. Mozeiko holds degrees in music education (BA), French horn performance (MM) and completed her doctoral studies in music education (DMA). In her research and writing she has focused on diversity in education and has integrated the Alexander technique with music education/performance. Dr. Mozeiko serves on the Volunteer Organizing team for the AT Libration Project and is a member of the National Association for Music Education, the New York State School Music Association, AmSAT, the Women’s Band Directors Association, CBDNA, and IMTE (Instrumental Music Teacher Educator).

  • Lee Warren

    Lee Warren
    London, United Kingdom

    United Kingdom Trusted by the world\\\’s leading brands, Lee has a reputation for energetic audience engagement, thought-provoking content, and hilarious delivery. Lee\\\’s audiences learn to sell better, network better and communicate better – and they have fun while they\\\’\\\’re doing it!

    Lee had his first Alexander lesson in 1991 and trained with Karen Wentworth 1997-2000 at The Alexander Technique Studio in London.

    As an AT teacher, as well as a private practice, Lee has taught at several drama schools, The Actors\\\’ Centre in London and at several global organisations.

    Lee was a professional magician for 20 years, is a member of the world-famous Magic Circle and was described by Prince William as ‘absolutely amazing’.

    A lover of live theatre, Lee has written theatre works for The Almeida Theatre, and been a commissioned writer at The Royal Opera House. Fluent in Spanish, Lee is very good at playing the piano badly!

    In a previous life, Lee was a sales director at News International, and he now combines this background in magic, theatre and sales to give presentations, keynotes, workshops and coaching to firms including Deloitte, Shell, Laing O\\\’Rourke, Roche, EY, Barclays Wealth and HSBC, helping people to become more persuasive and connected, sell more, present better and increase their ability to get their messages across confidently to colleagues and clients.

    Over time, Lee was increasingly invited not just to perform magic to clients, but to speak at their events. Realising that this was his \\\’true niche\\\’, in 2010 he became a full-time conference speaker and workshop leader and since then has spoken all over the globe at hundreds of events.

    In 2018, Lee\\\’s first book was published – ‘The Busy Person’s Guide To Great Presenting’. In March 2019, it was the highly-commended runner-up in the \\\’Business Book Of The Year Awards\\\’.

    He calls it his ‘first’ because he has four more planned in his head. Now, he just needs to find the time to write them…

  • Luc Vanier

    Luc Vanier
    Utah, USA

    USA Luc Vanier (MFA, M.AmSAT, RSDE) is a Professor and Founding Director of the School of Dance at the University of Utah, where he spent the last six years synergizing two respected historic Dance departments (Ballet and Modern Dance into a new entity. He received his MFA from the University of Illinois Champaign-Urbana and certified as an Alexander technique (AT) teacher in 2001. In 2011, as an AT training course director, he founded Alexander Technique Milwaukee (ATMKE); in 2016, he later co-founded Salt Lake City Alexander Technique (SLCityAT), where he is the current director.

    As a pedagogue and integral researcher, Luc has lectured and presented his research extensively nationally and internationally and his co-authored book “Dance and the Alexander Technique” was published by University of Illinois Press in 2011. It was also translated in Spanish Fall 2021 with Pequeña Hoja Press (Buenos Aires Argentina). In 2012, he founded the Integral Movement Lab, which combines the Alexander Technique and developmental ideas within product and curriculum designs. He co-created Framework for Integration, a movement analysis system anchored in the way babies and animals move that helps all movers make new, healthier movement decisions and encourages more coordinated and integrated bodily use (look for an upcoming book soon).

    SLCityAT, with Luc Vanier as Training Course Director, is a dynamic space which provides Alexander Technique Teacher training anchored in the tradition of Alexander and Joan Murray by way of the Carrington lineage. Luc also took four years of lessons with Ellen Hobbs in Cleveland who herself trained with Patrick MacDonald in the 1980s.

    The course believes in physicality in the way observing the movement of babies and animals and applying the principles of the Alexander Technique will helps all movers make new, healthier movement decisions and encourages more coordinated and integrated bodily use.

    Our varied Salt Lake City teachers, collectively, have decades of experience in all types of dance (ballet, modern dance, tango, pole, etc), developmental movement (Dart Procedures, Laban/Bartenieff, Body Mind Centering), martial arts, yoga and sports.

    Luc is an active writer who recently co-authored:
    1. The Subtle Dance of Developmental Self-Awareness with New Media Technologies, published with the Presse University du Quebec (PUQ)
    2. Ballet aesthetics of trauma, development and functionality, published in the book (Re)Claiming Ballet with Intellect Press.

    Luc is convinced of his responsibility to interrogate our physical practices in order to not habitually duplicate racist/sexist perspectives.

  • Luc Vanier and Elizabeth Johnson
    USA

    USA Luc Vanier (MFA, M.AmSAT, RSDE) is a Professor and Founding Director of the School of Dance at the University of Utah, where he spent the last six years synergizing two respected historic Dance departments (Ballet and Modern Dance into a new entity. He received his MFA from the University of Illinois Champaign-Urbana and certified as an Alexander technique (AT) teacher in 2001. In 2011, as an AT training course director, he founded Alexander Technique Milwaukee (ATMKE); in 2016, he later co-founded Salt Lake City Alexander Technique (SLCityAT), where he is the current director.

    As a pedagogue and integral researcher, Luc has lectured and presented his research extensively nationally and internationally and his co-authored book “Dance and the Alexander Technique” was published by University of Illinois Press in 2011. It was also translated in Spanish Fall 2021 with Pequeña Hoja Press (Buenos Aires Argentina). In 2012, he founded the Integral Movement Lab, which combines the Alexander Technique and developmental ideas within product and curriculum designs. He co-created Framework for Integration, a movement analysis system anchored in the way babies and animals move that helps all movers make new, healthier movement decisions and encourages more coordinated and integrated bodily use (look for an upcoming book soon).

    SLCityAT, with Luc Vanier as Training Course Director, is a dynamic space which provides Alexander Technique Teacher training anchored in the tradition of Alexander and Joan Murray by way of the Carrington lineage. Luc also took four years of lessons with Ellen Hobbs in Cleveland who herself trained with Patrick MacDonald in the 1980s.

    The course believes in physicality in the way observing the movement of babies and animals and applying the principles of the Alexander Technique will helps all movers make new, healthier movement decisions and encourages more coordinated and integrated bodily use.

    Our varied Salt Lake City teachers, collectively, have decades of experience in all types of dance (ballet, modern dance, tango, pole, etc), developmental movement (Dart Procedures, Laban/Bartenieff, Body Mind Centering), martial arts, yoga and sports.

    Luc is an active writer who recently co-authored:
    1. The Subtle Dance of Developmental Self-Awareness with New Media Technologies, published with the Presse University du Quebec (PUQ)
    2. Ballet aesthetics of trauma, development and functionality, published in the book (Re)Claiming Ballet with Intellect Press.

    Luc is convinced of his responsibility to interrogate our physical practices in order to not habitually duplicate racist/sexist perspectives.

    Elizabeth Johnson (MFA, M.AmSAT, RSME/T, RYT200) is a performer, choreographer, educator, Laban/Bartenieff Movement Analyst, certified Teacher of the Alexander Technique (AmSAT & ATI), and Registered Yoga Teacher (200hr). She teaches and presents nationally (US) and internationally on dance/movement pedagogies and somatics that center developmental movement, prosocial/trauma informed education, and feminist perspectives. She has co-authored/authored three book chapters featuring applied Alexander Technique and developmental movement and is an Associate Professor in the School of Theatre and Dance at the University of Florida.

  • Maaike Aarts potrait

    Maaike Aarts
    The Netherlands

    The Netherlands My name is Maaike Aarts and my passions in life are music, Alexander Technique, self-development, and learning/discovering new things. I graduated at the Alexander Technique Centre Amsterdam in 2002 (Paul Versteeg and Tessa Marwick). I am always eager to learn more and had private lessons with Missy Vineyard and John Nicholls. I followed extra training on pregnancy and childbirth with Ilana Machover, had AT lessons on swimming and running and have obviously attended all international congresses on the Alexander Technique!

    I teach the Alexander Technique full time in my private practice, teach the students of the Royal Concertgebouw Orchestra Academy and teach at the Conservatory of Amsterdam.
    I also teach my annual course ‘Freedom and Flow for musicians’, give audition training, give workshops for orchestra members, teach during summer courses and I organise my own Alexander Technique retreats.

    I was a first violinist in the Royal Concertgebouw Orchestra from 2004-2010, I was associate concertmaster of the Netherlands Chamber Orchestra from 2014-2018. I resigned from my positions to have more time for my Alexander technique private practice.
    Currently I play violin as a freelancer and in chamber music groups.

    In 2021 I released my Alexander Technique App called Think Up Alexander Technique.
    This app will
    – help your students to practise ‘monkey’, ‘whispered ah’, ‘going up on toes’ etc between lessons,
    – open their eyes to the countless opportunities to apply Alexander Technique to their daily lives,
    – help them continue on their own once they have stopped taking lessons.

    The app contains over 95 audioguides, divided into 10 categories.
    Activities include music making, sitting, walking, running, driving, breathing, speaking, lying down in active rest, carrying a backpack, bending, reading, writing, speaking, breathing, sleeping and many more.

    The app is available in the App Store (iPhone) and in the Google Play store (Android) and is rated 5 stars.

    For iOS: https://apps.apple.com/nl/app/think-up/id1522422093

    For Android: https://play.google.com/store/apps/details?id=nl.thinkup.android&hl=en_US&gl=US

  • Maike Lenz-Scheele portrait

    Maike Lenz-Scheele
    Hessen, Germany

    Germany Maike startet her Training 1998 in New York at ACAT and finished it 2001 in Freiburg, Germany. She’s a member of ATVD.
    As a former dancer she produced a dvd with the title “Alexander-Technik & Tanz” in 2006, which was presented at the first congress in Lugano.
    She worked with many different people, with all kinds of backgrounds, in private lessons in Frankfurt, Marburg, Gießen and Darmstadt.
    From the beginning on Maike taught group lessons specificly for dancers and for a wider audience with specific topics like stressmanagement, presentation, work-life-balance, performance-enhancement, flow and focus. She also loves to teach in companies “painfree at the workplace”, “working with ease in the office” and “a cool head in digital times”
    Maike teaches online, live and hybrid.
    She’s also a focusing trainer (DAF) a coach and consultant of hypnosystemic concepts (meihei) and an aroma-practitioner.

  • Malte Holstad
    Germany

    Germany First I came into contact with the Alexander Technique in 2002 at the beginning of my art school studies. I had an accident at that time and was looking for a gentle way to recover and support the healing process. I still remember my first AT classes pretty vividly. Since then, AT has never left me. In all the places I have lived, I have looked for teachers and opportunities to further deepen the technique.
    It was clear to me that I would eventually do the three-year training course, but other things seemed to kept getting in the way. In 2020 I finally made the move and started teacher training with Dan Armon, which I finish this year.
    This change of sides, being in both, the pupil and teacher role, was a defining moment for me, where a lot of what I had previously accumulated came together.
    My work is informed by a comprehensive knowledge of AT and its various styles. Many years of Zen practice, regular retreats and exchanges, and my background as a visual artist further shape my spirit, understanding and style.

  • Manuelle Borgel

    Manuelle Borgel
    France

    France Manuelle Borgel, a Choreographer-Dancer, discovered AT in 1995 and was certified by ATI in 2015. She currently teaches the Alexander Technique in Paris to artists, seniors, children, … individually and in groups. She teaches somatics to explore performances and the creative process, fields she trained in linked to Life Art Process. She continues to develop her approach in Collective Intelligence, cooperation, conflict, trauma, breath and stress management using the tools of Non-Violent Communication and Co-construction.

  • Margarete Tüshaus

    Margarete Tüshaus
    Germany

    Germany Margarete Tüshaus

    intensely teaches the Alexander-Technique since about 25 years frequently in the context of dance, music and horseback riding.

    Her wide-ranged background includes a master degree in agricultural biology as well as trainings in dance, zen meditation and music.

    Margaretes work is influenced by classical and contemporary teachers, she keeps on bridging many styles, perspectives and all sorts of human niches.

    Her special interest these days is the redirecting of humankind towards the needs and the principles in nature. Joyfully and regularly she enters the animal kingdom on her farm, where she lives with about 50 horses, conducting a seminar centre, giving workshops, postgraduates and teacher-trainings.

    She contributes as a senior teacher to the Alexander Alliance International.
    Most recently she started to codirect the Alexander Alliance Europe as part of a very gifted and powerful Team.

  • Michael Clausnizer portrait

    Michael Clausnizer
    Baden-Württemberg, Germany

    Germany Michael Clausnizer Curriculum vitae:
    1986 Graduation with diploma as music teacher and an artistic degree in piano at the Music Academy of Trossingen.
    1999-2001 training as a teacher of the F.M. Alexander technique in Heidelberg.
    Followed by a private training as a singer ( tenor ) with instructors of the Music Academy of Stuttgart.
    Workshops for students of the Music Academy of Stuttgart playing string, wind, percussion, and keyboard instruments, and singing.
    Since 1983 piano teacher at the Filderstadt Music School.
    He performs concerts at home and abroad as piano soloist and chamber musician and since 2007 also as vocal soloist
    Head of the counseling center for musicians’ health at the Filderstadt Music School.

  • Michael Vogler

    Michael Vogler
    Germany

    Germany Michael Vogler, based West of Munich, Alexander pupil since 1995, trained in Berlin 2002-2005; talks too much, but when he stops, interesting things happen 🙂
    Teaching AT in private practice and at the Leopold Mozart Centre, Augsburg; Somatic Experiencing Practitioner; Civil Engineer;
    Dinghy and Yacht sailing in my spare time

  • Morgan Rysdon

    Morgan Rysdon
    Georgia, USA

    USA Morgan Rysdon is a nationally certified Alexander Technique teacher and founder of Center Studio. She has a private practice in Atlanta, NYC, and online where she helps individuals elevate their performances on stage, at work, and in life.

    Her teaching is focused on improving the overall function of an individual’s mind, body, breath, and voice—as well as helping those struggling with chronic pain, injury, stress, and/or anxiety.

    Morgan has a BA in Theatre with a focus on Acting and Performance. In 2011, she gained her teaching certification from The American Center for the Alexander Technique in NYC. Since then, she’s gone on to teach her work both nationally and internationally—teaching private lessons, group classes, and workshops that improve others’ self-awareness, self-confidence, and poise.

    In 2019 she started her YouTube channel to help share this work with a larger audience. In 2020 she completed the Alliance Theatre’s Allyship Training program designed to educate teaching artists to better acknowledge and embrace differences in identity and how to establish a culture of equity, inclusion, and justice in all areas of their lives. Since then, Morgan has been implementing—and expanding on—what she learned from this training.

  • Portrait Nadia Kevan

    Nadia Alexandra Kevan
    NRW, Germany

    Germany I was born and grew up in England where I trained to be a dancer and actor. After performing with several national theatre companies in Germany and then free lancing as a dancer/performer, I trained to be an Alexander Teacher in Denmark with Karen Wentworth and Dr. Chris Stevens. I developed the approach to teaching AT through the Support System with Chris who was then my husband. I have been training Alexander Teachers in Germany and Netherlands for 30 years incorporating the Dynamic Breathing and Voice work by my late husband Ron Murdock. Our way of AT teaching is called the Psycho-Physical Support System. 1993 -2021 I was professor of Body Awareness at the Folkwang University of Arts in Essen, Germany, where I also chaired a forum for Body Awareness and co-founded a movement called “The Psychology of Creating Art”. I am founder and director of a practice and training called “Dance of Life” and I also research, perform and run a healing practice through Reiki energy, Spiritual Awareness and Heart Centred Contemplation.

  • Patrick Johnson

    Patrick Johnson
    The Netherlands

    The Netherlands I trained at ATCA in Amsterdam with Paul Versteeg and Tessa Marwick, graduating in 2010. Since then I\\\’ve teaching Alexander Technique and running a Pilates studio at our space in Amsterdam with my wife. (www.smartbody.nl) I have also had a career as a physicist, working in labs in both the US and the Netherlands between 1995 and 2013. Currently I give online workshops in Alexander technique science with Tim Cacciatore, and run the website www.AlexanderTechniqueScience.com with Tim, Rajal Cohen, and Andrew McCann. I\\\’ve been dancing and teaching contact improvisation dance since 1995 and am also interested in other sports and movement practices – running, Pilates, and squash to name a few. I live in Amsterdam NL, with my wife Jelena and two crazy kids Owen (15) and Milan (12).

  • Portrait Penelope Easten

    Penelope Easten
    Clare, Ireland

    Ireland Penelope was born in Wales, and studied Zoology at Cambridge University, England. She left a PhD there to train at the North London Alexander School, qualifying in 1989. She then worked with Miss Goldie for four years, who, it felt, stripped away everything she had learnt, and rebuilt it as she saw the technique should be –a scary process!

    Since then, she has worked extensively with other teachers who had known her, including Erika Whittaker, to understand the essence of the difference of her understanding. During two separate years, Penelope was unable to walk with chronic fatigue syndrome. These years of illness became times of quiet retreat, deepening her work.

    With the illness now gone completely, she has regained resilience, strength, and fitness, particularly through using the Initial Alexander technique, which she studied with Jeando Masoero, along with The Embodied Present Process with Philip Shepherd. The Miss Goldie workshops started as a 90-min workshop at the International Congress in 2004 (Oxford), and was then followed with workshops in the UK, Ireland, Germany, and New York, including the Limerick International Congress in 2015.

    Her book: The Alexander Technique: the Twelve Fundamentals of Integrated Movement, based around Miss Goldie’s work, was published in March 2021.

    Since COVID-19, she has run trainings for AT teachers on teaching online, based on the material from her book. She now lives and works in the beautiful West of Ireland, teaching locally and online. Her work facilitates the pupil to discover the technique for themselves, to find natural breathing, poise, quiet awareness, integration, true fitness and strength. 
    In her free time, she enjoys making discoveries about the technique through singing and reciting, piano playing, yoga and fitness work, gardening, running, dancing, and walking her dog. 

  • Peter Grunwald

    Peter Grunwald
    New Zealand

    New Zealand Peter wore glasses for 27 years for myopia and astigmatism. His glasses became stronger year by year. Addressing this declining situation seriously and committedly he discovered in the early 1990’s how to apply FM’s principles to the process of seeing. It took him eighteen months until he was absolutely free of his – 10.5 diopter glasses.

    At that time, Peter discovered that within the visual system an entire map of the human body resides and that the eyes themselves link to corresponding structures in the brain that govern the body, the emotions and the ability to think and reason.

    Peter discovered the primary control mechanism within the higher visual region of the brain connected with our Souls blue print. Deviations from this blue print let us glide into dysfunctions of brain, eye, body and environmental nature.

    Peter trained between 1984 and 1987 at the Sydney Alexander Training School. Over five years he studied with Marjory Barstow in Australia. The combined trainings gave Peter the foundation in hands-on work as well as the creative approach of applying the process to a new frontier. From there on he developed the inner understanding of the synapses and pathways of the brain to the improvement of the eye’s ability to re-integrate its functions, structure and response to cell memories and spiritual attributes.

    His latest book Soulful Seeing – Conscious Living or The Art of Embodying Soul is based on Inhibition and Directions with Peters extensive experience including emotional and spiritual attributes integrating brain, eyes and body.

    Peter brings humor to complex circumstances. While at home overlooking Wyuna Bay beach, Coromandel Peninsular in New Zealand, he spends his time enjoying nightly sunsets across the ocean, dancing, walking, hiking, biking, gardening, meditating, enjoying belonging to community of friends and deep family bonds – and loving spending time with his children and wild grandchildren.

    Some of his published writings are available at the Congress in English, German, Italian, Spanish and Japanese.

    Private Sessions available: Peter is available from 20-22 August for a series of sessions in Berlin. This is prior to the congress and a great opportunity to work individually with Peter. For bookings contact info@eyebody.com

    For a full teaching program on workshops, 6 –day practice retreats around the world as well as a 3-week intensive only held in NZ visit www.eyebody.com

    NB: If your interest is hosting a program with Peter or with some of his teaching staff, or are interested in translating a published Eyebody book into your native language, please contact Peter directly at info@eyebody.com or connect with him during the congress.

  • Raquel Cavalcanti
    Minas Gerais, Brazil

    Brazil Raquel Cavalcanti is a Brazilian dancer, improviser, dance instructor, and AT teacher. In 1999, she graduated from the Matthews school (IRDEAT) in New York (USA). After living and working in NYC for over 15 years, she returned to Brazil to teach dance and the AT at the Federal University of Minas Gerais (UFMG).
    She is currently working on her PhD at State University of Campinas (UNICAMP) in Sao Paulo, Brazil, where she is investigating the relationships between AT principles, dance, and teaching in an inventive, non-traditional, and non-hierarchical way. In that sense, the works of Paulo Freire, Virginia Kastrup, bell hooks, and Jacques Rancière have been invaluable.
    Raquel, the mother of two beautiful young women, loves baking long-fermented bread and taking care of her plants. It is her hope that Lula will be their next president this year.

  • Regina Stratil

    Regina Stratil
    Austria

    Austria Regina trained with Karen Wentworth in London and has been running her own Alexander Technique teaching practice ever since. In January 2022 Regina started teaching at Jean Fischer’s teacher training course at the Alexander Technique Studio in Graz, Austria. Regina is a long-time practitioner of Aikido.
    For several years she assisted the manager at the Walter Carrington Educational Trust and was working at the Walter Carrington Archives. During her work at the archives she came across material by Irene Tasker which sparked her interest in the history of the Alexander Technique. Regina has researched the life and work of Irene Tasker (1887-1977), an influential early assistant of F. M. Alexander and a pioneering teacher of the Alexander Technique. Regina’s biography – “Irene Tasker – Her Life and Work with the Alexander Technique” – was first published by Mouritz in September 2020; in 2022 a paperback edition was published.

  • Richard Casebow

    Richard Casebow
    United Kingdom

    United Kingdom I have been teaching Alexander’s technique for 28 years to a diverse group of people with different needs and interests in developing constructive conscious control for themselves. I also work as a constructivist psychotherapist after training in Personal Construct Psychology.
    The interface between Alexander\\\’s work and psychotherapy within the inter-personal field is a primary interest. I set up the STAT Special Interest Group on the Alexander Technique and the inter-personal, who meet regularly throughout each year.
    This year I will give the F.M. Alexander Memorial Lecture for STAT, which will focus on the development of embodied mind and the importance of inhibition as its primary skill.
    Helping people learn through constructive conscious control to develop an embodied mind and articulate their possibilities from within this is what makes this work interesting for me.
    When I am not working, I like to be out walking on the hills or beaches of Scotland or in a gallery or opera house somewhere in Europe.

  • Portrait Robyn Avalon

    Robyn Avalon
    New Mexico, USA

    USA Robyn has been studying Alexander’s Work since 1975, being first introduced to it as a young professional performing artist. She is the Founding Director of the Contemporary Alexander School, offering self-paced, non-residential teacher training programs in Santa Fe, NM, Portland, OR, & NYC, and in satellite cities throughout North America; as well as Co-Director of the Alexander Alliance International, offering workshops, teacher training, and post-graduate studies throughout Europe and Asia. Robyn is also the Creator of Living in a BodyTM, a Professional Body Mapping Certification Course translated into 6 languages and taught worldwide.
    Robyn’s primary studies were with Marjorie Barstow, Bruce Fertman, and the Alexander Alliance, and she now continues Marj’s lineage in her own training programs. In addition, Robyn has also had the pleasure of being mentored by numerous first and second generation teachers over the past 45 years, and enjoys exploring ways to bridge all styles.
    At this point in her teaching career, Robyn’s main interests include training Alexander Teachers in Group Teaching/Crafting of Alexander Games; teaching in real life Situations and Activities; incorporating Body Mapping (LIABTM), Bridging Classical and Contemporary styles of the Work; and helping bring more awareness to Equity and Diversity issues within our profession.
    Robyn lives in New Mexico & New York City, USA, shares her life with her wife of 30+ years, 2 adult sons, and 4 cats, and loves to tap dance.
    www.contemporaryalexander.com

  • Portrait Rossella Buono

    Rossella Buono
    Kent, United Kingdom

    United Kingdom Rossella, born in Italy in 1975, lives and works between her adoptive home in the UK, Italy, and Australia, where she trained with David Moore in Melbourne.

    As well as running a successful practice as an Alexander Technique teacher in Canterbury, UK, and online, Rossella also teaches the technique at the School for FM Alexander Studies in Australia.

    Rossella is the author of For the Love of Games with Anne Mallen, with beautiful illustrations by Melbourne artist Isobel Knowles. This collection of games and activities, part original and part collected over the years, offers a resource for AT teachers to begin working with groups, or add depth and variety to an existing group-based practice.

    Rossella is also the co-creator and co-curator of Authors – not your Usual Book Club with Jana Boronova, and assistant to David Moore’s Smart Yoga and AT training courses in Melbourne. A keen proponent of collaboration, she has worked with Luke Hockley to offer the workshop Learning How to Learn, Jeremy Chance’s AT Success course and many more.

    Her interest in training courses has taken her to New York, Germany, Ireland and all over the UK, to share work and present on the topics of marketing, activities, anatomy, working with groups and social media.

    Rossella has a gift for organising, a dynamic personality and a down to earth approach to things, allowing her to join the dots leading to new content and collaborative projects. She sees the Alexander Technique as an effective and sustainable model of personal and social development. Bringing an inclusive and practical spirit to all her activities, Rossella aims to realise the Technique’s value as a resource to as many people as possible.

  • David Anderson and SandraDager

    Sandra Dager and David Anderson
    CA, USA

    USA Sandra Dager
    Sandra Dager is an Alexander Technique teacher (AmSAT), certified leadership coach/consultant in kinesthetic energy patterns (Focus Leadership), Lutheran pastor and musician. She uses her unique background and training to facilitate transformation in individuals and organizations from a variety of backgrounds: music, technology, the military, religious organizations, and educational institutions.

    Inspired by the saying, “The whole is greater than the sum of its parts,” Sandra places a high value on cross-disciplinary collaboration with experts from diverse backgrounds. In 2021 she and professional drummer Dave Elitch co-led four workshops on the Alexander Technique (“Move Well. Play Well.”) for drummers on the British zoom platform “Drum Hangs.” 416 drummers from 28 countries attended the workshops; most had never heard of the Alexander Technique. Currently, Sandra is collaborating with one of her students on a leadership/communication workshop for women of color, where she will utilize the Alexander Technique and kinesthetic energy patterns to enhance the quality and effectiveness of participants\’ movement, presence, and communication.

    A trained classical singer, Sandra has been a soloist in oratorios and given classical song recitals in England and the United States. While her musical tastes are broad, she has a special place in her heart for the classical songs of Nordic composers.

    EDUCATION

    D.Min. GRADUATE THEOLOGICAL UNION, Berkeley, CA.
    Thesis: The Embodied Liturgist: Contributions of the Alexander Technique and the Primal Patterns Theory to the Development of a Holistic, Embodied Pedagogy for Liturgical Presiding.
    M.Div. YALE DIVINITY SCHOOL, New Haven, CT. Theology/Pastoral Ministry
    B.A. ST. OLAF COLLEGE, Northfield, MN. Sociology.

    ———————————-

    David Anderson
    David Anderson is the Director of the Marian Wright Edelman Institute for the Study of Children, Youth, and Families at San Francisco State University (SFSU). Formerly a Professor and Chair of the Department of Kinesiology at SFSU.

    David has been engaged in a wide range of service, teaching, and research activities. His research centers on understanding how motor skills are acquired, how to promote the development of motor skills, and how motor activity influences psychological functioning. He has authored and co-authored numerous peer-reviewed articles, book chapters, presentations, an activity manual, and a popular textbook, and has received significant funding for his research from the National Institutes of Health, the National Science Foundation, and the Department of Education.

    David is an Active Fellow in the National Academy of Kinesiology and serves on several advisory and editorial boards. He is a passionate advocate for the importance of physical activity in optimal motor and psychological development and is committed to promoting efforts to improve early child care, education and health.

    —Education—
    B.Ed. University of Technology, Sydney: Physical Education
    M.S. California State University, Long Beach: Physical Education
    Ph.D. Louisiana State University: Kinesiology

  • Sarah Bonner-Morgan

    Sarah Bonner-Morgan
    Edinburgh City, United Kingdom

    United Kingdom I came to the Technique over 40 years ago as a young, rather anxious flute player while studying music at Southampton University. Jaw problems – literal lock-jaw at times – stopped me playing, and singing, and I moved into classical music administration eventually working as a freelance tour manager for baroque orchestras. During that time I had Alexander lessons with Carmen Burton (now Tarnowski) and I trained as a teacher in my mid-thirties with Robin Simmons, Jean Clark and Elisabeth Waterhouse.

    A happy meeting on a train station led me to Edinburgh in 1999 to take over a colleague’s flute and Alexander teaching practice while she travelled and I’ve lived here ever since. Here in Edinburgh I’ve been able to quieten my over-stretched nervous system and give myself time to explore my love of improvised voice and dance (5 Rhythms), the internal Chinese martial arts and the beautiful poetry and practices from the Sufi tradition. I play frame-drums and during (and since) lockdown I’ve been learning the Persian Daf with an Iranian teacher in Toronto – the blessings of Zoom!

    I have a private teaching practice and I teach Alexander teachers-to-be at the Edinburgh Alexander Training School in Portobello, Edinburgh’s seaside…

  • Sheila Bandyopadhyay and Kristin Mozeiko

    Sheila Bandyopadhyay and Kristin Mozeiko
    CT, USA

    USA Sheila Bandyopadhyay

    Sheila Bandyopadhyay is a New York City based theater artist and Director of Training at Shakespeare & Company’s Center for Actor Training in Lenox, Massachusetts. Sheila’s career spans acting, directing, movement coaching, choreography, teaching and devising original theater. As a theatre maker, Sheila is committed to non-traditional performance that is physical, music-driven, and inclusive. In New York, Sheila has directed shows at the Brick, the United Solo Festival (Theater Row), the Tank, the Women in Theater Festival (the Gural), the West End Theater, and the 72nd St Theater Lab. For eight years Sheila served as Head of the Movement Department at the American Academy of Dramatic Arts in Manhattan where she regularly directed and coached productions in the 2nd year of training and for the Academy Company. In 2021-22, Sheila was Head of the Professional Training Program and Core Movement Faculty at Dell’Arte International School of Physical Theater. An AmSAT certified teacher of the Alexander Technique, Sheila is intrigued by and actively investigating the overlap between physical training, creativity, mindful movement and Eastern meditation practices. Additional teaching and coaching with: California State University Summer Arts, Brandeis University, the Balance Arts Center (NYC), FSU/Asolo Conservatory for Actor Training, NYU Gallatin, the Linklater Center, the Upright Citizen’s Brigade, and Emerson College. Sheila is a proud member of the Humanist Project and a sponsored artist with Leviathan Lab, both companies based in New York City. Sheila is an alumna of Brandeis University (class of 1999), and NYU Gallatin (MA, 2010). www.sheilabnyc.com IG: @sheilabnyc

    —————————————–

    Kristin Mozeiko

    Kristin Mozeiko D.M.A., is the founder of Alexander Technique Brooklyn and Art of Releasing. She is an AmSAT-certified Alexander technique specialist and a proud volunteer organizing member of the Alexander Technique Liberation Project (ATLP). In 2008, she completed a three year 1,600-hour, teacher training program. In 2018, she completed a yearlong training to become a certified Releasing coach. For 14 years, Dr. Mozeiko served on the faculty at Queens College, where she conducted the wind ensemble and taught music education courses and Alexander Technique to musicians. Dr. Mozeiko holds a B.A. from Ithaca College in music education, a M.M. from the University of Hartford in French horn performance, and a doctorate in music education from Boston University. Her doctoral work, writing, research and national and international presentations have focused on integrating Alexander technique with musician health and wellness while centering DEI (Diversity, Equity, Inclusion). She is an active clinician and a member of IM4US, the National Association for Music Education, the New York State School Music Association, AmSAT, the Women’s Band Directors Association, CBDNA, and IMTE (Instrumental Music Teacher Educator).

  • Susanne Spahn

    Susanne Spahn
    Germany

    Germany Susanne got introduced to the Alexander Technique during the time she studied singing at the Konservatorium Wien Privatuniversität. Afterwards she trained to become a teacher of the Alexander Technique at the ATAZ Munich with Mary Holland and Alexander Hermann. In 2017 Susanne opened her Alexander practice in Munich. As an activist she held empowerment and awareness workshops and she was involved into various feminist projects. Since 2020 Susanne is a board member of the EineWeltHaus e.V., a place for intercultural and political education in Munich.
    It is her special concern to communicate about racism and its effects on the whole psycho-physical being.
    Susanne loves to support individuals discovering new perspectives that enhance freedom and diversity.

  • The Alexander Technique Initiative Berlin (ATI)
    Germany

    Germany We are a collaboration of four Alexander teachers working to promote the Alexander Technique and its application in a wide social context.

    We offer seminars, lectures and workshops designed to introduce and inform educational establishments, health and social institutions, businesses and the general public of the scope and comprehensive insight of this Technique.

    This workshop, unique in as much as we are offering it for colleagues, is an exploration into an urgent subject, one, which is highly relevant to the times we live in, and rarely regarded as matter for the Alexander Technique.

    Thomas Hoppe
    @ th_hoppe@hotmail.com
    Berlin – Germany
    Born in Berlin. Professional musician. Double bass and electric bass. First Alexander Technique lessons in 1993, graduated in 2005 with Dan Armon in Berlin. Has been teaching continuously since then. Works as an assistant at two schools. With Dan Armon in the “School for Alexander Technique Berlin” and with Matthias Graefen “Alexander Technique Training Berlin”. Since 2018 member of the Alexander Technique Initiative Berlin, where we deal with the social relevance of the technique.

    Susanne Middendorf
    @ susanne.middendorf@gmx.de
    Dipl Musikpädagogin
    Dipl Lehrerin der Alexander-Technik
    Körperorientierte Stimmbildung
    Energetisches Heilen

    Kontinuierliche Unterrichtserfahrung seit 2001
    Einzelunterricht, Gruppen und Workshops

    Assistenz in der Schule für Alexander-Technik, Berlin, Dan Armon

    Vorträge über die Anwendbarkeit der Alexander-Technik im Kontext von Gesundheit, Musik, Stimmarbeit, Persönlichkeitsentwicklung und Spiritualität

    „Der Weg zur AT hat sich mir über die Musik erschlossen. Als Sängerin bin ich auf einen funktionalen Körpergebrauch, eine gute Koordination, Flexibilität, Durchlässigkeit und ein hohes Niveau von Körperenergie angewiesen. Die AT ist wie ein fein justierender Kompass, der mit einem Gefühl für Stimmigkeit und für die Entfaltung des Wesentlichen den Weg weist. In der Tiefe aber führt uns die AT zu einem heilsameren Umgang mit Leben und zu den heileren Ressourcen in uns selbst. In den vergangenen Jahren habe ich begonnen, die Prinzipien der AT mit Ansätzen aus der Körperheilarbeit und dem energetischen Heilen zu verbinden.“

    www.alexandertechnik-berlin.com
    www.susanne-middendorf.de

    Beate v. Hahn
    beatevonhahn@gmx.de
    I first came into contact with the Alexander Technique while studying to be a classical singer.
    Having spent a number of years in an opera house ensemble, I decided to “ride the horse backwards” and explore the essence of voice and expression.
    The subsequent training in the Alexander Technique laid the foundation for a vibrant inquiry into a natural, free flowing authenticity and presence within vocalisation.
    I am living and working in Berlin.

    Jonathan Sheratte
    artwork3@web.de
    I discovered the technique while at art college in 1986. It released a creativity and authenticity in my work, which was indescribable and unexplainable.
    36 years later, as a co-director of a training course in Berlin, I discribe it and explain it.
    And still the mystery remains.

  • Thomas Gwiasda

    Thomas Gwiasda
    Germany

    Germany Nachdem ich nach einer Schauspielausbildung einige Zeit als Schauspieler gearbeitet hatte, bekam ich immer größere Probleme mit meinem Körper. Die Halswirbelsäule musste in immer kürzeren Abständen eingerenkt werden, weil ich sonst meinen Kopf nicht mehr drehen konnte. Die Schultern und das rechte Knie taten mir ständig weh und nachdem ich einen leichten Bandscheibenvorfall in der Lendenwirbelsäule hatte und einige Wochen nur noch gebückt gehen konnte, suchte ich endgültig nach Alternativen. Etwa in der Zeit kam Danny McGowan von London nach Berlin, um in Berlin Alexander-Technik zu unterrichten.Sobald ich davon hörte, nahm ich eine erste Probestunde und war vollkommen überrascht. Als ich den Raum wieder verließ, dachte ich, mein Körper fliegt. Schon ewig hatte ich mich nicht mehr so leicht gefühlt – hatte ich mich überhaupt schon mal so leicht gefühlt?

    Ein paar Monate und ca. 25 Einzelsitzungen später beschloss ich, mich bei Danny McGowan zum Lehrer für Alexander-Technik ausbilden zu lassen. Ich begann nicht mit der Absicht selber irgendwann als Lehrer zu arbeiten, sondern um mich drei Jahre intensiv mit meinem Körper zu beschäftigen. Ich wollte einen Weg aus den so tief sitzenden Bewegungsmustern finden, die mich so sehr einschränkten und mir solche körperlichen Schmerzen bereiteten. Im dritten Ausbildungsjahr unterrichteten wir dann unter Aufsicht unserer Ausbilder die Alexander-Technik an der Hochschule der Künste in Berlin. Schon da fiel mir auf, wie viele Studenten immer wieder zu mir wollten. Am Ende dieses Jahres fragten mich dann einige, ob ich ihnen weiterhin Alexander-Technikstunden geben würde. Da ich mich beim Unterrichten sehr, sehr wohl fühle (glücklich würde sehr pathetisch klingen – würde es aber treffen) sagte ich sofort ja.

    1996 hatte ich dann meine 3-jährige Ausbildung zum Lehrer der Alexander-Technik in Berlin abgeschlossen, suchte mir Unterrichtsräume und begann zu unterrichten. Da ich anfänglich viele Studenten von der Hochschule der Künste hatte, verband ich die Alexander-Technik mit Sprechtechnik oder Gesangstechnik oder Rollenstudium. Mit der Zeit stellte ich allerdings fest, dass hinter den körperlichen Mustern noch Geisteshaltungen, Denkmuster, Gefühlsmuster lauerten, die mich ebenso einschränkten wie die körperlichen Muster. In dieser Zeit begann ich zu Meditieren. Bis dahin kannte ich nur aus meiner Schauspielausbildung die dynamische Meditation von Osho, einfach „nur“ sitzen kannte ich gar nicht. Aber ich stellte sehr schnell fest, wie gut mir das tat und wie viel leichter mir das fiel, weil ich durch die Alexander-Technik sehr lange sitzen konnte, ohne dass mir etwas weh tat.

    Etwa drei Jahre meditierte ich regelmäßig in Berlin und danach begann dann meine „spirituelle Reise“: Avatar mit Harry Palmer, Steps to Enlightenment mit Monika Redl-Janßen und Psychology of Vision mit Chuck Spezzano waren meine ersten längeren Stationen. Es folgten QLB, klassisches Zazen, Maitri Breath Work und Schamanische Heilrituale mit Pablo Russell. Zuletzt war ich bei Guruji Mohan, einem Heiler aus Rajasthan (Indien).

    Bei allem was ich tat blieb die Alexander-Technik immer meine Basis. Mein detailliertes Wissen über meinen Körper und mein Gefühl für meinen Körper, zeigten mir immer ganz genau, hier bin ich richtig oder nicht.

    Die ganze Zeit habe ich immer sowohl als Schauspieler, als auch als Alexander-Techniklehrer gearbeitet. Beides tue sehr gerne und mit ganzem Herzen. Mittlerweile lasse ich natürlich alle anderen Techniken in meine Arbeit als Alexander-Techniklehrer mit einfließen, genauso wie in meine Arbeit als Schauspieler.

    After working as an actor for a while, I started getting bigger and bigger problems with my body. The cervical spine had to be set at shorter and shorter intervals because otherwise I could no longer turn my head. My shoulders and right knee hurt me all the time and after I had a slight herniated disc in my lumbar spine and was only able to walk slightly bent over for a few weeks, I finally looked for alternatives.

    Around the same time, Danny McGowan came to Berlin from London to teach the Alexander Technique in Berlin. As soon as I heard about it, I took a first trial lesson and was completely surprised. When I left the room, I thought my body was flying. I hadn’t felt this light in ages – had I ever felt this light? A few months and about 25 individual sessions later, I decided to train as an Alexander Technique teacher with Danny McGowan. I didn’t start out with the intention of working as a teacher myself at some point, but to deal intensively with my body for three years. I wanted to find a way out of the ingrained movement patterns that were so limiting and causing me such physical pain. In the third year of training, we taught the Alexander Technique at the University of Arts in Berlin under the supervision of our trainers. There I noticed how many students wanted to come to me again and again. At the end of that year, a few asked me if I would continue to give them Alexander Technique lessons. Since I feel very, very comfortable teaching (happy would sound very pathetic – but it would be right) I immediately said yes.

    In 1996 I had completed my 3-year training as a teacher of the Alexander Technique in Berlin, looked for classrooms and began to teach. Over time, however, I realized that mental attitudes, thought patterns, and emotional patterns lurked behind the physical patterns, which restricted me just as much as the physical patterns. During this time I started meditating. Until then, I only knew Osho’s dynamic meditation from my acting training, I didn’t know “just” sitting. But I quickly realized how good it was for me and how much easier it was because the Alexander Technique allowed me to sit for a long time without hurting anything.

    I meditated regularly in Berlin for about three years. And then my “spiritual journey” began: Avatar with Harry Palmer, Steps to Enlightenment with Monika Redl-Janßen and Psychology of Vision with Chuck Spezzano were my first longer stations. This was followed by QLB, classical zazen, Maitri Breath Work and shamanic healing rituals with Pablo Russell. Most recently I was with Guruji Mohan, a healer from Rajasthan (India).

    In everything I did, the Alexander Technique always remained my basis. My detailed knowledge of my body and my feeling for my body always showed me exactly whether I was right or not.

    All the time I have always worked as an actor and as an Alexander Technique teacher. I do both with great pleasure and with all my heart. In the meantime, of course, I have incorporated all other techniques into my work as an Alexander Technique teacher and also in my work as an actor.

  • Portrait of Tommy Thompson

    Tommy Thompson
    Massachusetts, USA

    USA For the past 47 years Tommy has taught and applied the Alexander principles and concepts and has guided thousands towards a life well lived more to their satisfaction. This list includes Alexander teachers and trainees, professional and Olympic athletes, dressage riders, scientists, physicians, corporate and university professionals, musicians, dancers, actors, children, trauma victims, the sexually abused, and those with life threatening disease and the disabled to a more fulfilling and meaningfully satisfying life. He currently has an active in-person and online teaching practice and taught on 30 teacher training courses in the USA, Europe, the UK, Netherlands ,and Asia. He has given well over 1000 workshops internationally for Alexander teachers, teacher trainees and the general public in 16 countries including Ireland, France, Israel. Germany, Austria, Italy, Holland, Hungary, Spain, England, the USA, Japan, Korea, Switzerland, Canada, and served as special assistant to the 1976 Olympic USA Heavyweight Rowing Crew. Tommy served on the faculty at Harvard University for 12 years where he taught the Technique to graduate students enrolled in the Institute for Advanced Theater Training, Harvard University/Moscow Art Theater and the American Repertory Theater. He is founder and Director of the Alexander Technique Center at Cambridge, where he has been training Alexander teachers since 1983. The Center was awarded The Best of Cambridge in Alternative and Holistic Health, by the City of Cambridge, Massachusetts.

    A former Assistant Professor of Drama and Managing Director of Tufts Arena Theater at Tufts University in Boston, Massachusetts, Tommy has acted and directed over 200 theater productions, working, acting or directing with such notable artists as Tennessee Williams in a revival of Eccentricities of a Nightingale (1977), and Michael Douglas, actor/producer and two time Academy Award Oscar winner.

    Tommy is co-founder, charter member, and was inaugural Chair of Alexander Technique International (ATI). His contributions to ATI earned him the ATI Lifetime Membership Award. He is also an Honorary Member of ATI France (ATIF), the Irish Society of Alexander Technique Teachers (ISATT), a teaching member of the Japan Alexander Technique Association (JATA), and is Associate Director of Body Chance’s Japanese Alexander Teacher Education Program in Tokyo and Osaka.

    Along with Richard A. Brown and Helen Rumsey Jones, wife of Frank Pierce Jones, Tommy co-founded the Alexander Technique Association of New England (ATA) in 1982 and the Frank Pierce Jones Archives and the F. Matthias Alexander Archives, initially housed in the Wessell Library at Tufts University. He was ATA’s director for six years. He is author of Touching Presence (with Rachel Prabhakar) and co-author of Scientific and Humanistic Contributions of Frank Pierce Jones. He has contributed numerous papers on the Alexander Technique, Tai Chi, and theater to Alexander and theater journals, periodicals, martial arts journals and newsletters. Tommy is currently writing another book, ‘An Awakened Life: Evolution of an Alexander Teacher and a revised edition of Touching Presence, translated recently in Japanese and French, with Korean and Spanish translations in-progress.

    No newcomer to the Alexander Congresses, Tommy presented papers on his teacher, Dr Frank Pierce Jones at both the first and second International Congresses at Stoney Brook, NY and in Brighton, England and was one of the Second Generation teachers invited to give master classes at the Third International Congress in Engelberg, Switzerland, and has consistently given Continuous Learning classes at the Congresses since their inception. In 2016, along with Debi Adams and Bob Lada, he co-founded ‘In the Company of Support’ an annual Summer Retreat for advanced study in the Alexander work for teachers, trainees and the invited public. Each summer teachers and guest presenters from the Alexander community and in the Arts , Humanities and Science worldwide are invited to teach and participate.

    At the onset of the Pandemic, Tommy launched ‘The Gift Of Our Understanding’ a series of online Zoom classes based on his then recently published book ‘Touching Presence,’ granting to those participants who completed the course a ‘Career and Life Enhancement Advanced Study Certificate’ from the Alexander Technique Center at Cambridge. The course continues and now extends beyond the scope of his book into an in depth exploration of how to apply the Alexander principles and concepts to the ever evolving and delightfully surprising evolution of your life. Tommy continues to teach privately in Cambridge, Massachusetts, both in person and online. And, post pandemic he continues to travel and teach in numerous countries.

    Email: tommy@easeofbeing.com Website: www.easeofbeing.com Summer Retreat: www.easeofbeingretreat.com

    About Tommy’s approach to teaching from a review of his book ‘Touchng Beauty’ by Bruce Fertman and Penny Oconner:

    Tommy uses the Alexander Technique as his vehicle through which he guides his students into living more compassionately conscious and self-embodied lives. Use is too narrow an arena for Tommy. He is interested in personal transformation.

    In our profession, thankfully, we have many gifted teachers doing research into different aspects of Alexander’s work. Some of us are reductionists. Some of us are more physiologically oriented and want to zero in on the precise physiological mechanisms involved in bringing about improved use. This is exciting. At the same time, some of us, like Tommy, are what I would call expansionists. Tommy wants to expand Alexander’s work beyond the workings of the body into the workings of the heart and soul. That is where Tommy’s work lives. This too is exciting. For Tommy, Alexander’s work is a spiritual path, a way of life. I think this is true for many of us. Tommy is as much a healer and secular rabbi/sheik/priest as he is a teacher.

    I am fine with this because when reading, Touching Presence, I feel in the presence of a person who is entirely himself, who teaches through who he is. He’s not imitating anyone. He teaches through his own personal ethical framework, expressing his own truth. He teaches through his own language. He teaches out of his own experience, sometimes painful experience. He’s real. He’s authentic.

    Tommy often, like a Hasidic rabbi or Sufi sheik, teaches through story. He’s a good storyteller. He shares deeply moving stories with us of his birth, of growing up in the segregated south, of the love for and death of his wife, Julie. These are not just stories. The key concepts which Tommy holds dear about the Alexander Technique are clearly elucidated within these stories.

    What are some of these key concepts? Here I will not go into detail; for that I suggest reading Touching Presence and if possible, studying with Tommy.

    1.) Perhaps the deepest and most far reaching of all of Tommy’s key concepts is that of “withholding definition”. This is his way of talking about Alexandrian Inhibition, of a radical sort, one that allows a persons’ fixed sense of identity to become unfixed, fluid, changeable. Tommy’s work revolves around the issue of identity, how we define ourselves and by doing so, how we limit ourselves from experiencing who we are and what we might become. In the words of James Baldwin, “Identity would seem to be the garment with which one covers the nakedness of the self: in which case, it is best that the garment be loose, a little like the robes of the desert, through which one’s nakedness can always be felt, and, sometimes, discerned.” Tommy work seems to be about loosening the garment.

    2.) Seeing a students’ beauty. Appreciating a student for how and who they are and letting your lessons unfold from there. Tommy’s work is profoundly non-corrective.

    3.) Restoring a supportive sense of being as we do what we are doing. Remaining a human being rather than turning into a human doing. Our culture judgmentally demands: “Don’t just stand there, do something!” Tommy’s advice might be: “Don’t just do something, stand there.” First get a sense of where you are, what you are in relation with, how you are being, what you are experiencing and then let your doing arise out of this fullness of being.

    4.) What most influences our students and allows them to change depends not so much on what we do but on who we are when we are with them. Ram Dass says, “The only thing you have to offer another human being, ever, is your own state of being.” Maybe Ram Dass heard that from Tommy! Sounds like Tommy.

    Touching Presence does not read like a novel, or a textbook, certainly not a manual. Reading Tommy requires some work and some time. I found myself reading just a paragraph or two and then having to stop, become still, quiet, and just think, reflect, meditate before reading on. Touching Presence reads more like a Buddhist Sutra, or like the Cloud of Unknowing, where something important is said over and over again. Humility…is nothing else but a true knowledge and experience of yourself as you are. (Cloud of Unknowing). Or, The word is not the thing. (The Diamond Sutra). Or, Form is emptiness, and emptiness, form. (The Heart Sutra). Ideas not for thinking once and then forgetting, but rather ideas you sit on, like a mother hen, until one day, CRACK, your mind opens, your heart opens, and new possibilities you never could have imagined, present themselves.

    If you are training to become an Alexander teacher, or if you are an Alexander teacher and if you are interested not only in The Use of the Body, but are really interested in The Use of the Whole Self, if you wish to go beyond teaching about the body and about movement, if you are interested in your physio-spiritual life, then this book may help you along your way.

    – Bruce Fertman
    STAT Teaching Member
    Alexander Technique Teacher and Trainer
    Denmark

    “At this time when the world is falling out of touch, ‘Touching Presence is an antidote and reminder of its importance.”
    ‘Touching Presence’ is a gift.

    PennyO’Conner
    AlexanderTeacher
    STAT Teaching Member
    UK

    _______________________________

  • Torsten Konrad

    Torsten Konrad
    NRW, Germany

    Germany Torsten Konrad is a performing and visual artist, a movement teacher and coach as well as a Psychology of Vision Trainer. Self-realization, the link that connects his approach and content the driving force, in all he does, be it research, teaching or creating. He has been a teacher of the F. M. Alexander-Technique supporting health, coordination and inspiration to the dance students of Folkwang University Of The Arts for the last 25 years and for the last 15 years he has been doing the same for the music, drama and design students. He has been assisting in Cologne’s Alexander-Technique Teacher Training courses for a decade. He teaches relationship and self-realization seminars in Germany and Internationally both as a coach for Psychosynthesis and as trainer for Psychology of Vision. His research is connecting and introducing the beauty of self-experience into the areas of: body awareness, relationships, leadership, spirituality and the performing and visual arts.
    In his workshops he supports people in accessing freedom and joy, happiness and love. His private sessions (via phone, through video calls or live face to face) invite the unconditional freedom of miracle mindedness, grace and beauty into his clients’ bodies, hearts and minds as well as into their relationships and work life in order to help them to achieve their purpose and live their destiny.